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Cadence the Independent Journal of Creative Improvised Music

Cadence the Independent Journal of Creative Improvised Music

The independent journal of creative improvised music

Volume 38 Number 2 April May June 2012

Cadence The Independent Journal of Creative Improvised Music

April - May - June 2012 ABBREVIATIONS USED Vol. 38 No. 2 (400) IN CADENCE Cadence ISSN01626973 is published quarterly online acc: accordion and annually in print by as: alto sax Cadence Media LLC, bari s : baritone sax P.O. Box 282, Richland, OR 97870 b cl: bass bs: bass sax PH 315-289-1444 bsn: cel: Email: [email protected] cl: clarinet cga: conga www.cadencejazzmagazine.com cnt: cornet d: drums Subscriptions: 1 year: el: electric First Class USA: $65 elec: electronics Outside USA : $70 Eng hn: English horn PDF Link and Annual Print Edition: $50, Outside USA $55 euph: euphonium Coordinating Editor: flgh: Copy Editor: Jeffrey D. Todd flt: Transcriptions: Colin Haney, Paul Rogers, Rogers Word Fr hn: French horn Services g: Art Director: Alex Haney hca: Crosswords: Ava Haney Martin kybd: keyboards Promotion and Publicity: Tiffany Rozee ldr: leader Advisory Committee: ob: oboe Jeanette Stewart org: organ Colin Haney perc: percussion Robert D. Rusch p: Abe Goldstein pic: rds: reeds ALL FOREIGN PAYMENTS: Visa, Mastercard, Pay Pal, and ss: soprano sax Discover accepted. sop: sopranino sax POSTMASTER: Send address change to Cadence Magazine, P.O. synth: Box 282, Richland, OR 97870 ts: tenor sax © Copyright 2012 Cadence Magazine tbn: Published by Cadence Media, LLC. tpt: All rights reserved. tba: v tbn: valve trombone Reproduction or use of contents prohibited without written vib: permission from publisher (except use of short quotes, please credit vla: viola Cadence Magazine). vln: violin vcl: vocal xyl: COVER PHOTO of Marvin “Bugalu” Smith by Ken Weiss

6 | cadence | april - may - june 2012 InsideNew Issues This Issue

Cadence Letter from George Haslam...... 26 Magazine George’s personal book shelf of artists. Editorial Policy Guest Column by Bernie Koenig ...... 28 Established in January 1976, Cadence Magazine Connecting the Dots Between Classical and Jazz Music. was a monthly publication through its first 381 issues Photo Jazz Stories (until September 2007). Les McCann ...... 33 Beginning with the October Ron Free ...... 34 2007 issue, Cadence NRG Ensemble ...... 36 increased in number of pages, changed to perfect Michael White ...... 36 binding, and became a quarterly publication. On Jazz Stories January 1, 2012 Cadence Transcriptions from audio and video recordings. Magazine was transferred to Lenny Marcus Trio David Haney and Cadence Obo Addy talks about his father, the Wonche ...... 39 SUN RAY - A Tribute to Media L.L.C. was born. Marvin “Bugalu” Smith: his days at Town Sound Cadence Magazine contin- Recording ...... 41 Ray Bryant ues as an online publication : on growing up in Brooklyn ...... 45 and one print isse per year. Buy Lenny’s CD at: Dave Frishberg: turning point in his life...... 49 www.lennymarcusmusic.com Cadence Media L.L.C. is proud to continue the poli- reccounts a story about Herbie Nichols.53 cies that have distinguished Jay Clayton: the loft scene in New York ...... 55 Cadence as an important David Liebman: on working with ...... 57 independent resource. : his early days in ...... 60 From its very first issue, Cadence has had a very open and inclusive editorial FEATURE policy. This open policy has Opeka Pende: Africa at 78 rpm ...... 62 allowed Cadence to pub- One hundred recordings available for the first time. lish features and interviews in which musicians, well known or otherwise, speak INTERVIEWS frankly about their experi- Nat Reeves (bass)...... 73 ences and perspectives on Rob Scheps (, flute) ...... 91 the music world; and to Johannes Enders (saxophone) ...... 100 cover and review all genres of improvised music. Short Takes ...... 10 Cadence essentially always Obituaries ...... 96 has been and remains “the Jazz Crosswords ...... 242 best independent maga- zine of Jazz, , and Creative Improvised Music COLUMNS that money can’t buy.” Papatamus...... 107 A collection from Robert Rusch of sometimes disparate material though generally relating to music recordings or performance.

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SHORT TAKES Slim’s Spins...... 124 Australia A column of independent observations from a jazz musicologist. One of the jazz world’s Slim and Him...... 128 most enduring institutions, Slim and Him’s eponymous weekly radio show on the Dutch Swing College WRCU, Radio Colgate University, ordinarily provides Band has just completed Slim with a platform to abuse Him fairly shamelessly. yet another very successful tour of Australia, beginning She is resolved to be better behaved in this column, with six consecutive nights since everything is recorded for posterity. at Tasmania’s Clarence Jazz Festival in Hobart, then DVD REVIEWS playing eight concerts all LONDON JAZZ over the country, with its almost unchanging per- sonnel comprising Cornelis HARMOS: LIVE AT SCHAFFHAUSEN, INTAKT DVD Hoogeboon trumpet, Bob A film by Jürg and Marianne Rufer...... 142 Caper clarinet, Frederik Kaatee tenor/soprano, Marits Woudenberg trom- CD REVIEWS bone, Ton van Bergeijk ban- - Winter Moon ...... 144 jo/guitar, Adrie Braat bass THE ABSOLUTE TRIO - A TROPICAL THIRST ...... 146 and Onno de Bruijn drums..... FRANK MACCHIA’S SWAMP THANG ...... 146 highlights in the Melbourne MIKE WOFFORD/HOLLY HOFMANN QUINTET - Jazz Cooperative’s January/February lineup TURN SIGNAL ...... 147 at Bennetts Lane include METTA QUINTET - BIG DRUM/SMALL WORLD ...... 148 pianist Luke Howard’s trio EDDIE DANIELS/ROGER KELLAWAY - 1/15 with Danny Faruggia LIVE AT THE LIBRARY OF CONGRESS ...... 149 drums and Jonathan Zion JACQUES LOUSSIER TRIO - SCHUMANN/KINDESZENEN ...... 150 bass, (the leader hav- ing recently returned to SOPHIE DUNER/CALLINO QUARTET - Victoria from Reykjavik), THE CITY OF MY SOUL ...... 151 another globetrotter drum- DWIGHT TRIBLE - COSMIC ...... 152 mer Aaron McCoullough ROSCOE MITCHELL - BEFORE THERE WAS SOUND ...... 153 with his quartet 1/24 with pianist Howard, Hugh NEIL YATES - FIVE COUNTRIES ...... 156 Stuckey on guitar and TOMMY VIG ORCHESTRA FEATURING DAVID Sam Zerna; bass- MURRAY - WELCOME TO HUNGARY! ...... 156 ist Nick Haywood launch- ELIZABETH! - BRAINCHILDREN ...... 158 ing a CD with pianist Colin GARY SMULYAN - SMUL’S PARADISE ...... 159 Hopkins, guitarist Stephen Magnusson and drummer WOODY’S DELIGHT ...... 160 Allan Browne 2/5, and on 3OFmillions - Abstruction ...... 160 2/12 piano icon Tony Gould Andrzej Serafin - L.S.D...... 161 with several favourite col- Daunik Lazro, Benjamin Duboc, Didier leagues including Imogen Manins cello, Tamara Lasserre - Pourtant les cimes des Arbres ...... 162 Murphy bass, Tony Floyd Kusiolek/Sjarov/Wojcinski/Kugel - drums, Rob Burke tenor and Nuntium ...... 163 singer Gian Slater; while Waclaw Zimpel, Pawel Posteremczak, Ksawery WOjcinski, Pawel Szpura - HERA ...... 164

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SHORT TAKES Marc Muellbauer’s - Kaleidoscope Journeyman ...... 165 Australia Tobias Hoffman’s Fallschirme Zwei ...... 165 Marco Colonna/Francesco LoCascio/Lillo at the Uptown Jazz Cafe in Brunswick, saxophon- Quaratino - Domino’s Tales ...... 166 ist Zac Hurren will lead SLIVOVITZ - Bani Ahead ...... 167 a trio including Sydney Spring - Slides ...... 167 pair of Phil Stack bass and ANDREA WOLPER - PARALLEL LIVES ...... 168 Evan Mannell drums on WESTCHESTER JAZZ ORCHESTRA - MAIDEN 2/25 and drummer Allan Browne’s quintet featur- VOYAGE SUITE ...... 169 ing guest vocalist Stella OSCAR PEREZ - AFROPEAN AFFAIR ...... 171 Browne, Eugene Ball trum- SHAWN MAXWELL - URBAN VIGILANTE ...... 172 pet, Phil Noy alto/baritone, KARI IKONEN & KARIKKO - THE HELSINKI SUITE ...... 174 Geoff Hughes guitar and bassist Nick Haywood on INDIGO TRIO & MICHEL EDELIN - THE ETHIOPIAN 2/28.....overseas visitors for PRINCESS MEETS THE TANTRIC PRIEST ...... 175 two concerts in Melbourne DEFOSSEZ/DEBAECKER/GOUBERT - POURQUOI were Joshua Redman TANT DE…? ...... 176 and at ELIFANTREE - LOVE & TREES ...... 177 the Recital Theatre 1/21, and Eddie Palmieri’s ANNE-FLORENCE SCHNEIDER - DONAFLOR ...... 179 Latin Jazz Quintet at JOAN STILES - THREE MUSICIANS ...... 179 the Hi-Fi Bar 3/3.....later KENNY WERNER - BALLOONS ...... 180 this month the twen- EVAN COBB - FALLING UP ...... 180 tyfifth annual Thredbo Jazz Festival will be held BRIAN MCCARTHY QUARTET ...... 181 in the Snowy Mountains FRANK WALTON SEXTET - THE BACK STEP ...... 181 from 3/23-3/25, with a RICK LAWN’S POWER OF TEN - LITTLE wide-ranging array of per- EARTH TONES ...... 182 formers headlining sax MATT WALSH ACOUSTIC QUARTET - A PART OF ME ...... 182 player James Valentine’s quartet and a host of well ENOCH SMITH JR. - MISFITS ...... 183 known Australians, includ- ORGAN TRIO - AT THE CROSSROADS ...... 183 ing drummer Andrew STEVEN BERNSTEIN’S MILLENNIAL Dickeson, trombonist Dan TERRITORY ORCHESTRA - MTO PLAYS SLY ...... 184 Barnett, guitarist James Muller and many others..... JAN KASPERSEN SEXTET - BLUES FOR A HIP KING ...... 184 after thirtye ight success- JAN KASPERSEN - MIND PICTURES ...... 185 ful years the Perth Jazz JAN KASPERSEN - PUBLIC PIANO ...... 185 Society is undergoing big ARMEN DONELIAN - LEAPFROG ...... 185 changes with an almost DAVI SINGS SINATRA - ON THE ROAD TO ROMANCE ...... 186 completely new com- mittee and alteration of TORONZO CANNON - LEAVING MOOD ...... 186 venue from weeklies at the SANCTIFIED GRUMBLERS - NO LIE ...... 187 Charles Hotel to monthlies BRUCE ARNOLD - THE ART OF THE BLUES ...... 188 at multiple venues around BRUCE ARNOLD - HEAVY MENTAL ...... 188 the inner city, the new president being pianist WOODROW T. GREENWICH/ARNETT BREWSTER - Johannes Luebbers.....pos- GREAT HOUDINI ...... 189 sibly the most internation- JASON STEIN QUARTET - THE STORY THIS TIME ...... 189 JASON ADASIEWICZ’S - SUN ROOMS SPACER ...... 190

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SHORT TAKES - TENDERLY ...... 191 NAT BARTSCH TRIO - SPRINGS, FOR ALL THE WINTERS ...... 191 Australia VEIL - PLAYS PORGY & BESS ...... 192 ally successful Australian FLORIANO INACIO JR...... 192 group to date, The Necks BILL O’CONNELL - TRIPLE PLAY PLUS THREE ...... 192 return from yet another sell out European tour to PAT BATTSTONE AND RICHARD POOLE - MYSTIC NIGHT ...... 193 cover their home coun- TRP (THE REESE PROJECT) - EVENING IN VERMONT ...... 193 try through February and KEVIN KIZER QUINTET - ASPECTS ...... 194 March, now with sixteen DARREN JOHNSTON’S GONE TO CHICAGO - THE BIG LIFT ..... 194 albums to their credit and still no personnel changes D3 + SAM MORRISON - OVER THE EDGE ...... 195 – pianist Chris Abrahams, TOM WETMORE - THE DESIRED EFFECT ...... 195 bassist Lloyd Swanton and PELOTON - THE EARLY YEARS ...... 196 drummer Tony Buck..... FABULOUS FABLE 4TET - EIN BERICHT ...... 196 the Jazz Groove group’s HARRY ALLEN WITH WARREN VACHE - RHYTHM ON THE third Summer Festival in Sydney 1/13-1/15 at eight RIVER ...... 197 different venues presented MICHAEL PEDICIN - BALLADS ...... 198 a quite wonderful roster SEBY BURGIO, ALBERTO FIDONE & PEPPE TRINGALI - of talent numbering over URBAN FABULA ...... 198 twenty groups of all sizes from established to cutting ANDREA POZZA EUROPEAN 5TET - GULL’S FLIGHT ...... 199 edge – just what Sydney POST JAZZ MISTRESS - GLOBAL WARMING ...... has needed for a consider- 200 able time – more power to LARA IACOVINI BAND - ‘S WONDERFUL ...... 200 Katalyst Entertainment its organisers.....more con- Bigoni, Solborg, Brow - Hopscotch ...... 201 presents certs from the Melbourne Dwight Trible "Cosmic" Jazz Co-op in March/April Goudbeck, Ninh, Jacqumyn - UWAGA ...... 202 – pianist Sam Keevers Necciari, Addabbo, Cohen, Petreni - Progetto relocated in Melbourne Original ...... 203 at Bennetts Lane 3/4 with Grutronic & - Together in zero old friends Ben Robertson bass and Dave Beck drums, space ...... 204 plus percussionist Javier Circulasione Totale Orchestra - PhilaOslo ...... 204 Fredes; 3/13 Italian saxo- Sin Lugar a Dudas ...... 205 phonist Mirko Guerrini Paolo Badiini 4et - Save the flag ...... 206 with Stephen Magnusson Simone Daclon trio - GROWING ...... 206 guitar, Frank de Sario bass and Danny Fischer visit- Fabio Crespiatico - Portraits ...... 207 ing from NYC on drums, Iskra 1903 - Goldsmiths ...... 208 while on 3/8 the Italian THE HAL GALPER TRIO - TRIP THE LIGHT FANTASTIC ...... 208 will close his Australian GREG BURK TRIo - THE PATH HERE ...... 210 visit with a sextet of stars, Paul Williamson trumpet, MARY LOUISE KNUTSON - IN THE BUBBLE ...... 211 Jordan Murray trombone, THE NEW WORLD JAZZ COMPOSERS OCTET - Tony Gould piano, Tamara BREAKING NEWS ...... 212 Also available: "Armageddon", Murphy bass and Danny RICHIE KAYE’S MUSIC & MIRTH ...... 214 "Kabalaba", Kahil Fischer drums. GRUPO FALSO BAIANO SIMPLICIDADE: LIVE AT YOSHI’S ...... 214 El'Zabar "It's Time" and many more HAMILTON DE HOLANDA & YAMANDU COSTA - LIVE! ...... 215 Alwyn and Laurie Lewis DICK WOOD - NOT FAR FROM HERE ...... 216 Distributed by City Hall Records TITO CARRILLO - OPENING STATEMENT ...... 217 14 | cadence | april - may - june 2012 Bob InsideInterview This Issue Hammer

SHORT TAKES NATE WOOLEY - THE ALMOND ...... 218 Belgium DEAD CAT BOUNCE - CHANCE EPISODES ...... 219 JOSH EVANS - PORTRAIT ...... 220 There are hard times ahead VON FREEMAN - HAVE NO FEAR ...... 220 for the Belgian jazz com- munity, since many of its JAN KASPERSEN SEXTET - BLACK RABBIT SUITE ...... 221 key players (mainly multi- HENDRIK MEURKENS - LIVE AT BIRD’S EYE ...... 222 disciplinary arts centres, JÜRG WICKIHALDER EUROPEAN QUARTET FEATURING some of which are also IRÈNE SCHWEIZER - JUMP! ...... 223 involved in CD-production) MARLENE ROSENBERG QUARTET - BASSPRINT ...... 224 are facing severe subsidy cuts. In the meantime, MARTIN SCHULTE NY QUARTET - PIECES OF ASTORIA...... 224 however, this tiny country DAN JACOBS QUARTET - PLAY SONG ...... 225 el remains a haven for avid LIZ CHILDS QUARTET - TAKE FLIGHT ...... 225 NEGOCITO concert goers, with more SAM FAZIO - THE SONGS WE LOVE ...... 227 venues than ever before Records programming the widest BILL BARNER - TEN TUNES ...... 227 variety of bands (though PETE ZIMMER - PRIME OF LIFE ...... 227 the experimental scene in JEREMY PELT - SOUL ...... 228 particular seems to ben- STEPHEN LEE - MUSIC IN THE KEY OF MY LIFE ...... 228 efit from this). In March, GLERUM OMNIBUS - PAPER MODELS ...... 229 De Werf, a long-standing venue in Bruges, offered /EDDIE GOMEZ/ - FURTHER concerts by John EXPLORATIONS ...... 229 Hollenbeck’s Claudia CHRIS BRUBECK’S TRIPLE PLAY - LIVE AT ARTHUR Gunter Hampel Quintet (March 15th) ZANKEL MUSIC CENTER ...... 230 and the legendary ROVA Saxophone Quartet (March MACHINE MASS TRIO - AS REAL AS THINKING ...... 230 A World of New Music 2nd). If anything, Bruce & - OBLIVIA ...... 231 Ackley (ss), Jon Raskin BORJA CAO - THE FUTURE IS GREEN ...... 231 from 1964 to Present on (bs), Steve Adams (as) and mU - sENSILENTI ...... 232 Larry Ochs (ts) proved THE ANT FARM QUARTET - LIVE ...... 232 that even thirty-five years birth records after its origins, the band’s RANDY SARLES & KELLY MEASHAY - THE INNER URGE ...... 233 remarkable concoction AKA R.C. - BLACK AND LOUD ...... 233 of compositional and CALLING SIGNALS ‘09 - A WINTER TOUR...... 234 LPS improvisational elements THOMAS HERBERER - KLIPPE ...... 234 remains unique and chal- lenging. pLEASE DON’T FEED THE MODEL ...... 235 CDs March was also the month FOURTH PAGE - BLIND HORIZONS ...... 236 of Chicagoan heavyweight McCORMACK/YARDE - PLACES & OTHER SPACES ...... 236 DVDs , who MAYA HOMBURGER J.S. BACH - SONATA IN C/BARRY played three wildly vary- GUY – LYSANDRA ...... 237 ing concerts in a mere two Concert Bookings weeks. His appearance at DANIEL ERDMANN/SAMUEL ROHRER - HOW TO CATCH A CLOUD De Singer in Rijkevorsel ...... 237 (March 3rd) with Free Fall ERIC GLICK RIEMAN - IN MY MIND HER IMAGE ...... 238 was a classy nod to the ALESSANDRO SACHA CAIANI - EFFETTO LU DICO ...... 239 [email protected] legendary album by the KEN ALDCROFT/WILLIAM PARKER - ONE SUNDAY ...... 239 Jimmy Giuffre Trio, with www.gunterhampelmusic.de Ingebrigt Håker Flaten SYLVIE COURVOISIER/MARK FELDMAN QUARTET - TO FLY, TO STEAL ...... 240 JIMMY OWENS - THE MONK PROJECT ...... 241 16 | cadence | april - may - june 2012 SHORT TAKES Buenos Aires

NEW CD by www.cadencebuilding.com Contributors ANTONIO ADOLFO Cadence Cadence Building A different Redwood, NY 13679 USA Brazilian Jazz taste lan Bargebuhr (CD Reviews) was born ph: 315-287-2852 SHORT TAKES For his new CD, Chora Baião, and raised in NYC and so was able to spend formative Antonio Adolfo, with his quintet, Jazz Belgium A chose to focus on the Brazilian f: 315-287-2860 years at Birdland under the existential guidance of Pee Wee music styles choro and baião. Besides his own compositions, [email protected] Marquette. Has been setting his opinions in expository prose Adolfo presents the works of (bass) and Håvard Wiik two brilliant and innovative Books for Cadence since 1983 with the exception of a year or two Brazilian composers: functioning as his Steve Chico Buarque and Guinga. during which his botched lobotomy almost healed. NEW TITLE: Swallow and Paul Bley. On Available on CDBaby, iTunes and all major websites AAM March 17th, Vandermark music www.antonioadolfo.info Death of a presented his brand new ntonio Bueno (Short Takes) is a music lover Wife by Grange `Lady album with the inter- A and collector living in Buenos Aires, Argentina. He On his new CD, Chora Baião, pianist/ Antonio Haig` Rutan national star-studded Adolfo and his quintet chose to focus on the Brazilian writes a blog about the city’s new music. Over 15 years in the Resonance Ensemble. music styles choro and baião—specifically, the works of The compositions were mak ing, this is the two brilliant and innovative composers, Chico Buarque and uncomfortable and tighter and more fleshed- ichael Coyle (CD Reviews, Slim and Him) Guinga, alongside Adolfo’s own compositions. often horrifying story out than ever before and M has taught Modernist Poetry at Colgate University of a Jazz life as executed with an amaz- for 25 years, and has been working as a jazz DJ for longer researched and told ingly colorful energy. This Chosen by The Latin Jazz Corner as by a wife who survived than that. Some of his writing about the music is academic, shouldn’t come as a sur- Latin Jazz Album of the Year an experience that prise with a line-up fea- some isn’t, but none of it is paid for. He co-hosts the weekly Brazilian Jazz Album of the Year left many devastated, and, in one case, dead. In a narrative as unique as the turing drummers Michael radio show, “Slim and Him.” Latin Jazz Pianist of the Year subject itself, Grange (Haig) Rutan of Montclair, NJ, Zerang and Tim Daisy, reed boldly tells all in a cathartic account of men Dave Rempis, Mikolaj ordon Hilton Fick (CD Reviews) is a www.antonioadolfo.info Al Haig’s life that is as unflinching as it is objective. $28 Trzaska and Waclaw jazz programmer with radio station CJSW 90.9 FM in Zimpel, tuba player Per- G ...... Ake Holmlander, trumpet- Calgary Alberta. He hosts a weekly Jazz show called ‘Lift The er Magnus Broo, trombone Bandstand’ on Wednesdays from 8:30pm to 10pm MT. In CURRENTLY AVAILABLE TITLES: virtuoso and addition, Gordon has been involved with Jazz as a producer bassist Mark Tokar. To top : autobiography : and as a promoter. Further, he has assisted with Calgary’s it off, Vandermark per- Walt Levinsky The Melody Lingers On ... The unabashed memoirs of Walt Levinsky formed a rare and inflam- Jazz festivals as a volunteer and as a board member. $19 Errol Parker A Flat Tire on My Ass $16 matory solo concert on the 18th (Parazzar, Bruges). avid Franklin (CD Reviews), who holds a Memoirs of a Musical Pesty Mystic $19 A few other interesting doctorate in music, is a saxophonist, emeritus music John LaPorta Playing It By Ear $19 events: Marc Ribot has a D AKA Doc Oral History of a N.O. Street Musician $16 new project, ‘Really The professor, and retired arts dean. A longtime contributor to Blues’, to pay tribute to numerous magazines, journals, and other media sources, he : faction : 50’s Chicago blues and has written for Cadence off and on since the mid-1980s. E.W. Russell Buddy Bolden Says $14 60’s soul jazz. Aided by JT : biography : Lewis (d), Brad Jones (b) eff Davies (Short Takes) is a bassist and writer liv- Jan Eberle The Eberle Named Ray $13 and multi-instrumentalist Carl Baugher Turning Corners: $14 and maverick impro- ing in Seattle, WA. J Grange Rutan Death of a Bebop Wife: viser Cooper-Moore (key- The Al Haig Story $28 boards), this will surely avid Dupont (CD Reviews) started writing become something spe- D live performances reports and book reviews for Cadence : discographical : cial. They will perform at Roger Wernboe Leeway: Vooruit in Ghent (March in the late 1980s, becoming a regular contributor in 1990. Discography $14 29th) and De Singel in He has also written about jazz for One Final Note, All Music Robert L. Campbell & Chris Trent Antwerp (March 31st). The Guide and the Vermont Vanguard. He has worked as a news- Earthly Recordings of 2nd ed. $61 legendary venue in Ghent paper reporter and editor in Vermont, New Hampshire, New : history : also invited pianist Craig York and Ohio. He is currently arts and entertainment editor Allen Lowe American Pop: From Minstrel to Mojo $19 Taborn (April 25th), who at the Sentinel-Tribune in Bowling Green, Ohio.

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SHORT TAKES appe Groenendijk (Short Takes) works as a J freelance writer and as an editor for the Amsterdam Music Belgium Theatre. He plays alto and .

seems to be among the most beloved rising stars eorge Haslam (letter from George Haslam) in the country. A bit more G is a saxophonist. For many years he has been an impor- traditional, but something tant contributor to the improvised music scene in Europe and to look forward to (keeping Great Britain in particular. He is the producer and owner of his charming Coltrane- SLAM Records. project in mind): vocalist José James will tackle the work of (AB, on Hearn (Short Takes) is a 60-something techni- Brussels, April 7th), while R cal writer from Vancouver, Canada. He has been a jazz C-Mine Jazz (April 13-14) lover since the mid-60s. As a teenager, he got bored with the in Genk, the earliest of the festivals, despite the large pop music of the day, so he first started listening to some of amount of only marginally his uncle’s old jazz 78s and then started buying LPs deter- jazz-related acts, also invit- mined find music that was more challenging and substantial. ed the Fly Trio, Miroslav He achieved that goal with his 3rd LP - A Love Supreme. Vitous and rising piano trio Phronesis. Brand new organization at Hinely (Jazz Stories, A Photo History), Sound In Motion makes P who makes his living as a photographer, is based in quite a first impression with Lexington, Virginia, has been photographing and writing a series of five concerts (all about musicians since 1971. organized in different ven- ues in Antwerp) gathered under the “Chicago Jazz arry Hollis (CD Reviews), Vietnam vet and Connection”-banner. Each L tenor saxophonist , has been a Cadence regular for over of the concerts features twenty years and has written liner annotation for many one or more musicians compact discs. He lives a life of quiet desperation in his home- from the fertile avant-jazz scene in Chicago. On town of Oklahoma City. April 25th, the Rempis Percussion Quartet – Dave avid Crawford Jones (Feature writer) is Rempis (), a freelance writer and historian living in upstate New bassist Ingebrigt Håker D Flaten and drummers York. He is currently pursuing a doctorate in African History and Tim from the University at Albany. Daisy – will undoubtedly play a rousing set of mus- ernie Koenig (Guest Column, CD Reviews, cular free improv. Two Short Takes) is a professor of music and philosophy at days later (April 27th), B vibraphone wizard Jason Fanshawe College in London, Ontario, Canada. He had two Adasiewicz will make his books published includinig Art Matters (Academica Press Belgian concert debut with 2009). He is also a drummer/vibist currently performing in a Sun Rooms, a trio featuring group and in an experimental group with electronics Nate McBride (bass) and (drums). Cello and acoustic percussion. player Fred Lonberg-Holm

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Contributors

SHORT TAKES tuart Kremsky (CD Reviews) is the former S tape archivist for the Concord Music Group. He con- Belgium tributes reviews to both Cadence and the Journal of the International Association of Jazz Record Collectors, and is bringing his band Seval wrote Cadence’s Short Takes from column for along, with guitar player David Stackenas (May 3rd). over 20 years. The stalwarts arrive at the end, as the Sonore on Lerman (CD Reviews) is a professional trio – Peter Brötzmann, saxophonist and woodwind player, arranger, and writer , Ken D Vandermark – will make a who has written for Cadence for several years. A native and much-anticipated appear- current resident of South Bend, Indiana, Don has also worked ance (May 21st) and drum- extensively in the Washington, DC area. mer Mike Reed reappears with his People, Places & lwyn AND Laurie Lewis (Short Takes) Things ensemble (Tim Haldeman (ts), Greg Ward AAuthor/lyricist Alwyn and husband saxophonist/ (as), Jason Roebke (b)), arranger/composer Laurie Lewis have been Australian with which he pays tribute correspondents for Cadence for over thirty years, broaden- to the early Chicago avant- ing their involvement with the first of over sixty interviews garde from the second half of the 50’s (June 1st). All appearing September 1990. Alwyn has written eight plays, a dates also feature open- novel, one book of short stories and two of jazz poetry, while ing acts presenting some Laurie has scored three feature films and several documenta- of the most adventurous ries plus countless arrangements for recordings and T.V., players from the local scene. Somewhat related, Kyle Bruckman’s Wrack hillip McNally (CD Reviews) When he’s not ensemble plays at Arts P fortunate enough to be in Italy, Phillip is listening to Center BELGIE (Hasselt), Jazz and Opera in the Pacific Northwest. May 5th. And of course, this is merely a superfi- cial summary, as a bunch ichael G. Nastos (Short Takes) lives in of smaller venues, such M Ann Arbor, MI., and is known for a nearly 40 year as La Resistenza (Ghent), career as a jazz radio broadcaster, primarily on NPR affili- Rataplan (Antwerp), ate WEMU, 89.1 FM. He is also a longtime contributor to Vrijstaat O. (Ostend) and Cadence Magazine as a reviewer and Detroit correspondent, Hnita Jazz (Heist-op-den- Berg), remain active as the All Music Guide, Coda, Down Beat, Hot House. He has well, with a combination voted in the Down Beat, Jazz Messenger and Village Voice/ of local talent and interna- Rhapsody Critics Polls. tional artists to discover.

Guy Peters obert D. Rusch (Papatamus) got interested R in jazz in the early 1950s and, beginning with W.C. Handy, has since interviewed hundreds of musicians. In 1975 he started Cadence Magazine, handing it over to David Haney in January 2012. He has produced over 600 recording sessions of unpopular music and currently paints unpopular canvases.

22 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 23 ColumnContributors Title

andy Smith (Short Takes) from SHORT TAKES R Washington State, Randy Smith has lived in Kobe, Buenos Aires, Argentina Japan since 1989. An English teacher by profession, he has contributed pieces on jazz for publications in the U.S., the The XV EDITION of the U.K. and Japan. BUENOS AIRES CLASSICAL CONTEMPORARY festival in November included lim (Slim’s Spins, Slim and Him) has listened to jazz Edgard Vareses´s works S her entire life, and has been writing reviews and observa- played at the Colon tions about a life in jazz since 1985. She also creates the art- Theatre, the marathon- work for the CIMP label, and co-hosts the weekly radio show, ic 24 hours/non-stop playing of Erik Satie’s “Slim & Him,” with Michael Coyle. piece ‘Vexations’ by 88 pianists and works by ichael Steinman (CD Reviews) has a Salvatore Sciarrino, James thriving jazz blog -- JAZZ LIVES (www.jazzlives. Tenney, Morton Feldman, M Christistian Wolff, pres- wordpress.com) -- with a global audience. And he brings his ent at the concert, and video camera wherever there’s creative improvised music. Argentine composers as Gerardo Gandini, Francisco effrey Todd (CD Reviews) is Associate Professor Kröpfl, Mariano Etkin, of German and French at Texas Christian University, Antonio Tauriello, Marta J Lambertini and Julio Viera. plays saxophone locally in the Dallas/Fort Worth area, and is 21st century classical a lifelong jazz fanatic. contemporary music was played at the Centro udwig van trikt (Interviews with Johannes Cultural de la Memoria Haroldo Conti, by La L Enders and Rob Scheps) is a freelance writer living in Compañia Oblicua. This , PA. He has contributed frequently to Cadence group presented a sin- Magazine, All About Jazz, and other jazz publications. gular work written by 27 composers. Each one en Weiss (Photos, Short Takes) has been docu- had a week to finish their piece (between 10 and 60 K menting the Philadelphia jazz and experimental music seconds long). This work scene with photography since 1992 and has written the was then forwarded to Cadence “Short Takes” column since 2003 as an attempt to the next musician, who defeat the conventional adage that, once played, the music is had total freedom to con- tinue as wanted. Each “lost to the air.” He has also completed numerous interviews composer was assigned for Cadence and Jazz Inside Magazine. with a number in order to preserve their anonymity. erome Wilson (CD Reviews) is a long-time Gabriel Paiuk´s work “El music, film and comic strip fan who works for the Navy Mismo”- for piano and ste- J reo soundtrack -was per- and lives in the Washington, DC area. formed by Bruno Mesz at Centro Cultural Recoleta. rad Winter (Short Takes) is a writer and visual On the jazz front we had B artist and is the owner/operator of Brad Winter Picture the monthly Pre 2012 Free Framing in Portland, Oregon. He was artistic director of the Creative Music Guild from 1988-2007 and remains active in promoting and documenting the improvised music scene.

24 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 25 Letter from George Haslam

SHORT TAKES George Haslam, saxophonist, and record Buenos Aires, Argentina producer, has called in to share some thoughts. To listen his phone call go to the audio tab at

jazz festival at El Support independent free press Archibrazo, presenting www.cadencejazzmagazine.com ¨Vientos Al Viento¨ a big wind ensemble which is still evolving and finding A Personal Muscial Bookshelf their voice. Trio Lucas is a group that blends jazz/ ouis Armstrong, , Count rock/ pop to free impro- LBasie, Gerry Mulligan, , visation, UNO X UNO by , Paul Rutherford, –a Carlos Alonso and Hector Ongarato (on electronics), list of names that sort of indicates a path players that have been through jazz, names that suggest the sort active since the late 60´s. of path I’ve taken during the past 60 years. II FESTIVAL de JAZZ Individual names that represent bigger areas EMERGENTE (Emerging jazz festival) was present- of the music. For instance, for Gerry Mulligan, ed at the Club Cultural read “West Coast Jazz.” For , Matienzo. read, “Big Band Jazz.” For Lester Young, The line up included read, “Everything that is good in jazz.” I real- Improvisadores Graficos ize some essential genres are missing, but (Grafic improvisers) with Ada Rave (alto sax), Hernán as I said, it’s a personal path that I’ve taken. Samá (tenor sax) Nicolás The important thing is that we don’t move Chientaroli (piano) Martín from one step to another, leaving behind our López Grande (drums), experiences, but we connect those experienc- their work is based on Cornelius Cardew Teatrise es like books on a shelf. One trumpet tone and other graphic scores. from Louis Armstrong, for instance La Vie Rodrigo Dominguez Trio: en Rose, still has the same thrill for me as Dominguez (saxophones), the impulsive piano chords of Mal. The path Mauricio Dawid (contra- that these greats have outlined also charts CADENCE MEDIA ONLINE bass) Guillermo Harriague Hours of audio and video interviews, plus the new quarterly (drums). Dominguez is my role from early days as a young jazz one of the best sax play- fiend, listening and enjoying it, through times CADENCE MAGAZINE in digital format. Also includes ers in town, they usu- when I would be making a close study of the an annual print edition and access to back issues at the ally play a free improv set. music of these musicians, and finally to those CADENCE MEDIA ARCHIVES. Nicolás Chientaroli Trio Never miss an issue. always plays some Ornette names that I had the fortune to work with. Coleman pieces plus their So what about today? It’s always much own compositions. The more difficult to step back and appreciate www.cadencejazzmagazine.com line-up is Chientaroli on events as they unfold, trying to sort out the [email protected] piano, Carlos Álvarez on wheat from the chaff, etc. It’s much easier contrabass, and Hernán 315-289-1444 Rodríguez on drums. when we have the benefit of hindsight and, of course, memories, but I have a feeling that Lowell Coxhill, Stefano Pastor and Ken Vandermark may be future additions to my personal bookshelf. George Haslam 26 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 27 ColumnGuest Column Title Bernie Koenig ColumnGuest Column Title Bernie Koenig

SHORT TAKES SHORT TAKES And then there is Festival Journey, a piece for symphony orchestra composed by Frederick Tillis with Max as Buenos Aires, Argentina Connecting the Dots Between Buenos Aires, Argentina Classical and Jazz Music soloist. Also to be mentioned is want to draw a number of comparisons between jazz Fabiana Galante (toy the 7th FREE JAZZ in piano), Jorge Mancini Iand as they both have evolved in the Jazz and blues, have had an enormous effect on all ORTUZAR, curated by Ada (voice), Wenchi Lazo (gui- forms of music. In the 1920’s classical composers such Rave. This monthly event past century. I do this from two different, but overlap- tar & metrónome), Adrián opened with Tatiana Castro ping, perspectives. One, as a classically trained musi- Fanello (contrabass), Omar as , Igor Stravinsky, Maurice Ravel and Mejía Group with Castro cian who primarily performs in a free form jazz band, Grandoso (trombone others were fascinated both by the syncopated rhythms & delays), Zelmar Garín on piano and composi- and two, as a professor of music whose first year col- of jazz and by blues harmonies. Ravel visited George tion; Abel Loterstein, gui- (percussion ). This Project Gershwin and they went to hear jazz, which led to lege students know virtually nothing about music except raises the challenge of tar; Maximiliano Kirszner, Ravel’s writing a piano concerto which not only used syn- contrabass; & Guillermo the genres of rock they listen to. coordinating a group of Harriague on druns. The musicians to play ordinary copation and blues harmonies but actually quoted from second set is always a jam, In order to show how the music they listen to is part of objects to be incorporated Gershwin’s Rhapsody in Blue. On the other side of the with th guests this time in instant music creation. the history of music, I try to draw some comparisons. I equation, we find people like Gershwin, Paul Whiteman being: Rodrigo Dominguez FESTIVAL NOSESO : Noseso and writing concert pieces which were (sax), Enrique Norris (cor- call Chopin the Paul McCartney of the 19th century, and is record label focusing in net & piano) and Juan Franz Liszt becomes Mick Jagger. But, more importantly, all kinds of unusual art- clearly influenced by European compositional styles. Bayon (contrabass) among I try to show how the Baroque orchestra functions like a ists from experimental to commissioned various works from clas- songwriters. This edition of others. rock or a jazz band. It was in the Baroque era that the sical composers such as Aaron Copeland. INSTANTES SONOROS the festival included R.I.O. scales and harmonies used today were developed. The Group from Honduras 2011: This festival runs the Later, composers and conductors such as Leonard second Sunday of every concept of a rhythm section also comes from that era. with Alejandro Leonelli month at Domus Artis. It So the bass with harpsichord is the rhythm section, the (bass, voice), Alex Kodric Bernstein used jazz in a number of compositions, and is a multidisciplinary arts orchestra constitutes the harmonic structure and the lead (guitar), and Nicolás Kodric even had The New York Philharmonic do improvisations. event that includes music (bass). The second set was lines are the melody carriers. This was in the context of his championing contemporary /dance/poetry/video/per- by POR NO (Video-score classical music, but it also showed his interest in jazz. formance & space inter- for 3 improvisers): Omar ventions. On December Jazz, of course, is an African-American invention. It uses Grandoso (visual com- excerps of ’s the harmonies of classical music emended with blues poser), Zelmar Garín (pre- In the 1950s we saw various jazz players such as Charlie pared objects), Roberto Cobra were shown on scales, which are a development of African scales, and Parker and Clifford Brown recording with strings. There is video while two ensem- Etcheverry (laptop), and the famous story when Igor Stravinsky went to Birdland in shifts the rhythm from the one, or , to eve- Grod Morel (live electron- bles prepared the music the 50s. Parker inserted a phrase from the Firebird Suite for this special event. SET ning out the beats and adding syncopation. Blues uses ics). I - Ensamble Bien Taipá: the African scales but also uses European harmonies. FESTIVAL A DOS into a solo. This is also the period when Agustín Genoud/ Leandro Thus, right from the beginning there were connections (Two Piano Festival) starts his serious composing. He had studied classical Barzábal (voice), Ceci This festival presented 7 between the two musics. Sometimes musicologists like to cello and bass and was familiar with developments in Quinteros/Guido Kohn shows during 4 days at classical composition in the 20th century. (), Javier Areal Velez/ emphasize the similarities between the two, sometimes Café Vinilo. At each con- Jorge Espinal (), the differences. For example, after entered cert two piano players with Amanda Irarrazabal / Manhattan School of Music he came to the realization different backgrounds By the late 1950s the concept of third stream music was played an improvised set. Luciano Vitale (contra- that there were two different approaches to playing. developing. We have working with The basses), Tatiana Heuman/ Classical contemporary Modern Jazz Quartet, George Russell writing his treatise “There’s a highly developed technique for playing black artists Marcelo Katz and Pablo Verón (drums) SET on modal harmony, and the two of them collaborating in II- Yarará: Andrea Fasani on music, and I imagine there’s a highly developed tech- Hilda Herrera, modern jazz graters orquestra, Juliana nique for playing European music….The two techniques pianists, Guillermo Klein & the great concert as Brandeis University in 1957, which Moreno on & toy are different.” (quoted in ’s Notes and Tones) Diego Schissi, and the featured third stream compositions by both classical and flutes , Yet, the music his groups played used European scales. jazz composers such as Russell, Harold Shapiro, Jimmy Giuffre, Mingus, Milton Babbitt and Schuller.

28 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 29 ColumnGuest Column Title Bernie Koenig ColumnGuest Column Title Bernie Koenig

SHORT TAKES SHORT TAKES been played, a structure is created, and all the musicians respond to that structure. Buenos Aires, Argentina But classical music and jazz really come together late in Buenos Aires, Argentina the century with developments in avant-garde aspects more traditional Guillermo of both musics. In the 1960s we see the rise of people JANUARY is summer vaca- One of the things I find interesting about free playing Romero and Hugo like Coltrane, and pushing tion time so things slowed is that, while it may have been an invention of African down a little bit. Fatorusso, (from the leg- the limits of tonality and rhythm. Taylor was classically American musicians, it seems to have really taken hold endary OPA group) were The highlight was the pres- some of the participants of trained as was his drummer, Andrew Cyrille. On the clas- ence of Japanese drum- in Europe, whether it is Peter Brotzmann, Derek Bailey, this wonderful gathering. sical side, we see compositions with random aspects, mer Sabu Toyozumi and or Evan Parker. This is especially true in Eastern Europe GRAN NOCHE due to the influence of John Cage. Musicians would be Austrian electronics player and Russia where classically trained musicians play jazz. SURREALISTA (Great Christof Kurzmann who But perhaps the most important figure here is Anthony given a score and there would be a conductor, but the has lived here for a while. Surrealist Night) - Theatre Braxton, who has really managed to bring European –Music-Dance –Videos musicians could read the music any way they wanted to Local guest players includ- Theatre and Dance was ­and they could play every other bar and come back and ed: Luis Conde on bari- composition and African-American improvisation togeth- performed by Nadia Cantó, play the in-between ones, they could read it backwards, tone & tenor saxophones, er. If Coltrane was important in extending traditional Alejandro Semerena and etc. bassist Adrián Fanello, harmonies by first stacking chords and then moving into Fernando Perales on pre- Estefania Revas with music scales, and then going chromatic, Braxton extends the by Diego López while pared guitar; and Wenchi Maria Eugenia Schlosser In Chicago, with the advent of the AACM we see both, Lazo on electric guitar and European compositional tradition that developed in the and Maite Escudero did a development of jazz composition with clear European effects. 20th century by Schoenberg, and perfectly blends it some ‘surrealistic narra- influences, and a more avant-garde approach to impro- RAVE/CHIENTAROLLI/ with African-American approaches to improvisation and tions‘. Carlos Alberto Murat ELSTEIN, with ‘Tango rhythm. visation. I have always seen developments in jazz as Contempo’ is an asso- was in charge of the video To try to bring out the similarities between avant garde selection. The music had somewhat paradoxical in that a music in which improvi- ciation of contemporary different approaches: sation is the heart of the music, and where improvisation tango players inspired by classical and avant garde jazz I play a number of pieces ROM is a duo by Omar is breaking all the old rules of harmony, we get more 60’s vanguardists Astor to the class asking if they can tell which are composed Grandoso and Roberto complex compositions, providing the more complex har- Piazzolla and Edgardo and which are improvised. Two of the pieces are: Risen Rovira. These players and Etcheverry on electronics monic structures for those improvisations. Like Venus from the Flatlands of Brooklyn, the first track and objects. Claudia Farias composers have been mak- on piano & poetry played ing some incredible music from Cruxes with Aurora Josephson, voice, with 2 basses songs from her new CD. By the time we get into the latter part of the 20th century in the last decade, many and percussion, and the first movement of Tempi E Maximiliano Lopez Barrios we see all kinds of musical experimentation. In the clas- musicians come from dif- Tempi by Elliott Carter, a piece for voice, oboe, clarinet, performed his ”Short ferent backgrounds (jazz/ violin, and cello. sical realm we get the influence of John Cage with the classical/rock) which has Concert for E-flat Untuned Josephson is a trained opera singer, using her voice in a Piano”, while psychedelic widespread use of randomness, and with use of elec- enriched the genre. This surrealistic space rock was tronics. Also important here are composers like Edgar month was the time for very unoperatic manner. I play these two pieces because performed by Vlad Tepes. Varese and Karlheinz Stockhausen. Varese’s influence is Quasimodo Trio, a cham- of the use of voice. Needless to say the students can- Art Rock / Free Rock & R.I.O. widespread, from the next generation of classical com- ber tango group heavily not guess which is composed or improvised. And that is influenced by modern jazz Music was represented posers to . Stockhausen’s influence is also my point. Jazz and classical music today use the same by the best two groups: and classical contemporary ‘Capitanes De La Industria’ widespread from classical composers to . music. Daniel Ruggierois musical materials. A well constructed improvisation will and ‘La Mujer Barbuda’. is the composer and the sound like a composition, and a fragmented composition The first has been active for Free jazz, and/or free improv, or however one classifies bandoneón player, Adrian will sound like an improvisation. almost 15 years and usual- Mastrocola on piano, and The point here is that 20th century classical music and it, also shows a wide set of influences. If we go back to Cristian Basto on contra- ly play a jazz have a great deal in common. They use the same set mixing rock, free jazz, Miles and Coltrane, and , with the introduction bass. funk, noise and others. of modal playing, we have moved from following chord materials, albeit in different, but in overlapping, ways. progressions to playing on scales, which is what classical Jazz lovers should listen to classical music and classical composers have always been doing. Free jazz appears Continued on page 39 music lovers should listen to jazz. Both groups may be to break all the rules, but once the second note has pleasantly surprised.

30 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 31 New Issues Jazz Stories: A Photo History

LES McCANN (b. 1935, Lexington, Kentucky) – piano Charleston, South Carolina, May 1988

Photo Credit: Patrick Hinely ©1988

ppearing at Spoleto Festival USA in reunion with (19 Ayears after the famed Montreux recording, their rendition of Eugene McDaniel’s “Compared to What” still set the stage on fire), the affable McCann is seen following the conclusion of a combination soundcheck and press conference at the Cistern of the College of Charleston, a sumptuous setting as long as it doesn’t rain. He was signing an autograph for a mem- ber of the media when some of his adoring public formed an impromptu queue. Long have I thought this situation could be akin to what the opening of MacBeth would look like if it had been written by Louis Jordan. Beware, Brother Beware...

32 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 33 NewJazz Stories:Issues A Photo History NewJazz Stories:Issues A Photo History

RON FREE (b. 1936, Charleston, South Carolina) – drums (b. circa 1956, Crawfordsville, Indiana) – bass, (b. 1955, Elmhurst, ) – saxo- Hot Springs, Virginia, July 2000 phone, (b. Harold Luttenbacher, 1926, Detroit, Michigan, d. 1992) – saxophone, drums, and leader of NRG ENSEMBLE

Berlin, Germany, November 1991

.

Photo Credit: Patrick Hinely ©2000 ntil Oxford American magazine commissioned me to shoot some portraits of Uhim for a piece by Sam Stephenson, I had no clue Free was living right over the mountain from me: he was the stuff of legend, an up-and-coming new player Photo Credit: Patrick Hinely © 1991 in 1950s New York who had mysteriously fallen off the jazz radar by 1960. We'd his performance at the Franz Club by one of Chicago’s wooliest free jazz actually met once before, when he was in the pickup band for Jay McShann at a groupings was for an ECM Records album debut party, eastward across Spoleto jazz picnic in 1985, on a plantation near Charleston SC, but we hadn't kept T town from NRG’s appearance at the concurrently-running JazzFest . While in touch. This time, we met up at an even grander plantation, The Homestead, a the clouds of cigarette smoke hardly smelled like incense, the light falling in prestigious old resort where Free has now been de facto drummer-in-residence for through the windows did make the place look like a cathedral, specifically that more than a decade. This portrait was shot in early afternoon in the dining room of St. Herman of Leonard. After the festivities had concluded, I caught a ride there, where, as Free puts it, he is paid several evenings a week under the jazz back with my fellow photographer, Berlin’s finest, Detlev Schilke, who drove us subsidy act, i.e., he is paid to not play jazz. I've been lucky enough to catch him back via the Brandenburg Gate, so when I passed through it for the first time, elsewhere and otherwise, in more jazz-opportune contexts, where he embodies a not only was I going from east to west, but was riding in a Trabant. This photo protean, ego-free ability to let less say more. appeared as the back cover of the CD booklet for The Hal Russell Story, ECM 1498.

34 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 35 NewJazz Stories:Issues A Photo History NewJazz Stories:Issues A Photo History

MICHAEL WHITE , July 2004

his was shot during one of the periodic reunitings of John Handy's T1965 Monterey quintet, which, luckily for me, recur occasionally enough to warrant rehearsals, this one on a midweek afternoon at the Iridium, near Times Square, at that time one of New York City's premiere rooms for many American artists who more often play overseas. We see White between the neck of Jerry Hahn's guitar and the bass of Don Thompson (the unseen band members being saxo- phonist/leader Handy and drummer Terry Clarke). Finally meeting up with White completed a quest for me: it took more than 25 years to catch up with everyone who had been a member of The Fourth Way, that quartet in many ways the West Coast's predecessor to Weather Report. White can assay a sound of lace filigree that has the strength of tempered steel, and it was a delight to hear him participate in this elevated conversation among friends of long standing.

Photos and captions by Patrick Hinely

Patrick Hinely, who makes his living as a photographer, is based in Lexington, Virginia, has been photographing and writing about musicians since 1971. All images are © by Patrick Hinely, Work/Play® in the year {of their creation. All were published in JAZZ CALENDIARY 2008, by JazzPrezzo/Nieswand, Germany (ISBN 978-3-9810250-3-3)

Photo Credit: Patrick Hinely ©2004 MICHAEL WHITE (b. 1933, Houston, Texas) – violin

36 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 37 Jazz Stories Obo Addy

SHORT TAKES Buenos Aires, Argentina

FEBRUARY had some inter- esting shows begginning with some new contem- porary jazz groups such as Pipi Piazzolla’s new trio with Lucio Balduini, guitar and Damian Fogiel, tenor sax. Ensamble Real Book Argentina is a big band created to permit their members to play their own specific compositions. Musicians and arrangers rotate to make the collec- tive project work.

February ended with some sad news: the death of one of the most influ- ential and talented rock musicians: composer/ poet/guitarist Luis Alberto Spinetta. Pioneer in the Obo Addy, Master Drummer: Obo’s late sixties with his rock father, a wonche, or medicine man taught group Almendra, and well known by his extraor- Obo about drumming. Recorded on August dinary Art/Rock groups 5, 2011. To hear Obo’s video interview go to www. Pescado Rabioso, Invisible cadencejazzmagazine.com and click on the video tab. and Jade. He was heavily influenced by writters as Artaud, Foucolt and local i, my name is Obo Addy, from Ghana. Ghana is avant-garde poet Oliverio Hon the west coast of Africa, but I’m residing here Girondo. Spinetta created in America. I’ve been living here for more than thirty his very own universe and years. I came here in 1978, to Portland. wrote some of the most My work is entertaining people. I play music, and beautiful songs. The tal- ent and honesty which compose music. I play the drums, I tell people that. impregnated both his People ask me: what do you do? People who saw music and personal life, me just finish playing, and then they’ll come to me has influenced different and say “well, what do you do?” I say, “what do you generations of musicians from fields as diverse as mean? I play the drums.” And they say again “What rock, jazz, folklore and do you do?” I say “What’s the matter with you? I said even experimental and I play the drums.” “Oh you know, I play the guitar classical contemporary too.” I said “You are different, mine is to play the music. He will be missed. drums and that’s what I do.” I think there are people

Antonio Bueno who don’t think you can make a living out of playing the drums. So that’s why they try to tell me “Go get a

38 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 39 Jazz Stories Obo Addy ColumnJazz Stories Title Marvin “Bugalu” Smith

SHORT TAKES job” (laughter). They want me to go get a job but I said SHORT TAKES Kansai, Japan no, this is what I do; this is what I’ve been doing all my Kansai, Japan life. The name “Kansai” refers I was born into it, you know. My father was what Mitsuoka (b) and Yoshihiko to the region of south- Americans would say a medicine man, but we call it Kitamura (d), at Basin western Japan home to the Wonche. Wonche means “Father of the Spirits”, and Street on the 24th, and major cities of Kobe, Osaka, they heal the sick. They possess some spiritual thing then at Great Blue the fol- and Kyoto (and a host of lowing night. Breakstone smaller municipalities). and you can call it a “demon” comes on them or comes is a modern-mainstream This area supports literally on him and he will heal the sick or tell the future, what jazz guitar master whose dozens of clubs, live hous- will happen. And celebrations are performed by drum- personal sound combines es and concert halls which intelligence with heart in a feature various styles of ming, dancing, and singing. And my father married ten women, he was busy round there, married ten women way that engages the mind jazz and improvised music. while keeping the head Rather than provide a list- and, all the sisters are all good dancers, good singers, bobbing and the feet tap- ing of names and venues, I and all my brothers are all good musicians and drum- ping. Check out his record- prefer to bring a bit of con- mers. I have brothers all over. Two, three brothers in ings on Capri and various text to those performances the ; I have some in Europe. I have neph- other labels. which engage my interest, Another good straight- and hopefully will appeal ews, all playing drums. We started it; they came to join ahead jazz guitarist is to readers as well. us. So this is what I do, this is who I am and what I Kobe-based Hideaki Although protracted eco- am. I do music. Tokunaga. Tokunaga lived nomic woes have reduced in for a number the ranks of visiting over- Through my drumming, you know, somebody would say, “Oh so you are drumming and you say you com- of years and appears reg- seas musicians, some still ularly in the Kansai area. manage to make their way pose songs, yeah?” “Of course, yes.” My father taught On February 15th he per- to these shores. Jersey- us how to watch and listen through drumming. You formed a no-holds-barred based guitarist Joshua know, my father took a drum and he say “well take a trio date at Alo Aro Café Breakstone tours Japan drum”, raise up his hands to play. And I have to have in Sannomiya (down- nearly every year and has town) Kobe with exciting built a solid network of the imaage in my mind to play with him, the phrase Nagoya-based Hammond musical connections in the that he’s gonna play. Yeah, play with him, not play after organist Junichi Naruse Kansai. On March 19th he him or before him. No, no, no. He raise his hands and and Hidenori Sato (d). Photo Credit: Ken Weiss plays Crescent in down- On the 17th, he played town Osaka with Masahiro look at me: I said, “I don’t think I can do it now.” I was then six years old, eight years. He said, “I’ll teach you Tsukikago (a shabu-shabu Marvin “Bugulu” Smith, drummer, talks Munetake (b) and veteran restaurant) in Amagasaki, Osaka drummer, Toshiyuki to be able to pay attention and also watch somebody about working for Town Sound just west of Osaka, with Recordings. Azuma. On the 21st he who is talking to you or teaching you something. And 10-year-old prodigy Neo moves to Jazz-ya (near that’s how all of us, that’s how we, even go to school: Yamada on the Hammond. Tenma Station) in Osaka, we didn’t. Most of my brothers didn’t go to school very (Are musicians getting Recorded on December 5, 2011. To hear Marvin’s with Kenta Sasaki (b) and younger, or am I just age- phone call go to www.cadencejazzmagazine.com and Azuma again on drums. much, but they speak English; they learn it the same ing? Either way, Yamada click on the audio tab. On the 22nd and 23rd he way: they learn it. They look at somebody’s face who’s bears watching.) has two gigs in Kyoto with talking, the mouth, and learn how to do everything. And This youngster is the Masako Hirakawa (b), first latest in a procession of got left back a few times because of this dyslexic at Coffee House Beerbar learning through that, I was able to learn how to put I the sounds together to form a composition all the way Hammond organ special- thing, and because the teacher that I was—I got and then at Pub Dannke. ists spawned in Osaka, a After that come two shows to what you call a symphony of music. Of course, I hire left back on purpose because I found a friend in this city many locals consider teacher. Her name was Ms. Jackson, and she was at downtown Kobe clubs some people to write it down, notation, staff notation. the funk capital of Japan. with Naoki Yeah, so this what I do. Indian. Not Indian, like “Ravi Shankar” Indian. She

40 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 41 Jazz Stories Marvin “Bugalu” Smith ColumnJazz Stories Title Marvin “Bugalu” Smith

SHORT TAKES was like what people would probably think Pocahontas SHORT TAKES at the pet shop, or get me a job at the auto mechanics Kansai, Japan looked like. I mean, maybe Pocahontas was some Kansai, Japan shop because I don’t know anything about cars, and I ugly-ass woman, but when they depict her, if they ever don’t want to know anything about cars. What I want hoards most of the depict Pocahontas, she would probably be almost like a organist, Akiko Nakazaki, to do is play drums. I’m going down there to Town big names and the pres- Marilyn Monroe-type looking woman, but be Indian. So lights up the afore-men- Sound to fill me out an application to get me a job as a tige, but Osakans enjoy a I got left back in the second grade because I found this tioned Tsukikago on March sweep-up man, and the go-get it, go-get-the-hamburg- “nothing to prove” atti- kinship with this woman. 23rd. Then on April 20th, er man, go-get-lunch man, and the switchboard man, tude which often brings Midori Ono—yet one more out the best in people, art- of Osaka’s Queens of the because one day there’s going to be a hole in there, ists included. So who are How I went to Town Sound’s recording studio... B3—holds court at the and somebody’s going to say, ‘Bugalu, I heard you play these organists? Many are When I got to high school, they had what they called same venue. Midori favors drums. We got an opening. Somebody didn’t come. women. One who might work-study, and I remember I couldn’t wait to get to be a bluesy approach which Drummer didn’t come. We heard you play drums. Can be known to readers based typifies the funky Osaka in the New York City area is a senior because when you got to be a senior—I saw sound. She performs with you come upstairs to the studio and play drums?’” Akiko Tsuruga, who moved the seniors go to school at 8 o’clock in the morning, like a trio featuring the ubiqui- permanently to the Big everybody else, but 12 o’clock when people took their tous Yutaka Hashimoto on And I knew that I would say yes, but until that time, Apple some years ago and lunch, I saw these seniors get in their car and leave, guitar. I was running the switchboard in the studio, and I continues to work regular- and I didn’t never see them come back until the next A keyboardist of quite was going to get them lunch, and I was sweeping up, ly there. Among the best a different stripe is pianst/ of those who have stayed day. So when I got to high school, I asked a woman, composer/bandleader and I was cleaning toilets, and I was doing anything put is Atsuko Hashimoto the counselor, “Well, what is that thing when I see Satoko Fujii, whose record- I could. I just wanted to be in the building. So I got who burned through seniors going out and getting in them cars and leaving ings have often been the job, and I did all that, and then one day, Bernard another of her scintillating and I don’t never see them till the next day?” And they reviewed in Cadence Purdie, one of the famous drummers, he used to live trio gigs at Rug Time Osaka (my interview with her (Shinsaibashi) on January said, “They’re doing work-study.” And said, “Well, what appeared in the Jan.-March in Teaneck and I lived in Englewood. Bernard couldn’t 16th, with her husband is work-study?” They said, “Well, you go to school in 2009 issue). Satoko divides come to the gig, couldn’t come to the recording studio, Yutaka Hashimoto (g), the morning, and then you go to work in the afternoon most of her time between and they said exactly what I thought they would say, and Toshiyuki Azuma (d), at some job that’s in the town, and then you get your residences in Berlin and “Bugalu,”—Marvin—well, I wasn’t named Bugalu then; and a special guest from grade from that.” her native Tokyo, though I hadn’t gone to Europe yet. But, “Marvin, we heard Tokyo, Hideki Kawamura she has strong musical ties (ts). She was back at Rug to the Kansai and lends her you played drums. We got to make this session. The Time on February 21st, So when I got to be a senior, they opened a record- considerable talents to this musicians are up here. Can you come up and play again with Yutaka and ing studio in my hometown, Englewood, New Jersey. area at least once every drums?” And I threw the broom down, and I threw the expat American drummer, It’s very famous, big people lived there: , year. She is usually accom- switchboard down, and I went up to Studio A, and I sat Dylan Hicks. On February panied by her husband, 27th she had another trio Sarah Vaughan, George Benson. They lived on what trumpeter Natsuki Tamura. at the drums, and I played my first recording date. gig at Jazz on Top (Umeda, they called a hill. We called it the Englewood Cliffs, A classically trained pia- Oska) featuring Yutaka and and it’s up in the mountains, and the houses up there nist, Fujii challenges audi- And after that, they never asked me to go back to master drummer Fukushi are big mansions and stuff. Anyways, Town Sound ences with the imaginative the broom or nothing, none of that. I never did none of Tainaka. Tainaka tours opened this—it’s called Town Sound because it was sweep of her sound cre- that no more. I was actually playing drums, and I loved his native Japan at least ations in aggregations of once a year while taking a man named Ed Townsend. He’s very famous and varying sizes and instru- it. I was in school in the morning, doing regular stuff breaks from his busy New ended up in Hollywood and all that, but he opened this mentation. Indeed, she that you did in school, and 12 o’clock, I was in the stu- York City schedule where studio up, and I knew it was down there, so I said, pushes the boundaries of dio, and it was a professional—it was the only profes- he is known as long-time “You know? I want to be a drummer.” what many people consid- sional wooden studio—it was made out of wood, which drummer of choice for the er music, whereby sounds Quartet. as mundane as fingers is a good thing to make a studio out of all wood—and Looking ahead, another I had to be about sixteen or seventeen at the time, scraped along a low ceiling everybody from to Wilson Pickett record- female Hammond “I want to be a drummer, and the way I can be a drum- or a metal canister rolled ed there, and I was the drummer on a lot of those cuts. mer,” to continue this, “I don’t want to go get me a job

42 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 43 Jazz Stories Marvin “Bugalu” Smith ColumnJazz Stories Title Andrew Cyrille

SHORT TAKES So that’s where I learned about the recording con- SHORT TAKES Kansai, Japan sole, and I always made friends with the engineer, and Kansai, Japan we had a great engineer named Frank Clock, who later along the floor contribute became to the engineer of the Crusaders. They used musical activities, he often to her sonic sculptures. As to be called the Jazz Crusaders, but then when they plays at the recently- part of her “Hakidame ni wanted to get into more popular music, they dropped reopened restaurant Azul Tsuru” (literally, “a white the jazz part out of it and just called themselves the in central Osaka where crane in a rubbish heap”) he performed February Japan tour, she has two Crusaders. 2nd with a trio featuring Kansai dates with a quartet Tetsuro Aratama (b), and backing percussive dancer, So that engineer was a good friend of mine. I his longtime musical part- Mizuki Wildenhahn (the worked under his guidance—I mean, it wasn’t really ner, Larry Marshall (d). On crane). The musicians (rub- the 16th he accompanied bish heap) are Tamura (t), like he was giving me lessons; we were hanging, we vocalist Kaoru Azuma. Yasuhiro Usui (g), Fujii (p), were hanging out in the studio, and I was the drummer March 1st he backs Satoko and Takaaki Masuko (perc). and he was the engineer. Later when he left and went Kodama (vo), and on the On March 25th, they play with the Crusaders my mother wouldn’t let me go to 15th, Yuko Usui (vo). He “nu things” in Kita-ku, California when they invited me, another engineer came returns with the trio on the Osaka, and on the 26th, 29th. move to Kobe’s Big Apple, in, and his son was very famous. On March 25th the about the only club in this above-mentioned rather musically-conserva- I’ll tell you his name, Orville O’Brien, but his son Hashimoto team join many tive city which offers lis- later became Master G of the Sugar Hill Gang. They other Osaka artists for the teners something beyond annual OCAT Jazz Festival. Dixie, swing, piano trios, had a hit record, they had many hit records. They had Located in the Namba dis- or hard bop. Fujii returns a hit record called “Rapper’s Delight.” That was the trict near the city center, to Big Apple on April 4th first group to do rap in Englewood, New Jersey, and the OCAT (Osaka City Air for one performance of they were very successful, and they did it from a studio Terminal) event marks the her very exciting 14-piece start of the spring festival called All-Platinum Records. Was on Palisade Avenue Photo Credit: Mark Ladenson Satoko Fujii Orchestra season as scores of cherry Kobe (featuring Tamura on Rcords. And they later became known as Sugar Hill, trees don their incompa- trumpet). Her big band owned by Joe and Silvia Robertson, and Silvia just died rable raiment. Stay tuned Andrew Cyrille, drummer, talks about his shows always prove event- a couple of weeks ago. for details. early days in Brooklyn, NY. ful. Among the many fine Randy Smith Recorded on July 27, 2011 in Rossie, NY. To view jazz pianists who prolifer- So I was around all those people all my life, and ate in the Kansai, one of I learned the recording engineering, and now, when I Andrew’s interview, go to www.cadencejazzmagazine. the very best is American look back at it, it’s really strange that I’m the CEO of com and click on the video history tab. expat Phillip Strange who the 48-Track Studio. So, I mean, my life is almost like demonstrates rare sensitiv- a fairy tale, man. am Andrew Cyrille, and I was born in Brooklyn, New ity as an accompanist and I swings rhapsodically at York, USA. faster tempos. Originally Jazz Drums was a meeting jazz drummers who came to from Arizona, Strange has help the kids, of which I was one, in the drum and bugle worked with numerous taintradio.org corps back in Brooklyn, New York, and people like Willie jazz luminaries in Asia, Jones and Lenny McBrown, and there was Lee Abrams; Europe and the United JazzWeek Internet Station States and now calls Osaka Willie Jones used to play with him, Lester Young, and home. Among his many of the Year 2011 Lee Abrams played with . I think he played with Lester Young, too, if I’m not mistaken.

