Monterey Jazz Festival on Tour @ The Music Center at Strathmore, March 21, 2019

It was an entertaining and varied night, even though it was the same combination of six musicians throughout, and it led to two standing ovations from the large crowd at the Strathmore in North Bethesda. There were hundreds of people in the audience despite the pouring rain that had led to a flood warning across the entire capital region.

The program had been put together by Christian Sands, a phenomenal pianist with a highly unique style. Taking a youthful orchestra on tour to celebrate the legendary Monterey Jazz Festival that is now in its 62^nd year was a great idea. Another innovation was to have the frontline horns performed by two young ladies, Bria Skonberg and Melissa Aldana. The classic jazz quintet was completed by the bassist Yasushi Nakamura and drummer Jamison Ross. The singer Celine McLorin Savant would come and go throughout the evening.

This outfit, it turned out, was capable of wide-ranging versatility in terms of style, while mostly maintaining its post-bop sensibilities, combining both original pieces as well as well-chosen and not worn-out compositions by others. Sands had contributed a few of the ensemble pieces that swung in a straight beat, but always with a twist, with the horns blowing the lead. Sands has an ability to write jazz tunes that are original and complex, yet still pleasing. They also provided ample solo space to all players, not least the horns.

The Chilean Melissa Aldana is undoubtedly one of the best sax players around today. Despite being only 30, she is a very mature player who is fluent in the jazz vernacular. Last year I heard her with her own quartet blowing hard at the DC Jazz Festival. She possesses full control of her horn frequently utilizing its full range – she seems to enjoy the low honks on her big pipe. Her sound is full and sonorous. She is also a highly creative improviser. Watching her is a visual reminder that playing a musical instrument is not only an intellectual and emotional exercise, but also a physical one. Her whole body follows the movements of her music, and she rises on the tips of her toes as she climbs up the scales.

Compared with her South American counterpart, Canadian Bria Skonberg has a more limited vocabulary on the trumpet. She is a solid player with a clear sound and wide range. But her chops just aren’t as smooth and inventive as those of Aldana’s. Skonberg played fine and handled the at times complex horn parts perfectly, but her soloing in the more modern idiom left something to be desired. This is understandable given Skonberg’s past focus on more traditional jazz.

The rhythm section of Yasushi Nakamura and Jamison Ross worked perfectly together. Nakamura is a powerful bass player who is also very inventive in his approach. His sound is strong and solid. In contrast, Jamison Ross’ drum work tends to be quite fluid. He keeps the time but in a loose manner creating light polyrhythmics on his small set. This pair complemented each other excellently.

Ross also got his shining moment on stage. He introduced himself as someone who has been singing all his life and who admires singing drummers, like Grady Tate. He then proceeded to perform a soulful ballad which allowed him to demonstrate his clear high-pitched voice and similar melodic fluidity as evident in his drumming.

Cecile McLorin Salvant was a new acquaintance to me – but not to my friend Freddie with whom I had come to the concert. She turned out to be a highly skilled vocalist (she used to study classical and baroque singing in France before turning to jazz) – but not gimmicky like so many other jazz singers. There was nothing artificial about her singing. Apart from one Betty Carter number, all of the songs that she would perform throughout the night were her own, a few of them written only a couple of weeks ago, still without titles. They were all beautiful and had at times funny and very human lyrics. The only issue may have been that they were all ballads, quite slow and featuring her voice in a rubato setting (Freddie confirmed that’s her style). Sands had strategically spaced them out throughout the program, so that speedier numbers livened up the mood in between.

Having said that, a highlight of the show was one of Cecile’s yet unnamed songs to which Melissa had written an extended introduction that featured elaborate arpeggios on the tenor sax and very sensitive interplay with the piano.

If I had to pick one number, though, that was the high point of the evening for me, I would have to select Christian Sands’ masterful rendition of an aria from Puccini’s Tosca. He started it as a solo piano number, his style mixing some jazzy harmonies into the classical tune. Later the bass and drums joined in but the mood remained serious building to a powerful crescendo before returning to the melancholy theme. Sands who is always an extraordinary player here made a performance that brought tears to my eyes.

Naturally, as these things go, the latter part of the concert provided some funkier stuff, including a Sands piece for the quintet in the tradition of Sonny Clark and Horace Silver, and a Yasushi Nakamura original – Yasugaloo -- a boogaloo with a strong beat and funky horn riffs. It also featured a powerful bass solo from the Tokyo-born composer.

Bria Skonberg had a chance to demonstrate her bravado in a solo number, a traditional jazz show tune by Valaida Snow. Snow (1904-1956) was a rare female jazz trumpeter at her time and a good one: Louis Armstrong called her the “second best trumpet player in the world” (after himself, of course), which earned her the nickname “Little Louis.” Here Bria was in her natural element, singing the lead vocals, interacting with the enthusiastic audience and playing the trumpet solos with a flair that was genuine to the era. During this number she seemed to switch her personality to free expression from her somewhat more restrained performance during the earlier part of the evening.

Cecile McLorin Salvant returned once again for the encore. Standing on the edge of the stage, she started her song without a microphone, her voice carrying beautifully over the large concert hall. This was a highly unusual encore and final number, a hauntingly beautiful story of a love that was lost performed only by Cecile, Bria and Jamison singing in ethereal harmonies with the latter providing atmosphere with mallets on his drums. The beautiful evening was thus over.