The Terri Lyne Carrington Group @ the KC Jazz Club
Those present on Saturday night to see ace drummer Terri Lyne Carrington (pictured left) witnessed a performance that showcased a strong tension that exists in today's jazz scene. On the one hand, those who celebrate musicianship, free-flowing improvisation, and a dedication to craft would have appreciated the high level of artistry that was on display during Saturday night's first set at the KC Jazz Club. On the other, those of us who value the emotional connection between musicians and audience found the show lacking.
With a Tony Williams-esque drum flourish, Carrington began the show and with her band turned the standard, "Angel Eyes", into a 20-minute post-bop workout. While there were no missteps, in fact the playing was top-notch, this song illustrated a problem that arises in a jazz world where groups are simply thrown together for one-off gigs. There was no strong group cohesion during last night's set and therefore no true ensemble sound. While each player was expressive individually, the whole amounted to no more than the sum of its parts.
Take, for example, "On the Corner", which was performed as a medley with The Beatles' classic, "Michelle". The song began as a lovely tone poem and then evolved into an easy-going bossa nova inspired groove. Bassist Hogyu Hwang played an unaccompanied interlude that was a highlight of the set. "Michelle" was transformed into an extended odd-meter exploration in which each musician got a chance to blow, culminating with a roaring Carrington solo. The schizophrenic nature of the arrangement had us wondering why these two songs were glued together. Yes, it is an interesting intellectual exercise, but the result was that the performances of individuals overshadowed any group interaction that might have provided a hook for anyone but the most discerning listener. There was simply no sense of play in the music.
The concert went on to include "The Great Middle Way", which featured prominently tenor saxophonist and Baltimore's own Gary Thomas, director of jazz studies at the Peabody Conservatory. The two exceptions to the somewhat sterile proceedings were "Ethiopia", a Joni Mitchell composition that showed Carrington's impressive vocal talents, and the set closer by guitarist Tim Miller, who along with Carrington serves on the faculty at the Berklee College of Music. The latter featured Miller's unique tonal and textural approach, which was almost devoid of cliched patterns and fast runs one normally associates with jazz guitarists.
The show was far from bad, but expectations run high with a band of this caliber. What the concert proved is that technical expertise and prowess mean very little in the absence of emotional depth that comes from a band where every member is on the same page.