44 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 45 Jazz Stories Andrew Cyrille ColumnJazz Stories Title Andrew Cyrille

Willie Jones played with Monk, also. And Lenny Parker; Duke Jordan, the piano player, and , SHORT TAKES McBrown did a lot of work with Paul Bley, or had work SHORT TAKES and I started doing gigs with some of the kids my age in Philadelphia, PA with Paul Bley, pianist, and also he had done something Philadelphia, PA the neighborhood who were playing music, and we used later in his career with Jon Hendricks. One they did, to play parties and things like that. Chris’ Jazz Café ended the Blues for Mr. Charlie. I think he was the drummer in the packed house to claim, year strong, their weekday for me, acknowledge- shows featured more plum orchestra. I think they were out in California, if I’m not ment as top-gig-off-the- And the thing that kind of really turned me on, as far hits such as regular appear- mistaken. I know that’s one place that they were, so year honors. No listener as really wanting to get into the arena of playing jazz ances by Orrin Evans and maybe they did some other traveling. would have guessed that was Gigi Gryce. I remember seeing him at a club in his Captain Black Big Band. the participants were so Rising star, Israeli bassist So just being around those guys, and they began telling Brooklyn called the Continental, and he had a band me that there were other ways to play drums, other than exhausted that they slept there. I can’t remember the names of everybody. I Omer Avital and his quartet on couchy chairs for a (Jason Lindner, p; Matan being, you know, in marching band. And they taught few hours before the set remember the drummer’s name I think was Bobby Chapnizka, ts; Daniel me about people like Max Roach and Shadow Wilson, (Ribot and electric bassist Richardson, and the bass player was Michael Meadows. Freedman, d) played 11/16 , and people like that. And of course, too, I Shahzad Ismaily at least – I can’t tell you if Gilly Coggins was the piano player or (a Wednesday) as part of used to see Benny Goodman with Gene Krupa. Krupa there were mixed slumber not, but I can’t remember who the piano player was. the Israeli JazzPhest. Avital reports on drummer Ches had played the venue the was, you know, a big star at the time because Goodman Smith). The unassuming , somebody, and then there was Gigi previous month as part of was a big star, and Krupa was doing all those solos Ribot, a favorite of rock- Gryce, and I remember seeing Gigi, and he was just so the Aaron Goldberg Trio like “Sing, Sing, Sing.” Things like that. And of course ers Tom Waits, Robert dapper and intelligent-looking, and he would play the but this was his first oppor- Plant and Elvis Costello, tunity to present his own there was Buddy Rich; he was there also. Just being music and I would hear all of these sounds, etc., and I able to see those guys, hear about them, and look at initially addressed the would say, “How you are you making that sound? How vision in the city. His sec- crowd, saying, “Welcome ond set provided insight how they played the multiple percussion set, the drum to our record release are you doing this? How do you know when to start and into his modern amalgam set, you know, with the two feet and the two hands. party, the only thing is stop?” And the other part of me said, “Gee, they look of influences and lyrical That of course interested me to try and find out if I could that we forgot to release like they’re relatively successful. I think if I pursued that, mindset. It was uniformly do that, so they started showing me certain things to do a CD!” Ceramic Dog was I could probably make a living.” [LAUGHTER] tight, with each member an explicit mess of musi- adding strong statements with my feet, et cetera, in relationship to my hands. cal motifs and themes that and ended with two high- And one thing about the Drum and Bugle Corps, though, passed each other on the So that kind of triggered my appetite for jazz, and at the lights – a new tune, most it was really good because it was a very basic kind of fly, punk replaced coun- same place I would see people like Jackie McLean, you likely destined to be called trified rockabilly, modern “Tang,” which included application of learning rudiments, and rudiments are know, with Pete LaRoca, and who else? It was so long sticking patterns, you know, for drummers. And it’s a Jazz replaced thrash rock, ago—Pete LaRoca was the drummer, who could have Freedman’s killin’ backbeat which replaced a short and a segment of bass and series of twenty-six that were defined by the National fragmented Ayler quote, been the bass player? Maybe Spanky DeBrest. Some drum that got funky crazy. Association of Rudimentary Drummers, back in the 20’s, which replaced noise, and of those people, I can’t tell you exactly. Prior to that, an unnamed I think. But anyway, being able to play the rudiments, so forth. Nothing stood on But anyway, that’s the thing that kind of whetted my piece, centered around and play them, you know, at certain tempos, and playing its own for too long here, appetite to pursue the music, and of course with the a Moroccan mode which tantalizing quotients of cobbled together a suite with the bugles, you know. And it was usually bugles. inventive sounds thrown kids in the neighborhood with whom I was playing. of different elements, They had different kinds. I guess they had bass- out with the Devil may They were also interested in jazz, so we would listen to commenced with a long, sounding horns, as well, and regular bugle. That would care attitude. Ribot sang at records and compare one musician to another, and talk artistically expressive bass times with a voice straining solo…NYC “downtown be in certain formations in the orchestra on bugle corps. about him or her, you know? Like we were discussing So that kind of got my ear together, and had me to to break, a voice as limited a plate of food or something like that. You know, “I like music” hero, Marc Ribot as his guitar playing was and his Ceramic Dog proj- begin thinking about how the stuff was put together, that unlimited but an effec- this because of that, and the sound they made,” and ect played the Fishtown is the sounds of drums, and the sounds of the other tive device, adding a raw “this one sounded better than the other.” You know, section of town (so named instruments, et cetera. And then while I was at Saint vulnerability to his other- just opinions, as far as teenagers are concerned. There for its past history as a cen- John’s University being a chemistry major, I was working wise Superman act. At one were the kids in the neighborhood, also, you know, who ter of Shad fishing) on point, after getting in some 11/19 and blew away a with some of the guys who had worked with Charlie had jazz records, and they used to come over to my

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SHORT TAKES house, and I’d go over to their house, and we’d listen to SHORT TAKES records that we had bought, perhaps on the weekend Philadelphia, PA Philadelphia, PA after getting paid from some of our part-time jobs. really insane guitar licks, So that was one real trigger, and then the next thing, completed the thorny Ribot yelled, “They have too, was that I met Max Roach when I was about ten or compositions with no lead the guns but we have the eleven, and he was married to my best friend’s sister, sheets in sight. This was numbers!!!” He popped a so, you know, I met him, and one thing kind of led to the first time Adasiewicz guitar string during “Dead had brought any of his Zeppelin,” yanked it off his another. I began buying records, a lot of records, and bands out of Chicago axe, and garroted his other listening to them, and then to drum set, trying to find out and he was aiming to strings with it. The item how those guys did what they did. And I continuously make a major statement. that put the performance applied myself. Road weary from a whirl- way over the top was an Then, one evening I was doing a university talent show, wind tour through parts acid rendition of Brubeck’s of Europe with Starlicker, “Take Five” which must and actually I decided to play a drum solo, so after I Adasiewicz led the quin- have had Brubeck’s head played the drum solo, a lot of the kids in the audience tet through a seamless set spinning somewhere. came up and said, “Man, if you can play drums like with his dynamic 4 mallet Ribot and Smith jammed that, what are you doing here?” [LAUGHTER] So, I vibes bludgeoning , end- heartily, ripping the song’s ing with a mesmerizing meaty melody apart with a thought about that, and also Juilliard was a place that a solo that had the bearded carnivorous appetite while lot of musicians aspired to go, and did go, as a matter leader looking like Joe Ismaily maintained a thun- of fact, with Julliard, and it was the Manhattan School Cocker shaking his groove derous, steady bassline. of Music in New York, and, you know, some of my thing. Rosaly was a blur This was more punk rock young colleagues were saying, “Hey man, why don’t you of activity on a thimble- in intensity and mood size drum set, constantly and some listeners were try getting into Juilliard? I could do that myself.” I’m changing drum sticks and looking for the mosh pit. quoting them. clickity-clacking the outer Ismaily, who bangs with casings of his toms. Next the likes of Eno and Fripp, So I decided that I would take the test for Juilliard, and came the Claudia Quintet later worked over his elec- + 1, two flights up. Many tronics with demonstrative lo and behold, I took the test and I passed, and, you of the Rolldown band had arm movements, resem- know, I went back and told the Dean at Saint John’s that never seen the Claudia bling an enormous praying I had decided that perhaps I would try going to Juilliard. group before so they mantis. Scary…Ars Nova So he said, “Well, you can go there and try, and see crowded from the staircase Workshop (ANW) present- how you like it, and if you don’t like it, you’re always to watch. This rendition of Dave Frishberg – pianist, vocalist, and ed a double-header at the Claudia included leader composer talks about two early turninG Philadelphia Art Alliance welcome back here.” John Hollenbeck (d), Chris (PAA) on 11/19, one Speed (sax, cl), Matt Moran points in his life. night after the same two So I went to Juilliard and kind of never looked back. (vib), (p), Red bands played NYC’s The Wierenga (acc) and Chris Recorded on August 28, 2011 in Portland, Oregon Stone. Jason Adasiewicz’s Tordini (b). The plus one To see Dave’s interview, go to www. Rolldown, a collection of was Hollenbeck’s best cadencejazzmagazine.com and click on the video history renegade Chicagoans - friend – German vocal- Aram Shelton (sax, cl), ist extraordinaire Theo tab. Josh Berman (cnt), Jason Bleckmann. Unfortunately, Roebke (b) and Frank Claudia had a tough act i, I’m Dave Frishberg, and I’m a pianist, and that’s Rosaly (d) - exploded with to follow and they seemed Hmostly what I think of myself as. aggressive tunes that reso- more interested in flashing nated wonderfully in the wittiness and social com- downstairs space and mentary over music that Let me begin by saying I started playing piano by copying records from my brother’s collection. The guys

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SHORT TAKES that I copied were Pete Johnson, Albert Ammons, SHORT TAKES And that I consider that one of the big turning points in Meade Lux Lewis, and the lesser known boogie woogie Philadelphia, PA Philadelphia, PA my life, because I liked songs, but all I could play was piano players. I was just entranced by boogie woogie. the blues. But now Jimmy had given me a tool with I’m talking about when I was 12, 13, 14 years old. I was invited the listener’s original tune “Indo,” a which I could make songs that sounded more like pop involvement. It seemed just playing those records, trying to copy them exactly. composition that he said, music. He showed me what the ii-V-I sounded like and that they were boxed in And Mort, my brother, showed me how to play…what “Goes through a lot of dif- how you use that. And the relative minor, and things like a bit, sacrificing them- the blues was, how it was built, with the I chord and ferent changes but I’ve that, and conventions, of substituting chords by using selves for Bleckmann’s the IV chord and the V chord. I don’t remember what tried to make it one kind of the chord that descended from a half tone above, putting artsy vocals. Hollenbeck a feel, one cohesive form. usually churns out an end- terminology he used but I learned about that. I could It was inspired after flip- that in instead the five chord…these were all the rules of less stream of corkscrew play the blues in F, and C, and G, and I was satisfied. ping through the radio.” modern jazz thinking–bebop, I guess, if you will. Which drum improvisations but That’s all I wanted to do. There were other things I was His tribute to Jimi Hendrix, was just…im talking about 1948, 49, few were apparent this interested in doing, besides that, besides playing the “Blues for Jimi,” was also records were new. night. Two of the com- piano. And when I sat down at the piano I could play a big score. It was as if a positions covered were switch was hit, actually, he And (Jimmy) played me the 78s of Charlie Parker and inspired by a flock of geese boogie woogie, and I was pretty good at it, I really was. did hit a switch on his elec- also some 78s of . And I forgot all about and one of them was enti- I was a natural at it. tronics, and suddenly there about Pete Johnson and Meade Lux Lewis, and I was tled “Flock” which had the was a boisterous, haunt- into bebop; I was teaching myself to be a bebop player. quintet imitating a flock of I met a guy, a professional bebopper in Minneapolis, ing tone to his trombone So that I consider one of the big turning points of my geese for the entire piece, and a lot of delay that cer- an adventure that grew one of the working jazz musicians in town. He said tainly Hendrix would have life, learning how to play songs with chord substitutions, old rather quickly. I’ve seen something that was so interesting to me then, and I was dug. Eubanks didn’t short which essentially was what bebop was about, or how to this band a number of just a kid. He says “I don’t want to teach you to play, change the fans, there was screw around with songs, you know, and distort them times in the past and the you can play, but I can show you some things about plenty of razor-sharp bone in a way where they become private property, almost. experience then was very music so you can learn to use the piano as a tool.” Very solos and, depending on positive…Also on 11/19, a how you feel about his I went for it. So that turned my musical self on and I mere few blocks away at interesting, so I said “good.” And the very first lesson use of fusion effects and came to life as a would-be musician. Chris’, was he taught me was the minor 7th chord. I was playing percussion pads, plenty making a rare visit home, dominant 7ths, I knew how to handle them in the blues. of that too. It was easy to The next big turning point had to be when I got to New playing with his Mental He showed me how to play the blues by inserting that see why he placed second York and begin to play jam sessions. I had a day job Images Band in front of his in the recent Downbeat mom and brother Shane ( minor 7th chord when it resolves back into the last 4. Readers Poll. Plaxico, a red- when I got to New York, after I got out of the Air Force. the only non-professional Then something went off in my brain, it all connected hot critic favorite not that Well, I had to have a day job to stay in New York but member of the Eubanks with me; I immediately grasped what he was talking long ago, said he wasn’t I joined the musician’s union right away and began to kids). Eubanks made sure about, the concept of the two chord going to the five doing much under his take gigs around New York. But they weren’t jazz gigs, to credit his influences, chord going to the one chord, 18th century harmony… own name and that it was naming as too hard to find the right they were just dumb club dates and whatever I could one of his favorite com- and, wow, it made so much sense to me, and thrilled guys, they’re all too busy find. I didn’t know anyone in town, really. posers before the band me so much. So I taught myself – I mean, he taught me and never available to tour I found this loft, on 6th avenue and 28th street or performed Shorter’s “Black maybe a dozen lessons, and then he was gone in the when the times comes. something like that. It was the loft that belonged to the Nile.” He also recognized night, I didn’t know him after that – but just from those That’s assuming you can photographer Eugene Smith. Hall Overton was living in his key trombonists – J. J. actually line up enough Johnson, Slide Hampton, things that he showed me, he opened up the world of gigs to make a tour feasi- that apartment–it wasn’t an apartment building, it was and . music and it was clear as crystal to me. ble…Ethan Iverson left his kind of an old tenement building. You had to walk up Eubanks put pianist When I got old enough to go to the university, and take antics and kool rock-licks three flights to get up to these lofts, very funky lofts. Sullivan Fortner, bassist courses in music theory, I just ate it up because it was at home, playing a Monday On the third floor there was a beautiful grand piano that and drum- what Jimmy was teaching me, or had taught me back night (11/21) at Chris’ with mer Gene Jackson through his trio – Corcoran Holt (b) belonged to Hall Overton and another beautiful grand the ringer during his in my younger years. So, I learned about that, and it all and Steve Williams (d). up on the fourth floor. Little did I know, that on the fifth came very easy to me. floor, Eugene Smith had suspended microphones and

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SHORT TAKES was recording all this stuff. They had jam sessions SHORT TAKES Philadelphia, PA going on 24 hours a day in this loft. The inhabitants Philadelphia, PA of the loft at the time were Ronnie Free, a wonderful Monty Alexander was in Surprise, surprise, Iverson drummer, probably the best drummer I ever played with attendance and between concentrated on stan- in my life. He was probably about 18 or 19 years old at sets, after Martino’s dards and Jazz tunes – not the time. And the other was Al Haig, was living there. lengthy book signing of his once did Nirvana or Black Al Haig, one of the great characters of jazz, one of the brand new autobiography, Sabbath break out. He said Alexander told Martino, “I he likes to go traditional best pianists that ever lived in the jazz world–also a don’t know how you do at times…Philly’s own Pat character. those things on that gui- Martino traditionally does It was at that loft, going to those all-night sessions. I got tar, it’s amazing!”…Helen Chris’ on Thanksgiving to play with the best musicians. I didn’t know who they Haynes has been head- weekend and this year he were, I mean, I knew their names, some of them were ing the Lively Arts Series was sporting all gunslinger at Montgomery County black, head-to-toe black, well known. I got to play with these professional jazz Community College for the including black cowboy musicians and that, really was the second turning point last 10 of its 25 seasons and boots and his signature of my life, when I decided I really want to do this–this continues to present some black Benedetto guitar. In is what I want to do. This is why I came to New York, of the most exciting and recent past appearances, Photo Credit: Mark Ladenson significant artists in an inti- his trio had Tony Monaco to hell with the day jobs! I quit and began to work as mate setting at this small on B3 organ but his current a professional musician every night after that. For 15 suburban college. She’s a roswell rudd, trombonist, Recounts a band featured the better years I was, practically, steadily employed. I did work a knowledgeable and dis- suited Pat Bianchi, who’s story about pianist and composer, herbie lot at it, it all worked out, but I remember it was going to criminating jazz fan with less of a grandstander but nichols that loft that I felt my feelings about music as a career a keen eye for presenting an active organic player not artists/groups that often looking to compete with took shape. don’t have the opportunity Recorded on February 1, 2012. To hear Roswell’s the undefeatable Martino. to play in Philadelphia. Her Drummer Carmen Intorre phone, call go to www.cadencejazzmagazine.com and Up there, there was no longer any doubt in my mind programing gives the well- rounded out the trio which click on the audio tab. whether I wanted to be a professional musician or funded Penn’s Annenberg performed some Martino Center a run for its money originals along with a not. It was a tough, competitive world, and everyone, as the top college program- ’m Roswell Rudd, trombonist and composer, living in number of standards such including my dad, would tell me how it’s a tough life and ing in the area. Vocalist INew York City, and also upstate in Kerhonkson, New as “7 Come 11” and “Round all that, and I was ready for it; I wanted it. And what Kurt Elling performed at About Midnight.” Both sets York. I’m planning to go back to 1960-1963, and tell a hit me was this is what it feels like to play with really the Montgomery County on 11/25 incorporated a little story about friend and teacher, and genius, Herbie good musicians. It was a great treat for me, and a great Community College on healthy dose of Martino’s 12/3, along with Laurence Nichols. I’m telling this particular story about Herbie beloved . nourishing experience for me as a musician, to get to Hobgood (p), John McLean Nichols because I don’t think it’s been documented, and Martino, as affable off stage play with them and to listen to the other piano players, (g), Clark Sommers (b), as he is stone-faced slayer I prefer not to rehash stuff about his life that’s already and to be accepted among them. It was a great feeling Ulysses Owens Jr. (d), . on stage, was predictably been published and I knew exactly I wanted to do, I thought, “I’m going and was superb. Elling’s awe-inspiring, drawing the well-rounded reper- oohs and ahhs from the to be a piano player for the rest of my life,” and that’s toire included Jobim, the So, Herbie Nichols: To get an idea of how delving and transfixed audience, many what happened. Beatles, Stevie Wonder how creative this man was, at the same time, you only of whom stayed for both and Earth, Wind & Fire and sets. He stood most of the have to listen to whatever recordings there are. To all the tricky material was time, rarely moving a mus- acquire an even greater awareness of the man and handled in a way that was cle that wasn’t attached to jazz-based and inventive. his musical powers, I suggest “Herbie Nichols: The his speedily, scrambling He also did a breathtaking Unpublished Works - 27 jazz masterpieces,” published fingers. Pianist in 2000 by Gerard and Sarzin. This consists of 27

52 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 53 Jazz Stories Roswell Rudd ColumnJazz Stories Title Jay Clayton

SHORT TAKES manuscripts handed to me from time to time by the SHORT TAKES Philadelphia, PA composer, from November of 1960 to March of 1963, Philadelphia, PA most of which I was able to play, at least the melodies, interpretation of “Skylark”. with him. It was his wish on his deathbed that I, quote, and his right hand seemed Elling worked the crowd “should do whatever I wanted” with these pieces, hence to be weak but it’s still nice into a lather at the start, the publication. And as you read and play through this to hear the rock & roll hall of famer mixing it up in jazzy saying, “I have planned for volume, you realize virtually all of Herbie’s tunes are a good night. I’m gonna setting…Another non- give you 83 percent!” His programmatic, that is, they are inspired by specific jazz legend was in town duet with Owens was fun, people and situations. You want jazz stories, so check on 12/10 at International matching the drummer’s out any of these tunes. House Philadelphia (IHP)– sounds by rubbing the mic American experimental music and sound manipu- on his chest and scatting. Now, here’s the recurrent basic scenario that runs A later duet with McLean’s lator scientist Alvin Lucier, guitar was not as effective through it all, as observed live by myself back in the who recently retired from but McLean certainly had day. It happened various times, usually out on the after strong segments. After the street, on a break. Herbie loved conversation, and 43 years of teaching where he was a major influence set, at a meet-&-greet, a when there wasn’t any, he would be trying to get one middle-aged woman told on many leading jazz musi- Elling, “I apologize for going. His typical technique was to throw out something cians such as Tyshawn fawning all over you,” to mildly provocative, just testing the waters for the sake Sorey. Lucier performed which the singer replied, of stimulating a response from someone who happened his Opera With Objects “Oh, fawn away! When I (1997) which featured to be standing by. As the dialogue would grow more him behind a table with was younger, no one intense, hopefully a third person would enter the forray. fawned over me.” I admit 20 everyday objects (bot- to not being a big fan of The mood could range anywhere, but the main thing tles, plastic coffee cups, vocalists but I thought this was that three voices were now involved. And this was wood boxes, a container was one of the best sets of the provacateurs cue to step back in order to pay closer of thistle and a can that once held peaches) which the year. Elling didn’t just attention to the exchanges stemming from what he had sing words, he gave each he touched with 2 pencils one special meaning… initiated. You hear a lot of beautiful call–response in he tapped together, creat- Funkadelic star Bernie Herbie’s music–just wanted you to know where a lot of ing a variance of timbre Jay clayton, singer and educator, talks Worrell loves to shake- it came from. And in these discussions, it would even and resonance. Charles about the new york loft scene in the early down sounds with drum- Curtis (cel) and Anthony get to a point where he’d pull out what he’d call his Burr (cl), both professors at 1960s. Recorded on January 27, 2012. To hear Jay’s mer G. Calvin Weston and goopsheet, his notebook, and be actually writing down phone call go to www.cadencejazzmagazine.com and both were at Fishtown’s the University of California, M Room (the M stands for what he was witnessing, and be heaving with that deep San Diego, performed 3 of click on the audio tab. dive – It must!) on 12/7 sob-like laughter of his. That’s the story. Lucier’s compositions – a along with Dion Paci (g) duo piece and solo sets ’m Jay Clayton, and I’m from Ohio. I went to school in with slow-sweep pure and Bob Lovelace (el b). Ohio, Miami of Ohio, and that’s where I started sing- Their power jam was a wave oscillators. Patience bit ragged but fun and and close concentration ingI jazz. There were some jazz musicians on campus, Weston made his pres- Rogers Word Service was rewarded with a new and of course there was no jazz education, but I loved ence felt with a muscular appreciation for ambient the music and so when I graduated in 1963 I went to workout on his supersized sounds encountered in daily life. Lucier, who was New York, where I began singing jazz, in and out as set. There could have been INTERVIEW Transcribing specialists you know, and in the early 70’s I started to teach. So more Worrell in the mix, at actually behind the move times it was hard to make since 1983 to bring I guess when somebody asks me what I do I say I’m a to Wesleyan, (Braxton con- out what he was adding, www.rogersword.com jazz/new music singer/teacher/composer. siders Lucier to be a I lived in Soho before Soho, this was the in the 60’s and there was no Soho, and I discovered...I was working in the offices, and just a short story about even the whole 54 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 55 Jazz Stories Jay Clayton ColumnJazz Stories Title David Liebman

SHORT TAKES loft thing is that I didn’t know about lofts, of course, I’m SHORT TAKES Philadelphia, PA a little girl from Ohio, but I came out in ‘63, and I had Philadelphia, PA this office temp. And there was a painter from Holland, visionary), said he per- and we were doing this really dumb little, I mean I was writers- Behrman’s father, formed with Braxton once. literally writing people’s account numbers on this, for Sam Behrman, and anti- Lucier appeared as part of insurance policy thing, you know - to open an envelope, war activist Siegfried IHP’s Sonic Arts Union ret- Sassoon- and with music rospective – a series of con- put it in a cubby. And I met this woman from Holland, software designed to certs, talks and workshops and she invited me over for dinner, she said she lived respond to the performers’ showcasing the pioneering down on Lispenard Street. And it was great, she was actions. Behrman played collective (Lucier, David a visual artist, and there were only four lofts in this some violin but mostly stuck to his laptop, con- Behrman, Robert Ashley building, and I thought, wow, how great could this be, and Gordon Mumma) juring up ambient noise, active between 1966 - that you could play music. They weren’t musicians, muffled voices, swells, dis- 1976...David Behrman but I knew that you could do it, so, lo and behold, a tortion and other sounds became the second Sonic couple weeks later, she called and said there was one that were never intrusive… Arts Union master to per- available, and that it’s, 80 bucks a month. So short Fire Museum produces form (Robert Ashley is a steady stream of really scheduled for May 5) at story long, I moved in, actually I had met this woman, interesting gigs involving a roommate, from uptown, and we both took it, with local and out-of-town art- IHP on 1/21 along with an Photo Credit: Mark Ladenson impressive crew – vocal- no heat yet, you know, by the time Winter came we ists – 2-3 bands per show, ists & Eric had to get a space heater. No real bathrooms, no real pretty much on a weekly David Liebman Talks about trumpeter, basis, many of which are Barsness, Peter Zummo kitchen - the whole thing, raw loft, but it was great. So Freddie Hubbard on trombone, Ralph at Highwire Gallery, a small Samuelson on shakuhachi eventually-I lived there for a while, even had my kids art gallery in Fishtown. and Ted Mook on cello. there, got married–Frank Clayton. And I just honestly, Their 12/13 show grouped Recorded on Februay 21, 2012. To hear David’s phone The opening segment I was in my 20’s, it was hard to get gigs, who was I? veteran sound-sculptor call go to www.cadencejazzmagazine.com and click on featured Zummo’s muted I was Jay Colantone at the time, so I decided “I have saxophonist Jack Wright the audio tab. trombone and Behrman along with Beirut’s Sharif seated at his table working to perform, how am I going to learn”, you know? So Sehnaoui (g), Germany’s his laptop on a piece enti- I started inviting people, just doing it in my loft, you (via Mississippi) Patrick 'm David Liebman, a saxophonist, originally from tled “Musical Information” know. I would put it in the back of The Voice, it was Crossland (tbn) and IBrooklyn, New York, and living now, for the last 25 which incorporated the free, I had no money, whatever. We went on for a Andrew Drury (d) for a plus years in Northeast , the Pocono spoken words of a lawyer match made in heaven – Mountain region. The story, well the lesson to me, and while, I wish I had more documentation of it. I know each man worked unique informing protesters-to-be I often use it in teaching, is having to do with how the about what to do if they they were handmade flyers and the whole thing. And sounds from their individ- were arrested during dem- people like , , they were ual axes. Sehnaoui some- best musicians are the ones who want to get everything onstrations at the 2004 guests, Judy Bluth, Jeanne Lee of course, Bob Moses, how snuck a case full right. This was in the early 80's, around 1981 or '82, Republican Convention in I would just advertise it, how did I do it? I guess just of construction tools into and there was a record date led by Jimmy Cobb, with NYC. “It’s been inactive for the country – putty knifes, Walter Booker on bass, Larry Willis on piano, Pee Wee a few years,” Behrman said, in The Voice, and by word of mouth, charged a buck rulers, metal cylinders and “But it seemed to become and a half. Anyway, for me that was so pivotal because other stuff such as chop Ellis on saxophone, myself on saxophone, and as guest relevant this year.” The I was serious about it and I got to play with all these sticks and a tuning fork, all Freddie Hubbard, at least for a few songs. Now in bulk of the performance people, you know, so that’s an anecdote I guess. It of which got stuck in his 1981 I was 35/36 years old, I had already played with was devoted to his classic guitar strings or were used Elvin Jones, Miles Davis, and had a group of my own, was back before the big movement, you know. It was to agitate them. Drury also piece “My Dear Siegfried” and you know, had some sort of reputation, but still of which is based on the little related but then I would go to Sam Rivers’, Joe had plenty of ‘toys’ he used musicians interacting with Lee Wilson used to live around the corner, and then he on his floor tom includ- course held somebody like Freddie Hubbard, or Jimmy written correspondence started the Ladies Four, then Life Communication, which ing an industrial dustbin. Cobb, for that matter, in great awe and esteem, and between two was a... and Bob Moses and those guys Wright, an was a little intimidated by the fact that he would come had something to do with that. It’s so long ago, I can’t remember! april - may - june 2012 | cadence | 57 56 | cadence | april - may - june 2012 Jazz Stories David Liebman ColumnJazz Stories Title David Leibman

SHORT TAKES to this recording, and that he would play an arrange- SHORT TAKES wrong note or two, and I know it, I don't know if any- Philadelphia, PA ment of mine for three horns–for him on trumpet, myself Philadelphia, PA body else knows it, so out of the back of this gigantic on soprano, and Pee Wee on tenor–a tune of mine. I booth comes this almost like yelling at me "Liebman! underrecognized and was no big great great arranger, so you know all that much history in one spot. That wasn't right, was it?" Balking at me, you know, important leader of added to the excitement–a little nervousness. He comes Unfortunately, there’s a sort of a challenge, and sort of an acknowledgement, underground experi- in, this is in Manhattan, dressed to the nines, as he lack of avant-garde rep- mental music and master resentation and, damn it, so I said, "well, not really," and I know that it's Freddie, of the understatement, always was, with a fur coat that probably cost as more Sam Rivers died without he says "well I guess we gotta do it again." So we just announced the encore than my house, with a bunch of people with him, as I getting recognized as a went right in, we did two more takes, and of course, improv piece as, “We’ll remember it. And of course everybody kowtowed to the Master. Some of the per- suffice to say, by the third take he could completely play what’s called a short great Freddie, who was probably the greatest trumpet- formers were swallow the tune and spit it out for breakfast, it was like piece.” Drury pulled out a eer who ever played jazz, in a certain way. Everybody with Bobby Hutcherson, huge, floppy metal rectan- with his pro- so absorbed. Everything went well and that's the end of gular sheet that he played was really nice and respectful, high-fiving and all that, tégée Grace Kelly, Frank the thing, and it never appeared on record, I just have and eerily bowed while and I was quiet, I didn't know him, I might've met Wess with it on tape. But the lesson was, I thought, even then as Wright responded on him once or twice, but not really, I had kind of made and Kris Bowers, Ambrose I was getting a little experienced, musicians like that, soprano, Crossland sput- acquaintance with him. He kind of looks around and Akinmusire,Toshiko tered on muted trombone Akiyoshi, Candido Camero, they come in, and they're just perfect. Everything they and Sehnaoui beat a shim- says "okay, what're we doing?" and Jimmy says "oh, Dave Liebman, Hubert do is perfect, they never have any doubts, they never mering clang on a metal a tune by Dave." "Okay, let's go." So we put the parts Laws and . faulter, they're gonna be just superhuman. And here disc inserted between his out. And this is a tune of mine called Piccadilly Lilly, The new Masters’ class was a guy, number one, admitting a mistake, which guitar’s strings. Afterwards, people still play it. Not a difficult tune, but you know you also performed Ornette he could've gotten by, nobody would really know, and Wright asked Drury if his have to watch your p's and q's at one part or another of Coleman’s (class of 1984) wife every used his dustbin “When Will The Blues number two, making sure he got it right. It's an obvi- to actually clean with. The the song. So we do the arrangement, we play the first Leave” as Coleman sat in ous lesson but it was very clear to me there that, sure answer was an exclama- take, and it seems to sound okay. I can tell that he's the audience. Tickets to enough, that's what separates the men from the boys. tory no! Local trio Feeler not quite as accurate as he could be, or I'd expect him the event are always free You've got somebody who's really on the top of the Gauge (Dan Capecchi, to be, on a certain part of the tune. So there comes so if it’s held next year, why d; Matt Engle, b; Bryan not think about attending, food chain, and they are the ones who will ask ques- Rogers, ts) opened…The this moment at the end of the first take–and of course and if you can’t, it’s also tions, and say "what is going on, how do I make this NEA celebrated its 30th when I talk about this to anyone who has recorded, webcasted…Trumpeter better?" And that was a great lesson from Freddie Anniversary of the NEA everybody can identify with this moment of silence as Nate Wooley’s fame is Hubbard. Jazz Masters Program in to who would be the person to talk first. Would it be on the rise as evident by grand style on 1/10/12 at the arranger, or composer - me - would it be the heavy recent numerous favor- Jazz @ in able write-ups and by the NYC. This year’s honor- on the date, Freddie, will it be the guy who's running standing room only crowd ees were drummer Jack the record date for who it is, Jimmy Cobb, will it be the at The Rotunda (ANW) on DeJohnette, saxophon- engineer, or the producer? Who's going to say the first 1/19. The last visit a few ist Von Freeman, bassist word? I don't know who said it but of course when the years ago brought out , vocalist only a handful to hear his Sheila Jordan and trumpet- take ended you had that little moment of silence and work. Next time he’ll know er Jimmy Owens, although somewhere along the line Freddie said, or somebody to bring more CDs since Haden and Freeman were said "let's go in and hear it." So we go into the booth, his supply sold out with- too sick to attend. The I get what's called the captain's seat, like on a boat, in minutes. His Quintet yearly event, which may 'cause it's my tune, I'm sitting right in the middle. It's Alpha featured his close or may not continue due friends, Josh Sinton (b cl), to federal budget cuts, is a rather large booth, so Freddie and the other musi- Matt Moran (vib), Eivind always an overwhelming cians are spread out in the back, they could've been Opsvik (b) and Harris hang, so back even 20 feet, not right on top of you. So it comes Eisenstadt (d), and were to this point in the bridge of the tune, and he played a well equipped to handle

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SHORT TAKES SHORT TAKES Cadence: If you could give us an anecdote about Philadelphia, PA Philadelphia, PA some pivotal point in your life. RM: Well, then I’d have to go back to the beginning. Wooley’s weird mash of interesting to see the band That would be, like, after returning to Chicago in the sounds, squeals, pops and perform twice, especially early 60’s. I joined up with the lyrically beautiful music. in such relatively intimate Midpoint, the leader settings. Valdes is tre- experimental band. It was a band that met every played a short solo seg- mendously virtuosic on Monday night, where we were all invited to write for ment that merged the piano and leads his sev- the band, and bring in our compositions, and get them arresting beauty of Kenny en-piece ensemble with played, providing us with an opportunity–if there was Wheeler, a big influence aplomb, encouraging his for him, with the mis- fiery percussion section something that we liked or didn’t like - we could change chievousness of Lester to heat up at the oppor- that and bring it back again. It was definitely a piv- Bowie. Wooley began the tune moments. He’s gifted otal point for me. I had been exposed to the music of set by saying, “I’m just with devilish technique Ornette Coleman when I was in the army. I didn’t totally gonna jump ahead and yet that doesn’t define his understand it that much at the moment. Then there was tell you what tunes we’re playing, it doesn’t come gonna play – or maybe I off as overly extraneous. the times our band would go to Berlin and join the band won’t.” He didn’t but they His runs up and down the from Berlin, and the band from Orleans, France, and were fabulous. Next time ivories are jaw-dropping was a member of that band. And of course bring more stuff to sell… and his solos can delve back then, you know musicians would get together Francisco Mela’s Cuban into atonal territory along Safari at Chris’ on 1/21 was with classical elegance. He and have jam sessions. I heard Albert Ayler, and what a heavily layered event was at home doing stride I did recognize, as another saxophonist, was that he with Mela’s imaginative as well as Ellington and had an enormous sound on the instrument. I think we and rapidly altered drum- the blues. In Philadelphia, were playing the blues, and I think Albert played the ming leading the safari the band covered “Begin first couple of courses in a more conventional way, and party made up of fellow To Be Good,” “Stella va a Cubans – Elio Villafranca Estallar,” “” then he started to move away from that tradition. That (p) and Arturo Stable and “Mambo Zawinul,” made an impression on me, but at the time I don’t think (perc)- along with Uri which salutes the late Joe I was able to comprehend that fully. I think it was prob- Gurvich (as), Ben Monder Zawinul through the use of ably when I got back home, out of the army band, and (g) and Peter Slavov (b). his classic tune “Birdland,” The joint was jumping whose theme is richly heard John Coltrane’s Out of This World on the Impulse from the happy sounds incorporated into Valdes’ record titled Coltrane, where he was starting to use a and thick amalgamation of Jazz-centric mambo. The modal concept to create improvisation. At that point Photo Credit: Mark Ladenson overlapping rhythms and first time I heard Valdes I thought, well maybe I should go back and listen to bushy percussive bed… interject a classical seg- Ornette Coleman and , and so on, and then Chucho Valdes & the Afro- roscoe mitchell. saxphonist and ment and then Brubeck’s it started to make more sense to me. But continuing on Cuban Messengers were composer, talks about his early days in “Blue Rondo a la Turk” into that side, I was fortunate to be in Chicago at that time, on a whirlwind East coast chicago. “Mambo Zawinul,” it was tour that had the well over taken as quite a feat but because there were many musicians that were also in Recorded on Februay 27, 2012. To hear Roscoe’s 6-foot-tall pianist feeling hearing him do it again Muhal Richard Abrams’ big band that were starting to all of his 70-years. I caught phone call go to www.cadencejazzmagazine.com and less than a week later took think of other directions in music also. This is, I think, their show at Princeton’s click on the audio tab. some of the sheen off the McCarter Theatre on presentation and I must when I started to feel differently about it. I would play 1/20 and at The Merriam say that the band was hot a lot at sessions and so on and I’d start to hear other y name is Roscoe Mitchell. I’m a composer/multi- Theater in Philadelphia but over rehearsed. This things, but at first I would reject them, and then when I Minstrumentalist. I currently hold the Darius Milhaud (presented by the Kimmel was still a great presenta- did start to embrace them, the music started to flow for Center) on 1/26. It was chair in composition at here in Oakland, tion and if you haven’t me. California.

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and North America were properly tamed by the “civiliz- ing process” centuries ago, and Europe is, at the very least, the progenitor of modernity, the author of human- ism and scientific progress. Of course, the reality is much different than such a chauvinistic assessment implies. Africa’s turbulent journey into modernity dem- onstrates the perils of adopting simplistic narratives of human triumph over greed and exploitation: Africa is a constituent part of the modern world, the flip side, one might say, to the gold coin that is modernity. Those looking to reclaim a sense of African agency could do worse than to turn to the continent’s rich and diverse musical history, the far corners of which have been beautifully documented in a recently released four-disc box set from Dust-to-Digital Records. Opika Pende: Africa at 78 RPM, takes its title from an expres- sion found in the Lingala language of Central Africa, a phrase meaning “be strong” or “stand firm.” And as the curator for this set, Jonathan Ward points out, the term has another meaning: “resist.” A complicated topic in Africana studies, resistance can mean many things, but in the case of African music we have countless examples of musical expression being used as a plat- form to fight back against racism and exploitation, from Fela Kuti and the Kalakuta Republic in Nigeria to the many songs that defined the anti-apartheid movement in South Africa. But in the case of the music found on Opika Pende, another kind of resistance, one directed against overly pessimistic summations of African life that would deny African peoples a place in the modern world as authors of their own destinies, begins to take shape. As we can hear in the 100 tracks collected from Let us be blunt. What little Westerners know (or think old shellac 78 recordings gathered from around the Written they know) about the continent of Africa paints a continent, African musicians from Cape Town to Cairo by grim and depressing picture: severe poverty, famine, have been making their own contributions to the world’s David AIDS, civil war, genocide, child soldiers, corruption, musical language, often bringing so-called “traditional” Crawford slavery, and so forth, in a virtually endless litany of African musical innovations and instruments to popular Jones human misery, cruelty, and suffering. For this reason, musical styles that incorporated elements from around many Westerners hold a conception of Africa as the the globe. one continent on the planet that has failed to enter The music on Opika Pende covers a period from the modern world. Asia and South America have seen 1909 to the early 1960s, thus making it an ideal docu- buoyant economic growth in recent decades, Australia ment of the kinds of music Africans were making and

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Western civilization. As Erich von Hornbostel, an ethnomusicologist observed in 1928, in a quote found at the beginning of the notes to Opika Pende, “It is therefore to be feared that the modern efforts to protect culture are coming too late. As yet, we hardly know what African music is. If we do not hasten to collect it systematically and to record it by means of the phonograph, we shall not even learn what it was.” Such opinions present a vision of African music and African societies that is far too static. “Precolonial” African music, like the societies from which it emerged, underwent long centuries of change rooted in larger social and economic shifts and cultural interactions with neighboring African communities, and more dis- tant peoples stretching from Europe and the Middle East to India and the Far East. Despite such dynamic processes, stagnant representations of African music persist to the present day, as many still hold the out- dated view that the importance of African music can be found in the stylistic elements that, through the slave trade, would shape New World musical styles. Thus, historically Western musicologists looking to Africa have tended to overemphasize those elements of the continent’s music that were of primary importance to Western music, particularly the continent’s endless vari- ety of drums and the complex that are so characteristic of much West African music in particular. Yet while the importance and influence of these elements cannot be denied, the rich variety of sounds found on Opika Pende point the way towards a more interesting narrative that casts African musicians as protagonists in their own right, rather than accessories to larger global processes that were centered in lands thousands of miles away from Africa’s shores. The four discs of Opika Pende are roughly divided along geographic lines, with the first focusing primarily listening to during the long years of European on the music of North Africa and some of the Islamic colonialism. Along the more paternalistic shores of the areas of Western Africa, the second chronicling the European civilizing mission, numerous musicologists and musics found mainly along the coastal areas of Western ethnologists journeyed deep into the bush to document Africa, the third documenting the sounds of Central and the musical traditions of Africa’s supposedly ancient Eastern Africa, and the fourth and final disc tackling the ethnic groups who were on the verge of extinction musical worlds of Southern Africa. Throughout the set, owing to exposure to the “corrupting” influences of the arbitrariness of these boundaries is apparent, as 64 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 65 Feature Opika Pende - Africa at 78 RPM ColumnFeature Opika Title Pende - Africa at 78 RPM

musical ideas, innovations, and instruments can be

traced to multiple regions. Variations of the mbira, the Anthology of American . On disc one, for “thumb piano” most commonly associated with the instance, we are treated to the rather haunting singing Shona people of Zimbabwe, can be heard on this set in of Moroccan women—mainly prostitutes—known as music originating as far away as Nigeria; likewise single the Shikhat. Often excluded from society, their music or double-stringed instruments originate from areas as is a plaintive affirmation of their humanity, and is far ranging as Guinea in West Africa to the Eastern accompanied by an upright fiddle and a number of small Cape in South Africa. drums. Alongside the praise songs of West African Yet the selection of music found on this set can griots, we also hear on the first disc a soulful 1932 also seem quite random at times, as Ward seems was performance by a mandole (an African instrument that guided in his selections not by any desire to impose is a cross between a mandolin and an oud) player an overarching narrative on African musical history, but representative of the Judeo-Arabic music found in rather to showcase the incredible diversity of sounds Algeria during the twentieth century, before most of that found in the old 78 recordings distributed throughout country’s Jewish population was forced into exile in the the continent during the colonial era. As Ward states in 1960s. the liner notes, “I have created this compilation with one Because all the music on Opika Pende comes from simple goal in mind: to showcase a diverse amount of commercially released 78 RPM recordings, much of long-forgotten music from Africa that transports me as a what is documented here is unabashedly popular in listener.” In this he has admirably succeeded. orientation. On Disc 2, we are treated to numerous The journeys prompted by the music heard on Opika examples of the popular genres of juju and highlife Pende can indeed lead to some wonderfully strange that would come to define West African music during places. In this respect, some of the music on this set the late colonial period and the early years of indepen- reminds one of the music of the “old, weird America,” a dence. Characteristic of this trend is the late 1930s term coined by Greil Marcus to describe the odd assort- recording of “Egberun Buso” by Nigeria’s Jolly ment of folk musics collected by Harry Smith in the Orchestra. Like much of the juju music of the time

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Caribbean element is also heard on a later highlife recording dating from 1947, the Band of the Gold Coast Police’s “High Life—Dagomba,” another upbeat, and highly danceable tune so characteristic of the genre. As Ward observes in his notes, commercial record- ing companies largely ignored Central Africa until the 1950s, when guitar-drenched rumba music took the region by storm. Yet some of the best music found on Disc 3 comes from the East African coast, where indigenous African musics combined with Arab and Swahili influences to create an astoundingly unique array of sounds, such as is found in the taarab music of coastal Kenya, Tanzania and Zanzibar. “Arabian Congo” by Siti Ganduri, a piece likely recorded in the early 1930s, demonstrates this diversity as the singer is accompanied not only by the riqq, an Arabic , and the darabukka, or Arabian drums, but also by a violin and a xylophone, suggesting a significant European influence as well. In Okoth Onuko’s “March Guitar,” we also hear the presence of the accordion, another European instrument adapted to local purposes, period, the Jolly Orchestra typically combined a guitar— and made popular by Kenyan musicians during the late increasingly the instrument of choice for African wage colonial period. earners—with a wind instrument and several vocalists. European and Western influences are especially The overall effect of “Egberun Buso” is one of playful prominent on Disc 4, from South African dance band contentment, mirrored in a translation of the song’s music to the guitar music that became a popular source lyrics. “I walked a thousand miles/Because of the of entertainment in the region’s many mines. Most light-skinned lady/Lend me your agbada/So that I can notable in this regard is Josaya Hadebe’s “Yini Wena go/Bye bye, Aunty.” In the same vein, “The Jambo Funa,” an excellent example of the solo guitar music Song,” recorded on the Decca label by Calendar and his that would make George Sibanda famous during the Maringer Band is a wonderful example of the guitar- 1950s. This recording, from around the same time based palmwine music (so named for the alcoholic drink period, deals with the strained relationships between often consumed during performances of this music) that black mine workers and the white bosses who ruthlessly predated and influenced the development of juju. mistreated them and exploited their labor. Hadebe’s On the jazzier side of things, Disc 2 also includes beautiful guitar picking and sardonic singing perfectly examples of Highlife, the brass band music first popu- captures the existentialism of life on the mines, and the larized in the ballrooms of the upper classes during the daily struggle against the dehumanization of contract 1920s. “Osu Oblanyo,” by Yeboa’s Band, shows, in labor. Also showing a substantial European influence, addition to the influence of American jazz and the one of Opika Pende’s most startling discoveries comes European military brass band tradition, a substantial later on the disc, with “Kxomo Muwa,” a Northern Sotho West Indian influence as well, carried to Western Africa recording from the Limpopo province of South Africa by Cuban and Brazilian traders, among others. The that combines piercing, high-pitched vocals with the use of the autoharp, which had been appropriated by the

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Pedi people of the region late in the 19th century and adapted to the local musical language. Elsewhere on the disc we find musical documents representing cultures further removed from European influences, particularly “Fuzhi Inopenduka Kwenda Lamukiya,” a recording made along the Angolan/ Zambian border and featuring the kisanji, the Chokwe version of the mbira. Yet the myth of the untouched rural African outpost must also be dispelled here as well. For as we hear elsewhere, even traditional African songs were being adapted to reflect the altered land-

scape brought about by social and economic change in the region. In “Nkau Haka Khoele,” recorded in 1951 in Lesotho, we hear a traditional threshing song—used to guide the rhythm of those working in the fields—with lyrics altered by the realities of industrialization and wage labor. In a deeply mournful tone, the singer, Clement Nyamane, laments the absence of the men of Lesotho, who have gone away to work in the white-owned mines of South Africa. This is a deeply spiritual music, reflecting both where Lesotho society had been and where it was headed.

As Opika Pende demonstrates time and time again, the power of African peoples to resist their own marginalization was considerable, and nowhere more apparent than in the vibrant music of the continent. Jonathan Ward is to be commended for assembling this riveting collection; not only should it alter our understanding of African music in the twentieth century, it should also cause us to reexamine our assumptions about the resiliency, creativity, and diversity of African societies during the long and difficult years of the twentieth century.

april - may - june 2012 | cadence | 71 70 | cadence | april - may - june 2012 INDEX of CADENCE INTERVIEWS CLASSIC CADENCE ~ BACK ISSUES ~ $7 each ($10 ea. outside USA) NAT REEVES By Volume and Issue No. Copied versions of out-of-print issues are available for $10 ea. Interview The following is a Carmell Jones Curtis Jones William Hooker Kim Richmond Gregg Bendian 8. Dom Minasi partial listing of Thomas Chapin 6. Jo Ann Brackeen 8. Horace Tapscott 7. Connie Crothers 9. Rusty Jones 3. Anthony Braxton 6. Ralph Sutton Michael Weiss 9. Chris Hill available Classic Jesse Drakes Jack Lesberg 7. 9. Frank Strazzeri 8. Michael Weiss Scott Fields Cadence Eddie Shaw 7. Les McCann Jack Howe 10.Sal Mosca Cadence back issues and 4. Bernie Charles Barry Wedgle 8. Ralph Peterson 10. Ornette Coleman 9. David Liebman Quarterly Loren Mazzacane Harry Carney 9. Ralph Sutton Jason Hwang 11.Malachi Thompson (since October 2007) interviews. For James Williams 8. Barney Kessel Jerry Hahn 10. 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Pepper Adams 4 12. Mose Allison 1. Barry Guy 2. Steve Swell Fred Van Hove 3. Alex Blake Chuck Israels Pt. 2 2. Beaver Harris Jack McVea Rodney Richardson 2 Aaron Graves 4. David Leonhardt Sergey Kuryokhin Bob Nell 2. Bill Berry 3. Kirk Lightsey Chris Barber 4. Dave Ballou 7-8-9: ($20) 3. Beaver Harris 2 5. Barry Guy 2 Chip Jackson 5. Bill Kirchner Michel Doneda Curtis Clark Harry Sweets Edison Jess Stacy Volume 16 1. Out Of Print 3. Willem Breuker 4. Chief Bey 5. Anthony Brown Robert Wagner Albert Collins 2. Out Of Print Eddie Daniels Chip Jackson 2 6. Lou Grassi 1 Mark Sherman Photo Credit: Ron Thompson 4. Bennie Wallace 6. 3. Wolfgang Fuchs 4. Teddy Edwards 5. Carl Allen Dianne Reeves 6. Monty Alexander Michael Jefry Stevens Duke Groner Ike Bell Mel Lewis 3 Willem Breuker 2 John Butcher 7. John McNeil Steve Cohn Beaver Harris 3 7. Snooky Young 4. Geo. Shearing 5. 6. Lou Grassi 2 7. Rich Halley 10-11-12: ($20) 5. Zoot Sims Raymond Boni Ed Jones Jeff Clayton David Amram 8. 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Jane Ira Bloom Jack Lesberg 12. Henry Threadgill Jimmie Smith 8. Nadi Qamar Nathan Page Lawrence Evans Irv Kluger 11. Steve Lacy Brenda Bufalino 12. The Fringe/Larry Gelb Les Elgart Gerald Wilson was born in Virginia. 9. 11. Raphe Malik Biggi Vinkeloe Michael Musillami 9. J.R. Montrose 12. Red Rodney Mike DiRubbo Tommy Benford Conte Candoli 12. Tyrone Hill & The Fringe 2 Hayes Pillars 4-5-6: ($15) Cadence: What’s the current project that you’re in 10. James Moody 12. Dave Brubeck Volume 29 Volume 33 Nadi Qamar 2 1. Eric Person 1. Jack Sheldon Charlie Kohlhase Volume 13 Matt Shipp 10. Josh Roseman Record Poll Judi Silvano 1. 11. Billy Root Portland with? Nadi Qamar 3 Volume 21 2. Bruce Eisenbeil 2. Joe Rigby Don Friedman George Lewis Andre Jaume Volume 25 11. Oliver Jackson 1. Andrew Cyrille 1. Soupy Sales George Colligan Eric Alexander 2. Singleton Palmer 12. William Parker John Gordon Tony Reedus Record Poll Raymond Boni 3. Dom Minasi Michiel Braam Reeves: i’m currently in Portland with the group called, Roy Brown Billy Root 2 Nadi Qamar 4 2. 2. Peter Brotzmann 3. Billy Bauer John Esposito Fredrik Nordstrom Daddy Stovepipe 12. Alan Dawson Andrew Cyrille 2 Jeff Williams Rüdiger Carl 4. James Finn 7-8-9: ($15) 3. Khan Jamal “We Four.” is the saxophone, Mulgrew Nadi Qamar 5 3. 3. 4. François Carrier Will Shade Volume 17 Peter Leitch 1. Irene Schweizer Patty Waters Lauren Newton 5. David Haney Al McKibbon Miller, pianist, I’m on bass, Jimmy Cobb, the great Jimmy Cleveland 4. Ken. Washington 4. Maggie Nicols 5. Marian McPartland Jeff Kaiser Dave Frishberg Volume 10 4. Carol Sloane 2. J. Cleveland 2 Ronnie Mathews Richard Simon Guerino Mazzola 6. Phillip Greenlief Scott Wendholt 1. Larry Coryell 3. 5. Ron. Mathews 2 5. Mickey Roker 6. Nicolas Simion Royce Campbell Jimmy Cobb is on drums. McCoy Tyner Quinn Wilson 4. Charles Gayle 6. Julius Hemphill Idris Ackamoor 7. Jason Rigby Norman Mason Bob Enevoldsen Christian Escoudé 6. Shorty Rogers & 7. Michele Rosewoman James Zitro 2. 5. Al Grey Cadence: And you teach in Hartford, right? 5. Dizzy Gillespie 7. Bud Shank Rob Reddy 8. Rick Stone Reeves: i teach at the Hartt School, Jackie McLean

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SHORT TAKES Institute of Jazz at the Universtiy of Hartford, in SHORT TAKES bond that’s pretty special. Philadelphia, PA Connecticut, and I’ve been teaching there since 1982. I Philadelphia, PA Cadence: You’re with your friends. started off as an adjunct, part-time, and now I’m a full- Reeves: You’re with your friends, and it becomes pretty seen Valdes you certainly time Associate in Music professor. with the audience. The special. are missing out on one of Cadence: Are they sympathetic to your schedule? trio did get into a shim- Cadence: Not so lonely? the best living pianists. Reeves: Well, I the university expects their professors mering mid-set “Over the Reeves: it can be lonely at home, if your head’s not Valdes’ sister, vocalist Rainbow,” and later did Mayra Caridad Valdes, was to perform and record—it’s like publishing; to be out finish stronger with some clear, or thinking about good things. also with the band and her involved in the public, to draw attention to the university, Little Anthony and the Cadence: I’d like to ask you about your relationship two songs mid-set – “Alma and the students are the ones I have to think about Imperials, the Beatles and with jazz great, alto saxophonist Jackie McLean. Mia” and “Obatala” were and try to—I don’t call it “make up”, but give them Blind Willie Johnson…The Reeves: Well, the first time I met Jackie McLean was in stage-stealers. She sang Dave Burrell-Han Bennink with such passion and some special time when I return home, and keep them duo at the PAA (ANW) on Richmond, Virginia. I was living there at the time, and soul that really connected involved in things that are happening with me while I’m 1/30 marked the first meet- my cousin, Lee Jackson, took me to a concert that he with the audience. When out on tour. ing of the two veteran free was playing with, a group there called “The Oneness she joined the ensemble Cadence: So you have a sub when you’re gone? Jazzsters. Bennink was of Juju,” was the name of the band, and we had a brief at the end on the encore Reeves: i have someone who teaches my ensembles. finishing up a lengthy U.S. meeting, a hello, and then I went to New York for a of “San Jose” and sang, tour with violinist Mary the audience stood and My private students have a syllabus schedule that they Oliver, who watched from little while, came to Hartford, stayed for a little while screamed…The Danilo have; assignments, practice. If I tried to sub for all the front row and obvious- and then went to New York, and then came back to Perez Trio (Ben Street, b; my private students, I probably would stay home. It ly still enjoys watching all Hartford. When I came back to Hartford the second Adam Cruz, d) opened wouldn’t be worth it. But this way, they have to learn of the drummer’s fun-filled time, that’s when another friend of mine took me to meet for Valdes at the Merriam antics after all these years theater, delivering four how to practice, because a lot of young musicians think working with him in the Jackie again, and he immediately got me involved in perfectly performed that the one-on-one lesson is when they learn. They ICP Orchestra. Within min- what he was doing. He had a concert at the University songs that culminated don’t really practice, they wait for that lesson every utes of the start, Bennink of Hartford, and he already had a bass player on stage, with Perez’s “Daniela’s week, but the fact that I go away sometimes, I think it’s sank a drum stick through and he invited me up so he had two bass players on Chronicles,” an ode with good for them to get to know themselves, learn how the snare drum’s skin and stage. So we became really good friends. He was my a section written for each laid on the floor to kick year of life thus far of the to practice, become friends with the other musicians, his feet, but it wasn’t all mentor. Everything that I’m doing today wouldn’t have pianist’s young daughter. and I hope that one day that they may be in the same fun and games, the two happened without his help. Perez, it should be noted, situation that I’m in, and be a traveling musician and a veterans share an appre- Cadence: So he was huge. also programs the Kimmel professor. ciation for standards and Reeves: he was a huge influence on my life, and a Center’s Jazz series…Bill ran through a good num- Frisell’s Beautiful Dreamers Cadence: Is it hard when you leave, for the students? ber of them. When Burrell huge influence on my concept, everything that I try to at World Café Live on 1/30 Reeves: it’s hard leaving my wife, and my dogs, and decided they should play do with my young students. He’s the reason I’m at the proved to be disappoint- my mother. It’s hard to leave to go anywhere right some Strayhorn, Bennink University of Hartford. He started the program there in ing, at least the first half, now, especially when you’re on an airplane every day. suggested “Chelsea the early 70s, and I think about him every day. Think too much tiresome jam- There’s so many things that could happen, but when Bridge,” but Burrell said, “I about him every day. ming, too much ego-less don’t like to play ‘Chelsea Frisell. His playing with the music is as strong as it is with this group, this is my Bridge,’ I had to play it Cadence: Is it correct to say he covered Free, Hard Eyvind Kang on viola and immediate family now, so I stay in touch with those I every night with David but Bop, Bop styles in his approach? drummer Rudy Royston can, and I do the best I can with the music. I not saying which David Reeves: i think he covered all of the areas. You know, was adventurous, skitter- Cadence: Easier once you getting going? that is!” That’s ok, we knew he loved Charlie Parker, he loved Ornette Coleman and ing across Americana, folk, the reference was to David Jazz, blues, rock, insect Reeves: Yes. Murray. Burrell was bril- some of the free music, he loved the electric bass. I noise and other, but the Cadence: It’s hard to leave. liant, as always, playing in even played the electric bass on a few of his songs, and songs ran into each other Reeves: it’s hard to leave, but once you get going it multiple styles - from stride he was very open to all music. and there wasn’t much of a becomes a routine. You not only play together, you eat to barrelhouse to hard bop Cadence: Jackie had a wide palette. connection /inclusio together, you talk and you tell stories, and it becomes a to total free - Reeves: a very wide palette of music, and he was very

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SHORT TAKES helpful to young musicians, and he was helpful to not SHORT TAKES like she’s not gone. You know, her body is gone. Philadelphia, PA only musicians, but to anyone that could use some help. Philadelphia, PA Reeves: Yeah, the spirit is here. Very, very strong personality, and I think about him Cadence: You don’t feel like they don’t exist any but all within a sensible every day. first language,” he said… more. framework, to which Cadence: Good man to work with? Nicholas Payton has had a Reeves: Yeah, the spirit is still here, and that’s the way Bennink easily adapted Reeves: a great man to work with, great man. The heavy presence of late on I feel with him. I watch some of his videos on youtube to…Montgomery County the Jazz blog scene with Community College con- band was always tight. We were always rehearsed. his restrictive interpreta- or put his recordings on and think about some of the tinued to present a wide You always had money in your pocket; he would never tion of Jazz – he wants it things he would say to me, and that’s what keeps him array of Jazz artists in an let you travel with no money. to be relabeled BAM (Black here. intimate setting when NEA Cadence: He had his stuff together, the business end, American Music) so it was Cadence: Yeah, sounds like a really great mentor. Jazz Master Randy Weston not a big surprise to find and his African Rhythms as well as the artistic. him laying down the law Reeves: oh, that’s what my whole concept is at the Quintet held court on 2/4. Reeves: he had his stuff together, yes. We would all at Chris’ on 2/11 with his University of Hartford, is—you know, he always told us Weston verbally and musi- meet at this house and go to JFK in a van together, strict no photos policy. how to dress, you know, how to speak to people, how to cally extolled the virtues and it was a band. In those days—since I was in the What was surprising was get what you deserve, how to be polite, but, you know, of Africa as, “The origin of band from 1985. I played his last performances in that he played with a trio you have to bark sometimes, the importance of the civilization of our planet” of Vicente Archer (b) and and for the music. His 2004. I was on and off the band several times, but I Damion Reid (d) while sit- music; it’s all about the music. nearly two-hour set was a was always involved in his life in some way or another, ting behind a Rhodes from Cadence: Yeah, not losing the music— big hit and covered a num- because I taught at the university and we shared an which he dialed up lots Reeves: not losing the music. ber of his most memorable office together. I would take frequent trips with him to of funky cosmic grooves. Cadence: Tell us about working with and meeting hits including “Hi-Fly,” When he played trumpet, (“My most popular song”) New York City to see his mom, and to meet with Arthur which was rare, it was Jackie McLean. along with “Blue Moses” Taylor for breakfast, and I would take frequent trips to almost always with one Reeves: The business part of it. My first trip abroad was and “African Sunrise.” to have his saxophone repaired. We would go hand on the horn and the with . I played his last performance, and it Other songs included the out and eat Japanese food. We would speak pretty other on the keys. He also was my first trip to Japan, that was in 1982, so after that very bluesy “The Seventh much every day, you know, when we were really, really sang to end the first set performance, I came back to Hartford, and that’s when I Queen,” which began with on a tune that was sol- ruminative piano and then tight. And I got to watch some of his students at the idly in the contemporary went over to see Jackie, really got to meet Jackie after the unison blaring horns University of Hartford become part of the band. urban music category. that performance, and I played a cassette of Sonny of T.K. Blue (sax) and Robin Cadence: The evolution of his students. Pianist Orrin Evans was playing, and he could only play the at Trowers (tbn) and the very Reeves: Yeah, yeah. Alan Palmer, Eric McPherson, in the house along with that point, he was so weak. He had signed himself out fun “Loose Wig” which fea- surprise guest guitarist tured one of a number of ; they were all students at the Hartt School. Russell Malone to watch of the hospital to be on that tour. Alex Blake’s crazy-assed Cadence: Jackie McLean died after a long illness in the festivities…Incoming Cadence: So, he was pretty sick at that point? slapped-hummed-and March 2006? hits: Ars Nova Workshop Reeves: Yeah, those memories are strong in my heart, foot stomped bass solos Reeves: i don’t want to say yes because I really don’t (arsnovaworkshop.org) as well. There seems to be such a connection with that pretty much brought want to think about when he died because he died on presents – 4/4 Ballister saxophone players for me. the house down. Neil (Rempis, Lonberg-Holm, Clarke also added some my mother’s birthday, so it was a sad time for me. I Nilssen-Love) & Lasse Cadence: Why is that? colorful African percus- kind of—it’s almost hard for me to celebrate her birthday. Marhaug @ Mass Bldg.; Reeves: i don’t know. I spent a lot of time playing with sion. Weston had some I have to give it a day or two. 4/14 Endangered Blood the great as well, and Eric Alexander, on interesting thoughts on Cadence: Okay. (Speed, Noriega, Dunn, his last few recordings, and I just recorded with Kenny the important role of the Black) @ Mass Bldg.; 4/15 musician – they need to be Reeves: i think it’s 2006, but I hate to say people die. Steve Lehman 3 w/ Chris Garrett recently, in July 2011. clean of mind and clean of He’s still alive to me. I mean, because his music is just Tordini, Damion Reid @ Cadence: What label? spirit because they serve like he’s still here. Maybe not in body, but his music is The Rotunda; 4/21 Steve Reeves: mack Avenue. the role of historian and of here, so he really hasn’t died he’s just moved on. Coleman & Five Elements Cadence: Mack Avenue. What was the program of story-teller. “The creator Cadence: I felt that when my grandmother died. It felt @ Johnny Brenda’s; 6/2 music? gave us music as our The Thing + Joe McPhee

