“Let no one despise your yor, but be an example to the believers in word, in conduct, in love, in spirit, in faith, in purity” St. Paul to Timothy 4:12
When a 13 year old becomes the poster child for the future of jazz, the first question that comes to mind is “where do you separate the hype from the reality.” The young man from middle school with only two albums under his belt teamed up with two vets to convince the packed Broad Stage that there is more to playing the piano than simply prodigious technique, as Joey Alexander displayed a depth of clarity and sensitivity belying his age.
Alexander’s partners, bassist Reuben Rogers and drummer Ulysses Owens Jr held nothing back in deference to their youthful leader, obviously enjoying the camaraderie during a pair of Thelonious Monk pieces as Owens provided a snappy latin groove and Rogers and Joey A went back and forth on the quirky “Criss Cross” and the three caromed off of each other during the hip and heated “Think of One.”
One of the pitfalls of youthful exuberance is a tendency to show off chops at the cost of emotional drama. Alexander has avoided this danger, showing rich and sophisticated depth during a bluesy “Solo Dreamer” which had his rich chords and harmonies build into a logical and emotive climax
Oh, he wasn’t afraid of showing his digital prowess, as Owens’ crisp snares set the pace for the galloping “Countdown” as all three galloped to the final tape in a photo finish, but even here, his double fisted forays mixed elements of stride, bebop and beyond as he both sat and stood during his solo, not allowing one iota of rote repetition or mindless facility.
His church roots and devotion were exemplified as his chords delivered a gospel feel on “ Sunday Waltz.” Alexander’s touch was contemplative, patient and prayerful as he chimed like a church bell, and Rogers’ pizzicato’d pickings testified in response.
The elder gents gave the adolescent a baptism by fire as they cantored like the chariot scene in Ben-Hur, and Alexander held on to the reigns with tenacity as his piano attack countered every snap and sizzle that the drummer offered. With the encore of the moody “Chelsea Bridge” Alexander created shadows like Renoir, leaving no one in doubt that this young man is more than a tightly trained “prodigy” but also a prophetic voice for a new generation.
During the post concert Q&A, Owens made clear that Alexander’s “genius is not in his technique, but in his musicianship.” Alexander was adamant to make everyone in the audience understand that his talent “is a gift from God, and all I do is to give back to Him.” With concerts like these, and albums like his first handful, the young voice sound ready to be, like JS Bach, ready to give the world some wonderful music “Solo Gloria Deo.”
Upcoming shows at The Broad Stage/Edye include Matt Savage 11.06, Dave Broza 12.16 and The Bad Plus 01/15