Sometimes, the audience is memorable.
Billed “an elegant evening” of jazz the October 6 performance at Atlanta’s Spivey Hall might just as well have been advertised “an energetic evening.” From the get-go, singer Lori Williams’ interpretation of “I Can’t Help It,” a song Stevie Wonder wrote for Michael Jackson, through the excited riffs of the enthusiastic saxophonist Trey Daniels to the flying fingers of pianist Gino Rosaria, Spivey Hall pulsated with increasingly robust rhythms and booming sound. But it wasn’t only the featured performers, or the formidable players engaged to accompany them—Al Smith, keys; Stephon Williams, guitar; Joel Powell, bass; Charles Nesbit, drums—it was as if organizers had hired the audience as well. At the invitation of the performers, many, maybe most, of the audience didn’t just sing along; they delivered an orchestrated background for several of Williams’ renderings then exchanged multi-note frenetic riffs with saxophonist Daniels—on cue, on time, and on key.
Williams’ contribution was a combination of tenderness and power, a versatility she easily managed through a set including a vocal rendition of Freddie Hubbard’s typically instrumental “Little Sunflower,” a moving “You’re Beautiful,” and Bill Withers’ popular “Lovely Day” featuring considerable contributions from the accompanying audience.
Saxophonist Daniels opened his set with another Stevie Wonder composition, “All I Do.” His solo on alto saxophone brimmed with frenetic energy, quoting Outkast and others amid a flurry of pentatonic lines. Throughout the set, Daniels opened the arrangements for solos by his bandmates, including innovative statements from keyboardist Smith and bassist Powell, before engaging the audience in an extensive call and response.
Following an intermission, a cascade of synthesizer notes rang out as keyboardist Rosaria entered through the audience playing a white keytar. Taking the stage with the house band, Rosaria switched to his more traditional Roland as he embarked on a series of original compositions with recorded tracks filling out the arrangements. Rosaria’s melodies were upbeat and his improvisation was skillful.
As the evening came to a close with all the night’s performers on stage for a concluding jam, Rosaria inquired of the audience if they would be back for next year’s show. The answer was a convincing and resounding “yes,” and as expected, in perfect unison.
That audience, my oh my, what a tuneful crowd!