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SHORT TAKES Reeves: original, mostly original. I wouldn’t call it so down to have my instrument repaired by David Gage, Philadelphia, PA SHORT TAKES much straight ahead, as it’s catchy melodies with the Portland, OR one of the luthiers there. I lived in New York City only @ Johnny Brenda’s… energy that Kenny Garrett has when he writes. It’s two years, but at the time I lived there, that was when Chris’ Jazz Café (chris- really, really a fun and challenging recording date. We The PORTLAND JAZZ all the young players were getting their start: Kenny jazzcafe.com) presents had just finished about five nights at Dizzy’s Coca-Cola FESTIVAL (pdxjazz.com) Garrett, and . We all went to New York will roll out it’s annual – 4/13-14 Pat Martino 4 Club, so we went right from Dizzy’s into the studio. around the same time, so it was a melting pot of young w/ Eric Alexander; 4/20- fortnight of fun from Feb. 21 Ari Hoenig 4 w/ Gilad Cadence: You were ready, then. 17-26 in a wide variety talent, and we would all go to the jam sessions, and I Hekselman, Shai Maestro, Reeves: Yeah, the band was ready. So many different of venues in downtown did a lot of playing on the streets, and it was much less Orlando LeFleming; 6/15- projects, it seems all the time. School is always first Portland. There will be expensive to live. You had bigger spaces. You had 16 Jimmy Bruno 3 w/ Peter in my head because it’s the closest. I live very close scores of events, both lofts. Now you have smaller spaces. Yeah, usually I ticketed and free, featur- Bernstein…The Painted to University of Hartford, and getting to know how to just go for work. Hartford became my home. Bride Art Center (painted- ing musicians from near bride.org) presents – 4/13 prepare for that helps with the road, as well. You know, and far. Some of the visit- Cadence: Has the New York club scene changed in Steven Bernstein’s “MTO the preparation for teaching and meetings and— ing “stars” will be: Enrico your mind? Plays Sly” including John Cadence: It forces you to be on time. Rava (Tribe), Chuck Israel Reeves: Yeah, the club scene has changed. It’s all (Orchestra plays Bill Evans), Medeski, … Reeves: Yeah, on time and to be organized. Timing is about money now. It’s not too easy to hang out. You Penn Presents (pennpre- (trib- sents.org) presents at the most important thing. I’m trying to remember who ute to Billie), Roy Haynes don’t have a Bradley’s in New York any longer. I used Annenberg Center- 4/7 said it, but Jackie would always say to me, “When you’re (Fountain of Youth Band), to love to go there because all the musicians would go Zakir Hussain & Masters early, you’re on time. When you’re on time, you’re Bill Frisell, (Tirtha), there after their performances. of Percussion; 4/28 Kurt running late.” And I remember Arthur Taylor would say and Charlie Hunter. Cadence: Yes, tell us about the scene there. Elling Swings Sinatra… that, “When you’re late, you never really catch up.” And Reeves: That was a place on University—it’s actually World Café Live (world- The talented local scene cafelive.com) presents you can feel it and hear it in your playing, the running has not been ignored. mostly duos played there, so you could hear the great – 5/16 Charlie Hunter… late. It’s just got that edge to it. There are so many quality piano players and the bass players. I’d go hear Ron Montgomery County Cadence: Yeah, ready by the end of the gig, caught players/groups from these Carter there, and Kenny Barron, and , parts participating that the Community College (mc3. up. different piano players. I think Mingus used to play edu) presents - 4/28 following list will not come Warriors of the Wonderful Reeves: Yeah, it’s a lot of thought process put into, close to giving them all rec- there. Everybody was there—. Sound w/ Muhal Richard you know, going to the stage. And you’re on the stage ognition. Some notables: Cadence: Tell us about recording with Criss Cross Abrams…The Philadelphia all the time, you know. Even when you’re in the lobby, Thara Memory (Artfully Records. Museum of Art (philamu- somebody is watching. It’s a lot—lot of things to do, to Miles project), Carlton Reeves: Yeah, the first recording I did with Kenny Jackson, Tony Pacini, Ezra seum.org) presents - 3/16 keep it together. Garrett was on the Criss Cross label. I think that was Cyro Baptista; 3/23 Orrin Weiss, Bobby Torres, John Evans; 3/30 The Other Cadence: Yeah, I was playing with trombonist Julian Stowell, David Friesen and ’84 with Kenny, , Mulgrew Miller, who Philly Sound, Jazz… Priester in Paris, and we went to Radio France, the John Gross, Tom Grant is part of We Four, and Tony Reedus, who passed Fire Museum (museum- central radio station, and we rushed all day to get and Shelly Rudolph, Ron recently. That was fun. And then I recorded on Criss Steen, George Colligan, fire.com) presents– 4/1 there, and I was just about to play, and Julian grabbed Cross with Steve Davis, and one with David Hazeltine, Samarth Nagarkar, Farnell Newton, Nancy Indrajit Roy-Chowdhury my shoulder and said, “You’ve been rushing all day.” King, Mary Kadderly, John but it all gets away. I mean, I have it all written on & Kedernath Havaldar @ And it was the easiest thing to forget, for me, is to— J.B Butler, Dave Frishberg paper if—I could have been prepared if I’d brought my PhilaMoca; 4/6 Wolter Reeves: Take a breath, take a minute. and Rebecca Kilgore, Tim mid-tenure review. [LAUGHTER] Wierbos, Superlith at Cadence: Should be the most important thing. Wilcox, Gary Hobbs. As I’ve Cadence: Then we’d both be prepared. said this is only the tip of Highwire Gallery…Keswick Reeves: Well, you can hear it in the music if you’re Reeves: Yeah. Theatre (keswicktheatre. the iceberg. There’s a lot com) presents - 6/8 Victor edgy, you can hear it. going on around here. Cadence: Was your connection with the label, with Wooten; 6/28 Spectrum Cadence: So, do you go down to New York when Criss Cross, or with individual artists? Road (Jack Bruce, Vernon you’re not touring? And a lot of what does go Reeves: With the individual artists, yeah, the individual on around here happens at Reid, John Medeski, Cindy Reeves: i go to New York mostly just to play, or to go artists, and then you become sort of associated with Blackman). Ken Weiss

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SHORT TAKES the label, because I think I did something with Anthony SHORT TAKES those are the larger labels. Portland, OR Wonsey on there, so I would see the man who owned Portland, OR Cadence: I guess most jazz NAT musicians don’t really Criss Cross–Gerry Teekens. I’d see him when I’d go work for labels. Jimmy Maks (jimmymaks. over to North Sea. I never was so close to the people top-level local musicans. Reeves: Yeah, a lot of musicians seem to have their com 300 NW 10th Ave.) who were in charge. I always pulled back and just This night presented com- own labels, or they make their own CDs now, and self- Mondays feature the Dan wanted to be the bass player. positons by the leader as promote themselves. Kenny Garrett always has a label. Balmer Trio. Tuesdays: Cadence: Probably a healthy instinct. well as , Ornette He’s always out on tour, and he has a label, he has a Mel Brown Septet. Wed: Coleman, among others. Mel Brown Quartet. Thu: Reeves: Yeah, yeah. David played piano, electic manager, he’s very, very organized. Mel Brown B-3 Organ Trio. Cadence: Keep your distance. keys and melodica and was Cadence: I imagine if you’re touring or playing, that’s Many others are on the Reeves: Yeah, you know the politics of everything accompanied by Renato the avenue to sell your material. schedule as well: Patrick now. It’s so different now, I have to jump into—get more Caranto (ts), Frank Tribble Reeves: a lot of musicians bring their material with Lamb, Liv Warfield, Devin involved now because I’m that age now that I should get (gtr), Tye North (b) and Ed them, and sell it after the concerts, and I think it’s Phillips, Linda Hornbuckle Pierce (d) in two sets which are just some of these some of the things that I’ve worked hard for. This might swung wildly (but coher- important to self-promote. I did a project in January upcoming local stars. be my first interview, real interview ently) from avant to funk to with—let’s see, a couple of students, and a pianist 2/20: Jimmy Maks will host Cadence: How old are you? soul to straight ahead and from New York, Rick Germanson, piano, Josh Bruneau Charles McPherson in two Reeves: 56. back again. It was a very on trumpet, and the drums was Jonathan Barber, gigs as part of the Jazz entertaining and accom- Festival. First with Darrell Cadence: Do you consider yourself a leader? plished evening of music. something that I could say that could be my record, but Grant’s Portland State Reeves: in this group? hasn’t been mastered yet. But it was fun. I was pretty Univ. Jazz Ensemble and Cadence: No, not in this group, just in general. Another one of our fine much a leader on that. I learned a lot. It was supposed then with the Randy Porter Reeves: Well, when I’m teaching I do because I like to local pianists, Gordon Lee, to be a larger project involving more students—we had Trio in a tribute to “Pres” be with younger players and be able to play with them, has been out and about other students come in and perform, but we had a huge and “Bird”. quite a bit with several dif- but then you have to kind of mold the sound, and give ferent versions of his trio. snowstorm so a lot of people didn’t make it. The Blue Monk on Belmont the drummer the concept of what he should be doing, 2/10: with Dick Berk (d) Cadence: What kind of recording process? (3341 SE Belmont Ave.) is because everything that they do now is from watching and Kevin Deitz (b) at Wilf’s Reeves: Well, one of the engineers at the university also a solid presenter of youtube. They don’t have the players like we had, to go (800 NW 6th Ave.). 1/14: applied for a grant, faculty development grant, and he exciting Jazz and improvis- with Ron Steen (d) and ing talent. They’ve got a watch and see live, and watch—just to watch them, you Phil Baker (b) at Arrivederci got it, and he took us to a studio called Power Station weekly Sunday Jazz series would learn. Everything is torn from a book. (17032 SE McLoughlin Ave- New England. (curated by Mary Sue Cadence: It seems like it’s getting more and more Milwaukie,OR). Gordon Cadence: When was the last time you were in the Tobin. tobinmarysue@ superficial. is a special talent. He’s recording studio? gmail.com) which fea- Reeves: Well, you’re losing a lot of—it’s become a a fantastic pianist and an Reeves: I just recorded, before I came on tour, with tures a nice mix of musi- exceptional composer as cal visionaries. Thursdays: course in college now, which I’m sure it has been a long well as a fine intrepeter of Larry Willis and Steve Davis, Billy Williams, a young drummer/composer Alan time, but, you know, having Jackie McLean walking other’s music. On 1/21 I drummer from Virginia Beach, Mike DiRubbo, who Jones leads a Jam ses- around, or Woody Shaw, Freddie Hubbard, Miles. But had the pleasure of catch- used to be a student of Jackie McLean. We did sion which can really get we got Jimmy Cobb, Mulgrew Miller, Javon Jackson, ing him in an intimate solo almost all original music, except a few standards. I’ve cooking. There are plenty performance, one of an of other quality events all of whom are connected to Miles Davis in some way occasional series of events gotten better at recording. You got to really know your throughout the week or another. You know, Javon’s tenure with Art Blakey, presented by Claire Sykes instrument, and know what you’re playing because as well. 2/10: I caught a Mulgrew played with Art Blakey, I played with Jackie as part of her Velvet Sofa sometimes you can, now you can fix things, you know. soulfull and often incendi- McLean, they all played with Miles. It’s a nice connection Salon (sykeswrites.word- You can pull notes out, or you can move a note. With ary performance by David of musicians and friends. press.com). The pianist the power of ProTools, there’s so much you can do with Ornette Cherry’s “ETERNAL treated a packed house to MONOLOGUE” which fea- Cadence: Do you record exclusively for any particular two full sets of stunning technology now. tures a rotating cast of label? mastery. The program Cadence: Somebody once said, “If you have the Reeves: it’s only a few people who do that, and usually power to do something, you also have the power not

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SHORT TAKES to do that thing.” SHORT TAKES have to do the same thing, and the drummers have to Portland, OR Reeves: right. Well, you know if you record live, Portland, OR do the same thing. There is a little more effort put into usually that’s it, but if you’re in the studio and you have the piano being a nice one. it takes years to get a bass was a thoughtful mix of time to do it, why not do it? Because every time you Tuba: JaTtik Clark. Basses: to really be part of you. originals both old and new, play that recording, I’d hear it. But sometimes that’s part Tim Gilson. Drums: Ward Cadence: Well, these are $100,000 instruments. including a portion of a of the song. Griffiths. Bassoon: Evan Reeves: Yeah. Some of them are—may be a thousand beautiful suite which is a Cadence: I like the spontaneity of playing free while Kuhlmann. Percussion: dollar bass, but if it’s set-up properly, it doesn’t matter work in progress. Among Chaz Mortimer. Composer: a couple of pieces by other recording, but as a composer, I prefer the precision of Ezra Weiss. how much you spend on it. It’s all about the set-up and composers he featured a well thought-out ideas. 2/4: Scheps/Gisbert how the strings are set-up, if the bridge is straight, if the heartfelt version of Jim Reeves: right, that’s what makes a musician who he Quintet with George sound post is good. I’m learning that—with a group like Pepper’s “Lakota Song”. is, it’s the precision and the wanting to be good at what Colligan (p), Scott Steed We Four, it’s good to play as acoustically as possible It should be noted that you do, and wanting to be identified by your sound, and (b), Todd Strait (d). 2/10: because it makes the band sound more like the old, old Gordon was Pepper’s regu- with Julian Priester (tbn) lar pianist for many years having good time, having a good sound, and having and Randy Porter (p) at style—old sound. both here and abroad so good time, being on time, dressing the part. It’s not Touche. Cadence: So when you say “as acoustically as the connection is a deep easy, but if you follow a few steps and you do your 1/21: One heckuva badass possible,” with the least amount of… one. The highlight for me homework, you can do it. But everything is connected organ quartet came Reeves: least, yeah, because a lot of times these was his solo take on his stomping into town when own moving piece “Loss Is through someone else usually. I remember when I lived Joe Doria (Hammond B-3), engineers like to plug a direct box to it, and that really Freedom”. A great evening in New York, they used to have auditions for bands, Wayne Horvitz (Fender changes the nature of the instrument; the sound of it, by a great artist. like if Dexter Gordon needed a bass player, it would be Rhodes), Bobby Previte (d) the speed of it, the intonation, so you got to know how about 15 people, bass players, who would go down and and Timothy Young (gtr) to get to your best sound when you’re playing on a Tenor sax and flute titan audition, all in the same club. rocked the Good Foot different instrument every night. So that’s become really Rob Scheps calls Portland Lounge (2845 SE Stark St.) home and performs here Cadence: Yeah, just a line of them. 2/25: Rich Halley 4 at a challenge, and I’m kind of liking it more than I used to. quite regularly when not Reeves: Yeah, one after another. Camellia Lounge (510 NW I used to really totally dislike it, but I came to terms that in NYC or on the road. Cadence: Assembly line. 11th Ave.). Rich Halley the audience, they come to hear you. They don’t know Late January and early Reeves: Yeah, but musicians were friends then. We (ts, flt, perc), Michael anything about the bass or the pianos, or your situation, February found him work- Vlatkovich (tbn, perc, ing with several different got together. Now we get together on Facebook, which squeak toys), Clyde Reed or what happened earlier in the day. They’re excited groups. 1/20: with pianist is not the same. (b), Carson Halley (d, perc). about your musicianship, so you have to do the best you Dave Frishberg at Touche Cadence: What is it like travelling with your bass? This gig was part of the can. (1425 NW Glisan). 2/2: Rob Reeves: Bass players no longer travel with their Portland Jazz Festival. Cadence: Does it affect your approach with the bass if Schep’s Big Band at Vie de instruments. That’s a big change, for me. The CREATIVE MUSIC you’re using less amplification? Do you feel like you Boheme (1530 SE 7th Ave.). GUILD (creativemusicguild. The group features an Cadence: How does that work? org) continues to bring have to play harder? incredible lineup of locals Reeves: Well, I know I traveled from 1982 until 2004 improvised music to town Reeves: no, it allows me to actually hear the sound of and guests. Greg Gisbert with my bass, so when you travel with your instrument, in it’s many forms (jazz, the bass, because you can hear the bass— (tpt, flgh) was the featured you always can practice. Today, I can’t practice. free, electronic, noise,?). Cadence: Yeah, subtle things. guest this evening. The Lately they have been less rest of the orchestra fol- There’s no bass until I get to the venue. I mean, about large scale concerts Reeves: Yeah, because if they make it so loud and lows. Sax: RS, Gary Harris, sometimes you can go there early, or you can bring the or major visiting projects change the sound of it, then I might hear the bass over Scott Hall, David Valdez, bass to the hotel, but a lot of the times it’s not practical. and more about solo or there somewhere. I can’t hear it right here, so it takes Robert Crowell. Trumpet: You just don’t have the time, so there’s a different bass duo guests working alone away—you know, makes it just a little trick, everything’s Rich Cooper, Paul Mazzio, at every venue. and with local improvis- tricky. But you know that you have to understand that Greg Garrett, Conte ers in performance and Bennett. Piano/keys: Cadence: So you’re at the mercy of promoters? workshop settings in small, the bass has to be loud sometimes, too, but you have Ramsey Embick. Reeves: so you’re at the mercy of the bass, and I used often unconventional to be in control of the tone of it, and some people hear to complain but I don’t any more because the pianists it different than others. It’s a challenge, but that’s what

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SHORT TAKES makes it good. SHORT TAKES would make you learn songs by ear, on the stage, right Portland, OR Cadence: Who are your bass heroes? Portland, OR in front of the audience. Reeves: oh god, I love them all, going back to Jimmy Cadence: Swim or sink. venues). They’ve recently Blanton, Slam Stewart, , Sam Jones, thing occurs to make them Reeves: That’s right. Well, there’s not but a few bass begun the “Outset Series” , Ron Carter, Charles Mingus, Leroy somewhat obsolete. The players could handle that. So this has been a good year. at Revival Drum Shop Vinnegar, Buster Williams, Rufus Reid, Christian Woods in SE Portland was I did a lot of traveling with Kenny Garrett this year. I (1465 NE Prescott) on the McBride. I mean, it’s just so many out there, and they’re a relatively new addition to recorded with him. I traveled with Harold Mabern and 1st and 3rd Wednesday of our scene and had become each month. 1/18: Ben all connected. John Clayton, I love—I think they’re a popular venue for impro- Eric Alexander this year. I worked with Curtis Fuller this Kates (solo sax), Brian all great musicians. They all have a different voice, visers and left-of-center year, and then this trip here, and then I don’t really have Mumford (solo electron- everybody has a different sound, it’s a different voice, musicians. They had host- anything coming up, but I saw something in a magazine ics). 2/1: Luke Wyland (solo ed a number of fine events acc/elec), Tim DuRoche different technique. You know, I try to go back to some that said I was doing a cruise next year, so I hope that of the earlier guys and see what—how it all started, you including performances by happens. (d) and Eugene Lee (sax) the Blue Cranes, PigPen duo. 2/15: Halley duo (Rich know. The bass—and some of the bass players that and others. Sadly, the There’s . I spent a lot of time with Kenny Halley/Carson Halley), also played the cello. I like the tuba. I like the tuba in doors have closed Kirkland. We had a great band with Kenny Garrett in MSHR (Brenna Murphy and jazz—. I’ve just become more open to all the 90s. Kenny—Kenny Kirkland, Jeff Watts, myself, Birch Cooper). 3/7: Daniel kinds of music. I was given a CD, just a few weeks ago I’m sure there’ll be plenty Kenny Garrett. We had a recording called “Songbook” Menche (elec), Demolition more to report as soon as Duo (John C. Savage and when I was in Japan, from a Korean group, traditional I send this off to press so that was Grammy nominated. We didn’t win the Ken Ollis). 3/21: 1939 music. I’ve been listening to that. I like to collect check in with the above Grammy but we were out there, and that was a rhythm Ensemble (drum and instruments, listen to the birds, man, you know? mentioned venues/organi- section that will go down in history. Pretty good band vibes), Greg Skloff (solo zations for further details bass). Other CMG gigs Cadence: Sounds? with Harold Mabern, I did a few recordings with Harold. Reeves: Yeah, sounds. You know, to me, it’s not about future events. I We just did a recording in Japan in September. I include: at Laughinghorse invite you to check out Book and Film Collective too much more than that. I try to get to the point my YouTube channel worked a lot with Joe Farnsworth, who is working now (12 NE 10th Ave.) 1/29: where I don’t have to look at my notes, hands. You (BRADWINTERPDX) as with McCoy Tyner, so most of the musicians that I know Trevor Dunn and Travis know, let the instrument be there, and let myself find well if you’re interested and that I’ve grown up with are all playing these high- LaPlante. 2/23: Walley it. Every now and then you have to check yourself, in videoclips from some profile performances, and it’s really great, and they’re all Shoup/John Niekrasz duo of the gigs I’ve caught in (sax and drums) with Wally but it’s—I can’t wait to play every night. I don’t care the last few years. Of par- teaching, they keep the music consistent at a good, high also reading from his book. about all the—I know the travel is hard, I brought a ticular note in relation to level. 2/18: at the Piano Fort cold here, but the music outweighs everything, so—and this month’s column is a Cadence: It’s kind of amazing to me, it’s a nice group (1715 SE Spokane): STRATIC full recording of Gordon (from Oakland) featuring this opportunity, because this will be something that to be in. I mean, I mean, there’s a lot of people I’ll be talking about for the rest of my life. I’m taking Lee’s solo performance of struggling to do something, and this is a nice group Aram Shelton (sax, elec), his composition “Loss is Michael Coleman (keys, notes myself, upstairs, about everything that’s been Freedom” at the January you’ve got. elec), Alex Vittum (perc). happening. Losing stuff, losing your bag, losing a Salon. Thanks for con- Reeves: Yeah, there’s a lot of people that are great THICKET (Ben Kates (as), glove, “Where’s my keys?” I mean, it’s a lot to leave the tinuing to support origi- players that aren’t working. That’s why I always try John Niekrasz(d), Brian house. nal music and art. A Luta to do more than one thing. You know, I haven’t even Mumford (gtr,elec). Continua. Cadence: It is. I tend to lose everything the first day Brad Winter come out with some of my photos. I like to take In the Oct-Dec. Cadence or two, and then it’s okay. photographs because of all the places I go. I didn’t issue of 2011 I offered a Reeves: Yeah, you got to lose stuff. bring my really nice camera with me on this trip because detailed list of most, if not all, of the venues pre- Cadence: Just this brutal period. it’s been a lot of small airplanes, so I brought my iPhone senting music of interest Reeves: i like to let it all flow together. Everything and my iPad. All of those things take photos, and the to readers of this column. has a flow—Stan Hope. I worked with Stan Hope with music is so strong that I’m not really taking a lot of Of course as soon as these Houston Pearson,I learned a lot of music from him pictures this trip. I’m staying very close to the hotel. I’m lists are compiled some because there were not charts. A lot of—no, Houston actually getting some rest. I’m just learning how to get

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SHORT TAKES some rest. SHORT TAKES Those were some strong people to meet as a young kid Vancouver, BC Cadence: Yeah, you’re not on vacation. Vancouver, BC from a Lynchburg, Virginia. Reeves: no, I used to be all over the place. Working Cadence: It doesn’t inspire good images. Coastal Jazz & Blues Soc. and running, just trying to see everything. Mondays featuring blues Reeves: no, it doesn’t. But I did have a hero who is has announced the line- Cadence: Out on tours then? musicians hosted by Rob also from there. His name was Carl Anderson, and Carl up for the 2012 TD Van. Reeves: Yeah, this is a pretty serious bandstand to Montgomery guitar/vocals, was Judas in “Jesus Christ, Superstar”. He’s a vocalist International Jazz Fest be on, and I feel very fortunate and feel like a kid. Steve Werbicki B3 organ/ and an actor, and he did a couple of wonderful things 6/22-7/1. Headliners keybass, Jim Berry drums include Trombone Shorty [LAUGHTER] I’m very humbled by this opportunity. and Dave “Hurricane” with Nancy Wilson, and Weather Report, and if you go & Orleans Avenue and Cadence: What about Jackie and the Artist Collective? Hoerl harmonica/vcls. Big to the Lynchburg, Virginia Wikipedia page, they have me Preservation Hall Jazz Reeves: That was a collective of different artists, and bands from UBC are in 4/4 as a “notable” in their page. Band, Bill Frisell playing directed by Fred Stride John Lennon, and The Jackie and his wife, Dolly, spearheaded this program Cadence: How did you end up in South Africa with for inner-city kids or kids who wanted to spend time followed 4/5 by pianist Jackie? Cookers (Eddie Henderson, Hal Galper with bassist David Weiss, Craig Handy, learning. If you go to their website they could explain it Jeff Johnston and John Reeves: The United States government, United States Billy Harper, , better in words than me. I don’t want to say the wrong Bishop drums. Vocalist Information Service—USIA they were called—invited Cecil McBee, ) thing, but that was unbelievable. To see Jackie—if you Dee Daniels appears 4/6&7 us over to perform in different venues, and I have such 6/22; George Benson at the go on video—have you ever seen Jackie McLean on with Tony Foster piano, memories of it. I went during Apartheid, and shortly Orpheum, Dianne Reeves bassist Russ Botten and also 6/23 at the Vogue; Mars? Joe Poole drums. After after, then I went two other times. So I went once Eliane Elias Brasileira 4tet Cadence: I haven’t. closed for Easter Sunday with Jackie McLean, once with the Monk Institute, the (With Marc Johnson bass, Reeves: When you get a chance, look at that video. It and Monday, New York winners at the Monk Institute—I think it was ’95—then I Rubens De Lacorte guitar, reed player Ted Nash Rafael Barata drums) 6/24; shows him teaching kids and Paul Jeffrey used to be at went with Kenny Garrett two other times. the University, and when they gave Dizzy Gillespie his appears 4/10 with Ron Cadence: What kind of constrictions did you Spectrum Road (Cindy Horton trumpet, Paul Blackman-Santana, Jack honorary doctorate, and this—just recently, Steve Davis Silivie bass, and drummer experience during Apartheid? What was that like? Bruce, John Medeski & and I were a part of giving Hank Jones an honorary Ulysses Owens. Vocalist Reeves: Well, what I remember most about it that Vernon Reid) 6/25; Wayne doctorate at our school. That was wonderful. And then, Renee Doruyter appears was kind of really weird was that I went into a bank to Shorter 4tet (w. Danilo shortly after, he passed. I had the chance to play with 4/11 with pianist Miles change a hundred dollar bill, and they took me into a Perez, John Patitucci, Black, bassist Rene Worst, Brian Blade) and Terje him, perform with him, record with him, had a wonderful drummer Joel Fountain room and kind of locked me up for a little while. Rypdal “Crime Scene” w. dinner, and he played for the whole city of Hartford, in plus guests followed 4/12 Cadence: Like you weren’t supposed to be there? Palle Mikkelborg, Stale the theatre. So I’m very involved in not only high profile by the Mediterranean Reeves: i wasn’t supposed to have that hundred dollar Storlokken, Paolo Vinaccia sounds of Tambura Rasa. & Bergen big band 6/26; performances, the university, things at school, you bill, and they had to check me out. know like this year I played convocation, I played their Ross Taggart’s 5tet with Cadence: So it wasn’t just that you were there, it’s Terrell Stafford 5tet (with Taggart on piano and ten- Tim Warfield, Bruce Barth, fundraiser, so I get into the politics a little too, and I try or sax, Chris Davis trumpet, that you had money as well. & Dana to keep it going. guitarist bill Coon, bassist Reeves: Yeah, as a person of color. And then I had Hall) 6/29. The full schedule Cadence: You’re involved in the educational process. Darren Radtke and Andrew an incident where one of the Afrikaans told me that the should be online by early Reeves: i’m involved in the education. I love it all. It’s Millar drums follows bottom line is that you never say hello to an Afrikaan, May, go to www.coastal- 4/13&15. Blue Monday jazz.ca for further info, all very important to me. 4/16 has guest vocalist and being from the United States, I say hello to venue, times etc…Cory Cadence: Any unique features about Mr. McLean? Alita Dupray. B3 Beatdown everybody. I was in one incident where I went into this Weeds’Cellar Jazz Club Reeves: Well, Jackie wore two neck straps. He returns 4/17 with Chris bar, club—I can’t remember exactly where it was—and it has a very busy schedule Gestrin B3 organ, drum- in Apr. and May starting said one was for Bird, and the other one was his, so was just such a threatening feel, but I had made friends whenever he played he had two straps to the saxophone mer Jesse Cahill and Jon outside with all the locals. I invited them all in. 4/1 with the the Capilano Bentley tenor sax, followed U. big bands directed by on. That’s something that a lot of people probably don’t 4/18 by vocalist/poet Cadence: Oh, so you had some backup there. Dennis Esson. 4/2 starts a know. And he introduced me to a lot of people; Arthur Shelley O’Brien. Another Reeves: i invited them all in and bought them all month of Blue Taylor, Walter Bishop, Walter Davis, Dizzy Gillespie. beers and drinks, and that was great. We went to

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SHORT TAKES Mozambique, Swaziland, Durban. SHORT TAKES unbelievable. So each trip had something special to it, Vancouver, BC Cadence: What kind of venues were they? Vancouver, BC and each trip I would bring home one of those carved Reeves: some of them were just little centers, little faces out of soap stone, they call it, so at my office at vocalist, Amy Cervani and music centers. We played a few theatres. We played guesting. Scheduled for the university, I have all those faces there. her 4tet appear 4/19 with outside. Where ever they could introduce the country May are B3 Beatdown Cadence: Oh, okay, you’ve brought back a few— Tilden Webb piano, bassist and culture to American musicians. It was just such a with the Nightcrawlers Reeves: i brought back a few. I always bring back Jodi Proznick and drum- great feeling to be there, to be, a lot of time for the first 5/1, PRAM trio (Jack something. Either an instrument, or some sort of a mer Ernest Cervini. NY pia- Bodkin piano, bassist Mark nist George Colligan is in time, in the majority. When we were in Mozambique, Godfrey & Richard Piasetski jewelry, or something. But South Africa, that is a pretty 4/20&21 with bassist Andre that was kind of interesting to see, and then all the great drums) 5/9 and pianist Paul special place. We just lost one of our great piano Lachance and Jesse Cahill. artwork that the poor people—the poorest people in the Keeling’s 3 with bassist heroes, Hotep Galeta. Hotep was also a pianist who 4/22 has 3 Generations of Tommy Babin and Bernie Jazz with clarinetist Lloyd world, they were just great artists. worked with Jackie McLean. Cadence: Sounds moving— Arai drums 5/16. On 5/19, Cadence: Yeah? When did he die? Arntzen, trumpeter Leif vocalist/percussionist Arntzen, Tom Arntzen Reeves: it was moving to be there. It felt like I’d been Susanna Abrea & Terra Reeves: just recently. I don’t know the date. piano, saxist Evan Arntzen, there before, especially with Zimbabwe, and it just *Andre Carrasquero piano/ When they pass on, they just pass on, but they’re still Jeffrey Arntzen /gui- looked so familiar. We were very encouraging to the guitar, Jack Duncan, per- here. I don’t like to date them. tar and vocalist Georgina young musicians. I was in Hong Kong, I can’t remember cussion, Cameron Hood Cadence: Well, getting back to South Africa it was Arntzen. Blue Monday bass and guirarist Peter 4/23 has guest guitarist/ what year, and I walked into the club, and one of the Serravalle. Stick Night quite a historic moment in world history. vocalist Russel Marsland. musicians with the microphone say, “Nat Reeves!” He XI – an evening featuring Reeves: it was something else to go there, because I It’s B3 Beatdown with the remembered me from when he was a little guy in South the Chapman Stick is on didn’t know what to expect. There were the Afrikaans, or NightCrawlers 4/24 with 5/24, vocalist Karin Plato’s Steve Kaldestad tenor, Africa, learning to be a musician. I’m so sorry I can’t the whites there, some of them wanted you to know that remember his name. “Equation” appears 5/27 they weren’t part of the ones that were—I mean, we had Cory Weeds alto, guitar- with clarinetist James ist Dave Sikula, and Jesse Cadence: Yeah, because he remembered your name. Danderfer, Chris Gestrin people invite us to their homes. Cahill. Vocalist Maureen Reeves: he sure did. That was interesting. It was piano, bassist Laurence Cadence: Yeah, yeah. Washington’s 4tet appears really nice going to the Cape of Good Hope. Last time Mollerup and drummer Reeves: just got to enjoy the best you can. 4/25 with Karel Roessingh I went there, maybe the time before, I was taken on Joe Poole. May end 5/30 Cadence: Yeah. [CELL PHONE RINGS] piano, bassist Joey Smith with the Dave Robbins and Damian Graham a big tour with Sadao Watanabe, [ph 45:15] he was Electric Band with drum- Reeves: my mother is calling. drums followed 4/27 by there with his band. I went there with Jackie McLean, mer Robbins, Evan Arntzen Cadence: All right. [LAUGHTER] vocalist Helen Hansen James Moody, Rene McLean, on piano, tenor, Jared Burrows guitar Reeves: i think I’ll grab this. with Miles Black piano/ and Kerry Galloway electric guitar and bassist Jodi Jackie, Renee, James Moody, and Gary Bartz. It was Cadence: Yeah, you should. called Sax Summit. That was a good trip. That was bass. As I write, June gigs [END OF INTERVIEW] Proznick. On 4/27&28, Bill are vocalist Tea and special Coon’s double 4tet is in when I went on that little tour of South Africa. I met guests 6/7 and 6/30 as part with Brad Turner trumpet, one of Sadao Watanabe’s musicians at lunch, and he of the jazz fest, it’s a CD Cam Wilson & Yuel Yawney says, “Would you like to go on a tour?” He could barely release of the Weeds/Coon violin, Henry Lee viola, cel- speak English, I said sure. I was just thinking that I was 5tet with Cory Weeds alto, list Finn Manniche, bassist guitarist Bill Coon, Ross Paul Rushka & Bernie Arai going to walk outside and some guy was going to take Taggart tenor and piano drums. Vocalist Rebecca us in a car; he had two busses outside. and special guests bass- Jenkins’ group appears Yeah, so I got on the bus, and we went all over the ist Peter Washington and 4/29 with Joel Bakan gui- drummer Lewis Nash. For tar, bassist Bruce Meikle place, all through the vineyards, and stopped and had food and ate and looked towards the sea. It was one current Cellar info, go to and drummer Myim Bakan cellarjazz.com…The Jazz Kline. April ends on a Blue of the most unbelievable experiences of my life. And series at Capilano U. winds Monday with vocalist then we got to the Cape of Good Hope where, you up with concerts 4/12 by Christine Best know, the Indian and Atlantic Oceans meet. That was

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SHORT TAKES Vancouver, BC Rob Scheps Karrin Allyson with the Saxophone, flute, “A” band and NiteCap vocal group and 5/13 with bandleader French Gypsy Samarabalouf. Jazz on the Conducted by weekends continues at Ludwig van Trikt O’Doul until renovations start in June after which the music policy is uncer- tain. A new venue is Pat’s Pub in the Hotel Patricia on east Hastings where recently a group led by clarinetist James Danderfer appeared…From late Feb. into March, there was a parade of out-of-town musicians appearing at The Cellar starting 2/18-20 with Benny Green’s 3 with P. & K. Washington. Benny was delightful with his “back in the day” -ish style. What was memorable about the sets that I caught were Benny’s originals that were dedicated to his musical heroes like Jackie McLean, Photo Credit: Angela Bruno Harold Land, and for his trombon- Cadence: What in your past helped shape your ist namesake a tune he called “Back on the Scene” broadly eclectic performance & recording career? after a Blue Scheps: Well, that’s a broad question! Early influences Note. Standards the group are 50’s and 60’s rock & R&B. Especially King Curtis’ played included Doodlin’, CADENCE MEDIA tenor solos with the Coasters. This is why I remain open Shiny Stockings (the trio to pop music in addition to jazz. Over the years I’ve sounded liked the Basie ONLINE band) and a burning ver- Hours of audio and video interviews, plus arranged and played pieces by Jackie Wilson, U2, sion of 52nd Street Theme. the new quarterly CADENCE MAGAZINE and Joan Osborne, simply because A week later, NY-based there was something there for me that resonated. guitarist Peter Bernstein in digital format. Also includes an annual print edition and access to back issues Cadence: But how did you develop an affinity for the played with Tilden Webb, Jazz avant-garde? After all, you have worked with Jodi Proznick and Jesse at the CADENCE MEDIA ARCHIVES. Cahill. The first set that I Never miss an issue. Muhal Richard Abrams, Sam Rivers, Julius Hemphil caught included one of and Henry Threadgill... www.cadencejazzmagazine.com

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SHORT TAKES Scheps: Don’t forget Cecil Taylor. I think the term SHORT TAKES creating his own singular composing style? See my Vancouver, BC “avant-garde” is limiting. BUT, I think when you’re deep Vancouver, BC point? into Coltrane, like I was from age 11 on, you eventually Scheps: I see. Well, I think everyone has a different my favorite tunes, Hank get led to “”Sun Ship”, “Ascension”,”Interstellar Space”– notably “Timothy” a com- experince with creativity and individuality. If you happen Mobley’s “Thisidigofyou”. i.e., later Coltrane where rubato and freedom are plex tune that the local to be an original voice as a player or composer, part of Other highlights includ- more at play, although deep pulse and soul remain. rhythm section handled that is intrinsic in you. ed a smoking “What Is Muhal, Sam, Julius–these men are true originals. Their perfectly the first time Cadence: Let’s go back to three iconic figures whom This Thing Called Love” through, to the surprise of and bluesy version of playing and composing come from a very personal and Herring… you studied with and what each of them imparted to “Django”. Next up was unique place. They are instantly identifiable. However, For local jazz info and links, you personally and musically. I speak of Fred Hersch, Benny Golson’s 4tet on you’re doing yourself a disservice if you ignore their go to www.vancouverjazz. the late George Russell and Ran Blake? 2/27 with Ray Drummond, com or call (604) 872-5200 Jason Marsalis and Sharp backgrounds in straight ahead, swinging jazz. All 3 Scheps: Those are three heavy musicians. With Fred, of them swing their asses off, as do Roswell Rudd, I worked on harmony and composition. I feel that Fred Radway, a very impres- Ron Hearn sive young pianist. Benny Ornette, , Gary Peacock, Henry Grimes is one of the finest pianists out there. He combines real recently turned 83 but you and other so-called “avant-gardists. Food for Thought, deep swing and a knowledge of jazz tradition with an wouldn’t know it from his huh? Also, I heard Ornette, Archie Shepp, and Sun Ra, esoteric sensitivity, plus just a great touch on the piano.I playing or his spinning of stories and anecdotes from at about 13 and loved their music. also wanted and received from him the perspective of a back in the day, especial- Cadence: What was it like socially being a 16 year old non-saxophonist. ly how he came to write going into The New England Conservatory of Music? As for Ran, well, he‘s a horse of a most unusual some of his hit tunes like Scheps: It was great. I was out of the ridiculous confines color. In fact, he is a tribute to individuality by his “Along Came Betty” and “I Remember Clifford”. He of American high school life, and doing what I really very existence. Sui generis, for sure. Music is wider also played “Whisper Not” wanted to do. I had so many friends at NEC with than jazz for him–Greek music; Earth, Wind, & Fire; and tunes by others such common interests and goals. I had a beautiful Ukrainian- Billie Holiday–it all feeds him. Also, Ran codified a as “Take The A Train”,”, American girlfriend, and my teachers were masters like unique teaching approach. While it’s not necessarily for and Mr. P.C. Radway was Jimmy Giuffre, Fred Hersch, George Russell, Ran Blake, everyone, I found it valuable because he stresses ear featured on two standards “Straight No Chaser” and Tom McKinley. Plus I could soak up the culture of training. He also loves old black and white films, and ’s “Peace”. Boston and Cambridge. A great opening for me in my this is an area that even as a teenager studying with He has chops galore and life. I also had many friends who were considerably him, I could share. In fact, I once went to 30 Hitchcock a funky style at time remi- older than me, which has usually been the case for me. films in one month during a retrospective at the Brattle niscent of Wynton Kelly. I hope to hear more of him in Particularly fellow students like Rachel Z, Carl Stormer, Theatre in Harvard Square. Ran came up in Connecticut the future. Finally, Vincent Nelson Rangell, Chip Kaner, Joel Weiskopf, John where Gospel church choirs were a huge influence on Herring was in March 2&3, Medeski. him. This is another area I could enjoy. playing with Tilden Webb, Cadence: At what age did you feel that you developed George Russell was huge in my life. He’s one of the Ken Lister bass and Jesse your own authentic artistic voice? people who made NEC attractive to me as a school. I Cahill. Herring impressed with a strong, powerful Scheps: I would have to let others be the judge of that. grew up listening to The Outer View, one of his great sound and plenty of chops. I know my influences, but how can you say when your sextet albums. His music always swings, but it’s fresh The two sets I heard con- playing became original? and different. The reason is the Lydian Chromatic sisted of standards like Cadence: Well an example would be Terence Concept, or as George called it, simply “The Concept.” “Stablemates”,“Four” and a blues-drenched “Blue Blanchard’s recent remarks that conceptually (in George was a very erudite theoretician, but it always led Monk” that started with the terms of his writing style) he always wanted to be like to some bluesy, swinging music, or in later years, some intro to “’Round Midnight”, Wayne Shorter. But upon meeting and interacting with great funk and new grooves. Herring also played several Wayne; Terence realized that their two personalities When you studied with George or played in his of his own tunes, most were not alike at all. This then helped him towards bands, you entered HIS jazz universe, sui generis, one

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SHORT TAKES of a kind. He taught the same great pieces to many SHORT TAKES group. generations of Boston students. Toronto and Southwest Toronto and Southwest We played older (but still very fresh ) pieces like All About Rosie was key. When I asked George who All About Rosie, Cubano Be, Cubano Bop; Ontario Ontario Rosie was, he replied “I’ll never tell.” things from the 70’s like Electronic Sonata; and his new Toronto has a vibrant George was there in the maelstrom of creativity that featuring Don Thompson pieces at the time, Uncommon Ground, jazz scene with about a led to the Birth of the Cool sessions with Miles and Gil on vibes. The Koerner and George’ s magnum opus, The African Game. My half dozen clubs and vari- Evans. Johnny Carisi, Gerry Mulligan and others were Recital Hall saw Oscar personal favorite.That piece is required listening for Hernandez, Maceo park- ous concert venues. The also part of this think tank that centered on REX features a variety of er, The Spanish anyone who digs music. Period. styles, from The Excelsior Gil’s 52nd Street basement apartment in Manhattan. I’d Orchestra, and the Three George was frustrated–he had high expectations Dixieland Jazz Band, to say George’s contribution to that scene AND to Miles’s Cohens sextet. next month and the students didn’t always meet them. BUT, with us the University of Toronto’s uses of modes on Kind Of Blue were more attributable will see Ravi Coltrane quar- and with his European band, I think he hit the heights tet. Jazz Ensemble, to New to George than he ever got credit for. he wanted to hit many times. I’m not on any of George’s York City’s CHRIS TARRY’s group George always talked of his early history–Charlie There is also an experimen- records, and I wish I were. Parker, Sheila Jordan, etc. He was a drummer with tal scene featuring groups He used to say “yeah–Rob Scheps–you got that Koerner Hall, part of the Benny Carter, but was bested out of that gig by Max using electronics and FIRE.” He dug my playing and encouraged me a lot. Toronto Conservatory has Roach. Russell attended Wilberforce University in Ohio, acoustics. One of the bet- He also used to share these lozenges that he always ter known groups is called featured such people as where Frank Foster also went. The thing with Max led JOHN JOHNSON, EDWARD So Nu led by saxophonist had. They’re called “Fisherman’s Friend”. SIMON and STEFON to George switching to piano. When I asked him in GLEN HALL. He’d say, “I always have a fisherman’s friend for YOU, HARRIS, and the SF JAZZ the 1980’s why he never played piano anymore as a Rob.” COLLECTIVE. The Toronto performer, but had on all the sextet records, he replied, Down the road is Guelph His music changed the way I play, but more, the where every September Centre for the Arts, fea- ”well, man, I would’ve looked pretty silly conducting way I compose. My piece for 5 brass & rhythm section, tured Jazz Goes to the they have a great festival. Movies in conjunction with a sextet.” George had a sly sense of humor, and This past year featured The Arms of Crisis, was composed using his methods, the Toronto International sometimes he kidded people without them realizing it. a group led by ALVIN as were some other tunes. He opened the doors to new Film Festival and fea- I’m not going to delve into the Concept here, except FIEDLER and HENRY possibilities for all of us. I loved him. tured such local talents to say that it is grounded in physics, and makes more THREADGILL’s zooid as JACKIE RICHARDSON, musical sense than some traditional ways of thinking DON THOMPSON and a Another drive down the Cadence: Have you always been able to make a living large ensemble featuring about music theory. Among the students he influenced road leads to London, as a working musician? Pat Labarbera and Mike deeply were , David Baker, Don Ellis and Jan where there is a fragment- Scheps: Yes. Murley. Garbarek. ed jazz scene. Maggie’s Cadence: What is it that separates your talent from Jazz and Supper club , the great bassist in my current New the dozens upon dozens of saxophonist that are in At the Tex Hotel there features piano jazz in the will be British Columbia York based quintet which is called the Rob Scheps evenings, a mainstay is New York City? native saxist Corey Weeds Core-tet, was also an early student of George’s in JOHNNY NOUBARIAN. The Scheps: I can’t speak to what separates me from others. with local rhythm section Scandinavia. London Jazz Society fea- I can just say that I’ve always been a musical omnivore; including Bernie Senensky I toured with Russell’s Orchestra in tures 1920’s style music, maybe I have a broad stylistic range because I enjoy and there is ERIC STACH’s B3, Reg Schwager, guitar 1988 and for a few years. A tour of New England–12 and ted Warren. drums. free jazz group which per- different styles of music and hear the value in them, On Tuesday evenings the cities; shows in Philadelphia at New Music America, and forms in Eric’s studio which from Mozart to Booker Little, from the Residents to Shields-Fielding trio per- at the Smithsonian and Wolf Trap in Washington, DC. series open to the public. Prince. form, on Wednesdays it is I was the tenor sax soloist, and George used me and Cadence: Let’s delve into the various bands that Bernie Koenig the Rhona Stakich trio, and guitarist Dave Fiuczynski extensively. The band was you have led and currently lead and the history or on February tenth there was a benny Goodman great–Stanton Davis, Tiger Okoshi, Ken Cervenka, Mike Short Takes continues conception behind each. tribute with the with the Piepman, Keith Copeland, Steve Johns, Bill Urmson, on Page 101. Ross Woolridge sextet Brad Hatfield, Chip Kaner, Bill Lowe, Dave Mann, Dave Finucane, and Jim Odgren were some of the cats in the

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OBITUARIES OBITUARIES from funk to bop, and we go all electric or all acoustic, Scheps: Past bands–I led a trio in junior high school–we depending on the piece. Other members have included Roland Allen (drummer/ played Horace Silver, Vince Guaraldi & Chick Corea’s (singer- Ronnie Burrage, Bryan Carrott, Bill McLellan, Marcello vocalalist) died February music. Sax, piano and drums, just like the old trios for songwriter) died in 13, 2012, in Oklahoma Pelliterri, Bruce Edwards, and George Mitchell. We strip clubs. In Boston I led a sextet with Joel Weiskopf, Switzerland on March 1, City, OK. He was 82. 2012. He was 68. did a live CD in Seattle on Halloween night, 2000, Ian Froman and others, with a front line of trumpet, entitled “Live at Earshot”. It’s on cdbaby.com and it’s Tom Ardolino (drummer) tenor and trombone–we won a Down Beat recording Kay Davis (singer) died a good concert. Finally, I started the Rob Scheps Big died January. 6, 2012, in award for our version of Baba by Kenny Wheeler. on January 27, 2012 in Springfield, MA. Longtime band as a ten piece ensemble in Portland, Oregon on But I actually only won first place in one Down Beat Apopka, FL She was 91. drummer for the group September 11, 2001–nobody knew what was gonna recording category - best Chamber Music Performance! NRBQ. He was 56. Claire Fischer (piano, happen that day! We’ve been cookin’ for 10 years. We I transcribed Ravel’s Chanson Madecasses for soprano arranger) died on January did a great but unreleased CD with bassist/composer Bob “Badge” Badgley saxophone to play with the existing parts for flute, cello 26, 2012. He was 83. Chuck Israels; and we are recording a brand new CD (bassist) died February 24, and piano. My colleaagues and I had our picture in 2012 in Las Vegas, NV. He in February 2012 with guest soloist, trumpeter Greg Down Beat, and I won a microphone I still have today. John Ferguson (bassist) was 81. died on January 11, 2012. Gisbert, featuring the music of composer Ez Weiss. It’s In 1982 I formed the True Colors Big Band in Boston–I He was 79. a serious players’ band, but the writing is so important to Wade Barnes (drummer, mentioned them before. The Rob Scheps Core-tet is shaping our sound also. composer, producer, my current band; the New York City version was formed Frank Gay (trumpeter and bandleader, arranger, Cadence: Are you able to talk about the various in 1988; the current incarnation, as of 2011, features barber) died January 13, educator), died March 3, recordings which you have made (please provide Greg Gisbert (trumpet); Jamie Reynolds (piano); 2012. He was 83. 2012. He was 57. label names and serial numbers)? Cameron Brown (bass) and Anthony Pinciotti (drums). John Glasel (trumpeter, Scheps: Here is my CD discography: Pupi Campos the band is smokin’–I’m very proud of them. We play 6th President of Local 802) Wayne Naus and Big Band Express- Born On The Road (bandleader, dance) died on all of my new compositions, plus some rare chestnuts died on December 8, 2011. December 12, 2011 in Las (Nausome) by composers like , Dannie Richmond, Billy Vegas, NV. He was 91. Gerre Hancock (organist) Terumasa Hino - Bluestruck (w/John Scofield, Victor Lewis) Harper and . died January 21, 2012 in (Blue Note) Jimmy Castor We played a number of times at Smalls in NY’s Austin, TX. He was 77. Bob Moses - Time Stood Still (Gramavision) (saxophonist and singer) Greenwich Village this year–packed houses. You can died on January 16, 2012. Mario DePreist - First Things First (ViRuth) hear the shows at www.smallsjazzclub.com Jimmy Harrison Sr. He was 71. Ben Wolfe - Murray’s Cadillac (Amosaya) In Portland, I had an avant-garde ensemble called (trombonist) died on January 17 in Houston, Howard Tate - A Portrait of Howard (Solid Ground) (pianist) “Salon des Refuses”–many pairs: ; 2 basses; TX. He was 83. Dmitri Matheny - Red Reflections(Monarch) The Chicago-based pianist 2 drummers; 2 poets, 1 male, 1 female; a tap dancer, Francois Theberge - Medium Band (Round) who was a founding and a live painter. It got to the point where there was no Red Holloway member of the Association Tim Jensen - Tim Jensen (self-produced) rehearsal and all the gigs were completely improvised. (saxophonist) died on for the Advancement February 25, 2012 in Tim Jensen - A Mind For the Scenery (Origin) Once clarinetist was a special guest of Creative Musicians Morro Bay, CA. He was 84. David Haney with Roswell Rudd, Julian Priester - Off the Cuff (AACM), died in Chicago with us. We played over on NE Alberta Street–an up- (Cheetah) on February 13. He was 80. and-coming arts district. Charles Hooper David Haney w/ John Tchicai - Live From Yoshi’s (Cadence) Funk is a life long interest for me. In 1997, I formed (drummer) died on January Joseph E. (Chev) Darrell Katz - Dreamland (Cadence) “Afterslap,” a trio with electric bassict Victor Little and a 9, 2012. He was 69. Ciavardone (trombonist) Joan Szymko - Openings (Viriditas) died March 26 in Ocean drummer, also in Portland. It was hip but short-lived. Michael Hossack Al Grey - cd w/ Steve Turre, Norman Simmons, Jon Breeze, NY. He was 83. But, for the last 14 years I have co-lead the bi-coastal (drummer) longtime Burr,Kenny Washington, George Cables, Lewis Nash funk band Magnets! (yes, the exclamation point is part Doobie Brothers drummer, Lou Colombo (trumpet) (unreleased) of the name) with my friend and co-leader, former died on March 12, 2012 in died March 3, 2012 in a car Dubois, WY of cancer. He Medeski, Martin & Wood - Hip Hop Satellite (unreleased) and Joe Henderson bassist Kim Clarke. Kim crash in Fort Myers, FL. was 65 Jazz Composers’ Alliance with Sam Rivers and Julius Hemphill He was 84. is a wonderful composer,and that band deftly shifts

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OBITUARIES - Flux ( Northeastern) OBITUARIES the University of Oregon, and Tim, who is a great Nancy King/ Glen Moore/ Rob Scheps - King On The Road saxophonist I knew from New York, was in town with Jimmy “Junebug” (Cardas) Johnny Otis (singer, the night off. (He plays with the Rolling Stones for a Jackson (drummer) died John Stowell - Brazil Project (New Media) bandleader) died on number of years now). Anyway, he and I share the on January 28, 2012 of Rob Scheps/ John Stowell - Portland Sessions, Vol. 1 (self0- January 17, 2012 in Los conjestive heart failure. He Angeles, CA. He was 90. rare proclivity for playing two saxophones at once, a la was 55. produced) . When we do it, we both tend to Various Artists - Alternate Currents (Gramavision) Bill Phillips (baritone play tenor and soprano saxophones at the same time. Etta James (singer) the Jules and the Family - Border Radio sax) died on Decemver 12, So, I had Tim sit in with us on I’ve Got You Under My matriarch of R&B, died Stephen Palmer - The Alliance 2011 in Newark, NJ. He Skin, and we traded fours, with each of us playing two on January 20, 2012 in was 79. Duffy Jackson - Swing, Swing, Swing ! (Milestone/ Fantasy) Riverside, CA. She was 73. harmonized saxophones. Four horns, in two mouths! I Scot Albertson - Fate Just Won’t Wait Paul Plummer (tenor sax) have to say, it was actually good and pretty musical, but Dick Kniss (bassist) died Jazzcode - In The Moment (Jazzcode) died on January 17. we were laughing so damn hard we could barely play ! on January 24 in Kingston, Jazzcode - Codes For Christmas (Jazzcode) So was the audience. A unique night. NY. He was 74. That’s fairly complete. Pete Saberton (pianist) died on March 21, 2012. Once in the Bronx, I was playing at a Frank Köllges (drummer) He was 61. Catholic high school in a tough neighborhood. At one died January 1, 2012 in Cadence: Because I am a baby boomer I grew point Maria, onstage, said “How many can I kill and still Neuss, Germany. He was up remembering with fondness LP’s, reel to reel, Omar Sharriff (pianist) have one bullet left for me? ”Then some wiseass in the 59. cassettes and DVD. So I was taken aback when you died on January 8, 2012. audience yelled out “Shoot yourself!” He was 73. Phil Kraus (percussionist) had no hard copies (i.e. disc) to offer for me to hear? Fiinally, there was the time in Boston where I has died on January 13, 2012. Is this just the direction that music is headed with Josef Skvorecky (writer) hired by a lesbian to play I’ve Grown Accustomed To He was 93. artist not having the traditional formats to represent died on January 3, 2012 Her Face on solo alto sax in the back of her van. The themselves in the market? in Toronto, Canada. He purpose was to serenade her surprised, possibly straight (pianist and Scheps: I grew up with vinyl too, Ludwig. I still have and was 87. singer) died on December girlfriend, to whom she wanted to express her ardor. 26, 2011. She was 82. treasure my records. I have some cassettes Luis Alberto Spinetta It was a sweet moment, and the object of the song also. I’m on 30 CD’s–I didn’t have any to give you, (composer/poet/guitarist) seemed pleased. However, beforehand, while we were John Levy (bassist) died because usually you only get one copy when you died on February 8, 2012 in double parked outside of the gym where the woman was on January 20, 2012 in record. The CD’s are out there on amazon, cdbaby Buenos Aires, Argentina. finishing a workout, a guy yelled at my employer, “Hey Altadena, CA. He was 99. He was 62. and ebay, and I don’t deal often with digital downloads. Mister, move your car!!” She had short hair and looked Warren Luening Records still rule. Dan Terry (trumpeter) kinda butch, so I guess he had mistaken her for a guy. (trumpet) died on March Cadence: With all the diverse artist you have worked died December 27, 2011. She turned to me and said, “there goes ten years of 18, 2012. He was 70. with, you must have some marvelous stories to tell. He was 87. therapy right down the drain!” She dropped me on the Any great stories you can reccount particularly of a Frank Marocco Nick Tountas (bassist) front steps of New England Conservatory in the rain at (accordionist) died on humorous nature? died February 3, 2012 in 9 am with a 50 dollar bill in my hand for my trouble. March 3, 2012 in the San Scheps: How about the time I had a quintet in NYC, Glenview, IL. The whole gig I just described took place at 8 in the Fernando Valley, CA. He consisting of Andy Gravish (trumpet); Joel Weiskopf morning! was 81. (piano); Bill Moring (bass); and Jeff “Tain” Watts Zbigniew Wegehaupt Finally, I used to perform in a twelve-foot-high (bassist) died January 13, Mike Melvoin (pianist, (drums). We played some good music, like Joe 2012. He was 57. inflatable carrot suit. Bob Mintzer and Bob Moses were arranger) died on February Henderson’s “The Kicker” and “Cherokee.” But we also there... but that’s a whole nother story. 22, 2012 in Burbank, CA. performed with a six foot tall female stripper, and David Weir Tuttle He was 74. an obscene ventriloquist’s dummy that night. (trombonist) died on Ludwig van Trikt Or the time in Eugene, Oregon where Tim Ries December 20, 2011 in Anne Marie Moss Edmonds, WA. He was 85. (singer) 1935 - 2012. sat in with my band. My quartet was performing at

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SHORT TAKES that moment on I wanted to learn to play jazz. Back Johannes The Netherlands then there was almost no one that wanted to play jazz except a free jazz bass player and an electric bass Enders dOeK FESTIVAL #10 Saxophone, Sun Rooms player friend of mine who was totally into Jaco. For a Jason Adasiewicz vib, Nate real jam session we had to take the train to Munich to Interviewed by McBride b, Mike Reed d. go to the Club Allotria or the Unterfahrt. Ludwig van Trikt WoKaLi Cadence: What was it about Bird's playing that Wolter Wierbos tbn, Achim Kaufmann p, Christian lured you into jazz? Lillinger d. Enders: It was a door opened up to a new world. Boerenbond What I heard in this moment was so intelligent, emo- Eric Boeren cnt, Peter tional but still free; Charlie Parker sounds so full of Evans tpt, Tobias Delius ts, positive energy. l remember one of my first records was Interview with Jason Adasiewicz vib, Oren Johannes Enders on Marshall tba, Guus Janssen a Charlie Parker recording with some big band called January 14th, 2009 p, Cor Fuhler p, Michael "A Night In Washington”. The version of Fine & Dandy via e-mail from Vatcher perc, Marie really blew my mind. His sound, no matter if the sound Guilleray vcl. quality was good or bad, and his phrasing and melo- Weilheim, Germany. The Now Peter van Bergen ts, Nicole dies, did it for me. Mitchell flt, Wilbert de School really got on my nerves during that period Joode b, Hamid Drake and the music kept me kind of alive. I started to tran- perc. scribe Parker and practiced and listened to jazz all day. The Gap It drove my neighbors nuts. Then I went to the record Cor Fuhler p/g, Tobias Delius ts/cl, Axel Dörner store and got Bird & Dizzy at #I. tpt, Jan Roder b, Dale Cadence: often talks about how Gorfinkel vib, Steve rigorous it is to study and play classical saxophone. Heather d. What was your formal education on the saxophone? The Job Oscar Jan Hoogland el Enders: Actually I am a huge fan of Branford: I love clavichord/Moog/g/vcl, his phrasing and the way he swings. But I think what Jochem van Tol turntable/ works for one might not work for someone else. g/p/vcl, Ibelisse Guardia I did study Classical saxophone with Andre Legros Cadence: You grew up near Munich in the 70's. Ferragutti b/wurlitzer/vcl, at The Richard Strauss Conservatory for 3 years and it What was it like both musically and socially? Onno Govaert d. The annual dOeK Festival was indeed great for my technique. However if you are Enders: My home town was near Munich and very is a major event in looking for your own sound and style sometimes it is close to the alps called Weilheim. Weilheim was and improvised music in the better to just figure out your own strange ways of doing still is a very sleepy and conservative Bavarian place, Netherlands. things including what you chose to study. To go back to perfect to raise kids. After playing the recorder and This year’s 10th anniver- sary edition looks very the Jazz tradition and checking out for example Lester flute I picked up the alto saxophones, and was totally promising with a two-day Young helped me a lot. Lester Young leads right to into Soul music aka Rhythm and Blues. After discov- program in the Bimhuis, Wayne Shorter and , my two all time favorite ering James Brown and Earth, Wind & Fire; I always the Amsterdam Real Book tenor players (after John Coltrane). wanted to move to the States or even better, New project at several under- Shorter and Getz have this broken component in York City in particular. It was my good fortune that my ground venues in the city and additional concerts in their playing. I studied at the Hochschule fur Musik in sax teacher was into Be-Bop. One day he played me Leiden and Zaandam. Graz, Austria and The New School in New York City. In a Charlie Parker record which blew my mind. From America I studied with , Kenny Werner, and

