The fourth time I caught the SF Jazz Collective in concert, it was one of the best. Opening with a medley of classics from Wayne Shorter and McCoy Tyner, and including a powerful arrangement of “Crystal Silence” for the entire eight-piece band, they closed strong with “Song for My Father.”
So this additional part of my conversation should be understood in the context of the review of the Peter White show, discussed below: More reflections on the difference between just playing live music and providing entertainment.
From the first number, the band members were wandering, seemingly aimlessly, around the stage. Which makes their ability to suddenly appear perfectly synced at every play point all the more impressive. There was laughter, banter, grooving to the music, yet it also left an impression of a mild disregard for the audience. That many people in the audience had dressed up for what they seemed to consider a special occasion was all the more noticeable in light of the casual band attire. Yes providing a view of the bass solo mentioned below was appreciated, how things are done also impresses.
I was reminded of one of the saddest moments in my long history of attending live shows. It was during the second SF Jazz concert I attended, and toward the end of the performance when one of my all-time favorites, in mid-song, looked at his wristwatch wistfully. “When would the concert be over?” his attitude messaged. Perhaps the issue is that the expectations for catching a show at the Village Vanguard or Blue Note in New York encourages a bit of laid back. After all, the audience is sitting cheek-by-jowl with the performers. An auditorium venue is, perhaps, less appropriate for casual attitudes.
While the trend to wear stylish suits back in the ’40s and ’50s sometimes feels a bit awkward when looked at from today’s vantage point, nobody can deny how good Miles Davis and other like-minded bands appeared. At the other end of the spectrum is the contrast of seeing Pat Metheny in concert live, but more particularly the video of “The Way Up” recorded in Korea. While the dress was casual, the lack of movement unrelated to playing an instrument stands in stark contrast to many of the shows I’ve seen over the last year, or so. The seriousness with which Metheny and his bands take their playing is almost hypnotic.
Leaving the theatre, “Crystal Silence” was the song I heard being discussed most, and I’ll finish with some upbeat comments about that. Having seen this classic song by Chick Corea and Gary Burton performed live a few years back at the Portland Jazz Festival, the version played Saturday was a magical study in contrast. The horn section provided a special flavor while Warren Wolf on vibes did Burton justice. But pride of place goes to bassist Matt Penman – wow, what a solo. We can only hope when a compilation of the best from this tour is released on disc, this performance is included. And, hey, Neal, thanks for the Steely Dan tip – “Rikki Don’t Lose That Number,” indeed.