Grady Tate & "Latin Flavor" at
Dizzy's Club Coca-Cola
New York, 23rd July 2006
di Roberta E.
Grady Tate & Latin Flavor
Grady Tate, vocals
Wilson "Chembo" Corneil, congas/percussion
Montez Coleman, drums
Lance Murphy, tenor saxophone
Ray Gallon, piano
Paul West, bass
Grady Tate performing at Dizzy's Club Coca-Cola.
Photo courtesy of Frank Stewart
Grady Tate quote, on appearing at Dizzy's Club Coca-Cola: "I have played
jazz music in clubs and various theatres all over the world for the past 50 years,
and I am here to tell you that this is the most fabulous arena for jazz that I've
encountered...this is the greatest place of all." (7/19/2006,
Courtesy of JALC Press).
Jazz drummer/vocalist Grady Tate has performed with renowned musicians,
such as Wes Montgomery,
Smith, Nat Adderley,
Getz, Tony Bennett, Kenny Burrell, Ella Fitzgerald, Duke Ellington,
Benny Goodman, Rahsaan Roland Kirk, Count Basie, Oscar Peterson, and more.
Tonight, Grady took the stage and immediately complimented Dizzy's Club Coca-Cola
in similar fashion. I had heard Grady play drums in the past, but his vocals
were a pleasant surprise. He was backed in this run by Wilson "Chembo" Corneil,
on congas/percussion, Montez Coleman, on drums, Lance Murphy, on tenor
saxophone, Ray Gallon, on piano, and Paul West, on bass.
Grady's vocals are smooth and savvy, and his first song, about chasing rainbows,
flowed effortlessly, with Chembo's sultry Latin beat. Another surprise tonight was
the superb performance of Lance Murphy on tenor sax, a young musician to
watch. One of Grady's stylistic endings was the a cappella fadeout, and in
this song it was introduced. Body And Soul was
sung softly, with Ray Gallon's seasoned backup, before Lance Murphy
took the lead. Gallon's intense chords and playful refrains added interest,
and before the song ended there was a hint of Somewhere
Over the rainbow.
The band turned dynamic with I'll Remember April,
and an instrumental solo went wild. The two percussionists, Chembo and
Montez Coleman, joined with Murphy for a rambunctious twist, and the
song ended in cool sensation. I've Grown Accustomed to
Her Face was sung in occasional a cappella, and Grady's voice, in this
second and last set of the run, showed neither wear nor tear. Grady followed
with Don't Misunderstand by Gordon Parks.
Paul West's soft bass waxed moody, as bass and percussion backed Murphy's
sax solo riff. Deep, strong notes ran rampant.
Grady chose his program carefully, preferring ballads, and the next tune
was I've Got the World on a String. A strong
swing beat drove the solo vocals, with West's sassy bass featured in thematic interpretation.
West's syncopation was evident, before Chembo and Coleman played
duo percussion in clavé and jazz rhythms. Michel Legrand's
Windmills of Your Mind included Gallon on
electric keyboard with chiming organ effects. Chembo added soft exotic effects.
The final ballad, Hooray, was sung with just
piano and muffled percussion in persuasive moodiness.
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Publishing Date: 12/11/2006