Jessica Williams Jazz Concert
Reviewed by Tim & Mike Smith following a concert on March 10, 2006 at the Olympia Opera House featuring:Jessica Williams (piano)
Jeff Johnson (bass)
Steve Bently (drums)
My brother Tim and I attended this terrific concert on March 10th. Jessica Williams is arguably the finest jazz pianist in the world right now. 'One of the greatest jazz pianists I have ever heard' -Dave Brubeck. See what I mean? In her career she has been the opening act for Jazz great Bill Evans, played and recorded with Phillie Joe Jones, Stan Getz, Dexter Gordon and many others. She has composed over 200 songs and been nominated for a Grammy twice. She has been influenced by many artists and has focused much of her creative energy in composing pieces dedicated to her friends and colleagues. She has recently composed a suite dedicated to her friend Billy Taylor which is to be premiered in Washington, DC. in May. We were the honored recipients of a sneak preview on this night.
The program included 3 songs from her Billy Taylor tribute: “The Doctor is in,” “Billy’s Blues,” and “Ballad for Billy.” These titles don’t mean anything to anyone yet as they were debuted during this concert. Let’s just say they were beautiful. Next was “On the Sunny Side of the Street” and her own composition called “Love and Hate”
One of the most striking things about Jessica Williams is her ability to mimic the greatest jazz pianists. She plays their songs in their style. She also composes and plays dedicated pieces of her own in their style. She is truly an amazing musician. She is not flashy –unless you call virtuosic playing dull- as is common in pop music. Her music is smart, creative and engaging. She plays with such subtlety that you are captivated the minute she starts to play. You don’t want to miss a thing.
Her style of play is so soothing and comfortable. She makes the piano sound effortless. To watch her play, it appears that way too. She gets such a perfect tone from the instrument. There is no simile to describe the way Jessica plays. I flat have never heard a piano played so well; so artistically and so perfectly. Ms. Williams’ style is flowing with very complex chord progressions. She does well what so many jazz players don’t do. She keeps the melody of a song moving throughout her runs and in every melodic variation. Every occurrence of a chord is an inverted version of the previous time it was played. I’ve never cared for the term velvety but to me that best describes her style. She sort of reminded me of Keith Jarrett’s solo album of the 70’s. Very lyrical and melodic.
Not only is she far more than accomplished as a pianist. She is also very gracious. She appears to have no particular need to tout her own abilities. She is happy to share the stage with others. This is a jazz thing anyway. Most jazz concerts I’ve been to have been small intimate affairs with lots of artist to audience interaction. It seems that almost every time, the artist will invite someone from the audience up on the stage to jam with them. Jessica is no exception, other than she is also a very gentle person.
In the audience was world renowned sax player Bert Wilson. His style doesn’t quite match the lyric beauty of Jessica. But as is her way, she invited him to sit in a few songs. He wasn’t prepared for this so he had to send his companion home to get his famous tenor. He played three pieces. Bert is HEAVILY influenced by John Coltrane; way too much influence in my book. I personally don’t like this style of playing. I’m not a big fan of the saxophone anyway but screeching and constant clattering of the keys is not my idea of a relaxing musical experience. Be that as it may, Bert is famous for his ability to play 5 octaves on a three octave instrument. He can also play 3 notes simultaneously. This is also an unpleasant sound, unless the concert is out doors and is what you came to hear.
Bert’s part in the concerts brought a bit of pathos, though. You see Bert has suffered most of his life from the debilitating effects of childhood polio. His body is broken and crippled. He’s in a wheel chair. Despite his crippled body he has made a name for himself as a top flight jazz saxophone performer. He happens to live in Olympia and doesn’t travel much. But this night was a night of nights for Bert I believe. As evidenced by the tears of both he and his companion by the time the concert was over. As incoherent as his style of play is to me, his talent is nonetheless prodigious. And his physical limitations make his play seem almost miraculous. I’ll let Tim tell this part of the story as he says it best:
For me, Bert’s style didn’t mesh very well with the atmosphere JW had created up through the intermission. His squeals, squawks and high speed runs just didn’t appeal to me. It’s not a question of talent or ability; it’s merely a matter of personal preference. I found myself slightly resentful of the fact that I had come to hear probably the finest improvisational piano player in the country, if not the world, and she turns over much of the playing time to someone whose talents I was not expecting and didn’t appreciate. But as we will see, that was my problem, not hers.
