Cedar Walton, one of the most accomplished living hard bop pianists, played a phenomenal show to a large audience in the Distler Performance Hall at Tufts University's Granoff Music Building last Saturday evening. Along with saxophonist Vincent Herring, bassist David Williams and drummer Willie Jones III, Walton performed a diverse set that comprised everything from his own spirited compositions to introspective ballads.
The show opened with a slower, bluesy number that provided a wonderful springboard for Herring's distinct saxophone technique. As Walton filled Distler's space with lush, full chords, Herring launched into an aggressive solo that managed to quote different elements of the song's melody without sounding redundant. From the first moments of the show, the inappropriateness of Distler for a jazz quartet was glaring.
Based on the acoustics of the space, it was obviously designed for chamber music. The heavy resonance and reverb in Distler make it perfect for string quartets and other kinds of classical instrumentation, but it feels woefully inappropriate in a jazz setting. Herring's saxophone work, which is characterized by a burning immediacy and vitality, was shrouded in a cloud of reverb that made the nuances of his playing less discernable. A similar effect was palpable on the drums, which boomed into the open space without definition. Although Fisher Hall in Granoff's basement lacks the ritzy aesthetic of Distler, it would have been a far more appropriate choice.
Regardless of the acoustics of the hall, the quartet gave a phenomenal performance. Members of the audience were mostly older adults and faculty members, but there was a smattering of Tufts students as well. When each song ended, the quartet was treated to uproarious applause and shouting. Walton, who was clearly appreciative, decided to dedicate two songs to the crowd for making it to the show in such inclement weather.
A highlight of the show was a rendition of "Bolivia," one of Cedar Walton's most famous compositions. With its Latin inflections and driving rhythm, "Bolivia" was one of the most impassioned performances of the evening. Walton played his solo with confidence and conviction, managing to blend his right hand melodies with advanced block chords in the left, giving him a full sound that pinged with dynamics and energy.
Williams' bass work was another strength of the concert. Although he was only given a handful of solos throughout the show (something bassists often struggle for), Williams managed to fit a slew of interesting ideas into a relatively small amount of time. One of his most notable solos was about two minutes long, and saw him referencing jazz standards like "My Favorite Things" in between some unique phrases.
In one small segment, Williams slapped his bass (a technique used almost exclusively on the electric bass). The result was pretty quirky, but managed to fit into the solo surprisingly well. His idiosyncratic attempts were warmly met by the audience, who applauded him feverishly after his solo was finished.
One of the more interesting tunes of the night was a rearranged version of "Young and Foolish," which featured a new melody. This song, an often−played ballad in the jazz repertoire, is difficult to give a fresh sound. When jazz giants like Bill Evans and Keith Jarrett have recorded definitive renditions, each approached the song from a different angle.
In addition to bumping up the tempo substantially, Walton wrote a new melody for the saxophone. His new arrangement didn't approach the original in terms of sentimental weight, but it created an interesting environment for the musicians to explore.
It seems that, even in his later years, Walton still has the capacity for innovation that made him such a sought−after musician by artists like John Coltrane and Art Blakey. He is approaching 80 years old but showing no signs of slowing down.
