Jazz at the Bistro patrons will be delighted by the March 30 arrival of trumpeter/flugelhornist Terell Stafford’s group, to begin a four-night engagement. With four CDs under his belt, he plays with crisp articulation, consoling, melodic voicing and gentle (but sometimes excoriating) fire.
A protégé of trumpeter Jon Faddis, Terell reflects the rich brass legacy that has preceded him. His calm, engaging persona infuses pensive melodies without constricting a certain boundless energy and relentless flow of ideas that have become his trademarks.
Stafford’s approach to ballads is comforting and reassuring, with a harmonic freshness, and he can flat out blow with the best of them. Moreover, his keen aural awareness ensures a synergy with fellow musicians.
My first opportunity to hear Terell was over a dozen years ago, with alto saxophonist Bobby Watson’s group, Horizon. He was young and eager, brandishing a big sound while demonstrating tasteful control of his innovative arsenal. That was at Just Jazz in the Hotel Majestic. He has since appeared at Jazz at the Bistro, as a leader and as a featured member of the Clayton Brothers.
One Friday at the Bistro, prior to the final night of saxophonist Tim Warfield’s gig, we got a pleasant surprise: trumpeter/flugelhornist Nicholas Payton, whom we love, needed a replacement. After just a few moments of his uplifting balladry and blistering sonic gallops, a doubter in the crowd was screaming with delight.
His latest recording effort, New Beginnings, the first under the banner of St. Louis’ MAXJAZZ label, is a beautiful sonic panorama. AllAboutJazz.com calls it “his strongest CD yet … full of crackling energy.” It arose largely from a 2002 commission by the arts organization, Cityfolk, to compose a three-movement suite; some personal life-changing events spurred considerable reflection during the composing process.
The first movement, Selah, is a biblical reference meaning “to pause and reflect.” Derrick Hodge’s jaunty electric bass intro, pianist Mulgrew Miller’s poignant inserts, and drummer Dana Hall’s adroit “cymbalism” surround Dick Oatts’ melodious alto and the leader’s bright, dancing riffs.
The second movement, Le Maurier, means “the matchmaker,” which he says, “is for my mentor, Jon Faddis.” Hodge switches to the acoustic and slows the pace for a reverently harmonious beginning from the two horns, followed by a dulcet mid-register tribute from Stafford (now on flugelhorn), an equally tender Oatts response and tastefully muted support from Hall and Miller.
The third movement, Berda’s Bounce, “is dedicated to my new bride, Roberta.” The tempo picks up on this one, led by the fleet-fingered Mulgrew and quickly joined by Steve Wilson’s alto ebullience and Stafford’s gushing, trumpeted bridegroom celebration.
Stafford’s command of his instruments, phrasing, inflections and choice of material place him among elite modern players. This impressive blend of his originals with time-tested standards is a clear indication of a continuing maturation; and his next MAXJAZZ venture is a live recording slated for the famed Dakota Bar & Grill in St. Paul, Minnesota, in a few months.
Following a path taken by many of today’s top performers, Terell holds a graduate degree in Music Performance from Rutgers University and serves as associate professor of Jazz Studies at Temple University. He also teaches at the acclaimed Vail Foundation in Colorado and Jazz at Lincoln Center’s Essentially Ellington program.
The former faculty member at the Juilliard Institute for Jazz Studies will utilize these credentials while in St. Louis (along with his evening commitment to Bistro fans) by performing with his band at Jazz at the Bistro’s Fifth Annual “What is Jazz” concert, for nearly 4,000 students. This admirable project busses students in to the Webster University Community Music School for a two-day learning experience. The Bistro listeners are certainly in for a memorable learning experience as well.
Terell Stafford plays at Jazz at the Bistro, 3536 Washington, March 30 n April 2. Call 534-1111 or 531-1012.
