Bird Lives, but Without All That Jazz, 'Charlie Parker's Yardbird' Opera Only Somewhat Soars -- Chicago Opera / Jazz Review

Opera / Jazz Review

Charlie Parker's Yardbird
an opera by Lyric Unlimited
followed by a performance by
The Chicago Jazz Philharmonic
Harris Theater, Chicago
Friday, March 24, 2017
(Also, Sunday, March 26)
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Even as an only mildly-cultivated jazz lover, the name Charlie Parker is eminently hallowed.

Although in terms of legendary saxophone players, I'm more inclined to listen to John Coltrane, Sonny Rollins or Dexter Gordon--and recently learned of Hank Mobley and bought his excellent Soul Station album--I have nothing but the utmost appreciation for "Bird" (a nickname shortened from another, "Yardbird") and how he revolutionized jazz and helped create bebop.

So when I heard about a show called Charlie Parker's Yardbird some time ago, I instantly took note.

Though it was only a few days before attending that I actually read much about it, realized that although presented by Lyric Opera of Chicago--under their Lyric Unlimited banner--it was taking place at the Harris Theater, and bought myself a ticket.

With music by Daniel Schnyder and libretto by Bridgette A. Wimberly, Charlie Parker's Yardbird was first produced at Opera Philadelphia and subsequently in New York City and Madison, WI, before a 2-performance run in Chicago.

And rather than loosely interpreting "opera" with a score heavily reflecting the type of jazz made by Parker--who died in 1955 at just age 34--the 90-minute work is sung in traditional opera style.

Certainly, the vocal caliber of Lawrence Brownlee as Parker--and those of Angela Brown (as his mom, Addie), Rachel Sterrenberg (as one of his wives, Chan), Will Liverman (as Bird's famed collaborator, Dizzy Gillespie, Julie Miller (as his patron & friend Baroness Nica, in whose residence he died) and others--sounded impressive to me.

With an attractive backdrop (by set designer Riccardo Hernandez) spelling out BIRDLAND, its letters filled with images of other jazz icons, I had no reason to discern that the opera as written--and as directed by Ron Daniels--was not performed exceptionally well.

I enjoyed it at face value, and especially as it was followed by a terrific performance by the Chicago Jazz Philharmonic of works recorded and popularized by Charlie Parker, I was glad to have snagged a relatively inexpensive ticket.

But while I liked Charlie Parker's Yardbird, I didn't love it. And though this would keep with my usual stipulation about opera--that I don't feel it like I do rock 'n roll, Broadway or even great jazz--here I felt the biographical narrative about Parker was just far too sketchy.

Scenes segued in a way that those coming to this show without prior familiarity could really be confused about just who Chan, Nica and others were--and what they meant to Bird.

And while we saw Charlie together with Dizzy, and struggling with mental illness and substance abuse, no real insights were provided about Bird's jazz innovations, or the underpinings of the heroin addiction that would lead to his premature passing.

But most, or simplest, of all, there just wasn't enough jazz in this show for my tastes.

Yes, the score by the Swiss-American Schnyder wove in traces of bebop, but they were never front and center (or ever performed by anyone onstage).

I don't know if rights clearance issues dictated some of the musical decisions, but rather than being the jazz opera I had hoped, this was a straightforward--if short and English-sung--classical music opera that happens to be about a jazz legend.

I have absolutely no issue with modern yet stylistically traditional operas about unique subjects. Just last month, I loved Chicago Opera Theater's The Invention of Morel, composed by Stewart Copeland of The Police, and Lyric's 2015 The Passenger, regarding the Holocaust, was one of the best things I've ever seen there.

Other reviews I've seen of Charlie Parker's Yardbird--of this production and past ones--seem qualitatively aligned with mine, which is more positive than not, even if not a rave.

So it isn't that I'm downgrading this opera simply for not hewing closer to my desires. But yes, I would have enjoyed far more (pronounced) jazz and some deeper insights into what made Bird chirp.

As it stands--and this review is moot for most reading it as the Chicago run is done, though future stagings are likely around the country and world--the subject was sufficient to pull me in and generally keep me interested.

And the performers were excellent.

...including, quite notably, in the brief post-opera concert, Chicago Jazz Philharmonic saxophonist Rajim Halim Orozco, trumpeter Chris Davis, pianist Darwin Noguera, drummer Clif Wallace and bassist Junius Paul.

But with much due respect to those in and involved with Charlie Parker's Yardbird, I think I honestly would have better enjoyed 90 more minutes of live Bird-bred jazz from the CJP.

And simply watching/hearing this Charlie Parker & Dizzy Gillespie clip on YouTube (and others like it), while reading the Wikipedia entry on Parker, probably provides a clearer understanding as to why--62 years after the legend's death--jazz aficionados still like to enthuse:

"Bird Lives!"

