Brooklyn pianist and songwriter Erik Deutsch has long been called on by the most prolific entertainers in music, from Norah Jones to Shooter Jennings, to tickle the ivories on tours with them. When he’s not on stage as a hired gun, this outlaw musician makes his own brand of experimental modern jazz as a solo performer and bandleader.
This year, Deutsch unleashed his latest album, Outlaw Jazz, to wide acclaim. Melding psychedelic soul and rough-and-tumble country rock, the record was funded through a wildly successful Kickstarter fund that allowed Deutsch to assemble a dream team of musicians to accompany him, including Tony Mason (drums), Jeff Hill (bass), Jon Gray (trumpet), and Avi Bortnick (guitar) among others.
This week, Erik Deutsch & the Jazz Outlaws come to the North Bay for a special appearance on Thursday, July 9, at Terrapin Crossroads. 100 Yacht Club Dr, San Rafael. 8pm. $15. 415.524.2773.
Let us praise versions of “My Funny Valentine” that don’t make us squirm. Let us praise Lifetime Achievement Awards for those who truly deserve it. Let us praise 90-year-old pianists who continue to paint new scenes on the keys.
Let us praise Hank Jones.
Hank Jones opened a two-night stand at Yoshi’s in San Francisco tonight, and during an hour-and-a-half set displayed no loss of conception, creativity, nimbleness or humor even while entering his ninth decade. He defines the phrase “jazz treasure” without any self-importance. He opened his set with “Happy Birthday,” for cryin’ out loud.
I caught the 10 o’clock set, after impulsively driving down from Santa Rosa at the last minute to buy a single ticket. Jones has been on a lot of albums I adore—Cannonball Adderley’s Somethin’ Else, John Coltrane’s Bags & Trane, Charlie Haden’s Steal Away, Roland Kirk’s We Free Kings, Chris Connor’s My Name is Chris—but it’s a piquant little collection of standards by his Great Jazz Trio that I’ve been listening to a lot lately. Someday My Prince Will Come isn’t out of this world, but it is a basic collection of standards played well. Sometimes that is all that’s needed.
Tonight, Jones offered a similar grace and simplicity. Check the setlist:
Lonely Moments – Mary Lou Williams
Quiet Lady – Thad Jones
Bluesette – Toots Thielmans
My Funny Valentine – Richard Rogers
Rhythm-a-Ning – Thelonious Monk
Blue Minor – Sonny Clark
Stella by Starlight – Victor Young
Six and Four – Oliver Nelson
Mercy, Mercy, Mercy – Joe Zawinul
Intimidation – Hank Jones
Blue Monk – Thelonious Monk
Each song followed the basic order. Intro, head, verse, piano solo, bass solo, drum solo, head, and out. John Clayton clearly relished playing with a different group (he’s Diana Krall’s right-hand man) and came correct with brilliant bass work that at times even had Jones in awe, while drummer Clayton Cameron danced around the drums with brushes that seemed to sing. Jones phrased skilled solos that could only come from a lifetime of playing combined with an impressively present acumen.
But it was Hank Jones’ humor that took the cake. He drew out the ending to “Mercy, Mercy, Mercy” with three false endings, toying with the crowd, but when the next tune ended abruptly and no one clapped, he looked at the audience, curiously, and laughed, “That’s it.” During the verse of “Blue Monk” he threw in an extra discordant harmony to Monk’s already-discordant arrangement and then looked around as if to apprehend the musical trespasser—inside the piano, underneath the keyboard.
The dude is 90 and he’s still having fun. Thanks, Hank, for still being here.