Art Davis and Billy Bang Duo
The Jazz Gallery, September 14, 2003:
I come to The
Jazz Gallery at 290 Hudson Street in Manhattan, for the first time, at the
invitation of Carolyn Owerka. The doors open promptly at 8:45 P.M. I
immediately see Carolyn who has me on the guest list for tonight’s performance.
Thank you Carolyn. The Jazz gallery is a well-regarded, cozy and
intimate jazz venue, discretely located between Spring and Dominick Streets in
Soho. The shows are held upstairs on the second floor, which also serves as
jazz cultural center
providing exhibition and performance space for work in the arts - visual,
literary and musical - that embraces jazz as its primary focus. I sit in the
front row and move from stage right to stage left for a better camera angle. I
meet Kevin who’s in the eight grade, plays violin, and is eagerly anticipating
tonight’s show. He hopes to attend the 3rd Street High School to further his
musical education. Carl who is very knowledgeable about jazz and weaves some
extremely interesting stories about jazz history in New York City accompanies
Kevin. I also meet a well-connected, friendly and supportive couple, Roberta
and Richard and strike up a nice friendship with them.
At 9:22 P.M., Dr. Art Davis and
Billy Bang are introduced. The first musical arrangement is, “Only Time
Will Tell,” composed by Stuff Smith. The standup bass of Art Davis and violin
of Billy Bang will perform unaccompanied all evening. The bass plays a straight
walking figure with the violin complementing it with a sweet and clear melody
line. Billy Bang embellishes the melody with cleverly conceived scale runs,
well times high note crescendos and double time stroking with his bow. Art’s
bass solo is relaxed with selectively spacious quarter note scales, showcasing
nice slide notes and chord melodies. Art demonstrates carefully conceived note
selection leading up to high note crescendos. Billy Bang exhibits strong
mastery of the violin as the melody sings and swings.
Song two is, “Everybody’s Doin’ It,”
composed by Art Davis. Art comments: “I play un-amplified; there’s nothing like
the pure sound of the bass.” The staccato unison intro continues to a strong
bottom and sweet melodic development on the violin. Art gets out the bow for
gorgeous bass sustain notes, featuring a creatively dissonant chord melody. Art
has incredible control of his bass, with the bow and superior note choices. The
bass and violin cleverly complement each other in harmonic counterpoint. As the
bass hugs the bottom, the violin flourishes above and exhibits superior chops,
triplets and double time bowing with such natural ease. Art has such a genuine
and endearingly warm smile as Billy solos and brings out the melodic charm of
his instrument. They return to the staccato form of the intro which leads to a
playful ending.
The next composition, “Lonnie’s
Lament,” is from John Coltrane. The tempo is slow and deliberate, with the bass
on the bottom and the violin notes very thoughtfully and carefully chosen. The
musical mood is sincere, deep and serious, building cautiously and delicately.
There are nice use of rests for space and emphatic musical effect. Billy Bang
demonstrates gorgeous embellishment of the melodic form, going outside and
inside, building to an emotional crescendo attack level. He executes ferocious
staccato attack with the double motion of his bow. Billy further demonstrates
incredible virtuoso control of melodic flow, pushing the musical envelop with
crescendos and staccato double time note execution. Art’s bass solo is well
conceived, select and delicately crafted, demonstrating keen and superior
musical instinct, knowledge and prowess. He has complete mastery of the
instrument. Art rhythmically taps the bass with his bow for a very unusual and
creative effect. Billy combines finger hammering with his bow on the violin,
showcasing double strokes back and forth to amazing crescendos of shrieking
high notes.
The fourth musical entry is, “Moments For
The Kiamia,” composed by Billy Bang. This is from his CD entitled, “VIETNAM the
aftermath.” The bass intro is deep, slow and meaningful. The violin is
immediately sad. The melody is hypnotic, captivating, eerie and serious. The
picture painted by the arrangement is intriguingly penetrating, and explicitly
conveys a very mournful musical expression, spotlighting high note crescendos
on the violin that seem like bees surrounding a flower. The musical mood is
somber and heavy. The bass carries the musical thought as Billy picks the
violin in a very staccato manner. Oriental overtones are conveyed through this
passage of the song, with unison picking of both instruments. Art bows an
amazing bass solo completely off the top of the fret board, executing amazing
high notes and such command of the instrument with his fingers almost touching
the bow! Art is completely relaxed and bemused at any risk he takes. The entire
song is melancholy, solemn, reflective, somber, dark and mysterious. This is
clearly the most emotionally moving piece of the set.
The last song of the set is, “We Two,”
by Art Davis. Art describes this arrangement as avant-garde. Art and Billy play
a unison harmonic introduction that is slow and deliberate. Art plays the bow
on his bass as Billy flourishes madly on the melodic expression. Both Art and
Billy soon pick their instruments with random, rhythmically emotional
outbursts. Billy is picking chord melodies, featuring complete improvisation,
as he is tapping the bow. Billy attacks the violin exuberantly. He plays
incredibly extreme sounds on the violin. He actually gets an electronic sound
out of the violin, without any electronic effects. Billy achieves incredible
high notes squealing and screeching simultaneously. Art and Billy execute
a beautiful answer/response passage, each working off each other’s licks.
The duo exhibits intense interaction and amazing interplay.
The dynamic level goes way up high then back down again, in a complete team effort.
Dr. Art Davis and Billy Bang put on a memorable
performance here tonight. The audience shows clear appreciation by a tremendous
standing ovation of applause. I talk at length with Roberta and Richard. We all agree
this was a very, VERY special show! I get a great opportunity to meet
Dr. Davis and pose for a picture with the great jazz heavyweight.
I talk to Carolyn Owerka and thank her again for inviting me down here tonight. I get a chance to meet again with David Adler who writes for Downbeat magazine. I also meet briefly with Linda Welikson from WKCR jazz radio. She is very positive and friendly. I leave elated, excited and inspired by this rare and sensational musical experience. TREMENDOUS!
Just click the browser back arrow to return where you came from, OR
You can return to my web site here:
A.J. Alfaro
and.the.beat.goes.on@worldnet.att.net