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Mike Mangini
/.%/&4(2%% 02):%3&2/- -".#0'(0%4$)3*4"%-&34&55*/(4*()54 7). 9!-!(!$25-3 VALUED ATOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 0/5)& '0$64)*)"5 "$)*&7&5)&$-"44*$ 48*/(406/% "35#-",&: 5)&.&/503 50%%46$)&3."/ 45:-&"/%"/"-:4*4 $2%!-4(%!4%23 Ê / Ê" Ê," Ê/"Ê"6 , /Ê-1 -- (3&(03:)65$)*/40/ 8)&3&+";;41"45"/%'6563&.&&5 #6*-%:06308/ .6-5*1&%"-4&561 -ODERN$RUMMERCOM 3&7*&8&% 5"."4*-7&345"33&.0108&34530,&130-6%8*("5-"4130)"3%8"3&3*.4)05-0$."55/0-"/$:.#"-4 Volume 36, Number 3 • Cover photo by Paul La Raia CONTENTS Paul La Raia Courtesy of Mapex 40 SETTING SIGHTS: CHRIS ADLER Lamb of God’s tireless sticksman embraces his natural lefty tendencies. by Ken Micallef Timothy Saccenti 54 MIKE MANGINI By creating layers of complex rhythms that complement Dream Theater’s epic arrangements, “the new guy” is ushering in a bold and exciting era for the band, its fans, and progressive rock music itself. by Mike Haid 44 GREGORY HUTCHINSON Hutch might just be the jazz drummer’s jazz drummer— historically astute and futuristically minded, with the kind 12 UPDATE of technique, soul, and sophistication that today’s most important artists treasure. • Manraze’s PAUL COOK by Ken Micallef • Jazz Vet JOEL TAYLOR • NRBQ’s CONRAD CHOUCROUN • Rebel Rocker HANK WILLIAMS III Chuck Parker 32 SHOP TALK Create a Stable Multi-Pedal Setup 36 PORTRAITS NYC Pocket Master TONY MASON 98 WHAT DO YOU KNOW ABOUT...? Faust’s WERNER “ZAPPI” DIERMAIER One of Three Incredible 70 INFLUENCES: ART BLAKEY Prizes From Yamaha Drums Enter to Win We all know those iconic black-and-white images: Blakey at the Valued $ kit, sweat beads on his forehead, a flash in the eyes, and that at Over 5,700 pg 85 mouth agape—sometimes with the tongue flat out—in pure elation. -
The Once and Future King? Ravi Coltrane Quartet in Flux Savoy Jazz SVY 17444 (2005)
The Once and Future King? Ravi Coltrane Quartet In Flux Savoy Jazz SVY 17444 (2005) Last year the editors of Jazz Times yielded to temptation and ran the eye-catching headline “COLTRANE RETURNS!” to cover the new release by keyboardist Alice Coltrane. Several thousand readers groaned. So it usually goes with the heirs and scions of the jazz world: A marketing dream becomes a musical disappointment. As befits a quintessentially democratic art, jazz “dynasties” are few and of relatively modest distinction (no offense meant to, for example, Mtume James Heath, Ellis Marsalis or Von Freeman). The birth-children of Dizzy Gillespie, Miles Davis and Charlie Parker steered away from musical pursuits. A decade ago if asked to point to a jazz family with a truly influential parent and child we might have started and ended with Dewey and Joshua Redman (and even that may be a stretch). John Coltrane’s living example was not what influenced his son to take up jazz: John died when Ravi was wearing diapers. Nor was the son’ s embrace of the father’s chosen tools, the tenor and soprano saxophone, pre-ordained; the younger Coltrane did not succumb to the horns’ siren songs until he was in his late teens. Ravi Coltrane consciously chose, as a young adult, to walk the path which his father blazed for so many. While he certainly benefitted as a young artist from the goodwill which his family brought with such early employers as Jack DeJohnette, Pharoah Sanders and particularly Elvin Jones, Mr. Coltrane made the most of the opportunities presented to him. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
With Honors at Ceremony Mrs
