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Home , Buster Williams, Theo Bleckmann

HASAAN IBN ALI’S LOST ALBUM • ANNUAL SUMMER PROGRAMS GUIDE

APRIL 2021

The Low-End Griot BUSTERBUSTER WILLIAMSWILLIAMS Is Now on Film

MORGAN GUERIN Instrumental Polymath EDDIE HENDERSON His Brightest Moments THEO BLECKMANN Meets THE WESTERLIES

BASS SPECIAL JOHN CLAYTON SANTI DEBRIANO JORGE ROEDER jazztimes.com BRIAN BROMBERG CONTENTS APRIL 2021 ♦ VOLUME 51 ♦ NUMBER 3 In every issue

Features 3 JT Notes 4 Opening Chorus Hasaan Ibn Ali’s second album sees BUSTER WILLIAMS release at last, 55 years after it was 18 He’s been a first-call bassist for decades, an indispensable support player, recorded; Jorge Roeder, bassist of but his time to take center stage is finally here courtesy of Adam Kahan’s choice; Brian Bromberg is blessed insightful new documentary Bass to Infinity. Ted Panken discusses the with the curse of diversity; and fare- film and the career it traces with Kahan, , , wells to Bobby Few, Mario Suraci, Christian McBride, , and Williams himself. Howard Johnson, Sammy Nestico, Junior Mance, and Jonas Gwangwa MORGAN GUERIN 10 Chronology CHARLES LLOYD & THE MARVELS DR. LONNIE SMITH JOE CHAMBERS 24 The three albums that Morgan Guerin has released so far as a leader Ethan Iverson on Ron Carter TONE POEM BREATHE SAMBA DE MARACATU are all called parts of a “saga,” and adding to their epic nature is the 12 Before & After Sax master covers of Ornette Coleman, Leonard B3 organ legend live at Jazz Standard with a septet A stalwart of progressive mid-60s Blue Note classics, fact that he plays nearly every instrument on them. Geoffrey Himes John Clayton with Ken Peplowski Cohen & more with The Marvels featuring Bill for his 75th birthday celebration, bookended by the great drummer, percussionist, vibraphonist & talks to an in-demand 22-year-old who’s as ambitious as he is versatile. Frisell, Greg Leisz, Reuben Rogers & Eric Harland. 2 unique studio collaborations with Iggy Pop. composer returns with his 2nd album as a leader. 16 Overdue Ovation EDDIE HENDERSON: BRIGHT MOMENTS Santi Debriano 30 From his early days with ’s crew to his most re- 52 Audio Files cent dates for Smoke Sessions, trumpeter Eddie Henderson has appeared on Brent Butterworth on how to more than 150 records. In our latest installment of Bright Moments, he guides improve your room sound Michael J. West through selected highlights of his formidable catalog. 54 Chops Teaching adults to play jazz 56 Gearhead A virtual NAMM

R+R=NOW IMMANUEL WILKINS JOEL ROSS R+R=NOW LIVE OMEGA WHO ARE YOU? Robert Glasper, Terrace Martin, Christian Scott A vinyl release of the alto saxophonist’s acclaimed Vibraphonist’s sophomore album features Good Vibes aTunde Adjuah, Derrick Hodge, Taylor McFerrin & debut produced by Jason Moran which was named with Immanuel Wilkins, Jeremy Corren, Kanoa Justin Tyson captured live at the Blue Note Club. the #1 Jazz Album of 2020 by The New York Times. Mendenhall, Jeremy Dutton & Brandee Younger.

