Review of Johnny Summers – Piano Sessions Vol. 1 CD Release Concert

Calgary multi-instrumentalist Johnny Summers and friends delivered an intimate and passionate performance on Saturday, March 16, 2013 at the University of Calgary's Rozsa Centre. The event was a CD Release Party to introduce Summers’ third jazz album, Piano Sessions Vol. 1.

The Calgary event also featured Chris Andrew on piano, Al Muirhead on trumpet, Jason Valleau on bass and vocals, Sheldon Valleau on ukulele and vocals and finally, Shane Statz on tenor sax. Johnny Summers performed on vocals, trumpet and flugelhorn.

Swing, Ballads and Blues Featured in Johnny Summers' Piano Sessions Vol. 1

The concert opened with "She Thinks that I Still Care". Unlike with George Jones' original country stylings, this interpretation was injected with a "hot summer's day in New Orleans" feel.

The dramatic pauses at the ends of key phrases set a playful tone to the number. The trumpet and piano solos were longer than they were on the album, giving Johnny Summers and Chris Andrew an opportunity to really expand on their ideas.

Between numbers, Johnny explained some of his inspirations for recording this jazz album.  Listening to great crooners such as Harry Connick Jr. and Tony Bennett, as well as instrumentalists Bill Evans, Chet Baker and Paul Blaine instilled the idea of an album featuring piano and voice. "That's beautiful to me," he said.

"You're extremely exposed," he divulged. Johnny added, "You have to have a good sense of time."

During the recording sessions, four additional songs were recorded, which didn't make it onto the album: "I'll Be Home for Christmas" and "Winter Wonderland", "Look for the Silver Lining" and "Mood Indigo." The classic Christmas songs were bundled together in Winter Wonderland.  The other two made it onto Saturday's programme.

Jerome Kern & B.G. DeSylva's "Look for the Silver Lining" was made famous by Chet Baker. This medium swing song had a light, breezy feel to it.

Chris' solo was peppered with syncopated rhythms and impressive runs. In contrast, Johnny's solo on his brand new Yamaha flugelhorn was tender and warm, gradually blossoming into each a high point. Partway through, the groove became more animated and the two traded 4's.

The ballad "Maybe This Time" has been recorded by many artists, including crooner Tony Bennett. Johnny shared some of his memories of hearing Bennett sing live in concert. "He walks on stage...and you feel the electricity...When he sings, he fills you."

Johnny's interpretation was soulful and wistful, with an unhurried tempo throughout. That made the climax more impassioned. The piano shakes were performed in a dreamy fashion.

Jason and Sheldon Valleau of the band, The Polyjesters, lent their talents to "My Baby Just Cares for Me". This jazz standard by Walter Donaldson and Gus Kahn has been considered the signature piece of Nina Simone.

This medium swing number featured a soft, easygoing piano solo by Chris. The crescendo towards a soft, fermata in Johnny's trumpet solo was a short reprieve before the melody shot up to the instrument's upper register. The lyrics were delivered with a cheeky and humourous flair. The impromptu "doo-doo-doo" at the end of the tag was by Sheldon was a nice touch.

Variety, Extended Solos and Delightful Surprises at Johnny Summers CD Release Concert

One of the highlights in the second set was Nat King Cole's "I'm an Errand Boy for Rhythm". After a slow introduction on voice and piano, the mood shifted to a lively upswing. The interlude featured a rhythmic piano solo, followed by Al's elegantly shaped phrases. In contrast, Johnny's trumpet solo weaved and raced to the top with rapid runs. The trumpet dialogue between Al and Johnny was playful. At times, it sounded just like scatting. Other times, it sounded like a car race.

This interpretation of Duke Ellington's "Mood Indigo" had shades of Nina Simone. It featured solos by Shane Statz on tenor sax, Johnny on trumpet and Chris on piano.

The final song of the evening was a rousing performance of Johnny Cash's "Folsom Prison Blues". One of the most delightful things about music is that you never hear the same performance twice. This was especially true in this case.

The piano intro was extended for the live performance, gathering momentum just as a train does when it pulls out. The sax solo was grittier, exploring the lower range of the instrument. In contrast, Al's solo was lighter and higher, much like birds chirping. Chris' solo featured a  healthy dose of "crunchy" chords and driving rhythms, while Johnny's trumpet solo spun and shot up - higher - and higher.

Jason performed a percussion solo on his bass before Johnny and Jason scatted. Jason's surprise trumpet-like squeal led to various instruments being imitated.

The entire audience rose quickly to give everyone a standing ovation. The ensemble performed one encore, "St. James Infirmary."

