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Marquis Hill FEBRUARY 2019 VOLUME 86 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. Jack Maher, President 1970-2003 John Maher, President 1950-1969 SUBSCRIPTION INFORMATION: Send orders and address changes to: DOWNBEAT, P.O. Box 11688, St. Paul, MN 55111–0688. Inquiries: U.S.A. and Canada (877) 904-5299; Foreign (651) 251-9682. CHANGE OF ADDRESS: Please allow six weeks for your change to become effective. When notifying us of your new address, include current DOWN- BEAT label showing old address. DOWNBEAT (issn 0012-5768) Volume 86, Number 2 is published monthly by Maher Publications, 102 N. Haven, Elmhurst, IL 60126-2970. Copyright 2018 Maher Publica- tions. All rights reserved. Trademark registered U.S. Patent Office. Great Britain regis- tered trademark No. 719.407. Periodicals postage paid at Elmhurst, IL and at additional mailing offices. Subscription rates: $34.95 for one year, $59.95 for two years. Foreign subscriptions rates: $56.95 for one year, $103.95 for two years. Publisher assumes no responsibility for return of unsolicited manuscripts, photos, or artwork. Nothing may be reprinted in whole or in part without written permission from publisher. MAHER PUBLICATIONS: DOWNBEAT magazine, MUSIC INC. maga- zine, UpBeat Daily. POSTMASTER: Send change of address to: DownBeat, P.O. Box 11688, St. Paul, MN 55111–0688. CABLE ADDRESS: DownBeat (on sale January 15, 2019) Magazine Publishers Association. Á 4 DOWNBEAT FEBRUARY 2019 FEBRUARY 2019 ON THE COVER 24 Terri Lyne JIMMY & DENA KATZ Carrington ‘Transform the Culture’ BY SUZANNE LORGE The Grammy-winning drummer/ producer/bandleader, who recently founded the Institute of Jazz and Gender Justice at Berklee College of Music, speaks out about the importance of creating jazz without patriarchy. 24 FEATURES Terri Lyne Carrington 30 Lionel Loueke Cover photo of Terri Lyne Carrington (and portrait above) shot by Jimmy & Dena Katz at Power Station at Journey of Empathy BerkleeNYC on Nov. 5 in New York City. Info on the facility is posted at powerstation.nyc. BY J.D. CONSIDINE 34 Marquis Hill ‘You’ve Got To Have Meaning’ BY PHILLIP LUTZ 38 Alicia Olatuja ‘Be the Change’ BY SAMANTHA WILLIS 61 Birgitta Flick Quartet 63 James Brandon Lewis 69 Merje Kägu Ensemble 71 Daniel Rotem 43 World’s Best Jazz Cities 25 Metropolitan Areas Where Jazz Thrives RECORDING SCHOOL DEPARTMENTS 8 First Take 74 Essentials of DIY Recording 88 Transcription 57 Reviews BY MICHAEL GALLANT Rez Abbasi 10 Chords & Discords 94 Jazz On Campus Guitar Solo 78 Artists’ Home Studios 13 The Beat 78 I Antonio Sánchez 90 Toolshed 98 Blindfold Test 82 I Brian Bromberg 14 I JazzFest Berlin Michael Dease 86 I Ben Allison 18 I Gary Burton 21 I Vaughan Competition 6 DOWNBEAT FEBRUARY 2019 JANUARY 2019 DOWNBEAT 7 First Take BY FRANK ALKYER Surviving the Jazz Life THE FOLKS WHO WORK AT DownBeat come from all walks of life, but we all have one thing in common—a drive, a passion for music, especially jazz. Take, for example, Ritche Deraney. Ritche has worked for DownBeat for two decades, currently as vice president of sales. Industry insiders know him as a pro’s pro when it comes to promoting this mag- azine and the music we cover. In his distinctly New York accent, Ritche will tell you— straight up—why DownBeat is the best damn magazine in the world. And don’t be surprised if he sells you an ad, too. He’s Ritche Deraney awfully good at his job. When he’s not selling, Ritche plays guitar. He studied at the elbow of his longtime mentor, the late Billy Bauer, one of the great jazz guitar teach- ers in New York history, and has been a gigging musician his entire adult life. Out of respect for our elders, we won’t go into how long that’s been. Let’s just say he’s got amps older than you that he bought brand new. Ritche recently released From The Belly Of The Cave. It’s a