M'lark College hP VOL. XXXVH NO. 5 ANTHER®CLARK COLLEGE FEBRUARY 1974 Henderson 'Roasted' With Honors At Ceremony Mrs. Vivian Henderson, individual,” Brantley said. gretted it and sometimes the president’s wife, was “He is a man deeply and I’ve been thankful.” present for the ceremony profoundly interested in the There was a surprise vi also. individual, ’ ’ Brantley said. sit by Henderson’s eldest Dr. Albert Manley, presi brother, J. J. Henderson, “1 thought the program dent of Spelman College, was who reminisced over some was nice and very well also on hand for the cere of their past experiences. done,” Mrs. Henderson said. monies. There was also a letter of “He looks like the big tough “Dr. Henderson has al congratulations from Mayor guy, but he’s really a sof ways excelled in what he Maynard Jackson presented ty,” she said speaking on tried to do,” Manly said. by the mayor’s press secre Henderson’s tears at theend Manly was Dean of Aca tary, Pearl Lomax. of the p^ogr0*’* demic Affairs at North Caro After the “roast,” Hen “I tnink for the first time lina College when Hender derson was presented with the student body is aware son was a student there. a gift and two plaques. of the many qualities of the “Vivian was not the ea Henderson was overcome president and there was a siest student to get along by tears as he stood be sincere exchange of appre with at North Carolina Col fore the audience to give him ciation between the student lege,” Manly said. -
Following Two Records on the Top 10 Jazz Charts
FOLLOWING TWO RECORDS ON THE TOP 10 JAZZ CHARTS ‘TRANSIENT JOURNEY’ (2010) AND ‘FOR THE PEOPLE’ (2012) PHAREZ WHITTED IS SET TO RELEASE HIS NEXT ALBUM ‘THE TREE OF LIFE’ (2014) ON TRUTH REVOLUTION RECORDS. FEATURING: JONATHAN WOOD, EDDIE BAYARD, LOVELL BRADFORD, & GREG ARTRY Powerhouse trumpeter Pharez Whitted continues to showcase his talents on his most adventurous album to date, The Tree of Life. Whitted displays “…remarkable command of the trumpet and his broad stroke as a composer, both of which are =irmly rooted in the post- bop tradition.” With this new CD, Whitted adds a funk and soul element to create an album that is impressively innovative while still steeped in the jazz tradition. He states that The Tree of Life is music that is “…not just about the artist but music that is for the people to lift them up.” Many musicians come from musical families, but few can boast of having one as large as Pharez’s. Even before he was born his parents, drummer Thomas Whitted Sr. and singing bassist, Virtue Hampton Whitted were members of a jazz orchestra called the Hampton Band. It included Pharez’s uncle the legendary trombonist, Slide Hampton. His grandparents regularly invited Indianapolis musicians such as Freddie Hubbard, Wes Montgomery and his brothers Monk and Buddy to practice at their house. Being surrounded by musicians from such a young age, one can only imagine this musical lineage has helped make Pharez a force to be reckoned with. Joining Pharez on The Tree of Life is an exceptional group of musicians including, Jonathan Wood (bass), Eddie Bayard (saxophone), Lovell Bradford (piano, organ, Rhodes), and Greg Artry (drums). -
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 01/26/2012 03:58 Pm