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SHORT TAKES Dave Liebman. For me to meet and play with school cally Dutch improvised and of course Jerry Bergonzi. My thoughts were if I put The Netherlands mates like Brad Mehldau, Chris Potter, SHORT TAKES all these influences in a big pot and let it cook (so to and was an eye opener. My lessons with The Netherlands speak). Take all those many years of my own experi- The festival – organized Jerry Bergonzi were also great! ences (both musical & non musical) and then find by dOeK, an Amsterdam Cadence: Bergonzi is a recurring figure in your music has to offer. With the right horn and mouthpiece one day I might get an based collective of impro- the German vising musicians – takes travels. player Meinrad Kneer he original sound. For me it happened after I quit playing a look at what’s happen- Enders: The first time I met and heard Bergonzi has recorded the duo for almost two years about l4 years ago in 1994. After ing in the international was in Graz, Austria around 1990. He was playing in album Windfall. Their play- some really bad personal relationships I just couldn't impro scene. The five ing breathes freedom and core members of dOeK town for one week with Hal Crook. Back then I was take my sax sound anymore after trying to copy John totally into Steve Grossman; his playing especially dur- space, which is something Coltrane so hard I just had to stop playing altogether. each have put together a the American drummer special festival group and ing the "Live At The Lighthouse" session with Elvin Billy Elgart can appreciate. To survive I did many funny jobs and I bought an Atari have invited an interna- Jones. Jerry's playing reminded me a lot of Grossman's 11 may 2012, Bimhuis, computer and locked myself in the basement and got tional guest ensemble. In philosophy of sound. Of course it came out like late Amsterdam donderdag 17 into electronic music. It was really a dark period. When addition there will be an Coltrane but they both created their own unique, earthy mei 20:30 € 18 I eventually took out my horn and started again it felt interactive sound and light Boi Akih: CD presentation installation and children’s and dark sound. Monica Akihary vcl, Niels like I was a little closer to my own voice. workshops. Cadence: This is quite some array of teachers. Brouwer g, Wolter Wierbos Cadence: Speaking of "voice", a number of instru- April 21, 22, 2012, Can you summarize what you learned from these tbn, Kim Weemhoff d/perc. mentalists have said that it is almost essential to take Amsterdam, Leiden, This group combines jazz, Zaandam | www.doekfes- various musicians? some voice lessons. What has been your experience Enders: I learned a lot of technique and improv and flamenco and Moluccan with that idea? tival.org | www.improreal- folk with imaginative book.nl how to develop a personal sound on the tenor sax improvisations. Famous Enders: I never checked out the idea of singing; Donny McCaslin from both Bergonzi and Liebman, and about harmony ‘songs of freedom’ by which I now view as a big mistake because it is great Quartet and composing from Donald Byrd, Reggie Workman among others Jimi for saxophonist to learn some opera technique which Donny McCaslin ts, and Kenny Werner. Just to be around those artists Hendrix, David Crosby, will help a player. I do however use a singing effect for p/key, Fima Bob Marley, Joni Mitchell Ephron b, Rudy Royston and breathe the same air was the key for me. Just to and Neil Young are sourc- the altissimo register of the . Although d. Promoting his new experience how serious they are about the music was es of inspiration for their I have not done it in a while my past work with singers CD Perpetual Motion, really inspiring. Since I really love Blue Note Records new CD Circles in a Square has included playing with Sheila Jordan, Jay Clayton, McCaslin delves into Society. May 17, 2012, ‘angular post-bop, rich, it was amazing to hang out with Donald Byrd and hear Laurie Antonioli and Rebekka Bakken. It was great all these stories about how he played with Coltrane Bimhuis, Amsterdam. to comp with the saxophone and sneak around vocalists polyphonic funk, ethereal David Kweksilber Big balladry’, and much more. or how he (i.e. Byrd) discovered . Band Line-up t.b.a. using the in the altissimo voice. April 27, 2012, Paradox, Jerry Bergonzi talked about Grossman's post Coltrane Kweksilber’s 24 piece big Cadence: Did you do any lengthy sideman work Tilburg. approach to the horn. band consists of an all-star with one particular band or artist? For me coming from the German province to New line-up of musicians with a Enders: I love being a sideman in a great band Trio Baart/Kneer/ background in modern Elgart York City's New School it was like a dream. On the classical as well as impro- because you don't have the organization responsibili- Ab Baars cl/ts, Meinrad other side it is sad to see that these jazz legends were vised music. Every first ties and you can concentrate on the music. The longest Kneer b, Billy Elgart d. and probably are still totally underrated especially in Monday of the month they sideman work I did is my relationship with Billy Hart's Baars’ music has been will play a combination of characterized as ‘joy- America. Trio. We just finished our 2nd record "Billy Hart Trio– Cadence: You have one of the most muscular newly written material and Live at the Cafe Damberd" for , which fully obstinate, but surely treasures of the past, from appealing and as colour- tones in Jazz: to what do you attribute your deep Graettinger to Stravinsky. was released in February 2010 for our European tour. ful as it is astonishing.’ It sound? May 26, 2012, Bimhuis, This is great because after 5 years now the communi- embodies the best typi- Enders: I always loved the dark, big tenor saxo- Amsterdam. cation is on a really high level. Also for over 10 years phone sound of players like Joe Henderson, Wayne now I am involved with a very interesting project called Shorter, Stan Getz, Lester Young, Branford Marsalis, the Tied & Tickled Trio which is based in my home

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town. It's a mixture of jazz and electronic Music. There Johannes Enders on great players centered around the only real jazz club SHORT TAKES is also my work of the last 20 years when I was a there - The Unterfahrt. The players were supportive but The Netherlands member in many bands like the Jacki Byard Big Band, You Tube: most them stayed in their circles and the older musi- Sam Rivers Big Band, Wolfgang Haffner Group, Oliver cians were very conservative. Peter Evans/Evan Parker/ Kent/Ulli Langthaler Septet, Fritz Power Quartet just to Johannes Enders Quartet Everything changed for me when I moved to Graz in Sam Pluta/ – name a few. Austria to study at the Hochschule. It was where I met ROCKET SCIENCE Peter Evans tpt, Evan Cadence: The saxophone with rhyhm section (per- Johannes Enders - Tenor all the young hungry cats from all over the world and Parker s, Craig Taborn p. haps a trumpet added) is the most dominant sound in Saxophone; Jean Paul where we jammed almost every night in a local club. This dream band, formed jazz. What do vou do to reinvigorate the format? Brodbeck - Piano; Milan A lot of great guys were from what was known then as by trumpet genius Peter Enders: I never really thought about this but you are Yugoslavia. Graz also had great workshops with people Evans, and with his role Nikolic - Bass; Billy Hart - model Evan Parker, prom- right. About 75% of my own releases have this lineup. Drums like Barry Harris, Red Mitchell, and Jerry Bergonzi; in ises to be very spectacular. I really like to play with trumpet/piano/bass/drums. I a way it is still my second home as is the country of May 26, 2012, Bimhuis, really love Miles Davis' Band with Wayne Shorter. I had Route F: www.youtube.com/ Austria. Amsterdam. the chance to form a studio band with trumpeter Ingrid watch?v=MQ9kZAkmWn8 Cadence: What was your experience in South TryTone Jensen, keyboardist George Colligan, bassist Dwayne Africa during 1992? Every first and third Wednesday of the month Burno and the drummer Howard Curtis. We did the So Ro: www.youtube.com/ Enders: I was invited to Cape Town by David van the TryTone Festival ENJA recording"Bright Nights" where we tried to cre- watch?v=q06M9bdlkOs Stavela, South African artist who had lived around takes place at Zaal 100. ate that vibe. But that was years ago. Now my working Munich. He had to escape from the South African With this concert series quartet features Viennese Oliver Kent on piano; he and Little Drummer: regime in the early 1980's and landed in Germany. TryTone has established a performance space for I have played together for over 20 years and whose www.youtube.com/ South Africa seemed to open up in the beginning of the experiments around new compositons I love. One of the other projects I did out- watch?v=PC6UOER-0Bs 1990's just a little bit but the political environment was projects and concepts; for side of the usual quartet context was in 2008. I wrote very unstable. The invitation came around November the music that lives today. a suite for the JazzBaltica Festival ln North Germany. Johannes Enders Trio l99l; when I was touring with Gene Calderazzo and Visit www.trytone.org The Festival’s own ensemble is the group I lead which Shawn McGloin in Berlin. We took him on his offer. for the line-up. Zaal 100, Johannes Enders -Tenor Amsterdam. turned into an octet with German, Swedish, Polish and This two week tour made my group one of the first Jappe Groenendijk Danish musicians. Since I knew pianist Hank Jones Saxophone; Ed Howard - Western jazz artists to South Africa. Young as I was would appear, I wrote a 3 piece suite dedicated to the Bass; Sebastian Merk - Drums I instantly said "Yes", not being aware of what was legacy of the Jones Brothers. Hank Jones sat in on one ahead. In August 1992 I hopped on the plane and flew song which was unbelievable. He is 90 years old and Essence of a Day: to Cape Town. It was one of the most amazing tours I still playing with such fresh energy. German TV record- www.youtube.com/ ever did. ed the whole performance. My long term dream is to watch?v=bJfSFeM9zfM There were intense ups & downs with on the one do a project with full Orchestra. The composition I want hand this incredibly beautiful country and the ocean to orchestrate will be a mixture between Stravinsky, Bobby Hutcherson/Joe Locke contrasted with political chaos. I met great original Bartok, Steve Reich and Gil Evans. It has been hard to Septet at Jazz Baltica musicians like the alto saxophonist Robbie Jansen who put it on paper from my head. It will take some time but worked for the Coast Guard and told these crazy white Bags Groove; someday it will happen. shark stories. There was also the legendary tenor saxo- www.youtube.com/ Cadence: Jazz's early social history was largely phonist Winston Mankunku who lived in the townships watch?v=_jUrsfEALlI made from the bandstand. While you were in without electricity and running water after many years Germany learning formally did you get to hang out of the oppressive apartheid system. I toured with local and jam? guys Hilton Schilder on piano, bassist Basil Moses and Enders: When I started to go into the various jam the drummer Kevin Gibson. We played at the fancy sessions in Munich there was a vital scene of really Green Dolphin which is Capetown’s #1 jazz club as

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well as in a funky ANC venue. While on the ANC bill TRANSCRIPTION FROM AUDIO (which was in the Township) there was a massive Listen to Robert at www.cadencejazzmagazine.com. demonstration about several miners being fired: this turned into life threatening riots. Iam not an audiophile, although thanks to North We also had the opportunity to record for the South Country Audio, I have appreciated more what the audiophile world is. There is a difference. There is a African Radio stations (S.A.B.C.); they were really open difference between analog and digital, but I was brought to Jazz. Pianist Hilton Schilder hooked this up because up on 78s and LPs and, you know, still when I listen he thought it would be great to record some originals. to some of that music and I hear the skips and cracks All I can say in remembering this trip is that in a way and the pops, it became part of the music, and my focus was always music, not sound. Music obviously is Cape Town was really the end of the world. sound, but that was not my main focus. My main focus Cadence: Did you get a sense that jazz was part Photo Credit: Ken Weiss was on the music. Feature of the cultural fabric of the Townships when you trav- It’s been my feeling for quite a while that audiophile Recording on eled throughout the country? RObert D. people, they miss the point when it comes to music. Enja Records: Enders: The South African music scene is so far Rusch got interested They’re more interested in hearing sound for sound’s in jazz in the early sake; I’m more interested in hearing music for musi- away from the rest of the world, especially in Capetown. cal ideas. If you’re an audiophile and that’s what you Johannes Enders There is a genre called "Stream & Sound" which has 1950s and beginning want, more power to you. It’s also been my experi- Billy Rubin many elements and influences. The concept is based with W.C. Handy ence that audiophiles are ecstatic when you give them on original African music without a lot of harmonic has since interviewed audiophile disks, and they, more often than not, want to hear Ben Webster played for the umpteenth time in Johannes Enders - ts changes but more variety of rhythm. I don't think they hundreds of musicians. In 1975 he started some wonderful, pristine audio state, than they are in call it jazz. It was and is viewed as a way to communi- the music. That’s probably why avant, or post-bop, or Jean Paul Brodbeck - p cate through music. Cadence Magazine, post-mainstream recordings are rarely done as audio- Cadence: The disc that came from your visit to handing it over to David phile projects. Milan Nikolic - b South Africa called "Reflections of South Africa" is Haney in January 2012. The audiophile world has kind of reached a— what are we going to call it? An absurd point—with noteworthy for how tight you guys sound as opposed He has produced over Billy Hart - dr the recording of Oscar Peterson; Oscar Peterson, to just a tenor player recording with a pick-up rhythm 600 recording sessions Unmistakable. This is released under the Columbia section. of unpopular music Masterworks label, number 88697743512, and it’s a Recording Date: 25th Enders: The good thing was that I played with a and currently paints Zenph, Z-E-N-P-H, recording, or it’s a Zenph process. February, 2010 unpopular canvases. Now, what these folks do is they take a recording—they working trio and we had been touring for more than a did this with Art Tatum previously; I think that’s the only week before we went in the studio. I was totally inspired Location: Realistic Papatamus: other time they’ve done it—and, as best as I can under- by those musicians. Music is all they have; for me com- stand, what they do is they take a recording, rerun it Sound Studio Munich A collection of some- ing out of the "secure" Western world created a very times disparate material through it all sorts of audio equipment, and then record different atmosphere. Musically we were talking very though generally relat- it. They show a picture here of a piano surrounded by Engineer: Florian about a dozen mics and everything else, and they sim- beautiful but certainly not on safe grounds even com- ing to music recordings Östreicher or performances. ply re-record it, and they’re supposed to be state of the pared to New York City. art—as if, in this case, O.P. were in your living room. Mixed at the Enders Transcribed by Paul Forget about everything else, bottom line to me is it Ludwig van Trikt Rogers sounds like an Oscar Peterson recording. Sound-wise, room yeah it’s good, it’s fine. Maybe I’m too much of a phi- listine to understand the finer properties of audio sound, or maybe I’m not interested in clamping headphones over my head and listening in some perfect atmo- sphere. I don’t know, but to me it sounds the same. Now add to that the liner—well, the liner notes go into great detail how this is done, and how Oscar Peterson’s

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widow loves it, and they even have liner notes by So while this music—this release, I should say— Bob Rae, who was the Ontario—Premier of Ontario, serves up a great respect for O.P. and the music, but Canada, and he uses such—he adds to the hyperbole it’s on rather hallow terms. It’s more technical than with things like, “Oscar Peterson is the greatest stride musical. It treats music as something under glass, pianist who ever lived.” instead of up front, and perhaps funky. So if you’re an And certainly the music will be familiar to Peterson- audiophile—sorry if that’s a left-handed compliment—or ophiles. The familiar, Tatum-esque runs, and the would like to experiment with, I guess, state of the amazing facility that he had, and it is amazing. I enjoy art performance, this might be for you. Those who Oscar Peterson; I think Oscar Peterson is rather taken like Oscar Peterson, there is a ton of it out there, and for granted, shall we say, by jazz purists. I think he—it you’ll get more music—more music on a CD on most brings to me to mind a discussion I’ve had many times of those releases than you will here, simply because as to what—perfection in jazz, to me, is almost anathe- they’ve duplicated the performance. Anyway, it’s Oscar ma, and there are some people who look for perfection, Peterson, and it’s called Unmistakable, and it’s on the and I certainly can appreciate Oscar Peterson, Tatum, Columbia Masterworks logo. maybe . All are favorites of mine, not If the Oscar Peterson record brings up the conun- because they’re perfect, but because they’re so damned drum of audiophile recording, as opposed to music, good. On the other hand, there are other singers and the C.O.D Trio recording on the No Flight record label pianists that are less than perfect. I can hear the mis- out of Italy, NFR BLO1, brings up another question: Do takes. It’s not the mistakes that throw me, it’s what we like something because of its reference, or we do these artists do with the mistakes. I think there’s a like something because of its innate musicality? By case to be made that the best jazz is imperfect jazz. that I mean this C.O.D. recording has the trio, which is Anyway, to further the point that these people at Biagio Coppa, who I think is pretty much the leader, on Zenph had put the cart before the horse, shall we say, tenor sax, and Gabriele Orsi on guitar, and Francesco the recording dates here are only for the re-recording, Di Lenge on drums, references the music of Charles which was May 22nd, 2010 at the Abby Road Studios Mingus, and I guess it’s subtitled here, C.O.D Trio: in England. No recording dates for any of the mate- Mingus Reform School, which is a clever title, I think. rial on here, except to say that most of it is previously Mingus Reform School, indeed, and suggests some- unissued. To be more exact, the sticker on the front— thing. I don’t think it says anything like this inside it—the But as I was listening to this—and I quite enjoyed sticker on the front says it includes six previously unre- the record—I wondered how often we like a record- leased tracks. It doesn’t say which they are; it doesn’t ing because of the music it references. And I think give the recording dates, and the music—Body and of the many Monk tributes. When Monk was start- Soul, Back Home Again in Indiana, The Man I Love, ing out, even into the—even into the fifties, his music Who Can I Turn To? When I Fall in Love, a Duke was not very popular. His musical lines were not very Ellington medley, and Con Alma, and Goodbye—the popular. Now, of course, you play Monk and it’s hard music is so familiar, and O.P. is so heavily recorded to get away from Monk and everybody loves it. On that discographically, it’s really kind of hard to figure this recording, we hear Fables of Faubus, Self-portrait it out, although I suspect the Ellington medley is from in Three Colors, Nostalgia in Times Square, Goodbye Rochester, probably March 17th. But, you know, it Porkpie Hat, and Boogie Stop Shuffle. Five well- doesn’t matter. I mean, discographically we like to established Mingus pieces, actually all qualifying now, I have that information, but we’re not going to get it on guess, as standards in the jazz lexicon. And obviously this. people reference non-original music for a purpose: one, To take the absurdity a little further, the program that they may actually enjoy it and enjoy playing on it. They I read to you is duplicated on this CD, so really what also do it to get some attention and, you know, I think you’re getting is half a CD. The first time it’s recorded, it’s understood that if you’re familiar with the repertoire it’s re-performance in the stereo version, and the sec- and you like it, you are automatically well disposed to it. ond time when it’s repeated, it’s the Zenph Studios re- But when I hear that kind of music—and I’m glad of it; I performance, the binaural stereo version, the Ultimate love standards—I always have to listen past the music Headphone Experience, it claims. You know, excuse to see if it weren’t standards, would it draw me in. this luddite, but I listened to it—I did a blind test going Mr. Coppa has done this before—by “this,” I mean from one side to the other—and I couldn’t hear any dif- deconstructing music that’s pretty much standard and in ference. the jazz lexicon—and I think he does it very success-

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fully. I’ve listened to this recording many times, and the music continues to surprise me, and I listen past taneous conversation. As the clarinetist writes in his the composition of it, and it goes in and out and, you liner notes, “There was no attention to tempo, theme, know, has all the little pockets Mingus had in his music, or scale, but with some logistic discussion.” And I think but it’s still exceptionally interesting music. The group that’s the important thing, logistic discussion. I think plays—they play past the music, and so even with the maybe that’s basic almost to all music; there’s some references, or even because of the references, I found sort of a logic to the music, some sort of direction. I’m this to be a very successful recording. not familiar at all with Hubert Bergmann, and for all I The recording was done July 1st, 2009. Probably know this is his first recording. Judging from the liners, it’s not—it’d probably be hard to find, certainly in the the pictures on the CD, both men are well into middle United States, maybe not in Italy, but it’s worth seeking age. out. It’s C.O.D Trio, Mingus Reform School, on the No There’s some tagging here, but more often than not, Flight record label, NFR1Bl01. And for those who are this is really an established conversation. Dudas has interesting in searching it down, you can contact the a tone similar to Tony Scott, and Bergmann is a free- C.O.D. Trio at [email protected]. form pianist with dexterity, if not any great individuality. Race and nationalism have been thorny issues when I mention it only because I rather enjoy improvisation, it comes to jazz. I think it can be basically accepted free, post-bop—let’s say free improvisation, where a that traditional jazz out of New Orleans was African- sense of conversation is exhibited. The listener is American music, or developed that way, with obvious perhaps the third party, and it’s fun to hear musicians European strains, and with each successive genre, speak to themselves on an impromptu basis, and work that has been less and less true. By the time bop got out music on that basis. here, there was a certain parity, or beginnings certainly, Anyway, Lajos Dudas and Hubert Bergman, What’s of parody between black and white musicians, and Up Neighbor? on the Jazz Sick label, 9002. European and American musicians. With the onslaught Chick Corea is a great pianist. You may not like of post-bop music, or free music, for a while it was all his material, it’s so varied, but it’s hard to imagine very much Black American music, but very quickly, the anybody who is interested—has an interest in contem- Europeans began to develop their own genre, their own porary improvised music, post-bop, would not find some cultural influences in improvised music. And to a great of Chick Corea’s releases quite attractive. He started degree, I think from the seventies up to the present, recording in 1962, and went through a fairly lengthy most of the innovations in improvised music have been, period with Mongo Santamaria, , Herbie with some exceptions, white and European. I can see Mann, you might call the Latino circuit out of New York the mobs at my door now. City, and also worked briefly with in the Anyway, I’ll be glad to elucidate more on this with mid-sixties. And then in 1966, he recorded his first anybody who wants, as long as you don’t bring it down recording for Atlantic under his own name—or was that to terms that I’m a racist and a commie, or something, Vortex, I guess—Tones for Joan’s Bones, with Woody or a Euro-ite. Shaw, Steve Swallow, and Joe Chambers. And then Lajos Dudas, clarinet—that’s L-A-J-O-S D-U-D- after a tenure with Stan Getz, he had a notable tenure A-S, in case I’m mispronouncing it—is that rare thing; a with Miles Davis that ended some time in the early 60s clarinetist. Clarinet seemed to have a heyday in swing. [sic 70s], and I remember he moved on, had a group In bop, it had its practitioners, and in post-bop music for a while with Barry Altschul and Anthony Braxton and it’s been somewhat missing. Certainly it’s not held up Dave Holland. well against saxophones. Mr. Dudas has been plying Anyway, he’s made many fruitful associations, as his trade at this music since the 1960s, from Budapest, along with Gary Burton, and as well as a substantial and has a number of recordings out, recently on recording career, both as a sideman and as a leader. Konnex, and then later on Jazz Sick Records. I remember in the—did a recording in the late sixties What’s Up Neighbor? finds Dudas with Hubert for Groove Merchants, Sonny Lester’s label, and it Bergmann, the pianist, and his latest recording is was during a period of sort of a renaissance—it wasn’t on Jazz Sick Records, number 9002. Jazz Sick: a even that old—of free music; everybody was play- strange, strange name for a label. This recording is ing free music, and the story is, as was told to me by a document of a meeting, a conversation if you will, Sonny Lester, is that the recording they did with Jack between the two, and it works quite well. It’s nothing DeJohnette, as I remember, was on it, Dave Holland, earth-shaking. It’s quite a decent impressionistic, spon- was a joke, it was a free music joke. It was, “Let’s see—let’s all make noise and see what happens.” 110 | cadence | april - may - june 2012 ColumnPapatamus Title Robert D. Rusch ColumnPapatamus Title Robert D. Rusch

Even so, I thought it was quite a good recording, and Just Friends, on the other hand, he starts out almost maybe Chick Corea just can’t help himself. A good casually before the band comes in. musician, I should think, is going to play well under any Both two record sets are worth your listening, and circumstances. especially if you, like many jazz purists, were turned All this is way of background in introducing a off to Chick Corea during his more commercial, fusion new two-record set by Chick Corea on Concord, days, or maybe you never forgave him. He’s still an called Further Explorations, and it’s Concord 33364. astounding pianist, and these—both these two record Recorded live at the Blue Note with Eddie Gomez and sets, in different ways, will reward listening. Paul Motian, it’s a tribute and in the spirit of Bill Evans. I first heard Charles Gayle in the mid-1980s, maybe That’s not to say that anybody would mistake this for the early 80s, and a few years later, he started record- Bill Evans, but that was the impetus. Some of the ing for Silk Heart, and made a series of recordings over tunes here are closely associated with Bill Evans; some the years. He hasn’t been heard of too much lately, not are written for Bill Evans; and there’s one piece, which in the last couple years, but he has a new record out, was unrecorded by Bill Evans, called Song #1. called Charles Gayle Trio: Streets, and it’s on—what I mention all of this because I’d certainly given up is the label here—Northern Spy Records, NSCD 018. on Chick Corea. Not so much “given up,” but I figured Again, it’s a trio with Larry Roland on bass, and Michael I had heard what I had heard, and he was established, “T.A.” Thompson on drums. Attractively packaged in and basically he was, at this point, playing more Chick a digipak, with a really excellent photograph of Gayle Corea than anything new and startling, but I was drawn on the cover in clown nose and white-face. It’s very to this recording. It’s just very good. It’s executed evocative. beautifully. Paul Motian is—on the first disk, is more of There are seven tracks, probably all Gayle composi- a shadower of Corea’s work. On the second disk, he’s tions, free compositions, some with the religious con- more aggressively on the beat, more coloring. Gomez nections that Gayle often brings into his performances. and Motian, of course, are long associated with Bill The first two pieces are called Compassion 1, and then Evans, and the name of the CD, Further Explorations, Compassion 2; Glory in Jesus, Streets, March of April, comes, believe it or not, fifty years after the anniversary Doxology, and Tribulations. Those who are fans of of Evans’ original Explorations LP, of which Motian was Gayle’s sax will enjoy this record; it’s nothing particu- a member, along with Scott LaFaro. larly new, but it’s certainly in Gayle’s tradition: heroic Anyway, it’s a good recording. At the same time, lunges of the will, if you want, through his sax. The Deutsche Grammophon has—well, almost the same bassist serves mostly to tie the interludes between the time, it’s a little later—released a two CD set by Chick sax playing together, the lunges together, while the Corea, called The Continents, Concerto for Jazz drummer’s work is basically used to propel the spirit of Quintet and Chamber Orchestra. Joining Corea and Charles Gayle, and he doesn’t play piano, which is, for the Chamber Orchestra are Steve Davis, a remarkable many, an acquired taste. Northern Spy is a new label, trombonist, Tim Garland on reeds, Hans Glawischnig but it’s promising. It’s, again, attractively packaged, and on bass, and Marcus Gilmore on drums. The first disk music for the post-bop purist. on this two CD set is devoted to the concerto for jazz Intakt Records from Switzerland, which has a fine quintet and chamber orchestra, called The Continents, catalogue of mostly European artists, has come out and it’s divided into six parts, as you might have with a new DVD; Barry Guy and his London Jazz guessed: Africa, Europe, Australia, America, Asia, and Composers’ Orchestra playing Harmos, one of Barry Antarctica, and it is not so much a fusion of classical Guy’s extended compositions, one of his best extended and jazz, as it is taking the jazz tradition and augment- compositions. This was filmed in concert on May 21st, ing it with composed and written parts. 2008, at the Schaffhauser Jazzfestival in Switzerland. The second CD here is made up of 15 tracks. Ten This extended work was previously recorded by Intakt of them are solo, called Solo Continuum #31, 42, 53, in 1989, and I think it’s slightly superior, in music, over and so on, by Corea. The first four are Lotus Blossom, this DVD. Nevertheless, I’m going to recommend this Blue Bossa, What’s This, and Just Friends. Again, well DVD because, first of all, it’s very well photographed; worth your time and listen. Corea just doesn’t take the multiple cameras which move around and focus on dif- obvious approach to songs, but he doesn’t dilute them ferent improvisers. About Harmos, Barry Guy says, either. For instance, on Blue Bossa, a tune by Kenny “Harmos is ultimately a journey of discovery. As the Dorham, which has been done maybe too many times, piece unfolds, revealing individual performers creating he comes from left field, and works into the song. On new music against a flexible, constantly changing sce-

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nario.” Hutchinson, Peter Sprague, Warren Vache. If you want The motif that runs through the music is sort of a to categorize them—Bud Shank—they are pre-free hymn-like theme, against which various members of the musicians, not that it really matters. band improvise, the band being, on reeds, Evan Parker, What Ms. Kirtley has done—she’s been a profes- Mats Gustafsson, Trevor Watts, Simon Picard, who sional photographer since the mid 80s—has taken an has a very nice spot, and Pete McPhail. On trombone, old pair of bicycle glasses—yes, these are red-framed Conrad Bauer, Johannes Bauer, and Alan Tomlinson. glasses that are a bicycle, two wheels being the ocu- : Henry Lowther, and Herb Robertson, and lar parts of the glasses, and above the bridge on the Rich Laughlin. Per Åke Holmlander is the tubist. nose is the seat and handle bars and so forth, and off Phillip Wachsmann plays violin, Barre Phillips and Barry the wheels come the temple pieces, pieces that hold Guy play bass—mostly Barre Phillips. Paul Lytton and the bicycle on the nose, or on the head. She imposed Lucas Niggli are the percussion. Howard Riley is the upon herself a two-minute limit to take the pictures; she pianist. took three shots, all under informal situations, most just As I said earlier, I’m going to recommend this, headshots, of these musicians wearing these glasses, although I’ve heard better performances of Harmos. and that’s it. That’s the beginning; it’s the end. It’s just That’s not to say this isn’t excellent; this really is. In Judy Kirtley, photo by Judy Kirtley interesting to see. the—I guess about 1990, I heard the Orchestra play Except for the motif used here, the photographs, for Harmos live at Victoriaville Festival, Victo Festival, in the most part, are pretty unremarkable, but as a group Quebec, Canada, and it was one of probably six of the of photographs, it’s quite remarkable. Very rarely are greatest moments in music I’ve had. It was absolutely the musicians playing their instruments. As I said, terrific. It was recorded by the CBC, as I understand these are basically headshots. Ms. Kirtley is the wife of it, who are very—they’re very difficult to get stuff out pianist Bill Mays, who is included in the subjects here. of. It’ll probably come out some day, and it’s—I cer- There is a touch of the absurd to this book, which is tainly will look forward to hearing it and seeing if it’s as okay with me because even its title, Bebop Bicycle, inspiring as I thought, but to me it was amazing, and I is catchy and a bit absurd, and it seems appropriate shared the concert with somebody who also thought it because I think there’s definitely an absurd streak in was quite amazing. We were not comparing notes. post-mainstream jazz from about 1950s on, and it’s To me, this filmed version of Harmos lacked a little Dada-esque, or Beckett-esque, or whatever you want. of the edge and the tension that I remember hearing It’s absurd. when I heard it live. Also I found the mix a little heavy Ms. Kirtley obviously takes jazz seriously, but can on the band, as a whole. Maybe it was over-com- laugh at it, or can laugh with it. Any doubt about Ms. pressed. Within the larger work, there’s a nice section Kirtley’s humor can be—can be confirmed by the back by a trio, which is Barry Guy, Paul Lytton, Evan Parker, cover picture of the photographer wearing the glasses who recorded a number of times together, and it really in an oversized purple hat, looking very much like a work terrific as a little piece. You could probably take flower on her head, or maybe she’s part of the flower. that out by itself, but really listen to the whole thing. Anyway, it’s a fun book. The photographs are well pre- Get Harmos on CD, on Intakt, if you can. It’s num- sented; they’re all in full color. The book run, oh, prob- ber 13, but this is worth a listen. The two pieces are ably about 60 pages long. It’s $36, which is expen- recorded probably twenty years—approximately twenty sive, but being the book discount business what it is, years—almost twenty years apart from each other, so you can probably find it cheaper, or you can go to her it’s a piece that holds up, and a remarkable amount of website at www.judykirtleyphotography.com, and see for the original band is still together. Some of them, of yourself what it’s all about. Worth a look, worth a look. course, have died. A major loss was Paul Rutherford, Thank you, Ms. Kirtley, it’s brought a lot of pleasure to who died about a year before this was recorded. It’s my day. I think the meaning of the work is self-evident, called Harmos, and it’s on Intakt, DVD #151. and one needed go in too deeply into what it is or what Judy Kirtley has produced a book, the likes of which it isn’t. Nice job. make it unique in the annals of jazz publications. It’s called Bebop Bicycle, and it’s a portrait of 105 jazz I continue to see the emergence of collected works, musicians and special guests taken by Judy Kirtley, or mostly collected works, sometimes to an absurd and it’s quite interesting. Some of the musicians used degree. I think there’s about a 167-CD box of Bach’s as subjects here are Harry Allen, Madeline Eastman, work, and as marvelous as they can be, I think most Bob Dorough, Mark Murphy, Bob Magnusson, Greg people are buying those sort of as trophy works, like

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leather-bound sets of books. I may be wrong. I mean, white and colored, and I always wondered what color? it’s great music. Don’t get me wrong. I love Bach; And it usually would bring people up short when they I was raised on Bach, and I even question some of would say, “Oh, a colored man.” And I would say, the collection in boxes that I have. Two that come to “What color?” And, you know, there’d just be dead mind that probably are definitive anyway: the Ornette silence inevitably when I said that. What color, indeed. Coleman Atlantic Boxes—Atlantic Box, which was Well, there’s a certain assumption that goes with that issued by Rhino a few years ago, and the Roland Kirk period. That same assumption, I guess, that they used Mercury Sides. Those bring together a small but great to advertise flesh-colored Band-Aids. Boy, tell you, if set of works very neatly, and not always easily col- that didn’t let you know how isolated Madison Avenue lectable as individual CDs. Another box that comes to was, few things would. mind: the Albert Ayler box on Revenant, which is an Anyway, back to the Boswells and this box. The amazing bargain. I mean, it’s reasonably priced, it’s 12 backup on there is often a who’s who of hot players, CDs or something, and there’s a book with it, and it’s including the Dorseys, B.G., Don Redman, Joe Venuti, nicely packaged. I don’t know how they could afford to Eddie Lang, the Mills Brothers, Red Nichols, Artie do that. Anybody that likes post-bop music, pick that Shaw, Will Bradley, Bunny Berigan, and so forth. Now, up. It doesn’t duplicate any of the Ayler material that’s included in this box is an all-too-short video who’s clips out of other labels. include an NRA—National Recovery Act, or Authority, Anyway, Storyville Records has put out the Boswell I can’t remember—one of FDR’s alphabet groups. Sisters Collection, Storyville 1088608, and this brings Anyway, this NRA newsreel piece has the Boswells together 109 of their sides from March 19th, 1931 to performing on the Capitol Steps in front of a handful February 12th, 1936. The Boswell Sisters’ heyday was of members of Congress. It’s a screamer to see how in the 30s when they established a style, while with uncomfortable these legislators are behind the trio. the Dorsey Brothers Orchestra, that really set the stage Some try to clap in rhythm, uncomfortably I might add, in their harmony and rhythm that influenced decades and one legislator keeps time self-consciously using to follow. Their jazzy harmonies were similar to the the old upside-down T. You know, it’s up, left, right, Mills Brothers, and with occasional pouty punctua- back to middle, up, and then while he’s doing this, his tions similar to the soon-to-emerge Ella Fitzgerald. arms hang by their sides. It’s a both uncomfortable and Anyway, the Boswells really readjusted much of the pop hilarious video. world’s vocal aesthetics of the 30s and into the 40s. As a side note, the DVD packaging accidentally lists Connee Boswell [ph] was perhaps the best known. some material that’s not part of the intended issue. But Her sisters—Connie, by the way, was in a wheelchair. the packaging of these individual disks is very smart; in Anyway, Connee’s sisters, Vet and Martha, got married, their own slip-case, along with a twenty page booklet and they retired in the 30s. Connee, however, contin- of notes, all housed in the CD-sized box only 5/8 inch ued to sing well into the 50s. deep. A fine collection. After you enjoy this set, check The Boswells were part jive, part hokum, and out some of Connee Boswell’s later LPs as a single were all hip, and they swung with some very original unit. arrangements, and to hear them today, it’s really a per- Louis Armstrong was an American original. There’s fect example of past singing and tired thought, and the nothing original about that, but it’s still true. Storyville emerging modernisms, which can be heard particularly has issued a seven CD, one DVD box called the on the February 5th, 1932 medley from George White’s Armstrong Box, Storyville 1088609. The seven CDs Scandals, where, as part of the medley, the Boswells are all taken from air checks, or shall we say un-studio, scat the lyrics on That’s Love. That’s Love is kind of or un-authorized recordings of their time, and the DVD fun. Its kind of risqué lyrics are rendered incompre- all comes from television shows. Material here deals hensible by scatting and double talk. Juxtapose that only with the so-called Louis Armstrong All-Stars, and it modernism, or emerging modernism, with the stiff male covers from 1946 to 1967, and I don’t think all of it has singing on That’s Why Darkies Were Born, and for been issued before, but some of it certainly has been a number of reasons, we’re glad that the modernism on Storyville before. began to take over. I’m not going to say much about the All Star group. If you’ve often wondered as to “Why Darkies Were It was one of my favorite groups. I think it’s generally Born,” maybe the answer is in that song, but don’t look underrated by the jazz intelligentsia, who—some go for great enlightenment, and what is “Darkies”? You to the extreme of saying Armstrong’s legacy was fixed know, ever since I’ve been a little kid, the term—we had and not worth looking at past the 1930s, and there’s

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no doubt about it that his early groups; his phenomenal darker, but he was Louis, you know, Satchmo. There’s stretches; his daring chances that he took; the innova- been none like him before or since, and I think we tend tions that he had from the earliest moments, are forev- to take him for granted today, but Louis Armstrong: er. I wish that they had done duo work between he and What can you say? Part of the problem with many jazz , but he didn’t, but what’s there is brilliant, artists who become popular is the jazz snobs tend to and enough has been said about that. disregard them or look down or ignore them. I’m not The All-Stars were formed in 1947, I believe; prob- sure what it is with the hardcore jazz fans. It’s like we ably at the advice of Joe Glaser, and kind of rebooted want to discover something no one else has discovered, Armstrong’s career. The All Stars were mostly con- and hole it away just for ourselves so we can talk eru- sisted of either Barney Bigard or Ed Hall on clarinet, ditely to people about what they’re missing, and about Jack Teagarden or Trummy Young on trombone, Earl what they don’t know. You know, Louis doesn’t need Hines or Billy Kyle on piano. Drummers are—Barrett the jazz snobs; the jazz snobs need Louis. Deems, Danny Barcelona were probably the main ones. If you don’t love Louis Armstrong, you should, and Bass: Arvell Shaw was with him for years, and in later I’m not going to recommend this set as the introduc- years, Buddy Catlett was the bassist. The vocalists; tion to the All Stars. If you love the All Stars and the best known one, or the best besides Jewel Brown enjoy it, you’ll enjoy this. The sound ranges from fair near the end there, the most consistent one was Velma to quite acceptable. The music ranges from raw to Middleton, a large woman in sort of the classic blues quite acceptable, but what got me about this set was female shouter mold who never got much respect the DVD. These are clips of Armstrong on television, either. Louis enjoyed her; she filled the bill. She was a mostly coming from the Timex This is Jazz series from good foil for Armstrong, and often in their live concerts, the 1950s, late fifties—58ish. Here we see Armstrong it was actually quite bawdy together. Little of that has unrefined, basically. Again, raw, impromptu, the kind of been captured on records. exhibition of musical talent that you probably wouldn’t The All-Stars made some wonderful records; Live at see on networks today; it’d be much more cleaned up the Crescendo for Decca, I believe, and Mahogany Hall, and perfect. and Live in Pasadena were all really wonderful records, The various contexts are interesting; there’s an April and there’s some great blowing; there’s some great 30th, 1958 Timex show, which includes Ruby Braff jamming. There’s some great jazz on those. It’s true on trumpet, and there’s Ruby playing Armstrong to that as the years went by, the repertoire became pretty Armstrong. A fairly uncommon shot of Tony Parenti much fixed or predictable. You know, what do we want on clarinet. If you’re not familiar with Tony Parenti and from artists? I mean, Ellington played for almost 50 you’re willing to dip into early jazz, check out Tony years—I guess he did play for 50 years, Armstrong for Parenti. He came out of ragtime; his clarinet is very 40 years. distinctive; his music is very much in the ragtime mold, You just can’t re-invent yourself over and over again. and he is really a joy. Certainly more distinct than When you’re on the road, very often people want to many of the clarinetists of his period. There’s Cozy hear what you have recorded, and you can get away, Cole, obviously enjoying himself. on the road, with playing a certain routine every night There’s a broadcast here with Hoagy Carmichael, that you wouldn’t necessarily record. Today, of course, Anita O’Day, Dizzy Gillespie, Bob Crosby, et cetera, et with all the un-authorized recordings coming out, we cetera, all stars, and Armstrong appears very briefly in hear how similar the—the road gigs were in repertoire. it. He’s not particularly prepared, and it’s such an ad That being said, it’s still great jazz. There’s still some lib performance that he really takes a minor role in it. It great jazz on there. It was a hot group; maybe no would seem fairly obvious that Hoagy Carmichael had other traditional jazz group was as hot. There were not rehearsed the television broadcast. In it, we see others who may have been more frantic, more loud, Armstrong and Hoagy Carmichael in sort of a forced more exaggerated, but Armstrong was brilliant. He situation. It’s not classic, but it is interesting. Included was brilliant, and the music was great, the playing was also is Bud Freeman, someone who also should be great, and the audiences loved it, and Louis was at remembered today. Anyway, this particular broadcast, home. it’s a mess but it’s a thrilling mess, and it presents It’s true I was raised on this, but if I go back and lis- many jazz personalities that you don’t have to search ten to material I haven’t listened to for decades, it’s still for their personality; it’s there; it’s obvious. Today, I wonderful, wonderful music. With Louis, what you saw think too often, we hear people play, and we think and was what you got. In private, he may have been a little often say, “Oh, he plays in the style.” Well, Hoagy,

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Anita, Dizzy, these guys—that was their style. He plays MJQ context. I also feel the same way about Brubeck, in the—they play in their own style. or Desmond with Brubeck, and most of the Ellington Of course when it comes to boxes, the name Mosaic men with Ellington. I think that’s where they were best, comes to mind. Mosaic, for I don’t know, probably 15, and leave it at that. maybe 20 years, has just been putting out magnificent Anyway, how good these players were together I collections of music, of art, I should say, and they do think is proven from the very first note of Woody ‘n it artfully. Recently, Mosaic has taken all the Atlantic You from their Atlantic debut recordings on Tessa from recordings of the Modern Jazz Quartet from 1956 to January 22nd 1956. And over half a century later, 1964, and issued a seven CD box, aptly named The they remain modern and they remain jazz, and, as I Complete Atlantic Studio Recordings of the Modern suggested before, as a quartet they were greater than Jazz Quartet, 1956-1964, on Mosaic, 7-249. the sum of their considerable parts, that the musical The MJQ had recorded for Prestige prior to this, but fingerprint was John Lewis, who served as their musi- it was Atlantic where they really came into their own cal director, is unquestioned, and as there is no doubt and focus and concept. This box of MJQ reissues 14 that Milt Jackson played beautifully within that group, originally-produced Atlantics, and they basically cover regardless how disgruntled he was, supposedly, about the group from good to great, and, by definition, omits the MJQ. I refer you to my March ’77 interview with the—almost an equal volume of recordings that they did Bags, which was printed in the May ’77 Page Three for Atlantic from 1965 to 1993, and perhaps a second Cadence, and it’s rather ironic that Bags’ job in the box will be considered for that material. cooperative that was known as the MJQ was pub- There’s no un-issued material here, as all the tapes lic relations. For another view of Bags’ complaints, had been either lost or destroyed, however there are see my interview with Connie Kay, which ran in the alternate issues of tunes, and that was where mono February ’79 Cadence. issues differed from stereo issues. I hadn’t realized that Scattered throughout the box of MJQ recordings are Atlantic had done this, too. Norman Granz did this on joint appearances with the MJQ playing with Jimmy the JATP recording: you would have one issued mono, Guiffre, Sonny Rollins, the Mozart String Quartet, Diana and one issued in stereo, and he would—the second Carol, and Gunther Schuller, and while these appear- half of the performance was recorded in stereo—they ances may add variety and interest, they are not always would have the same music, but it would be alternate equal to the sum of their parts either, or perhaps I takes on the stereo or the mono edition. I didn’t find should say the sum of their added parts. I listened out about this until after I’d acquired some of these to this music over a two-day period. I listened to all recordings and one day somebody listened to a record- of it, obviously, and the music retained its glow over ing they were familiar with, and said, “Hey, that’s not that period. Granted, I was revisiting old friends in the same as I have.” And the word was out, and sent many cases. Anyway, their fingerprint there is a fine everybody scrambling for either the mono or stereo combination of the cerebral and the visceral, and quite recordings of the records they loved. But apparently a complement to the Complete Prestige and Pablo the boys at Atlantic were doing the same thing. This is recordings of the same group. Get this while it’s still in the first I had ever heard of it. print. Mosaic does limited editions, usually of around So here we have some alternate versions, differ- 5,000, and they do sell out. ent issues of the same tune, whether it was on mono The Danish Storyville label has come out with a or stereo. Doug Ramsey does the booklet notes, the three CD set called The American All-Stars, or Jesper overview of the proceedings, and, again, up to Mosaic Thilo and the AmericanStars on Storyville, #1048427. standards. The book also contains some previously The American stars in this case are , Sweets unfamiliar—at least unfamiliar to me—photos of the Edison, , , Billy Hart, and Al MJQ. Ramsey in his notes recounts the often-argued Grey, and the reissued music here is taken over a peri- controversy as to whether the MJQ was jazz. Can od from December of 1980 to January of 1987. The there be any doubt still that they were jazz? He also Thilo, who is now 70, began recording in the early refers to the straightjacket some people felt was put on sixties, but didn’t record as a leader until 1972, and not Milt Jackson, and so forth. regularly since 1980, an unheard-of fact today when For this listener, I grew up with the MJQ, and there everybody records under their own leadership immedi- was never any doubt about their jazz bonafides or, for ately; within a year, they have a handful of CDs out. that matter, any question that John Lewis, Milt Jackson, He’s a Danish tenor sax player, and like many of the Percy Heath, or Connie Kay were at their best in the Scandinavians, he plays in a style that’s a combination

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of mainstream and bop, and plays it very competently. ones were on the Dragon label, which is where he This, however, is not the most exciting set in the world, started. His first recordings came out on that label, and and while it’s not easy listening, it certainly would be where he recorded most of his material. I don’t think easy listening as background music, if one wanted most of that material has been reissued on CD, but you to. Thilo plays with good power, but neither he nor can still find the vinyl around if you look. Well-worth his American friends show any great distinction on this investigating. set. It’s nice, it’s pleasant, but it’s not earth shattering The liner notes—interestingly, the liner booklet here, or really exciting. Thilo has made a number of records which is in both Swedish and English, makes no refer- with American artists, including—well, predominately ence to the trials of Wallin’s life, or what has become Ben Webster, but Hank Jones and others, and Storyville of him, but, as I say, my memory is that he had a has enough of that in their catalogue that they probably botched suicide, and then ended up playing piano in a could have put a seventh CD section out. What’s miss- wheelchair. I’m not sure exactly how he died. Aside ing here is probably some of the better material, but it’s from that, Thomas Millroth’s liner notes put everything nicely packaged and it is what it is. It would seem that in perspective. This one part from his liner notes struck Storyville is basically selling this on the American stars’ me as germane to this, “The energy is that of jazz, the name, and there’s no need for that. Jasper Thelo has posture that of moderism.” And that’s pretty much it. some great recordings out. These are not them. I’ve always found Wallin to be an exciting pianist. Jesper Thilo and the American Stars, Storyville If you can find some of his Revelation—I’m sorry, his #1048427. Pleasant, but unexceptional. Dragon records, pick them up. He also made one And while on the subject of Scandinavian collections, American recording on Revelation Records, a fine little an interesting retrospective of the work of Per Henrick label run by a fine little man. Anyway, Per Henrick Wallin and Sven-Ake Johansson, the drummer—Wallin Wallin and Sven-Ake Johansson, 1974-2004. It’s a is a pianist—covers their work together as a duo from box set of four CDs, and it’s on the Umlaut label. This 1974 to 2004. All this work, as far as I can tell, is is music for contemplation and listening to. previously unissued, with the exception of a November 24th, 1986 duo date which had some release on the German FMP label. Sven-Ake Johansson is also the founder, I guess, of SAJ records, which for a while was handled by FMP, and has its own nice little catalogue. This four CD set is on Umlaut records, and I believe the numbers would be UMCD0011, 12, 13, and 14, although on the box the only number that is listed is UMLADA1. And if you’re lucky enough to find this, pick it up, because it’s a nice little set. Wallin was a—both Wallin and Johansson are Swedish free play- ers, and exceptionally good, unusual because most of the Scandinavians tend to excel in bop, with a kind of a West Coast touch, but there are some exceptions. These two come to mind, as well as Mats Gustafsson and Froli Gjerstad, Norwegians. Wallin was a dense pianist, and Ake Johannsen is kind of a dense drummer, too. You might say he’s also a painter, and he drums not with brushes but with a palette knife. That would be probably an accu- rate description. Wallin was a tragic figure. If I’m not mistaken, he tried to commit suicide and failed, and ended up in a wheelchair for the last few years of his life. I think he was about 59 when he died in 2004— 2004, 2005—and this box collects his work with Ake Johansson, and it’s worth a listen. More importantly, probably you should investigate Wallin as a pianist. He made some exceptional recordings. I think the best

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speed,” even though you were quite happy with the The Jazz Fan speed on the other half dozen versions you own. nough about the music already. What about the - You have gone through great trouble and expense EJazz fan? Have you heard the one about the query to acquire a recording your local record store will have sent to “Dear Abby” in which the writer runs through in a few weeks because you thought waiting might be the laundry list of family issues: Gram and Gramps detrimental to your health. (If that recording at this very are serving time for tax evasion, Dad’s awaiting trial moment still has the shrink wrap on it, you clearly do for murder, Mom’s addicted to crack, sis has had 32 have some health issues.) children out of wedlock, and the youngest brother has - You own a recording made up completely of false a couple thousand Jazz recordings? The writer wants takes. to know how to explain, if asked, about the freak of a - You spend a lot of time thinking about the prover- brother with the Jazz collection! Good spoofing, but, bial desert island disc. (High marks if you’ve actually actually, based on my own experiences and countless typed out a list and periodically update it.) experiences related to me over the years by other Jazz - You actually think the biggest concern while Photo Credit: Audrey Sargent fans, this really is a familiar absurdity. stranded on said desert island is whether you brought I remember the pivotal moment I became self- too much Coltrane and not enough Monk. (In light of Slim has listened conscious about my Jazz “habit.” I was in the 7th grade the recent hurricanes, for some the desert island disc is closer to being a reality than just passing thought. I to jazz her entire life, (in a town that was so square it square squared) and invited my best friend over to my house after school. I talked to a guy dealing with evacuation and he felt that and has been writing had been listening to a lot of recordings his biggest decision was whether to bring the recordings reviews and observa- and couldn’t wait for her to hear them. About halfway he most loved or the ones he couldn’t replace...) tions about a life in through “Minnie the Moocher” (and just in the middle - When you meet a “non freak” who tells you he likes Jazz, you reflexively try to guess if he listens to jazz since 1985. She of the good part, mind you) she looks at me with a cocked eyebrow and says, “Don’t you guys have a tele- Spyro Gyra, the Yellow Jackets, or Kenny G. also creates the art- vision?” (loose translation: “I’m bored”). I was dumb- - You have two playlists of recordings for when you work for the CIMP founded. How could you not at least want to attempt have company: one for company you like and one for label, and co-hosts the to say “Hi-De-Ho”? How could you let Cab down and company you would like to go away. weekly radio show, shirk your call and response duties mid song? I thought - You don’t hear the phrase “Salt Peanuts” without hearing an echo. “Slim & Him,” with Cab was infectious; my friend thought he was a freak. Clearly I was going to have to keep my taste in music a - You file certain sections of your record collection Michael Coyle secret if I was going to survive high school. by label and number. Fast forward to the present. After years of conversa- - You know Lambert, Hendricks and Ross isn’t a law tions with hard-core Jazz fans, it is apparent there is a firm. sort of general “huh?” response from the public when it - You know how to pronounce Pithecanthropus comes to Jazz. When I mentioned to a longtime reader Erectus. that I was working on a column profiling the Jazz Fan, - You find yourself defending ’s sing- he commented that sadly that will include a rather ing (this might actually qualify you as a freak amongst small group of people. Relatively small, yes, but not freaks!). non-existent. Because we are spread out all over the - MJQ, OJC, NHOP, UMMG, FMP, BYG, AEC, 5X5 world it feels like a party of one with no one with which have meaning. to relate. However, there are undeniable similarities - Fats, Fathead, Cannonball, Cleanhead, Jug, Klook, (usually having to do with degrees of obsessiveness) Bags, Frog, Bean, Brownie, JellyRoll, and Sweets have between hard-core Jazz fans despite geographic loca- all been on the shortlist of possible names for your chil- tion. If any of the following statements have an affir- dren and you (and you alone) consider this to be an mative ring, you surely are impervious to the public’s honor. raised eyebrow by now: Code breakers or crazy? The pleasures run deep. - You own Kind of Blue on cassette, LP, and CD ****Note the version of “Minnie The Moocher” by format. (If you own the 8-track then you are in a spe- Cab Calloway is from “Are You Hep to That Jive” was cial class all of your own.) originally recorded 2/2/42 on Okeh. The CD reissue - You re-purchased Kind of Blue when it was reis- by Columbia Legacy is what is being played here at sued (making it about the 254th time) with the “correct various points in the podcast. Below is newly added commentary which follows 124 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 125 Slim’s Spins ColumnSlim’s Spins Title

the original column above: De Hi” song) was written by Calloway, Irving Mills and Lets talk about about Cab Calloway and the song Clarence Gaskill. It was first recorded March 3, 1931 “Minnie the Moocher”: by Calloway and his Orchestra. “Minnie” is based off First Cab Calloway: of “Willie the Weeper” a tune mostly associated with He is well documented by now so I’ll just include Frankie “Half-Pint” Jaxon (1927), although, written by some basic discographical information here and some Walter Melrose and Marty Bloom. Let’s listen to the Bay fun facts: Cabell Calloway the third was born into a City Jazz Band’s version of “Willie the Weeper” released middle class family in Rochester, NY on Christmas Day in 2002 on the Delmark label. Clarinetist John Boland in 1907. His father was a lawyer and his mother was takes on the vocal duties here. a church organist and teacher. Cab was active in the alliterations aside-- church and when it became obvious that he had tal- The musical similarities are quite obvious and while ent he began private voice lessons in 1912. In 1918 now the “Minnie” song is more well known--there are the family moved to Baltimore. After graduating high in fact about 300 jazz recordings of the “Weeper” song school, Cab joined his older sister; Blanche, in a touring (the earliest being King Oliver in April 1927- Louis production of “Plantation days”. Incidentally his sister Armstrong recorded it in May and then Frankie Half Pint went on to have a jazz career of her own and eventu- Jaxon in July of the same year 1927)--compare that ally fronted the Andy kirk band in 1931. But back to to the just under 100 versions of Minnie. (and of those Cab. Calloway and Duke Ellington shared a manager- 100 a couple dozen of those versions being by Cab -Irving Mills and Calloway and his orchestra eventually Calloway himself). became the house orchestra at the Cotton Club when The words to “Minnie the Moocher”: - one can most Ellington was out touring. Calloway’s 30s and 40s big likely find a complete translation of all euphemisms and band featured many notables including: Dizzy Gillespie, 1947 Gottlieb, William credit: photo Calloway, Cab innuendoes in the Hepster’s guide to jive I mentioned Doc Cheatham, Chu Berry and Milt Hinton. Dizzy was earlier but a couple points. “Kickin the gong around” = eventually fired in 1941 which is often referred to the smokin opium. Minnie’s boyfriend Smokey interchanged “great spitball incident”- as if this is fodder in the popu- with cokey =cocaine user. In the extended version-- lar culture- apparently it was “the wardrobe malfunction” Minnie and Smokey go to jail- Minnie pays the bail and incident back in the day! In fact it’s listed in the index Smokey abandons her there. Eventually the establish- of Al Shipton’s biography “Groovin’ High” under “spitball ment takes Minnie to where they “put the crazies” and incident”. I thought I’d read some from that entry. she dies. This explains why in both the long and short I’d say the 40s was Calloway’s musical heyday. versions of the song it ends with “poor Minn, poor Minn, Wikipedia lists the years active as 1930-1994 (the poor Minn”. year Calloway died- Nov 18th at 86 years old). He The song has entered into the popular vernacular. In was active all those years-later--mostly as a person- the Marx Brothers’ movie “Night at the Opera”, Groucho ality--in 1952 he played Sportin Life in Gershwin’s Marx quips in reference to Calloway; “You’re willing to “”. Gershwin modeled that character pay him a thousand bucks a night for singing. Why for after Calloway. In 1964 he played the supporting role 75 cents you can get a phonograph recording and for “Yeller” in “Cincinnati Kid” with Steve McQueen. He had a buck and a quarter, you can get Minnie!” In 1989 a role playing himself in the 1980 movie “The Blues Tupac Shakur and Chopmaster J did a Hip Hop version Brothers”. He is credited with being the first one to of “Minnie”. In 1994 Big Bad Voodoo Daddy recorded perform the gliding backwards dance step (which went a cover of it on their “American Deluxe” album. Most Cab Calloway, Radio on to become the moonwalk associated with Michael recently OutKast used part of the tune on the track Pictorial, 1934 cover of Jackson). when interviewed later in life, Calloway said “Mighty O” from their album “IdleWild” [LaFace records] the English radio fan that that step was called the “buzz”. He had a whole heard here. and listings magazine bunch of terms which can be found his “Hepster’s This song, like Calloway had a life of its own; Song Dictionary-Language of Jive” which was published in was inducted into the Grammy Hall of Fame in 1999. 1944. He makes what is possibly the first reference to (In 2008 Cab received a Lifetime achievement award). NYC as “the big Apple”. In 2008, Calloway received the Grammy lifetime achievement award. Now onto the song that made Calloway famous- -selling over a million copies-- “Minnie the Moocher” (alternatively known as the “Hi

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Slim and Him’s eponymous weekly radio show on we’re looking at two hours of music for this concert, so you’re looking at everything, and I WRCU, Radio Colgate University, ordinarily provides don’t know— Slim with a platform to abuse Him fairly shamelessly. She is resolved to be better behaved in this column, Him: That’s great—that’s great if you’re doing archival work, right? since everything is recorded for posterity. Slim: Yeah, I think for discographical— Listen to this podcast at www. Him: Yeah, all those European labels that put out the complete recordings of so-and- cadencejazzmagazine.com so on such-and-such a label, and you’re just trying to get it all in a small package. That’s Slim: Welcome to the Slim and Him podcast. I’m Slim. Photo Credit: Mark H. Murphy wonderful, or even a greatest hits album, but if you’re trying to put together an album— and I’m not even sure if this idea is going to survive the era of iTunes—but if you’re trying Him: And I’m Him. This is our first podcast for Cadence, a version of the column that to put together a coherent record— we’ve been writing since Cadence went quarterly. Slim: Like a statement. Slim: All right. You know the old saying about writing about music is like dancing about architecture? Him: A statement. Him: Yeah, let’s try to track that down. It’s attributed to any one of 40 different peo- Slim: But it’s an interesting dichotomy between this very long—like a three-CD set ple. in a world that now basically only supports singles, right? So it’s kind of a strange thing. And typical of jazz—it’s kind of counter, so the jazz—it’s already hard enough to get Slim: I have seen a lot everywhere; everyone from Ellington to Costello to—but I someone to listen, so let’s throw three records in there, you know? It’s just interesting, and don’t know if speaking about music you could also maybe say the same thing, but we’re I think that basically what it’s come down to; in some ways, it’s just the economics of put- going to give it a try anyway. [LAUGHTER] So today we have—so, basically we get CDs ting out three CDs doesn’t really cost that much more than putting out one CD, so I think assigned to us from Cadence, and then we try to group them in a way that we find inter- at this point, people are putting—like Allen Lowe; I don’t really think he’s probably trying esting and stimulating to talk about, so what we’ve done is we’ve taken three doubles— to make a living selling his records, but what he’s probably trying to do is it’s about docu- actually, one is a triple—and we’ve grouped them together and those are the records mentation after a while, and so we have these resources, we’re already documenting. It’s we’re going to talk about today. So we have Allen Lowe. This is a three-CD set; Blues and like building a house: once you put the roof on, it doesn’t matter if you have three floors or the Empirical Truth on the Music and Arts label. We have a double by Anthony Braxton one floor; the roof costs the same amount of money. and Buell Neidlinger called 2 By 2 Duets on the K2B2 label. And then we have a two-CD set by Chicago Trio, which is , Harrison Bankhead, Hamid Drake, called Him: I think that’s true, and I also think—you mentioned this when you were just get- Velvet Songs, which is a tribute to Fred Anderson. But before we get started, let’s talk ting started—that jazz audiences are odd by nature— about the nature of the double album, or triple in this case, as well. Slim: They are not. Him: Well, there’s a debate, right? It emerges, I think, in the 1960s, or at least there Him: —and I think jazz audiences are going to follow the artists that they care about, might have been one in the early days of the LP era in the 50s, but it emerges in the 60s as whether it’s a one-CD, two, or even three CD set. It’s not that—it’s not the same kind of an opportunity to make a sustained artistic statement, and that opportunity was seized on connection with the artist that pop audiences look for, right? by most of the canonical rock groups of the era, right? The Beatles had their White Album, the Stones had Exile on Main St., and The Who did Tommy. But that was the idea, right? Slim: Right. A sustained, serious artistic statement. But in the CD era beginning in the late 80s, at first everyone was trying to put out CDs that had 70 minutes of music on them, and— Him: So it may not be the same kind of issue. Slim: Which already is the equivalent of a double album at this point, right? Slim: Okay, so let’s—you know, when we talk about these, let’s keep in mind, too— you know, do you get more that matters? I mean, this definitely came up, too, when I was Him: Already the equivalent, right. And the question of listener fatigue began to listening to some of these CDs. Would one CD actually serve the purpose better overall be observed. Audiences weren’t connecting with these big records that were simply too for the listener? Because you would kind of hang in there more, or it would be—it’s kind much, so now we’ve reached a situation, in the early 21st century, where CDs are coming of like an editing issue for me. So you take a great record like John Coltrane’s A Love out with less than 40 minutes of music on there. Supreme, and there’s not a throwaway track. Of course there’s only four tracks on it, but you’re talking about 33 minutes of music when it came out originally on record. Now, of Slim: Right, but we also—you know, a double CD is really like a double-double course, Impulse has redone it and there’s the Love Supreme Deluxe Edition, and it’s got record, right? So just to put this in perspective, today I was looking up some classic jazz 78 minutes on it, and so what they’ve done is they’ve included live versions. And I think doubles—I’m sure you have some rock examples over here but let’s just start with the jazz for—again, there’s historical context where you’re taking it and you’re comparing these ones—keep it real here. So the Benny Goodman Live at Carnegie Hall, which is a two-CD two different things with one variable that’s the same, so the same composition, same set, has about—the original LP that came out—okay, so maybe it had like an hour and band, or whatever. twenty minutes worth of music on it, and then recently Columbia issued, as a double, the complete Live at Carnegie Hall. This is the 1938 Benny Goodman, and so even though it Him: And in that case, I think the real function of the live performances is to show this has—and it has 17 additional tracks that weren’t issued before, which is another aspect of wasn’t a studio confection, right? Let’s hear what the band does with these same exact— the CD thing where you can kind of pull all this out of the vault and put it on. But so now this exact sequence of compositions live, let’s see how that sounds.

