Al Foster’s humility enhances his figure. Whoever was the historical drummer of Miles Davis and formed with Herbie Hancock and Ron Carter one of the best trios in the history of jazz, is one of those who leaves the ego for a better occasion when it comes to making music. For this reason, as soon as he delightedly accompanies young musicians like the pianist Albert Sanz when he promotes his album Or what will it be, as he did at the Jimmy Glass club in Valencia in 2012, as he takes his hat off to his colleague and teacher Art Blakey to pay tribute to him at this very club next Wednesday.
As part of his tour Tribute To Art Blakey, Foster will thus open the 1906 jazz cycle at the El Carme neighborhood club, accompanied by saxophonist Godwin Louis, pianist David Bryant and double bass player Doug Weiss. Davis was deeply impressed in his day by the groove by Al Foster, that is, that rhythmically expansive quality that applies to soul, funk or rhythm & blues. But Foster is also a master of swing, that gift that in jazz, they said, you either have or you don’t have and that has to do with the art of articulation and the accentuation of the times in jazz balancing.
Foster’s is the first of the three concerts in the new edition of the 1906 cycle at Jimmy Glass. It will continue with the performances of Pilc / Moutin / Hoenig Trío (May 5) and Antonio Lizana Group (May 26).
Born in Virginia in 1943 but raised in Harlem, Foster has rubbed shoulders in his long career as a luxury partner with dozens of the best jazzmen, from Cannonball Adderley to Thelonious Monk, including Joe Henderson, Wayne Shorter, John Scofield, Pat Metheny, Charlie Haden, McCoy Tyner, Carmen McRae, Stan Getz, Dexter Gordon or Chick Corea.
Separated from Foster by a quarter of a century at his birth, Art Blakey once represented the modern language of jazz and created an incomparable school.