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 01/26/2012 03:58 pm WNCU 90.7 FM Format: Jazz North Carolina Central University (Raleigh - Durham, NC) This Period (TP) = 01/19/2012 to 01/25/2012 Last Period (TP) = 01/12/2012 to 01/18/2012 TP LP Artist Album Label Album TP LP +/- Rank Rank Year Plays Plays 1 1 Jimmy Owens The Monk Project IPO 2012 12 14 -2 2 7 John Stein Hi Fly Whaling City Sound 2011 9 6 3 2 12 Chick Corea Further Explorations Concord Jazz 2012 9 4 5 4 9 Christian Tamburr Places Tamburr Worldwide 2011 8 5 3 4 25 Hendrik Meurkens Live At Bird's Eye Zoho 2011 8 3 5 6 9 Hal Galper Trip The Light Fantastic Origin 2011 7 5 2 7 2 Roy Haynes Roy-Alty Dreyfus 2011 6 7 -1 7 12 Vanguard Jazz Orchestra Forever Lasting - Live in Planet Arts 2011 6 4 2 Tokyo 7 25 North Carolina Central Slightly Blued Self-Released 2010 6 3 3 University Jazz Ensemble 7 25 Kenny Burrell Tenderly HighNote 2011 6 3 3 7 292 Etta James Tell Mama Cadet 1969 6 0 6 12 7 Mary Louise Knutson In The Bubble Meridian Jazz 2011 5 6 -1 12 42 Ken Fowser & Behn DuoTone Posi-Tone 2011 5 2 3 Gillece 12 75 James Moody & Hank Our Delight IPO 2008 5 1 4 Jones 12 292 Ann Hampton Callaway Blues In The Night Telarc Jazz 2006 5 0 5 12 292 Tim Mayer Resilience JLP 2011 5 0 5 12 292 Etta James At Last! Chess 1961 5 0 5 18 2 Houston Person So Nice HighNote 2011 4 7 -3 18 25 Christian McBride Big The Good Feeling Mack Avenue 2011 4 3 1 Band 18 25 Pat Martino Undeniable: Live At Blues HighNote 2011 4 3 1 Alley 18 25 Ed Reed Born To Be Blue Blue Shorts 2011 -
Volume 44 Number 4 Oct Nov Dec 2018
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC ODEAN POPE PHIL MINTON SKETY SCOTT ROBINSON STEVE COHN KEIKO JONES MONTREAL JAZZ FESTIVAL 2018 INTERNATIONAL JAZZ NEWS CD REVIEWS BOOK REVIEWS DVD REVIEWS OBITUARIES Volume 44 Number 4 Oct Nov Dec 2018 New Releases on CNM Records POCKET ACES, CULL THE HEARD (CNM032) - OUT NOW. - Pocket Aces emerged from the jazz trio tradition; where each voice balances the others through contrast, and surprise. Although freely improvised, the music of Pocket Aces is consciously compositional, given to bouts of form, groove, and crafty melodies. Distillation of ideas with a premium on space and tone provides a strong coherence as the trio navigates the familiar and unfamiliar. HOFBAUER/ROSENTHANL QUARTET, HUMAN RESOURCES (CNM033) - RELEASE DATE NOV. 9 THE HOFBAUER/ROSENTHAL QUARTET, unites four imaginative improvisors from Boston’s eclectic jazz scene. There’s a non-hierarchal notion of the ensemble in this project, an ideal of equality and a selfless determination built into every musical inclination, as they unabashedly swing at the intersection between the clarity and control of bop and the brash freedom of the avant-garde. ERIC HOFBAUER QUARTET, PREHISTORIC JAZZ VOL. 4: REMINISCING IN TEMPO - OUT NOW. Reimagining of the rarely heard 1935 long form Duke Ellington composition. "It's a musical jungle gym for the guitar fan, a close listening to Hofbauer's note choices and abstract connections to the song's structure is absolutely required listening." - Paul Acquaro, Free Jazz Blog. All Albums on Bandcamp.com, Amazon.com or Erichofbauer.com - Visit erichofbauer.com for album details, audio samples, press and more. -
Miguel Zenón Quartet
Jimmy Katz Jimmy MIGUEL ZENÓN QUARTET Miguel Zenón Alto Sax Luis Perdomo Piano Hans Glawischnig Bass Henry Cole Drums PROGRAM There will be no intermission. Saturday, February 11 @ 7 PM and 9:30 PM Prince Theatre Part of the African Roots, American Voices series. 16/17 SEASON 5 PROGRAM NOTES Miguel Zenón’s new album, Típico, is above all a celebration of his longstanding quartet. His previous releases have augmented the core unit with additional instrumentalists as Zenón looked outward to explore various aspects of his Puerto Rican heritage. This new album feels more intimate. Its focus stays closer to home, with nods to Zenón’s own personal and professional life as it zeroes in on what makes his band unique. Zenón’s quartet has been developing a common language for more than a decade. Pianist Luis Perdomo and bassist Hans Glawischnig have been with Zenón since the turn of the