James Newton got choked up a few times as he introduced his compositions, with the photographic images of Bob Marley, Jimi Hendrix, Stevie Wonder and 300 other music icons bearing witness. The informally dignified composer was feeling the memories of five decades in modern music, and feeling regret over a persistent hand disorder that keeps him from commanding his flute at the level that won him roomfuls of awards. Mostly, though, Newton was feeling the friendship of the musicians who performed his works and came to pay tribute.
Among the attendees were cranelike trombonist Phil Ranelin in his porkpie hat, radiant flutist-harpist Maia in a trademark yellow robe, imposing poet Kamau Daáood offering a rare big smile, and beatific percussionist-ambassador Carlos Niño behind his Rasputin beard. KLON DJ LeRoy Downs, the Jazzcat, served as MC and served cake for his birthday and that of Newton, who turns 66 on May Day.
Newton devoted deep thought to this retrospective, starting with the players. He described his performance surrogate, the great Nicole Mitchell, as his favorite flutist, and she rejoined that she would never have touched the thing if not for him. Bennie Maupin got big props for inspiring Newton when the saxist scaled spiritual heights with Herbie Hancock in Mwandishi back in '72. Newton recalled foundational moments of Roberto Miguel Miranda's bass anchoring Horace Tapscott's Pan Afrikan Peoples Arkestra. Pianist Luca Mendoza, cellist Shana Tucker and drummer Anthony Fung, all way under 60, slipped into Newton's idiosyncratic music as if born to it (which they were).
The sextet began where it should, at the roots, with a churchy jam that set a tone of soulful collegiality and emotion. (It got its first performance in China!) Then, while retaining a consistent group feel, they explored widely diverging yet conceptually harmonious examples of the huge Newton oeuvre. A cello-flute chase (premiered in Europe) combined wild playfulness with technical impossibility. Mendoza's rolling, ecstatic piano brought out the inner artistic conflict portrayed in "Las Dos Fridas," from Newton's "Suite for Frida Kahlo." The same 1994 Kahlo record contained "The Verdict," which expressed all the roiling anger, hurt and despair many felt in the wake of the Rodney King beating and subsequent cop acquittal. Shaking his head, a confounded Newton looked back on that time and compared it to the present political climate: "Where are we? What is this?"
The evening concluded with "Today at Midnight," a cloudy but melodic sprawl reminiscent of major influences Ellington, Mingus and Dolphy, and dedicated to Newton's grandmother, who spoke to him from beyond during its live performance decades ago. Maupin put on his free-testifying hat, Mitchell spun into atomic orbit, and Fung rode the border between rhythmic shepherd and stampeder.
It all amounted to something more than art. A lot of people stuck around after, and not just for the cake.
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For those who haven't attended the Just Jazz early-Wednesday series at this Hollywood venue: Good sound; welcoming vibe; snacks; libations; the valet in the back alley for El Compadre next door will park you for a tenner. Even the plastic chairs won't bust your lumbar. Consistently good bookings, too.
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PHOTO OF JAMES NEWTON AND SHANA TUCKER BY DAVID N. MEYER.
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Read my 2001 interview with James Newton here.