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Kenny Barron - David Sanchez Quartet and After-Hours, Eugenio Macchia Trio at Dizzy's Club "Coca-Cola"
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Kenny Barron - David Sanchez Quartet and After-Hours, Eugenio Macchia Trio at Dizzy's Club "Coca-Cola"

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Dizzy’s Club Coca-Cola
Presents:

Kenny Barron with David Sanchez
(Kenny Barron Website)
(David Sanchez Website)

Kenny Barron, piano
David Sanchez, tenor saxophone
Kiyoshi Kitagawa, bass
Johnathan Blake, drums

After Hours Set:
Eugenio Macchia & Friends
(Eugenio Macchia Bio)

Eugenio Macchia, piano
Dario di Lecce, bass
Gianlivio Liberti, drums

At
Frederick P. Rose Hall
Dizzy’s Club Coca-Cola
Broadway at 60th Street
NY, NY
212.258.9595
(Dizzy’s Club Coca-Cola Website)
Todd Barkan, Programming Director
Scott Thompson, Press

Dr. Roberta E. Zlokower
October 13, 2010


Kenny Barron drew a packed house at Dizzy’s Club tonight, part of Todd Barkan’s great lineup of talent. Barron opened the set with a tribute to Bud Powell, called “Bud Like”, and David Sanchez on tenor sax with Barron on the Steinway combined for a roaring, rambunctious riff, taking Dizzy’s Club by storm. Kiyoshi Kitagawa mastered fingering on his bass strings for a rich thematic background. Sanchez filled these stretches with full scale musicality, making this band’s sound impressive and momentous. There was nothing whimsical here; this music was intense, driven, and exciting. Earl McDonald’s “Wanton Spirit” followed, a mellow melodic theme, led by Barron’s evocative piano. The rapturous elements were urgent, with hints of clavé on Johnathan Blake’s drums. Sanchez closed out this piece.

Barron talked to his fans, who were by now quite wired, about an unfinished film score, called “Roman Numeral IV”. This score was meandering, urban, and upbeat, while Sanchez took a break. Blake’s brushes enhanced Kitagawa’s breezy bass, as the bassist took a solo spotlight with engaging, vibrant results. Sanchez then slowly walked to center stage, already playing his sax, a stylish flourish. Sanchez quickly took the lead, complementing and contrasting with Barron’s piano theme.

“In Memoria” closed this second set, and I noted it would be a great score for modern dance, powerfully rhythmic. Sanchez on sax took the music to a soaring level, while Barron’s piano and Blake’s drums went full turbo. Throughout the set, Sanchez would charismatically leave and re-enter center stage, and here was his last exit to the edge, near the window. Kitagawa took a long bass solo, first echoing the theme, then slowly extrapolating thematic moments, as Blake added hints of repetitive drums. Blake’s full out drum closer began quietly and built into a virtuosic, but brief, percussive escapade. Sanchez’ closing sax trills were astounding.

For the After-Hours set, Eugenio Macchia, from Gioia del Colle, Italy, brought out his trio, for his nightly event, part of Italian Jazz Days at Dizzy’s Club Coca-Cola. Macchia’s trio opened the set with a lovely atmospheric theme, expanded by Dario di Lecce, on bass, and Gianlivio Liberti, on drums. Liberti kept rapid edges of metal resounding throughout, while Macchia’s music became soothingly sentimental. The second piece had inherent dance rhythms, even a foxtrot beat. Swing ballads in the hands of Macchia were presented with waterfalls of elegant melodies. Thanks to di Lecce, on bass, these American ballads were ornamented with European flair. A piece dedicated to Kenny Werner, a Macchia original, showcased Macchia’s mastery of jazz piano possibilities; his sound is ethereal, with a sense of innocence, always reverent and distinctive. Liberti’s tiny drum effects combined with di Lecce’s bass rhythms.

This was a new take on The American Songbook, as the ballads resumed in fine tuned, uncluttered, heart-stopping poignancy. Macchia soon shifted to a Miles Davis theme, and the keyboard went wild with glissandi. A dizzying theme ensued, with the bass on slower notes and the piano chords in full resonance. Again, the metal drum edges were used to enhance the moment. Liberti’s solo drum riff was followed by a return to the Davis theme, a gorgeous finale. For the next tune, Macchia played what seemed an original with hints of Mancini. The closing piece was full of vivacity and a clavé beat. Check out Dizzy’s Club Coca-Cola schedule for current and upcoming events.



Johnathan Blake on Drums
Courtesy of Roberta E. Zlokower



David Sanchez on Saxophone
Courtesy of Roberta E. Zlokower



Kenny Barron on Piano
Courtesy of Roberta E. Zlokower



Kiyoshi Kitagawa on Bass
Courtesy of Roberta E. Zlokower



Kenny Barron and David Sanchez
Courtesy of Roberta E. Zlokower



Kenny Barron at Leisure
Courtesy of Roberta E. Zlokower



Dario di Lecce on bass
Courtesy of Roberta E. Zlokower



Eugenio Macchia on piano
Courtesy of Roberta E. Zlokower



Eugenio Macchia on piano
Dario di Lecce on bass
Gianlivio Liberti on drums
Courtesy of Roberta E. Zlokower



Dario di Lecce, Eugenio Macchia,
Gianlivio Liberti
Courtesy of Roberta E. Zlokower



Desmond L. Prass
Assistant Manager
Dizzy's Club Coca Cola
Courtesy of Roberta E. Zlokower





For more information, contact Dr. Roberta E. Zlokower at zlokower@bestweb.net