Jazz reaches high note at 32nd Kennedy Center Honors

by Dwight Casimere

Jazz legend Dave Brubeck celebrated his 89^th birthday by receiving his ultimate birthday wish: being named as one of the honorees at the 32^nd Kennedy Center Honors. “I never thought this day would happen,” he said at a star-studded dinner in the rotunda of the Kennedy Center following the three and a half hour tribute program, attended by President Barack Obama and “First Lady Michelle Obama. “I’m still having trouble believing its true!”

Brubeck, who changed the face of jazz fifty years ago with his landmark recording of the composition “Take Five”, written by his alto saxophonist, Paul Desmond. “My label, Columbia, was hesitant to release the album,” he said, “because it broke new ground. Nobody had ever heard a jazz tune in 5/4 time. Everything followed the traditional 4/4/ time. The record company just didn’t think people would accept it.”

Fortunately, for Brubeck and the jazz-listening world, they were wrong. The album, “Time Out,” became the best-selling jazz LP of all time.

Brubeck was among the most stellar collection of honorees assembled in the event’s history, opera great Grace Bumbry, who broke opera’s long-standing color line, actor Robert De Niro, who Meryl Streep credited with “practically creating his own school of acting that we all tried to emulate,” rocker Bruce Springsteen, who received both heartfelt tributes and songs from legends Aretha Franklin, John Mellencamp, Melissa Etheridge and Sting and comedian-actor-director Mel Brooks, who was lionized by protégés Matthew Broderick, Martin Short and Ed Norton.

Chicago Jazz Orchestra, in their 21^st straight year, provided the musical footnote to the elegant dinner following the tribute in the rotunda of Kennedy Center, under the watchful eye of the giant bust of President John F.Kennedy, for whom the arts and entertainment center is named. Vocalist Frieda Lee provided Ella-like song stylings, with jazz greats Herbie Hancock and Terrance Blanchard among the revelers. CBS-TV broadcast a two-hour special of the event, December 29 in prime time.

Art Basel/Art Miami survive economic slump to make splashy showing

Art Basel/Art Miami survive economy to make splashy showing

by Dwight Casimere

The nation's single largest explosion of art took place in Miami for one incredible week in early December. The entire city of Miami became one big urban art gallery with the simultaneous staging of Art Miami and Art Basel as well as a raft of ancillary shows like
InkWorks, Aqua Art, Vernisage and something called ‘Camper
Art”, and you have the makings of the most all-consuming art expression ever seen. Spaces as diverse as convention centers, museums, hotels, restaurants, building lobbies, even entire beachfront parks were transformed into spaces wholly devoted to the display of paintings, sculptures, functional art and laser light displays. The genre was even stretched to include other types of ‘art’, including the design of fountains, furniture, and cars, even the human body.

Opening night of Art Miami saw the rooftop of the Miami Museum of Contemporary Art turned into a Salsa Paradise with traditional Cuban cuisine and progressive Latin jazz and exotic tropical drinks creating a heady atmosphere all bathed in the light of a full moon over downtown Miami.

Art Miami’s stellar 2009 run began on December 1^st with a ribbon cutting and a 20^th Anniversary Proclamation presentation by Miami City Commissioner Bruno Barreiro. A gala VIP reception, attended by 6,500 people, followed. At what Caldwell Snyder Gallery called “the best opening of any art fair,” museum curators rubbed elbows with artists including James Rosenquist and Frank Stella and with collectors from the United States, Canada, Europe, South America, and Asia—Steve Wynn, Marvin Ross Friedman, Marty Margulies, Jorge Perez, Pat and Larry Stewart, Mary and Frank Howard, Joyce Kan, Pearl Lam, Noel and Terry Neelands, John Ferin, Jeff Roth, Matthew Adell, and Naomi Campbell. Opening night proceeds and a percentage of sales from participating galleries benefited The Lotus House Women’s Shelter, netting nearly $9,000 for the program.

Across the causeway in South Beach, a more sedate, upscale opening for Art Basel was unfolding with thousands of well-heeled art investors, primarily from Europe and Latin America, calmly strolled through the aisles of the Miami
Beach Convention Center, carefully eyeing the works of modern artists old and new. I was told repeatedly that this year’s shows were smaller than in year’s previous, but the final tallies prove otherwise. While there was a slightly smaller display area utilized by Art Basel at the convention center, sales and attendance at all of the shows were through the roof, with Art Miami, in particular, reporting 35,000 visitors, a 10 per cent increase in attendance. “It feels like a new beginning,” said Wilhelm Grusdat of Galerie Terminus. “There are a lot more qualified buyers here this year than last. People are here to spend some serious money on some serious art!”