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Slim: Right, but you’re also talking about a really concentrated piece of music, too. Slim: This album, which I think clocks in at about 36 minutes, is—there’s not a throw- Or—you know, I know it’s four parts to the whole, but there’s not—in my experience of away track in the bunch. It’s six tracks, not a throwaway track. listening to A Love Supreme is when it—it’s like Acknowledgement, and you think, “Oh, Him: That record has always been celebrated as a brilliant compositional achievement. they put the best first, right?” And then it goes on a little further and you get to the next one—I’m trying to think of the title—there’s Resolution, Acknowledgement— Slim: Yeah, yeah, now—but to get back to Allen Lowe; so I’m not sure—I don’t hear, necessarily, aside from there’s a—he has a large ensemble here. I’m assuming the disco- Him: Pursuance. graphical information for this will be posted along next to this podcast someplace on the Slim: Pursuance. I think—well anyway we don’t need to—people know this album— Cadence site. and you listen to the second cut and you’re like, “Oh no no no, this is the cut.” And then Him: Let me say this: I think you’re right. I don’t think this record is in any way a you listen to the third one, and you’re like, “Oh no, this is definitely the cut, so the fourth direct rejoinder to Oliver Nelson. I think it has to do with—it has to do with Allen Lowe’s one is just going to be a coda, kind of a wind down.” And then you get to the last one, ongoing argument with that theory of the Blues Champion by—well, first Albert Murray, and it’s like, “Oh man, this is fantastic,” and so that’s one thing I sort of miss about—in but , and—I mean, Allen Lowe knows things about the blues that the his- this age where we just have more, more, more, I think that it doesn’t—you lose that con- torians don’t. He’s one of those gonzo record collectors who—you know, in that set he did centration of the essential. back in 1998, From Minstrel To Mojo, he turns out recordings of the blues that no one else Him: I think that’s right, and I think what you’re pointing out with A Love Supreme is even knew about, and that uncomfortably fly in the face of all of our sort of sacred convic- that there’s an integrity to the composition there that really isn’t dissimilar from what you tions about what the blues represents. would get in a classical suite. Slim: Right. We should mention that Allen is an obsessive compiler of historical refer- Slim: Right. ences. He has a book out, From Minstrel to Mojo— Him: What Allen Lowe is doing on this record is— Him: The one I was just saying, 1998; That Devilin’ Tune was 2006; Really The Blues was 2010. Slim: So yeah, let’s talk about the Allen Lowe. Let’s just go right into the Allen Lowe. Slim: And he’s compiled several, you know, 9-CD sets, 10-CD sets of this archival Him: Yeah, but I want to say that I’ve listened to this entire set half a dozen times information which is really wonderful, and it—you know, a document to behold all of now, and I still haven’t absorbed it all. There’s so much, and I kept asking myself the these, and I think what he’s trying to do here is he’s putting his spin on these early docu- question that you’ve raised, like, “Could it have been a single CD? Are there reasons that mentations, so the way that this CD set is broken up is one track is called Blues, the middle all of this has to be there?” CD is called And The, and the third disc is called Empirical Truth, and if you listen to the Slim: Right, I did the same thing, actually, and part of it’s just in this—part of it comes disc, it definitely follows a trajectory from early to later, and so I think he’s—this is his sort down to—and this is not fair to artists—is it’s a lifestyle issue. I’m trying to—I have a of rebuttal to the dialogue, or insertion into the dialogue. stack of all this—well, this isn’t a lifestyle issue—15 CDs here to review; one of them is Him: Well, this is what I was saying. So, the idea of his empirical approach is it’s a three-CD set, and it’s going to—I got to actually, you know, really listen to this. Not going to be messy; it’s going to disobey the rules that are supposed to be out there about just listen to it once, but really get a sense, and also kind of mentally record how you feel how the blues developed and what the blues represents. So, in the course of this three-CD about it each time. Last night we went and listened to it again, and I actually started to set, Lowe—and he’s got some great musicians on there with him and we should talk about feel like, “Oh, yeah, this track. I like this. This is a good track.” You know, that kind of them, too—but in the course of this three-CD set, they deliver all different kinds of music, thing. and a lot of it wouldn’t sound, to a blues purist, like the blues, but I think he’s right. Him: Oh, there are a lot of fine tracks. Slim: Right, and I think that’s—and that’s one of his points, is, “Okay, this stuff has Slim: So that’s really, really good. So I think what Allen is doing here—and let’s been done.” He’s clearly a fan of this early music, and so this sort of his take on things, to just—I’m going to introduce the record once more, and let’s talk about the title for a sec- be part of that dialogue, which is—you know, there’s nothing worse than a tribute album ond: Blues and the Empirical Truth, which of course is riffing on— that plays something identical to what it was, so I think he definitely should be applauded for that success. Yeah, we were talking about the musicians. I think we probably, when Him: He’s riffing on Oliver Nelson’s record of 1961, but that idea of the empirical as we talk about some of this music, we can can have some particulars, but of course Allen opposed to the abstract might also explain why this record is kind of all over the place, Lowe is the composer and the arranger, and he also plays a variety of saxophones, and right? He’s looking for empirical evidence for his theories about the blues, what they rep- Marc Ribot—probably one of the best known, at least in cross-genre stuff—is the guitar resent, the ways in which they form—all the different varieties of American music. player on here, but there’s also Ray Suhy. I don’t know how to—S-U-H-Y. That’s the one thing about doing a podcast is now we have to actually know how to pronounce things. Slim: Right, well Allen really does play with titles, and I kind of wondered—because Those two are on guitar, and—just giving some big names here. The rest of this will be if you look through his discography, you’ll see his—or even just some of his tune titles, on the website. of course on piano; Lewis Porter also on piano. Roswell like All The Things You Could Be If Stanley Crouch Was Your Uncle Or If Charlie Mingus Rudd on trombone. So let’s talk—are we ready to talk about this music a little bit? Was Your Daddy, or all these things. He’s got—he’s very—he’s always bridging these historical references in with the current and stuff. I’m not sure that I—aside from the title, Him: Yeah, but I just want to say this, too. It’s not the same group on every track, and that there was much Oliver Nelson, per se, references. this album wasn’t recorded in a single, sustained session, right? It was recorded over a

130 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 131 Slim and Him Slim and Him period of several months I think. Slim: Oh yeah, I was going to say a lifetime, but just because it’s a lot of music here. [LAUGHTER] Let’s talk about also some of his tune titles, because, like, we had alluded earlier to the fact that Allen is very clever and very learned about things, but so he’s— Lowe always—like, here’s some of them: Bull Connor Sees Darkies on the Delta. I mean, he just—he really—I think he has just as much fun naming his tunes titles. What are some of the other ones? You had written some down. The Moon Is Setting on the Whore-Eyed Zone [ph]. Him: Horizon? Slim: Yeah, but no, yes. I get that; I was trying to emphasize— Him: But even—you know, In a Harlem Ashram. How unlikely is that? Yeah, so he’s very clever. We were talking the other night about Blue Like Me. The title is another one of his puns; he’s playing with John Howard Griffin’s title of 1961, Black Like Me, right? And of course this is a question of the relation of the blues to African-American culture. Is that relation essential? This is part of Allen’s ongoing argument with Wynton Marsalis and that group, an argument that we don’t need to get into. I’d like to avoid getting into it, but it takes him to some interesting places, and this track is an example of it. Him: In his notes, Allen talks about finding some blues within the blues, and he’s got Marc Ribot with him here, playing guitar. But I think anyone who grew up in the seventies would recognize that guitar playing as coming from a sort of Captain Beefheart kind of place, and so in his notes, Allen has something to say about Ribot shaping and re- shaping his solo to non-perfection, and it’s that aesthetic that I think is really essential to almost everything that Allen does. He wants it to feel real and live. He wants us to know that we’re listening to music where it’s okay to, “make a mistake.” This isn’t the sanitized, commercial version of the blues. Slim: Well, hence the “empirical truth,” right? Him: Exactly. Slim: Earlier, when we were talking about Oliver Nelson, I think Allen owes a lot to Ornette Coleman, because I think a lot of this record feels Ornette-ish, and then tied in with that—the blues side of Ornette, so I think that’s definitely a go-to for him, so we’ll just listen to just a few seconds of this. I think it’ll be obvious. Him: Allen has an interesting contextualization offer for this one, too. Apparently, Sweet Joe Pie Weed is from his Buddy Bolden Suite. I mean, the man has produced and written so much music that I’m not even sure he can keep track of it all. But at this moment in the suite, he imagined Buddy Bolden in the asylum, where he was remanded after he went nuts, pulling weeds from the grounds of the asylum. So how important is that context to what we just heard? Slim: Well, it may be important to how he got to that space, but as a listener—and this one of the things I always question—it’s like any understanding of anything; the more you know, sometimes the more you have a connection to it, good or bad, but is that—should that absolutely be necessary? Should you just be able to listen to the music and say, “Okay, but that stands on its own.” Like, how much other information do you have to get in there? Now, granted it’s probably what the listener wants out of it. The more you put into it, the more you’ll get out of it. Him: Well, the text suggests a way of listening to particular tracks.

THe bolden band around 1906

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Slim: Right. grateful that it wasn’t Allen singing. Him: And I think, here again, he’s going back to his blues-within-a-blues idea. Slim: [LAUGHTER] Slim: Right, right. Him: Sorry Allen. I meant that with love. Him: I mean, I know I keep saying this in different ways, but Allen Lowe’s imagina- Slim: Anyway, so that’s just my one kind of quibble about the record. I hate to kind tion is inexhaustibly fertile, and what he offers us—what he tries to offer is in this sprawl- of single one person out, but whatever. It was just I didn’t think that that—I guess the ing three-CD set, is basically a really inclusive vision of where the blues are in the 21st cen- only good part about that is it had an industrial feel kind of like some of the later Tom tury, a vision that is about that location in the 21st century, that doesn’t lose sight of where Waits stuff. But again, I’d just probably listen to Tom Waits if I wanted to hear that. they came from. Him: Well, I think we can probably wrap up our talk about this particular record now. Slim: Yeah, my only reservation: is it too academic for its own good? And when you— Do you understand what I mean? Like, in other words, he’s clearly very learned Slim: Okay. and he’s taking all of these influences and he’s sort of—it’s like a montage—like a mosaic, Him: You know, it’s an ambitious record. I think, finally going back to where we and then he’s putting them out, and obviously this is music that he’s drawing from source started, it’s all right that this is three long CDs because it’s not a record that you’re going materials from as early, probably, as the late 1800s, but he’s putting a 21st century kind of to absorb in a couple listen; it’s a record that you live with for a long time, if he succeeds thing on it where he is now. in connecting with you, and if you make those connections, it’s going to take you to places Him: Well, your question is, “Is he too learned for his own good?” And I guess the that would never have expected. answer is, well, it depends on what he’s trying to do. If he’s trying to make a popular Slim: Right, right. Okay, so we’re going to move on to our second record, and this record, well he’s in trouble, but I don’t think he has any ideas—I don’t think he has any, is the two-CD set by Anthony Braxton and Buell Neidlinger called 2 By 2 Duets, and we you know, misconceptions that that’s ever going to happen. should note that this was actually a concert from 1989. Slim: I agree, and I think that can be a very freeing point, is when you say, “Well, it’s Him: And that makes a big difference, right? So this is the document of a concert, and not going to sell anyway, so I can just do what I want.” And I think that that actually can to be sure, there could have been a concept behind how the concert was planned, but it’s free up some of the music. As a listener, I tried to listen to this and—like, would I ever go a different kind of recording than what we just talked about with Allen Lowe. We should to this? And what I found was after a few times through, which was quite a—you know, also note that these are—these are old lions, as the expression would have it, right? it’s a long process because it’s 3 CDs—yeah, it was easier for me. You know, the more I spent time with it, the more I got out of it, which seems like a no-brainer, but it could work Slim: Yeah, let’s just give a little background on— the other way around, too. You could just say really there’s nothing here, so I felt like I Him: Neidlinger: born in 1936; he’s played with everybody. warmed up to the album that I was already sort of happy or, as a listener, enjoyed—just kind of felt overwhelmed with the album, but then as I would go back and try to pick Slim: Well, he got his start in 1956 with Johnny Windhurst, but that was a very quick out parts of it, it did work for me. The only time it didn’t really work—and I don’t know start because, of course, you know that— what you felt about this—but there’s a couple—there’s some vocals on this done by Todd Hutchinson [ph] on the third disk mostly I want to talk about. So the tracks being—well, Him: Well, I love him for that early work he did with Cecil Taylor. 9 and 14, that’s not going to help anybody. So he’s on Cold Bed Blues, and Blood on the Slim: Right, which he actually started in the same year, and the first recording was Mirror. that wonderful recording of Cecil Taylor’s called Jazz Advance. Slim: Well, exactly, but what they don’t have—what they have is some sort of device Him: Bemsha Swing, yeah. that’s putting his voice through—I’m not— Slim: Yeah, with Bemsha Swing, and Steve Lacy was on that record, and Buell also Him: Talking about the vocoder? had had a long-standing musical output with Steve Lacy as well. That’ll just orientate Slim: Yeah, and my feeling is: when I hear that, it says to me, “This is a person who people to where he’s coming from. So he’s a—he’s like one of the early guys that was kind can’t sing, and—anymore, or could never sing, and this is a device. of playing outside music. Him: All right you guys, just remember you heard this from Cadence first. Him: Then one of the other things that he has in common with Anthony Braxton, who was born nearly ten years later—1945—is both of them are musicians who are, to steal that Slim: [LAUGHTER] I’m sure a lot of people feel this way. And so when I hear that in phrase that used to be used of Duke Ellington, beyond category. They’ve recorded classi- this jazz record—like this sort of—like, “We’re going to filter this guy’s voice,” it just says cal music; they’ve recorded experimental music; they’ve recorded jazz. These guys have to me, you know, that they looked around the studio and said, “Who wants to do these broad imaginations. lines here of this song, and we want it to have, like, a Tom Waits gravelly feel, so we’re going to put this in.” To me, that was the only part that just—it didn’t—it just didn’t—to Slim: Right, absolutely. Buell has obviously done less by way of recording to— me it was not, you know— Him: Everyone has done less than Anthony Braxton. Him: All right. But there aren’t that many tracks with vocals on them, and you can be Slim: Well, Anthony Braxton has, you know, close to 400 records that he was either

134 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 135 Slim and Him ColumnSlim and Title Him a leader or a sideguy on, and, under his own name, around 200 or so. Anthony Braxton referencing the past, like Braxton is clearly a Charlie Parker fan. I mean, he’s done tribute got his start in 1967 with Muhal Richard Abrams, and—so yeah, so as far as their scope of of 4-CD sets to Charlie Parker. I mean, and so I think he does also—the same way some- what they cover, genre-wise, they’re definitely two like-minded guys. So when I see—you one like Allen Lowe is taking all of this music and incorporating it and then putting it back know, I always wonder about this, though, when you see a recording coming out 15 years out there in a different way of hearing it or seeing it, that Braxton covers that as well. after it was done, you know. Was that an economic thing? Is that a—it’s hard to believe, at this point, that it’s cashing in on names, because the music world is— Him: Well, you know, also I think by 2011, when this CD was released—we’re talking about two musicians who’ve been on the scene for a long time, right? And they’ve been in Him: There’s no cash to be made. the “avant-garde.” No one wants to be called avant-garde anymore. They’ve been there on the cutting edge for so long it’s—they’ve sort of earned the right to sort of look back Slim: [LAUGHTER] Not really. Well, let’s talk about the music a little bit. and put their armor on different moments in jazz history where there was a closer relation Him: Hey, why don’t we start with the obvious thing? Let’s compare the two versions with the audience—with an audience. of Monk’s Off Minor. Slim: Right, right. Well, my overall feeling about this feeling was I liked it very much. Slim: Yeah, okay. So, they open their concert up, and of course disk one is opening I thought it definitely—we’d come to this idea about, “Do you need more or would less with the first set, first track of Off Minor, so this is a ten minute version. do?” This definitely feels like two parts of a concert; a first part and a second set, and I think that, as a listener, it’s not too much to digest at one time, and it really does feel like Slim: And so this really—when you see the energy of the first piece and just the treat- a concert, just in the tone, the way it starts off, the way—even with that High Flight, the ment between the two, you see that this does read like a concert definitely. 1:22 before the break—very intense, short, go to the break, come back, and then when you Him: Well, the second version of Off Minor is subdued in a way that is probably come back, it’s a 12 minute—it opens up with a 12 minute version of Well You Needn’t, appropriate for the penultimate song of that particular concert, right? So Neidlinger is and then there’s something sort of about the second set that does feel more introspective, there playing solo for I think a minute and a half before Braxton comes in. maybe quieter, if that’s possible. And so I think that this really worked, and it’s nice that they unearthed it and made it available to people to listen to. Did you—how did you feel Slim: Yeah, I think it was half the—Yeah, and the second version is just under three about the record? minutes, so right, it opens up with half of it with Neidlinger doing a solo, right. Him: I think you’ve described it really well. You know, there’s nothing mysterious Him: So, you know, we could speculate why they chose to reprise that particular song, about the title, 2 By 2, right? Two sets by two musicians. And you can hear them—this is but there’s a lot of Monk on this record, right? another cliché of jazz criticism, but you can hear them listening to each other, responding to each other. They’re really playing together. It’s not two stars, you know, each trying to Slim: There is. It’s just about—I want to say it’s almost half Monk, so they do ‘Round outshine the other. Midnight, Well You Needn’t, Straight No Chaser—maybe not quite half, actually—and Off Minor, and there’s a couple versions of Off Minor, and then the other compositions, Slim: Right, it’s not a bunch of trading eights, either. [LAUGHTER] [OVERLAPPING] excepting Le Nevada, which is part of Straight No Chaser, which is a Gil Evans—Le “Then you do this, then you do that.” You know? Nevada is a Gil Evans tune—they’re credited either with—as both Braxton and Neidlinger, or one or the other, which makes me think that some of them they would just improvise Him: I’m sorry, that’s such a funny idea for this record in my head. on the spot, right? Slim: Yeah, well I like that—I like that about sort of the looser form that the avant- Him: Right, right. How about that? garde allows is that, you know, if Buell Neidlinger wants to open up a piece with a minute-and-a-half bass solo because that’s what it seemed like should be done at the time, Slim: And those, I found that the compositions—the originals were much more dense, then that’s what you do, and it just it’s more—it feels very organic to me, and I like the less held, obviously, to that Monk— sort of feeling of, like you said, two people in conversation, listening, and you can’t always anticipate how long one person is going to speak before the other one comes in, or even Him: You know, I’m interested in the fact that you chose that particular adjective if you just listen to our conversation where I’m talking too much and you get frustrated. because that was in my head a lot with regards to Braxton’s tone on a number of the pieces [LAUGHTER] here. I want to make sure we talk about High Flight before we leave off discussing this particular record. There’s a density and a bracing quality to his tone on these performanc- Him: Well look, we can—we can sort of wrap up our thinking about this record by es that stands out, for me, even in terms of Braxton’s very large oeuvre. going back to the question we started with, right? So did this one need to be two CDs? I think so. I think it’s an honest, un-doctored document of a particular show; that anyone Slim: Okay, yeah. I see what you mean by the Brotzmann-dense, but you know, it’s who is interested in either Neidlinger or Braxton is going to want to hear this record funny because when I listen to that track, the thing I came away with thinking it’s kind of like from Bird to Brotzmann, and I think that on this entire record, Braxton covers those Slim: Right, well I think “need” is a funny word, but am I glad it’s a two-CD set? Yes, key points and everything in between. I think it’s very well documented. Him: Yeah, yeah, and it’s not a sustained sonic assault like you sometimes get with Him: And, as you already observed, there is a real difference between the first and the Brotzmann. He’ll give you these really dense, you know, sort of honking passages, but he second sets. breaks them up with quiet, more lyrical passages. Slim: Yes. Okay, so we have one more record in our stack of doubles, and this one is Slim: Right, and the thing about these two musicians is that they are always constantly actually also a double, so—

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Him: Right, well I think this is a really special record, and I enjoyed this one a lot. in an abrasive way; just in a way that’s going to make you want to move. You’ll be bop- It’s a tribute to the late Fred Anderson—“Babba” Fred Anderson—but it’s a tribute that ping your head as you listen to this record. was recorded while he was still alive. And more than that, it was recorded in the Velvet Lounge, and maybe that has something to do with why it works so well. Before we—we Slim: Yeah, I found it was not all one thing, and I like that about it. It definitely has say a whole lot about this particular tribute, why don’t we listen to just a bit of Fred that—that Chicago feel, you know? And these guys have been on the scene for a really, Anderson himself? [MUSIC] really long time. No one—Ernest Dawkins knows how—he’s got a well-placed whistle. [LAUGHTER] You know, like a whistle like blow in—like a Rahsaan Roland Kirk whistle, Him: What we just heard was a track called On The Run, which is from Fred but like a police whistle or schoolyard whistle. I remember the first time I heard it was Anderson’s Live at the Velvet Lounge record, recorded back in 2000, and out on the on a New Horizons Ensemble recording on the Open Minds label, the first record, Live at Delmark label. He’s joined there by Tatsu Aoki on bass, and Hamid Drake—the great Leverkusen, and it’s a fantastic record but I’ll tell you the thing that got me the most was Hamid Drake on drums. So—go ahead. these well-placed whistles, and they show up in this record again. Not too much, but just enough, and— Slim: Well, and Hamid is also on this tribute record, which we should introduce. Him: You’re really a simple girl when it comes right down to it. Him: Which I was just going to say. Yeah, yeah yeah yeah. So this new record is recorded eight years later in the same place, in the Velvet Lounge. It’s credited to the Slim: It doesn’t take much sometimes, you know? You get this little device and— Chicago Trio, and the Chicago Trio is Ernest Dawkins on various saxophones: soprano, alto, tenor, and also some percussion; Harrison Bankhead on bass and cello; and, once Him: But you know, about that whistle; I think another thing that I’ve always appre- more, as Slim was just saying, Hamid Drake on drums and frame drums. ciated about Dawkins’ music, and Hamid’s music, is that there is—and I mean this as a compliment—there’s always a little bit of street in what they do. This isn’t music out of Slim: Let’s talk about the type of music that Fred Anderson—I mean, we—as we some musical academy. It’s not academic music. It’s not all head music. There’s some- know, musicians don’t like to be put in a category, like half of them will say they’re not thing very real about it. jazz musicians, they’re not avant-garde, they’re not this, they’re not that, and I understand that, and I understand the need to not be in a box. But of course when you’re talking Slim: Oh yeah, they really—it’s very varied in its motifs, so we heard—you know, we about music, it’s helpful to—to give people a sense—I should say more when you’re writ- heard some New Orleans in here, we heard some gospel, we heard some avant-garde, for ing about it, because it’s—at least now people can hear it and they can categorize it in their lack of any other term. I mean, they really are—the thing that I think is—about this, and own head of what—where it goes in their mind. But what’s this idea about—so it’s not since we’ve been drawing in the 2-CD set thing, is that there’s a nice flow to this set. bebop; it’s not hard bop. Him: Yeah. Him: It’s free bop. Slim: The fact that it is varied keeps it moving; it keeps you kind of hooked in. They Slim: So you think free bop is a good description? I think that’s a really apt descrip- do get into these sort of rhythms or jams and stuff, but just long enough and then they tion. move away from it. Him: Well, you know, as it happens, I don’t know maybe four or five years ago, I was Him: Then they move on, yeah. And I just want to add one other thing quickly; I talking about a different Ernest Dawkins record with Bob Rausch, and I said something wasn’t trying to say that these guys aren’t capable of intellectual exercise, that they don’t to the effect of, “You know, this isn’t avant-garde at all.” And he said, “No, of course not. somehow know the art, and I know that you wouldn’t think that. I’m just—I’m trying to It’s free bop.” And then he went on to say that free bop, from his point-of-view, is most of make myself clear. I like the mix of progressive harmonics, but also something very vis- the music that Simp [ph] has recorded over the years. So it’s free jazz, right? There’s no ceral in this music. key, there’s not, necessarily, regular rhythm, but there is going to be rhythm that you’re Slim: Absolutely. I think for me, the one set work with—and people will also argue going to feel. about this with both head and heart—for me, are the records that work best. They’re Slim: Right, and I think the thing with avant-garde is I think people think there’s an not—they don’t bore me, but they kind of get—they get in on a cellular level, and also an absence of structure. Of course, actually the absolute absence of structure is still a struc- intellectual level, and I think that’s really—you get the best of both worlds that way. It’s ture but, for purposes of making a point, this music is not without structure; it’s very not all one thing. And of course that changes from listener to listener, from where their musical. It may not go where you think it should go, and it may not be set up in a tradi- perspective is coming from, too, so that’s what I like about jazz. It’s such a rich art form tional form, but, you know, I like the term free bop. that it really rewards whatever you put into it as a listener. It’s not—it’s a two-way con- versation, or it can be. It doesn’t have to be, but it can be. And those records work best Him: It’s an organic structure. It emerges from the— for me. Slim: Yeah, I also like new bop. You know, this idea that it’s bop, but it’s just new Him: Well, you know, you were talking about head and heart; we’ve talked—actually bop. It’s not—it’s new, you know? we’ve been talking a bit. Why don’t we actually hear some of the music? Let’s listen to Down in the Delta, which is the closing track on the first disk. [MUSIC] Him: Well, as you were saying, these terms get thrown around by—by people who do what we do, and they mean different things in the hands of different people, but I like the Slim: So, the part we picked to play off of that track was about four minutes in descriptor “free bop” for the music that Delmark and Bankhead and Drake have made on because we wanted to show—they get into this sort of Saints Go Marching In riff. this particular record. It’s a terrific record. It’s—it’s going to hit you really hard, but not Probably wasn’t intentional, but that’s the thing about these musicians, and they can draw

138 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 139 Slim and Him upon the same vocabulary that people know, and so somebody plays something and it reminds of this, and they get in this groove for a while, and it even sounds to me like Dawkins is playing more than one horn at a time on that track. Him: It certainly sounds like it. Slim: Yeah, Rahsaan style, or something there. So that’s—so now if the whole track started out with that, we should mention how long that entire track is. It’s just under eight minutes. I think, you know, at a point you’d be like, “Enough already,” but it kind of organically wanders to that point, and then it’s a solid kind of march, and then it goes out

again, and I think that that really speaks to the ability of good musicians, that they can go Support independent free press wherever it’s going to go. Him: And conceptually. So, here we’ve got three serious Chicago guys. They’re playing a tune about the Delta, right? Down in the Delta. And they’ve also got this New Orleans thing going on from time to time. I mean, this is music that, in many ways, sort of consolidates and moves on from deep jazz tradition, deep blues tradition. It’s a terrific record. Slim: Yeah, so I think on this set of music, this one, I think, was the—was the record- ing that was easiest to sort of get into from the get-go, but also has rewarded sustained listenings. You know, aesthetically it’s very different than the other two, you know? This one is cohesive in a way that the other two are not, but it’s also—but maybe that’s also— just means it’s also—like you like to say, less difficult listening. [LAUGHTER] Him: Well, the second disk of this album goes to different conceptual places. Track one is Jah Music, a little Jamaican thing going on. We have Woman of Darfur in the—on the third track. We have a waltz on the fourth track, and the record closes with a tribute to Fred, One For Fred. And again, Fred Anderson was still with us at the time of this record- ing. So I’m so glad that he got to hear this. It’s much better to pay tribute to the great ones while they’re still alive. Slim: Yes, we should mention that this record is on the Rogue Art label. It flows a little like a concert, but unlike the Braxton/Neidlinger which was sort of a quiet, more introspective, winding down of a concert—I actually thought this, too, and this could also be the way they mastered it; we don’t know that this was issued in the order that they played this stuff in—that this, too, was actually of—as a solid performance, was actually the stronger disk of the two. For me, it was the more cohesive statement, but I enjoyed the MULTI USER SUBSCRITPIONS entire set and I’m happy that this is a two-CD set. Him: Well, you know, we started with that question of the multi-disk set, and prob- PERFECT FOR LIBRARIES AND OTHER INSTITUTIONS ably because we opened with our discussion of Allen Lowe, I think we should revisit it at some point soon, and take up records that are actual concept records in the studio, because CALL OR CONTACTUS BY EMAIL FOR RATES these last two are terrific records, but they’re both concerts, and that’s a little bit different 315-289-1444 I think. So all I’m saying over there, Slim, is let’s not consider this case closed. Let’s keep talking about this one. [email protected] Slim: Oh, nothing is ever closed. Nothing is ever closed. Hours of audio and video interviews, plus the new quarterly CADENCE Him: Yeah, I want to sign off by acknowledging that this recording was done in the MAGAZINE in digital format. Also includes an annual print edition and digital recording studios of Colgate University, with the expert technical support of Rich access to back issues at the CADENCE MEDIA ARCHIVES. Grant, Colgate’s Technical Director of Digital Media. Thanks to Colgate, and thanks to Never miss an issue. David Haney and Cadence. Slim: And thanks for our listeners who have tuned in. This has been the Slim and Him podcast.

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et’s face it: how many of Henry Lowther, Rich Laughlin, accompanying booklet, Harmos “focuses on the LBarry Guy’s worldwide fans idea of melody being a construct rather than just are going to have the chance to tpt, flgh; Herb Robertson, tpt; Conrad Bauer, Johannes Bauer, being a song (or song form) that musicians impro- encounter one of his bands in vise over.” person? For Americans in par- Alan Tomlinson, tbn; Per Åke ticular the answer is surely going Holmlander, tba; Evan Parker, ts, ss; Mats Gustafsson, bari s, As is often the case, it’s the resonance between to be “very few of us.” That fact composition and improvisation that provides alone makes Harmos: Live At fluteophone; Trevor Watts, as; Simon Picard, ts; Pete McPhail, much of the music’s tension. The soloists come Schaffhausen a very welcome and go as the backgrounds continually change, DVD. The first recording of Guy’s as, sop s, fl; Phil Wachsmann, vln; Howard Riley, p; Barry conducted by Guy with much jumping around and Harmos was a 1989 performance multiple hand gestures. The multi-camera shoot issued on CD by Intakt, the Swiss Guy, Barre Phillips, b; Paul Lytton, Lucas Niggli, d, perc; includes establishing shots of the entire orchestra label that has continued to along with plenty of close-ups of soloists in action. release many Guy projects over 5/21/08, Schaffhausen, Switzerland. Not until after the end of the piece does the cam- the years. An illustrated listing of era pan the room briefly to give you a sense of the these is on the DVD as the only space before returning to the stage for the band’s extra. The concert film by Jürg final bow. The unobtrusive filming, often from one and Marianne Rufer is a totally side of the stage or the other, provides plenty of straight-forward presentation of opportunities to observe the little on-stage inter- Guy’s London Jazz Composers actions and adjustments that are invisible from Orchestra in performance at the the hall. The single most memorable image in the Jazzfestival Schaffhausen in 2008. film is of Guy playing bass with his eyes twinkling We begin with a brief speech and his face beaming a broad smile during Evan by Guy, introducing the newest Parker’s soprano saxophone solo near the end of member of the group, pianist the piece. It’s also a moment that points out the Howard Riley, and dedicating difference between witnessing an event in person BARRY GUY the performance to the late Paul and watching a film of the same event. Even if LONDON JAZZ COMPOSERS Rutherford, one of the trombon- you happened to have had a pair of binoculars, ORCHESTRA ists on the original CD. When you still wouldn’t have been able to catch this HARMOS : LIVE AT SCHAFFHAUSEN Guy in his conducting role kicks moment, since Guy conducted and played while INTAKT DVD 151 off the piece, it falls naturally facing the band. In addition to Guy’s notes, the A film by Jürg and Marianne Rufer enough on the trombone sec- booklet includes an appreciation by Bart Noglik tion of Conrad Bauer, Johannes along with samples of Guy’s score. Since the indi- Bauer, and Alan Tomlinson to start viduals in the band are never introduced, it would HARMOS; 46:28 things rolling. It’s the beginning have been useful to include a photograph of the of three quarters of an hour of group with identification of the players so you stunningly beautiful music that know who you’re looking at. But that’s about the comes at you in wave after wave only beef I have with this otherwise worthy and of sound from one of the most totally enjoyable DVD. committed and engaged ensem- Stuart Kremsky bles you’re likely to encounter. “Symphonic in its ambition,” as Guy writes in brief notes in the

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was much less familiar with his later work, so when I my favorite arrangement on the album, and one that heard that Art was particularly proud of this album, p, Howard I creates interest with its modifications to the familiar I had to check it out. From the first cut, I realized that Roberts el g, Cecil McBee b, form of the tune. There is some beautifully melodic this was a powerful musical statement. Paradoxically, Carl Burnett d, Bill Holman string writing here. On “That’s Love” Art plays some though, Art’s phrasing here is generally not melodic arr, Jimmy Bond arr, Nate lowdown, dirty, gutbucket blues, and he plays it with the or continuous in the manner of his earlier work, not Rubin (concertmaster), best of them. Howard Roberts also acquits himself very as fluent, not as competent. It comes across as less John Tenney vln, Greg well here, playing sparely and tellingly. “Prisoner,” the articulate, less polished. Nor is it particularly daring Mazmanian vln, Patrice theme from the film Eyes of Laura Mars, is given more harmonically. None of the solos would merit inclusion Anderson vln, Clifton Foster of a pop treatment, and is my least favorite track on the in a book of transcriptions. vln, Dan Smiley vln, Audrey album. The genre of the tune calls for a slicker, smoother But it works. The question is, why? In part, the Desilva vln, Elizabeth solo approach than Art employs. After listening to the answer lies in the relationship between the solo- Gibson vln, Stephen Gehl bonus tracks, I agree that those chosen for the original ist and the ensemble sound. This less fluent, more vln, Emily Van Valkenburgh release were the best. The arrangement of “Ol’ Man River” Art Pepper telegraphic, expressionistic phrasing generally fits vln, Sharon O’Connor cel, is interesting, given the addition of a more modern Winter Moon very well within the whole musical framework of the Mary Ann Meredith cel, formal feature—a major key vamp—to the traditional Galaxy GXY 5140 project. The rhythm section is excellent. Outside of Terry Adams cel form of the tune, but I’m not sure it makes a coherent reissued on Original Howard Roberts’ guitar, which has some fine solo musical statement. Some might say that there is not Jazz Classics 677 moments, they play a largely subordinate, support- enough variety of mood on the CD. I agree that the tone ing role in this work and they do so very well. They is generally melancholy, and that there is not much Our Song/Here's That provide the musical foundation on which are draped deviation from this feeling. But this is not an evening’s Rainy Day/That's Love/ the often lush string arrangements of Bill Holman and worth of music presented at a gig. This is an album, a Winter Moon/When the Jimmy Bond, old friends of Art since the 50s. It is these particular musical statement with the title Winter Moon, Sun Comes Out/Blues in string arrangements that provide the counterpart to and the tone is consistent with that very evocative title. the Night/The Prisoner Pepper’s solo work in the foreground of the musical Would you criticize Mingus for not including a rhumba (Love Theme from Eyes fabric. The strings usually provide the musical yin to on his album Blues and Roots? To come back to my of Laura Mars)/Our Art’s more aggressive yang. The strings usually appear original question: why does Art’s playing work so well Song (alt. take)/The as a seamless continuity, punctuated by Pepper’s dis- here, when it really doesn’t have some of the qualities Prisoner (alt. take)/Ol’ continuous musical blurts and mumblings, cries and we often associate with great soloing? The answer is Man River Recorded on whispers; the richness of the is balanced only partly due to the balance of the musical whole. It 3, 4 September 1980 by the alto’s acid astringency, the potential sentimen- also has to do with the intensity of Art’s playing. Art is tality of the strings by Art’s unsentimental, vibratoless really “saying something” here, in a very literal sense. This album was a tone. Holman writes some staccato passages for the While the phrasing is certainly less eloquent, less like revelation for me. I was strings on “Blues in the Night,” when Art switches to speech in complete sentences—less like a book—it has familiar with Art’s early his more mellifluous clarinet, which he plays with a other virtues. It has all the characteristics of vernacular work in albums like Art gorgeous, open, big-bore sound. Here too, yin and speech, with all its interruptions, interjections, Pepper + Eleven and yang are in balance. exclamations, mumblings, and murmurings, and it Art Pepper meets the I’d like to single out some tracks for special men- communicates emotion just as directly. In this late stage Rhythm Section, where tion. The first track, “Our Song,” arranged by Holman, of his career, Pepper seems to have let go of the armor he expounded his own evokes to my ears a very personal and arresting mel- of mere competency and “sounding good” in order peppery blend of fluent ancholy feeling, a feeling that resonates in my mind to say something fresh, raw even, spontaneous, and cool bop with a hard with Pepper’s often tragic life story. I expect that even authentic. This takes courage, and when it works, it gives edge. those unfamiliar with Art’s biography will sense that something that I’m not sure that mere competency, no there is something very intensely personal about the matter how fluent, can give. Jeffrey D. Todd piece. Bond’s treatment of “Here’s that Rainy Day” is

144 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 145 New Issues ColumnNew Issues Title three or four decades back. All dozen tunes stem from Two homegrown releases that hold three guitar- 1) THE the bandleader that are described in one or two sen- ists and a wide range of dynamics. Most newer readers ABSOLUTE TRIO tence descriptions. Macchia handles the bulk of the may not remember the name of Bill Washer, as he goes A TROPICAL THIRST solos and it is sometimes difficult to discern which of back a ways. In my vinyl collection are several LPs on the twin guitars is taking the lead. Some numbers are NO LABEL OR # Bob Shad’s Mainstream label under different leaders set in different time signatures such as “Butterfingers” in with Washer in a sideman role. It was during the seven- 13 with its dual tenor sax/bass clarinet lead, the opener ties and most of these dates were very idiomatic with A TROPICAL THIRST / PAGING in five and the Big Easy- flavored “Hopscotch” set in electric piano and/or heavily wah-wa guitar. Honestly, it MR. MORGAN / MAXINE / seven-four. Tenor seems to be Macchia’s main axe but was my opinion at the time that Washer was the weak- GUITAR HERO / I DIDN’T he plays some barking baritone sax in a couple of spots. est member in these various groups and I still hold to KNOW WHAT TIME IT WAS / Both of the guitarists are rockish and are spotlighted on CAN I CALL YOU / THREE AND that opinion. But in the ensuing decades since I have “Chuggin’.” Guest trombonist is featured on the ONE / IVAN. 49:05. heard him there has been a marked improvement. Gone following shuffle and keyboardist Rosenberg gets off is the dreaded wah-wah pedal and there is a more pro- some effective organ licks on the slow rhumba. This will Bill Washer, g; Paul Rostock, nounced jazz tone to his guitar. b; Glenn Davis, d. No dates probably only appeal to more Pop/Rock oriented listen- given. Saylorsburg, PA. ers. Larry Hollis ) is markedly a collective effort but he is the only 1member to contribute original material to the 2) FRANK MACCHIA’S program. Four of the selections are his; the first two wo very different quintets have new releases out. SWAMP THANG, numbers, the catchy title tune and a six-eight salute to T(1) is the latest disc, the fourth, headed up by the CACOPHONY NO #. the great Lee Morgan while the ringtone inspired “Can I twosome of pianist Mike Wofford and flautist Holly Call You” is set in three-four and “Ivan” is another tribute, Hofmann. Their last contained collaborations with this time to Ivan Lins. I’m guessing Rostock and Davis 1) MIKE WOFFORD/ guests that included the respected trumpeter Terell DISCOMBObULATED / are regional musicians from the Pennsylvania area and HOLLY HOFMANN Stafford who rates a “special guest” on the booklet FUNKY GREASE BUCKET I have no background information on them. There are QUINTET cover. Before uniting with Wofford, the San Diego native recorded for Jazz Alliance and Azica often in the compa- / HOPSCOTCH / SHHHH! / nice covers of Donald Fagen’s “Maxine”, “Three And One” TURN SIGNAL MUMBO JUMBO, DUMBO from and the Rodgers & Hart evergreen “I ny of Bill Cunliffe. These quartets have usually contained CAPRI GUMBO / BUTTERFINGERS Didn’t Know What Time It Was.” My personal favorites are changing and drummers, some familiar and / SWAMP THANG / JUNGLE THE DIPPER (FOR HORACE others not so well known as is the case with Thorsen “Paging Mr. Morgan” and the boppish “Guitar Hero.” It’s SILVER) / ESPERANCA / DANCE /CHUGGIN’ / SICK and Sellers. Both do a commendable job anchoring SHUFFLE / RHUEBEN’S been so time since I last heard Bill Washer who has come KARITA / SOUL STREET / quite a ways from playing Wah-Wah Watson punctua- PURE IMAGINATION / THE the three frontline participants that carry the load solo RHYTHMIC RHUMBA / UPSY wise. Wofford and Hofmann are both up to their usual DAISY. 67:44 tions to the Jimmy Rainey fluidity he displays here. GIRL FROM GREENLAND / M-LINE. 55:28. high standards with the classically-trained latter holding Macchia, woodwinds; John eedman Frank Macchia’s sextet is called Swamp chops aplenty with the former being the slightly jazzier Rosenberg, kybds; Ken Rosser, RThang (2) and puts out sounds that are a far cry from Wofford, p; Hofmann, flt, of the pair. Each furnished a composition; Wofford the Eric Jensen, g; Tom Lockett, el the subtle and relaxed sonics of The Absolute Trio. Like a flt, pic; Terell Stafford, rather unusual nod to Horace Silver and Hofmann the tpt, flgh; Rob Thorsen, b; b; Frank Briggs, d, perc; Alex myself and , he is apparently a comic closing bop romp after their dog’s nickname. Richard Sellers, d. 5/23/10. lIes, tbn; , tpt. book fan hence the atmospheric artwork that adorns the 10/15/11. No location given. Rancho Bernado, CA. digipak that encases the disc. Augmented by a couple True to form, the pianist has picked out an unshack- of horn players this band reminds me of Tower Of Power led playlist with two ballads containing samba sections

or one of those Soul-Funk bands of that ilk that play a (Esperanca/Pure Imagination), Bobby Watson’s brisk mix of Black music (excluding Hip Hop) that was popular “Karita”, “Soul Street” from Prestige-era

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and a trio version of “The Girl From Greenland” written by Dick Twardzik, an immensely gifted pianist who over- larinetist Eddie Daniels and pianist Roger Kellaway dosed in Paris at age twenty-five. Contemporary players Care two American jazz players who seem to have would do well to search out his compositions for fresh been on parallel paths since the start of their careers. material. Kudos to Stafford for adding some extra bite to Both have extensive discographies going back to the what could have been a somewhat polite undertaking. 1960s. Both are virtuosic musicians on their respective instruments. (Daniels has concentrated solely on clari- ig Drum, Small World is the latest recording from net since the 1980s but he also plays a good tenor.) Bthe Metta Quintet, the resident ensemble of the While preferring to work within the mainstream, they JazzReach Foundation a non-profit organization started both tend to liberally sprinkle their music with mod- in the mid-nineties for the promotion of the art form ernist touches. Both have had successful careers as known as Jazz. This is their third outing, their debut studio musicians and both have worked extensively was in 2002 entitled Going To Meet The Man (Koch with pop musicians. Jazz) based on the writings of James Baldwin and their Kellaway was musical director for Bobby Darin second was the Big Apple-themed Subway Songs EDDIE DANIELS / and hippy pop singer Melanie. Daniels has played on under the Sunnyside logo. Personnel on those releases ROGER KELLAWAY countless sessions with pop musicians including Bob was varying but they seem to have settled on the two LIVE AT THE LIBRARY James, Paul Simon, Chaka Khan etc. Both seem to saxophones configuration for now. The only member OF CONGRESS have been focusing on their jazz credentials and their IPO no # METTA QUINTET, whose composing is represented is Strickland whose own music since around the turn of the century. BIG DRUM/ SMALL “From Here Onwards” a pulsating work with meaty Live At The Library Of Congress is a follow-up, Strike Up The Band / soloing while the remainder of the repertoire springs of sorts to 2009's well-received Duet Of One. They WORLD, Capriccio Twilight / from the pens of such names as Miguel Zenon, Omer engage in a spirited yet relaxed banter of playful virtu- JAZZREACH NO #. Somewhere / Rhythm- Avital, Rudresh Mahanthappa and Yosvanny Terry osity. They genuinely seem to be enjoying themselves. A-Ning / America The respectively. The only constant appears to be drummer The program is a set of standards (both popular and FROM HERE ONWARDS / SICA Beautiful / Etude Of A Schuman who is an executive and artistic director with jazz) but Kellaway compositions are the highlight of / BAKAREM / CRABCAKES / Woman - Pretty Women / the home office. He locks in nicely with pianist Bryant the set. They tend to be complex with lots of little SUMMER RELIEF. 33:56. Just Friends / A Place That and bassman Ginsburg both new names to me. Altoist hidden avenues and contours that allow Daniels and You Want To Call Home / Marcus Strickland, ss, ts; Greg Ward was also an unknown entity but I learned he Kellaway to engage in some unusual dialogue. 50 State Rambler. 58:31 Greg Ward, as; David Bryant, is around thirty, Chicago-based and has had extensive Oddly enough they deliver Monk's "Rhythm A p; Joshua Ginsburg, b; Hans gig time as a sideman and leader. He and Strickland lock Ning" in a rather straightforward manner rounding Daniels, clt; Kellaway, p. Schuman, d. No dates given. in from the get-go and I plan on monitoring his career out the brilliant corners of eccentricity, turning it into 2/25/10, Washington D.C. NYC, NY more closely after this ear-opening introduction. Marcus a vehicle for their virtuosity. It's not the best way to Strickland, I do know about, is an extremely busy saxo- handle Monk. But apart from that lapse, there's a lot of phonist who has proved his mettle in many musical good music contained on this disc. situations. His work on the new Jimmy Owens album Robert Iannapollo The Monk Project is testament to his multifaceted skills. This mostly-nimble selections are globally infused but still retain an undeniable Jazz thread and are all a treat to one’s ears. Larry Hollis

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rench pianist Jacques Loussier made his name in For the last decade or so, vocal jazz has been the Fthe 1960s with jazzed up piano trio renditions of most popular sub-genre within the music that has Bach (initially) and other composers. Although enor- captured the ear of the mainstream public. While it's mously popular among casual jazz listeners (it was the nice to see sales of jazz increase in any area, it seems perfect accompaniment to a bourgeois’ dinner), it was that as if it's those with a more commercial intent mostly frowned upon by the serious follower of jazz. are the ones to reap the benefit of this. Singers who Ultimately it is pretty lightweight fare with more than exemplify the more adventurous avenues that vocal a slight whiff of the genteel. Astonishingly Loussier is jazz has to offer (think Fay Victor) seem to be on the still going strong after 50 years! While there was a six sidelines as far as recognition goes. Below are two year gap when he put his trio on hiatus, it reformed singers of the latter type. (with different personnel) on the 300th anniversary of J.S. Bach and has been going strong ever since. inger Sophie Duner hails from Sweden but she's Granted the lightweight nature of the end product, Salso worked in Spain and the U.S., honing her craft. there’s no denying the attractiveness of the premise. SOPHIE DUNER / She's released several recordings (including one on Give the people melodies they recognize with impro- CALLINO QUARTET CIMP) that have been well received. She's a singer of visations that don’t go on at length and you may have THE CITY OF MY astonishing range and technique but just as impor- a winning formula. And Loussier surely has that. So 50 SOUL tant, she's a composer and a creative musician with unusual ideas. Her last album, The City Of My Dreams, JACQUES LOUSSIER years down the road from his first “Plays Bach” release SAGE (no #) TRIO we have his trio’s interpretation of Robert Schumann’s was recorded with a string quartet. I have not heard SCHUMANN / Kinderszenen. It’s an astute choice because anyone this but looking at the song selection (which contain a number of tunes that are similar to this release), this KINDESRZENEN who’s taken piano lessons for a few years will surely Kairo / Caravan / The new album, with a different personnel, can be con- TELARC 32270 be familiar with at least some (if not all) of these Plot / Marionettes / sidered either a sequel or reassessment. For The City Von Fremden Landern pieces. The themes are delightful reminiscences of The City Of My Dreams Of My Soul she is joined by the British Callino (String) Und Menschen / Schumann on his childhood with melodies that stand / Hey Doctor / Aurora / Quartet for a set of 17 originals and two well chosen Kuriose Geschichte / out and, perhaps surprisingly, lend themselves to Well You Needn't / Ugly covers (Monk's "Well You Needn't and Juan Tizol's Haschemann / Bittendes improvisation. The most famous theme in this batch Beautiful / Red Sailor "Caravan"). Being accompanied by a string quartet Kind / Gluckes Genug / is “Traumeri” (Dreaming) which is the centerpiece of Girl / Silent Revolution isn't a very jazzy proposition. Producer Michael Haas Wichtige Begebenheit / the set. It’s the sole theme that Loussier plays as a solo / The Singer From Hell in his liner notes calls these pieces "jazz art songs" Traumerei / Am Kamin / and he stretches it out to nearly ten minutes with a / Dizcharmesd / Why/ and that's a pretty accurate description. That Duner's Ritter Vom Steckenpferd lengthy introduction that hints at the main theme. Arms Against Reality grounding is in jazz is evident from her phrasing and / Fast Zu Ernst / Once the main theme is revealed it’s followed by a / Captain Crunch / The the songs she writes. The songs aren't necessarily Furchtenmachen / Kind slow, languid exposition. It’s actually quite an attrac- Rain In Spain / You / standard in structure to a pop tune or a jazz standard Im Einschlummern / Der tive performance. Surprisingly, much of this program Happy People. 62:27 Dichter Spricht. 49:25. works. Some lend themselves to Loussier’s patented but that they can be so well-complemented by a treatment whereas others are merely stated then dis- Duner - vcl; Sarah Sexton - string quartet is a bit surprising. Loussier - p; Benoit Dunoyer carded. It’s done in the order of the original sequence. vln; Fenella Humphreys - vln; The material Duner has written consists of songs De Segonzac - b; Andre It almost seems churlish to get too riled up over the Rebecca Jones - vla; Sarah that don't take the obvious routes and cover a wide Arpino - d. recorded Paris, Fr. depth of music that is this benign and goes down this McMahon - cel. 5/17/10, range. The quartet arrangements are mostly by Duner no date given. easily. London, UK and indicate a clear understanding of the ensemble. Robert Iannapollo Lyrically, the songs cover a wide and intelligent range. Some of it is outright funny. "The Singer From Hell" who "wants it all", indeed. Call the jazz police is a great

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punchline. "Aurora" is a beautiful haunting ballad Nina Simone ("Hyku For Peace / Come Ya") and hovering in an ethereal stasis. "Red Sailor Quartet" has Trible - vcl, recitation; Linda Hill, a cohort in Tapscott's Arkestra (Little Afrika). the best accompaniment by the quartet with the strings, collective personnel:; John Trible is clearly a jazz singer with a big bold baritone their warmth surrounding her voice in the most natural Beasley - p, org; Trevor Ware and a wide range. manner. It's a nice contrast to the scratchy dissonant - b; Dexter Story - d, perc; As can happen (see above), he can let his tech- accompaniment of "Why." And the raindrops delivered Munyungo Jackson - perc; nique get away from him and a piece can be marred by the quartet on "The Rain In Spain" (perhaps the best George Harper - ts; Justo by some overwrought interludes, most notably on the song of the set) are spot on. Almario - ts, flt; Kenneth Ellington track. But when he's on target, the music Not everything here works. Occasionally Duner's Crouch - org; Djamel Laroussi can transcend. On most tracks he's backed by a solid voice can be a bit strident and she lets her technique - g, perc, vcl; Oeter Jacobson - jazz piano trio augmented with percussion and saxo- get away with her. The introduction to "Well You cel. Ujazi Calomee - recitation phone (George Harper and Justo Almario). On two Needn't" is particularly egregious. Yes, it's a difficult line Kamau Daaoud - recitation of the best tracks he breaks the mold. He's joined by for a vocalist to maneuver but her delivery of it is just recorded in , CA; percussionist Munyungo Jackson and Algerian guitar- a little too obvious. This problem occurs elsewhere as Glendale, CA. Pasadena, CA; ist Djamel Laroussi for a bracing bit of African pop on well but as a rule Duner is able to hold things in check. no recording date. "Algeriangeles". Laroussi's overdubbed guitars glisten There's a lot here for the listener to sink into. Duner is as Trible scats over and around it. one of the most interesting singers I've heard recently He even manages to pull off a credible version of and, in a more just world, would be getting the reams of the old 70s Five Stairsteps soul classic "Oooh Child" press garnered by less creative singers. without sounding retro or contrived in this context. On Cosmic, Trible carries on the tradition of spiritual- inger Dwight Trible has been around for a while. soul jazz vocals that arrived in the late 60s and man- SBased in Los Angeles, he’s worked with players like ages to even give it a modern spin. , Charles Lloyd and Horace Tapscott to Robert Iannapollo name but a few. (He worked as the vocal director for Tapscott’s Pan Afrikan People’s Arkestra.) All were strong he early history of Chicago’s AACM was reasonably leaders which indicates that Trible is a strong singer Twell-documented, fortunately. The Delmark and who can deal with their music. If a comparison can be Nessa labels released recordings documenting the made, Trible is a bit reminiscent of Leon Thomas (with- music of Muhal Richard Abrams, Anthony Braxton, DWIGHT TRIBLE and which fell on surprised ears when COSMIC out the yodeling) and Andy Bey. As the title of his most recent release (Cosmic) indicates, his music deals in a released in the late 1960s. The first of these docu- KATALYST (no #) similar lofty area in which Thomas operated. ments to be released was Roscoe Mitchell’s epochal Speak To Us Of Love / I’ve Trible’s music comes across with a strong spiritual Sound. This album, which was released in 1967, was Known Rivers / In The streak that’s attractively delivered. It’s devoid of gim- an important recording heralding a new ideas on Beginning GOD / Love Is micks and delivered in a straightforward manner. He improvisation, harmonic and rhythmic development Forever / Little Afrika / also composes and has a few tunes on this disc. “I’ve that would be dealt with in the subsequent decade Algeriangeles / Hyku For Known Rivers” has lyrics based on a Langston Hughes by all forward thinking improvising musicians. But as Peace - Come Ya/ It’s All poem. (Gary Bartz also set this poem to music back in reasonably well-documented as this era was, there About Love / Ooh Child. the 70s.) Elsewhere he tackles music by Ellington (“In are several players who were gone too soon (pianist 47:57 The Beginning GOD” which was from his Sacred Music Christopher Gaddy and bassist ) or for Concert), whatever reason never led a recording session (trom- bonist/bassist Lester Lashley.) Releases featuring these musicians would have rounded out the history of this organization quite nicely.

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The quartet is But thankfully, there are still sessions lurking in ROSCOE MITCHELL notable as the first the vault that help complete the picture a little more. BEFORE THERE WAS rumblings of the This release of a set of two Roscoe Mitchell recording SOUND Art Ensemble Of sessions from 1965, cleverly titled Before There Was NESSA Chicago. It’s the Sound, pre-dates his first release and reveals a lost, Mr. Freddy / Green / earliest recording early participant in some early AACM sessions. Outer Space / Carefree of both Mitchell The material for this release was recorded roughly / Akhenaten / And There and bassist Malachi a year before Sound. And, surprisingly, while it does Was Peace / Jo Jar / Favors. Drummer presage the music for that important record, it’s amaz- Carefree #2 52:40 Alvin Fielder was an ing how much development had occurred by the active participant time they recorded Sound. On this disc, there are no Mitchell – as; Fred Berry – tpt, in many of the early little instruments, no protracted silences, no lengthy flgh; Malachi Favors – b; Alvin AACM sessions interludes of pure percussion. That means these Fielder – d. before he migrated developments, which became basic hallmarks of the down to New new Chicago school, were developed in an amazingly Orleans (in a reverse short amount of time. The most “traditional” piece on of the traditional Sound was a track entitled “Ornette.” And it’s the music route of jazz) where of Ornette Coleman that informs much of the music he worked in that on this disc. The opener, “Mr. Freddy” (dedicated to the city’s little-known trumpeter in Mitchell’s quartet, Fred Berry) is the most fringe vanguard in the ensuing decades. He’s a mas- obvious example. But already it’s obvious they are ter of cutting up rhythm and rhythmic commentary. looking for new approaches to improvisation rather One wishes there were more recordings of him. But than the still prevalent theme - improvisations - theme trumpeter/flugelhornist Fred Berry is the real surprise avenue. here. He was a solid player with a strong streak for One of the most obvious examples is to be found in adventurous phrasing and a nice lyrical streak. While trumpeter Berry’s sole composition, the ballad “Green”. he doesn’t engage in the tonal distortion that was the It’s a lovely theme stated by Berry and complemented hallmark of subsequent AEC trumpeter Lester Bowie, by a two note figure played by Mitchell. It’s performed he seems right for this music. Apparently shortly after over rolling drums and bass. While a bit reminiscent of these sessions, he moved West to go to Stanford and some of Coleman’s ballads, it sounds like music that’s eventually wound up teaching there. It’s too bad there trying to break out of its form and flow into freedom. isn’t more available of his playing because he sounds “Carefree” as its title suggests, is a playful tune that like a musician who was full of potential. would later return as part of the Art Ensemble Of Before There Was Sound presents music in flux. It’s Chicago’s book. Here we are presented two readings music on the cusp of breaking through to a new way both of which have merit. Little-heard trumpeter Berry of doing things. In that sense it’s like Cecil Taylor’s 1962 really takes hold on the first version and it’s taken at Café Montmartre recordings or Coltrane’s later Atlantic a faster tempo than the second. Mitchell seems to be recordings or Coleman’s Contemporary recordings. Or more effective on the second, slower version. “Outer even Miles Davis’ Filles De Kilimanjaro. And as such this Space” is the lengthiest and probably the most “free” is a very valuable document as well as great music and piece (doffing its hat to Sun Ra, perhaps) and it goes we can be grateful to the music gods that it has finally down some interesting avenues, particularly during seen the light of day, 47 years later. Favors’ solo which is punctuated with commentary Robert Iannapollo from Fielder.

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ritish trumpeter Neil Yates has made a career out of NEIL YATES Vibraphonist/percussionist/bandleader Tommy Vig straddling musical boundaries since the mid 1980s. FIVE COUNTRIES B has a long history in music. Born in Hungary, he emigrat- He's worked in jazz (with players John Taylor, Don Sahara / Buddy And EDITION ed to the U.S. in the 1960s, studied at Julliard. Eventually Weller, National Youth Jazz Orchestra), rock and pop Solita / Now Is The Flutter And Flight / he moved to the West Coast where he had a productive music (Mekons, Akimbo) as well as being a member of Time In Hungary! / Rise Snowdonia - Sail The career as a studio musician (on 1500 sessions accord- the groups Edward II and e2K, bands which tended to And Shine / In Memory Sky / Frozen Forest / ing to his Wikipedia entry) and leading his own bands. meld folk elements with jazz improvisation. Of Dizzy / In Memory Dustfall - Sprin The Around 2005 he moved back to Hungary and has been Five Countries is the second release under his own Of Monk / Only You / Sky / Freedoms Lost leading bands there ever since. name and continues his fusion of improvised and world Vig Corn. I Told You / Izabella's Dream / Welcome To Hungary presents his big band with fea- musics. The emphasis is on Irish and Celtic impulses but / Only You / Me Shall Slipreel / Storm On tured soloist saxophonist David Murray. Vig's big band thankfully it isn't an endless series of ersatz reels and / Veled Vagyok Meg The Irish Sea / Rainy sounds like a standard big band, big, bold and brassy. jigs. The impulse is found in Cormac Byrnes percussion, Gonolatban* / Fustbe Harbor / Seventh Sense - But there is one significant difference. Two of the main mainly in his bodhran (an Irish drum) playing. It adds Ment Terv*. total time: Waterman's. 68:25 instruments are Hungarian constructions: the tarogato, a gentle rhythmic pulse that pushes the music along 61:35 a reed instrument played by Balazs Cserta and the cim- with subtlety but undeniable assurance. Zsolt Bende's Yates - tpt, flgh, whistle, tenor balom, a sort of hammered dulcimer played by Rozsa acoustic guitar is used mainly in support providing a Vig - vb, d, perc, el b (?); horn, fx; Zsolt Bende - ac g; Farkas. The addition of these two instruments gives the harmonic framework for Yates as well as being another Murray - ts; Akos Tompa Cormac Byrne - bodhran, band's voicings a slightly different flavor and it's quite element in the music's propulsion. But there are other - tpt; Janos Harnon - tpt; percussion nice. When the entire ensemble gets to playing, they elements as well. One hears Brazilian music in Bende's Ference Schreck - tbn; are barely detectable. But when they are audible, it pro- guitar and African rhythms percolate out of Byrne's per- Bela Szaloky - tbn, vides a uniqueness that sets this band apart. Actually cussion Yates' trumpet and flugelhorn clearly are based flgh; Peter Kovacs - rds; they could have been used a little more and would have in the jazz idiom. His horns are occasionally enhanced Balazs Nagy - rds; Arpad really upped the ante for uniqueness. It was also surely by electronics. The element is used sparingly, mostly Dennert - rds; Istvan a unique choice to have saxophonist David Murray be surrounding Yates' horn adding a gauzy texture to his Elek - rds; Balazs Cserta the front soloist for this big band. It’s to both Murray already airy horn. Yet his notes are always clearly articu- - tarogato; Rozsa Farkas - and Vig’s credit as open musicians that they make this lated and his swoops into the upper register sound cimbalom; on * add Mia work. “Sahara” opens the proceedings with a vibes-tenor natural. There's nothing here that's startling or aggres- Kim - vcl. no recording duet. This is the strategy for a number of tracks here sive. However, the music is well-crafted and this is a trio date or location given. and, frankly, these introductions sound as if they were that seems perfectly in synch with each other. There's a recorded separately and grafted on to the beginnings of pastoral mood to the proceedings. The entire program their pertinent tracks. (However, I’m not sure that they seems to be of a piece and it's delivered with such were.) But despite that, these intros are among the high unaffectedness that it makes listening to it a pleasure. points of each piece. On “Sahara” it sets the tone for the Robert Iannapollo entry of a driving big band. It’s great to hear Murray rid- ing over the top in his patented style with the massed ibraphonist/percussionist/bandleader Tommy Vig horns driving him on. He seems to be enjoying himself has a long history in music. Born in Hungary, he TOMMY VIG V but it also sounds as if Murray is inspiring the band as emigrated to the U.S. in the 1960s, studied at Julliard. ORCHESTRA well. On “Buddy And Solita”, the taragato and cimbalom Eventually he moved to the West Coast where he had FEATURING DAVID take the center stage and it’s a beguiling interlude with a productive career as a studio musician (on 1500 ses- MURRAY tasteful reed and brass backing. On “Vig Corn” both sions according to his Wikipedia entry) and leading his WELCOME TO instruments are to the fore again but recede in the back- own bands. Around 2005 he moved back to Hungary HUNGARY! ground once the brass and reeds enter. One would wish and has been leading bands there eve since. KLASSIKUS JAZZ no # for a little more prominence to these instruments in the ensembles but regrettably it isn’t there.

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Elsewhere, “In Memory Of Dizzy” is Vig’s tribute to pair of recent statements from two dependable the august trumpeter with particular references to AJazz veterans that seldom get the attention they “Night In Tunisia” and “Hot House” and another flying deserve. The cleverly-titled (1) is just one of nine other solo by Murray. “Now Is The Time In Hungary!” adopts in-print items on either the Criss Cross or Reservoir a similar strategy to “Sahara”, opening with another labels. There's his examination of songs associated with Murray / Vig duet before segueing into a driving chart, Frankie Laine, a five woodwind conclave, quintet and concludes with an a cappella solo by Murray. trio dates and a two suites (one with strings) but this The David Murray part of the program consists of is his first recorded encounter with an organ trio and the first eight tracks. The last five tracks are apparently what a threesome it is. All-star would be your opera- from a different session. They’re not nearly as interest- tive word here. Switch-hitter Mike LeDonne was on ing. The rhythm on both “I Told You So” and “Only You” his Reservoir disc The Real Deal but as a pianist only. is so regular it sounds mechanized. The last two tracks This time around he mans the mighty Hammond B-3 have vocals by his wife Mia Kim. According to Vig, these along with overlooked guitarist Peter Bernstein and last tracks should be considered “disctinctly separate” GARY SMULYAN the ever solid Kenny Washington (who has been on all from the CD proper and the tracks with Murray should SMUL'S PARADISE of Smulyan's Criss Crosses). One of those was Homage be considered the CD proper. He really needn’t have CAPRI RECORDS 74113 to Pepper Adams, a definite no-brainer when it comes included these since they mark a step down in both to the leader's primary influence. His barking baritone tone and quality of music. Also notable is the booklet SUNNY / UP IN BETTY'S coupled with a take-no-prisoners attack could never be which contains a lengthy essay with Vig expounding on ROOM / PISTACCIO / SMUL'S mistaken for a Gerry Mulligan disciple. He does some various matters, both musical and extra musical. They PARADISE / LITTLE MISS HALF “boppin' and burnin'” on 's “Little Miss ELIZABETH! are... uh.... entertaining and humorous. STEPS / AIRES / BLUE FOR D.P. Half Steps” even quoting “Girl Form Ipanema'” before BRAINCHILDREN Robert Iannaopollo / HEAVENLY HOURS. 52:43 individual guitar and organ trades with Washington. CANOPY JAZZ 1116 There are three references to Don Patterson heard; the as “Bubblegum Jazz” ever a recognized musical organist's “Aires” (the sole ballad) and “Up In Betty's Santiago Sunrise / Three / Wcategory? No? Well, it’s here now and this will Smulyan, bari s; Mike Room” along with Smulyan's medium swinging dedica- Insomnia / Melting Snow / serve as exhibit one. Elizabeth D-W has a youthfully LeDonne, org; Peter tion and the dusty diamond “Sunny” gets a fresh work- Eye For An Eye / On The Ferris pink voice with which she pipes her puerile lyrics - Bernstein, g; Kenny out in 6/8. LaDonne uses settings that allude to Rhoda Wheel / Bicycle / I Won't Even i.e. - “bicycle, bicycle, where are you going? / bicycle, Washington, d. 4/23/11. River Scott on her “Pistaccio” and to former Wes Montgomery Tell You / CD Radio / The Words bicycle, bicycle, what’s in your basket, bicycle?…” Some Edge, NJ sideman Mel Rhyne in different spots. Liner scribe Neil I Don't Say / Memphis Mix-Up / will call this Jazz simply because Ms. E. plays trombone Tesser makes the common mistake of crediting the Bonus. 43:22. in high school assembly modus, in addition to her song Hammond bass lines “using the instrument's foot-con- writing and vocal efforts. All songs on the program are trolled pedalboard” when in reality it is produced by the Elizabeth Dotson-Westphalen, vcl, credited to her except the “music” for “Three.” Overall, organists left hand on the lower manual (sometimes tbn; Jason Domnarski, p, el p; Rob it’s a case of inert lyrics matched to sing-song melodies. in conjunction with the pedals occasionally). A minor Jost, b, vcl; Robert Di Pietro, d, Lots of professional musician time wasted. Three tracks mistake that needs to be corrected once and for all. For perc; "special guests" - Mark Erelli, without vocals ( “Insomnia / CB / Mix-Up” ), and all I can lovers of the big horn and Organ Jazz, like yours truly, g, mandolin, vcl; Kiku Collins, tpt; say is that one should be thankful for small mercies. this is a match made in heaven. Dan Schlessinger, ss; Jon Natchez, Alan Bargebuhr Larry Hollis bari s, ts; Aaron Nevezie, g, perc. Recording date unspecified - Brooklyn, NY.

