# SFJAZZ opened its 2016-17 season with a formidable members-only show by Dee Dee Bridgewater: Video

- Link: https://jazzblues.eu/2017/09/15/sfjazz-opened-2016-17-season-formidable-members-show-dee-dee-bridgewater-video/
- Published: 2017-09-15T19:42:39+01:00
- Author: https://JazzBlues.EU

**A tribute to Ella Fitzgerald on the year of her centennial anniversary, it was
the first of four different programs and an opportunity to both celebrate the glories
of the past and set new milestones.**

Bridgewater’s four-night residency harkened back to a time through the early 2000s
when certain Bay Area clubs could book artists five and even six nights a week, 
with shows later in the week accommodating two sets. When musicians are booked for
an extended weekend at the SFJAZZ Center, they can choose to do one type of show
Thursday through Sunday (as Pat Metheny did when his new quartet made its North 
American debut during Opening Weekend last year) or present different instrumentations
and themes throughout.

As a vocalist with a diverse background whose recorded releases have explored r&
b-fueled dance music, Malian traditions and the music of Ellington, Holiday and 
Kurt Weill, Bridgewater was an inspired choice for this Opening Weekend. Her four
separate homages revisited previous albums, premiered a new one and, on the final
night, debuted a fourth for a world premiere.

“Glad I don’t have any hair on my head,” Bridgewater said in her introduction to
her Opening Night show. Otherwise, she joked, she’d be pulling it out while preparing
for Sunday’s tribute to Josephine Baker. Randall Kline, SFJAZZ Founder & Executive/
Artistic Director, pointed out during his welcoming remarks that for Bridgewater,
the Baker tribute was “one she’s never done.”

Having collaborated with Bridgewater since April, electric guitarist Charlton Johnson
was on the bandstand for the first four songs of Thursday’s Ella Fitzgerald love
festival. Johnson is fellow Memphis native, Bridgewater explained, and with these
numbers they’ be paying tribute to Fitzgerald and Joe Pass’ great duo concerts and
recordings.

Backed by a black and white picture of the First Lady of Song projected above the
elevated rear seats, Johnson played a sparkling introduction to “Satin Doll,” after
which he strummed briskly. Bridgewater was soon scatting, possibly including a couple
of measures of “I’m Beginning To See The Light.”

Jobim’s “Wave” was punctuated with a rhythmic scat outro, and Bridgewater performed“
Moonlight In Vermont” for the first time at Johnson’s suggestion. After revealing
that Johnson had also played in the Count Basie Orchestra under the direction of
Frank Foster for six years, Bridgewater basked in his simmering introduction to “
Cherokee” and participated in some down-tempo call-and-response before the pair 
accelerated to the standard’s typical fiery pace.

As Johnson exited, Bridgewater introduced pianist Carmen Staaf, double bassist Tabari
Lake and drummer Adonis Rose and proceeded to employ what she described as Fitzgerald’s
favorite instrumentation. She then deviated from program with an unannounced nod
to Sonny Rollins, who celebrated his 87th birthday that day, with a wordless version
of his “St. Thomas” that teased the melody until the very end and featured a buoyant
Rose solo.

Rose would go on to introduce “(I’d Like To Get You On) A Slow Boat To China” with
unaccompanied tambourine. Lake entered the fray before Bridgewater and the rest 
of the rhythm section joined for closer “Mack The Knife.”

Highlights from the second half included Staaf’s determined solo on “Surrey With
The Fringe On Top,” Bridgewater’s humorous Louis Armstrong impression on “Basin 
Street Blues” and her fluid-as-a-trombone vocal quality on “Stairway To The Stars.”

Toward the end, Lake cheekily hinted at “St. Thomas” while soloing during a firecracker
version of “How High The Moon” and again for “Cotton Tail.” Johnson returned for
the latter and stayed to duet for the encore, the touching, Kenny Burrell-penned
title track to _Dear Ella_, Bridgewater’s 1997 Verve release and a tribute on which
she recorded five other numbers she did on Sept. 8.

Two other albums served as references for Sept. 8 and 9. Bridgewater’s _Love And
Peace: A Tribute To Horace Silver_ (Verve, 1995) informed a celebration of the late
pianist and composer during which the vocalist was joined by trumpeter Theo Croker’s
quintet (saxophonist Irwin Hall, pianist Michael King, double bassist Eric Wheeler
and drummer Kush Abadey). She revisited her trombone tone on Friday and joined the
other horn players on the front line for an appropriately lively version of Silver’s“
Doodlin.”

That evening’s “Memories Of Memphis” concert boasted a nonet, including Johnson.
It was in advance of _Memphis…Yes, I’m Ready_, which will be released by Sony Masterworks
on Sept. 15.

“Opening night, I had the jitters. Tonight, I just don’t know,” Bridgewater admitted
before delving into Sept. 9’s Josephine Baker program. Throughout the night, she
explained Baker’s history and also revealed her historic and creative connection
to the late international superstar.

It was Bridgewater’s great aunt, Lottie Gee, who encouraged Baker to move to France.
Audra McDonald portrayed Gee in last year’s Broadway musical “Shuffle Along,” and
Bridgewater herself lived in Paris for 24 years and earned major French accolades
and garnered public adoration.

With many direct personal connections to Baker,  Bridgewater said she’d been asked
to do plays, musicals and projects about her. “I declined. I don’t know why I said
yes to Randall,” she admitted, with a laugh. (The closest she’d come was _J’ai Deux
Amours_French language album from 2005 that had one piece she sang on Sept. 9.)

Before commencing with “La Petite Tonkinoise,” she noted that singing in French 
isn’t easy, and also that they’d “try to keep the feeling of when it was performed.”
Singing again with Croker’s band, she expressed relief after making it through that
parlor-esque opening number. The calypso “Don’t Touch Me Tomatoes” showed off Bridgewater’s—
and Baker’s—playful side, and she got to flex some vocal muscles with a duo introduction
to “Blue Skies” paired with Abadey’s skilled brushwork.

“Don Mon Village” featured three distinct lyrical sections—sung French, spoken French
and sung English. “Bye Bye Blackbird” showcased Hall with an energized, slightly
spry solo, and King requested that Bridgewater tackle “La Mer” (and returned the
favor with an inspired solo).

After intermission, Bridgewater did a visual survey to see who in the audience had
adult beverages placed in SFJAZZ Center’s trademark cup holders. “As soon as this
is over, I’m having one,” she declared, punctuated with a vivacious laugh. On “You’re
Driving Me Crazy,” she again joined the frontline and vocalized to form a three-
horn attack. She and Wheeler created a duo for the introduction to “Honeysuckle 
Rose” and later expanded to a vocal trio when Abadey joined in.

With Luis Miguel’s “Besame Mucho,” she added a third language to the night and sang
in Spanish. “April In Paris” and then “Brazil” provided contrasts in mood, tone 
and rhythm.

Baker’s trademark song, “J’ai Deux Amours,” was the penultimate selection with Bob
Dylan’s “The Time’s They Are A-Changin’” as the surprise closer. Dylan was in the
audience when Baker sang it at her last concert, and he declared hers the most magnificent
version of his song that he’d ever heard,” Bridgewater shared.

The only American to have been inducted into the Haut Conseil de la Francophonie
and a Chevalier Des Arts Commendation recipient, Bridgewater concluded by declaring
that it “would not have been possible without this trailblazer” as she pointed up
to Baker’s black & white portrait. —_Yoshi Kato_

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