millennium; drummer Henry Cole joined the band in 2005. Their language is thoroughly fluent in modern jazz, with instrumental prowess. The dialect of rhythmic and harmonic complexity they’ve created together through the years is distinctive. ABOUT THE ARTISTS Miguel Zenón (Alto Sax) Multiple Grammy® nominee and Guggenheim and MacArthur Fellow Miguel Zenón represents a select group of musicians who have masterfully balanced and blended the often contradictory poles of innovation and tradition. Widely considered as one of the most groundbreaking and influential saxophonists of his generation, he has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American folkloric music and jazz. -
The Jon Faddis Jazz Orchestra
EK-Bro_05-06_1 8/25/04 11:36 PM Page 1 2005-2006 2005-2006 TBA PAID PRSRT STD PRSRT U.S. POSTAGE POSTAGE U.S. ??????????? Special Tours Special Tours BOOTH Sherrie Maricle & DIVA The Jon Faddis Jazz Orchestra The Jon Faddis Jazz Orchestra - the jazz orchestra of New York - Paramount Days Revisited continues the mission and legacy of its predecessor, the Carnegie APAP Introducing new, exciting faces such as Special Guests Hall Jazz Band. As Gary Giddins, writing for The Village Voice (July including new vocalist Rachael Price. From the 1920’s 2002), declared, “In a rare battle of the bands ... the Carnegie through the 1960’s “variety” theater flourished – The Hall™ Jazz Band shellacked the Lincoln Center Jazz Orchestra.” The Paramount, The Apollo, The Capitol, The Golden Gate, CHJB’s legacy of artistic diversity, superbly adventuresome The Chicago Theater, The Strand, The Hungry I, The Bon arrangements and musical preeminence stands firm. From 1992 to Soir and more - vaudeville to television – a new singer, 2002, the CHJB, with Music Director Jon Faddis, regularly brought #112 (Jazz Instrumental Performances Only) comedian, dance act – all backed by a live big band – jazz to full houses at Carnegie Hall’s 2800 seat Isaac Stern shared the same stage. From the famous “two-a-day” Auditorium and around the world. at the Palace to Ed Sullivan, careers were made and new stars discovered! And now, the RETURN… The JFJO can create specialized programming, customized by Artistic Director Jon Faddis. Venues may choose the opportunity to develop entirely new programs (new commissioned works, particular themes or artists) or to draw upon the depth of unique existing charts (many premiered at Carnegie Hall). -
MCA-500 Reissue Series
MCA 500 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-500 Reissue Series: MCA 500 - Uncle Pen - Bill Monroe [1974] Reissue of Decca DL 7 5348. Jenny Lynn/Methodist Preacher/Goin' Up Caney/Dead March/Lee Weddin Tune/Poor White Folks//Candy Gal/Texas Gallop/Old Grey Mare Came Tearing Out Of The Wilderness/Heel And Toe Polka/Kiss Me Waltz MCA 501 - Sincerely - Kitty Wells [1974] Reissue of Decca DL 7 5350. Sincerely/All His Children/Bedtime Story/Reno Airport- Nashville Plane/A Bridge I Just Can't Burn/Love Is The Answer//My Hang Up Is You/Just For What I Am/It's Four In The Morning/Everybody's Reaching Out For Someone/J.J. Sneed MCA 502 - Bobby & Sonny - Osborne Brothers [1974] Reissue of Decca DL 7 5356. Today I Started Loving You Again/Ballad Of Forty Dollars/Stand Beside Me, Behind Me/Wash My Face In The Morning/Windy City/Eight More Miles To Louisville//Fireball Mail/Knoxville Girl/I Wonder Why You Said Goodbye/Arkansas/Love's Gonna Live Here MCA 503 - Love Me - Jeannie Pruett [1974] Reissue of Decca DL 7 5360. Love Me/Hold To My Unchanging Love/Call On Me/Lost Forever In Your Kiss/Darlin'/The Happiest Girl In The Whole U.S.A.//To Get To You/My Eyes Could Only See As Far As You/Stay On His Mind/I Forgot More Than You'll Ever Know (About Her)/Nothin' But The Love You Give Me MCA 504 - Where is the Love? - Lenny Dee [1974] Reissue of Decca DL 7 5366. -
