A Jazz Tribute by Turtle Island at the Music Hall

This evening's Turtle Island String Quartet concert at the Music Hall was not the eclectic mix of blues, rock, classical and jazz that one might expect, but a tribute to the great jazz masters - a tribute that proved their respect for an artform they so beautifully embrace.

From Dizzy Gillespie to Dave Brubeck, Billie Holliday to John Coltrane, Charles Mingus to Paquito D'Rivera, the Turtle Island String Quartet treated this evening's Music Hall audience to a retrospective of jazz greats. Opening with Dizzy's "A Night in Tunisia" the quartet displayed a remarkable synchronization of groove - the ablility to lock into the pulse with no rhythm section. Correction, TISQ is a rhythm section. Drumming the bodies of their fiddles, scratching syncopations with their bows to the strings on the bridge of their instruments, and creating orchestrations that number far more than their quartet. They are piano, bass, drums, guitar, saxophone, trumpet, auxiliary percussion, and string quartet simultaneously. A remarkable feat that looks effortless in their hands. They play together like a seasoned jazz quartet, smiling at their "inside jokes" and feeding off of each other's solos. You can see the delight in their faces when they are surprised by one another, continually reinventing the forms they play.

The entire evening was a series of highlights. Dave Brubeck's "Blue Rondo a la Turk" had fire and intensity reminiscent of Brubeck's quartet. Violist Mads Tolling played the role of Paul Desmond with gritty intensity. Charles Mingus' "Fables of Faubus" was performed with the dignity and respect it deserved. And their arrangement of John Coltrane's "Naima" was hauntingly beautiful.

Original works by TISQ performers included a movement from David Balakrishnan's "Garden of False Delights" titled "Snakes and Ladders," and Mark Summers solo cello work "Julie-O," which was beautifully delicate with the New Age leanings you would expect from a former Windham Hill artist (TISQ recorded for Windham Hill in their early years). Summers' virtuosity shined through each piece, but was of particular note in this loving caprice for his sister.

While they are a unified front, playing and blending together as if one magnificent instrument, each soloist is distinctive in his style, voice. The delicate subdued nature of Balakrishnan balances the intense Neo-Bop solos of violinist Evan Price (who often sounded as if posessed by Charlie Parker). The joyful exuberance of Summers balanced by the darker, driving force of Tolling, who was the most adventerous of all, weaving in and out of the changes.

Much of the fun in listening to these players solo is in hearing the creative ways they bring their classical roots into their adopted jazz repertoire. Quotations abound, including references to Prokofiev ("Peter and the Wolf") and Gershwin ("An American in Paris"). But the true connection to classical quartet playing is the repect they give to the music. TISQ has grown up. Once known for kicking over chairs and music stands while growling out Jimi Hendrix, they now aspire to the dignified nature of Duke Ellington. And it works.

The Music Hall rafters were haunted by the souls of jazz tonight. Oliver Nelson, Miles Davis, John Coltrane, Billie Holiday, Duke Ellington - they were all there. And TISQ was yet another homerun in programming for the Music Hall, which in the past two years has included jazz greats Wynton Marsalis, Cedar Walton, James Walker, Regina Carter, Cassandra Wilson, Randy Brecker, James Moody, Howard Alden, Lewis Nash, and Peter Washington. Rumor has it, this trend will continue into next season - and hopefully for many seasons to come.