58 Reviews THEO BLECKMANN & THE WESTERLIES Archie Shepp & Jason Moran, the 36 JLCO Septet's Democracy! Suite, The eclectic German-born singer/songwriter and the similarly genre-averse Dr. Lonnie Smith, Jon Batiste, Kari VARIOUS ARTISTS TONE POET AUDIOPHILE BLUE NOTE CLASSIC American brass quartet met up five years ago, and they describe their sub- Kirkland, Emmet Cohen, and more VINYL REISSUE SERIES sequent creative process as “five minds working together as one.” On their BLUE NOTE RE:IMAGINED VINYL REISSUE SERIES 64 Coda UK rising stars like Shabaka Hutchings, Nubya All-analog 180g vinyl produced by Joe Harley, mastered New series of all-analog 180g vinyl reissues first joint album,This Land, those five minds are thinking about the troubled state of the U.S.—and how to address it in beauty. By A.D. Amorosi Walking with Walter Page Garcia & Jorja Smith rework Blue Note classics by by Kevin Gray from original masters, pressed at RTI, & kicks off with timeless Blue Note classics mastered by , Herbie Hancock & more. packaged in deluxe gatefold tip-on jackets. Kevin Gray from original masters & pressed at Optimal. ANNUAL GUIDE TO SUMMER JAZZ PROGRAMS Cover image by Alan Nahigian 41 Table of Contents image by John Labbé GET OFFICIAL BLUE NOTE MERCHANDISE AND EXCLUSIVE RELEASES AT twitter.com/bluenoterecords BlueNote.com facebook.com/bluenote STORE.BLUENOTE.COM instagram - @bluenoterecords © JAZZTIMES.COM 1

CapitolMusicBlueNote_fp_JTM2104.indd 1 2/3/21 2:59 PM Dynamic vocalist THEO BLECKMANN and bold brass ensemble THE WESTERLIES make This Land is beautiful (protest) music together By A.D. Amorosi Photography by John Labbé

Their Land ate in the afternoon on an for a moment. To something stronger. that I remembered. “For me, the idea of unusually warm January day, Besides, there’s nothing wrong with its lines, and of floating—that curved the House of Representa- preaching to the choir. The choir needs aesthetic—has found its way into a tives—stirred to fast action by the attack support too, strength to continue.” sound that uses soft edges. Everything onL the United States Capitol the week “So,” I interjected, pulling a title from blends and melts together with me. prior—voted to impeach then-President one of This Land’s more incendiary It’s a never-ending arc, a never-ending Donald J. Trump for the second time in tracks, “it’s fair to say that you cover- propulsion, which has found its way into his term. Mere days before his four-year ing Woody Guthrie’s ‘Tear the Fascists my music.” tenure was ending, with Joe Biden soon Down’ has never seemed more relevant Rowlands hasn’t done much ice to ascend to the presidency, Trump was than it does today.” dancing. But the trumpeter and flugel- cited for incitement and insurrection. The three of us laughed; that is, hornist has spent time in wedding cover “The more impeachment, the better,” despite the fact that neither Trump’s ensembles, led the brass section of the Theo Bleckmann said that same day, actions nor those of the House—nor, in- orchestra for LoftOpera productions, stifling something between a laugh and deed, those of the five-person team that and played in indie-rock bands such as a sigh of disgust. Born in Dortmund, made This Land—are all that funny. Fleet Foxes and Cape Francis. She joined Germany 54 years ago, the Impressionist Then again, if you’re not laughing, the Westerlies in 2016, just as the rest nu-jazz vocalist, interpreter, and com- you’re crying. of the group were first making Bleck- poser has lived in America since 1989, mann’s acquaintance. At that point, the and knows U.S. politics and policy as quartet had made two acclaimed albums From a Scream to a Whisper confidently as he does the genre jumbles Before we get to This Land—which in a third-stream vein with original of his own music. sets Bleckmann’s rubber-band vocals trumpeter Zubin Hensler; they have “Words count,” he added with a huff. against the mixed-grain experimen- since made one more, 2020’s Wherein “It is a message that needs to be sent, talism of Rowland, fellow trumpeter Lies the Good, along with various other this impeachment. You can’t hold public Riley Mulherkar, and trombonists Andy collaborative efforts. office and incite violence. There are -con Clausen and Willem de Koch over gentle “Be it Brecht or an opera session, sequences. A week left? So what?” protest music penned by Joni Mitchell, or playing with pedals and effects, or As Bleckmann revved himself up, , Phil Kline, and mem- background parts in an indie band with trumpeter Chloe Rowlands hummed in bers of the team—it’s crucial to know more ethereal textural elements, or full- approval. She and her bandmates in the how they got to this state-of-the-union fledged improvisation and soloing—all Seattle-born, NYC-based brass quartet address together. the styles I’ve pursued all of my life have the Westerlies have collaborated, most Mentored by Sheila Jordan; renowned found my way into everything I do now,” democratically, with Bleckmann on a for scintillatingly offbeat arrangements Rowlands said. “That’s how the Wester- quiet but storming new protest album, of compositions by , Kurt lies operate to begin with. With us there This Land. Weill, and (the Ives tunes got is an amalgamation of a string quartet’s “Crazy it took this long,” Bleckmann him a Grammy nomination for Best accuracy and the creative exploration of continued. “It is good to know that an Classical Crossover Album in 2009); a free-jazz outfit.” attempted insurrection is what it took and frequently teamed with an eclec- Bleckmann doesn’t dare to try to to get him out. I mean, what the fuck? tic odd lot of jazzbos including John find a reason or rhyme to his aesthetic. What, then, can we do beyond looking Hollenbeck, , John “If I knew or could put it into words, I at ourselves? That was the point of this Zorn, , and Meredith think I’d be a better writer, but there is record: What can we do with the means Monk, Bleckmann made his true start a stripped-down aesthetic that I’m very that we have? Maybe we’ll preach to the as a champion skater before coming into interested in, where I try not to take over choir, and maybe it’s not enough. But his own as an elastic phraser, arranger, or use any jazz mannerisms or bring maybe it is. Rather than just play a jazz writer, and curator. them into the material,” he said. “I try to standard that expresses love, maybe “I was an ice dancer many, many look at things as sober and emotionally L to R: Willem de Koch, Chloe Rowlands, Theo Bleckmann, Riley Mulherkar, and Andy Clausen the subject matter needs to change decades ago,” Bleckmann said, amused pure, without taking any style-isms from