158 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 159 New Issues New Issues WOODY'S DELIGHT ecorded two to four months later at the exact same Adrian Lim-Klumpes, p, HIGHNOTE 7228 Rlocation in Knoop Studios by the same engineer (2) As delicately beautiful as the moment is, it is only rhodes, vcls, elec.; Abel is an impressive addition to Steve Turre's discography. one facet of what I hesitate to call the trio's sound. At Cross, bs, vcls, elec.; WOODY'S DELIGHT / His available catalog consists of discs mainly on the the title track's zenith, an entirely different beast is at Finn Ryan, dr, perc, vcls SOMETHING FOR SWEETS Telarc and High Note labels and all are worth close play as distorted bass guitar supports, and is supported Riverdale, NSW Dec 2009 / IN RETROSPECT / LUNA investigation. This latest is a salute to one of his former by, a monolithic drone. Yet, the track's beginning give / ANNETTE'S FOR SURE / employers and friends, the great Woody Shaw. The five no hint of what is to come. Quasi-free drumming is ADIOS MI AMIGO / MANNY'S trumpeters listed above provide their services mixed joined by middle-register piano, with only tiny hints MAMBO / FOR WOODY / into eight writings from the leader and “Annette's For of the electronic mayhem to come. It's as if Lasse BROTHER BOB. 67:26 Sure” by Claudio Roditi. He along with Jon Faddis and Marhaug joined the trio, putting into play some of his Wallace Roney should be well known to Cadence read- quieter contributions to the Territory Band projects. Collective personnel: ers more so than newcomer Freddie Hendrix and 90 Fin Ryan's drumming is especially noteworthy here; he Turre, tbn, shells; Jon year-old Chocolate Armenteros who acquits himself eschews too much pointillism, never becoming a Tony Faddis, Wallace Roney, well on “Manny's Mambo” which also sports some Turre Oxley rip-off, and his groove is really deep, in the finest Claudio Roditi, Chocolate conch shell piping. It and the other Latin item, “Adios Alvin Fielder/Chicago timbralists tradition. Armenteros, Freddie Hendrix, Mi Amigo” were written in the memory of fallen heroes The album is also a study in excellent recording tpt; Xavier Davis, Luis Manny Oquendo and Hilton Ruiz respectively. The techniques. Here, the recording process becomes an Perdomo, p; Aruan Ortiz, remainder of the tracks are divided up with two apiece artistic statement rather than simply a means to an end. el p; Buster Williams, Andy from Faddis, Roney, Roditi and Hendrix in that order The final piece makes the point, as razor-sharp bass, Gonzalez,Corccran Holt, with each artist lending their brass interpretations to shreddy as patented by the late Hugh Hopper, stands Nilson Matta, b; Dion Parson, Shaw inspired tracts except for the final “Brother Bob” starkly front and center, pitched against a backdrop of d; Duduka Da Fonseca, d, a remembrance of a close compadre and limo driver lush drone and Protean cymbals. The whole disc boasts birambeau; Jimmy Delgado, that opens with more conch work from the leader. similar spatial juxtapositions, and such sonic wizzardry cga, timbales; Pedro Heavy percussion on the last two mentioned titles is just the final touch on an intriguing and satisfying Martinez, bgo, campana; and the piano prestidigitation is divided among Davis disc. As is so often the case, I hope that future group George Delgado, cga. 6/9 & and Perdition with Ortiz on Fender Rhodes on “Luna” efforts are developed a bit more thoroughly, an area in 8/17/11. River Edge, NJ. buoyed by the propulsive string bass of Buster Williams. Andrzej Serafin which the Necks do, in fact, have the edge. As usual Steve Turret’s masterful trombone playing Mark Medwin makes this much more than just Woody's delight. L.S.D. Flower Records 023 Larry Hollis hen is the last time so many chronologically dis- parate musical elements were merged with such Blues Noire/ W hough comparisons to the Necks will most likely success? We live in a time when post-modernity has Promenada/ Powrot 3OFmillions continue, they do not serve this Sidney-based trio itself become cliché, but it’s given new life on this brief T do swiatla/ Deep River/ Abstruction justice. 30OFmillion’s second full-length has a unique but thrilling disc. B.B. Blues/ Boogeyman/ Rufus Records 094 sonic pallet that encompasses many diverse musics, Each track is a masterpiece of conflation and refer- Jurki Bezczelny/ Czas but it also sports the hypnotic grooves that ensures the ence, so let the opener, “Blues Noire,” serve as a sort of juz spac 35:05 Abstruction/ Versus Necks get a run for their money. To hear just how far microcosm of what follows. Tom Waits might be the Nature/ Conversation/ afield timbres range, sample the opening of “Furniture,” Lenert Robert, harmonica; first point of reference evoked by Serafin’s crystalline Furniture/ with its shimmering cymbals and vibrating piano, the vibes and earthily hypnotic percussion. Gritty organ Nebuchadnezzar/ latter run backwards only a few moments on. As deli- Serafin Andrzej, vibes, klawiszowe, perc.; Domarski and Leonard Robert’s harmonic furthers the illusion, What Are You Gunna cately beautiful as the moment is, it is only one facet of driving the trio deep into the primal rhythms of uhr- DO?/ Glaciation/ what I hesitate to call the trio’s sound. Staszek, sax, fl Maj, Grudzien, Poland 2009 blues. Yet, atop all this, a Fender Rhodes bespeaks that Acquiescence 52:39 point in the 1970s when the textures were smoothed,

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making way for the multitempered being we still call Eventually, Lazro gets into some post-bop shadings, fusion. A bit of folk guitar adds layers of complexity which alleviates the tension a bit. He’s a wonderful player, to the musical puzzle, and then, interjected between as are the others, and some more contrast would demon- phrases, slices of percussion straight out of hiphop strate their abilities more convincingly. traverse the soundstage. Feel becomes a plaything as the eras are defined, merge and disappear, ultimately to Finally, during the final piece, there is a bit of space be replaced by the calming repetitions of crickets and a left for contemplation, as there was at the outset. A few nocturnal poem. modal moments flash luminously, and the trio sounds These are the components that make up the rest more like a traditional unit, with the dynamic contrast of of the album’s explorations. Check out the tasty field Lazro screaming and Lasserre tub-thumping. If only the recordings gracing the appropriately named “Deep rest of the disc could have boasted this sort of contrast! River,” or the deep percussives swagger of “B.B. Blues” Ovwerall, despite a few grumbles, this is an excellent to see how they play out. If there is a single flaw about effort, and the trio interacts at the highest level. Might I this stunning production, it involves compositional suggest a slightly larger space in which to record the next development. I would have enjoyed some length to disc? these vignettes, as some of the ideas would have ben- Mark Medwin efitted from extension. That said, there is something to be said for a disc that does not outstay its welcome. assist Ksawery W—jcinski’s excellent musicianship This trio has crafted a fine suite of music that speaks to links these two MultiCulti quartet releases, but beyond deep immersion into the seminal points of music his- B that, they could not be more diverse. They cover vast cul- tory while never forgetting the value of a catchy melody tural territory while somehow remaining firmly grounded or hip arrangement. It will be fascinating to see what in a “new thing” aesthetic without the slightest hint of path they choose next. pretense. Nuntium is the most blatantly crosscultural of the t is certainly a good sign when the individual players Kusiolek/ Sjarov/ two discs, and it’s pangeographical concerns are evident in a trio can’t be identified. It happens a lot through- Wojcinski/ Kugel Daunik Lazro, I from the opening moments. It is to out these four longish tracks, evoking shades of AMM, Nuntium Benjamin Duboc, hear what Klaus Kugel has to say, and he ushers in the SME, TG and, I’m sure, other improvising groups whose MultiCulti MPCC002 Didier Lasserre music with dignified restraint. Each tone he strikes on names have been stripped down to initials. The album’s Pourtant les cimes his “found” objects is captured beautifully by a first-rate opening moments tell the story as Duboc and Lasserre Chapter 1/ Chapter 2/ des Arbres recording, one that does full justice to the huge frequency drone, sawing away at the moments with rasping and Chapter 3/ Chapter4/ Darktree 01 spectrum he employs. Compare his sparse percussives vaguely pitched exhortations. Lazro’s entrance is sim- Chapter 5/ Chapter 6/ on “Chapter 1” with the walls of noise he conjures on the ply beautiful, a single tone floated precisely over the Chapter 7/ 47:17 Une lune vive/ Pourtant/ concluding track to get an accurate idea of his versatility. thrum and clatter. There are very nice color changes in Les cimes des arbres/ Indeed, versatility is the name of the game for this ses- evidence as well, darker tones lightening and guttural Robert Kusiolek, accordion, Retiennent la pluie 43:06 sion, as Anton Sjarov’s Eastern-tinged violin and vocals sounds becoming sibilant. elec; Anton Sjarov, vln, vcls; make plain. However, this is no South Aisian copycat Ksawery Wojcinski, b; Klaus Daunik Lazro, bs; Benjamin music, and the quartet is just as likely to cruise through Unfortunately, it all becomes a bit much as the kugel, dr, perc, sound-objects Duboc, db; Didier Lasserre, dr several minutes of third stream as they are to drone. All album progresses. Part of it is the unforgiving acoustic; Minden, Germany, July 2010 Juillaguet, August 23, 2010 this can be heard to stunning effect on “Chapter 6,” with it’s live, but the reverberation is quick, as if the music it’s Webernian pointilisms and Elliott Carter-influenced had been recorded in a moderately large living room. rhythmic interplay. There is also the nearly unflagging intensity, which is a strength but also becomes tiresome after a while.

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Yet, the transitions from “classical” to “jazz” are Marc There are discs on which freedom is a confrontation, seamless; any swing that takes place emerges with Muellbauer's and this certainly has its place. Then, there are those winning naturalness from whatever came before it, so Kaleidoscope offerings that reveal their freedoms slowly, with subtlety broad are the sonic and compositional pallets of these Journeyman and more than a modicum of grace. Thesetwo releases from the Jazzhaus label fall in that latter category. They veteran musicians. Check out the infectiously swing- Jazzhausmusik 199 ing and almost funky rhythms in the fourth chapter swing, sometimes even rock, but there's a freedom of intent, manifest at key moments, just below the music's to see what I mean The uses of electronics, often with The River/ Cut and Go/ surface that is both engaging and satisfying. bent notes from acoustic bass in close tandem, is taste- Pendulum/ The Upper he music made by Kaleidoscope exudes an heir of ful and well-integrated. As with many of the earliest Surfaces of Things/ introspection, existing somewhere between post- ESP releases, this disc should be heard as a whole, as Sugarhill Shuffle/ T Mingus orchestration and the rhythmic intricacies of the material on offer is more unified than not, even if Winterfeld/ upstream/ Dave Holland's work from the late 1990s. Check out the thematic connections are difficult to catalog. Wider Open 68:40 way “The River” presents its polyrhythmic layers without ever flaunting them, each harmonic twist and turn float- Marc Muellbauer, b; ing along a path of metric circuity. Its in the orchestra- Christian Kogel, g; Roland tion that the afore-mentioned freedom asserts itself--a Neffe, marimbaphone; baritone saxophone flourish here, a dab or trickle of heinrich Kobberling, dr; there. It's as if each instrument moves in and Sven Klammer, flugelhorn, out of focus, obviously due to some excellent work tr; Susanne Kugler, fh, falk behind the mixing desk. Yet, as the track progresses, Breitkreuz, ts, ss, fl, cl, bcl volume increases to the point, during the clarinet solo, RBB studios Saal, Feb 2008 that some real power has built up. By contrast, there are the disjunct phrases of “Wide Open,” an apt title for this Waclaw hile Nuntium has a substantially “European” Tobias Hoffman’s quietly mesmerizing structure if ever there was one. If Zimpel, Pawel Wfeel, GHera lives more completely in 1964 New Fallschirme the album has a unifying characteristic, it is in the way Posteremczak, York. Even the firm cardstock packaging speaks to Zwei space is used. Each gesture has room to breathe, even Ksawery a different aesthetic, and the music inside can be as Jazzhausmusik 197 on the fairly heavy “Cut and Go.” Listen to the way the WOjcinski, Pawel tough as nails. Much of this is due to the saxophone/ saxophone lets each phrase hang over the powerful Szpura clarinet frontline of Zimpel and Posteremczak; their Fahrstreifen/ Marsch rhythm section and winds groove, just before the dot- Hera allegiance to Eric Dolphy and Pharoah Sanders is evi- im Herbstlaub/ Objekte ted counterpoint kicks things into high gear for a few MultiKulti MPI012 dent throughout the program, but the lines they play im Spiegel/ Talbrücke- moments. Monreale/ Cefalu/ in unison may as well have been composed by Bill Flutbrücke/ Wölfe/ espite the volume on its opener, and a bit more Napoli-Palermo/ Dixon, which makes for an interesting juxtaposition in Schafe/ Schwebebahn/ Dblatant electricity throughout, the Fallschirme set Segesta/ Sometimes I Feel itself. The two reedsmen play with fire, but let it never Blatt-Nadel/ Aufbruch inhabits a similar space. There's something medita- Like a Motherless Child be said that they lack soul. Their solos can bring tears 56:29 tive, bewitching, about the way a track like “Objekte Im 51:06 to the unprepared eye, so obviously strong are their Spiegel” builds, slight guitar overdrive giving the accu- identifications with Black music of the free variety. The Tobias Hoffmann, elec g; mulated layers just that bit of an edge. Equally impres- Waclaw Zimpel, cl, bcl, other musicians follow suit, and Wojcinski’s soloing Holger Werner, bcl, cl; Frank sive is the way the clarinet blends in with all that electric tarogato, fujara; Pawel is especially strong on this energetic date. The two Kampschroer, elec b; Ralk power, almost sounding like it radiates from the amp. Posteremczak, ss, ts; Ksawery albums do MultiCulti and the respective musicians Gessler, dr Mar. & Oct., Köln, After all the din, though, a wistful and harmonically W—jcinski, b; Pawel Szpura, proud. Germany 2009 meandering track like “Blatt-Nadel” shows the group's dr Cracow, Poland, Jan. 2009 diversity. These are very nice discs, accessible and just that bit adventurous by turn. Mark Medwin

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ow that's refreshing! This Balkans-based band he ever diverse Slam label drops this beautiful foray Ncame at me out of the blue, even though I knew Tinto what might be called chamber jazz, though the the excellence of most releases in the Moonjune cata- term has very little to do with Dave Holland's late 1990s log. The septet could be classified as Neoprog, but that projects. This does, in fact, share some of the rhythmic label is just demeaningin the face of such inventive concerns with Holland's quintet, namely the emphasis msucianship. Only the melodies, of heads, are a bit on rhythmic layers, which can be heard in the ppunchy dirivitive, but what happens next is always interesting vibeswork on the second track. Such rhythmic varia- and usually downright fun! tion often makes the trio sound larger than it is, which The band has listened well to Gentle Giant and is always desireable where such intricate textures are Henry Cow, though, in actuality, they sound like neither. concerned. slivovitz One of the things that saves a so-called Neoprog band Bani Ahead from achieving stunning heights of boredom is atten- Moonjune Records Beyond the changeable rhythmic tides, which tion to timbre. Thanks to some tasty delay manipula- 039 Marco Colonna/ accounts for a lot of the group's activity, tonality and tion on Siro Riccardi's trumpet, timbre is given its due, Francesco Lo timbre become the band's playthings. The dialogue, or becoming integral to the texture on several of these Egiziaca/ Cleopatra Cascio/ Lillo should I say trialogue, often takes on a post-Schoenber- pieces. He's a wonderful player anyway, but that added Through/ Fat/ Vascello/ Quaratino gian flavor, pantonality being the order of the day as bonus is one of the things that makes this album stand 02-09/ Opus Focus/ Bani Domino's Tales tonal centers are referenced and then discarded. Then, out where others have failed. Ahead/ Pocho 43:05 Slam CD 533 there are those moments of gorgeous modality, such as Beyond timbral concerns, the band can rock really “The Tale of Souls,” where Colonna and Quaratino con- hard, bringing on the noise when necessary; look Domenico Angarano, bg; Prologue/ The Tale verse over swiped and splattered vibes. Quaratino's bass no further than the scorching passages pervading Derek Perri, harmonica; of Colours/ The Tale usually, almost uncannily, complements Cascio's percus- “Cleopatra Through.” Yet, the requisite “progy” changes Marcello Giannini, g; of Shadows/ The Tale sion, alternately stomping or sinewy according to what are all over the place, but never in a way that could be Salvatore Rainone, of Souls/ The Tale of the percussionist is doing. Quaratino is also capable of construed as pretentious. Listen to the grunts, hits and dr; Ciro Riccardi, tp; Rituals/ The Tale of exquisite arco, and his solo work on the final track is to pops that suddenly kick in during “Yascello” for a bit of Pietro Santangelo, ts, Fairies/ The Tale of the die for. the group's Zappaesque humor, or maybe they have ss; Riccardo Villari, vn Small Things/ The Tale of inherited a bit of Samla Mammas Manna's tongue-in- Buccino, Italy, March 2011 Christmas/ The Tale of Colonna's tone on saxophones and clarinet is alter- cheek playfullness. As with SMM, ensemble is always Dances/ Ending 42:34 nately soft as butter and tough as nails. He inhabits a tight, and musicianship if first-rate. This is only the post-bop world, but he's ingested just enough of that band's second disc for Moonjune, and though it's just Marco Colonna, bcl, bs, “New Thing” grit to keep things interesting as he switch- Spring out, I'm already awaiting the next helping. ss; Francesco lo Cascio, es instruments, sometimes in the middle of a piece. Slides There is plenty of space in his playing, and he's very vibraphone, perc; ILK171CD lides is the second album by this Danish quartet. It Lillo Quaratino, db conscious of the way one phrase leads to another. In Scomprises ver clever music, but more than that, I Rome, Italy, May 2010 fact, all three players excel in this area, which turns what NeoN/ SlidesTwo Spots/ haven’t heard microtonal jazz of this sort since parts of might have been another slightly exotic trio disc into a 3 zenbuddhistiske Atavistic’s Joe Manari reissue of several years back. It’s fine listening experience. melodier/ Ningbo/ all a bit disorienting at first, but once you enter into the Mark Medwin Nothing so beautiful as quartet’s soundworld, its endlessly engaging. Spring 44:34 Imagine a harmolodically driven group, maybe Colemans of the late 1950s, but with a double saxo- Anders Banke, as, cl, bcl; phone lineup instead of Don Cherry’s trumpet. Then, Torben Snekkestad, ts, ss, add more slides, whoops and hollers than even Ornette included, and with the odd tunings, you have a recipe for fascination.

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Some of it comes off at a farily high volume, but Her reading of Johnny Mercer's "Skylark" lyric is then, just when it all threatens to overwhelm, there's a lovely, restrained and perfectly pitched. And, her take meditative track like “Nothing so Beautiful as Spring” to on Bob Casanova's ironic "Laughing" (12/95, p. 90 ) is mellow things out. It's an airy and entrancing intertwin- very much in keeping with the song's edgy irascibility, ing of saxophones and high-register arco sure to please the track benefiting substantially from some excellent fans of both Ligetti and Spontaneous Music Ensemble. arco playing by . Her ardent reading of "Buy" However, just when the group's MO seems fairly trans- ( from "Oliver" ) allows for a fulsome piano statement parent, they present us with their take on Zenbuddism; from Kris Davis, but the the track ends, for no good this epic unifies all of the previously described elements reason, with a fade. All stops out on "Good" ( from with what sounds like bowed percussion in a calm but "Sound of Music" ) which opens with more Filiano arco, potent meditation. swings on the thrust of the singer's vocalese and scat, As with much else that falls under the category of her call and response with guitarist Howell, and some “free jazz,” there is no easy categorization for this music. firm percussive support from Thompson. I have listed It is by no means easy listening, and it does not reveal Thomson as playing drums, while the liner lists his its secrets easily. For the adventurous listener, for those instrument as a "soundrhythium." I failed in my effort who still believe that there should be mystery in music, I to manipulate the internet into revealing anything can't think of a better way to spend forty-five minutes. specific about any instrument so named. Sounds like Mark Medwin drums to me. In summary - a vocal adventure seem- ingly aimed at those whose interest ranges into diverse ANDREA WOLPER ndrea Wolper preempts questions about her eclecti- Jazz/Pop/Show territories as does this singer's. For this PARALLEL LIVES Acism with a liner note explaining that over time she reviewer "Skylark" and "Laughing" alone make it a disc “came to realize there was no reason not to widen (her) JAZZED MEDIA 1054 well worth the price of admission. embrace to include all sorts of music.” Thus, her new Song To A Seagull / The Alan Bargebuhr CD recital covers Joni Mitchell and Buffy Sainte-Marie Girls In Their Dresses / material, three originals, a Popular Song standard, a Jazz Why Aren't You Laughing? ithin the past five years since Mike Holober standard, and a relative obscurity. She opens a cappella / Skylark / Who Will Buy? Wbecame its artistic director, the Westchester Jazz on Joni Mitchell’s “Seagull” as if to establish early on that / June Rose / Maple Sugar Orchestra has grown in stature, originality, force of her vocal technique ( 4/06, p. 39 ) will not be an issue. Boy / Blue Wind / Be Cool / execution and breadth of recognition. Its earlier album, Whatever attraction this song and another Mitchell Something Good / Waiting All in, received much airplay, attaining a number-four ditty ( “Cool” ) has for her may not be shared by every For Winter / Save Your Love position on Jazz Week’s Charts, much to the gratifying listener, but it’s clear she has given their preparation For Me 61:16 surprise of Holober and WJO founder Emily Tabin. But and execution careful consideration. I was not particu- the orchestra’s blending of individually excellent musi- larly captivated, but did find her mournful rendering of cians into a total signature sound as it puts a stamp of Andrea Wolper, vcl, arr; Kris Buffy St. Marie’s “Maple Sugar” somewhat affecting….in its own on jazz classics has led to its most admirable spots. As a song writer, Ms. Wolper is easily superior to Davis, p; Michael Howell, g; WESTCHESTER JAZZ achievement yet: a suite of arrangements inspired by the ever expanding population in the singer/songwriter Ken Filiano, b, arr; Michael T. A. ORCHESTRA Herbie Hancock’s classic album, Maiden Voyage. First, category. I’m not enthusiastic about her recitative pas- Thompson, d, perc. MAIDEN VOYAGE the obvious may be noted—that Maiden Voyage, as sage in “Dresses,” but her lyric for the song as well as SUITE jazz listeners have come to recognize, is a masterpiece, Recording date(s) unspecified - for “Winter” reveal a more than adequate poetic intel- SELF PRODUCED remarkable, instantly identifiable and cherished in its NYC, New York. ligence. An interesting quirk in her “June Rose” lyric is own way as is Kind of Blue. And its composer is still that after she sings of “watching the grass grow,” she fol- with us to receive the well-deserved praise. lows with “I know it’s cliché,” so charmingly offhand that it’s clear she’s not intending a critique of her own lyric.

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PROLOGUE / MAIDEN While listeners outside of Westchester County may the thematic dissonant phrase. In “Little One,” Harvie expect the WJO to be a local band—as indeed it is—it VOYAGE / EYE OF THE S’s relaxed, melodic solo provides contrast to the force consists of musicians long associated with the New HURRICANE / LITTLE ONE of the brass that precedes it. Or Lalama’s fluid solo in York City jazz scene, like Ralph Lalama, Harvie S and Ted / INTERLUDE/ SURVIVAL the midst of “Dolphin Dance” not only quotes from Rosenthal. They became eligible for the Westchester OF THE FITTEST-PART 1 / “Eye of the Hurricane,” but also advances the feeling Jazz Orchestra by virtue of their living or teaching in SURVIVAL OF THE FITTEST- of the piece with calming eloquence before brass-led the county. The power of the orchestra attests to the PART 2 / DOLPHIN DANCE/ fury breaks out again. Though Rigby and trumpeter high level of musicianship, not to mention its unity of EPILOGUE. 54:38 Jim Rotondi solo in Holober’s “Epilogue,” the final purpose. Rather than tackling the project on his own, composition that ties together all of the tracks the Holober recruited Pete McGuiness (“Maiden Voyage”), Jay Brandford, David precede it reflects the oceanic theme of Hancock’s Jay Brandford (“Little One”) and Tony Kadleck (“Dolphin Brandom, as, ss; Ralph album with a fluid modal rippling and tidal effect of Dance”) to contribute arrangements consistent with Lalama, Jason Rigby, ts; Ed moderate volume that eventually fades. Intertwining the suite’s overriding theme. After all of the pieces Xigues, bari s; Tony Kadleck, various phrases of Maiden Voyage in the WJO’s ending, were arranged, including Holober’s versions of “Eye of Craig Johnson, Marvin Holober makes much use of dissonance and dramatic the Hurricane” and “Survival of the Fittest-Parts 1 & 2,” Stamm, Jim Rotondi, tpt, crescendos for the rich, Hancock-worthy conclusion. flgh; Larry Dean Farrell, Holober wrote connective compositions—“Prelude,” Bill Donaldson Keith O’Quinn, Bruce Eidem, “Interlude” and “Epilogue”—to enlarge the separate arrangements into the single larger work. Under con- George Flynn, tbn; Ted hough 37 now, Oscar Perez has led his band, Nuevo siderable time constraints. Even though the arranging Rosenthal, p; Harvie S, b; Comienzo, for eight years, and the mutual comfort commenced in February, the WJO premiered Maiden T Andy Watson, dr. 4/21-22/11, of the members when they perform his compositions Voyage Suite on April 14, 2007. An Aaron Copland Fund OSCAR PEREZ Englewood, NJ is evident. Necessity being the mother of invention, for Music grant allowed WJO to record Maiden Voyage NUEVO COMIENZO Nuevo Comienzo was invented when Perez was faced Suite in April, 2011. And now WJO has increased its AFROPEAN AFFAIR with the necessity for a repertoire—not to mention stature as more listeners are exposed to an even more CHANDRA RECORDS 8094 a band—when invited to tour Siberia in 2003. The complex, more satisfying recording. One of the self- original musicians remain in the group. The give-and- evident revelations arising from Holober’s “Prelude,” THE ILLUSIVE NUMBER / take, the spontaneity, of the band becomes clear as which consists of phrases from the tracks that follow, CANARIA / AS BROTHERS the members bring to musical life Perez’s latest com- is how instantly recognizable Maiden Voyage’s motives WOULD / PATHS AND positions on Afropean Affair. His most notable trio of and musical nuances have become. They have become STREAMS /THE AFROPEAN compositions on the album comprise his “Afropean part of the basic vocabulary of jazz. As a tribute to SUITE: COSAS LINDAS Suite,” commissioned by Chamber Music American and Hancock and Freddie Hubbard, the “Prelude” opens QUE VIVEN AHORA, LAST introduced at The Jazz Gallery in 2009. Born in New with Rosenthal’s free piano presence in the upper reg- SEASON’S SORROW, A NEW York, Perez blends the musical influences he absorbed ister and Kadleck’s straightforward statement of the DAY EMERGING. 61:19 there, much as native Cuban musicians have as they first phrase of the melody before dramatic quotes from reconcile the European and African influences that set “Survival of the Fittest” occur just before the final blos- Perez, p, Fender Rhodes; up the uniqueness of the island’s musical forms. So, the soming of the orchestra into final chords. As the suite Greg Glassman, tr, flgh; suite involves melody to the extent that Charenee Wade proceeds from track to track, the arrangers allow not Stacy Dillard, ts, ss; Anthony sings it wordlessly as if she were one of the instruments. only for dynamic fullness of sound, but also for memo- Perez, b; Jerome Jennings, . But the suite also includes elements of jazz, such as rable solos, individualistically conceived. After saxo- d; Emiliano Valerio, perc; the connecting phrases within “Cosas Lindas Que Viven phonist Jason Rigby breaks into full propulsion of swing Charenee Wade, vcl. No date Ahora,” and of course the Latin tension of three against for his “Eye of the Hurricane” solo, the orchestra drops given, Warren, NJ four. The suite’s “Last Season’s Sorrow” at first borrows, out as Rosenthal in solo develops his own interpreta- melodically of course, from European counterpoint. tion, part blues and part abstraction developing from

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But the suite resolves into celebration and uplift as and extensions of notes for their full value. Maxwell jazz harmony overlies Latin rhythm, and Perez’s influ- has a sense of humor too—a fact fully in evidence ence from Chick Corea emerges during “A New Day on Urban Vigilante, from its punning title to its cover Emerging.” While the horns’ strengths remain evident MONSTER SHOES / YO GABBA cartoon drawing of a saxophonist in front of a cityscape throughout the album, Perez’s scampering, puck- BLUES / URBAN VIGILANTE at night, to his sly TV and comic book references ish style enlivens his solos on tracks like “The Illusive / STARSCREAM / BOOTS / throughout the album’s tracks. The inspirations for Number” and “Paths and Streams,” percolating, surg- CHARLIE WORK / BIG HURT / Maxwell’s fourth album are his two children, and the ing and receding. Perez’s work with Fender Rhodes BEYOND INFINITY / THE SIXTH child remaining within him, and they provide plenty on “Canaria” seems to recall Corea’s Return to Forever / JUGGERNAUT / SPECIAL of material for compositions. There’s “Boots,” Dora the recordings as well. Much of the playing on Afropean ORDER. 65:25 Explorer’s monkey, but also musically a sauntering, Affair involves delivering written compositions, though insouciant waltz laying out a certainly memorable with urgency and beauty, as Perez changes moods and medium-tempo theme that stays in the listener’s head themes several times within a piece. The rubato presen- Maxwell, as; Matt Nelson, p; after the song ends. At the other end of the spectrum, tation of “As Brothers Would” affirms not only Perez’s Bob Lovecchio, b; Brandon there’s “Yo Gabba Blues,” a light-hearted, quick, joyous appreciation for the responsiveness of drummer Jerome Dickert, d. 3/13/11 & 3/20/11, reference to the Nickelodeon show, Yo Gabba Gabba. Jennings as he creates textures that effectively shape Chicago Much of the track’s five minutes consists of pianist Matt its magisterial feeling, but also Dillard’s and Glassman’s Nelson’s solo, a bridge between Maxwell’s two musical intuitive understanding of one another’s impulses as temperaments toward the show. Nelson’s fine work, they slowly and deliberately harmonize with solemnity which incorporates his own personality into the blues, and eloquence. Even as they help realize Perez’s written makes evident the fact that Maxwell leads a cohesive, vision, the horn players nonetheless personalize their exhilarating quartet of musicians equally inspired by solos with engaging, and usually intensifying, state- the possibilities presented while they perform. Bassist ments incorporating not only Latin elements, but also, Bob Lovecchio’s vamp establishes the atmosphere as on “Canaria,” bluesiness and smears and bent notes for “Charlie Work,” which veers between minor and and bleats and always their own improvised melodies major roots, and between abrupt stops and starts. And arising from Perez’s. The accessibility of Perez’s compo- drummer Brandon Dickert creates the initial tension sitions derives from his ever-present focus on clearly of “Special Order” with an extended solo that leads, conceived memorable melodies, fluidity of movement, after its end, into a bass and piano undercurrent roiling rhythmic tension, depth of feeling animating the pieces Maxwell’s melody of long tones stretching over the and their unpredictability as moods shift. Expertly streaming rhythm as volume builds and then fades… performed, Perez’s Afropean Affair should draw atten- to silence. But the group’s mutual support and unity of tion finally to an accomplished composer and versatile purpose combine to create separate overall moods for pianist who has developed his own voice in the grow- each of the tracks. The mysteriousness of he metrically ing list of musicians seamlessly blending Latin and jazz tricky “Monster Shoes,” accentuated by the minimization ideas. Bill Donaldson of Nelson’s chords and the clip-clopping of Dickert’s propulsion, contrasts with ethereal float of “Beyond SHAWN MAXWELL nvariably, mention is made of Shawn Maxwell’s tone. Infinity,” a reference to Buzz Lightyear’s exclamation. URBAN VIGILANTE IIt has invited comparisons to Kenny Garrett’s, Jackie Maxwell’s quartet does have a lot of fun with the McLean’s or Art Pepper’s. On his Urban Vigilante perfor- CHICAGO SESSIONS 0016 concept and with the music, despite his apparent mance, intimations of Phil Woods appear as well. In the insecurity. He says, “If I keep playing and writing what I end, the comparisons represent unsatisfactory attempts want, everyone might not love it.” Why wouldn’t they? to describe Maxwell’s distinctive, burly sound, certainly The group’s cohesiveness, the intriguing compositions not sweet like Desmond’s or Konitz’s, and yet still fully and Maxwell’s always appealing sound invite attention expressive with a slight vibrato, undulating dynamics and enjoyment. Bill Donaldson

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he third album for his group Karikko, The Helsinki “Too Many Times,” with Ikonen on piano, showcases TSuite presents pianist/composer Kari Ikonen’s the aggressiveness of his jazz improvisation, this time unconventional investigations of various musical forms apparently Chick Corea-derived. He and Kallio, with like jazz, tango and bossa nova. The involvement of empathetic spirit and precision of articulation, create “Helsinki” in his suite is one of unique experiences and growing force and swelling and recession of volume, state of mind. Ikonen’s sonic profile involves controlled combining swirling vortexes and tidal undulation. With volume, steady and non-dramatic, as melody floats The Helsinki Suite, Ikonen has created once again his above drummer Mike Kallio’s undercurrents of rumbles, own perspectives of, or reactions to, or elaborations clatters and textural embellishments. The instrumenta- upon, various genres. At the same time, he has set up tion of Karikko lends itself to surprises of unaccustomed opportunities for the members of Karikko to personalize combinations as flute lines complement those of his music through exceptional individual performances Laurent Blondiau’s extended trumpet improvisation on as well. KARI IKONEN & “Kafé Moskva.” Ikonen himself switches between piano, Bill Donaldson KARIKKO Fender Rhodes and synthesizer to accomplish the THE HELSINKI SUITE atmosphere he seeks for a composition. When bassist t a time when jazz recordings and performances fea- ECLIPSE MUSIC 201109 Ulf Krokfors introduces “Prelude to a Kiss” with a vibrant, Ature, it seems, almost every instrument but the flute, scampering solo and then Vincent Courtois mournfully it’s refreshing—nay, exhilarating—that The Indigo Trio’s HARMAJA / TOO MANY TIMES presents its melody, we find that instead Ikonen has lead instrument is none other than the humble flute in / CIRCULAR / KAFÉ MOSKVA written an arrangement that requires the members of its various forms, including wooden flute, and / PRELUDE TO A KISS /BOSSA Karikko to trade off the successive elongated fragments piccolo. What’s exhilarating about the trio isn’t merely NOVAYA ZEMLYA / SEGUNDO of the melody, separated by pauses. The melody itself its use of the instrument, but the effortless articulation TANGO ALEGRE. 64:05 ends with Ikonen on his synthesizer’s tremolos of fifths and fervid communication of ideas when flutist Nicole and animated improvisation borrowing from tango INDIGO TRIO & Mitchell joins fellow Chicagoans Harrison Bankhead on Ikonen, p, Fender Rhodes, rhythms…until it breaks apart into rubato parts again, MICHEL EDELIN bass and Hamid Drake on drums in explorations of con- Moog synthesizer; Sonny followed by a dramatic, and slightly comical, ending. THE ETHIOPIAN cepts, cultural, imaginative and visual. Surprisingly, the Heinilä, flt, alto flt, ts; Speaking of tango, “Segundo Tango Alegre” maintains a PRINCESS MEETS THE three musicians, though long familiar with each other’s Laurent Blondiau, tpt; delicate balance between a poignant ballad on Fender TANTRIC PRIEST styles, never performed as a trio until it received an invi- Vincent Courtois, cel; Ulf Rhodes and the romantic forcefulness of tango initiated ROGUEART ROG-0034 tation to appear at a festival in Montreal in 2005. They Krokfors, b; Mike Kallio, by Courtois’s cello and Sonny Heinilä’s flute. Without the discovered that they should continue developing their lunges and extremes of dynamics offered by Argentine d. 12/2010, Gothenburg, TOP SECRET / INSIDE THE own identity and repertoire, as they have on successive tangos, “Segundo Tango Alegre” unfolds as a song, pro- Sweden. EARTH / DÉRIVES / WIND albums. The Ethiopian Princess Meets the Tantric Priest pelled by the bass-line accents. The track’s high point, CURRENT / CALL BACK / THE documents a collaboration in Strasbourg with French no doubt, features the accelerating pulse of the exciting ETHIOPIAN PRINCESS MEETS flutist Michel Edelin. Proving the universality of jazz rhythmless dialogue between cello and flute before THE TANTRIC PRIEST / AMBRE as they respond instantaneously to each other’s ideas the, strangely enough, gentle, and ironically enough, SUNSET / RETURN OF THE during an eight-track recording, the album includes logical, minor-key conclusion. As for bossa nova, “Bossa SUN. 56:22 compositions written and improvised by all four of them. Novaya Zemlya” incorporates more offbeat humor than Though one would expect borrowings from African or “Segundo Tango Alegre” as Ikonen’s bossa nova comp- Nicole Mitchell, flt, alto Indian influences—even as the title composition does ing opposes and complements the free improvisation flt, pic; Edelin, flt, alto flt; reflect them with trills and call-and-response and sonic of Blondiau’s wah-wah-ing and bleating and effects- Harrison Bankhead, b, p; imitations of nature—the musicians’ interests are broad- driven atmospheric solo. Hamid Drake, d. 1/29- 30/11, er than that. “Dérives’s” surging, fluttering flute colloquy Strasbourg, France contrasts with Bankhead’s long bowed bass lines

174 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 175 New Issues New Issues elaborating upon and responding to Debaecker’s and the force of Drake’s drummed push and energy. The POURQUOI TANT DE…? / and Defossez’s changes of mood. Purely spontaneous light swing of “Ambre Sunset,” built upon conventional ET SI PEU DE LUMIÉRE! / and unpredictable, each of the tracks which comprise changes, is implied by walking bass lines and the course LUMIÉRE, TU NAIS, / …TU eventually a suite involve shifting of tempo and of the intertwined flute improvisations. The minimalistic LASCIVES,/ …TU T’IRISES, / volume as the instruments allow. Even though the sketching of chords by the bass and flutes as they TU T’ASPHYXIES,/ …TU TE duo appears to appreciate the piano’s multi-faceted circumnavigate the basic harmonic structures of the PRÉCIEUSES, / …TU ÉMANES, hues and its suggestions of human experiences and pieces, leaving much to the imagination, provides the TU SOURIS. 70:19 of similar sonic occurrences in nature, eventually the potential for engaged listeners to fill in the blanks, so to dark themes of ominous single-note melodies and speak, and to realize the entirety of the communication Patrick Defossez, p; Anne- the treble-clef ripples draw in percussive snaps and between the musicians. Pauses can linger before Gabriel Debaecker, digital p, throbbing pulsation for an enlivening result. “Lumière, unexpected interactive darting of solely flutes occurs samples; Simon Goubert, dr. tu nais,” relies entirely upon percussive energy as on “Inside the Earth.” Or Mitchell and Edelin can set 3/1-4/10, Les Lilas, France. Goubert exchanges a softened drumming pattern with up a three-note theme picked up by Bankhead as Defossez’s assertive low-register piano jabs over a single they commence the whimsical melody of “Call Back.” note, as suspense builds. Eventually, the tune evolves The quartet concludes the album with Bankhead’s into a more aggressive attitude, elucidated again languorous, slow, minor-key atmospheric composition by Goubert with rock-influenced force as Defossez in the middle and low registers on which he plays the improvises, accelerating to runaway-car speed while piano’s modal chords, rather than intriguing listeners Debaecker provides electronic commentary before with his deft bass work. Not only does The Ethiopian Goubert briefly solos. “Tu t’irises,” too starts quietly Princess Meets the Tantric Priest confirm the technical with haunting electronic atmospherics, but not for and imaginative strengths of Mitchell, as her jazz long. For Goubert instantly alters the character of the following grows. Its music also challenges her with the piece when he increases volume and intensity with thoughts of another musician, less known outside of locomotive surging, while Defossez attains on piano a France who thoroughly understands Mitchell’s musical soundscape of quick tremolos creating dynamic attack impulses, as she does his. and retreat. Then again the piece softens into melodic, Bill Donaldson quiet reverie as once more the mood changes. Much of the remainder of Pourquoi Tant De…? adheres to ntres voix de piano consists of two keyboard- similar themes involving wide swings of loudness DEFOSSEZ/ ists whose sense of invention includes territories A versus quietude or of excited improvised activity versus DEBAECKER/ of sonic exploration, usually with a guest musician softened moments of sustained tones and serenity. GOUBERT to enliven the proceedings. Though the duo’s work All of the music is colored and agitated by Goubert’s POURQUOI TANT includes the occasional inclusion of electronic effects drumming, making the album much more detailed DE…? and soundscapes, the majority of its impressions are ELIFANTREE and energizing, rather than relying on the keyboardists’ 608 percussive. And that’s where guest artist and drum- LOVE & TREES performances through implication. mer Simon Goubert comes in. Recognized with the ECLIPSE MUSIC 201007 Bill Donaldson Django Reinhardt Award as French jazz musician of the year, Goubert has remained active with evolving UNDER GROUND / ne would expect it to be a stretch to perceive groups as well as bybacking touring musicians like HEARTACHE / ELEPHANT a connection between love and trees…and Steve Grossman and . . As the pianists HUNT / RÄDDA HJÄRTAT O elephants…but Elifantree, a rousing, original trio from exchange rhythmic patterns and tonal gestures, build- / TREES / JAG KAN INTE Finland, has done it. The imagery of trees relates to the ing to a cumulative synthesis of expression, both ÖVA / MISSA INTE BUSSEN feelings of loss, loneliness, companionship, confusion electronic and acoustic, Goubert offsets elongations of / ALL AROUND PERSON / and resolution—themes that singer Anni Elif Egecioglu notes with percussive force, CONFUSED. 45:54. addresses through lyrics.

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But Elifantree is much more than a singer with back- Sambou, Tá Novo! / Voyelles & Nuits D’Amour / Amor Anni Elif Egecioglu, vcl, ANNE-FLORENCE up musicians straddling the boundaries between jazz, Platônico / Boa Noite / Sabiá / A Rainha Dos Mares / Em cel, ; Pauli SCHNEIDER folk music and rock that define the group. Elifantree’s Frente Ao Mar / L’Inespéré / My Boulevard / Pégaso / Lyytinen, ts, bs, glockenspiel, DONAFLOR performance at the Nordic Jazz Comets Competition Canto Triste / Frevo De Quatro Folhas. 56:31 harmonium; Tatu Rönkkö, dr, UNIT RECORDS 817 provided the group with the attention it deserves. The perc. 10/09 & 12/09, Porvoo & event served as a springboard for additional projects unno why the title of this CD is as it is. It's not taken Kallio-Kuninkala, Finland. including, now, its first album. With a varied reper- Anne-Florence Schneider, Dfrom the title of one of the tracks, and it's not a toire and the elements of surprise and indefinability, vcl, arr; Dudu Penz, b, g, perc, reference to the 1976 Brazilian movie about "Dona Flor Elifantree holds back nothing as it lays out, with humor vcl, arr :Chris Wiesendanger, And Her Two Husbands." Perhaps, if there were liner and exuberance, its stylist impressions. …Impressions p, el p, arr; Floriano Inàcio, p, notes, we'd know, but, alas, there are none. So, this is of, whimsically, elephants in the rumbling, honking g; Claude Schneider, g, arr: essentially a high gloss Bossa recital with most of the “Elephant Hunt,” set up by Pauli Lyytinen’s bass sax and Ademir Cândido, g; Eduardo material composed by various members of ensemble. expressed with lumbering languor on Egecioglu’s cello. Costa, Mauro Martins, d; Only "Sabiá" and "Triste" are drawn from the established …Impressions of, poetically, trees, but not of the Joyce Alejandro Panetta, perc, arr; Bossa preserve. Co-producer, Dudu Penz, wrote half a Kilmer variety. Described by Egecioglu’s lyrics, trees Rodrigo Botter Maio, flt, arr; dozen of the "new" songs and Ms. Schneider, herself, emerge from words, elongated over whole notes, that Thomas Silvestri, p; Daniel wrote lyrics for two ( "L'Inespéré" & "Boulevard" ). She tie foliage characteristics to human foibles. For instance, Pezzotti, cel; Jonathan Allan, sings very well in a rather generically utilitarian Bossa “Trees outside you breathe together / …You’ve got to vln. Recording dates voice, in what I take to be Portuguese, also occasion- find the right way to your / Heart inside you breathe unspecified, tracks recorded ally in French ( "Voyelles" ) and English ( "Boulevard" ), together.” Quiet and meditative, yet emotional, the soft, and/or mastered in Maur, managing, at some points, to rise above and beyond the rustling rubato treatment of “Trees” receives expres- Lausanne, and/or Zurich, meretricious clutter of detail in the arrangements. This siveness as a union of her words and Lyytinen’s notes Switzerland. release will best serve those dedicated Bossa collectors of harmony and embellishment. Plus, “Trees” allows who feel a need to refresh their troves. Egecioglu to stretch out and let listeners appreciate Alan Bargebuhr the delicacy of her voice, certainly well trained, when she so chooses to sing expressions of poignancy with- out elaboration.…Impressions of hurt, launched by t might irritate some readers to have a Jazz reviewer Lyytinen’s slap-tongued introduction, which ties in with 1) JOAN STILES Idescribe a new disc in terms of food, but those meta- Egecioglu’s hurry-up-and-stop phrasing of the melody THREE MUSICIANS phors came immediately to mind when I first heard (1), about making her “heart explode” before Ronkko’s OO-BLA-DEE 902. THREE MUSICIANS. “Fresh.” “Lively.” “Tasty.” And the extended controlled rock-influenced drum solo. Love & impression didn’t die down as the disc spun its course. Trees is impressive because Elefantree can achieve such Everything’s Coming Up The instrumentation – saxophone, piano, drums – is as high levels of excitement, originality and poignancy Roses / In the Sunshine old as the Thirties, and some of the repertoire goes that with but three members, no chorded instruments of My Funny Valentine’s far back as well. But this isn’t nostalgia, although the involved at all in their activities. Elifantree ends its first Love / West End Boogie three musicians honor the melodic impulses originally album with a flourish, all “Confused,” as it builds from a / You Don’t Know What written down – in the standards and the originals. This song of whimsy to a sustained musical whisper on cello Love Is / Lucky To Be Me disc is seriously play-full; three melodists playing at to the shout of resounding and repetitive drumming / All the Things You Are improvised conversation, starting In and sometimes patterns over a soundscape, Cirque du Soleil-like in its /Blood Count / O.W. / going Out, both harmonically, spatially, and tonally. dramatic magnetism. Despite Elifantree’s New Age-ish Introspection / Brother, Two of the tracks make wonderfully odd connections conclusion, the freshness of its music, neither imitative Can You Spare A Dime? between thematically linked songs; on others, the musi- nor unimaginative, but rather arresting and fanciful, – Can’t Buy Me Love / cians interpolate bits of related repertoire in a way more places the group in the category of musicians deserv- Bebopicity. 51:00 revealing than simply quoting “Fascinatin’ Rhythm.” ing much wider recognition. Bill Donaldson

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Stiles is not only a spiky pianist with a lyrical streak; Stiles,p, arr; Joel Frahm, ts, And although each of the tracks has its own identity she is a literal and a musical collagist, and the CD is ss (4); Matt Wilson, d (except and strong rhythmic patterns (shifting underneath the shaped by the paths that the trio (and occasionally the 6-8). Recording date not soloists from Latin-funk to meditative interludes to new duo) create as they go. Frahm can croon or might bend specified: Brooklyn, New York New Orleans dances) the compositions seem connected an idea into sharp abstract shapes; Wilson swings but as pieces in a suite. The compositions are surprising also improvises percussive commentaries in the manner without being self-conscious: even when they are built of a twenty-first century Sonny Greer let loose. It is deli- on familiar chord structures (EASTERN BELL FEEL) there cious and satisfying music: food for the spirit, the ears is nothing routine about them. It’s hard to character- and the tapping foot. ize this Jazz in any of the usual journalistic categories: as a tenor saxophonist, Cobb goes back to Gordon and ), recorded live at New York’s Blue Note by pianist 4) BRIAN Coltrane, forward into the present but never abandoning 2Werner’s quintet, offers four extended tone paint- MC CARTHY the basic principles of melodic, swinging improvisation. ings that veer from the gently lyrical music one might QUARTET His quintet (and with Coffin, a sextet) always sounds expect from this group to more assertive, probing BRIANMCCARTHY (no #) larger than its numbers: Cobb has a bright future as a 2) KENNY WERNER experimentation. The CD begins with the quiet SADA; player, arranger, and composer. And FALLING UP doesn’t BALLOONS the pace accelerates for the Latin-tinged SIENA, and Flood Gates / sound like anyone’s debut CD. HALF NOTE 4546 goes into the mood of “childlike whimsy” for the title Unexpected / You Don’t track, an eighteen-minute exploration no doubt rooted Know What Love Is / ) finds saxophonist McCarthy – who is, like Cobb, Sada / Siena / Balloons / in Werner’s grieving for his daughter, who died in 2006. Pondering / On Track / 4an arranger / composer / educator – in front of a Class Dismissed. 53:00 But BALLOONS begins with a long unaccompanied pas- Undecided / Miller Time. rhythm section. This CD is also beautifully recorded, sage by Werner, whose rovings have their own logic. 50:00 with six originals and one standard. It’s clear that every- Werner, p; Randy Brecker, And the live session (recorded over two nights) ends one here plays well: McCarthy moves from lyricism to t; David Sanchez, ts; John with an opportunity to give drummer Sanchez more of McCarthy, as, ts; Tom an edgy assertiveness on both alto and tenor, and his Patucci, b; Antonio Sanchez, an outing on CLASS DISMISSED. Werner has learned a Cleary, p; John Rivers, b; Jeff compositions vary in approach and tempo. However, I d. April 17-18, 2010, New great deal from the Jazz masters of the recent past, but Salisbury, d. August 5, 2010: found those compositions often didn’t present enough York City, New York. he has a compositional sense, and the lengthy perfor- Charlotte, Vermont. material to hold my interest – sometimes they sounded mances ebb and flow in ways that are both unexpected like extended ruminations on a constrained harmonic 3) EVAN COBB and ultimately rewarding. 5) FRANK WALTON or melodic offering. My reaction could be characteristic FALLING UP SEXTET impatience with “originals” that seem to have exhausted EVANCOBB (no #) The remaining CDs in this review are all self-produced THE BACK STEP their possibilities in the first two choruses; others may Tip Tap Toe / None Half by the artists who lead the ensembles. A reviewer hopes FRANKWALTON (no #) disagree, and McCarthy’s quartet is certainly polished All / Eastern Bell Feel for the best – is there serious evidence of ability beyond enough to deserve a listen. I think his keening perfor- / The Cosmonaut / In competence, a conception beyond the formulaic, some- The Back Step / The mance of YOU DON’T KNOW WHAT LOVE IS, expertly Ran Roy / Mahdernism thing more than an expensive object to sell at gigs in Move (Pt. 1) / Old Folks / joined by the rhythm players, suggests how strong this / Crescent City Ditty / hopes of recouping the initial investment of thousands Mamacita / The Move (Pt. quartet is when exploring deeper material. Don’t Hold Your Breath. of dollars. 2). 51:00 53:00 ) presents the emotionally powerful Chicago trum- appily, (3) is strong improvised music that has its Walton, t; Jaleel Shaw, ts; 5peter Frank Walton in quintet recordings from 2001. Cobb, ts; Matt White, t; Bruce Hown life – even though I’d never heard of any of the Lance Bryant, ts; James They would be worthy on their own –everyone plays Dudley, p; Jonathan Wires, b; players. First off (and this isn’t trivial), it is splendidly Williams, p; John Lockwood, with a relaxed intensity in a post-Hard Bop mode, on Joshua Hunt, d; Jeff Coffin, ts recorded and each track has its own rhythmic impetus b; Yoron Israel, perc. 2001: four extended performances of Walton’s originals, varied (6-7 only). May 9-10, 2011: without being simply improvisations over vamps. Boston, Massachusetts. in mood. But the CD is also precious as a late document Franklin, Tennessee. of pianist James Williams, who died in 2004; the seven-

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minute trio exploration of OLD FOLKS is fascinating, 2) ENOCH SMITH JR. arah Elizabeth Charles, the main singer on (2), and Williams’ solo and ensemble work on the other four MISFITS Sactually does sound a little like Peyroux but she 6) RICK LAWN’S tracks is a reminder of how much he is missed. (NO LABEL OR #) sings in front of a piano trio led by Enoch Smith Jr. POWER OF TEN that draws as much from modern r'n'b as Jazz. Smith LITTLE BIG BAND he first impression one gets of (6) is that of an A Misfit's Theme / Wise and his rhythm section playing bouncing, off-kilter EARTH TONES Texpertly rehearsed compact big band -- with the Man / Hush / Side Door rhythms with hip-hop influences but the pianist's solo- LAWN WORKS 01 scope of a larger unit but none of the excess. And / Caravan / Blackbird+ ing is always prancing straight-ahead Jazz with Charles Lawn’s tentet is an able group: their ensemble playing / A Misfit's Theme 2 / I adding a soulful tinge to the vocal numbers. The trio's Never Too Late / Sigh of is flexible and direct, the soloists expert. The band can Want You / Bring It On work on the instrumental pieces “Caravan” and “She the Soul / Hopscotch / offer impressionistic washes of sound or swinging lines Home / She Moves Me / I Moves Me” is really charged up. There's also a bumpy Quiet Please! / Tapestry through which soloists can make themselves known. Won't Complain* / Love Is version of the Beatles' “Blackbird” sung in a Stevie / Ease It / With A Little But two limitations combined to make this disc less Stronger / Alright. 53:33 Wonder-like tenor by Saunders Sermons, an envelop- Help / Retrospect / No than it initially seemed. One is that Lawn’s quite pleas- ing string presence on the gentle “I Want You” and Regrets / Earth Tones. ant writing leaned heavily on the gestures I associate Smith, p; Noah Jackson, strong hip-hop gospel on “Bring It On Home”. This is 75:00 with generic big band Jazz that takes its inspiration b; Sangmin Lee, d; Sarah a really impressive melding of Jazz and modern street from film and television music. One would never mis- Elizabeth Charles, Mavis music. Ron Kerber, Chris Farr, take this for anything but a competent Jazz band, but “Swan” Poole*, Saunders Lawn, Mark Allen, rds; Matt the themes always sound familiar in small ways. And Sermons+, vcl. Brooklyn, NY. ) goes even farther all over the stylistic map. Bop, Gallagher, George Rabbai, t, “small” comes to stand for much of the original mate- 3jump blues, gospel and avant Jazz are all rendered flgh; Ron Kapralick, tb; Tom rial here. Lawn’s compositions begin with three or 3) JAMES CARTER powerfully by the versatile saxophonist James Carter Miceli, vib; Mike Kennedy, four note motifs which get repeated and expanded ORGAN TRIO, and his organ trio. A few selections here like the bal- g; Tom Lawton, p; Kevin through the performance. I know that great Jazz AT THE CROSSROADS, lad “My Whole Life Through”, the fast and boppish MacConnell, b; Erik Johnson, improvisation doesn’t require complex source material, EMARCY B0016081 “Oh Gee” and the simmering Latin piece “Misterio” d; Vic Stevens, shekere but by the time I got to TAPESTRY (which starts with a are things you'd hear on most organ Jazz CDs. This (10 only). June 6-7, 2011: roving piano improvisation by Lawton) I felt numbed Oh Gee / JC Off The Set / set, though, goes above and beyond with roadhouse Sicklerville, New Jersey by the limitations of the material: minimalism turned Aged Pain / The Walking blues pieces “Walking Blues” and “Ramblin' Blues” that constricting, as if an intriguing ensemble had been Blues / My Whole Life feature a full-blown horn section and Miche Braden 1) MATT WALSH required to improvise on scraps and bits. Through / Walking shouting on top, drummer Leonard King singing a ACOUSTIC QUARTET Michael Steinman The Dog / Lettuce Toss soulful “Come Sunday”, and a gospel presence on the A PART OF ME Yo' Salad / Misterio / funky “Lettuce Toss Yo' Salad” and the traditional spiri- ACOUSTIC MUSIC Ramblin' Blues / Come tual “The Old Ship Of Zion”. They also throw in stomp- 319.1474. ) is a session that contains jazz, Latin and Caribbean Sunday / Tis The Old Ship ing r'n'b tunes from two modern Jazz masters, Ronald 1rhythms all stirred into a pot of laid-back acoustic Of Zion / The Hard Blues Shannon Jackson's “Aged Pain” and Julius Hemphill's Victor Jara / Harlem soul-blues. Matt Walsh has a smooth, funky singing . 73:37 ever rocking “The Hard Blues”. Street / A Part Of Me style which rides lightly on the slippery instrumental Carter, ts, bari s, ss. as, / Papa Joe / I Think Of rhythms in the manner of Madeline Peyroux. The Carter, as usual, blows up a storm on all the major fl; Gerald Green, org; You / Rolling Down occasional addition of tenor sax, trombone and exotic members of the saxophone family while Gerald Gibbs' Leonard King Jr., d, vcl; The Highway / Wait And percussion add more color to tracks that range from organ work is constantly creative and Leonard King Bruce Edwards, Brandon See / Gold / Storm Over reggae to cool Jazz to bossa nova but the main focus is puts down a rock solid foundation on the drums. Ross, g; Miche Braden, vcl; New Orleans / The Fruit always Walsh’s buttery, masculine singing. Carter has always played with a little more soul than Picker / Waiting Till Keyon Harrold, tpt; Vincent most saxmen. This particular band seems to really Sunrise. 50:45. Chandler, tb. 2/8-9/11, New bring that out in him. York, NY

182 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 183 New Issues New Issues 4) STEVEN Stand / Family Affair / Sly Notions / Que Sera, Sera / 6) JAN KASPERSEN Ravello before noon / Crossroads in blue Light / BERNSTEIN'S M’Lady / You Can Make It If You Try / Everyday People MIND PICTURES Hello, Mr. James P. J. / Night Reflections / Screwdriver MILLENNIAL / Bernie Interlude / Skin I’m In / Sly Notions 2 - Fun / OLUFSEN 5507 / Education of Beans / Tranquility / Snapshot from TERRITORY Time / Thank You For Talkin’ To Me Africa / Life. 63:55 the Zoo / Train Trail / A blue Memory / CBT Blues / San ORCHESTRA Kaspersen, p. 9/19/05, Cataldo variations op. 20, no. I - X / Night Reflections MTO PLAYS SLY ) is a tribute to a band that was mixing rock and 10/3/05, , (reprise). 58:14 THE ROYAL POTATO 4soul before almost anyone else, Sly And The Family Denmark FAMILY 1110 Stone. Steven Bernstein leads his Millennial Territory ) and (7) are two different sessions of Kaspersen Bernstein, tpt, slide tpt; Curtis Orchestra in playing a collection of Sly Stone material 6playing solo, recorded three years apart. (6) is a Fowlkes, tb; Charlie Burnham, with some special guests along including five vocalists 7) JAN KASPERSEN studio recording where he goes through a number of vln; Doug Weiselman, cl, ts; and the great Bernie Worrell manning the Hammond PUBLIC PIANO musical styles like stride, tango, classical and boogie Peter Apfelbaum, ts, ss; Eric organ. The band does an excellent job at recreating BANG FORLAG 101 woogie in a competent but somewhat stiff manner. Lawrence, bari s, ss; Matt the carnival vibe of Stone's music sometimes with “Night Reflections”, which sounds like a close relative Munisteri, g, bjo; Ben Allison, fidelity to the original versions Worrell and the horns Darn That Dream / of Bill Evans' “Peace Piece”, is one of the few places on ac b; Ben Perowsky, d; Bernie cut a thick, simmering groove through “Stand” , Dean Body And Soul / Night this disc where any sense of emotion or freedom comes Worrell, org; Vernon Reid, Bowman shouts mightily on a high-stepping “M”Lady, Reflections / Bizarre through, albeit in a subdued, deliberate manner. g; Bill Laswell, el b; Sandra and Vernon Reid's dirty funk-blues guitar dominates Ballet / My Foolish St. Victor, Antony Hegarty, the slow sway of “Time”. Things get more experimen- Heart / Caravan / Over The live Public Piano is a different story. Martha Wainwright, Dean tal with a couple of banjo-led soul-bluegrass inter- The Rainbow / Round Kaspersen still plays deliberately and hews close to mel- Bowman, Shilpa Ray, vcl. ludes, a mellowed “Family Affair” that features Antony About Midnight / Silky ody lines but doing a set of mostly standards, you can Brooklyn, NY. Hegarty's cool vibrato voice and Charlie Burnham's Serenade. 48:36 hear him noticeably relax and improvise. Sometimes, violin and “Everyday People” done with a billowing as in his treatment of “Body And Soul” there's almost 5) JAN KASPERSEN Eastern-tinged arrangement and forceful singing by Kaspersen, p. 8/23-25/08, a cocktail lounge feel to his playing but he drops in SEXTET, Shilpa Ray. Sly Stone may be a shadow of himself Aalborg, Denmark. the occasional quirk or dissonance that keeps things BLUES FOR A HIP these days and his music seems to get neglected. This interesting. He really goes wild on “Caravan”, playing the KING, respectful but modernized tribute is a reminder of just tune with dramatic, rambling chords that eventually OLUFSEN 5617 how much power and life was in his work. fade into minimalist banging. To his credit he does all Blues For A Hip King / this while fighting audible audience chatter. Sadava / Salaam - Peace / ) is also a tribute but one to an active Jazz master, 8) ARMEN Little Flower / Jabulani - 5South African pianist-composer . DONELIAN ) is quality small group stuff out of the modern Easter Joy / The Wedding Danish pianist Jan Kaspersen leads a sextet here that LEAPFROG 8mainstream, a small group playing surging, attrac- / Purple Gazelle / does a good job in capturing both the dignity and the SUNNYSIDE 4010 tive themes mostly written by leader Armen Donelian. Flowers from Duke's impish fun of Ibrahim's music. Kaspersen recreates the The music is often brooding and intricate and is well Garden / Tintinyana / majesty of Ibrahim's piano playing well and the front Rage / The Poet / Winter / served by Mike Moreno's shimmering, resonant guitar, Our Loving Family / Bilal line horns swing impressively, especially alto player Behind the Veil / Bygone which often shadows Donelian's piano on the themes, / Mountain of the Night. Christina von Bulow, while Ole Romer slips and slides / Smoke / Mexico / Inner and Marc Mommas' cranky, probing tenor. “Winter” 56:54 expertly on the drums. There's one Duke Ellington Sanctum. 60:42 is a particularly elegant piece with cascading guitar, piece, “Purple Gazelle”, done as a slick highlife shuffle “Smoke” is a nice bit of broken line hard bop with brittle Kaspersen, p; Christina von and a couple of Kaspersen originals but the rest is Donelian, p; Marc Mommas, piano and sassy tenor and “Mexico” has an undulating Bulow, as, fl; Jakob Dinesen, all familiar Ibrahim melodies like “The Wedding”, ts; Mike Moreno, g; Dean tropical groove where Moreno and Donelian really inter- ts; Peter Dahlgren, tb; Nils “Tintinyana” and “Our Loving Family” played with sinu- Johnson, b; , d. twine and the ringing beauty of the guitarist's sound Bo Davidsen, b; Ole Romer, ous grace and testifying brashness. Kaspersen does 7/19-20/10, 10/9-10/10, New really shows through. Tyshawn Sorey's prickly, off-cen- d. 5/1/06, Copenhagen, well by a great body of work more musicians should Haven, CT ter drum work is also a distinctive highlight of the CD. Denmark explore. Jerome Wilson