Scott White of Scott White Contemporary Art was more specific, ”Sales were great-from blue chip to gallery artists.”

Among the more interesting sales, a Martin Schoeller image of Clint Eastwood sold for $10,000 at Halsted Hunt Kraeutler. Pieces that sold in the hundreds of thousands moved as well. An Eric Fischl painting sold for $300,000 and two works by John Chamberlain sold at $200,000 and $300,000 respectively at Mark Boirghi Fine Art, Inc. A collection of photographic portfolios featuring images of Elizabeth Taylor, James Dean and Marilyn Monroe went for $220,000 per portfolio at
Rudolf Budia Gallery, LLC of London.

All of the ‘big names’ in art were represented. A Chuck Close tapestry netted $120,000 and a “major Miro” brought six figures at Contessa Gallery, New York and two Jean Dubuffet pieces sold in the “hundreds of thousands” at David Klein Gallery.

Commenting on the fair’s vigorous outcome, one organizer commented, “We’re definitely in a recovery.

Asiate at Mandarin Oriental, New York:A star performer

Asiate at Mandarin Oriental, New York

80 Columbus Circle at 60th Street

New York, New York 10023

212-805-8800

www.mandarinoriental.com/newyork/dining <http://www.mandarinoriental.com/newyork/dining>

Walking into Mandarin Oriental's dramatic Asiate restaurant on the hotel's 35th floor, is like walking into an elaborate movie set in which you are the star.

The ultra-modern surroundings by renowned designer Tony Chi with its floor to ceiling windows gives a stunning view of the New York skyline, with Central Park and Columbus Circle below, taking center stage. The park view is echoed inside by a glittering tree-branch sculpture suspended from the ceiling. It is a magical environment that offers a feast for the eye. But that's just where the magic begins. Chef de Cuisine Brandon Kida is a true artiste, combining influences from his Asian-American background, incorporating fresh regional produce, meats and poultry and reflections of his extensive travels to create a unique brand of cuisine. His approach to cuisine is like that of a painter approaching a canvass with a palate of infinite invention and color.

As a wine connoisseur, my eye was immediately drawn to the wine wall, which stores over 1,300 bottles from the restaurant's extensive wine list. I was able to find a favorite from the Stag's Leap District, Fay Vineyard Cabernet, which I had the pleasure of drinking with the winemaker during a recent tour of Napa Valley.

Surprisingly, Asiate is not overly expensive. There are several pre fix options that accommodate the pre-theatre crowd at a very comfortable price point, considering the locale and quality of cuisine. I was on my way to the Met Opera, so my waiter hastened things along and I was able to enjoy my culinary adventure without feeling rushed.

All of my favorites were there and presented in stunning fashion. A first course of Buckwheat & Eggs, a signature dish, featured Soba noodles with Osetra Caviar and Wasabi Cream. The next course of Butter Poached Lobster over creamy White Polenta with Shimeji Mushrooms was another triumph of delicately balanced flavors and artful presentation. There is nothing so succulent as well-prepared lobster. It creates the flavor sensation the Japanese call Umami. It is a concept that Chef Kida understands innately, allowing him to lift it to the level of high art.

A simple presentation of house made gelatos with Fresh Berries was all that was needed in the dessert department. With the anticipation of a night at the opera, it was a delight to have a dining experience worthy of a standing ovation.

Capital Grille New York Time Life Building;every meal a celebration

by Dwight Casimere

“This is an embarrassment of riches!” was the phrase I used, addressing the hostess after I entered the sumptuous dining room of the Capital Grille in Midtown Manhattan. Tucked away discreetly in the corner of the lower level of the Time-Life Building on West 51^st, ‘the Capital’, as frequent habitués call it, is an elegant, but discreet escape from the rigors of the business day or the perfect prelude to an evening at the Met or Carnegie Hall.

African mahogany paneling and warm lighting from brass light fixtures in a distinctive Art Deco design sets the tone for the opulence ahead.

Capital Grille is known for its prime dry aged steaks, but be put on notice that the same care given its fresh meats is also accorded to the most exquisite bounty from the sea this side of Cape Cod. Speaking of which, steamed or grilled live Maine lobster is almost de rigueur.