36 JAZZTIMES APRIL 2021 JAZZTIMES.COM 37 think that both of our aesthetics line up to be a thing. I never made any music worked eight hours a day, but always improvising over. It took us to inter- thematically,” she said. “In working with that commented on that specifically. around each other: hanging, talking, esting places that we would not have him now for several years, I can honestly That said, the biggest thing about my sequestered from everything else. The reached otherwise. I loved going in these say that ours is a perfect match: how we trans identity is that there is no one else entire situation was intimate, filled with directions as I am someone who is fasci- function, as well as how we sound.” that I can think of in the jazz world—es- laughter. We had a such a great time nated by working with effects.” pecially in NYC—who is an out trans at all times. We have this policy in the It’s an unusual album for Bleckmann person. The fact that I exist and succeed Westerlies where if somebody has an too. Although he’s written and curated Out and Proud For the sake of frankness, and given in what I am doing will, I hope, inspire idea they want to try that has never been plenty of socially conscious songs before, that This Land is a direct response to the a whole new generation of trans people tried before—maybe taking a third valve This Land is more direct and unflinch- Trump years, it’s important to note at who maybe never felt comfortable com- slide out of a trumpet—we have to try it, ing about it. Take, for example, the recla- this point that Bleckmann is a gay man, ing out. Perhaps seeing me, they will feel long married to a Black man, and that more confident. Rowlands proudly came out as trans around the same time that she joined Theo, you moved to America from the Westerlies. Germany in the ’80s. Having lived else- where in the world and seeing the arc “There’s nothing wrong with JT: I wouldn’t have asked this question of our politics, our social and cultural 10 years ago. Maybe not even five years changes, from that perspective—how preaching to the choir. The ago. We just happen to have been in does that play a part in your work? a less tolerant time for the last four choir needs support too, years. Theo and Chloe, how have you BLECKMANN: In my 31 years in both crafted and maintained a life America, I have discovered how the strength to continue.” in what we’ll loosely call jazz, which ugly underbelly of America is only now tends to define itself as cisgender, becoming more visible than before. —Theo Bleckmann heterosexual male-dominated, and Being married to a Black man made often misogynistic? things even more clear to me. That stuff [racism] is everywhere. And America BLECKMANN: I’d like to speak about is a young country. There are so many no matter what. Theo loved that. He had mation of songwriter Joe Glazer’s “Look this, first, in reference to knowing Chloe things pushed under the rug here and that spirit as well, which made it all the for the Union Label,” originally used for before her transition, during her transi- never dealt with that are only coming up more pleasurable. And never was there a a 1970s television commercial. Arranged tion, and after her transition. I’ll tell you, now, and coming up with a vengeance. moment where ego got in the way.” ever so cleverly by Bleckmann, its subtle, it is the same person—no difference, save We must contend with that. And it has “Working with young musicians who pomp-and-circumstantial classicism is for the fact that Chloe is happier now. to come out. We can’t just wish it away grew up with my music and could play right up the Westerlies’ alley. Being gay or trans has little to do with to live for the old ways, for it to just not any style—classical, jazz, new music, “What appealed to me was that what I’m singing about. I’m hoping that be there. The shit has piled up. It’s time ambient, rock—is fascinating because ‘Union Label’ was written for commer- what I’m singing about is always univer- to get rid of that pile. And look, the same it’s a different animal than the musicians cial advertising purposes,” Bleckmann sal, and that love rules. I don’t believe is true of European countries, for ages. It I played with as I grew up,” Bleckmann emphasized. “It was a made-for-TV idea that who I am has ever made a difference goes in cycles there too. This is