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Music Guide 13 the Beat 180 Master Class by ELDAR DJANGIROV 194 Blindfold Test Where to Study Jazz 2017 24 Players 182 Pro Session Dr October 2016 VOLUME 83 / NUMBER 10 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [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; Belgium: Jos Knaepen; 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 83, Number 10 is published monthly by Maher Publications, 102 N. Haven, Elmhurst, IL 60126-2970. Copyright 2016 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 September 20, 2016) Magazine Publishers Association. Á 4 DOWNBEAT OCTOBER 2016 OCTOBER 2016 ON THE COVER Marc Ribot, G. Calvin Weston and Jamaaladeen Tacuma at the Newport Jazz Festival in Newport, Rhode Island, on July 30. 30 Steve Turre Still Striving 38 BY PHILLIP LUTZ Hearing Steve Turre tear through tongue-twisting tunes on the trombone or tease out improbable tones from seashells, it’s hard to imagine him nearly 50 years ago paying his dues in a ragtag circus band. Looking back, the experience served him well, and he has run with it—to clubs and concert halls, where he has headlined and shared stages with jazz masters, and to the TV studio, where he has been in the house band at NBC’s Saturday Night Live since 1984. ADAM MCCULLOUGH Cover photo of Steve Turre shot by Jimmy and Dena Katz at Smoke Jazz & Supper Club in New York City on July FEATURES 12. Info for this venu is at smokejazz.com. 38 Marc Ribot Reconstructed Soul BY BILL MILKOWSKI 44 Warren Wolf For The People BY KEN MICALLEF 50 George Garzone 58 Steve Lehman 59 Ben Wendel 62 Uri Caine 66 Harold Lopez-Nussa The Renegade BY TED PANKEN DEPARTMENTS SPECIAL SECTION 8 First Take Håkon Kornstad 184 Transcription Rich Brown BY JIMI DURSO 10 Chords & Discords Corey Kendrick 75 Student 190 Jazz On Campus Music Guide 13 The Beat 180 Master Class BY ELDAR DJANGIROV 194 Blindfold Test Where To Study Jazz 2017 24 Players 182 Pro Session Dr. Lonnie Smith Kandace Springs BY DAN WILENSKY 6 DOWNBEAT OCTOBER 2016 First Take BY BOBBY REED HIROKI NISHIOKA Jamaaladeen Tacuma gets the party started in Tokyo. Merchants of Fun ABOUT 30 YEARS AGO, A FRIEND EXPLAINED TO ME THE RULES of a verbal sparring game in which participants engaged in fierce one-upmanship as they recited passages from Shakespeare. The twist? All dialogue had to be sung to the melody of “Meet The Flintstones” (aka the theme song to The Flintstones cartoon). Ever since that day, I’ve been intrigued by the idea of taking one aesthetic and filtering it through another. Lin-Manuel Miranda created one of the biggest Broadway sensa- tions of all time by taking aspects from the biography of Alexander Hamilton and merging them with a hip-hop aesthetic, intertwined with aspects of traditional musical theatre. In the wake of the enor- mous critical and commercial success of Hamilton, we expect other playwrights to incorporate rapped dialogue into future productions. (If you’re a Hamilton fan, be sure to check out the 4-star review of Tony winner Leslie Odom Jr.’s debut album on page 64.) A dozen years ago, the French band Nouvelle Vague made a splash by taking New Wave and alt-rock songs from the 1980s and perform- ing them in a bossa nova style. The band’s self-titled debut included renditions of songs by Joy Division, XTC and The Cure. By the time Nouvelle Vague was recording its 2009 album, titled 3, members of the bands being saluted actually joined the recording sessions. So Ian McCulloch, the lead singer of Echo & The Bunnymen, pitched in on Nouvelle Vague’s interpretation of “All My Colours,” a tune from The Bunnymen’s 1981 album Heaven Up Here. These types of mash-ups have been on my mind lately because of two jazz artists: saxophonist Jeff Lederer and guitarist Marc Ribot. As journalist Ken Micallef reported in our July issue, Lederer’s thrilling new disc, Brooklyn Blowhards, consists of 19th-century sea shanties as rendered through an Albert Ayler free-jazz filter. As journalist Bill Milkowski reports in this issue, Ribot’s new album by his band The Young Philadelphians, Live In Tokyo, takes disco tunes and Philly Soul nuggets from the ’70s and merges them with the aesthetic that Ornette Coleman pursued with his band Prime Time. The authenticity of Ribot’s project is undeniable because two members of The Young Philadelphians—bassist Jamaaladeen Tacuma and drummer G. Calvin Weston—are alumni of Prime Time. Lederer and Ribot offer music that stimulates the brain while also evoking lots of smiling lips and gyrating hips. For those who feel that music is supposed to be fun, the world of jazz offers plenty of advo- cates. You might have to search a bit to find these artists’ albums or to see them in concert, but your reward will be immeasurable. DB 8 DOWNBEAT OCTOBER 2016 Chords Discords Where’s the Crescent City? I picked up a copy of the August issue of DownBeat at New Orleans’ Satchmo Sum- merfest, and I enjoyed it very much. However, while reading the results of your annual Critics Poll, I was struck by the lack of recognition for artists who work in the birthplace of jazz. There were, of course, some votes for the great Marsalis brothers, but where were the votes for other great New Orleans-based artists, such as the Rebirth Brass Band and its all-world trombone player, Stafford Agee? And how in the dickens can any poll shut out artists such as Lucien Barbarin, Gregg Stafford, Kermit Ruffins, James Andrews and Aaron Neville? I was also stunned by the precious few votes received by other New Orleans greats, like Trombone Shorty, Dr. Michael White, Glen David Andrews and John Boutté. Are your critics actually missing out on the jazz renaissance that’s currently taking place in New Orleans? YOCEL ALONSO Kermit Ruffins SUGAR LAND, TEXAS album’s illegal status ought to be noted. Re- cord buyers would then be cognizant of that fact and could choose whether to support the bootlegger—or the artist. TERRI HINTE RICHMOND, CALIFORNIA 2 More for the Future The artists profiled in your July cover story, “25 For The Future,” were all worthy. Two more I would mention are pianist Tigran Hamasyan This One’s a Keeper and trumpeter Dominick Farinacci. We will be closely listening to these talented young men Having saved every issue of DownBeat for a long, long time. since 1968 and acquired older issues from a wonderful store in Chicago, I stopped saving BOB WALKER [email protected] them after moving three times around the country and Canada. Eventually, a need to downsize deprived me of my collection. However, the September 2016 issue of Happy Castle Dwellers DownBeat will be saved and cherished. The As an avid jazz fan (and DownBeat sub- Keyboard School section was superb, and scriber), I was disappointed to see that in Thomas Staudter’s and Phillip Lutz’s articles your February issue’s feature “193 Great Jazz on Carla Bley (“The Trailblazer Still Burns”) and Venues,” you failed to mention Caton Castle Kenny Garrett (“Get Up & Dance!”), respective- Lounge & Package Goods in Baltimore.
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