A litmus test for me, besides the quality of the fresh bread and butter that is brought to table upon seating (all house made, warm and exquisite) is the veracity of the lobster bisque. This one presented itself as the real McCoy from the mere aroma of fresh crustacean pulled from the depths of the chilly waters off the Atlantic Coast. Copious chunks of sweet, succulent tail meat confirmed its authenticity. A drizzling of Dry Sack Sherry added the perfect flavor accent aigu!

Appetizers of fresh Mozzarella layered between sliced heirloom tomatoes drizzled with extra virgin olive oil (EVOO) and 12-year old aged Balsamic vinegar and soft-as-pillows sautéed calamari with a fruity, slightly oaken glass of Silver Oak Chardonnay got the meal off to a flying start.

A bottle of 2006 Cabernet from the Stag’s Leap district of Napa Valley set the stage for the main course; prime aged filet mignon, cooked perfectly medium rare with both Béarnaise sauce and au jus. The carefully marinated and aged meat was virtually fork-tender and redolent of the mineral flavor so prized in a prime piece of meat. So flavorful was the cut of meat that the sauces languished on the side, uneaten. Asparagus in hollandaise and sautéed spinach were the perfect accompaniments.

The fish of the day was Dover Sole, sautéed in brown butter and lemon and severed expertly deboned, tableside. This is one of the supreme delights of brasserie dining and is served as expertly at Capital Grille as it is at Le Fouquet’s on the Champs Elysees.

A note about the wines; Capital Grille is the winner of Wine Spectator magazine’s Award of Excellence for its extensive wine list. A specially designed Wine Wall dominates the restaurant with over 5,000 bottles of wine, featuring 350 different wines from around the world. Selections from America, France, Italy, Germany, South Africa, Portugal, Spain, Australia, New Zealand and New World discoveries from Chile and Argentina are there for the asking. A special Captain’s List of premium wines selected by Capital Grille’s expert Sommelier and staff of Wine Stewards makes every visit a connoisseur’s adventure.

The house made desserts are a specialty of Capital Grille. Noticing the freshly made ice cream on the menu, I opted for a simple pairing of scoops of chocolate and vanilla ice cream with fresh berries and warm chocolate sauce with another glass of the flavorful Cabernet. All of the wait staff at Capital Grille is expert in making the appropriate wine selection to make every dining experience a celebration.

Capital Grille has locations in Chicago and suburbs with nearly 40 locations in major cities nationwide. Visit www.CapitalGrille.com for information and reservations.

Kathleen Battle and the Chicago Children's Choir at Harris Theater, Chicago-Cell phone cameras mar porcelain perfect performance

by Dwight Casimere

Kathleen Battle unquestionably has one of the most beautiful voices of the last half of the twentieth century. I’ve been privileged to have heard them all, from Callas to Fleming. Although a small voice compared to other notable singers, hers is unusual in its tone and clarity. Her voice seems to come from some ethereal source. That was evident from the first notes of a succession of Spirituals and Traditional songs accompanied by the brilliant jazz, soul and gospel stylings of pianist Cyrus Chestnut in a concert of Traditional Songs and Holiday favorites at the Harris Theater.

Kathleen Battle is the winner of five Grammys and has enjoyed an enviable career. I first encountered her in San Francisco where she starred in a production of
Strauss’s Ariadne auf Naxos under the late Kurt Herbert Adler. The great maestro Edo de Waart introduced me to her after a performance of her Grammy Award winning Four Songs by Strauss with the San Francisco Symphony. I quickly became a devoted fan and ‘groupie’, traveling to Covent Garden, London’s Barbican Center, Manchester and the Paris Opera (under the baton of former Chicago Symphony Music Director Daniel Barenboim) , to see her perform.

For 14 years, she reigned as one of the supreme divas of the Metropolitan Opera House, singing 150 performances in 13 roles from 1980 until 1994, when she was summarily fired by then- General Manager Joseph Volpe for “unprofessional” behavior. She quickly rebounded her career, singing sold-out concerts around the world and making regular performances at festivals, including annual visits to Chicago’s Ravinia. In 2008, she sang the Lord’s Prayer at the arrival ceremony in honor of Pope Benedict XVI at the White House.

Kathleen Battle’s voice is an instrument of exceptional beauty as she proved in a poignant ‘Give Me Jesus’. It led to a lilting ‘Wade In The Water’ that featured some soulful interplay between the singer and her pianist, belying both of their church roots. Chestnut provided the gritty, heartfelt fervor and blues-based interludes that he is known for in his critically acclaimed albums and performances. It was a collaboration of two kindred spirits.