A Nice If Imperfect Complement: Renée Fleming and Patricia Barber in Concert at the Harris Theater -- Chicago Jazz Review

Jazz / Opera Review

Higher: Renée Fleming and Patricia Barber
Perform the Music of Patricia Barber
Harris Theater for Music and Dance, Chicago
December 14, 2015
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It is due to the great regard I have for Renée Fleming--one of the world's most renowned opera singers, who I recently loved in The Merry Widow--and Patricia Barber--a jazz pianist/singer/composer who I've enjoyed at her Green Mill residency--that I thought it would be cool to see them together in a rather unique concert.

And that regard remains undiminished after witnessing a performance I found enjoyable though largely less than spectacular.

Titled Higher, this was supposedly the first in a concert series called To the Edge, which will see Fleming venturing beyond the opera world through various pairings. The program will soon be repeated in Washington, DC and New York City, and was recorded for broadcast on Chicago's WFMT Radio (98.7 FM) on December 21 at 8:00pm.

In addition to being a highly sought opera performer, the soprano Fleming serves as Creative Consultant to the Lyric Opera of Chicago, and while in town over the past few years she witnessed Barber at one of her regular Monday night gigs at the Green Mill.

From this, mutual admiration, collaboration and the Higher concert pairing seemingly developed.

It sounded like an intriguing proposition, but not one I jumped at until a rather inexpensive offer on Goldstar made it seem silly not to explore; I wound up sitting in the last row at the Harris, but the acoustics were good and my vision abetted by binoculars.

As delineated in the program, Fleming took the stage first, singing five songs written by Barber. During these, the opera star was accompanied on piano primarily by Craig Terry, although Barber did come onstage to play a second piano on a couple tunes.

Photo credit: Nuccio DiNuzzo / Chicago Tribune

Fleming's voice is, of course, a brilliant instrument, and she conveyed that she would be singing Barber's songs an octave higher than Patricia herself does.

Yet while there was nothing unpleasant about her renditions or Terry's playing, Fleming's operatic leanings made Barber's lyrics indecipherable--they were printed in the program, but couldn't be read in the dark during the performance--and it seemed a shame that Renee and Patricia largely weren't performing together.

Eventually they did, but really only inspiringly so for the last 20 minutes of a 2-hour concert.

Before this, they did collaborate on some Christmas carols with Terry and/or the three male members of Barber's quartet, with whom Patricia played and sang for about a half-hour, sans Renee.

It was only when Fleming and Barber were left alone onstage together, chatted amiably (including about Patricia's penchant for playing piano with her shoes and socks off) and performed a Barber composition called "Surrender"--with Renee on vocals--that the concert became what I felt it should have been all along.

This was nicely followed by Barber singing "Opera Song," a piece inspired by Fleming, who provided a wonderful operatic flourish. And a encore reprise of "Scream"--a Barber song sung earlier by Fleming--became a rather high-energy romp thanks to some rock guitar flashes by Neal Alger of Barber's quartet (which also includes Patrick Mulcahy on bass and Jon Deitemyer on drums).

Not only was it nice to see Renee and Patricia musically interacting with some obvious dynamism--the holiday fare was lovely, yet a bit languid--but only near the end of the night did Fleming seem to truly go beyond her comfort zone.

I would love to hear her sing songs that aren't opera arias, but while clearly reflecting her regard for Barber's songwriting, the five opening songs had found her hewing too closely to her operatic stylings.

Perhaps this is what she thinks the audience wants and/or expects from her, but it came off too stiff, and while Barber's songs with her Quartet were enjoyable, they essentially replicated what one can better hear in the closer quarters of the Green Mill.

It was only when the two wonderfully-talented women cut loose and had some fun that they really seemed to be going to the edge…and then higher.

Next time, if there is to be one--perhaps the Green Mill would be a great setting--I suggest the face-to-face interaction should start a good bit sooner.

The Real McCoy: With Echoes by Some Friends, Tyner Still Exudes Thunder from His Fingertips -- Chicago Jazz Review

Jazz Concert Review

Echoes with a Friend (program title)
McCoy Tyner Trio
Geri Allen
Danilo Pérez
Symphony Center, Chicago
December 4, 2015
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I love the sound of a well-played piano, whether at my local Mariano's, a library recital or on a concert stage.

This likely emanates from the heavy use of piano on my favorite album, Bruce Springsteen's Born to Run, and with the playing of Roy Bittan also being a mainstay of all E Street Band shows.

But far beyond enjoying piano in the rock idiom, whether by Elton John, Billy Joel or sidemen like Bittan and Benmont Tench of Tom Petty & the Heartbreakers, I love hearing great classical, jazz, blues, honky tonk, cabaret and other pianists.

