Wayne Shorter Quartet final performance (2018) at the 2021 Panama Virtual Jazz Fest.
The whole world did not get to see the final performance of sax great Wayne Shorter's quartet at the 2018 Panama Jazz Fest, but we recently received a brief window into the past thanks to plague exigencies.
It was an involving documentation, sonically precise and shot in shrouded color bordering on sepia. Surrounded by bassist John Pattitucci, drummer Brian Blade and Panamanian pianist Danilo Pérez, Shorter sat in a chair, continually adjusting his soprano sax, his big hooded eyes glancing from side to side as if scanning for tigers. Although sheet music stood by, the performance felt like a half-hour improvisation guided by occasional cues.
The band swirled around Shorter like autumn leaves, emphasizing the joyful side of the music -- hardly cool jazz cats, they smiled as if receiving the Word in church. Having set the scene with a peaceful, Coltrane-like introduction graced with ripples from Pérez's grand piano, the three saints opted for openness rather than intensity.
Shorter brought the passion. Then 84, he took a while to warm up, pulling concise statements from his horn only when he had something to express; then the acuity of his thought and the astringency of his tone cut right through. On several occasions, he twisted a string of rising notes into a summit cry that clearly spoke "Why?!" The last time he did that, he rested his instrument, blinking away tears. Released, the audience exploded.
Otmaro Ruiz Trio at the World Stage, January 22.
Don't take Otmaro Ruiz for granted, just because he plays around so much. The Venezuelan pianist feels at home in most any kind of jazz, from bop to fusion, and he sits you right down in his parlor.
In the relaxed environs of Leimert Park's World Stage, the hospitality extended to loyal trio mates Sezin Ahmet (bass) and Jimmy Branly (drums), who zeroed in on the rhythmic perfection of Ruiz's touch -- how is it that Latin pianists can communicate their Caribbean heritage with a single percussive jab? The three told the story of our time with sensitive skill.
Extrapolating from a Mike Stern arrangement of the Jerome Kern standard "Yesterdays," Ruiz began by demonstrating one of his distinctive skills: stroking a hesitational Latin riff with his left hand while whipping out pure bebop with his right. (After a while the left hand got more Tynerish, but harmonically weirder than Mr. T.) "And Then She Smiles" gently followed the waking, playing dance of Ruiz's daughter.
The hopeful meditation on "Alone Together" told us where we are; the rhythmic tug-o'-peace bolero "Obsession" told us what we're going through; the giddy freedom flight of the uptempo samba "Road Stories" told us where we want to go, buoyed by a deft rim solo from Branly, who throughout (balanced by Ahmet's quicksilver pluck) dealt an extraordinary light & exciting patter on the toms.
Here was Otmaro Ruiz as the wonderful comforter; can't wait until he returns to clubs as the inspiring dynamo.
The concert replay starts 19 minutes in, here.