JUNE 2014 U.K. £3.50 DOWNBEAT.COM JUNE 2014 VOLUME 81 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes 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] Advertising Sales Associate Pete Fenech 630-941-2030 [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, 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. 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Box 11688, St. Paul, MN 55111–0688. CABLE ADDRESS: DownBeat (on sale May 20, 2014) Magazine Publishers Association. Á JUNE 2014 Drummer Brian Blade (center) with his bandmates in The Fellowship Band, On the Cover from left: Jon Cowherd, Myron Walden, Melvin Butler and Chris Thomas 26 Brian Blade & The Fellowship Band Seeking the Greater Good BY PAUL DE BARROS For Brian Blade, widely acknowledged as one of the top drummers in jazz, “fellowship” 26 isn’t just a word. It’s a creed. Features On the cover, Brian Blade & The Fellowship Band, from left: Chris Thomas, Jon Cowherd, Brian Blade, Melvin Butler and Myron Walden. Cover photo (and image above) shot by Daniel Sheehan in Seattle. 34 Rufus Reid Still Evolving BY ALLEN MORRISON 5-Star Review +++++ 38 Eric Alexander Chicago Sound BY PHILLIP LUTZ 44 Dave Styker Retro Vibe 55 Sonny Rollins 58 Eric Revis Quartet 61 Oran Etkin 67 Stacey Kent BY KEN MICALLEF 48 Indie Life Departments SPECIAL SECTION 95 37th Annual Student 8 First Take 55 Reviews 88 Toolshed Music Awards 10 Chords & Discords 82 Master Class 126 Jazz On BY BRIAN LANDRUS Campus 13 The Beat 84 Pro Session 130 Blindfold Test 20 Players BY JASON KORANSKY Dave Liebman Michael Dessen 86 Transcription Ark Ovrutski Bobby Hutcherson Jarekus Singleton Vibraphone Solo Anthony Molinaro 6 DOWNBEAT JUNE 2014 First Take BY BOBBY REED Visual Inspiration ARTISTS ARE SENSITIVE. Oftentimes, they are people who are particularly sensitive to surrounding visual stimuli. Just as music inspires visual artists to create, it’s equally true that visual art inspires musicians. In our interview with Rufus Reid (starting on page 34), the bassist-com- poser-bandleader reflects on the inspiration behind his latest album, a suite for large ensemble titled Quiet Pride: The Elizabeth Catlett Project (Motéma). While writing this extraordinary suite, he drew inspiration from the sculptures of artist Elizabeth Catlett (1915–2012), whom he befriended late in her life. Whenever I listen to Quiet Pride, I like to add another dimension to the experience by simultaneously studying photos of Catlett’s work. The CD booklet for the album includes photos of Catlett’s sculptures, accompanied by Reid’s comments on compositions that were informed by specific sculptures. For example, his suite includes a movement titled Singing Head, and in his liner notes es- say, he comments on Catlett’s sculpture of the same name: “This sculpture portrays the original musical instrument, the voice. Here, the a cappella voice sings the theme directly into the interior of the piano, resonating its strings. The harmonic movement chal- lenges the improvising soloist to create additional melodies, finally returning to its simpler harmony.” On the album, the gifted vocalist Charenee Wade helps bring Reid’s vision to life in compelling fashion. Reid is hardly alone in his PHOTO: MANU SASSOONIAN, COURTESY OF THE JUNE KELLY GALLERY, NY quest to use visual art as what I Singing Head (1980, Black Marble, 16 x 9.5 x 14.25 inches). like to call “nutrients” for making © Catlett Mora Family Trust/ Licensed by VAGA, New York, NY. music. In our interview, he nods to a project that paved the way for him: saxophonist Jane Ira Bloom’s 2003 album Chasing Paint, influenced by the paintings of Jackson Pollock. Trombonist Michael Dessen (the subject of a Players profile on page 20) has written an album titled Resonating Abstractions (Clean Feed) that was in- spired by the work of seven contemporary abstract painters: Beatriz Milhazes, Allison Miller, Tomoroy Dodge, Jonathan Lasker, Mamie Holst, Julie Mehretu and Odili Donald Odita. Elsewhere in this issue, our interview with Erik Fried- lander (page 18) includes a fascinating discussion of the cellist’s new album, Nighthawks (Skipstone), which was informed by the work of painter Edward Hopper, who is best known for his 1942 painting Nighthawks. These connections help us to understand the ways in which art forms are constantly “speaking” to one another, as dancers are influenced by filmmak- ers, poets are influenced by photographers, and architects are inspired by chefs (and vice versa). It’s always enlightening to hear musicians talk about the music that they grew up with, but what’s really intriguing is to learn about the various works of art that have shaped them as adults. Whether musicians spend their spare time visiting art galleries or reading poetry, the ultimate goal, of course, is to get inspired to make transcendent original art. And great art should be tended to with tremendous care—as well as legal protection. On page 84, former DownBeat editor Jason Koransky of- fers a Pro Session essay titled “Let’s Get Along: How an Operating Agreement Can Reduce Band Conflicts and Resolve Legal Issues.” It’s a must-read for any aspiring musician who is considering a professional career in the music busi- ness. If you are on the verge of starting a band or self-releasing your debut, please read this essay. It could prevent you from making some very costly mistakes. And no one wants to be hampered with legal disputes that stand in the way of making transcendent original art. DB 8 DOWNBEAT JUNE 2014 Chords Discords Lloyd Hails Heath The Jimmy Heath cover story in your May issue was very touching and triggered a flood of memories. When I arrived in Philadelphia with Chico Hamilton’s band in 1961 or ’62, Jimmy Heath came to get me at our hotel and drove me around Philadelphia in his Tri- umph. He offered great camaraderie by taking me to his mother’s home, and it was such an inspiration to have one of the masters look me up. As a young person humor. (The whole Heath family is outrageous, growing up I had played some of his composi- and they’re funny storytellers.) He is a treasure tions, including “C.T.A.” It is important to know to the planet and has an encyclopedic knowl- your history, and he had grown up with Trane edge of what went on. and Benny Golson. When I moved to New York I’m a junior elder now, and I cherish the City, he gave me an Otto Link mouthpiece along memories and interaction I had with my elders. with great encouragement—always the teacher Long live the ever-youthful Jimmy Heath, and and scholar with wisdom and a great sense of God bless his contribution to our indigenous art form. He is a great soul. CHARLES LLOYD SANTA BARBARA, CALIF. Memorable Curriculum my little town in Southern Colorado. Jazz in In your May cover story, it was wonderful Colorado? You bet.