This includes having heard live some of the most acclaimed in a classical vein--Evgeny Kissin, Lang Lang, Emanuel Ax, Yefim Bronfman--and many more, if as not readily namable, in other genres.

So while I don't pretend to know what I'm talking about, and realize how folly it is to compare "greatness" in this realm--especially as I all too often equate it with playing "loud and fast"--it's not without some point of reference I share that I have never heard anyone play the piano as distinctively as McCoy Tyner.

McCoy Tyner. Photo credit: Chris Sweda / Chicago Tribune

Tyner rose to prominence before I was born, as pianist in the John Coltrane Quartet during the first half of the 1960s, with the group's sax-playing namesake being one of the most influential musicians in history.

He would long build his own legacy following Coltrane's 1967 death, and once elucidated by a friend, I've made a point of seeing the Tyner at least 3 times in the 21st century--including in 2007 at Symphony Center, where he also appeared on Friday.

This Chicago visit came a week shy of his 77th birthday, and in addition to looking a bit frail, he walks and talks somewhat slowly these days.

But when he puts his fingers to the ivories, the thunder and lightning are still there.

Granted, with his trio, Tyner performed for just 30 minutes, in what was set up as something of a tribute program called Echoes with a Friend--playing off his 1972 album Echoes of a Friend, on which he paid tribute to Coltrane--that featured two other virtuoso jazz pianists, Geri Allen and Danilo Pérez, playing Tyner compositions.

Both were terrific, whether playing solo or with the two other members of the current McCoy Tyner Trio: bassist Gerald Cannon and drummer Francisco Mela. (For the titles of all the pieces that were played, including by Tyner, I reference you to this much more expert review by longtime Chicago Tribune jazz critic, Howard Reich.)

McCoy Tyner. Photo credit: Chris Sweda / Chicago Tribune

But as good as Allen and then Pérez sounded, playing Tyner's music with his sidemen, there was a palpable rise in excitement--musically, in the moment, as well as reverentially nostalgic--when the real McCoy took control of the keys.

Even with the limitations of advancing age, he played with a unique combination of power and dexterity that validated--for me at least, though presumably most jazz aficionados including Reich--that even within the rarefied strata of famed concert (and particularly jazz) pianists, there has always been, and remains, something special about McCoy Tyner.

Allen and Pérez clearly feel the same way, given their effusive praise for the legend they were saluting. Early in her set, Allen warmly expressed:

"McCoy is a pure illustrator who changed the world through sound, music and love." 

The only more moving spoken tribute of the evening came from Tyner to Coltrane, remembering how
the first legendary Philadelphia-bred sax player McCoy played with--Benny Golson--asked John to "pick him up," but supposedly regretted it thereafter. (Coltrane and Tyner also hailed from Philly.)

As Tyner was only 21 when he joined Coltrane's quartet, he noted from the Orchestra Hall stage, "I was very young."

And then went on to quip, as corroborated by the quality of his playing, if not the quantity:

"I still am."

The Patricia Barber Quartet's Monday Night Residency Makes for a Euphonious Visit to the Green Mill -- Chicago Jazz Review

Jazz Review

Patricia Barber Quartet

Green Mill, Chicago

Seen February 3, 2014

Performs every Monday, 9p-1a

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There's no good reason why I don't go to the Green Mill at least 2 or 3 times a year.

For every time I've been there--a good handful, but not for awhile--I've loved everything about it:

The old school ambiance, the unique decor, the funky vibe, the sense of history in a place that dates back to 1907 and oft hosted Al Capone--his favorite booth is still intact--the low cost, the free parking around the corner, the friendly, attitude-free staff, the ability to casually hang out for hours and, of course, the great jazz.

And there's no good reason why I've never gone to hear the Patricia Barber Quartet, as they have had a Monday night residency there for several years--perhaps 17 or 18 according to a guy I asked--and the cover charge is currently just $7.

Sure, I could say that getting to Uptown for a 9pm-1am performance isn't exactly conducive if I have steady weekday work, but my friend Ken and I currently don't yet still opted to leave at about 10:30pm following Barber's first of 3 sets (after consuming just coffee and Diet Coke, for a total of $8).

So even without making it a real long night or engaging in much true Bohedonism--the Green Mill being perhaps Chicago's best approximation of Bohemian Paris--being there felt just about perfect.

A gifted pianist and singer, Patricia Barber has been doing what she does for quite awhile--I just recently noticed a gig of hers listed in a Chicago Tribune from 1980--but even after seeing her trudge in and unbundle on another cold Chicago night, she appeared to take great joy in performing.

Her current quartet is rounded out by three guys easily young enough to be her sons--per Barber's website her accompanists rotate but on Monday were John Kregor on guitar, Patrick Mulcahy on stand-up bass and John Deitemyer on drums--and all four players took impressive solo turns.

