Fri 13 Feb – The Redeemer Fine Arts Series presents John Patitucci
To be pubished in African-American Reflections
Concert Review: The Redeemer Fine Arts Series Presents John Patitucci
Anthony Dean-Harris
Contributing Writer
anthonydeanharris@gmail.com
On February 13, Redeemer Presbyterian Church threw a spectacular concert featuring Grammy Award winning jazz bassist
John Patitucci at the historic Carver Cultural Community Center. The audience consisted of mixed ages and races, many of whom started the Valentine's Day spirit early. Yes, spirits were high while tempers were calm for an evening of soothing, innovative albeit inspirational jazz.
St. Vincent and the Grenadines, a rather clean cut septet aging in their 20s and 30s, were the opening act. They played jazz standards with the kind of love and respect one would expect of any jazz band. It was apparent through the arrangements and solos that the band holds one another with great respect.
Soon after the Grenadines closed, Patitucci took the stage accompanied by pianist
Jon Cowherd. Patitucci began with
Charlie Parker's "
Dexterity," befitting considering Parker played in the historic Carver Center in the past. Patitucci and Cowherd danced about one another in tune, both to their own melodies but altogether in sync. Cowherd managed the tenuous task of playing both in his own voice and complimenting Patitucci's vibrant bass at the same time, thus making the pairing quite ideal for this performance and likely in other performances. The evening was indicative of the two sharing a good working relationship.
As Patitucci played the solo piece, "Mediation," dedicated to
John Coltrane, one almost expected
Pat Metheny to walk out on stage to start along with the title track to the classic album
Bright Size Life. It was indicative of Patitucci’s style, somewhat akin to
Stanley Clarke with all his talent but not the funk. It's like what would happen if
Jaco Pastorius had never died, but perhaps without the dynamism. It makes sense that Patitucci worked alongside
Chick Corea earlier in his career.
Later, vocalist
Ruth Naomi Floyd joined the duo, adding a flavorful sass to the flowing lyrics; still, she seemed to be holding back her true power that the trained ear could tell lied dormant throughout the evening. Floyd's spacing between hearty moans and deafening silences in the tune "Calvary" displayed a great talent that demanded and captured attention.
When the trio played the classic, "My Funny Valentine," it almost seemed required considering the occasion, but the audience didn't begrudge the musicians for performing it.
Witnessing Patitucci is entirely different from merely hearing one of his albums. His head flails as vividly as his hands. His fervor is as present in his smile as it is in the notes he plays. His laughter, as buoyant as his modality.
The concert had Christian overtones but mostly felt more like
Sufjan Stevens than
Andre Crouch, although, by the end of the night as the band closed with Cowherd's arrangement of the classic spiritual "I Need Thee Every Hour," it started to feel a bit like
Kirk Whalum's various gospel albums. Altogether, the evening was an enjoyable experience, subtle proselytizing or no. The nearly full house and cheerful expressions throughout the evening were a clear indicator.