Six more songs were performed at the Piano Sessions Vol. 1 CD Release. Four more other songs were performed in the first set: "Dream a Little Dream of Me", "You Don't Know Me", "Going Home" and "Exactly Like You". The second half also featured "I Wonder, I Wonder" and "Simple Song".

Piano Sessions Vol. 1 Concert Review

From the opening line, the balance between the voice and piano and later, the remaining instruments, was nothing short of perfect. The ensemble made full use of the acoustics that the Rozsa Centre offers, delivering a crisp and clear sound. They definitively demonstrated that the album's Global Music Awards for Best Listener Impact and Best Male Vocalist are well deserved.

Technical proficiency, when coupled with artistry, is a winning combination. What more could a performer or listener ask for? Well, perhaps for the lead vocalist to not have strep throat, perhaps.

The live performance offered listeners different type of performance. Feeding off the energy from the audience and the ensemble can push a musician to new heights of artistry. This manifested on Saturday into spontaneous moments of brilliance that lead to new directions for improvisation. Yes, live was slightly different from the album, but just as beautiful in its own right.

About Johnny Summers

Johnny Summers is a Calgary-based multi-instrumentalist who performs jazz, soul, gospel, blues and almost everything in between. He's a singer and songwriter, as well as a trumpet and flugelhorn player. As the director of the Calgary Jazz Orchestra, he serves as composer, arranger and band leader.

Piano Sessions Vol. 1 is currently available on CD Baby and iTunes on March 16, 2013. Click here to read my album review.

On Conservatory Canada's Contemporary Idioms Syllabus

Last year, Conservatory Canada released their Contemporary Idioms syllabus. I must admit, I was slow to get on the bandwagon at first, partially because I wanted to hear comments from other teachers and partially because I wanted to take my time looking over the requirements. A few weeks ago, I sat in on one of ConCan's workshops on the syllabus. Unfortunately, I could only attend one out of the four sessions.

Derek Stoll and Steven Fielder made the workshop exciting, interactive and dynamic. It's an exciting program. I imagine teachers are seeing this as a way to keep some students from quitting in frustration because "piano is boring" or because they "hate their songs".

Students study a variety of the contemporary genres: rock, ballad/blues, jazz, swing, Latin, traditional/folk and ragtime. Unlike the traditional conservatory systems, memory isn't stressed. However, students don't get off quite that easily. They need to learn their chords extremely well because they are expected to sight-read and improvise off a lead sheet (or jazz chart). They have to determine which style is appropriate for these selections (e.g., swing pattern, waltz, Latin).

In addition, the technical requirements are very challenging. My older students and I are finding that after years of playing the good old major, harmonic and melodic minor scales, our fingers and brains are running circles with the old church modes and jazz melodic minor scales. We'll get it though, with a lot of patience and practice! Thankfully, we agreed to use this year to learn the new requirements and to simply explore the program. Next year, they'll be more comfortable to take the test.

I actually don't mind learning all these "new" scales. I've been itching to play different technical exercises. Although adding a new program into my studio means the investment of more music (so close to RCM's upcoming release of their new syllabus and books), I am drooling over all these songs that I can add to my gigging repertoire.

My 10 or so students who are trying out the program are enjoying it so far. Some of them are a little frightened about improvising in a certain style or the new technical requirements or reading from a lead sheet but overall, the switch has re-energized their playing and practice. One mother commented that her daughter is practicing "all the time" now, which wasn't the case last year.

The program is not without glitches. I heard there were a few bumps during the last exam session. ConCan was quick to update their syllabus online to reflect the feedback they received from students and teachers. I wrote them yesterday, requesting they ensure the next edition of the syllabus includes the correct book titles as Rideau Music and I have had a tough time tracking down some of the books. They responded to me right away, assurring me that they will make the necessary corrections.

It's a bit of a challenge to figure out how the eight-level system compares to the traditional 10-grade system. ConCan clarified things a bit for me there as well. Level 1 corresponds to Grade 1 in the RCM and CoCan Syllabi. Level 4 is about Grade 5/6, while Level 8 is the equivalent to Grade 10 in the traditional programs. I have heard some teachers say that they're not going to teach beyond Level 4 (some up to Level 6). Lucky me, I have three in Level 4/5, three in Level 7 and one in Level 8.

The program isn't for all teachers or all students, but that can also be said for all the conservatory systems and beginner method books. Some students are clearly "Royal Conservatory" or "Conservatory Canada" material. Then, there are the students who could thrive in either system. And then, there's the group of students who are "just playing for fun".

Regardless of which stream is best for a student, we can incorporate elements from the other programs to enhance our students' musical education.

It is wonderful to see how the resources and programs are evolving to meet the needs and interests of students and teachers.

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