sweet, five- song EP (all originals) recorded at Jay Dittamo’s The Cave Studio in Waldwick, New Jersey. The music is thoughtful, joyful and truthful, just like the guys laying it down. Ritche does his thing on guitar with Dittamo on drums, Bobby Nelson on keyboards and Tim Santo on bass. The inspiration behind the project is as compelling as the music. Ritche dedicated the record to his friend Kevin J. O’Brien, who passed away in 2016 while battling heroin addiction. And, he is donating 30 per- cent of the proceeds from this record to Alumni In Recovery (AIR), a vol- unteer program that supports people in recovery, encouraging them to share their stories with others. It’s a topic that is dear to Ritche’s heart. After more than 30 years of clean and sober living, he continues to call himself “recovering.” To remain clean, he has led a mightily disciplined life: practicing guitar and taekwondo each morning, attending AA or NA meetings nearly every day and teaching both guitar and taekwondo in the evening. Over the years, Ritche has sponsored and mentored scores of recovering addicts, and fre- quently shares his personal story with groups or individuals facing the disease. A dedicated husband to his wife, Maipi, and father to his two grown sons, Chris and Devin, Ritche mentioned another motivation for creating From The Belly Of The Cave. “I want to leave something for my kids,” he said. “I wanted to make something for them to remember me by.” “A legacy, Ritche?” I asked. “Yeah, a legacy.” For any of us who have had the honor of listening to Ritche’s story, how he climbed out from the belly of his own cave, that legacy involves more than just his music. It’s an ongoing example of shear willpower and find- ing the deeper meaning of life. You can support this cause and enjoy some great music, too, by going to CD Baby, Apple Music or Spotify and searching for Ritche Deraney. DB 8 DOWNBEAT FEBRUARY 2019 JANUARY 2019 DOWNBEAT 9 Chords Discords Rock Star, Indeed In the January issue, I really enjoyed the article on Donny McCaslin (“Just Be Brave”), detailing his interesting new direction. I went to Seattle in September for my nephew’s wedding and took JIMMY FONTAINE a side trip to Portland, and I was at the Star The- ater gig referenced in the article. As well as taking his music in an art-rock direction, I was struck by how much Donny seemed to resemble David Bowie on stage— both long-legged, red-haired guys, and some of Donny’s stances as he played reminded me of Bowie at the mic. Clearly, the Blackstar experience had a major effect on him, in a positive and for- ward-thinking way, which journalist Robert Ham did a good job of delineating. MARK GRISSOM Donny McCaslin NEW ORLEANS and that he will again be gracing us with his tremendous style. RICHARD FREEMAN KENSINGTON, CALIFORNIA JILL M. FAGER Bitter Adieu I have subscribed to DownBeat for nearly 30 years, but I had doubts about renewing be- cause your publication has become so annoy- Derek Brown ing due to your increasing fixation on leftist outrage and identity politics—instead of jazz. Stetson Ref? The November 2018 issue, however, elim- I found Geoffrey Himes’ article on Derek Brown inated any remaining doubts I had about al- in the December issue (“Brown’s One-Man- lowing my subscription to expire: I read Geof Band Approach”) to be very informative. It Bradfield’s essay on Randy Weston, in which caused me to add Brown to my list of artists Bradfield fretted that, because he is white, his who excite me beyond the routine performers jazz work might be viewed as “an act of cultur- who are in trios, quartets and big bands. al appropriation.” Brown credits Sonny Rollins and others as Jazz is the one cultural arena where I influential in his unusual approach to perform- consistently see people working or listening ing solo on the saxophone.
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