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“Once I realized it had a lot of potential I had to figure out, what do I really need to learn to make it as powerful and free as it can be?” Spalding says. Working around the club scene in Portland, she started writing her own pop songs, and began honing the ability to sing and play simultaneously. As artists they are so complete and brave and accessible.”īorn and raised in Portland, Ore., Spalding was a precociously curious musician who started playing violin and oboe in the Chamber Music Society of Oregon at 6, eventually becoming the ensemble’s concertmaster.Īs a teenager, she discovered the double bass, which led her away from European classical music and toward blues, funk, hip-hop, jazz and Latin American genres. “Two people I can always look to for inspiration are Wayne Shorter and Stevie Wonder. “I get bored really easily, but when you’re touring a record for the year, you go with the arrangements that work the best,” Spalding says, her words spilling out in a torrent. So far, she hasn’t felt constrained by expectations, instead finding inspiration in artists who have balanced popular success with creative freedom.
She’s found that many people coming to her shows are looking for a performance that tracks closely to her recordings. While she’s only got one foot in the world of popular music, Spalding already is navigating the musical challenges faced by jazz musicians who cross over.
(Wednesday’s show at Santa Cruz’s Kuumbwa Jazz Center has been canceled so that Spalding can perform at a White House tribute to Stevie Wonder.) She also gives a Lively Arts “informance” next Thursday, playing and talking about her music at the Community School of Music and Arts in Mountain View. 27 at Dinkelspiel Auditorium for Stanford Lively Arts.
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With Spalding's bass urging them along, they turnedįolk Art into a sort of hyperkinetic samba, inspiring pianist James Weidman to cut loose with a rollicking, Tyner-esque solo.“One of the things I’m always exploring is how to express all these new ideas, concepts and sounds in a way that they’ll be accessible and well received by an audience,” says Spalding, who performs with her quartet featuring pianist Leonardo Genovese, guitarist Ricardo Vogt and drummer Otis Brown on Feb. The roiling torrent of rhythm that resulted was easily the best thing about the band, energizing the melodies and pushing Lovano to ever more intrepid heights.
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Mela and Brown each had a full kit on stage and played full-out, refusing to pull back into a more genteel drums-and-percussion format. Lovano in particular seemed to relish the freedom this approach brought, and the Parker mash-upīirdyard pushed his playing to the limit.Įasily the most noteworthy thing about the Us Five instrumentation is its use of two drummers, a format that turns up occasionally in rock but almost never in jazz. Passport teeter-tottered between hard-swinging straight four and blistering double time. Moose the Mooch was given a funky rhythmic twist, and Yardbird Suite got played mostly as a waltz, In order to make Bird live again, Us Five recognizes that his music has to sound just as audacious as it did 70 years ago. But she earned her applause not through charisma but with driving bass lines and nimble, inventive solos.Īlthough a number of Tuesday's tunes were composed by Charlie Parker, nothing in the band's nearly two-hour performance sounded remotely like bebop – and that was the point. When Lovano first put Us Five together, the other four musicians were typically described as "young," "up-and-coming" or "little-known." While that may have been true in 2009, it's not the case now, particularly after Us Five bassist Esperanza Spalding was named best new artist at last year's Grammys.īecause her double bass sat between the band's two drummers, Francisco Mela and Otis Brown III, Spalding was hard not to notice, and her beaming smile stood out against the sober mien of the drummers. But he also has the great bandleader's gift of being able to make each of his players shine brightly, and shine together, and that's key to the band's chemistry. In his grey Mao suit and black porkpie hat, Lovano was clearly the dominant figure onstage, and the fact that he played with such fire only underscored his authority. Us Five Lovano both set the pace and directed the flow of the band, shaping the music even when he wasn't playing. It wasn't just that his tenor led the band into the opening tune,
That Us Five is Joe Lovano's band was obvious from the first notes.
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