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DAVI avi is reputed to have made his screen debut in Cannon, vcl, g; Lawrence fect on each number. Boogies, shuffles, slow drags and a DAVI SINGS SINATRA DSinatra's 1977 noir-ish TV flick "Contract On Cherry Gladney, rhy g; Carl hypnotic rumba rhythm on “Come On”. Six-string vet Carl ON THE ROAD TO Street," so I suppose he can boast first hand acquain- Weathersby, g(*); Matthew Weathersby is heard on the catchy “Earnestine” and “Hard ROMANCE tance with Frank. My review copy of the album doesn't Skeller, hac(+); Roosevelt Luck” where he pops a string during his solo and harp ace Matthew Skiller is super effective on the great tune “Open SUN LION 1 even list his first name, much less any recording info, Purifoy, p, el p, org; Larry but some listeners will recognize him as having played Williams, b; Marty Binder, d. Letter (To Whom It May Concern), the shuffling “She’s Too 6/2&3/2011. Chicago, IL. Much” and “Chico’s Song” the leaders tribute to the talented Day In Day Out / Nice a villainous role in some James Bond film or other, as Chico Banks who left us a few years back. 'N' Easy / All The Way / well as having been prominently featured in the TV I've Got The World On series, "Profiler." Here he adds his name to the growing Check out Cannons soulful take of Nina Simone’s “Do I Move A String / Witchcraft / list of performers who are more than willing to trade You?” and “I Can’t Take You Nowhere” a real hoot that echoes In The Wee Small Hours on the still marketable memory of an undisputed vocal the Dave Frishberg classic of the same name. A memorable Of The Morning / Nice master. His take on his better is superficially OK in a debut by an artist to keep an ear out for. Work If You Can Get It MOR kinda way, but listen carefully and it's fairly awful. Larry Hollis / Summer Wind / Here Is Davi's attempt at imitating the Sinatra swagger and That Rainy Day / Best Is Yet vocal braggadocio is harmless enough, but he hasn't STUMP GRINDER / MEAN TO MY BABY / 9 BAR / BROKE & DEAD / To Come / Mam'selle / Too got a clue about Frank's charming way of abusing diph- GARY WENT TO NEW ORLEANS / JAILBIRD LOVESONG / EX RIDIN’ Marvelous For Words. thongs or his instinctive speech inflected phrasing. And GRUMBLERS / BREAK OF DAY / STAIN ON A WALL / PUSH REEL / 32:32 doesn't Davi's errant un-contracted spelling (see review header) of the title for "Here's That Rainy Day" give us KEEP YOUR PORCHLIGHT LOW / ST. LOUIE ZOO / I HATE YOU GIN / Robert Davi, vcl; orchestral the clue we need. Added to that, this wannabe vocal- SG BLUES / RAMBLIN, RAMBLIN, RAMBLIN / NO LIE / SAWIN’ LOGS. musicians and arranger(s) ist has intonation issues which peek through from time 54:15 unidentified on review copy. to time. Why would anyone need or want as feeble an imitation as this, mercifully brief though it be, when the ere’s an odd little release out of the Windy City that marketplace is literally flooded with the real thing. Hmay be of interest to some Cadence readers. The Alan Bargebuhr SANCTIFIED Sanctified Grumblers are an acoustic quartet comprised GRUMBLERS of the first four names listed in the personnel section with TORONZO CANNON ver the course of its existence the Delmark com- NO LIE three guests on assorted selections. The core rhythm sec- LEAVING MOOD Opany has introduced many powerful voices on NO # tion appears to be Rick Sherry on the bass drum among DELMARK 817 the Blues map and singer/guitarist Toronzo Cannon is the numerous other instruments he performs on. He also SHE LOVED ME / CHICO’S another impressive discovery. This is his debut disc with Rick Sherry, vcl, wbd, g, hca, penned five of the numbers with string ace Eric Nolen log- SONG(+) / COME ON / I his crack band the Cannonball Express which contains bjo g, cl, kick d; Eric Nolen, ging in the most writing credits with nine titles. The only BELIEVE / HARD LUCK(*) / essential members like Rosey Purifoy and Lawrence vcl, g, bjo g; Beau Sample, b, cover present is Jailbird Love Song from the Mississippi OPEN LETTER TO WHOM IT Gladney that help make this one successful. The former jug; Mike Hogg, sousaphone, Sheiks circa 1930. Both guys sing but neither one would MAY CONCERN(+) / I CAN’T is a veteran keyboardist that serves as kind of a utility Jim Bucker, fiddle, mand, saw; make the finals on The Voice. The twin threat of Sample’s TAKE HER NOWHERE / man on his various keys while the latter is an expert Tom V. Ray, bjo, uke; Mike doghouse upright or puffing jug can provide plenty of LEAVING MOOD / SHE’S TOO rhythmic guitarist in the vein of Jimmy Nolen that wrote Reed, d. 8/2010. Chicago, IL bottom not to mention the strong sousaphoning of Mike MUCH(+) / YOU’RE A GOOD three titles (“Baby Girl”,”Come On”,”Earnestine”) and co- Hogg. The extra pieces are used sparingly enough to not WOMAN / EARNESTINE(*) / penned with Cannon seven others. The leader is a left detract from the basic core of the foursome. The combi- DO I MOVE YOU? / BABY GIRL that plays what sounds like a Flying V to these ears and nation of jug band tunes, hot ragtime, vintage Blues and / NOT GONNA WORRY. 60:17 has an extremely supple set of pipes that are note per slight Country flavoring makes for a happy blend of Good Timey Music. A tad corny at times but still fun. Larry Hollis

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1) BRUCE ARNOLD Bruce Arnold is from Idaho and something of a None of the usual labels, Fusion, Jazz Rock, etc., Renaissance man in the musical field. An adventurous 3) WOODROW T. apply here and although it is most assuredly not this THE ART OF THE GREENWICH/ARNETT BLUES guitarist his eclectic taste helps him span idioms as writers idea of excellence in guitar playing it is a sure diverse as Rock, Classical Music, Jazz and Blues among BREWSTER bet that the young ears that are exposed to these MUSE EEK 157 others. But perhaps his most lucrative career has been GREAT HOUDINI sounds belong to a whole bunch of potential guitar in the educational profession having taught at several MUSE EEK 159 students that hold distortion-in-sound as a way of life. CAT FEET (013 BLUES IN C) / different prestigious institutions such as the Berklee Excuse me while I kiss the sky. CASTLES (013 BLUES IN G) / School of Music and the New England Conservatory. His TARNATION / SIX CENTS INDIFFERENT(013BLUES IN first issue was Blue Eleven for MMC Records in the mid- BLUES / WIDOW MAKER t's back to the root source for (3) as Arnold (under the D / IF SEVEN WERE THREE nineties that alternated between trio cuts and solo gui- / LOOK OUT! / WINDIES / name of Arnett Brewster) joins up with a fellow educa- (013 BLUES IN A) / IN AND I tar snippets in a mostly laid-back manner. He followed WAGTAIL / DAKOTA TRAIN tor, Dave Schroeder (aka Woodrow T. Greenwich) for a OUT (013 BLUES IN E) / THREE it with two other releases but concentrates mainly on BLUES / ASHER / DEM DERE series of subtle Blues duets that are as old as time itself AND FRO (013 BLUES IN B) his teaching career. SHUFFLE / A SIMPLE THANKS. and as new as tomorrow. The writing is shared between / SASSY (013 BLUES IN Gb) 41:54 the two principals; Schroeder has a lot of Sonny Terry's / HOCKET (BLUES IN Db) / his not your average, run-of-the-mill Blues album. Piedmont flavorings in his harp work on “Six Cents DARK MATTER (013 BLUES As the leader points out “I have applied the structur- Greenwich, hca; Brewster, g. Blues' with its unison intertwines or tossed leads on IN Ab) / MAZE (013 BLUES IN T al rhythmic and harmonic ideas that I have been work- No dates or locations listed “Dem Dere Shuffle” while Arnold's titles are drawn from Eb) / INQUISITIVE (013 BLUES ing with over the past several years to the Blues form. slang used in the Old West such as “Wagtail” for a hook- IN Bb) / DOWN HOME (013 These deal with small three note groups and the super- er or “Windies” for fibs. The latter gets a lot of different BLUES IN F). 67:32 imposition of time fields over a basic pulse. I've used shadings in sound from his Asher model lap steel guitar, the unit of a half step and a minor third as my motif It was wished Schroeder would have broken up his son- Arnold, g; Dean Johnson, b; and composed twelve Blues, one is each key. You'll also ics more with maybe a diatonic harmonica or different Tony Moreno, d. No dates or hear some fun with time signatures and the use of a model. To sum up, (1) is not strictly for Blues purists locations listed. dotted quarter note as a vehicle for multiple time layer- who are advised to sample some tracks first, (2) is in a ing.” The latter sentence is emphasized by the inventive definite Rock vein in the manner of Joe Satriani and (3) trap work of Tony Moreno who displays a high level of is a more intimate and traditional Blues recital. You pays creativity on almost every cut. Holding all of this down your money and takes your choice. is the resonant upright bass of Dean Johnson. Unlike Larry Hollis Arnold's debut which held much of an ECM vibe this is a more energetic outing that can be enjoyed on either 1) JASON STEIN orget about five guys named Moe, we’ve got a pair 2) BRUCE ARNOLD a physical or analytical level or maybe both. Something QUARTET Fnamed Jason to deal with as they lead their musi- HEAVY MENTAL definitely out of the ordinary. THE STORY THIS TIME cal Argonauts on journeys over the sonic seas on these two platters from the Delmark label. First up is Mr. Stein MUSE EEK 156 DELMARK 2013 nother power trio setting is used on (2) but with whose forte is the cumbersome bass clarinet, not as a a different bassist and drummer. Like Blue Eleven double but as a main axe. To add to the menu, Keefe 12 TONE BOOGIE / A MULTIPLICITY / LOCK AND it continues Arnold’s investigation into twelve tone BACKGROUND MUSIC / Jackson switches back and forth between his custom- KEY / HEARD INSTINCT / theory mixed with several different elements of a highly LACED CASE / LITTLE BIG ary tenor sax and another Bb behemoth, the contrabass DAKOTA GUMBO / BLUES FOR technical nature. Most of the tracks chug along at an HORSE / SKIPPY / BADLANDS clarinet that’s a full step below the bass but still in the ARNIE / NUMBERS. 38:50 uptempo pace eventually arching on a screaming guitar / PALO ALTO / HATOOLIE / same key. Never a big fan of the regular licorice sticks, blast over hard-charging, thumb-popping electric bass GALLUP’S GALLOP / HOKE’S except maybe for Jimmy Guiffre and Perry Robinson, Arnold, g; Andy Galore, b; lines and bombastic drums. Yet there is a Blues-infused DREAM / WORK / LENNIE these lower register models always struck a chord (no Kirk Driscoll, d. No dates or shred that skirts the obvious influences of Johnny BIRD. 66:27 pun intended) with me for their warm woody timbre locations listed. Winter and Terje Rypdal back in his Chasers days. and lack of shrillness.

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Additionally, the inherent difficulty in playing the Stein, b cl; Keefe Jackson, the documentation of his deft writing. The setlist is book unwieldy instrument keeps dilettantes from attempt- ts, contrabass cl; Joshua ended by solo vibe sketches entitled “Solo One” and ing to double. Unlike a previous solo bass clarinet issue Abrams, b; Frank Rosaly, d. “Solo Two” naturally. None of the compositions run over under the Leo logo that mostly dealt with textures, 6/27&28/2011. Chicago, IL six minutes but, never fear, there’s plenty of solid playing sound effects and Stein's musical forefathers, this is an from all hands packed into them. interlaced quartet date with unmistakable Jazz inflec- Larry Hollis tions. He apparently released a triad of albums with his trio Locksmith Isidore that completely evaded my notice. The program is a fairly eclectic one dealing with Tenderly / Remembering Wes / Autumn Leaves / Billie five Stein scripts mixed among writings from well- Holiday Tribute Medley: No More-Don’t Explain- known Jazz musicians that haven't been done to death. But Beautiful / A Child Is Born / What A Wonderful For this listener the originals, being of a more Free Jazz World / Soulful Brothers / Ellingtonia Montage: nature, were harder to get into than the non-original Azure - I Ain’t Got Nothin’ But The Blues - Do Nothin’ material. Perhaps the most acessable, the second track Till You Hear From Me - Star Crossed Lovers - Warm “Laced Case” is a tribute to soprano saxist Steve Lacy, Valley - David Danced - Come Sunday / Come On Blues who to my knowledge never played the bass clarinet, / Recado Bossa Nova / Couplet Romantico: Why Did I and runs the gambit from Outside to Inside with care- Choose You? - My Foolish Heart / Spring Can Really free aplomb. The triad of Monk pieces is extremely Hang You Up The Most / Be Yourself / Come Rain Or interesting; there's a two reeds & arco bass introduction Come Shine+ / Prelude No.3: Butterflying (Excerpt)*. to “Work” with deft playing from 1) KENNY BURRELL 63:16 Jackson, “Skippy” is taken medium up and has more TENDERLY neat soloing while “Gallop's Gallup” features tenor with HIGHNOTE 7227 ) gives the listener the simple pleasure of Kenny bass clarinet at a lazy lope. The former two titles were 1Burrell playing solo in concert. He plays both only recorded once by their composer. The Konitz title Burrell, el and ac g. 11/6-7/09, acoustic and electric guitar here in his usual elegant, opens with a very free intro section, the Warne Marsh Pasadena, CA; 2007*; 2008+ deep-toned style, doing ballads, Billie Holiday and Duke kickoff tune sports simultaneous soloing from the reeds Ellington medleys, some blues, a tricky stop-time bossa and the closing number is first-class nova and even singing on the track “Be Yourself” in a 2) JASON FreeBop. Only in his mid-thirties, Jason Stein is already a 2) NAT BARTSCH warm, strong voice. Burrell is a master who proves here ADASIEWICZ’S SUN musical force to be reckoned with as evinced by (1). TRIO that he still plays at a very high level. ROOMS SPRINGS, FOR ALL SPACER round the same age as Stein, Jason Adasiewicz THE WINTERS ) is a piano trio from Australia led by Nat Bartsch’s RUFUS 110 DELMARK 2012 Ahas also had previous recordings available includ- 2quiet, stately piano that plays strong melodies with ing his last effort with the same personnel under the classical and folksy elements. “Revelry” is slow-building SOLO ONE / HI TOUCH / Delmark logo. This threesome has been together several I Have… / Revelry / folk-country, “Uncertainty” is a dark, attractive ballad RUN FLY / PILLOW / THE years now so the expected “tightness” is ever apparent Mum / The Sire and “You Put The Spring” shows a Bill Evans influence VOLUNTEER / BEES / BOBBIE / from start to finish on (2). The leader has received rave Of Sorrow / You Put in its understated drive. A rare up-tempo piece, “Song DIESEL/WAITING IN THE ATTIC reviews for his previous work as both a bandleader and the Spring in Spring / For Mum”, has Bartsch playing cascades of notes over / SOLO TWO. 42:42 vibraphonist of high order. The usual influences (Bags, Warm, Slowly / My Very Leigh Fisher’s stormy drumming and shows what a Hutcherson, etc.) are cited but I have a suspicion that he Own Elephant Song / cohesive and expressive trio Bartsch, Fisher and bassist Adasiewicz, vib; Nate has listened to and absorbed such forgotten figures as Uncertainty. 55:53 Josh Holt can make. McBride, b; Mike Reed, d. Lem Winchester and Walt Dickerson. Except for “Bobbie” Bartsch, p; Josh Holt, b; 5/1&2/2011. Chicago, IL by Eric Boeren & “The Volunteer” from bassist McBride, Leigh Fisher, d. 12/09, 2/10, all of the pennings stem from Adasiewicz and continue

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3) VEIL Thomas Lahns, b; Michael Arbenz, p; Florian Arbenz, d. 11/10, Vibist Dave Samuels gets into prickly interplay with Sweet Sophie Rose* / Bill's PLAYS PORGY & BESS Basel, Switzerland O’Connell and Flores whether playing a burner like Blues+ / Crazy Samba# / UNIT 4284 “Non-Sense” or a rolling blues like “Bill’s Blues” while ) is by another piano trio, this time a Swiss one that 'Round Midnight* / Non- Dave Valentin’s flute is perky and wild on the likes of takes on the familiar but imposing edifice of “Porgy sense+ / Lake Road# / Ouverture / Summertime 3 “Crazy Samba” and “Lake Road”. O’Connell and Flores are And Bess”. Obviously this group can't match the colors Cobblestones+ / Speak / Bess, You Is My Woman excellent throughout. O’Connell plays powerful piano, or nuance of the well-known large scale Jazz versions of Low / Mr. EP# / La Playa+. Now / I Got Plenty Of pulling off dazzling runs, finger-tangling solos and this work but their interpretations are lively and inven- 57:59 Nuttin' / Here Come De jumping Latin grooves consistently while Flores' hands tive. “Summertime” really jumps and “Plenty Of Nuttin'” Honey Man / I Lonesome always keep the rhythm going. Their lightning fast duet has pianist Michael Arbenz playing stomping boogie O'Connell, p; Richie Flores, cga; Here All By Myself / on “Speak Low” shows off their prowess as well as any of woogie. “Bess You Is My Woman Now” and “I Lonesome” Paquito D'Rivera, cl*; Dave I Loves You Porgy / the tracks with a third partner. use eerie abstractions and drones as introductions to Samuels, vib+; Dave Valentin, Summertime / It Ain't their themes. Elsewhere the group leans towards the fl, a fl#. Necessarily So / Crab Scottish Heather / Summer Sunset / Gin And Tonic slapstick side of European Jazz with a lot of noisy junk- Man / My Man's Gone Now / Something Lurking / Newsreel / Undertow / When shop percussion on “Ain't Necessarily So” and a rocking / Strawberry Woman Creatures Reigned / The Miller’s Tale / Magical cha-cha beat stirring up “My Man's Gone Now” as the / There's a Boat Dat's Morning / Life Stories / Reflections / Cross Current / pianist tries to play it straight. It's not Miles and Gil Leavin' Soon For New Mystic Nights. 60:07 but these three men have fun with the old Gershwin 6) PAT BATTSTONE York / Oh, Bess, Where's warhorse. AND RICHARD POOLE My Bess - Oh Lawd, I'm On MYSTIC NIGHTS ) is a piano and vibes pairing of a much cooler tem- My Way. 57:13 (NO LABEL) 6perature. Ray Battstone and Richard Poole may not be well known but they get a crystalline beauty out of Inacio, p, el p, cavaquinho; Ademir Candido, el g; Dudu Penz, el Battstone, p; Poole, vib. this instrumental combination the equal of any of the b, ac b; Rodrigo Botter Maio, as, ss, fl; Edu Riberio, d. 3/10 12/22/10, 1/2/11, 1/19/11, famous piano-vibes pairings that come to mind like 4) FLORIANO INACIO 2/16/11, 2/26/11, 5/2/11, Chick Corea and Gary Burton. There is a lot of abstrac- JR. ) is a set of Latin Jazz that sounds pretty but too Charlestown, MA UNIT 4315 tion in Battstone's piano work with gamelan-like ham- often leans towards the Smooth Jazz sub-genre, 4 mering and inside strumming and thumping but his especially when saxophonist Rodrigo Botter Maio is Paca, Paco e Urubu / playing also contains a melodic beauty reminiscent of featured. The leader, Floriano Inacio, has a light, ener- Vida a dois / Tem gente Paul Bley. Combining that with Poole's ghostly, reso- getic style and his solos at faster tempos are particularly chegando / St. Karli / nant vibes work, the end result is a lovely set of music fun. His rolling Fender Rhodes work on the fast samba Momentos em Sampa that balances space, atmosphere and melody extremely “Rua Jorge Hennings 631” sounds really good as does 7) TRP (THE REESE / Mais um samba / well. Ademir Candido's slick guitar on the same tune. Even PROJECT) Retiro das pedras / Rua Maio is bearable here. On the other tracks though the EVENING IN VERMONT Jorge Hennings 631 / In ) is from a group with a unique front line of flute and saxophonist just sounds bland and cheesy and brings RHOMBUS 7016 Bergama / Sem eles por cello that switches between string-laden drama and the entire effort down. Evening In Vermont 7 perto / Hernandez / Sem / Blues For Ruthie / impish Cool Jazz. The group often has an airy chamber medo. 60:53 feel though cellist Laurie Haines-Reese adds more grit ) is more Latin Jazz but of a sparser and more mus- Serenade to a Cuckoo / when she fills in the bass lines. Their version of the folk cular nature. It's by a trio of pianist Bill O'Connell, Kitchen Girl / Minstrel 5 song “Minstrel Boy” is solemn and atmospheric particu- conga player Richie Flores and a rotating third member. Boy / Softly as in a 5) BILL O'CONNELL larly in the cello solo while Wayne Shorter's “Footprints” Flores keeps the Latin element going while the other Morning Sunrise / TRIPLE PLAY PLUS has a dramatic string introduction before Tom Reese's musicians fly all over the place. Paquito D'Rivera, play- Olivette / Over the THREE flute flutters out a swaying solo. As for the more swing- ing clarinet, goes wild on “Sweet Sophie Rose” and Waterfall / Footprints ZOHO 201113 ing stuff, they come off bright and hot on “Morning dances a liquid mambo on “'Round Midnight”. / All Wood / Shenan- D'oh!-a. 55:15 Sunrise”, swing nicely through “Serenade to a Cuckoo”

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T Reese, fl, a fl, pennywhistle; and play around with a cute mash-up of “All Blues” and When I hear a group of recordings like these emerg- Laurie Haines-Reese, clo, el clo; “Norwegian Wood” that gives pianist Kirk Reese a chance ing from all over the world, literally from to New Kirk Reese, p; Dave Young, d; to stretch out. Jersey, I feel good again about the prospects For Jazz. All Tish Brown, vln, vla. Lancaster, four of these ensembles are making fresh new music that PA. is also deeply in the Jazz tradition, and none of them see the need to either become retro revivalists nor to fuse Titled / Breath / I’m Drifting Apart / A Mile Deep / A their music with some trendy pop sounds. There’s not a 8) KEVIN KIZER Minor Challenge / Independence Day / Voids / Becky’s lick of imitation here, but there is not innovation for the QUINTET Bash / O Sacred Head. 64:28 sake of innovation either. ASPECTS BLU JAZZ 3385 ) also adds strings, this time a violin, to a con- he grand old men here are on 1). Drummer Bruce 8ventional jazz group lineup. There is a swirling TDitmas has played with the best, including (just to intensity to the interplay between the woolly sound mention a few) Gil Evans, Paul Bley and . D3 Kizer, ts, as, ss; Katherine of saxophonist Kevin Kizer and the subtlety of violinist is his guitar trio, and on 1) they are joined by the reeds Hughes, vln; Dave Miller, g; Katherine Hughes. That plus the quiet but busy drum- of Sam Morrison. Yes, that Sam Morrison who played sax Jake Vinsel, b; Neal Wehman, d. ming and billowing Jim Hall-like guitar chords bring in those wild and burning Miles Davis bands in the mid- 1/17/10, Glenview, IL the early Chico Hamilton groups to mind, a comparison 70’s, the furthest out Miles ever got. And right before mentioned in the liner notes. This band has its own Davis crashed into his lengthy retirement in the late 70’s. sound though. That shows up in the gliding, languorous 1) D3 + SAM So this recording sports some credentials. On 1) this beauty of “A Mile Deep” and “Independence Day” and MORRISON now 4tet plays three extended improvisations, abstract the agitated drama of “Becky’s Bash” where everyone OVER THE EDGE and spacious but filled with energy and a constant sense races in breathless, trembling solos. There’s a quiet, Unseen Rain 9995 of exploration. This is free music, using lots of texture unassuming power to this group’s music. and interplay, with everyone pushing their instruments into new territory, but without ever losing their distinct Ocean of Diamonds/ 9) DARREN instrumental sounds. And Morrison in particular layers ) is a bit of a cross-city exchange as the San Critical Thinking/ Jus’ streams of melody over the environments that Ditmas JOHNSTON'S GONE TO Kool Jack. 62:45 CHICAGO 9Francisco-based trumpeter Darren Johnston plays and his cohorts create. It is truly a group sound, and it is with several prominent younger members of the vast exceptional. There are hundreds of free improv groups THE BIG LIFT Bruce Ditmas d; Tony Chicago jazz community. The results resemble the ram- issuing recordings every year, but few of them have as PORTO FRANCO 31 DeCicco b; Jack DeSalvo g; bunctious power of Chicago bands like the Vandermark much to say as this group. On the closing track “Jus’ Kool 5 as Nate McBride and Frank Rosaly play combustible, Sam Morrison ss, flt. January The Big Lift / Cut / Rubber Jack,” the 4tet breaks into swing for a few moments, add- galloping rhythms for Johnston and Jeb Bishop to honk 2011; Woodland Park, Bullets / Glass Ceiling, ing a touch of fun to the closing. But mostly this is pure and creep over while Jason Adasiewicz floats out there New Jersey Paper Floor / Love Call music, and I hope these four players don’t make this a in the ether, a spectral presence on vibes. The band / Two Ways Of Running / one time event. I would love to see where they get to if does powerhouse surges on “Rock Quarry” and “Rubber The Rock Quarry / Black they take the time to become a working band. Bullets”, builds from out of phase horns to a hustling And Tan Fantasy march on “Glass Ceiling” and play brawny, growling ver- om Wetmore is a talented young pianist working in sions of Ornette's “Love Cry” and Ellington's “Black And 2) TOM WETMORE THE DESIRED EFFECT TNew York, a student of the great Ran Blake. 2) is his Tan Fantasy”. This exudes the crazy, fun spirit of most “electric” band, which really just means he confines him- Johnston, tpt; Jeb Bishop, tb; Crosstown Records modern-day Chicago Jazz and Johnston fits right in. self to the Fender Rhodes and his ensemble features two Jason Adasiewicz, vib; Nate No # McBride, b; Frank Rosaly, d. electric guitars. But this does not mean they are chan- Jerome Wilson 7/21-22/10, Chicago, IL. neling Henry Threadgill’s Circuses. Wetmore uses

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Last Solstice Part I/ Ein sturdy acrid tone that comes out of Coltrane, and the keyboards in a delicate way, and thus creates a light Red Lights/ Good and Bericht/ Madley Part I / though he gets almost all the solo space, he is so lyrical and airy environment, which both Justin Sabaj and Brad Plenty/ A Blessing/ The Part II/ Part III/ Kraissler he never seems indulgent. He doubles a bit on soprano, Williams on guitars respect. The concept of the band Desired Effect/ With 1.1/ / Kraissler 1.2// with such pure intonation he almost sounds like he is is intriguing, and Wetmore’s compositions are sturdy Woven Wings/ Falling/ Kraissler 1.3/ Between playing a flute. The music has a depth and complexity and interesting. But for me the prettiness of the group’s The Rub/ More Matter. Two Worlds/ Bash/ Last to stand up to many listens, and on “Highway to Brienz” sound is too approachable. The ensemble needs an 52:03 Solstice Part II/ Highway we get a taste of the 4tet working live, with the energy energy player somewhere to keep this original concept to Brienz. 54:46 of an audience, playing bouncy light-hearted swing. from becoming too pastel. So this is accomplished Wetmore Fender Rhodes; The composition shifts tempo constantly and the 4tet is music, but Tom Wetmore needs more of the abandon Jaleel Shaw as; Eric Neveloff Ekkehard Sassenhausen ts, tight and on the money with every change. This group and tension that subtly inhabits his teacher Ran Blake’s as, ts; Brad Williams g; Justin ss; Thise Gloor p; Thomas from Switzerland deserves to be more widely heard, and music. There is promise here, but 2) presents a musician Sabaj g; Michael League b; Hirt b; Dominik Burger d. are another sign of how healthy and diverse Jazz is now just beginning to grow. Next time out will be better. Garrett Brown d. No dates or 1 & 2 October 2010; Wetzkon, worldwide. locations given. Switzerland Phillip McNally he Norwegian 5tet Peloton wraps 3) in a clever, There really is nothing in Jazz quite like the warm sound vintage newspaper cover, with lots of anachronistic 3) PELOTON T of a tenor sax played with sensitivity and a certain “news” to read as you listen. The music inside the paper THE EARLY YEARS breathiness. For most folk who listen to barely a note of Parallell 011 is a bit anachronistic too, as they play a dozen originals, 1) HARRY ALLEN with Jazz in a whole lifetime, the sound of that tender tenor most of the tracks tightly arranged and under 4 minutes Lonely Bird Song/ WARREN VACHE of Getz coming out of Webster is the sound of Jazz. No with a standard trumpet and sax front line, inspired Aquarium/ La Doyenne/ RHYTHM ON THE matter that Getz could fly like a bopping hummingbird mostly by the Davis 5tets I suppose. But for a twist on Constantinople/ Leon RIVER and Ben could honk out some bar walkin’ blues, it is that the standard 5tet, they use Petter Vagan’s electric guitar Houa/ Eugene Meyer/ Challenge 3311 smoky ballad tenor that the uninitiated love. in the piano chair, and instead of a bass player, Steiner Lauimaschine/ Gone/ Consequently, all too often your hard core Jazz Nickelsen fills the bottom with synthesizer. This makes Baron Drais/ Pedestrian Riverboat shuffle/ Cry fan will tend to overlook the balladeer on the tenor. them sound more experimental than they are however, Curricle/ Royal Salvo/ Me a River/ Rhythm on Too easy to ignore. Too much in the background. Even as this is really tonal music with strong melody lines and One in a Row. 43:14 the River/ Lazy River/ worse, too trite. But every musician will tell you it is short solos based on the changes. It is true, the elec- Karl Stromme tpt, synth; Roll On, Mississippi, Roll easier to play a barrel of notes in a burning fast run tronics give them a fresh sound, but at bottom Peloton Hallvard Godal ts, clt; Petter On/ Down by the River/ than it is to string three notes together in a ballad with is a solid swinging mainstream ensemble, with plenty to Vagan g; Steinar Nickelsen Walking by the River/ real feeling. These two recordings explore that ballad say. These cats are not part of the noted Scandinavian synth; d, perc. River, Stay ‘Way from My tradition, and seek to avoid the cliché. September 2011; , free music scene, and in a way, that makes them worth Door/ Blue River/ Weary a listen. Peloton would rather sneak up on you with a Norway River/ Old Folks at Home n 1) Harry Allen is working on a theme. A baker’s smile, than arrest your attention with a growl. (Swanee River)/ Ready for Odozen of tunes all about “the River,” with a few the River/ Sleepy River. chestnuts thrown in like “Lazy River” and “Swanee,” and 4) FABULOUS FABLE he Fabulous Fable 4tet is a solid post-bop band 67:45 featuring some rarities like “Blue River,” a 1927 pop tune 4TET fronted by the tenor saxophonist Ekkehard T for the Jean Goldkette Orchestra when Bix and Tram EIN BERICHT Sassenhausen. On 2) they perform a set of all original Allen ts; Rossano Sportiello p; were in the band. Allen plays the tenor with the warmth Unit records 4301 compositions written by several members of the band, Joel Forbes b; Chuck Riggs d; and beauty we’ve come to expect from him. He can be which range from bouncing swing to tender ballads to Vache’ cnt (on 1, 4, 8, 11). No breathy and gentle as on “Cry Me A River.” And he can free blowing sessions. Sassenhausen sports a sturdy dates or locations given. honk the blues too, on “Roll On, Mississippi, Roll On” for example. The added pleasure here is when cornettist Warren Vache joins the 4tet on a handful of tunes. The

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addition of cornet adds a festive feel on Trad Jazz tunes Alberto Fidone on bass can pound out a driving Burgio p; Fidone b; Tringali d. like “Riverboat Shuffle” and “Lazy River.” The music on 1 rhythm, but he can play arco with sensitivity. Drummer 4-5 January 2011; Tremestieri is a throwback to swing era small combos, but Allen is Peppe Tringali can swing, but he is masterful as the Etneo, Italy. very, very fine and he makes the music new and alive. music shifts from a rocking Leon Russell drive to a loose The partnership of Challenge records and Harry Allen Paul Motian openness. Burgio has great range, and like has produced a long series of fine recordings, and 1) is his compatriots, he has a great dramatic sense, using another addition to that line. dynamics and color as well as tempo to move his listen- ers’ hearts. Most of the cuts are originals, credited to the whole trio, but these are not free improvisations. 2) MICHAEL PEDICIN ichael Pedicin has a big rough sound out of Sonny Rollins on his tenor, but on 2) he takes on a set This trio is too tight. Perhaps the best thing to do is to BALLADS M take a listen to what this trio does with a warhorse like (. . . SEARCHING FOR of ballads. There are three originals, and four jazz stan- dards that are unusual, Shorter’s “Virgo” and Mobley’s “Round Midnight.” It’s been done sweet and tender, PEACE) and Monk himself of course emphasized the dissonance Jazz Hut 0003 “Home At Last” for example. Pedicin opens the set with an extended solo cadenza on the warhorse “You Don’t that lurks in his most familiar tune. Burgio opens solo with a wandering Debussy like abstraction that quotes You Don’t Know What Know What Love Is,” announcing that he may be play- ing ballads but he hasn’t given up his fire. Guitarist for a moment “Someday My Prince Will Come,” and as Love Is/ Blame It on Your he explores the changes and the melody emerges, Heart/ Home at Last/ Few John Valentino is sitting in the “other horn” chair in the 5tet, and his bell-like tone and fine melodic solos are a the dissonance grows. When Fidone enters plucking Moments/ Virgo/ Tell Me/ abstractly and then Tringalli comes in on brushes, it Search for Peace. 55:17 nice contrast to Pedicin’s earthy sax sound. It all makes me wish that there was one track here which really let begins to swing gently. Fidone then takes over, stating Pedicin honk and roar, but that would violate the ballad the melody on bass while Burgio explores the chromatic Pedicin ts; John Valentino possibilities of the composition behind him. If you think g; p; Dean tempo idea of this set. So 2) is a nice, late night medita- tion, and it will leave you looking for more from Michael you’ve not heard anything new from the piano trio for- Schneider p; Andy Lalasis mat in a while, or if you are thinking there are too many b; Bob Shomo d. No dates Pedicin. Phillip McNally pianists tinkling chords and imitating Bill Evans these given; Venice, New Jersey days, then you need to hear 1) and hear what some 2) ANDREA POZZA young blood can do with the form, without resorting to EUROPEAN 5TET covering Nirvana tunes or adding a rapper to the mix The Italian Jazz scene has been burgeoning with talent GULL’S FLIGHT for decades, even if it is still little recognized here. These or even tinkering with electronics. This is the real deal. 1) SEBY BURGIO, aBeat 096 Search it out and discover these three young cats. Liker ALBERTO FIDONE & three recordings demonstrate that Italian Jazz is not limited to the generation of Gaslini and Trovesi, but is a me, I think you will be waiting for more. PEPPE TRINGALI A Propos/ Sir Pent/ Gull’s growing and unique tradition, with plenty of new talent. URBAN FABULA Flight/ Koe Koe Roe Koe ) is another release from aBeat, a 5tet lead by pia- aBeat 098 Koe/ Sem Palavras/ Le beat has been documenting the new arrivals on the 2nist Andrea Pozza. This is a solid straight-ahead Urban Fabula/ Albori Poirier Fatigue/ Demasque/ Italian scene for over a decade now, and with the ensemble from Europe playing ten originals, all of them All’Imbrunite/ Someday A Dancing Frog/ La Vache Seby Burgio trio on 1) that aBeat tradition continues. tightly arranged by saxophonist Dick de Graaf. Pozza My Prince Will Chat/ Qui Rit/ Three Slices of There have been some strong piano trios hailing from salts his sweetness with pinches of dissonance, and on Travel/ Guardie e Ladri/ Bread. 57:28 “Demasque” the 5tet pushes over into a freer post bop Round Midnight/ Back Italy over the years, as the work of Petrin and Rea and Bollani among others will attest. Burgio and company vibe. But for the most part 2) is a great and swinging and Forth/ On Green Pozza p; Dick de Graaf ts, here are the next to take the piano trio in new and thrill- mainstream record. The real interest lies in the interplay Dolphin Street/ La ss; Christian Brewer as; Jos ing directions. This first recording by a young trio is a between the saxes, de Graaf’s warm but crisp tone on Marcia dell’Ultimo Machtel b; Shane Forbes real standout. Like all great piano trios, their music is an the tenor countered by the acrid approach of Christian Moschettiere/ d. 10-12 March 2011; Ronco equal partnership. Brewer’s alto. Perhaps not breaking any radical new Flashback. 60:54 Biellese, Italy ground, this is a strong and enjoyable record.

198 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 199 New Issues New Issues 3) POST JAZZ ost Jazz Mistress is a guitar trio, with Osvaldo di Dio brothers’ 1933 show, “Pardon My English.” For some MISTRESS Pplaying both acoustic and electric on 3). He uses a reason, Ms. I. takes it at Shirley-Horn-retard tempo. The GLOBAL WARMING bit of overdubbing, here and there, in order to combine lyric asks the singer to express regret over time wasted TRP 0057 acoustic chording under the electric guitar’s solo voice. before she found her soul mate. Ms. I. ruefully sings that Listen to Me, My J./ Waltz On his electric, di Dio has a clipped tone playing single her mate wasted his time “reading Heine” while she was for Her/ Greetings from notes with lots of reverb, but no fusion effects. He does doing something or other “in China.” Ira Gershwin, the Fairbanks/ Silent Moving/ use the sustain capabilities of the amplified instrument lyricist, was assuming that his singer would be able to The Seven Secret Pools/ effectively for variety. Vincenzo Virgillito on stand up convince us that she might just happen to know (and Dancing on a Lonely bass is often a second melody voice, especially when he have an emotional connection to) someone who’d be Wave/ Lucy in the Sky plays arco. Over all Post Jazz Mistress is reminiscent of likely to have read Heine. Ms. Iacovni is not in the least with Diamonds/ Molokai/ the folky acoustic side of Pat Metheny, and fans of that convincing. Final note: almost as out of place as the Diary of the World. 44:45 sound won’t want to miss 3). “remix” track is pianist Colombo’s brief skirmish with Phillip McNally George Gershwin’s “Prelude in C#. Aside from enabling Osvaldo di Dio el & ac g; the producer to justify listing him as playing some Vincenzo Virgillito b; Antonio J Skizo opens the totally de trop “Rhythm” remix acoustic piano, the track is as out of place as an adagio Fusco d. September 2008; Dby announcing that he’s “sure there will be more dancer at Walmart. Catania, Italy than one unpleasant surprise before we’re done…. Alan Bargebuhr done……done.” He’s absolutely correct, but the warn- ing comes almost an hour too late. Yes, there are scant LARA IACOVINI BAND moments when Lara Iacovini’s supple voice peeks he title of the record tries to capture the style of this ‘S WONDERFUL sweetly through the session’s submerging jello of elec- Ttrio in how they jump from one style to another mix- ABEAT 508 tric piano and reverb, as on her gentle treatment of the ing compositions with free improvisations. Each track lovely verse to the title tune, but in the end there’s not has a composer listed with 2 and Surdej listing all three. ‘S Wonderful / Secret / enough to go on. Her own original, “Secret,” for which The compositional aspects of the record are obvious in Fascinating Rhythm / You she apparently wrote the lyrics in collaboration with a that proper themes can be recognized, but they become Are The Sunshine Of My relative (?) named Antonella Iacovini, is rather routine jumping off points for improvisations. The compositions Life / I Wish / Preludio n.2 New Agey doggerel that urges the listener to “find the have structure, but the improvisational sections often in C#m / I Got Rhythm / whisper of the earth.” Yawn. The juxtapositioning of break from that structure. In this regard Hopscotch Master Blaster / Isn’t It A Steve Wonder material with a few Gershwin standards Bigoni, Solborg, is like many other groups. This is not a bad thing, of Pity? / Living For The City ( “Wonderful /Fascinating / Rhythm / Pity” ) is awkward Brow course, but at least to my ears, there is less originality / I Got Rhythm (remix) at best. There is no equivalency established between Hopscotch here than the producers would have us believe. 55:21 the two and no case made for the pairing. Ms. Iacovini ILK 179 The band was recorded in a big room and the acous- likes to scat in unison with her vibist/marimba-ist, but it tics are great. We can hear the breathiness of the tenor Lara Iacovini, vcl; Riccardo quickly becomes tiresome because her scat is not very 2/ Elope Soon/ Airports/ and the resonance of the drums. Sometimes I just lis- Fioravanti, b, arr; Andrea authentic. She’s Italian, but sings in English with just a Brainwashing/ Meet Mr tened to the sound. Also the stereo separation is great Dulbecco, vib, marimba; faint tinge of accent. Her musical background includes Green/ Almost/Surdej/ with Bigoni on one speaker and Solberg on the other. Francesco D’Auria, d, perc; classical piano studies in a Roman conservatory, a cer- Socca/ Not Interesting The opening piece begins with a nice breathy tenor, GUESTS - Massimo Colombo, tificate in “lyrical singing” earned after studies in Brescia. But True/ E 44:19 almost reminiscent of Ben Webster, backed by some p, el p, synth; Giulio Visibelli, Currently, according to her website, she’s a “jazz singing very nice guitar chords from Solberg. The drums enter ss, flt; Alessio Menconi, g; DJ teacher at the Conservatory Ghedini in Cuneo.” Francesco Bigoni, ts; Kark in a very supportive manner. The next track begins with Skizo, remix. May 14 - 16, But, despite her fairly impressive academic dossier, I Solborg, g; Kevin Brow, d a composed riff and then develops into some raucous 2011, Milano, Italy. remain unconvinced. “Pity” is, I believe, a reasonably fair November 2010, Denmark playing with a return to the opening riff. Almost is a test for any vocalist. The tune comes from the Gerswhin slow moody piece with very nice interaction between

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sax and guitar with some very nice subtle drum accompaniment from Brow. On other tunes we hea a drum set but is playing all kinds of percussion some nice harmonics from Bigoni. In short there is some instruments, which really enhance Goudebecks’ playing. excellent playing on this record and I love the over all He gets some solo space here as well. The piece ends as sound, and there is a playfulness that reflects their name, it began with a bass solo. but there is little to distinguish this group from a lot of Recommended for lovers of free improvisation. other groups playing in this style. Bernie Koenig Bernie Koenig ccording to the web site for this cd this “Original his is an international coop trio with members born AProject” is rooted in tradition yet also defines new Tin Holland, Belgium and France, but they play with horizons. After listening to the cd a number of times I great unity. finally came to the conclusion that the new horizons Attention! really gets it and keeps it. It begins with are rooted in the 1960s. Which is not necessarily a bad moody short bursts with great accompaniment creat- thing. ing great tension. I was doing something else on the Cohen is someone I have yet to hear before so I computer during my second listening, and I kept having anticipated this cd. Though he is listed as leader, all the to stop what I was doing to carefully listen. All too often tunes are written by members of the trio accompanying this kind of playing goes nowhere, but there is a great him: Five by pianist Addabbo and two each by bassist energy here, largely due to the great undercurrents Necciari, Addabbo, Necciari and drummer Peterni. All the tunes reflect what provided by Ninh and Jacquemyn. The support works Cohen, Petreni I understand as Italian pop music with a good jazz twist. Goudbeck, Ninh, Progetto Jacqumyn because all three musicians are clearly listening to each Most are ballads. Rumba has a slight Latin beat with other. Original the accent on the afterbeat of two. That kind of rhythm Uwaga Abeat 102 Not Two MW 859 At about a quarter of the way in roles switch and shows up on a number of the tunes. We also hear some while Goubbeek is still playing, the rhythm players come 6/8 rhythms as well as some tunes which have a pulse Pure Coincidence/ Crete/ Attention!/Pasop! 56:35 forward a bit. But Goudebeck comes back, each time but no defined beat. RumbaLento/ Melodia there is a lull, when Goudebech comes back in he does The CD begins with a nice piano vamp with bass and Semplice/ La Ballata Andre Goudbeck, as, b cl; so in a different manner, using all aspects of both alto drums coming in followed by trumpet and piano play- delle mosche/ Boleto/ Le Quan Ninh, perc; Peter sax and bass clarinet, especially in the upper register. ing the theme in unison. After the trumpet and piano The First/ Tutto uguale a Jacquemyn, bass, voice The first piece, which lasts over 44 minutes, is, in solos we get the vamp back with a drum solo over it. We prima/ La notte droop il October 23, 2008, Krakow some ways, like so many free improvisations, many get this same pattern elsewhere as well. giorno 60:00 pieces in one. It sounds as if the piece is ending and one The Italian trio works extremely well together. of the players does something to spur on the others and Addabbo plays nice chords and then goes into single Luca Necciari, bass; Matteo the piece takes on new life. As interesting as Goudebeck note solos. Peterni accompanies very busily but very Addabbo, p; Avishai Cohen, is, I really loved listening to the fascinating things being sensitively and Necciari provides solid support. tpt; Franceso Petrieni d June played by Jacquemyn and Ninh. The piece ends with a One thing I like to do, especially around the third 2011 Sienna, Italy quiet duet between Goudebeck and Jacquemyn. listen, is to do something else with the music on to see Pasop! begins with a bass solo and after a bit we get what perks my ears. In all cases it was the trio without. some very subtle percussion accompaniment before Cohen. His playing is perfectly good but it didn’t grab Goudebeck comes in. This is a slow moody piece and me. I did a double take on The First where muted, he presents a great contrast from sounded very much in the Miles tradition. Attention! But it also builds and has its loud A nice record, with some really good trio playing. moments. I should point out that Ninh is not playing Bernie Koenig

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Louis Moholo Moholo, d; We get electric sounds with other musicians entering he music on this record is definitely not for every- Grutronic and Morten J. Olsen, d; Anders playing solo or as part of the ensemble. There are quiet one, but for those who like electronics you will find Evan Parker T Hana el g; Frode Gjerstad, s cl; sections with one or two people playing and then we this a winner. Together in zero Paal Nilssen-Love d; Ingebrigt get walls of sound with everyone playing, then we get As a bit of background, one of the points I make space Haaker Flaten, el bass; Per ebbs and flows. Psi records 11.09 in my classes about contemporary music is that it is Zanussi, el bass; Kevin Norton Some of the stand out solos are from Bradford, often difficult to tell the difference between composed vib; Borre Molstad, tba; Sabir Stephens, Gjerstad, Norton and Marhaug. It is also inter- Filigree and Circuitry/ classical music and improvised jazz. The reason is Mateen, s cl; Lasse marhaug, esting to hear different drummers coming out of each Mesomerism in Rhythm that performers of both are using the same musical el; John Hegre, live sound speaker, and in the full ensemble sections we even have 48:23 materials. This is very obvious in the case of electron- disc one January 30, 2010, three drummers. The point of the music, according to ics. If I played this record to adherents of Varese, Berio, Phildelphia, Disc 2, March 9 Gjerstad, from his website, is to be rambunctious, bois- Stephen Grew,kybd, Stockhausen or Cage, they would accept this as anoth- 2011 Oslo terous, and deafening to be able to wake the dead and processing; Richard Scott er electronic composer. If I played this to jazz fans, they to be real fun. The band certainly accomplishes this. But, wigi, buchla lightning, would accept it as improvised. at least to my ears, I think the band must be seen live to blippoo box; Nicholas My point is that it doesn’t matter how it is classi- be really appreciated. fied. For people who like electronic sounds, music is Bernie Koenig Grew, transduction; David music. And this record has some very good electronic Ross, droscillator; Evan music. The addition of Evan Parker’s soprano is a real he quartet playing on this record are all from Parker ss 4 december 2009, highlight. He blends his sax into the electronic sounds Argentine, though they all now live and play in Bratislava so well that at times I had to listen again to make sure T Europe. This record is an attempt to recall the spirit what I was hearing. I am not sure how to describe of their home-town, Cordoba. The record opens with the sounds here except to say that anyone who likes some abstract piano chords accompanied by bass and electronic music will recognize certain sounds and will drums. Girotto comes in on alto with a nice melody and not recognize others. I certainly hear the influence of his solo, followed by a piano solo. We go back to the Varese and Stockhausen, and I hear a flow that can theme, and then there are some false stops and build only come from jazz influences. ups leading us to a conclusion. There is some nice play- The second piece is much more lively and complex Sin Lugar a Dudas ing here and this track proves to be a good introduc- than the first: More sounds, more combinations of Abeat 100 tion to the whole cd since these are patterns that are sounds and more interesting. The two pieces actually repeated on other tunes. All the tunes were composed complement each other nicely. The first can he heard La vuelta/ el by members of the quartet, so perhaps that is why there as a warm-up piece where the different sounds and mastropiero/ pigro is a resemblance to all of them. We also get a lot of Latin instruments are introduced. And in the second piece sentimento/ la rural/ influenced rhythms, which, given the origins of the play- the performers let ‘er rip. And, as we can hear, the audi- la cambiada/ sin lugar ers, is to be expected. Di Giusto provides some nice big ence loved the performance. a dudas/ la luz de la chords and octave phrasing which I associate more with Bernie Koenig Circulasione noche/ la suspendids/ Cuban music, but it probably is played all through Latin ponte della/ l’ultima America. The quartet tries to vary things by changing Totale love playing in free form bands. I love playing in giro/ huayno en S 60:00 tempos and moods and one tune, Rural, sounds like a Orchestra noise bands. And I love playing with electronics. But I I piece for a Fellini movie. In short this record PhilaOslo don’t always enjoy listening to them, though I do enjoy Javier Girotto, sax; Gerardo sound like some good Spanish pop tunes with some Circulasione Total watching them, so I can see how the musicians are Di Giusto, p/ Carlos “el Tero” nice improvisations. While all the tunes are originals, CT12 interacting. On these two cds, there is a lot going on, Buschini, bass; Gabriel there is a familiarity about them so that in a number of but I found it very hard to focus. But on the plus side “minimo” Garray, d perc. 2010 cases I found myself humming along as if I knew the Phila/ Oslo there is some excellent playing here. Civitavecchia, Italy tune. But more than anything else, through most of this record I just wanted to dance.

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Ginfizz is a nice busy line on piano with nice drum ere is another Italian jazz quartet whose roots accompaniment with solid bass support. Orlandi tries to are in the late 1950s to late 1960s but manage to H Daclon, p; Marco Vaggi, bass; be interesting in his solo by using whole kit but relies a sound fresh. When listening to groups like this I want to Paolo Orlandi, d July 15, 2010 bit too much on snare technique. Ministeps is a ballad say things like the sax player was influenced by so and Bergamo Italy with some nice build up in middle before restatement so. While there are some obvious influences, such as of theme. on Lullaby for Dino, Badiini sounds like Coltrane of the The CD ends with Alfonsina Y El Mar by someone Prestige period, all these players have absorbed their else. It is moody and a nice ending to the CD. influences and have made them theirs. The cd starts Overall a nice piano trio record. with a walking bass. Drums enter with a funky fusion Bernie Koenig feel, followed by Soggetti on piano and then Azzali Paolo Badiini 4et enters with the melody. On other tunes the rhythm is Save the flag udging by the cover and the list of tunes, I was more straight ahead. expecting some electric fusion. But instead I got Abeat 509 J The CD is arranged to give some variety with up tem- some very nice mainstream playing with fusion pos and ballads mixed. Not There Yet, the only tune by influences. What we have here is another Italian quartet Save the flag/ Dark Soggetti, is a nice ballad with Azzali on soprano. Lupo playing some originals by Crespiatico as well as tunes by mirror/ Not there yet/ provides some nice cymbal work with great anchoring Steve Swallow, Chick Corea, Miles Davis and Alec Wilder. You don’t know what by Badiini, who wrote all the other tunes. Sex, Drugs, The CD opens with the Swallow tune with a rhythm is inside me/ Sex, drugs and Blues has some very raucus playing by all, with a somewhere between straight ahead time and fusion. and blues/ Lullaby for somewhat too technical drum solo, before returning to Bonisolo leads with a nice solo, followed by Piacentini Dino/ Take it or leave it/ the melody. The last tune on the cd, Tristano, does not and Crespiatico on electric bass, which gives the band a Tristano 48:02 sound like the great pianist, but may have been inspired distinct feel. We get some trades with drums and then a by him. We get playing here that is freer than on the short drum solo, nicely introducing the whole quartet. Badiini, bass; Gianni Azzali, other tracks with a big build up with everyone pushing To my ears Bonisolo is influenced by Prestige era ts, ss; Roberto Soggetti, p; their limits before a return to the theme. Coltrane but with a softer tone. Piacentini is influenced Roberto Lupo, d no date or In short, a nice opening and a great closing, with Fabio Crespiatico by fusion players exhibiting good two fisted playing location some very nice playing in between. Portraits mixed with nice single note solos. Bagnoli is a very busy Bernie Koenig Abeat 507 player possibly influenced Tony Williams. Nice bass solo on Lontano, an original by Crespiatico his is another abeat record with the cymbals very Eiderdown/ Windows/ nice brush work by Bagnoli. Drops is another ballad Simone Daclon forward. And all the drummers love to play and trio T Lontano d ate/ Drops/ with a very open piano solo with nice drum accompani- crash their cymbals. This seems to be a hallmark of the Rembrance (for my grand ment then moves into a qicker time very nice dynamics Growing label. But unlike the other cd I have reviewed on this Abeat 095 mother)/ Nardis/ Moon on drum solo. Remembrance, written for Crespiatico’s label, this is a trio. All the tunes except three are by and Sand 53::36 grandmother, is a nice ballad played with nice feeling. Dacion. He tries to vary things with tempo and phrasing. Falso Baiao/ S & Bagnoli’s busy brushwork fits Bonisolo’s solo. Crespiatico The cd opens with a piano vamp, accompanied by bass Crespiatico, el bass; Mario happiness/ On a Misty provides very nice bass work behind Piacentini’s solo and drums in a fusion feel. Dalcion plays nice full chords Piacentini, p/ Stefano Bagnoli, Night/ Ginfizz/ Ministeps/ followed by his solo. Great track. and here, as in a number of places on the cd, he can be d/ Robert Bonisolo, ts 7th Pop Song/ Clockwise/ Nardis trio track opens with bass and drums setting heard humming along. December 17, 2009 Milan, Italy I surrender, dear/ Caveat the feel. More of a fusion feel. Piano states melody long On a Misty Night is an old Tadd Dameron tune. solo maintaining feel of melody line bass solo. Caveman/ Sillology/ Dalcion plays it in a more open manner, with drums fill- Alfonsina Y El Mar 56’:00 is an old standard also played with a ing in the open spots in the melody line. This version is fusion feel but has a nice flow and provides a nice end- much faster and more open than the 1956 recording I ing to the CD. have by Dameron. Bernie Koenig 206 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 207 New Issues New Issues

his is the first issue of a concert held in March 1972. manipulation and nuance in performance.” For Galper ALICE IN WONDERLAND/ The reason for the titles parts one and two are and his willing and able collaborators, the rubato style T BABES OF CANCUN/ GET UP because the concert was recorded on reel-to-reel tape, is a way of creating new instant directions for their & GO/ I GUESS I’LL HANG which could only take about 30 minutes before the tape collectively improvised performances. They’re off and MY TEARS OUT TO DRY/ had to be changed. running with an uptempo look at the standard “Alice SUSPENSION/ TRIP THE LIGHT The concert starts with guitar sounds and then oth- In Wonderland.” Galper’s emphatic attack, Johnson’s FANTASTIC/ BE MY LOVE; ers enter. The piece starts slowly and builds, and like quick-fingered bass and Bishop’s busy, insistent drums 44:18 other free improvisations there are lulls and build-ups combine in a near-frenzy of brisk improvisation. It’s and different musicians pick up the slack. Sometimes apparent from the way that the rhythms disperse Hal Galper, p; Jeff Johnson, Bailey is out front, sometimes Rutherford, and some- and congeal with uncanny togetherness that playing b; John Bishop, d. 2/20/11, times Guy. It is clear that the three musicians are care- together over a few years has molded this trio with Roscoe, NY fully listening to each other and are working off each a shared sense of time and the general shape of a other, creating a musical conversation. With only three performance. When they’re playing at faster tempos, the Iskra 1903 people playing, it is possible to follow the conversation three share a tendency to fill up the musical space with Goldsmiths on record, though, like most free improvisations, seeing a lot of notes. Indeed, the trio’s first release was called Emanem 5013 the band really helps to follow it better, especially when Furious Rubato. The density alone is not to everyone’s the conversation becomes complex with everyone taste, and I’m more partial to the ebb and flow of a Cohesion 1A/ Cohesion speaking. One of the things I love about this kind of ballad like Ron Miller’s “Babes of Cancun” than to the 1B/ Cohesion 2A/ music is that very often the sounds made by the instru- crash and burn of the opener. Plenty of listeners, used Cohesion 2B/ Unknown ments sound like vocal sounds. This reminds me of the to a steady pulse or a beat they can follow, will no doubt 1/ Unknown 2 75:20 experimental classical music of the 1960s when com- be put off by the ever-changing rhythmic environment posers used voices with electronic sounds. The electron- no matter what the tempo. Galper and his bandmates Paul Rutherford, tbn; Derek ics were supposed to sound like human voices, and the are so single-minded about the approach that they Bailey amp g/ Barry Guy human voices were supposed to sound like electroni- make it work, mostly through the sheer exuberance of amp double bass tracks cally generated sounds. I find this especially the case Galper’s extroverted playing. On an original like “Get 1-4 London, 9 March 1972. with Rutherford’s trombone. Up & Go,” a rubato rendering is practically demanded Tracks 5,6 unknown The playing on this record is actually quite subtle, by the startlingly splashy run across the keyboard that with some louder sections, and takes a real effort to get announces the piece and reappears at various intervals into the music. Listeners who like this kind of music will to reinvigorate the harmonic and rhythmic landscape. be rewarded for their efforts. Galper’s carefully considered piano solo seems to evoke Bernie Koenig predecessors including Monk, , and , before turning the spotlight over to Johnson for ou can’t help but be inspired and even touched an exploratory and slightly busy solo prodded gently Yby the continued accomplishments of a respected by Bishop’s drums. A pastoral piano passage is ended musician who really doesn’t have anything to prove abruptly by the splash of trebly piano and the repeat at this stage of the game but can’t stop growing and of the theme. Galper and bassist Johnson, with an experimenting. Pianist Hal Galper, who first recorded especially pungent solo, rhapsodize on “I Guess I’ll Hang with some pretty fast company in the Sixties like Chet My Tears Out To Dry” in a winningly lyrical performance. 1) THE HAL GALPER Baker, Sam Rivers, and Bobby Hutcherson, is perhaps Two more Galper originals, the ominous sounding TRIO best known for his decade-long stint with Phil Woods in “Suspension” and the churning upbeat waltz that gives TRIP THE LIGHT the Eighties. 1) is the third release by his trio with bassist the disc its name, give the trio plenty of material to FANTASTIC Jeff Johnson and drummer John Bishop, which focuses work with. Galper is superb on “Trip the Light Fantastic,” ORIGIN 82602 on playing rubato, variously defined as “rhythmic flex- spurred by Bishop’s explosive off-kilter rhythms. ibility within a phrase or measure” or “subtle rhythmic

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The disc concludes with another standard, “Be My Love,” Leaping” is a quirky stop-start improvisation by Burk and a favorite of piano players, singers, and saxophonists Cleaver, leading into the Spanish-flavored melody alike. Galper and company have fun with it, coming of “Serenity’s Distant Dawn.” A plainly pretty and gentle out roaring and slipping into some exciting fast groove song, it features a soothing bass solo by Robinson. playing. It’s exhausting but deeply satisfying at the same Cleaver’s “Ropes” is a two minute drum solo, setting up time, a combination that pretty much characterizes the the boppish “I Left My Gun in Detroit.” Burk solos at whole album. Well worth repeated listening. length with steady support by Robinson and Cleaver. The disc concludes with the drifting and somnolent n 2), the Greg Burk Trio reunites pianist Burk with “Stars Shine Still,” not the kind of piece that leaves you Ofrequent collaborators Jonathan Robinson on bass wanting more. In a way, this disc points up both the and Gerald Cleaver on drums. Cleaver and Burk played opportunities and pitfalls of self-produced albums. On regularly when the pianist was based in Detroit back in the one hand, you get to play whatever you want, and the early Nineties; they’ve both come a long way since the freedom to create is invaluable. But you miss the those days. The set opens with “Song For IAIA,” a high- guiding hand of a producer with another perspective life flavored romp that’s full of restless energy and catchy who can help to present the music in the best way as hell. Over the course of the next hour, Burk and possible. For all the fine music on The Path Here, I can’t friends will turn to everything from the blues to folk help but think that this would have been a much better themes to showcases for classical influences on Burk’s release with some judicious editing and resequencing. music. Sometimes it works, and sometimes it doesn’t. 3) MARY LOUISE 2) GREG BURK TRIO “Look To the Asteroid” has a number of attractive KNUTSON very city of a certain size has a core of jazz musicians who are known locally but for one reason or another THE PATH HERE melodies, but the obsessive nature of Burk’s repeating IN THE BUBBLE E seldom venture into the wider world of the jazz “busi- 482 MUSIC 1077 bass figures and the subsequent lack of space in his MERIDIAN JAZZ 2011 performance made me more nervous than intrigued. ness.” These days it’s pretty easy for a musician to SONG FOR IAIA; LOOK TO THE put together a CD and try to get exposure by selling it Cleaver almost saves it with a rough and tough drum 1.IT COULD HAPPEN ASTEROID; WINTER ALWAYS on the net and making it available at shows. Pianist Mary solo to bring the piece to an end. Robinson’s brief and TO YOU/ 2.BLUESETTE/ ENDING; BLUES IN O; CHILD’S Louise Knutson has been playing piano in the plaintive “Winter Always Ending” is a feature for his 3.BERNIE’S TUNE/ 4.YOU DANCE; LOST TIME/ TONOS; Minneapolis-St. Paul area since the turn of the century, ghostly arco. The tune’s ethereal quality stands in total ARE MY SUNSHINE/ BC; FORWARD LEAPING; and 3) is her second release as a leader. Her playing contrast to the earthy “Blues In O” that follows, an old- LUMINOUS/ 5.SEA OF QI/ 6. SERENITY’S DISTANT DAWN; manifests a warm touch, a keen sense of lyrical fashioned swinger with a surprise ending. For “Child’s CAN YOU HEAR ME NOW?/ ROPES; I LEFT MY GUN IN improvisation, and a solid grounding in the blues. Dance,” Burk moves to washint, a flute from Ethiopia, 7. THAT’S ALL;/ 8.YOU DETROIT; STARS SHINE STILL; Whether they’re playing standards or one of her with Robinson on thumb piano and Cleaver on DON’T KNOW WHAT LOVE 63:09 functional original compositions, Knutson, bassist percussion. There’s not much to it, and it almost seems IS/ 9. TALK TO ME/ 10. IN Gordon Johnson (another Twin Cities stalwart), and flown in from another project. “Lost Time/Tonos” is the THE BUBBLE; 65:12. Greg Burk, p, washint longest track on the disc, starting out with a romantic three different drummers manage to be consistently [Ethiopian fl]; Jonathan engaging and swinging. Her choices for the repertoire theme shared by Burk and Robinson on arco. It moves in Mary Louise Knutson, p; Robinson, b, thumb p; Gerald are interesting, including a batch of once- a kind of suspended time, and while I find the lack of Gordon Johnson, b; Phil Cleaver, d, perc. 1/26/09, popular tunes that are hardly played these days, like momentum and repetitive melodic figures somewhat Hay, Greg Schutte (4,8- Rome, Italy Toots Thielemans’ “Bluesette” and Bernie Miller’s “Bernie’s maddening, I can also hear the beauty of the trio’s 10), or Craig Hara (5) (d). Tune.” The trio makes a bittersweet ballad out of “You carefully balanced and tautly reined approach. The 5/30/09 (4,8,10), 8/18/10 Are My Sunshine,” played as a medley with her own wailing groove of BC is more my style, with Cleaver (1,2,6,7), 9/9/10 (9), “Luminous,” a gospel-like piece influenced by Keith matching wits with Burk and Robinson in brisk 11/15/10 (5), & 11/20/10 (3), Jarrett. The fairly slow tempo seems to suit Knutson and exchanges of melodic and rhythmic invention. “Forward Minneapolis, MN company, and the lovely performance features a fine

