Concert review: Pat Moriarty and Phil Hey at the Black Dog

When: Friday, January 14, 2011 • Where: Black Dog Coffee and Wine Bar • Who: Pat Moriarty, alto saxophone; Phil Hey, drums and percussion

What happens during improvisation? Over the past several months, I’ve been asking jazz musicians that question in a series of interviews for mnartists.org called “Conversations on Improvisation.” The answers are never the same.

In my head, I get that improvisation is a combination of musical knowledge and technical virtuosity, choice-making and risk-taking, listening and responding, playing and waiting, starting and stopping, and spontaneous composition, all in real time that speeds up for some and slows down for others.

In my heart, I think it’s magic.

Last night at the Black Dog in St. Paul during a snowstorm, saxophonist Pat Moriarty and drummer Phil Hey made magic, although they hadn't played together as a duo in many years.

They met in the mid-1970s and recorded one album, Let Them All Come, released in 1978 and known among those in the know. Writing for the Strib, Tom Surowicz called it "one of those 'private label' collector's albums that show up for big bucks on e-Bay." The cover, designed by St. Paul classical composer and trombonist Homer Lambrecht, appears in Freedom, Rhythm, and Sound: Revolutionary Jazz Original Cover Art 1965–83, compiled by Gilles Peterson and Stuart Baker, published by Soul Jazz Records Publishing in London. (Side note: Peterson is the guy who signed Jose James to his first record deal.) Pat still has copies available in the original shrink wrap; in his words, “some of them may be playable.”

Live jazz to see in Minneapolis-St. Paul: This week’s picks

Are you in your car or near a radio at 8:30 CST on Friday mornings? Tune to KBEM to hear me and Mr. Jones—Jazz 88 "Morning Show" host Ed Jones—talk about these events and more. 88.5 FM in the Twin Cities, streaming live on the Web.

Last week, we mourned the end of the Clown Lounge as the weekly home of Fat Kid Wednesdays. This week, let’s celebrate the opening of Jazz Central. 

In fact, Jazz Central opened quietly last summer as an underground venue, a place where jazz artists could perform, rehearse, and teach. Now there’s a performance scheduled for most Mondays, followed by an open jam session, and the public is welcome. There’s no cover charge, but donations are accepted. Pianist Tanner Taylor and drummers Mac and Luis Santiago, who jointly run the place, want to keep it “for the cats, by the cats,” and any amount helps.

Here's the performance schedule. This coming Monday, Jazz Central hosts trombonist Jeff Rinear, whose resume includes work with the Butanes, the JazzMN Big Band, Pete Whitman’s X-Tet, and the Artie Shaw Orchestra. He’ll play with Jazz Central’s house trio: Taylor on piano, Mac Santiago on drums, Keith Boyles on bass.

8 p.m. Monday, January 17, Jazz Central, 407 Central Ave. SE (across the street from the Aveda Institute). No cover.

What else is happening this weekend and into the week? As always, plenty.

Friday, January 15: Pat Moriarty and Phil Hey at the Black Dog

Saxophonist Moriarty and drummer Hey met in 1973 and formed a band. In 1977, they released their first and only recording, Let Them All Come. They haven’t played together as a duo for many years (though fans will remember their performance at Studio Z with Ellen Lease and Adam Linz last May). Expect a night of free improvisation with all of the delicious possibilities that presents.

8 p.m. Friday, Black Dog, corner of 4th and Broadway, Lowertown, St. Paul. No cover but donations are accepted (and the right thing to do).

Ellen Lease/Pat Moriarty Jazz Quintet

When: 3/1/08
Where: Studio Z, home of the Zeitgeist new music ensemble
Who: Ellen Lease (piano), Pat Moriarty (alto saxophone), Kelly Rossum (trumpet), Chris Bates (bass), Dave Stanoch (drums)

We snag the last three seats in a row in a small room that fills to standing room capacity. (The young man in the orange polyester zigzag trousers just outside the door keeps selling tickets.) I’m not familiar with Lease, Moriarty, or Stanoch but knowing that Bates and Rossum will play has brought me here tonight.

It’s the first CD release for the avant-garde quintet; Chance, Love, Logic is just out on Innova Recordings, the label of the American Composers Forum and home to George Cartwright, Carei Thomas, Steve Reich, and other interesting modern musicians and composers. All of the compositions on Chance, Love, Logic are originals by Lease and Moriarty.

Lease introduces “Phoebe” as “the oldest tune in our book.” It’s melodic and tuneful. “Phrenology,” named for the practice of determining one’s mental faculties and character by the shape of the skull, is next. Stanoch blows a toy trumpet and the band quotes from “Spinning Wheel,” the song by Blood, Sweat & Tears that in turn quotes “The Wheels on the Bus Go Round and Round.” It’s a tricky tune with a carny feel.

I think the next song is “Italy” but I can’t be sure. The two horns dance. I’m wishing Lease’s piano was miked, or her playing was a bit more muscular; I’m missing parts of her performance, especially the more lyrical passages.

Lease tells us that the title track was inspired by something she read by Robert Motherwell, who was a philosophy major before he was an artist. He called chance, love, and logic the “eternal values.” As I listen, I wonder if I’m hearing a love song, a melody of chance and improvisation, a logical work, or all three.

“Orange” is an homage to Matisse. The next tune has no title; Lease suggests a contest where we all submit suggestions to win a six-pack of a fancy microbrew. She lays down a thick carpet of arpeggios repeated over and over. Bates bows his bass; Moriarty and Rossum come in together, bending and sliding. I think the word "undertow." A potential name for the tune?

“Liner” leaves room for everyone to solo. “A Round with Sphere” is a bow to Thelonious S. (for Sphere) Monk. “Cloisters,” the final song of the evening, is thoughtful and spiritual; Stanoch plays sleigh bells.

Lease is an artist of subtlety and grace. Since this is the first time I have heard her, I hesitate to speculate on her style, but she doesn’t seem like someone who plays strident runs or splashy chords. I would like to hear her again. Until then, I’ll enjoy the CD by the quintet formerly known as “the best unrecorded band out there.”

Photo of the quintet by John Whiting.