Amer- acknowledged. “Back then, musicians of labor and unions … this ‘spirit’ of or been an issue for anyone with whom I ica’s first real go-round with the ugly were proudly renowned for doing one America that isn’t quite real. I love that any other arena. It comes back to being continued. “We talked about all that have worked. I’ve always been comfort- truth. There’s a lot of cleaning up to do. thing. Now, this new group of musicians the Westerlies and I are taking source honest and direct.” That phrase “emo- was going on politically and thought out able with who I am. Besides, if anyone is open-minded and highly skilled, ge- material not from art music or even jazz, tionally pure” resonates throughout This loud about doing something musical that didn’t want to work with me because of Let the clean-up begin with This Land. niuses on their instruments yet with the but rather this bizarre place: TV. Anoth- Land, a jazz protest album that doesn’t expressed something political without who I am, fine, I don’t want to work with soul of a puppy dog. Incredible. ... Plus, er thing that was remarkable about this sound like one. being harsh or loud or preachy … Can them. Good riddance. Identity goes so they’re the most heavenly brass section song is its lyrics, asking the consumer Democracy for Five “When we first got together, I sort we be sensitive to a cause without shout- much deeper than that… I’ve seen it in Back to Putney, Vermont, in 2016. The you could find. Period. The Westerlies to consider the source of where you’re of wanted us to react to the political ing? Can we make effective protest music Chloe, before, during, and after her tran- first song Bleckmann brought to this never sound like those annoying brass buying stuff, because considering that situation,” Bleckmann recalled. “This that didn’t scream?” sition. It’s magical. She’s the same soul. new collaborative project was his own outfits that hit you over the head—that’s source will actually help the garment was 2016 and Trump had just gotten Yes, yes, a resounding yes, as their composition “Another Holiday.” Imme- what makes this unique.” workers making it. Well, that didn’t re- elected.” The five musicians were taking trembling takes on Mitchell’s “The ROWLANDS: For sure, being trans has diately, Rowlands recalled, it was “five That and the approach they took ally go so well, did it? How many people part in a residency at Yellow Barn Fiddle and the Drum,” Guthrie’s “I Ain’t never been something I put above my minds working together as one.” to recording This Land, which was an truly consider where their clothes come in Putney, Vermont, a home to and Got No Home in This World Anymore,” music. It’s just another aspect of who I “I didn’t just bring in the song and experimental first for the Westerlies. “All from? Not enough not to buy elsewhere. think-tank for all levels of chamber-mu- and trumpeter Mulherkar’s “Looking am. I came out and joined The Westerlies arrange it,” Bleckmann noted. “I became of the previous Westerlies albums were That failed greatly in its day. The idea of sic experimentation. Out” demonstrate. simultaneously. I became part of some- one of them; I got my hands dirty with straight quartet music recorded in a way an America based on union—makers “We were actually working on a dif- Rowlands was quick to say how the thing. Maybe if I had stayed a freelance them. Everybody was contributing like a string quartet would be record- and consumer both from the U.S.A.—is ferent collaboration with other singers, Westerlies looked up to Bleckmann player, I would have had to defend myself and talking. This kind of democracy is ed, where we keep everything as four completely antithetical to the American and I remember going to an ice cream before their collaboration and admired more, I don’t know. It was really nice, very difficult.” straight voices,” Rowlands explained. dream of individualized freedom, to shop with the rest of the Westerlies his desire for equality among all working joining an established group immediate- “And exciting, like the very best im- “Here we layered, overdubbed, added be and to buy and to wear whatever I after we first got together,” Bleckmann partners once the process began. “I ly following the transition. It never had provisation,” Rowlands chimed in. “We extra octaves, had sections dedicated to want. That is an interesting dichotomy,