Cornbread (Blue Note)
Lee Morgan Cornbread (Blue Note) Cornbread Lee Morgan, trumpet; Hank Mobley, tenor sax; Jackie McLean, alto sax; Herbie Hancock, piano; Larry Ridley, bass; Billy Higgins, drums. 1. Cornbread (Morgan) 9:00 Produced by ALFRED LION 2. Our Man Higgins (Morgan) 8:50 Cover Photo by FRANCIS WOLFF 3. Ceora (Morgan) 6:20 Cover Design by REID MILES 4. Ill Wind (Koehler-Arlen) 7:55 Recording by RUDY VAN GELDER 5. Most Like Lee (Morgan) 6:46 Recorded on September 8, 1965 TV viewers of the 1965 World Series, if they weren't in the kitchen grabbing a beer between innings, most likely heard a finger-popping blues behind the automobile commercial. It was "The Sidewinder" by Lee Morgan. The use of jazz in TV commercials has both good and bad aspects. Here the music was being played faithfully to its fashion and, as such, was representative of Lee Morgan's new success. If the music from Morgan's albums subsequent to "The Sidewinder" has not been utilized by Mad Ave., it has been heard on the radio -- AM and FM -- and on many a home music system. These albums have enabled him to form his own group which has played in nightclubs of some of the eastern seaboard's larger cities. Lee, who had been with Art Blakey's Jazz Messengers from 1958 into 1961, rejoined Blakey in 1964 but 1966 found him on his own. In a June engagement at Slugs', tenor saxophonist Hank Mobley and drummer Billy Higgins were members of Morgan's group. Here, they are part of his recording group along with three others who are no strangers to their session-mates or Blue Note listeners: Jackie McLean, Herbie Hancock and Larry Ridley. -
Seven Lee Morgan Lessons Seven Lee Morgan Lessons
SEVEN LEE MORGAN LESSONS One of Philadelphia’s most talented offerings would have been 75 years old come July 10 th , 2013. The lessons we can learn from his work and his life have been deemed immeasurable. As the Philadelphia Clef Club Of Jazz and Performing Arts prepares to celebrate his having been part of our family, we thought the following might give Lee some new talking points as a sage at this age. Lee Morgan Lesson 1 : WHY LIMIT YOURSELF ??? “Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. Morgan also knew how to play the alto saxophone ”. Lee Morgan Lesson 2 ::: DON’T JUST HANG AROUND OTHER MUSICIANS; MAKE IT YOUR BUSINESS TO TOURTOUR,, RECORD, INSPIRE & MATURE WITH THEM. “His primary stylistic influence was Clifford Brown , who gave the teenager a few lessons before he joined the Dizzy Gillespie Big Band at 18, He began recording for Blue Note Records in 1956, Lee also recorded for a variety of labels, including Blue Note, Vee-Jay, Roulette, Jazzland and Trip eventually recording 25 albums as a leader for the company with more than 250 musicians ”, A SERIOUSLY SMALL SAMPLING of this list includes: Hank Mobley John Coltrane Art Blakey Benny Golson Wayne Shorter Bobby Timmons Jymie Merritt Billy Hart Grachan Moncur III Freddie Hubbard Wynton Kelly Paul Chambers Grant Green Herbie Hancock Reggie Workman Billy Higgins John Gilmore Stanley Turrentine Jackie McLean Ron Carter Joe Henderson McCoy Tyner Lonnie Liston-Smith Elvin Jones Jack Wilson Reuben Wilson Larry Young Clifford Jordan Andrew Hill Billy Harper Bennie Maupin Marold Mabern Mickey Rokey Freddie Waits Oscar Peterson Lee Morgan Lesson 333: NO MATTMATTERER HOW GREAT THE INFLUENCEINFLUENCE,, DON’T LET THEM INFLUENCE YOU WITH DANGEROUS, SSTUPIDTUPID HABITS LIKE DRUGSDRUGS.DRUGS ..