Tag Archives: Ran Blake

Ran Blake at the Regattabar: “Plays Solo Piano” 50th Anniversary

Cover image from Ran Blake's 1964 ESP-Disk, celebrated the Regattabar.

Cover image from Ran Blake’s 1964 ESP-Disk, celebrated at the Regattabar.

You could have heard Ran Blake’s show Wednesday night at the Regattabar as a concert with autobiographical commentary, or as a memoir with musical illustrations. It was both, really.

Blake was ostensibly celebrating the 50th anniversary of his ESP-Disk Ran Blake Plays Solo Piano. It was his second release after his 1961 RCA debut, The Newest Sound Around, with the singer Jeanne Lee.

Blake’s approach hasn’t changed a whole lot since then. He still mines his obsessions with film noir, jazz standards, and gospel music, and his abiding affection for composers like Ornette Coleman, Thelonious Monk, George Russell, and Gunther Schuller, and for songs and singers. And he still plays with his uncanny ear for harmony, unparalleled touch, and serene focus. Blake’s passages of sharp dynamics shifts, of juxtaposed dissonance and consonance, give his music the heightened contrasts of his beloved film noir. Some improvisers use songs as a starting point — a springboard for their own invention. Blake does that too, but his inventions seem to take him deeper into a song rather than further from it.

At the Regattabar, he played several pieces from Solo Piano, but much else as well, including new pieces. Emerging from back stage with the assistance of walker (he’ll be 79 on April 20), swaddled in shades, black fisherman’s cap, a big scarf, jacket, and his thick grey beard, he greeted the warm applause of the packed house with a smile and a bow, then sat at the piano and dug into four widely spaced, loud chords, using the sustain pedal to let them bleed into each other, and then played the delicate, elegiac melody his “Vanguard,” the first song on Solo Piano, bringing out inner voices as one chord moved on to the next. He followed that with “The Nearness of You,” punctuated by plinking, Monk-ish minor seconds between soft, floating chords and bits of melody.

“In 1960 I moved to New York — a year or two older than I should have been — from the college.”  He was taking us into the first phase of the memoir. Walking up Amsterdam Avenue, into Harlem, the Apollo Theatre, Abbey Lincoln, Don Ellis, Sheila Jordan, George Russell. Then he introduced one of those Harlem tunes, “Sleepy Time Gal,” and Ornette Coleman’s “Lonely Woman,” which Blake said he was the fourth person to record. “Ornette thought it was . . . fairly okay,” said Blake of his version.

In Blake’s mini-sets, two or three songs sometimes merged and overlapped. They weren’t medleys, really, more like montage. Blake said he often thinks in images at the piano as he plays through songs, and that made sense here, especially as he extemporized on Dr. Mabuse, the character from the films by Fritz Lang, with a theme by Konrad Elfers. (Blake joked that Mabuse, the “evil psychiatrist,” had been in 1,000 films.)

There were a couple of tunes with Blake collaborator (and former student) Jon Hazilla. Hazilla said that Blake, “always thinks of other people first rather than himself.” To which Blake piped up, “Not always!” Hazilla said that when he auditioned at New England Conservatory (where Blake created the Third Stream department with then NEC president Gunther Schuller), Blake asked him to play “a cold Boston morning.” Blake’s response to Hazilla’s attempt was: “Sounds like rush hour.” Hazilla’s solo tribute — just brushes and snare — was fast, but not rushed, tight, swinging, economical patterns of swishing brushwork.

Blake then introduced his tune “Memphis,” commemorating Dr. Martin Luther King’s assassination, “40 years ago tomorrow.” It was, he said, his imagining of King speaking to a stadium full of people, with Al Green and Willie Mitchell in attendance, and maybe Alfred Hitchcock too. And here Blake created one of his uncanny effects: as the melody from “The Battle Hymn of the Republic” moved into the piece, softly, it was as if from offstage, a passing parade. Then there was George Russell’s “Stratusphunk” (also from Solo Piano), with Blake returning again and again to the repeated notes of the opening melody.

Blake often gave capsule biographies of the songwriters and dedicatees. There was “Sister Tee,” for Elisa Carter of Sweet Daddy Grace’s Church in Harlem. “She wanted to learn about Stravinsky and Mingus and I wanted to learn about Mahalia Jackson and the Pentecostal church.” For once, he said, he’d play “a number that’s partly cheerful,” even with its evocation of meddlesome police on 125th street.