Barber didn't sing on every tune performed, but did so sublimely on the opening "Night and Day" by Cole Porter. Later in the first set, she sang a song in French, indulging our imagination that Ken and I were hanging with Hem and Gertrude in the Parisian '20s.

As I've often stated, I generally prefer jazz that includes a saxophone, but there was nothing I heard over a good hour-plus that I didn't like. And the setting, within one of Chicago most unique and magical hangouts, made it all the more special.

Kregor had a few nice guitar solos and a prolonged drum solo by Deitemyer was one of the highlights late in the only set we saw.

So I highly recommend that you make a point of getting down to the Green Mill, especially--but not only--on a Monday night (though take note that Barber will be away for a few upcoming Mondays).

And I certainly intend to return, hopefully sooner than later.

Paying Tribute to Bird, With Strings, Miguel Zenon Soars With the Chicago Jazz Ensemble -- Jazz Review

Jazz Concert Review

Ornithology: The Music of Charlie "Bird" Parker
Chicago Jazz Ensemble
with special guest Miguel Zenon
February 24, 2012
Harris Theatre, Chicago
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High on the shortlist of my all-time favorite sounds is that emitted by a well-played saxophone.

This likely emanates from being such a huge fan of Bruce Springsteen and the E Street Band, with Clarence Clemons' sax having been such a distinctive and definitive part of their music.

While I wouldn't quite call myself a jazz aficionado, I long ago came to love hearing recordings of--and particularly solos by--such legendary sax players as Charlie 'Bird' Parker, John Coltrane, Stan Getz, Dexter Gordon, Sonny Rollins and Ornette Coleman, the last two of whom are still alive and who I've been fortunate to see in concert.

I've also been dazzled by many saxophonists at the club level, most of whose names I'll never know.

Although I don't follow the jazz genre with the same avocation I do rock, I take note when someone is hailed as a great sax player, especially as I feel being a jazz virtuoso doesn't bring the recognition it once did. (I remain unclear if no one is rising to the level of Miles, Mingus, Monk and those named above because America en masse doesn't care much about jazz or if there just aren't many players of that caliber anymore. Or perhaps both.)

Which brings me to Miguel Zenon. Along with Joshua Redman and maybe a couple others, he is one of the few young, in-their-prime saxophonists I have come to know enough to seek out in concert. And if you care about jazz to the level I do--or anywhere beyond it--he is someone you should know.

Last night, he was in Chicago to join the Chicago Jazz Ensemble--led by artistic director Dana Hall on drums--in a program titled Ornithology: The Music of Charlie "Bird" Parker.

Though I would have been thrilled to hear Zenon play anything associated with the great Bird, the focus of the evening was recordings Parker made in 1949-50 called Charlie Parker With Strings. As the affable Hall explained, Parker was the first jazz musician (at least of note) to record with strings, playing "standards" with violins, violas, cellos, etc. At the time when Parker was pretty much inventing be-bop, this exploration may have been seen as somewhat soft, but as Hall mentioned, an essential part of great artistry is the need to try new things.

I have Charlie Parker With Strings, the Master Takes and while it might not excite like more conventional Parker, it still sounds quite good to my untrained ears. Likewise, Zenon playing with the CJE and a guest string section (plus oboe, English horn, French horn and harp) sounded delightful. Songs like "I'm in the Mood for Love," "Autumn in New York" and "They Can't Take That Away From Me" lent themselves more to Zenon demonstrating a silky dexterity rather race car solo runs, but there was nothing not to like.

As with classical pianists, when it comes to elite saxophonists, neophytes like me probably often equate playing fast and loud with greatness, but it's not hard to conceive tone and texture as being just as important. Especially as Zenon gave ample proof that he could "blaze," as when soloing on the closing number, "Rocker," even when his playing was more restrained, his talent--like the sound his sax was making--was clear and delectable.

For about half of the two hour performance, Zenon was accompanied only by the string section plus Hall on drums, Jeff Parker on guitar, Jeremy Kahn on piano and Dan Anderson on double bass. But I particularly enjoyed the songs when the rest of the Chicago Jazz Ensemble was onstage as well and the audience was treated to some nice trombone and trumpet solos.

The recipient of a Guggenheim Fellowship and a MacArthur Foundation "genius grant," Zenon has often explored the music of his Puerto Rican homeland, including on his acclaimed 2009 album, Esta Plena, about which a rave review by the Chicago Tribune's Howard Reich spurred my awareness and subsequent attendance of a Zenon gig at Jazz Showcase. He dazzled then, but it was just as much a pleasure to see and hear him tackle Parker--and rather unique Parker at that.

With balcony tickets only $18, it would have been nice to see the Harris Theater more full, but at least in Zenon's case--while also applauding the fine work by everyone onstage--it's encouraging to know that even if they aren't bringing out huge crowds, there still exist some new jazz musicians who deserve to.