38 JAZZTIMES APRIL 2021 JAZZTIMES.COM 39 JazzTimes’ Guide To a paradox to me, a bizarre idea of what has never worked or could never work in America.” The first track Bleckmann and the Westerlies worked on together was also the first track they recorded together, SUMMER JAZZ CAMPS & PROGRAMS and it stands out as the truest testament 2021 to This Land’s tone, as well as to their collaboration: Bleckmann’s “Another NOTE: Due to the COVID-19 pandemic, CALIFORNIA Jazzschool Girls Jazz & Blues Camp Holiday.” Penned in response to the all listings in this directory are even more August 2-6 (tentative) Pulse nightclub shooting of 2016, in subject to change than usual, and we Stanford Jazz Workshop Berkeley Various dates are unable to guarantee the accuracy of (510) 758-2200 which 49 people were killed, it’s a vision Stanford University, Stanford any listing beyond press time. Please cjc.edu/girlscamp (650) 736-0324 of America filled with “BBQ and pie,” all check program websites to confirm. Description: Produced by Jean Fineberg and stanfordjazz.org Ellen Seeling (asst. dir. and dir. of the Montclair fireworks displays and summer lawns; Description: SJW offers three online jazz-im- that is, until those picnics grow rife with Women’s Big Band), our camp provides a sup- United States mersion opportunities: Jazz Camp—a residential portive musical environment where girls have a hidden brand of hate, exposing how program for ages 12-17 (July 12-16 or July 19- fun and develop self-confidence. Campers hone 23)—and Jazz Institute, which puts advanced even the seemingly safest havens can be improvisational, technical and ensemble skills ALASKA young players and adults together with some of while meeting new friends and creating music - filled with menace. the greatest jazz musicians in the world, focus with other young musicians from the Bay Area Juneau Jazz & Classics Festival ing on improv skills and combo performance “That song came out of me as no and beyond. May 19-29 (July 25-31). Adult jazzers and jazz educators other song has come out of me before,” Juneau will enjoy the Jazz Institute, and admission to (907) 463-3378 evening concerts at the Stanford Jazz Festival Jazzschool Vocal Intensive Bleckmann said proudly. “I usually labor August 9-14 (tentative) jazzandclassics.org is included. over all of my compositions, but this one Description: Juneau Jazz & Classics brings Berkeley came out very quickly and spontaneous- world-class artists to inspire, teach, and enrich (510) 845-5373 Jazzschool Jazz Piano Intensive cjc.edu/jazzschool/intensives/adult-camps/ the lives of Alaskans in a beautiful yet remote June 14-18 (tentative) ly. Though we all live in a safe environ- summer-vocal-intensive location. JJ&C education includes school clin- Berkeley Description: This weeklong program is de- ment as gay and trans people in big cities ics, performances and public workshops. 2021 (510) 845-5373 within our own communities, when we format TBA. signed to help singers define, create and cjc.edu/jazzschool/intensives/ perform in a distinctive style. Jazz singing is go back to our homes beyond the big city summer-youth-programs/high-school-intensive like a tree that can grow branches in many Fairbanks Summer Arts Festival - Description: A five-day intensive for the inter genres. With roots firmly grounded, this unique … where you come from … it becomes July 18-August 1 mediate jazz pianist, focusing on rhythmic feel, intensive emphasizes the technical, creative University of Alaska, Fairbanks comping, and soloing in both piano trio and solo an issue,” he continues in a rush of and spiritual aspects of singing and serves as a (907) 474-8869 piano formats. Emphasis on swing feel, voicings words. “And it’s always around a holiday catalyst for artistic growth. fsaf.org and voice leading, and analysis and performance that you go home. It all gets pushed in of select jazz pianists’ solo transcriptions. Pianists your face. You have to be somebody else, AK Jazz Workshop Summer will work with a professional bassist and drummer. COLORADO but just for a few days. It’s painful. There 2021 Jazz Camp August 2-7 Alex de Grassi’s Mendocino Lamont School of Music is an idea of family and happiness that University of Alaska Anchorage Fine Arts Build- Summer Guitar Workshop Summer Academy June 20-July 3 ing, Anchorage July 11-18 you can have but just don’t say anything. University of Denver, Newman Center for the (907) 332-3234 Albion Retreat and Learning Center, Albion Performing Arts Be quiet. You just play along, but you are akjazzworkshop.org (707) 318-7932 (303) 871-6400 never fully allowed to be who you really Description: The AJW Jazz Camp at UAA fea- degrassi.com/workshops