The centerpiece of the Traditional section of the program was her rendition of ‘This Little Light of Mine’, which ended in a coloratura flourish that recalled the Kathleen Battle of old.

In the final segment of the first half of the program, the Chicago Children’s Choir, a stellar collection of young voices, joined her on stage. Battle seemed right at home, giving the young people their pitch and occasionally turning to give them an encouraging gesture. After all, she began her career as a teacher and her love of children shone through.

She had instant rapport with the young people, occasionally turning to give them their cue, even fully conducting them to a crescendo while singing beautifully in ‘Go Tell It On The Mountain.’ At that moment, she was large and in charge! Unfortunately, things quickly descended from that magical height. A flurry of cell phone camera flashes distracted the singer, causing her to point out offenders to the ushers and verbally call them out.

Artists shouldn’t have to tangle with unruly audience members. Granted, this was not a typical classical music concert crowd of the type Ms. Battle is accustomed to. There were many young people in attendance, some brought by their parents, others brought there through the generosity of donors who provided blocks of free tickets to students and underprivileged youth. I don’t think any of them were among the offenders. The ones I saw were adults who should have known better.

Performance is a two way street. Audiences should be courteous enough to observe house rules against cell phone use, digital cameras and recording devices. A performer shouldn’t have to march around the stage like a coach at a Bulls game calling for time out. Perhaps houses should start checking cameras and digital cameras at the door as they did at some rock concerts and film screenings I have been to.

The discourteous audience marred what was otherwise a sublime concert.

The Alexander Miami Beach-the 'suite' life away from home

Travel: The Alexander All Suite Hotel

5225 Collins Avenue

Miami Beach, Florida 33140

305-865-6500-direct

800-327-6121-reservations

by Dwight Casimere

“The next time you come to Miami, you’ve got to stay at The Alexander.” That firm suggestion was made to me on more than one occasion from locals knowledgeable about the hospitality industry during my many visits to this magical city.

After a set of fortunate coincidences, I wound up staying there during a recent trip to write first-and about the city’s Miami Spice and 4 for 3 promotions by the Miami Visitors and Tourism Bureau during the months of August and September.

“First of all, The Alexander isn’t just another hotel,” Didi Cubillos-Lopez, Director of Sales at the Alexander Hotel, informed me. “The suites are actually condominiums that are individually owned.”

That accounts for the home-like atmosphere of each of The Alexander’s 121 beautifully appointed suites that range from junior suites of 920 square feet to two bedroom, two bath suites of 1,250 square feet. “No two units are alike, but they all share one common feature, they all have balconies and magnificent views of either the Atlantic Ocean and Miami Beach or the Inter coastal Waterway, or both.”

That unique positioning along “Millionaire’s Row,” the exclusive stretch of about two and a half miles of sun, sand and surf that is the quintessential playground for the wealthy elite and celebrities. World famous landmarks such as the Fontainebleau and the Eden Roc are just steps away. A short cab ride or a hearty morning bike ride takes you right to the action along Ocean Avenue and the Art Deco District of South Beach.

All of the suites at The Alexander have beautiful designer furniture, gallery quality artwork, full equipped kitchens and luxurious marble bathrooms, many including Jacuzzi tubs.

With Shula’s legendary steakhouse on the mezzanine level, two dipping pools on the hotel’s serene garden terrace and the brilliant expanse of white-sand beach and the crystalline turquoise waters of the Atlantic Ocean just steps away, there’s almost no reason to step beyond the confines of The Alexander.

Munching on a buttery-flakey house made croissant and tasty ‘banger’ sausages, Lopez continued to extol the virtues of ‘the suite life’ at The Alexander. “A homeowner’s association actually governs the property, so there’s an absolute priority placed on privacy and tranquility. It’s a great place for families, especially with the convenient kitchen and its also a great getaway for couples. We actually have a lot of locals who are regular customers who come here just for a romantic getaway to escape from the kids and nosy neighbors for a weekend.”

After a couple of days and nights at The Alexander and a sumptuous dinner at Shula’s (and a failed attempt at downing the legendary ‘Shula’s Cut’ 48 oz. T-Bone) it was difficult to pull up roots. A quick call to the front desk insured a prime suite location for a planned winter getaway. For more information, visit www.alexanderhotel.com.