THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Sunday, June 23, 1996 TAG: 9606230049
SECTION: LOCAL PAGE: B3 EDITION: FINAL
SOURCE: BY CRAIG SHAPIRO, STAFF WRITER
DATELINE: HAMPTON LENGTH: 59 lines
If anybody in the capacity crowd didn't find something to their liking on the second night of the Hampton Jazz Festival, then their kind of jazz/R&B simply doesn't exist.
From the old-school jazz of Joey DeFrancesco and the George Benson-style guitar/vocals of Jonathan Butler, to Grover Washington Jr.'s saxophone fireworks and the lush soul arrangements of Barry White, the lineup touched every conceivable base.
But the biggest stars may well have been festival manager John Scott and his technical crew.
Where Thursday's opening concert was marred by muddy acoustics and lengthy set changes, Friday's was the opposite. Not only was the audience energized, it gave the artists considerably more stage time to build on the buzz.
White was making a belated appearance, after canceling last year because of exhaustion. To say it was worth the wait is an understatement. With 14 strings, four horns, drums, percussion, keyboards, guitars, three backup singers and six dancers, this was the Love Unlimited Orchestra.
He didn't waste time delivering, either, leading off his 11-song set with ``Ecstasy,'' ``Can't Get Enough of Your Love'' and his 1973 hits, ``I'm Gonna Love You'' and ``Never Gonna Give You Up.''
The performance lost no momentum when White, who is limiting his Icon Tour, later took a seat to sing. The Maestro was the man.
Washington, a Hampton regular, opened with ``Winelight'' and ``Nice N' Easy,'' silky workouts that showed why his albums are found under Contemporary Jazz. The closing number, though, no doubt led to some second-guessing.
``Let It Flow,'' written for basketball great Julius Erving, was a mighty workout that gave everyone in his tight, five-man band of mostly Philadelphia homeboys a chance to show off. Gerald Veasley's solo on the six-string bass took top honors. In between, Washington switched between tenor, alto and soprano sax on the medley, ``When I Fall in Love,'' ``Flamingo'' and ``Blues for D.P.'' He previewed the aptly titled ``Soulful Strut,'' and on the lively ``Jamaica'' honked away on the baritone sax.
Only 25, Butler, a native of South Africa, has written songs for George Benson and Al Jarreau. Echoes of both artists could be heard in ``Take Good Care of Me'' and ``Sarah.'' Likable and engaging, Butler was clearly enjoying himself.
As was DeFrancesco. Now a seasoned 25, the organist was in his teens when Miles Davis recruited him for his band. He's recorded with John McLaughlin, among others, and released a half-dozen albums with his own quintets and quartets.
Friday night found him in his element, at the Hammond B3 with longtime guitarist Paul Bollenback and drummer Andrew Griffin. Opening and closing with pieces by Charlie Parker, DeFrancesco put on a clinic: clipped phrases, fat runs and singing solos. His rare vocal turn on Dizzy Gillespie's ``You Go to My Head'' sounded for all the world like Chet Baker.
Backstage, DeFrancesco described his style: ``I just put my hands on the keyboard like this and see what happens.''
He made a strong argument for not being fashionably late. MEMO: MUSIC REVIEW
The 29th Hampton Jazz Festival: Barry White, Grover Washington Jr.,
Jonathan Butler, Joey DeFrancesco; Friday night at Hampton Coliseum. by CNB