A New Wave of Influence Hits Houston's Jazz Entertainment Scene
For the third week in a row, Houston, Texas has been the focal point for one of the city’s newest jazz venue in the name of 57 West Jazz Café. In a city where jazz is not often the by-word, the location has surpassed the expectations of both critics and fans alike. Since the club’s opening on November 10th, a cornucopia of jazz talent has graced its stage. On November 24th the opportunity to see Marion Meadows proved to be another successful effort towards bringing live jazz entertainment to Houston.
Opening for Meadows, 57 West Jazz Café featured the musical talent of saxophonist Dean James to get patrons warmed up. By any stretch, Dean is one of the most seasoned musicians around today and has a resume that reads like a “Who’s Who of Jazz.” He has recorded solo albums of his own, charted on many smooth jazz charts and is one of Houston’s most popular musicians. Having moved to Houston from California, he believes the city has lots of potential for what is being offered at 57 West. Dean’s career spans two decades and his most prolific release entitled “Market Place” has achieved constant rotation on many jazz stations, including KTSU 90.9 FM and KHJZ 95.7 “The Wave.” As always, Dean proved to be the ultimate showman as the opening act for Marion Meadows. By the end of his set, the club had been primed for one of contemporary jazz’s most successful saxophonist; plus, Dean had embraced and enlightened an entirely new legion of fans.
When examining the premise of smooth jazz radio, the musicians that are heard are not the picture perfect packages of light and airy jazz that come over the airwaves. As with Marion Meadows, a jazz artist is first and foremost an entertainer; therefore when he or she performs, the idea is to excite the audience to a fever pitch. From the very onset of Marion’s set, the band consisting of keyboardist Jay Rowe, bassist Chip Shearin, Jabari on drums, keyboardists Will Brock and Jay Rowe had seemingly decided to set-up the articles of funk and circumstance as a platform. Highlighting songs from all ten of Marion’s releases including ‘Players Club’ and ‘Dressed to Chill,’ the band of merry men ran the gamut of contemporary jazz according to a formula set into motion by Meadows. At one point, an interplay between Marion, Shearin and Brock proved to be a percussive syncopated medley of jam activated funk. The chemistry between these three guys as well as the entire band was an awesome display of skilled effervescence. Even Jay Rowe, who has been seen any number of times with Chieli Minnucci served up a heaping platter of melodically correct rhythms, augmented by one of the mightiest of funkmeisters in Jabari. Overall, when examining what was offered at 57 West in the form of intimate and personal jazz, the City of Houston has arisen from the abyss of jazz neglect.
At the close of Marion Meadows’ set, he lamented: “When I received the call to come and play at 57 West Jazz Café, I came immediately. As jazz musicians this is how we prefer to play, where can truly connect with our audience.” Houston has been lacking in this type of venue for far too long, where local, regional and national jazz talent can come together under one roof. Since the closing of the Iris Jazz Resort in 2002 and Rockafellars in 1997, there have been limited opportunities to experience venues such as a truly committed jazz venue. With the opening of 57 West Jazz Café, Houston, Texas can now have a higher jazz profile and in the process become one of the top ten cities for truly great all-around entertainment.
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