As a New Yorker, I’ve witnessed some pretty moving examples of public-spirited jazz, including the 9/11 memorial concert at Town Hall in November 2001. The sight of Dianne Reeves — not just a fine singer but an imposing musician — taking wing with an inspired rendition of Peter Gabriel’s “In Your Eyes” has never left me.
At the October 1 Jazz for Obama benefit, held at the 92nd Street Y, Reeves grabbed people by the lapels once again. Accompanied by event organizer Aaron Goldberg on piano, Christian McBride on bass and Jeff “Tain” Watts on drums, she wound her way through “Morning Has Broken,” with an improvised speech-song prelude about the need for “honor in the nation” and a climactic refrain of hope in economically troubled times:
No limits, no boundaries
I see increase all around me
Reeves was just one impressive singer on the bill. Kurt Elling served as emcee and performed a duet with pianist Laurence Hobgood. Dee Dee Bridgewater danced uninhibitedly on her version of “Compared to What” with Tain, pianist Edsel Gomez and bassist Matt Penman. Roberta Gambarini sizzled on Tadd Dameron’s “Cool Breeze,” a fast blues, with Goldberg, McBride and drummer Willie Jones III. Bilal delivered something forceful and otherworldly with pianist Robert Glasper, bassist Derrick Hodge and drummer Chris Dave.
The evening had its portion of red meat, courtesy of two “swing gangs,” as Elling called them: The first was Joe Lovano, Roy Hargrove, Goldberg, McBride and Roy Haynes playing McCoy Tyner’s “Passion Dance.” (The title, noted Elling, could describe the burst of activity undertaken by Obama’s nationwide corps of volunteers.) The second was vibraphonist Stefon Harris leading a quartet with Goldberg, Hodge and Tain; they played Monk’s “I Mean You” at an extreme tempo, omitting the incidental E-flat riff.
On the calmer side, two duos stood out. Charlie Hunter and Doug Wamble ruminated on Sam Cooke’s classic “A Change Is Gonna Come,” playing eight-string and resonator guitars respectively; Hank Jones, leading off the second half solo, took apart “Alone Together,” easing into an impossibly fluid swing feel after Joe Lovano emerged from the wings to join in.
Stanley Jordan’s solo flight, on a theme by Mozart, reminded me how singular the man’s talent truly is — wish more of his comeback album State of Nature sounded like this. Brad Mehldau’s reading of “Besame Mucho,” with Penman and Tain, also held dazzling but very different rewards. Tain seemed excited by Brad’s rhythmic concept and worked hard to complement it.
Bridgewater and Reeves joined forces for an Edsel Gomez arrangement of “Afro Blue,” which was too ambitious to venture without a rehearsal; Reeves flubbed some entrances and wasn’t at her best. Wiser to end on the familiar note of “Straight, No Chaser,” with Elling, Gambarini, Dee Dee and Dianne trading choruses after solid (though wildly contrasting) statements by Mehldau and trombonist Steve Turre.
Elling’s recitations of Rumi and Robert Bly were well placed, if a little showy. Bridgewater’s sexualized co-emceeing in the second half got to be a bit much, slowing the night’s momentum. But diverse music, great playing — Aaron Goldberg’s solos were punishing and relentless — and a warm, positive tone made Jazz for Obama a night to remember, particularly so soon after my return to New York. I’ll take some of that energy with me when I head back to Philadelphia on October 11, to canvass for Obama in the vulnerable Northeast district. Let’s get out that swing-state vote! Barack Obama for President!
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