By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
By Steve Weinstein
By Araceli Cruz
Here's a fitting koan: How many times can the Flatlanders not reunite? Joe Ely, Jimmie Dale Gilmore, and Butch Hancock, the core of that west Texas band, recorded a 1972 album that was shelved, then released in '90 as More a Legend Than a Band. Tex as loyalists still group the three bohos together, partly because they recorded one another's songs for years. But at Summerstage on Saturday afternoon, as they once again didn't quite re unite, it was clear that the three also constitute complementary pieces of an elemental Greek trinity: mind (Han cock), spirit (Gilmore), and body (Ely).
Hancock (ball cap, loose jeans, sneakers, froggy voice) led off solo, leaving a lot of his best songs for group encores. His playful, gnostic rambles spot puzzles in the ineffable; one mused, "There is no now"a pause so long the crowd got baffled, then the punch line"and there is no then." Gilmore (white-silver mane, Native American necklace, beatific demeanor) relied more on his ghostly, wavering tenor as he contemplated "the fight between the being and the seeming," and strummed a big beat with three other guitarists, including singer Kimmie Rhodes. The day was as hot as the Lubbock plains anyway, and New Yorkers declared fealty to Texas: they clapped warmly when Gilmore (who increasingly looks like he should be cast as a New Age cult leader in a Lifetime movie) introduced a Walter Hyatt song, and when his more phenomenological pal Ely attributed Terry Allen's "Gimme a Ride to Heaven," about a hitchhiker who first claims to be Jesus, then turns really weird.
Ely (dark pompadour, needle-nose boots, Cormac McCarthy fan) showcased the flamenco guitarist Teye, whose gusting solos fit the singer's rambling story-songs and chesty showmanship. Then, to the crowd's great delight, the Flatlanders re-formed briefly, relying on telepathy more than practice, offering Gilmore's wary ode "Dallas" and Hancock's "Bluebird" and devotional theme "West Texas Waltz." Elywho, ironically, began as the junior member of the Flatlanderscued solos and handed out verse assignments, some of which were dropped, though the thrill ing spirit of the improvisations made up for the weaknesses of the flesh. "This is a long way to come for a rehearsal," Gilmore joked. If the three amigos ever did reunite, in a way that involved less ontological forms of collaborationlike, say, rehearsalthey could open a trade route into the astral plains. Rob Tannenbaum
Variations on Variations
In the 15 years that pianist Dick Hyman has served as organizer, host, chief arranger, and star player for the Jazz In July series at the 92nd Street Y, he's redefined the basic approach to presenting vintage jazz styles in concert. Rarely playing note-for-note recreations of classic works, he in stead encourages new improvisations in older genres, and new twists on iconic jazz masterpieces. A few summers ago, he put into practice his speculation on how Bix Beiderbecke might have interpreted the songs of George Gershwin. And in this year's series, he had six different pianists tackle "Tea for Two"all with the verse in rubato. Today, somewhere in between Jazz at Lincoln Center's recreation of Ellington charts nearly exactly as the Duke played them and the Carnegie Hall Jazz Orchestra's commissioning of far-out, even gonzo re conceptions of familiar works, there's a place for Hyman's ingenious variations on variations.
Hyman, known to the pop music world for having the original hit, be fore Louis Armstrong or Bobby Darin, with "Mack The Knife," to modernists for playing on Charlie Parker's sole surviving TV appearance, and to Hollywood as musical director on Woody Allen's movies, is adept in virtually every sort of music that's ever been played on the piano. Still, Jazz in July, which this year spanned seven concerts from July 22 to 29, concentrates on pre-bop forms. No less a Zelig than the Allen character he underscored, on different nights Hyman played stride piano with the form's greatest living master, Ralph Sutton, boogie-woogie in tribute to Bob Haggart and the Bob Crosby band, W.C. Handy with the Paragon Ragtime Orchestra, and Martinique beguines with Jazz à la Creole and Evan Christopher.
No less remarkably, Hyman pulls all this off without hogging the spot light. Rather, he plays up other player-scholars extensivelychatting like a jazzwise Johnny Carson with Scott Robinson, who enlightened the audience as to the whys and wherefores of such obscure saxophones as the neglected C-melody and the elephantine contra bass. And with Dan Levinson, whose expert recreations of the Original Dixieland Jazz Band illustrate how jazz's first supergroup, loud and audacious as their music still is, was born of ragtime and the blues. In his own concise and thoughtful discourses into the music's theory and history, Hyman provided obvious inspiration for Wynton Marsalis's role as jazz's primary spokesmodel.
Hyman also isn't afraid to compete with other pianists, even masters on the level of Derek Smith (some musicians play notes at pitches only dogs can hear; Smith, a virtual robot of rhythm, can play at blazingly fast tempos only roadrunners can outrace), and Dave McKenna, who has forged stride and swing piano into an idiom that's entirely his own.