du.edu/lamont/summeracademy tures internationally acclaimed and Alaska Jazz Audience: All ages, intermediate to advanced are. You are yourself—up to a point.” Audience: High school, ages 14-18 (some age “In working with Theo now for Master Artists guiding beginner to advanced acoustic guitar players exceptions), intermediate through advanced music students (grade 7 through adult) on a fun Description: An intensive, interactive workshop Description: The Jazz Studies Program of the exploration of the creative art of jazz improvi- for intermediate and advanced guitarists and for Lamont School of Music Summer Academy is Peace at Last? several years, I can honestly say sation. The camp schedule is 9 a.m.-2:30 p.m. singers who play guitar. Alex and Andrew York At the end of our conversation, I asked an inspiring and motivating pre-college music M-F with faculty and student concerts on Fri. will share their insights into the techniques, the camp for instrumentalists ages 14-18. The Jazz what an audience—their audience, sepa- and Sat. Our guest artist will be drummer Mark composing and arranging skills, and the inspiration Studies Program provides focus on jazz theory in that ours is a perfect match: Walker. 2021 format TBA. that have become an integral part of their unique rate and together—might learn about the practice—“on the instrument,” small ensemble styles. The workshop consists of four parts: mas- performance study, lessons with practicing jazz Westerlies and Theo Bleckmann from ter class, lecture/demos, one-on-one and optional ARKANSAS artists and unique opportunities for the study of This Land that they didn’t know before. how we function, as well as how participation in an ensemble performance. rhythm section techniques and jazz repertoire. Rowlands focused on sonics, how IfCM Jazz and Creative Music Camp we sound.” —Chloe Rowlands at the University of Arkansas Lafayette Summer Music Workshop the album goes much further from a June 6-11 July 18-23 UNC Jazz Camp July 11-16 production standpoint than any previous University of Arkansas, Fayetteville Lafayette University of Northern Colorado, Greeley [email protected] (925) 914-0797 Westerlies release. “There are so many (970) 351-2394 fayettevillejazzcamp.com lafsmw.org arts.unco.edu/music/jazz-camp moments where we sound regal … we I felt anger about the holidays, or a Land, but refuge too was a big part of Description: Open to students ages 11+, any Description: Since 1998, the week-long Lafay- Audience: Middle school through college surprised even ourselves,” she said. befuddlement with TV, politics, and the our duty in making it. A refuge that the instrument or voice type. Campers will play in a ette Summer Music Workshop has provided an Description: Designed to be intensive, challeng- large ensemble as well as in small groups orga- intimate and inspiring environment for learning “There’s a wide range of sound that we culture. Now, of course, I promise that listener could feel too. We wanted this ing and inspiring, the UNC Jazz Camp is led by nized by age and ability, learning songs, style, and playing jazz. Master classes, improvisation faculty from the University of Northern Colorado use here that people might have never listeners won’t miss drums or the beat— music to be healing, in order to deal, and improvisation by ear. Students will also learn workshops and jazz combos are led by some of plus special guests. Be part of student big bands, recording techniques, composition/arranging, the preeminent professional musicians in the thought of or heard from us before.” that this brass sound is its own world, gently, with what’s happened in this combos, vocal jazz ensembles, jazz master class- practice strategies, and historical/social context. field. The workshop is directed by Stanley Mid- es, jazz theory and listening classes, student jam Bleckmann, however, went a differ- complete, and that you will be moved country over the last four years. I hope In-person and virtual options available. dle School music director Bob Athayde and jazz sessions, nightly faculty group concerts, and a ent route. by the sound and the people who are there is a calmness here. Finally.” curriculum director Kyle Athayde. Kids – middle special performance by the Colorado Jazz Orches- school, high school and college age – as well as “I don’t want people to think any- playing it. But feel it. We talked about Whether that calm is meant for This tra. Previous band or choir experience required. adults have a blast! thing. I want them to feel. Like how resistance so often while making This Land or this land is up to the listener. JT

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