Tribute Takes Flight as Music Soars

Despite some dismal nonmusical elements on the program, “Jazz on a String” at the John Anson Ford Amphitheatre on Sunday night offered a delightful package of performances. The third in an annual series dedicated to female jazz instrumentalists, the program was at its best when the musicians were in charge, faltering only in the between-number passages.

Musical high points came in waves, one after the other. The continuing trigger for much of the excitement was sparked by the backup work of a talented sextet: Stacey Rowles, trumpet and fluegelhorn; Jacqueline Klimek, tenor saxophone; Leslie Baker, bass; Andrea Brown, drums; Vanessa Brown, percussion; and musical director Vanessa Burch, keyboards. Most had opportunities to step into the spotlight, with Rowles’ playing and singing on “Pygmy Lullaby,” Andrea Brown’s drumming and singing on “Another Star” and Baker’s “No Whine (Before It’s Time)” among the particularly standout efforts.

Guest stars made significant contributions as well. Bassist (and TV weather reporter) Jennifer York struggled a bit with a too-fast duet rendition of “Scrapple From the Apple” with drummer Suzanne Morissette. But when they were joined by the other two members of the York quartet--pianist Alexandra Caselli and flutist Carol Chaiken--matters improved dramatically via a brisk, Latin-tinged piece titled “March Madness.”

Pianist Karen Hernandez, moving easily from Erroll Garner-styled balladry to gospel-tinged blues, played with the engaging assuredness of a veteran jazz artist. Harpist Lori Andrews added brief vocal flourishes to her rhythmic feature, “Suspended.” And singer Phyllis Battle, artistic director of the event, brought her own uniquely rhapsodic touch to “It Don’t Mean a Thing (If It Ain’t Got That Swing)” and “Here’s to Life.”

Violinist Karen Briggs, the concert’s featured artist, climaxed the evening with an electrifying set of solos, whipsawing her way across the length and breadth of her instrument, balancing her considerable virtuosity with passionately intense articulation. Expanding her palette, she added a compelling version of Miles Davis’ “All Blues,” accompanied by the string quartet of Yvette M. Devereaux, Jackie Suzuki, Adriana Zoppo and Giovanna Moraga.

Unfortunately the program’s packaging did not match the quality of the performances, and the dichotomy between the two became apparent with the initial number.

After singing an opening rendition of “Jesus Loves Me,” four sweet-voiced young girls were allowed to languish on stage as the focus shifted to the introduction of master of ceremonies James Janisse, a KLON-FM disc jockey. Ignored by Janisse, the youthful quartet was finally sent off unceremoniously by their director, Karen Dilworth.

And that wasn’t the end of the programming gaffes, which also included the seemingly interminable reading--between acts--of a text that was, at best, distracting, at worst, offensive. One example: The script’s introductory remarks for Rowles’ “Pygmy Lullaby,” which described African Pygmies as 20-inch-tall cannibals.

Equally distressing was the insistence--throughout the evening--on comparing the achievements of woman instrumentalists with those of male players. Surely the quality of the music was fully capable of speaking for itself in that regard.