The first song Bert sat in on was one I should have known but couldn’t place. Bert’s disassembly of the melody made it impossible for me to identify it. Bert showed lots of fire in this one and seemed to be enjoying himself. The second song with Bert was “My One and Only Love”, which is a beautiful ballad probably most well-known in the version sung by Johnnie Hartman with the John Coltrane quartet. I personally don’t think that Bert added much to this lovely song. I would have much preferred to hear JW play it. There was something misplaced about Bert’s urgent style with such a romantic and mesmerizing melody.
These two pieces obviously took a lot out of Bert. He seemed physically and emotionally spent. He returned to his place in the audience and looked tired. However, JW said prior to the third piece, “This is for you, Bert.” They then launched into “Wise One” from my favorite Coltrane album Crescent.
This is where the highlight mentioned above occurred. If you are not familiar with this particular piece, I encourage you to take the time to listen to it on Crescent so you can truly appreciate the melody and structure. Once the trio started, Bert seemed to get a second wind and started blowing. Here, at last, was one of those magical moments that make live jazz so interesting. The time, place, song and atmosphere meshed for what was a spine-tingling performance. Here was a tired, sick old man without the stamina he once had. His broken body confined to a wheel chair, he is dependant on others for nearly all of his necessities. Yet as he started playing, it was obvious that his spirit and mind were not constrained in the slightest by his physical infirmities: he was flying, soaring, exploring! No place was off limits to him in his playing. The amazing thing was, he was not only exploring, he was explaining to a room full of healthy adults how to explore. And there was no question he knew what he was talking about. Those who may have felt pity for him in his circumstances were suddenly and irrevocably disabused of those feelings: physical circumstances mattered little, there was a higher power than Man. We can’t help but search for it, it is in our make up and no mere physical disability can prevent it. The Psalmist’s cry came to my mind while Bert played:
As the hart panteth after the water brooks, so panteth my soul after thee, O God. My soul thirsteth for God, for the living God: when shall I come and appear before God? My tears have been my meat day and night, while they continually say unto me, ‘Where is thy God?’ When I remember these things, I pour out my soul in me: for I had gone with the multitude, I went with them to the house of God, with the voice of joy and praise, with a multitude that kept holyday. Why art thou cast down, O my soul? and why art thou disquieted in me? Hope thou in God: for I shall yet praise him for the help of his countenance. (Psalm 42:1-5).
I know I was not alone in feeling something special when the piece ended: Bert’s long time companion was in tears. Now, I didn’t know anyone else in the room. I suppose most of them were not Christians, but I daresay none of them would have denied at that moment that The Thirst the Psalmist described is real. It is the primary work and purpose of the Church to demonstrate to those who thirst where true quenching can be found. It is to the modern Church’s discredit that it is quite often unsuccessful in that endeavor.
Apparently the concert we attended was a treat for Jessica as well. From her weblog site: (Mar 10 and 11, 06). I felt like this was one of the most successful concerts in recent memory, not just in musical terms, but in the spiritual effect on both myself and my wonderful audience. We are truly all one, and it's never more obvious to me than at times like these.
Other quotes from Jessica Williams:
“MY MUSIC IS MY MINISTRY”, - Jessica Williams (in Yakima WA 2005)
Am I afraid to go out in front of a thousand people and play poorly?
No.
Everyone has 'one of those days.'
Monk came off the stage one night unimpressed with what he had just played, and while the audience was on their feet and applauding in appreciation, he said to the stage-hand, 'I played all the WRONG mistakes.'
Those people know what I'm doing. I'm working it out. I'm looking for God. When I hit that place of fluidity and serendipity that I call the Sacred Ground, everyone seems to know it. - Jessica Williams.
Unbelievers and polytheists everywhere have no trouble proclaiming their gospel. Here an influential person was honest enough to cut to the chase. “I’m looking for God”. Welcome to the Areopagus!
You can find out more about Jessica Williams at www.jessicawilliams.com
Tim Smith can be reached at tks7566@myway.com
Mike Smith can be reached at mike.sandy@vivaharambee.com