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Cleveland Jazz Orchestra @ Fairmount Temple Auditorium 2/28 On a sort of irregular regular basis, the Cleveland Jazz Orchestra devotes the better part of a program to remembering a jazz forefather or pioneer. When possible, the person so honored is present and part of the program. At other times, they rely on memories and the music. That was the case on Saturday evening at Fairmount Temple when the music of Duke Pearson was in the spotlight.

(For those not familiar with that name, Pearson performed mostly in the 60s and early 70s before becoming incapacitated by multiple sclerosis, resulting in his death at the age of 47 in 1980. Nick-named ‘Duke’ by an uncle in homage to Duke Ellington, Pearson was a pianist, composer and arranger of jazz, blues, bop, soul, rock and progressive big-band music. I don’t think I ever heard his name before this concert, but now I’ll never forget it!)

His original compositions are unique and infectious while his arrangements follow the composer’s intent, yet at the same time getting there by a slightly different path. In the very capable hands of the musicians of the CJO, eyes and ears were opened to a new and inviting sound. Based on these charts, he must have been one fabulous pianist! Perhaps his biggest hit was Jeannine, which was a great warm-up for the rest of the program. Ready When You Are, CB, gave CJO pianist Rock Wehrmann some really tricky riffs which were handled with ease.

I wonder if Ravel had any idea of what he’d started with his Bolero? Just think of Caravan and Midnight at the Oasis, and their exotic rhythms and melodies. After hearing Pearson’s Bedouin, the bigger question is why isn’t this tune performed more often? It was totally fabulous as it depicted a caravan arriving by way of China! Along with the camels, oasis and desert, spotlights were on the terrific flute and alto flute playing of Rich Shanklin, Howie Smith on alto clarinet, and Dave Morgan on bass.

To demonstrate his talents as an arranger, there was his concert version of Frank Loesser’s Never Will I Marry. Several female singers had hits of this song, including Barbra Streisand. Howie Smith started out this time on soprano sax, accompanied by Shanklin and John Klayman on flute and Randy Woods on clarinet, along with Mark Gonder’s percussion. Midway, Shanklin switched to alto sax, and Wehrmann produced what sounded suspiciously like prepared piano. The final time through, when it finally morphed into an up-tempo tune, Smith soloed again, this time on alto sax.

Two original Pearson tunes were next: New Girl featured leader Jack Schantz with a flugelhorn solo, and Make it Good put baritone sax player George Shernit out front, with an assist from Shanklin’s alto.

Have you ever dreamed you were Ginger or Fred in a swirling romantic slow dance? If so, you’d have loved Here’s that Rainy Day, a Pearson arrangement of the great Burke/Van Heusen tune. Once again, the solo line was marvelously played by Smith and his alto sax. Another arrangement followed, this time of Henry Mancini’s Days of Wine and Roses. Klayman on tenor led off, then Schantz and Morgan had a neat duet, but then Wehrmann’s piano and Morgan’s bass engaged in a sort of duel. We in the audience were the winner!

With a Latin beat, Pearson’s Amanda was next. Schantz said it was based on Sidewinder, and his solo was accompanied by exotic sounds from Gonder. Where does he keep all those pieces? It looks like a regular drum set, but his bag of tricks is anything but regular. Along with exhibiting some fine body English, trombonist Chris Anderson gave us a fine chorus.

A ballad by the other musical Duke – Ellington – his classic Sophisticated Lady, first featured the five saxophones in gorgeous close harmony, then providing accompaniment to Schantz’s flugelhorn solo in Pearson’s arrangement. One more arrangement brought the evening to a rousing close. Do you remember Herb Alpert’s album Whipped Cream from the mid-60s? One of the hit tunes was A Taste of Honey, by Bobby Scott. Pearson gave the solos to the saxophones—in this case, the tenor of John Klayman and the soprano of Howie Smith.

There was a mini-concert preview--half an hour or so of performance by a student jazz ensemble of the Cleveland Music School Settlement, directed by CJO trombonist Paul Ferguson. Judging by the sound and the talent on display, you don't need to worry over much about the future of jazz. These young people get it! If you ever have an opportunity to hear them play, by all means -- go for it!

Next up is ‘Uniquely Cleveland’ on April 18, again at Fairmount Temple. For tickets or additional information, call the CJO at 440-942-9525 or visit the website http://www.clevelandjazz.org.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com
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