Blake is one of the few performer I know who can get away with almost unrelenting slow or rubato performances. He and Hazilla did swing some stride for a bit, but for the most part these were nocturnes. So what held the ear was the drama that unfolded in each song, those shifting textures and harmonies. It never seems adequate to call one of Blake’s chords “dissonance” — he seems to know hundreds of shadings between dissonance and consonance. In each song — no matter how deep the rumbling percussion and brass of his bass register — the melody would surface, just a spare single-note line, but articulated with pure, vocal expression, and you could hear what Blake loves about singers. They’re that light in the darkness, as in his statement of the melody in his “Birmingham, U.S.A.” (for the four girls murdered in the notorious church bombing in that city in September 1963).  Elsewhere, his conjurings were the stuff of dreams and film noir, 4/4 chords that stalked the melody line, as in a suspense film, or the bit of Bernard Hermann dissonance that crept into Blake’s encore of “You Are My Sunshine.”

With Blake’s notions of harmony, wherein it drifts away from tonal centers or simply expands into adjacent keys, and his sudden, stabbing attacks at an astringent interval, I once thought: maybe this is what a young Arnold Schoenberg would have sounded like if he was the hippest lounge pianist around. But that’s not fair, Schoenberg was not an American musician, he was not a jazz musician, and he was no Ran Blake.

 

 

 

Jazz picks week of March 28

Juanito Pascual New Flamenco Trio. Photo by Anastasia Sierra.

Juanito Pascual New Flamenco Trio. Photo by Anastasia Sierra.

Here are just a few jazz events around town this week. These and more coming attractions — classical, dance, theater, etc.— can be found at The Arts Fuse.

Grace Kelly
March 28, 8 p.m.
Scullers Jazz Club, Boston, MA.

The former child prodigy alto saxophonist from Brookline, now 21, celebrates 10 years of performing — including gigs with Phil Woods and Lee Konitz — by playing a show at her home base, Scullers.

Juanito Pascual New Flamenco Trio
March 28, 8 p.m.
Sanders Theatre, Cambridge, MA.

Guitarist Juanito Pascual’s idea of flamenco has always been expansive, going well beyond the sound of the Gypsy Kings. His latest CD, New Flamenco Trio, incorporates a variety of traditional flamenco rhythms as well as a bit of Panama, American jazz, and George Harrison’s “While My Guitar Gently Weeps.” His trio — with bassist Brad Barrett and percussionist Tupac Mantilla — will be joined by flamenco dancer Auxi Fernández. (The show was rescheduled from the original snowed-upon February 15 date.)

Mary Lou Williams “Mass for Peace”
March 29, 7 p.m.
Union United Methodist Church, Boston, MA.

The great jazz pianist and composer spent much of the latter half of her career devoted to religious works. UnionARTS at the Union United Methodist Church presents the Euphonic Chorale in Williams’s “Mass for Peace.”

Ran Blake
April 2, 7:30 p.m.
Regattabar, Cambridge, MA.

Just shy of his 79th birthday (April 20), the endlessly exploratory pianist, composer, and teacher offers a rare solo concert — playing standards (from gospel and folk to American songbook), film noir soundtracks, and originals.  (This is another show rescheduled from an earlier storm date.)

Marissa Licata
April 2, 8 p.m.
Scullers Jazz Club, Boston, MA.

Honduran-American Marissa Licata matches an effervescent stage presence with fearsome chops, born of classical training and gigs with pop acts like Jethro Tull. She’s best when she pushes her Gypsy-jazz world-music fusion to the edge.

Matthew Stevens
April 2, 8 p.m.
Café 939, Boston, MA.

For the past several years, guitarist Matthew Stevens has been Christian Scott’s right-hand man in the trumpet star’s rock-edged jazz quintet. Now, in anticipation of his Concord Records debut as a leader, Stevens returns to alma mater Berklee for a gig at the school’s Café 939, with his own formidable quintet: pianist Gerald Clayton, bassist Vicente Archer, drummer Eric Doob, and percussionist Paulo Stagnaro. It’s part of “The Checkout” live broadcast series by Hoboken’s WBGO-FM and NPR.

Mehmet Ali Sanlikol Jazz Orchestra
April 3, 7:30 p.m.
Regattabar, Cambridge, MA.

The Turkish-born pianist and composer Mehmet Ali Sanlikol came to Boston 20 years ago and studied big-band composing and arranging with the likes of Herb Pomeroy and Bob Brookmeyer. Ironically, his study of American big-band jazz led him back to the court music of the Ottoman Empire. His orchestra compositions, at their best, are a provocative blend of varied traditions. He celebrates the release of his album whatsnext? with his orchestra at the Regattabar.