Review | Jazz Port Townsend showcases a new generation of jazz

Festival Review |

PORT TOWNSEND — During a workshop she helped teach on the art of vocal jazz, Gretchen Parlato confessed that many of her favorite singers were those who "don't really sing."

Several hours before she took the big stage at McCurdy Pavilion for her festival debut, she explained some of the singers she liked the most did not have the greatest technical ability, but rather a certain quality to their voice, a pleasing sound, an emotional gravity.

To a large degree, she could have been talking about herself. New to many audiences, Parlato performed Friday night at Jazz Port Townsend with the Gerald Clayton Trio, challenging notions of what defines a great jazz singer. Her voice has a breathless quality to it. She emphasizes phrasing and subtle changes in pitch rather than melodic acrobatics.

She sings much the way she talks. She possesses a soft but striking voice that sounds wistful and sleepy, the way someone sounds perhaps if they've recently been crying. As festival director John Clayton put it, she puts the microphone close to her lips and "whispers" the song into your ear.

She demonstrated her technical ability — she does have chops — during a Brazilian number accompanied only by drummer Justin Brown. She sang several songs from her upcoming album and finished with a cover of the Michael Jackson song, "I Can't Help It," as she was joined by trumpeter Ambrose Akinmusire, who played the second set of last night's concert, also with the Gerald Clayton (John Clayton's son) Trio. Returning the favor, Akinmusire invited Parlato, whom he called "the human nightingale" onstage for a few songs during his set.

Friday's show in McCurdy was a tribute to Generation Y, with all the performers in their 20s. Both Parlato and Akinmusire are past winners of the prestigious Thelonius Monk competition (Parlato in 2004, Akinmusire in 2007). Both New Yorkers, the two were given a generous profile in the festival, particularly Akinmusire, the unofficial darling of this year's festival, whose appearance with Parlato was unscheduled.

He also played with singers Sachal Vasandani and Sara Gazarek in another unscheduled appearance Thursday at the Upstage restaurant. His plaintive style of playing served him well with singers.

Friday night's club shows ranged from large combos to trios. Most of the popular venues filled up quickly making it necessary for fans to choose between listening to the entire mainstage concert or leaving early in order to get a seat at the Public House, where trumpeter Terrell Stafford led a septet featuring Dayna Stephens on tenor sax and Wycliffe Gordon on trombone. Alto saxophonist Jaleel Shaw and trumpeter Gilbert Castellanos led a quintet at the Rose Theater, perhaps the best performance space of the festival in terms of sound quality.

The most intimate set of the night was convened at T's, a restaurant off the beaten path by the marina, where guitarists Dan Balmer and Graham Dechter and bassist Nedra Wheeler played a half-filled room. It was a preview of sorts for Saturday's afternoon, mainstage concert entitled "22 strings plus skins," featuring three guitarists (Dechter, Balmer and Bruce Forman).

Earlier Friday, the general public had the unique opportunity to attend the many workshops held usually just for registered students. Performers led the classes, most of which focused on a particular instrument, for instance the "trumpet summit." Musicians imparted insight, polite confessions, and also performed, all in a very informal, dressed-down atmosphere that made it seem like they had invited you into their living rooms for a chat. The workshops have long been a unique component of the festival program, but not always open to an audience. Most of the workshops were lightly attended, another boon to those who bothered to attend.

Hugo Kugiya: hkugiya@yahoo.com