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solo by bassist Johnson. Another highlight is the trio’s opener. “Poco Picasso” is the first of two pieces by reading of “You Don’t Know What Love Is,” a beautifully Matthew Nicholl. Pianist Ray, one of the trumpeters realized performance. In spite of the fact that the music (sorry, no way to tell which one), and drummer Walker was recorded at five (!) different sessions over more than all solo convincingly. Nicholl’s second piece is the wistful two years, this disc holds together quite well. While In ballad “Wishful Thinking,” featuring a lovely trumpet lead, The Bubble breaks no stylistic ground whatsoever, it is a along with strong tenor work, presumably by Smith. The eminently listenable and entertaining release. bluesy swinger “Breaking News” is by trumpeter Walter Stuart Kremsky Platt, one of just two works by band-members on the his group packs a lot of information in the band program. A straight-forward riff based number, it Tname, but there are two more curious facts about features some ever so tasty piano work by Tim Ray and a this Boston-area octet to consider. First is the lineup: fine trumpet solo, probably by Platt, and a hard blowing two trumpets, two reeds, four rhythm - and no trom- baritone solo by Smith. Felipe Salles’ “Children’s Waltz” bones. The second thing is that most of the writing has a surprisingly dreary introduction by Smith and for the band is done by outside composers. As leader Salles on flutes before picking up a bit and settling into a Daniel Ian Smith notes on his website, the ensemble dancing tempo. At over nine minutes, this is a piece that “quickly adapts to and personalizes the compositions keeps shifting the pace, slowing down and speeding up that are written expressly for it.” It makes for an unusual with impressive discipline and unity. Richard Lowell’s hybrid. Many jazz composers, of course, write with “Warp 7, Now!,” is, as you might guess from the title, specific individuals in mind, and presumably someone complex and upbeat. Eventually, a trumpet bursts out of writing for the octet has a firm sense of the specific the tangle of horns and punchy rhythms, with a brightly THE NEW WORLD assertive solo. Salles and Smith follow with a duet for JAZZ COMPOSERS musicians. But because each of the six composers rep- resented here has varying concerns, the band has a fair their gruffly flowing tenors, and Tim Ray takes another OCTET choice solo before yielding the spotlight to the BREAKING NEWS amount of “adapting” and “personalizing” to do as well. The band’s general sound and key influences are nicely percussion section and a brief reprise of the main BIG AND PHAT JAZZ conveyed by composer and co-producer Ted Pease, theme. The session’s one real misstep comes with Jeff PRODUCTIONS BPJ1022 whose “Trilogy” ends the disc with tributes to Thad Friedman’s “Song Sung Long,” a setting of a poem by Jones, Billy Strayhorn, and Bill Holman. The group . Friedman’s music is suitably atmospheric POCO PICASSO/ WISHFUL has no trouble whatever evoking the potent swing and mildly dissonant, but the choice of young Catherine THINKING/ BREAKING NEWS/ of Jones’s big band writing on the bright “Thad’s Pad,” Hazel Smith to read the poem is too precious for words. CHILDREN’S WALTZ/ WARP 7, with drummer Mark Walker and percussionist Ernesto Haines’ idiosyncratic poetic voice is an acquired taste, NOW!/SONG SUNG LONG*/ Diaz sparking a potent solo by pianist Tim Ray and and so is the use of children’s voice in serious music. As a TRILOGY (THAD’S PAD/ some sophisticated horn writing. Smith puts on his combination, let’s just say its hard to listen to, and leave STRAYS/ WILLIS); 67:43. best Johnny Hodges impression for the tender “Strays,” it at that. That tune aside, and with points off for not and he handles it with the required keening ease. The identifying soloists or arrangers, the session is a largely Ken Cervenka, Walter Platt, emphatic “Willis” is broadly scored and the band sounds successful project by an admirably swinging ensemble. tpt, flgh; Daniel Ian Smith; much larger than they do elsewhere. Again, it’s the Stuart Kremsky ss, as, ts, bari s, fl; Felipe percussion section that keeps things happening. Smith Salles, ts, fl; Tim Ray, p; takes a powerful baritone solo on this one. But you Keala Kaumeheiwa, b; Mark don’t really need the dedications to get a firm handle on Walker, d; Ernesto Diaz, perc; the NWJCO’s devotion to tasteful swing, full of flowing Catherine Hazel Smith, vcl on arrangements, idiomatic soloing, and snappy rhythms. *. 6/5-6/11, Boston, MA That much is clear from the propulsive grooves of the

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The choro style originated in Rio in the 19th century, RICHIE KAYE’S MUSIC Kaye, g, vcl; Tony Lavorgna, sax, cl, p on *; Sam Kuslan, p on #, 1.CAMINHANDO/ perc on ^. No dates or locations specified. 2.SIMPLICIDADE/ 3.CHEGUEI/ and probably sounding very much like this disc, since & MIRTH there seem to be no modern influences at work in the RICHIE KAYE WITH 4.FEIRA LIVRE/ 5.KENNY É magine, if you would, a gleeful acoustic guitar and VOCÊ/ 6.ROSA CIGANA/ band’s energetic and loving renditions. It should be no TONY LAVORGNA surprise that the Hot Club feel is there, or Neto’s classi- RICHIE KAYE NO# Iclarinet duet on the venerable “It’s Only a Paper 7.BEM BRASIL/ 8.DEIXA O Moon.” In your mind, add some thin whistling up BREQUE/ 9.DOCE DE CÔCO/ cally- influenced “Rosa Cigana” or the Irish jig that the group almost breaks into on Sivuca’s “Forró na Penha,” (SAY IT’S ONLY A) PAPER front and a few snippets of the lyric, sung out of tune. 10.FORRÓ NA PENHA; 54:18 for that matter. Urban music, by virtue of the intermin- MOON/ TALK OF THE Actually you don’t have to imagine it. You just have Zack Pitt-Smith, saxes, fl; gling of different cultures, blends them to come up with TOWN/ SWEET TOOTH/ TINY to play the first two minutes of Richie Kaye’s Music & Jesse Appelman, mandolin; something new. The same kinds of musics from Europe CAPERS#/ LOVE IS JUST Mirth. This relentlessly cheerful duo of Kaye on gui- Brian Moran, 7-string g; Ami and Africa spread around the world, with different AROUND THE CORNER/ tar and voice with Tony Lavorgna on clarinet, with Molinelli, perc; Jovino Santos balances of melody and rhythm finding varying local DESAFINADO/ LEAN BABY*/ occasional assistance from Sam Kuslan, dispatches 22 Neto, p, acc, fl (3-6,9,10); expressions. Choro is a fine example, a popular music of SOMEWHERE/ RUNNIN’ WILD/ songs in under an hour. Many of them are standards, Brian Rice, perc (3-5,10). its time, rediscovered and revitalized in the Seventies. MEDLEY: OUT OF BREATH including Lavorgna showing off on “Running Wild,” “Just 7/5/10, Oakland, CA Solo chores in this modern choro band are split among AND SCARED TO DEATH Friends” with annoyingly overdubbed sax and clarinet, Pitt-Smith’s saxophones, Appelman’s mandolin and OF YOU; YOU BROUGHT A and a lagging “Have You Met Miss Jones?” There are no Moran’s 7-string guitar. The three trade lines with the NEW KIND OF LOVE TO ME/ songwriter credits, so we don’t know who to blame for off- hand ease of experienced musicians who are clearly THEY ALL LAUGHED/ LAZY the abysmal “Sweet Tooth,” about a trip to the dentist. in sync with one another. Ami Molinelli’s understated RIVER/ MEDLEY: MARGIE; But I can blame Kaye for choosing it, and singing it so hand percussion moves the music with crisp and com- AVALON/ THERE’S A BOAT badly. Not much mirth to be found on this one. Avoid 2) HAMILTON plex rhythms. Grupo Falso Baiano clearly made a lot of THAT’S LEAVING FOR at all costs. DE HOLANDA & friends in the enthusiastic nightclub audience, as well NEW YORK/ I REMEMBER Stuart Kremsky YAMANDU COSTA they should with their effervescent and beautifully real- YOU/ JUST FRIENDS/ MY LIVE! ized music. A pleasure. FOOLISH HEART*/ HAVE Here are two fresh looks at Brazilian-styled jazz. ADVENTURE MUSIC AM YOU MET MISS JONES/ I’LL 1064 ) captures the fascinating and delightful duo of TAKE ROMANCE/ BACK IN n 1), the Grupo Falso Baiano (Pitt-Smith, SAMBA DO VÉIO/ CHANAMÉ/ 10-string mandolinist Hamilton de Holanda and NAGASAKI/ AREN’T YOU OAppelman, Moran and Molinelli) with friends 2 SWEET (MEIGA)/ LIGHT OF 7-string guitarist Yamandu Costa, transparently recorded GLAD YOU’RE YOU?/ TEQUILA Jovino Santos Neto and Brian Rice is captured live DAWN (LUZ DA AURORA)/ in performance in São Paulo. The pair combines formi- (ALMOST LIVE)^; 50:40 at Oakland’s well-known Yoshi’s nightclub. Neto also contributes a trio of original tunes to the repertoire. 01 BYTE 10 STRINGS (01 dable technique with immense depth of feeling in a The rest of the material comes from the pens of BYTE 10 CORDAS)/ SAMBA program of original compositions by each musician and 1) GRUPO FALSO some of Brazil’s well-regarded composers, including FOR RAPHA/ WHISPERED a few co-written pieces, ending with Ernesto Nazareth’s BAIANO Pixinguinha and Sivuca. The set kicks off with a lively (COCHICHADO) FLOWER OF “Sliding (Escorregando).” To get a grasp on their intense- SIMPLICIDADE: LIVE interpretation of Nelson Cavaquinho and Norival Bahia’s ly virtuosic style, think (once again) of the music of AT YOSHI’S “Caminhando.” From the first unison lines by Jesse LIFE (FLOR DA VIDA)/ Django Reinhardt and the Hot Club of France, distilled SEASONS (ESTAÇÕES)/ into a duet with 17 strings and drawing on Brazilian folk MASSAROCA 20111 Appelman’s mandolin and Brian Moran’s 7-string guitar, the gypsy string band influence of Django Reinhardt SHIAWASE/ SLIDING and choro styles. The duo’s music is often emotionally is apparent in the music, a delicious combination with (ESCORREGANDO); 64:23 direct and imbued with the distinctly Brazilian feeling the characteristically peppy Brazilian dance rhythms. of saudade. The duo’s ballad “Light of Dawn (Luz de I’m no expert on Brazilian genres, so the internet was Hamilton de Holanda, Aurora)” is one lovely example. So is the tender intro- a help here. A Google search for the band’s name will 10-string mandolin; Yamandu duction to de Holanda’s “ 01 Byte 10 Strings (01 Byte 10 find them described as a choro group based in San Costa, 7-string g. 1/08, São Cordas),” which evolves quite naturally into a furious and Francisco. Paulo, Brazil intense duet that goes through a series of increasingly sublime variations.

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This 9 minute tour de force really gets exciting, and man for himself. Wood on quivery alto and Clucas on just about anyone with a pulse will be moved by it. The cornet are piercing and playful before both switching audience loves every minute of this back porch music, to flutes with chattering electronics and walking bass. Brazilian style. You will too. A marvelous set, totally rec- I could go on, but it’s clear by this point that nothing ommended. Stuart Kremsky is going to stay the same for very long on this disc. It’s also apparent that an attempt at description is just not outhern California reedist Dick Wood’s debut CD is going to help. Let’s just say that Wood and crew are Sa delirious mélange of sounds that might be called onto something with this forward-looking 21st century “kitchen-sink avant-garde.” A brief note on the back brew. Judging from the raves by Southern California namechecks Ornette, Tatum, Big Joe Turner and Sun luminaries Bobby Bradford and Nels Cline that came Ra among others, without neglecting to mention the in the press release, Wood has evidently been honing blues, Bach and New Orleans. With the help of a solid his craft for a while, so kudos to pfMENTUM for helping cast of characters drawn from the barely-known ranks document this music. Definitely recommended. of forward-thinking musicians in the area, Wood has Stuart Kremsky put together a rollicking and boisterous release that will reveal more with repeated listening. That’s just the way ito Carrillo sure can play trumpet, no doubt about Wood envisioned the music, as an “experience that will Tit. Even a casual listen to his solos will reveal a be new each time.” The band opens by slamming right TITO CARRILLO bright winning tone, technique to burn and a flair for into “Ignatious,” described as a folky song with refer- OPENING STATEMENT tart melodic invention. This is Carrillo’s first release as a ences to free jazz and Mississippi John Hurt. We’re in ORIGIN 82603 leader after over a decade of sideman work in Chicago, pretty strange territory right away. After the fanfare-like and with drummer Dana Hall from Terrell Stafford’s quin- theme, Wood solos with a squealing solo that evokes 1.TRUTH SEEKER/ 2.SHADES tet in the band, I was ready to really enjoy this one. But DICK WOOD Dolphy and Marshall Allen plus a dash of quirky humor. OF MORPHEUS/ 3.SONG it turns out to be a hard album to like. Carrillo wrote all NOT FAR FROM HERE Meanwhile the rest of the group dissolves into an atom- FOR ELISA/ 4.THEOPHILUS/ but two of the tunes, and he has a penchant for themes ized rhythm section plus occasional horn swells. Dan PFMENTUM 065 5.STILLNESS/ 6.HISTORA DE that twist and turn, with shifting tempos and dynamics, Ostermann’s trombone jumps out for a solo and the UN AMOR/ 7.BLAISE ON FIRE/ abrupt rhythmic alterations, stop-time breaks, and more. group slowly grows more agitated as Marty Mansour’s IGNATIOUS*/ MANGO SEASON/ 8.WHERE YOU COME FROM/ His approach makes the compositions more like mine drumming picks up and electronics whiz Mark Trayle COOK THE BOOKS*/ NOT FAR 9.3 COLORS/ 10.COME, THOU fields than the springboards to improvisation that he makes his presence felt. A woozy ensemble staggers FROM HERE/ NO KNOWN FOUNT OF EVERY BLESSING; was hoping for. It’s not that they’re especially difficult, to the finish line driven by Hal Onserud’s forceful bass. KNOWNS/ AND NOW; 47:53. 72:09 but that the parts don’t always cohere. The contrast Wood is credited with the compositions, but as he states between his overly busy compositions and the more Wood, as, fl, whistle, boom box; “I gave them the notes, and everyone improvised.” His Carrillo, tpt, flgh; Benjamin direct “Historia de un Amor” by Carlos Almarán and Dan Clucas, cnt, fl, octokoto, role is as instigator to these collective improvisations. Lewis or Darwin Noguera “Come, Thou Fount of Every Blessing” by contemporary other sounds; Hal Onserud, There’s plenty to pay attention to in this sequence of (2,6), p; Lorin Cohen, b; Dana gospel singer Robert Randolph is telling. Programmed b; Mark Trayle, live elec with surprising collisions and happy accidents. In addition to Hall, d; Geof Bradfield, ts, ss in the middle of the disc, the well-known Almarán song Supercollider graphics; Marty the usual saxophones and brass, there’s Trayle’s electron- (1,4); Phillip Doyle, ts (8,9). comes almost as a relief. Carrillo caresses the melody, Mansour, d, perc; on *, add ic manipulations, and Clucas’ homemade octokoto and 6/11, Chicago, IL brightly prodded by pianist Darwin Noguera, who Dan Ostermann, tb with space mysterious “other sounds” credit to add more unpredict- also contributes a crisply articulate solo to the track. mute; Chuck Manning, ts, perc; ability to the ensemble. I love the way “Mango Season” Carrillo returns for a bravura solo full of leaps into the 6/15 or *10/19/08, Los Angeles, begins, with slithery horns and a groovy rhythmic figure. stratosphere and a growl or two. The tune is one of the CA Don’t get too attached, though, since the rhythm frag- album’s highlights. Another high point is Carrillo’s dedi- ments around 30 seconds in and it’s every cation to his father, “Theophilus.” For once, the song’s multi-sectioned theme holds together, providing

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a multi-sided musical portrait of the man. Carrillo’s hear, for example, what appears to be a normal trumpet, dancing solo is lovely, while Hall cooks hard at the a brass choir, an English horn, a pipe organ, a steady moderately up tempo. Bradfield contributes a heated drum beat, or even a revving car engine or a passing soprano saxophone solo. But pieces like “Shades of truck—or any of various juxtapositions of such, some Morpheus” and “Blaise On Fire” have too much going harmonious, some dissonant. Indeed, at one point one on for their own good. Carrillo’s muted trumpet on the hears what sounds like voices with so much realism latter piece engages Hall in a blistering duet. The rest that although Wooley clearly states that trumpet tones of the band kicks in with Benjamin Lewis prominent on were used exclusively, the CD cover lists him as vocalist piano. His solo is start-and-stop to begin with, evolving as well as trumpet player. The various sections of tonal into long flowing lines. “Where You Come From” has a combinations are organized in such a way that the Horace Silver feel to its main melody, but Silver would listener detects a sense of form with the typical ebb never break up the rhythms the way that Carrillo does. and flow and climaxes and resolutions, all elements that Carrillo solos at length in a more thoughtful and create and hold interest. reflective manner than his more extroverted playing Many listeners will not have the patience to sit on most of the other pieces. While there’s plenty of fine through a 72-minute continuous performance of any playing throughout the session, particularly by Carrillo kind of music or sound presentation. But those willing and pianist Benjamin Lewis, to these ears the over- to spend the time with “The Almond” might find it a thought structures of the leader’s compositions limit the uniquely satisfying experience. music’s effectiveness. David Franklin Stuart Kremsky DEAD CAT BOUNCE or a band comprising only four doubling saxophon- t’s definitely not Jazz, nor is it, according to the art- CHANCE EPISODES Fists, a bass player, and a drummer, Dead Cat Bounce Iist, improvised (“…it still came out in a way that is CUNEIFORM RUNE 323 (a Wall Street phrase referring to a declining stock’s …improvised sounding…”). But creative it certainly brief recovery) covers lots of bases. Leader Matt Steckler NATE WOOLEY is. Nate Wooley, who can in fact play Jazz and whose FOOD BLOGGER/ TOURVAN composed all the tunes for the fourth recording over THE ALMOND recent releases have featured experimental trum- CONFESSIN’/FAR FROM THE more than a decade by the group consisting now of three New Yorkers and three Bostonians. And he and the POGUS 21061-2 pet sounds, made a recording this time of straight, MATTY CROWD/ SALON unadorned trumpet tones presented in various ways SOUND JOURNAL/ BIO others improvise consummately on the compositions and combinations to create a continuous 72-minute DYNO MAN/ SILENT MOVIE, in a variety of settings from the calm and pastoral to THE ALMOND. 72:02 work that exhibits organic unity, variety, and contrast. To RUSSIA 1995/ WATKINS the decidedly loud and raucous. While their improvisa- oversimplify his complex methodology, he “recorded 9 GLEN/ SALVATION & DOUBT/ tions sometimes employ the screeches, screams, and Wooley, tpt. 4/24/10, Jersey straight trumpet pitches in 12 different ways, only con- TOWNSHIP JIVE REVISITED/ unmeasured flurries of Free Jazz, their basic orientation City, NJ. centrating on different mic (sic) techniques and mutes.” MADAME BONSILENE/ LIVING is derived from Hard Bop and almost always involves a The process also involved a number of tape loops. To THE DREAM. 71:42 steady beat. Steckler’s imaginative charts include influ- understand the result, it’s helpful to know something ences from Popular music and non-Western musics to about how a synthesizer works. Since an instrument’s Matt Steckler, Jared Sims, complement his Jazz sensibility. “Silent Movie, Russia timbre results from the relative strengths of the over- Terry Goss, Charlie Kohlhase, 1995,” for example, features Klezmer-like Jared Sims’s tones it produces, the synthesizer can imitate any saxes, woodwinds; Dave clarinet. And even the title of “Township Jive Revisited” instrument’s tone by reproducing its overtone structure. Ambrosio, b; Bill Carbone, d. gives away its South African influence. An example of Similarly, Wooley manipulates his combinations of tones 8/5&6/10, New Haven, CT. the music’s broad mood palate, “Tourvan Confessin’” so that the resultant overtone patterns are constantly begins as a slow and mournful dirge before tenorist changing and generating new sounds. So one may Jared Sims and then Steckler on alto take it to a fierce

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incendiary level. In this context, one should note the Have No Fear’s repertoire (including Freeman’s up- virtuosity displayed by the saxophonists on their up- tempo minor blues “Boomerang” as a CD bonus track) tempo soli on “Far From the Matty Crowd,” which later Freeman, ts; John Young, may suggest a conventional Mainstream Modern pro- JOSH EVANS finds them in a contrasting a capella section consisting p; David Shipp, b; Wilbur gram. But Freeman possesses a unique style, one that PORTRAIT of floating, unanchored, and ambiguous pitches. Campbell, d. 6/11/75, is essentially rooted in Hard Bop, but acknowledges JOSH EVANS (NO David Franklin Chicago, IL. such Swing-Era masters as and Lester NUMBER) Young and at the same time exhibits forward-looking ALBANY AVE./ RAY MAC LEFT ortrait is Josh Evans’ first album as a leader and mannerisms associated with the generation of players TOWN/ TEHRAN/ CHRONIC Pit does him proud. Not only does he play accom- that followed his own. Indeed, he evokes Young’s light MISTAKES/ SPRING IS HERE/ plished Hard Bop-oriented trumpet, but he wrote over lyricism frequently in Count Basie’s “Swinging the Blues” BEATNIK/ THE LAMP IS LOW/ half its tunes as well. He should also be given credit and his original “Have No Fear, Soul is Here.” But else- BALLAD/ THE MOMENT OF for picking fine sidemen. Bassist Dezron Douglas and where his playing might suggest contemporary play- TRUTH/ GOOD MORNIN’. drummer Ralph Peterson provide solid, inspirational ers like Bennie Wallace and his overflowing, tumbling 72:10 underpinnings on all the tracks except Evans’ duo per- phrases or Ernie Krivda and his machine-gun-like stac- formance with the fine pianist Theo Hill on the leader’s cato attack. Plus, there are also the blazing unmeasured Evans, tpt; Ray McMorrin imaginative three-part “Tehran.” Alan Jay Palmer trades passages of the sort associated with John Coltrane and/or Lawrence Clark, ts; off seamlessly with Hill on the other tunes. Virtuoso and his followers. Not to mention the occasional Avant Alan Jay Palmer or Theo tenor swingers Ray McMorrin and Lawrence Clark join in Garde-like screeches and screams. It all fits together Hill, p; Dezron Douglas, b; from time to time, either singly or together, their some- with logic, interest, and abundant passion. All the tunes Ralph Peterson, d. 1/11/11, what free-ish simultaneous improvisation on Rashied are fast except “Polkadots and Moonbeams,” which is Paramus, NJ. Ali’s “Ballad” being an unexpected highlight of this taken at a very slow tempo and where Freeman dem- essentially Mainstream Modern program. Evans’ compo- onstrates his control of a broad dynamic range and his sitions complement his playing and except for the afore- ability to find the “pretty notes” in his fills between the mentioned “Tehran” range from medium-up to very fast. melody’s phrases. Freeman’s cohorts for the occasion Ali’s piece and “Spring is Here” are the only other slow represent the quintessential Hard Bop rhythm section. tunes. Pianist Clark contributed an interesting up-tempo Due to the lengthy duration of the tunes, Freeman and modal chart based on a short, repeated melodic figure. pianist John Young have ample opportunities to loosen David Franklin up, and they make the most of them. Although bass- ist David Shipp limits himself to walking solos, Young, or a man who didn’t release his first album under his perhaps inspired by the leader, searches successfully Fown name until he was 50 and has lived and played for ways to be creative within the Hard Bop idiom. And in his hometown of Chicago his entire career, receiving drummer Wilbur Campbell is a constant dynamo. a National Endowment for the Arts Jazz Masters Award David Franklin for 2012, the year he turns 80, must have been espe- VON FREEMAN cially rewarding. But it came as no surprise to the many HAVE NO FEAR Jazz aficionados who have long known Von Freeman he Danish pianist/composer/arranger Jan Kaspersen NESSA 6 to be a superb, advanced tenor player whose influence Thas released a host of recordings over more than MR. LUCKY/ SWINGING was felt by such younger Chicago tenorists who went JAN KASPERSEN three decades. The latest, the 2011 Black Rabbit Suite, THE BLUES/ POLKADOTS on to wider fame as and Clifford Jordan. offers a satisfying program of his Mainstream Modern AND MOONBEAMS/ HAVE Three years after his 1972 debut album as a leader, he SEXTET BLACK RABBIT SUITE composition-arrangements performed by cohorts, some NO FEAR, SOUL IS HERE/ re-entered the studio to record a number of tracks that having been with him a long time, who share his musi- OLUFSEN 5770 BOOMERANG (BONUS were released on two separate LPs, Serenade and Blues cal tastes and attitudes. TRACK). 51:59. and the present Have No Fear.

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PART ONE: REPOSE AND “Black Rabbit Blues,” which shifts between minor leader’s “Sambatropolis,” on the other hand, is a hard- MEDITATION--BLACK RABBIT and major and contains a tasteful Bebop Blues solo by charging Samba that contains a fiercely swinging BLUES/ MUSIC AT MIDNIGHT/ altoist Christina Von Bülow, would fit in nicely on a Hard solo by the virtuoso Russian pianist Misha Tsiganov. EASY AFTERNOON/ SONG FOR Bop-like program from any era, while “Easy Afternoon,” Indeed, although Meurkens plays excellent vibes and SILENCE/ NIGHT FALL/ VERY also a feature for Von Bülow, is lovely enough to pass manipulates both of his instruments with ease, his SLOW/ RAIN BIRD. PART TWO: for a Mancini tune. “Very Slow” also features Von Bülow harmonica playing, because of the instrument’s special PLAYGROUND—SUSPENCE and her fine tone throughout and, in addition, accen- character, is especially feelingful and soulful. Tsiganov, (sic) / DR. HYPNO/ JOYFULL tuates her skill at Bebop Ballad playing. The racing on the other hand, can also be warm and lyrical, as on (sic) JOURNEY/ IT’S YOU—AND “Rain Bird” provides tenor player Jakob Dinesen with “Dindi” and “Estate,” but often leans toward the more THE RIVER. 59:40 the opportunity to demonstrate the high energy side animated and pianistic, swinging precisely and forcefully. of his personality with a ferocious improvisation that His ability to carry technically demanding two-fisted Kaspersen, p; Christina Von employs lightning quick runs and free use of the horn’s pianistic figures across several measures is especially Bülow, as, fl; Jakob Dinesen, harmonics. He and trombonist Mads Hynes play off impressive. ts; Mads Hyhne, tbn; Nils each other’s phrases on the up-tempo “It’s You-and the While Tsiganov is relatively new to the band, the oth- Bo Davidsen, b; Ole Rømer, River.” Hynes is also spotlighted over the jaunty bass ers have recorded together several times, so the ensem- d. 4/6&7/11, Copenhagen, and drums underpinnings provided by Nils Bo Davidsen ble displays a high level of cohesiveness. Denmark H and Ole Rømer on the fast-paced “Suspence,” for which David Franklin Von Bülow brings out her flute. In his own solos, the leader shows himself to be a thoughtful, melodic player his fascinating Post-Bop offering, incorporating a bit who avoids the showy. His choruses tend to be simple, Tof Free Jazz with such sensibilities as Hard Bop, quasi- melodic, and ideally suited for their contexts. Classical, Near Eastern, and Funky, grips the listener from David Franklin beginning to end. JÜRG WICKIHALDER Since one of the five tracks lasts almost 18 min- endrik Meurkens, the first highly-acclaimed Jazz HENDRIK MEURKENS EUROPEAN QUARTET utes and another runs a bit over 14, that’s saying a lot. Hharmonica player since Toot Thielemans and a FEATURING IRÈNE Wickihalder is credited as composer and although his LIVE AT BIRD’S EYE vibest as well, specializes in Brazilian-flavored Jazz. ZOHO 201114 SCHWEIZER heads are fresh and clever, they serve mostly, as he The German-born New York resident’s latest album, JUMP! notes, as springboards for the groups’ collective jour- recorded at a club in Switzerland, features Jazz Sambas, INTAKT 194 neys to wherever their muses take them. After a mixed Bossa Novas, and a Choro by such composers as AMAZONAS/ ESTATE/ meter intro, the opening “Triple Rittberger Exercise,” Antonio Carlos Jobim, Sergio Mendes, and the leader SAMBATROPOLIS/ DINDI/ for example, breaks into a swinging section that refer- himself, along with a mixed Jazz/Bossa version of the LINGUA DE MOSQUITO/ NOA TRIPLE RITTBERGER EXERCISE/ ences ’s “I Mean You” before fading out classic “Body and Soul.” Also included is the gorgeous NOA/ BODY AND SOUL/ RED LIGHT JUMPING FRIENDS of tempo, then swinging again, then featuring some ballad “Estate” (“Summer” in Italian), which, although MINHA SAUDADE/ VOCE VAI (DEDICATED TO IRÈNE)/ LAST daring soprano saxophone free playing over crashing composed by two Italians, was made popular by João VER. 54:37 JUMP/ 6243D (ARMSTAND drums, and finally finishing with a soprano cadenza that Gilberto as a Bossa Nova. BACK DOUBLE SOMERSAULT 1,5 includes some funky licks. The Monk reference is far from Meurkens, hca, vib; Misha Brazilian music, as utilized in Jazz, is especially TWISTS FREE POSITION)/ HIGH coincidental, since both Wickihalder and his brilliant Tsiganov, p; Gustavo noted for its attractive melodies and harmonies, WIRE DANCER. 54:42. pianist Irène Schweizer are Monk enthusiasts and such Amarante, b; Adriano Santos, and these examples all fill the bill. Jobim’s “Dindi” allusions are not rare, either in the compositions or in the d, pandeiro. 11/14&15/08 and begins as a lovely Jazz ballad before shifting subtly Wickihalder, ss, as; Schweizer, p, improvisations. “Red Light Jumping Friends,” for another 5/7&8/10, Basel, Switzerland into a Bossa, and features Meurkens’ highly expres- Fabian Gisler, b; Michael Griener, example, opens with a virtuosic Schweizer piano caden- sive reading of the melody on harmonica. The d. 2011, Maur, Uster, and Zurich, za that would not be out of place on a Classical recital Switzerland. stage, but also includes some stride piano as well as a few measures that Kurt Weill would be proud to claim,

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a medium-tempo soprano/bass/drums groove, some screaming free soprano, more two-fisted piano, and a BROOKLYN LAGER / ASTORIA of one another constantly. The leader shows hints of Pat well-developed bass improvisation. BOULEVARD / DANCING Metheny (especially on “Turn Of The Year”) and shows All the players are expert instrumentalists. They also TEEN / DRUNKEN MONKEY admirable restraint on the ballads, the title number, seem to be of a single mind musically, which allows BLUES / JOSHUA’S WISH / IN A the Duke staple and the slowish mood piece “Drunken them to perform as a perfectly cohesive unit. SENTIMENTAL MOOD / TURN Monkey Blues”. This band impressed me and reminded of David Franklin OF THE YEAR. 46:39. another quartet I admire, the Dave Stryker/Steve Slagle group. Give them a chance in your player. trio of quartet led by a bassist, guitarist and trum- Schulte, g; Jake Saslow, ts; A peter show just a hint of the different colors that Craig Akin, b; Peter Gail, d. fter a quick glance one might judge (3) as just make up the musical rainbow we call Jazz. (1) is upright 4/24/10. Brooklyn, NY. Aanother horn with piano trio date but that would bass player Marlene Rosenberg’s first time out for the be a mistake. This west coast foursome has been hitting Origin label (her third in all) along with three talented the bandstands since the eighties and it sure shows. comrades from around the Windy City area where she is DAN JACOBS Although Dan Jacobs is listed as the nominal leader based. Like many contemporary musicians these difficult QUARTET the other three players all interact with him and one days, she supplements her income by teaching but many PLAY SONG another. The nine selections (plus a repeat of track four) METROJAZZ RECORDS. aspiring bassists could probably pick up some point- are drawn from fellow jazz figures like Harold Danko, ers merely by listening to her perform. Equally blessed Wayne Shorter, Frank Strazzera, Bobby Shew and Bill in the art of composing Rosenberg scripted all of the Mays (all except Shorter overlooked to a large extent) CLOUDCROFT / SPEAK NO MARLENE material heard here except for a pair of tunes (Lullaby and the standard ballad “Speak Low” plus “Alondra” a EVIL / PLAY SONG / NO ROSENBERG QUARTET & Sunshower) from a frequent employer of hers, pianist lovely flugelhorn feature written by Jacobs. It opens as HURRY / TIDAL BREEZE / BASSPRINT Kenny Barron. As with a trend of late, many of the origi- a duet between horn and piano before bass and drums ONE BY ONE / ALONDRA / ORIGIN 82604 nals are dedicated to or associated with personal heroes enter. Another pretty flugeled ballad is the title song by RELAXIN’ / SPEAK LOW / TIDAL of hers such as the leadoff item,“Wayne-ish” and the Bill Mays. Hagen gets off several nice solos in a mostly BREEZE. 76:09. TALE OF TWO MONK KEYS / “Infant Eyes”-inspired “Eyes For Shorter”. The inside of the chordal manner, Nunez adroitly switches between the ALMOST APRIL /WAYNE-ISH / cover booklet is mostly her descriptions of the material electric and acoustic models and Pfiefer locks in with Jacobs, tpt, flgh; Gerard SPARE PARTS / L.J. / PRELYUDE so I won’t go into detail on any of them but merely say Mulligan intuitively. The out-take of Harold Danko’s “Tidal Hagen, p; Ernie Nunez, b, – BASSPRINT / LULLABY / this is clearly-recorded quartet Jazz that deserves more Breeze” is a little over three minutes longs, sports electric el b; Peter Pfiefer, d; Robert SUNSHOWER / EYES FOR ears than it will probably get. But isn’t that the sad case bass instead of upright and sticks in lieu of brushes. This Mulligan, perc. No dates SHORTER / THUS AND SO / concerning the entire idiom? would be a fun combo to catch in person. ONE FALSE MOVE. 66:47 given. Los Angeles, CA. Larry Hollis ologne, Germany native Martin Schulte studied at Rosenberg, b; Geoff Bradfield, CQueens College which is located not far from the ere’s an album that might well serve as a prime ss, ts; Scott Hesse, g; Makaya suburb of Astoria. Perhaps that is the reason the first Hexample of eclecticism in action. Liz Childs draws McCraven, d. 8/17&18/11. two tunes of (2) have references to the region. This is the her repertoire from Jazz literature, the library of Pop Chicago, IL. LIZ CHILDS QUARTET second release from the Martin Schulte Quartet but the TAKE FLIGHT Song Standards, the Bossa bibliotics, and various con- temporary singer/songwriter sources. She has a win- leader is the only member remaining from that issue. No label designation, No ningly clear soprano instrument with range and steady The instrumentation is exactly the same as the Marlene catalog number MARTIN SCHULTE NY Rosenberg above but they take a slightly different tack. intonation, and - particularly on standards - isn’t adverse QUARTET to re-weaving a melodic line or two, as on Bobby Troup’s Also similar is the mostly leader-penned tunelist save PIECES OF ASTORIA for the Ellington staple “In A Sentimental Mood”. No “Baby, Baby” where a brief flirtation with Bessie Smith’s JAZZHAUSMUSIK 203 background information is provided on the other three “Reckless” is a rather pointless tease and nothing more. players but all are very competent; Saslow sticks to tenor So, the overall effect is that of a working singer which shines throughout while Akin and Gail feed off

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It Could Happen To on the job, making music and perspiring along with 1) SAM FAZIO Fazio, vcl; Chris White, p; Nick Schneider, b; Bob Rummage, d. You / Dindi / Lover / ( her accompanists, in an effort to please the diverse THE SONGS WE Baby, Baby, All The Time members of a supposed audience. Obviously, Ms. LOVE n (1) Sam Fazio travels the path of least resistance / Reckless Blues ) / Just C. sees herself as an integral member of the quartet BLU JAZZ 3387 Oin Jazz singing, sticking close to the melodies of One Of Those Things / flying her colors. But, the entire hour and a quarter familiar songs with little extrapolation or improvisation. Hallelujah / Softly, As In He has a strong masculine voice which does ballads with comes off as decidedly less than dazzling, and Blame It On My Youth A Morning Sunrise / You an operatic sweep but covers up-tempo songs in a more there’s not a single track to which I can imagine / The Way You Look Don’t Know What Love Is swinging lounge singer fashion. There is the inevitable making a return visit in the months to come. Her Tonight / Always On / Meditation / Bad Luck Sinatra influence in his material and presentation but not readings of Leonard Cohen poems pale when My Mind / Fly Me To The Card / Bluesette / Estate so much in his actual sound. This set list includes two compared to, say, Jennifer Warnes’ “Blue Raincoat” Moon / Summer Wind / Take Flight / I’ll Be Your Van Morrison numbers and Cyndi Lauper's “Time After or Patricia O’Callaghan’s powerfully shaded / Georgia On My Mind Baby Tonight / Baby, Time” as well as a bunch of familiar standards. Fazio is “Hallelujah.” On at least ten of the tracks she resorts / Moondance / Sway / Don’t Quit Now / Famous backed by an able piano trio that features Chris White to a sort of vocalese inflected scat which quickly Time After Time / It Had Blue Raincoat / You’d Be dropping in nice soulful fills and solos, particularly on becomes tiresome. Scat, or the Childs variation To Be You / Have I Told So Nice To Come Home To. “Moondance”. This is an unsurprising vocal set but one thereof, is a device best used judiciously Even her You Lately That I Love 77:24. that keeps your interest. own composition, “Flight,” written in collaboration You / Beyond The Sea. with guitarist MacEachen, is awash in it. As a consequence, the lyrics (presumably by Childs) 2) BILL BARNER Liz Childs, vcl; Ed MacEachen, are substantially drowned out. Johnny Mercer’s TEN TUNES Barner, cl; Stan Smith, g; Roger Hines, b; Danny Aguiar, d. 2011, g; Dan Fabricatore, b; “Don’t Quit” (music by Jimmy Rowles) is scat free (No label or Grove City, OH. Anthony Pinciotti, d. 7/13 & and emerges unscathed, but it’s yet another scat number). 10/26/09, Brooklyn, NY. ) has an unusual clarinet-guitar front line working in free track, Bob Dylan’s “I’ll Be Your Baby,” which light jazz-rock territory with leader Bill Barner playing makes the case for Ms. Childs as a very competent Opening Gambit / 2 serpentine clarinet over choppy rhythms. The music cov- Pop/Jazz cover artist. An asterisk next to ten of Flying Monkeys / ers funk, reggae, and Mediterranean and Arabic sounds the song titles indicates that guitarist MacEachen Charm Offensive / all propelled by Danny Aguiar's choppy drumming. Most did much of the session’s arranging, leaving the Wide Stance Dance / of this stuff is just pleasant to listen to but occasionally arrangements on seven of the titles unaccounted Barbaro / Squeaky Rico the group works up something really impressive. Barner for. His playing is adequately supportive and his / Connecting Dots / really excels on the dreamy lines of the ballad “Barbaro” solo spots offer some needed respite from the Toddler Dance / War Of as he intertwines with Stan Smith's melting guitar and ubiquitous scat. Drummer Pinciotti is clearly at Words / Palmas. ease with his but seems occasionally “Connecting Dots” is a crisp jazz-rock raga with delay overstimulated as on “Don’t Know” where he 3) PETE ZIMMER effects that evolves into a musical spinning dervish with seeks to dominate. On balance, an uneven and PRIME OF LIFE, Roger Hines' bowed bass prominent. flawed recital from a strong singer who might TIPPIN TIP 1108 consider applying the soft pedal to her scat while ) has similar instrumentation but a much looser, straight jazz sound because leader Pete Zimmer concentrating on the formulation of a vocal Prime Of Life / One 3 had the good sense to bring the mighty veterans identity. For GG / Tranquility Peter Bernstein and onto the session. Alan Bargebuhr / Carefree / Strollin’ Zimmer’s compositions aren’t unusual but they provide Down Bourbon Street plenty of room for Zimmer and Peter Slavov to set up / T.T.T. / Night Vision rhythms and for Bernstein and Garzone to blow, push / Almost Home / The and roll. “One For GG” is notable for Garzone’s lusty Three Petes. 55:13.

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Zimmer, d; George Garzone, tenor honking with Bernstein’s guitar slipping and 6) GLERUM OMNIBUS, Ernst Glerum, p; Clements Von der Feen, b; Jamie Peet, d. 10/1- ts; Peter Bernstein, g; Peter sliding around him, “Tranquility” shows the pair’s relaxed PAPER MODELS, 2/11, Osnabruck, Germany. Slavov, b. 5/18/11, Brooklyn, mastery of slow tempos and “Night Vision” has Garzone FAVORITE 8 NY. working sly blues variations over Zimmer’s busy, he Dutch piano trio, Glerum Omnibus, sounds more strutting drums. The playing here is impressive all the Omnibus Four / Shed / TAmerican than European. On (6) they play all manner way through. Paper Models / Psalm of funk, blues and gospel sounds with a hustling energy / Another Story / that sounds like Misha Mengelberg minus the slapstick. 4) JEREMY PELT Reincarnation Of Bigger Glerum’s individual playing is full of rolling, impish soul SOUL Thomas / Interlock / with bits of Brubeck and Jarrett mixed in while van der HIGHNOTE 7233 n (4) trumpeter Jeremy Pelt is backed by the same Riverside Souvenir / Feen and Peet are good at keeping the driving rhythms Second Love / The Ballad Osolid band who played on his previous CD. This Cement / Aria / Symphony going. This trio sounds really good together. Of Ichabod Crane / time almost the entire set is done at slow tempos with Part IV. 50:53 Sweet Rita Suite Part 2: Pelt’s creamy sound soaring over elegant grooves. Her Soul / The Tempest / Pelt, JD Allen and Danny Grissett all have special solo CD 1: Peri’s Scope / Gloria’s Step / They Say That Falling The Story / Moondrift* / moments while the versatile drummer Gerald Cleaver In Love Is Wonderful / Alice In Wonderland / Song What’s Wrong Is Right / adds an extra bit of sizzle to the bottom. It’s not all slow No. 1 / Diane / Off The Cuff / Laurie / Bill Evans / Little Tonight… . 51:21 instrumentals either. There is one vocal piece on the CD, Rootie Tootie. CD 2: Hot House / Mode VI / Another “Moondrift” a lovely ballad sung by Joanna Pascale, and Tango / Turn Out The Stars / Rhapsody / Very Early / Pelt, tpt, flgh; JD Allen, ts; one hard-boppish, up-tempo number “What’s Wrong Is But Beautiful - Part 1 / But Beautiful - Part 2 / Puccini’s Danny Grissett, p; Dwayne Right” that shows these guys still know how to burn. Walk. TT=136:55. Bruno, b; Gerald Cleaver, d; Joanna Pascale, vcl*. 9/29/11, he same could be said of the piano trio on (7) but Brooklyn, NY Twith this group you’d expect nothing less. This is a record of a two-week engagement by three Jazz masters 7) CHICK COREA / celebrating the music of Bill Evans that was held at New Lee, p; Doc Samba, el b*; Corcoran Holt, b+; James Sexton*, EDDIE GOMEZ / PAUL York’s Blue Note club in 2010. (Why they weren’t at the 5) STEPHEN LEE, Styx Bones+, d; Melvin Smith, ts+; Ian Williams, kbds, strings+; MOTIAN, Village Vanguard I have no idea.) Chick Corea is one of MUSIC IN THE KEY OF Martine Allard, vcl+. Cordova, TN*; 4/08, New York, NY. FURTHER Evans’ most celebrated disciples and of course Gomez MY LIFE, EXPLORATIONS, and Motian were two of his most famous collaborators. (no label or number). ) is not that much fun to listen to. Stephen Lee has CONCORD 33364 All three men sound at the top of their games As The Deer* / Here I am* / 5a strong, lyrical touch on the piano but for the bal- here. Corea is a prickly blend of abstraction and lyricism, Coming Home* / A Message ance of this CD he is teamed with an inflexible electric Gomez’s thick bass lines leap from the bandstand and From God* / God has bass that weighs the music down. The piano and drums Corea, p; Gomez, b; Motian, d. even the incomparable Motian seems to be hitting his smiled on me* / Glorious* shows adeptness at balladry, choppy hip-hop phrasing 5/4-17, 10, New York, NY. drums a little harder than normal. Most of the pieces / God’s Vision+ / Breathe and kinetic Latin rhythms but that bass sound is just are either Evans originals or standards he played like a On Me+. oppressive. The final two tracks are a different matter. “Turn Out The Stars” with some virtuoso bowed bass and They are pop-gospel numbers done with a different a rolling “Falling In Love Is Wonderful”. There are also group and a full sweeping sound that involves tenor sax, originals from each player and a few works from other vocals, and synthesized strings. This pair of songs may sources like a reconfiguration of Monk’s “Little Rootie be on the glossy side but they have a genuinely moving Tootie” where Corea chugs along like a steam locomo- and honest feel to them. tive before flying out over Gomez’s and Motian’s heavy, thumping beat. This is outstanding work from three giants, one of whom has since gone silent.

228 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 229 New Issues New Issues ) Sylvie Courvoisier and Mark Feldman strike out on 8) CHRIS BRUBECK'S ) is also a live recording, this one by Chris Brubeck's 8trio from the Saratoga Arts Fest, a set that covers 1Oblivia with a burst of flying, buzzing notes, and TRIPLE PLAY while the duet recital seldom matches the volume of LIVE AT ARTHUR a lot of ground. It starts out as straight acoustic blues then dips into early Jazz with Peter Madcat Ruth's har- "Conky's Lament," the intensity, even in the quietest ZANKEL MUSIC moments, is always there. The session features both CENTER, monica, Frank Brown's liquid clarinet and Joel Brown's singing featured. Then the group switches gears com- compositions by the pianist and violinist as well as what BLUE FOREST TP-11003 pletely to do a rendition of Dave Brubeck's “Koto Song” sound like collective improvisations. These five improvi- that beautifully interweaves guitar, piano, harp, and sations, including the opener, provide shorter interludes between the composed works. The improvised duos, Rollin' & Tumblin' / clarinet. including "Oblivia de Oblivion" that evokes a peasant Brother, Can You Spare dance as interpreted by Bartok, have a looser, electric A Dime / Win The Lotto Then in the middle of “Blue Rondo A La Turk” feel to them while still touching on the textural con- / Phonograph Blues / Brubeck pere slips onto the piano stool to loud cheers 1) OBLIVIA, cerns explored in greater depth on the half dozen com- Koto Song / Mighty Mrs. from the audience and his unmistakable sound MARK FELDMAN & positions. These are at the core of the session. Typically Hippy / Blue Rondo A La becomes a large part of the rest of the concert. He SYLVIE COURVOISIER they play off Feldman's pleading, yearning violin and Turk / Black And Blue / backs his son's mournful trombone before going his TZADIK 7633 the crisper percussive work by Courvoisier both inside Dzie Kuje (Thank You) / own way on “Black And Blue”, strikes up a rhumba-fied CONKY'S LAMENT / and outside the piano. This is evident on Feldman's Travelin' Blues / Take Five “St. Louis Blues”, plays a moving dramatic solo on “Dzie DUNES / MESSIAENESQUE "Purveyors" where his moaning lament is answered / St. Louis Blues. 77:14. Kuje” and romps through “Take Five” for the umpteenth / PURVEYORS / OBLIVIA time still finding new things to say on the tune while DE OBLIVION /DOUBLE by Courvoisier's rising, declarative statements. On the closing track Feldman plays high, ethereal harmonics. Chris Brubeck, b, p, tb, vcl; bringing harmonica, clarinet and jaw's harp along for WINDSOR / BASSORAH / Courvoisier paces between and under his phrases with Joel Brown, g, vcl; Peter the ride. This is a really fun live set and meaning no VIS-A-VIS / SAMARCANDE dark chords. Together the pianist and violinist engage in Madcat Ruth, hca, ukulele, offense to Chris Brubeck, the main impression you come / FONTANELLE / SOUS UN deep musical conversation and to our benefit allow us hi-hat, jaw harp, vcl; Dave away with here is that Dave Brubeck is as inventive and REVE HUILEUX. 51:35. to eavesdrop. Brubeck, p; Frank Brown, cl. eternally hip as he ever was. ) That intensity is not to be found on Borja Cao's 6/10/11, Saratoga Springs, NY. Courvoisier, p; Feldman, vln. ) is a very different animal, slick jazz/prog/fusion 9/9/09, New York 2chamber jazz session of a more traditional sort. 9craziness from Belgium. The music here ranges Fronting a piano trio, Cao evokes the impressionism- 9) MACHINE MASS from slick and funky to spacious and angular. On infused jazz of a half-century ago, particularly the TRIO “Knowledge” Jordi Grognard plays exploratory, mournful 2) BORJA CAO, work of Herbie Hancock before he was bitten by the AS REAL AS THINKING tenor sax while Michel Delville picks thick, reverbed gui- THE FUTURE IS fusion bug. There's cool emotionalism to the work. MOONJUNE 41 tar chords and Tony Bianco lays down a Motian-like car- GREEN, That's not evident though at first. The set opens with Cuckoo / Knowledge / pet of slow rolling drums. “Let Go” is more in the way of AUDIA RECORDS "Glamourous," a piece a listener may well take for an Let Go / Khajurao / Hero English progressive rock with stomping sax and guitar GLAMOUROUS / WHAT ELSE? instrumental reworking of an alternative rock tune. / UFO-RA / Falling Up / lines, “Hero” with its funk beat and low, muted sounds is / CHANGE MACHINE / THE Even the title fits. But the music has a vein of lyricism Palitana Mood. 63:53. reminiscent of Herbie Hancock's early electric work and LAST DROP / HELLO DOCTOR running through it, even over the opener's hard-hitting “UFO-RA” is straight, hot Jazz tenor interrupted by an / BOSSEANDO / ROGER'S backbeat. It is on "Jackpot" where Cao's splays spare fig- Tony Bianco, d, loops, perc; organ freak-out that sounds like the piece's namesake, ILLUSIONS / JACKPOT / THE ures over an abstract blues groove laid down by bassist Michel Delville, g, bouzouki, Sun Ra. Wildest of all is “Falling Up” a long improvisa- FUTURE IS GREEN. 47:15. Santome and drummer Gomez that he best exemplifies elec; Jordi Grognard, ts, tion by Delville and Bianco that wraps trippy electronics his style. While lyricism dominates, including the soft, bcl, fl, bansuri, electronic around an involved guitar and drum workout that at dif- Cao, p; Juansy Santome, almost not there Latin feel of "Bosseando," Cao demon- tempura. 10/18/10, Liege, ferent times invokes the shades of Jon McLaughlin, Dick b; Max Gomez, d. 4/4/11, strates on "Change Machine" and "Hello Doctor" that he Belgium. Dale and . Overall this music is enjoy- Santiago, Spain. can swing with panache. He's well served throughout ably ragged, sweaty and unhinged. by Santome and Gomez who respond to the shifts in Jerome Wilson time implanted in Cao's originals. This is a well-wrought, accessible trio session. 230 | cadence | april - may - june 2012 april - may - june 2012 | cadence | 231 New Issues New Issues

) Mu opens its session Sensilenti in a similar faux pop other tracks though the band engages in rambling 3) MU 3way. The simple seven-note repeated lick is wistful, vamping. Maybe this is a function of jamming in front SENSILENTI and surrounded by the shimmering textures of vibes of an audience. I suspect in the studio they may have ABEAT 094 and electric strings. Rather than being anything of an edited this dross out. Those sections tend to distract RISOEGLIO / LIZ / PUZZLE PER aberration from what follows, it introduces the quartet's from The Antfarm Quartet’s virtues - Jost’s fine voice, SYLVIA / GIULIA / THE NORTH basic sound - airy, atmospheric. At times it reminds me stellar piano work from Ridl, the swinging foundation POLE / THE BRONX / LADANZA strongly of Sigur Ros, other times I hear elements of of bassist Tim Lekan and drummer Bob Shomo and a DELLE LUCCIOLE / RITRATTO folk and vintage . Even when Merlino steps willingness to break the heads-solo mold. A little editing DI DONNA AL FIUME / SHAKTI out to solo over a light funk beat "Puzzle per Sylvia," would put these admirable qualities in sharper focus. / UNA FOLAGA FRA LE TANTE / he hardly musses up the well-buffed surface. All of it is SENSILENTE. 56:00 smooth and easy on the ear, so much so it verges on background music. ) Singer Kelly Meashey with only Randy Sarles’ guitar David Emerlino, vib, 2as backing also ventures into jazz vocal territory, glockenspiel, perc, vcl; Dario Never has the ability to record and distribute music with nods to the blues, vocalise and standards. In the Trapani, el g, vcl; Simone Prando, been easier. The other side of that truism is that never duo’s original blues “The Inner Urge,” Meashey sings she el b, vcl; Riccardo Chiaberta, d, have the standards for what gets recorded and pro- wants to “create something new, something true, some- vib, vcl. 1/3-5/11. duced been lower. In many ways this is a golden age thing out of sight.” That’s a tall order that she just can’t of mediocrity. The hope is that in this indiscriminant deliver. She has a fine alto voice, but her vocals seem flood of sounds the occasional gem that in another time constrained, unconvincing. She sings in tune, and artic- 2) RANDY SARLES & ulates well, but her delivery is dull. Pieces like Dorough’s would have been stopped at the gates bobs to the top. KELLY MEASHAY These three issues from Philadelphia’s Dreambox Media “I’ve Got Just About Everything,” Frishberg’s “Peel Me a THE INNER URGE Grape” and Oscar Brown’s lyric for Timmons’ “Dat Dere” don’t include any of those uncovered gems, but illus- DREAMBOX MEDIA 1139 trate the variety of quality of locally produced sounds. demand animation. Instead they sit heavy on the staff. I’m not talking about cabaret style dramatics, but phras- I'VE GOT JUST ABOUT ing that shades and colors the lines. “Ain’t No Sunshine” ) The Antfarm Quartet is built around the vocal EVERYTHING / PEEL ME 1) THE ANT FARM is more partly cloudy, than a dark overcast. That we have stylings and, on “Centerpiece” serviceable blues A GRAPE / SMILE / THE QUARTET 1 fine versions of these and most of the other songs here harmonica, of Paul Jost. I wouldn’t call this session a INNER URGE / DAT DERE / LIVE locked in our inner soundbanks doesn’t help Meashey’s revelation, still it’s always nice to make the acquaintance THANKS FOR THE RESCUE DREAMBOX MEDIA 1136 cause. The duo adds a few originals to the mix, to little of a good male jazz singer. Jost boasts a husky voice, / MOTHER TREE / FEELING more sour mash whiskey than top shelf blended Scotch. effect. “Thanks for the Rescue” and “Sedona” is an instru- UP JUMPED SPRING / CARAVAN GOOD / SEDONA / AIN'T He knows how to employ it, fashioning trombone- mental featuring undistinguished flute, I would assume / CENTERPIECE / BLUE WATERS NO SUNSHINE / CHEGA DE like scat. This is very much a jazz quartet, not a singer is played by Meashey. “Mother Tree” is an overwrought / FOOTPRINTS / TENNESSEE SAUDADE (NO MORE BLUES). backed by a trio. “Caravan” has the band really stretch- ode to nature. The format with just guitar offers her a WALTZ / OLEO / I”M BEGINNING 41:25. ing its improvisational chops starting with Ridl’s craggy, clear stage. A singer couldn’t ask for more sympathetic TO SEE THE LIGHT. 66:42. accompaniment, and Sarles adds some dancing solos, free introduction, the spirit of which he carries into his Sarles, g; Meashey, vcl; later solo. They stretch a little too far with the vamping undeterred by not having a rhythm partner. Paul Jost, vcl, hca; Jim Ridl, p. uncredited flt, p. ending going on a little too long. For all this Jost never kybd; Tim Lekan, b; Bob Shomo, gets to the lyric, not surprising given his penchant for ) Finally, Black & Loud by an entity known as AKA d. 4/18/10, Williamsburg, Virginia 3) AKA R.C. wordless vocals. That’s too bad because on the touch- R.C. is a mystery. The music evokes at once Jimi (1,2,3,6,7); 2/21/10, Cape May, BLACK & LOUD 3 ing “Tennessee Waltz” and the closing sprightly “I’m Hendrix and funky on-hold music. When I first put it in, New Jersey. DREAMBOX MEDIA 1137 Beginning to See the Light” he demonstrates his sensi- I decided within two tracks that I really needed to clear tive handling of a lyric. Here and on most of the the two inches of snow in my driveway. Giving it a sec- ond chance, and on a clear day, I was less disgruntled.

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TORN / MOLE / INSEL / Niggenkemper’s bass essaying interlocking lines BLACK & LOUD / TUTII The guitar playing is strong, Hendrix-inspired work STAPELLAUF / LUV UND fashioned from the same taut melodic material. The FRUTTI / GOOD THINGS played over what I’m assuming are tracks laid down LEE / KLEINER BRUDER / music proceeds with equanimity, and a comfortable gait. / THANG THANG / HUSH by the guitar player. It had a music-minus one feel to RAH / BLANKER HANS / The music has a cool, intellectual quality, executed as wry MONEY / THE WOODS / it, a claustrophobic created-in-a-machine vibe. Save EINLAUFBIER. 40:34 conversations. Heberer’s trumpet has a plaintive quality BLUE SKY HIGH WARSZAWA for unimpressive covers of “Tutti Frutti” and “Crossroad that comes to the fore on “Kleiner Bruder” that has a blues / GEMINI / BITCH'S BLUES Blues,” the music is all original, with the kind of Heberer, tpt, quarter-tone tpt; stroll quality and the ballad “Blanker Hans.” It’s supported / ALL APOLOGIES / BOO psychedelic meets the blues imagery that Hendrix used. Joachim Badenhorst, cl, b cl; well by the richness of Badenhorst’s and variety STEW / CROSSROAD BLUES These songs deserve of stronger performances. The Pascal Niggenkemper, b. 6/10, of Niggenkemper’s work, whether his broad sawing arco / R'ONDA / (B U'R) TOKEN / vocals here are strangely noncommittal, as if the singer, Brooklyn, NY or sonorous plucking. TESTIMONY / NAME THAT AKA again I imagine, were reading them off a lyric sheet. FEELING / MORNING / YOU This material and guitarist need a band to bring this to ARE HERE / BACKSEAT BETTY'S life. Otherwise this comes across as a vanity project. REVENGE / UPS & DOWNS & IN-BETWEENS / ALL OF TIME David Dupont ) On Please Don’t Feed the Model the trio of vocal LAUGHING. 70:30 3percussionist Andreas Schaerer, trumpeter Martin ) Well before I’d perused the album cover Calling All Eberle and guitarist Peter Rom deliver a scattershot ses- Unidentified, g, b, d; AKA 1Signal’s A Winter’s Tour enough to see that bassist sion centered on Schaerer’s antics. The setlist touches on R.C.; JoAnne Johnson, CD Nick Stephens was responsible for documenting this soft world beats, pop and jazz. There’s some very pleas- concept?; Trish acc (7); Jeff particular concert, I was struck by the centrality of his ant music here, on “Khu Lule Ka” and “Rimze Khala Rimze.” Bichaylo, kybd (10,14). No work to the entire enterprise. From the first seconds, And the trio demonstrates a tight ensemble execution on date nor place listed. his bass resonates in the center as the horn players, 3) ANDREAS the opener and closer. This is bolstered by the solo voices Gjerstad on reeds and Corbett on brass, flit around, and SCHAERER, MARTIN of guitarist Rom, especially on “Diplomat,” and Eberle. 1) CALLING SIGNALS 09 Nilssen-Love rummages about in his drawer of rhythmic EBERLE, PETER ROM The dominant color here though is the vocals. When A WINTER’S TOUR odds and ends. And as the second track winds down to PLEASE DON’T FEED restrained, Schaerer adds a piquant tone to the date, but LOOSE TORQUE RECORDS its abrupt ending, Stephens is still anchoring the ensem- THE MODEL as is the case with beat box and the like it’s far too easy NINE SOULS / FIVE SOULS ble. The proceedings seem unsettled, and hence to me UNIT 4321 to slip over the line into the trite, cloying and annoying. (PLUS THE BARMAN). 62:38 not engaging. At the 14-minute mark of “Nine Souls” MUKUBA EXPRESS / “Knock Code III” is a silly exercise. It says something about there’s a soulful, wistful part with Gjerstad centering DIPLOMAT / NO REGRETS / this approach now so beloved by college vocal groups Frode Gjerstad, l, b cl, as; his tone and Corbett offering a squawking mute com- KNOCK CODE III / KHULEKA that the best example I can think of comes from a session Jon Corbett, tpt, v tbn; Nick mentary. Stephens nails the mood down as this leads to / PLEASE DON’T FEED THE I reviewed about 20 years ago, David Moss’s My Favorite Stephens, b; Paal Nilssen-Love, a duet section. Nilssen-Love slips in with rapid, slippery MODEL / RIMZE KHULA Things. Moss, who my kids referred to as “that crazy perc. 12/15/09, Colchester, UK. brushwork over which Stephens’ solo. And while his RIMZE / LAST MAN STANDING drummer guy,” covered all this territory and more to far work continues to be strong I found what followed this / PIMP MY SLIDE / THE END IS greater musical and entertaining effect. I considered that interlude meandering with few instances of interest. NEAR. 43:00 one of the best issues of that year; Don’t Feed the Model This is the kind of session that’s all too easy to wander is one more recording that passes my way that will soon away from. Schaerer, vcl; Eberle, tpt, flgh; be forgotten. Rom, g. 10/12-15/10, Vienna David Dupont ) While Thomas Heberer’s Klippe features a similar 2) THOMAS HEBERER 2line, clarinets, trumpet and bass, and again an asser- KLIPPE tive bass, albeit no drums, this session is far different. CLEAN FEED 226 These are tightly wound trio with the leader’s horns, Joachim Badenhorst’ clarinets and Pascal

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here's a distinct dark, underground tone that is Andrew McCormack, p, Jason fairytale countryside impression shades “Flowers For Timmediately evident in the musings of Fourth Page. Yarde, sax. April 12-13 & 17, Japan,” while Yarde’s overblown alto sax during “The The mystery train is in full forward motion here, chas- 2011, Dartington, England Spaces Before” is a surprising and even atypical contrast ing shadows and images of things unseen. Though at in styles. There are many sober or somber moments, with times a playful mood or groove does creep in, make no peaceful songs or quiet at dawn motifs mixed in as well. mistake that these musicians are exploring in search Overall this is an intriguing collection of original of the missing link, hidden treasure, or creature of the music, a worthy companion to their previous disc “My black lagoon. Duo”. Guitarist Charlie Beresford is the lead spelunker, Michael G. Nastos FOURTH PAGE digging deep into caverns of introspection. A distinct BLIND HORIZONS sound culled from the labyrinth ala Brian Eno can be LEO 619 heard in the lengthy “Cut Deep,” while “Melancholy n her discography, violinist Homberger has several Orbits” uses harmonic overtones to create an other Irecorded documents in a quest to interpret the music Summon You To Me/Blind worldly effect. Pianist Carolyn Hume is particularly effec- of Johann Sebastian Bach. What is unexpected for Horizons/Cut Deep/Times tive in creating a stealth mood that sets the tone for the many Cadence readers is her referencing Bach through Like These/ others. Spare, at time clacking percussion, keeps the the composed music of staunch improviser Barry Guy. temperament floating under the surface tension of this Though straight laced and tight, this music is extraordi- Melancholy Orbits/ well established motif. There's also a bit of pure improvi- narily well played, and suits the listener who can relate Buried Limb/On The sation, a vocal heard at the end of an unlit tunnel during to the baroque period of European music. Walking Edge. 58:14 “On The Waking Edge,” and Beresford occasionally play- Bookended by the Bach pieces, Homberger strings ing the bamboo mouth organ from Laos, the khaen. together deft, precise, lovely phrases on the lengthy Charlie Beresford, g, vcl, Those who enjoy ambient music should gravitate to MAYA HOMBURGER “Sonata” and “Partita”. You hear the distinct influence the khaen, Carolyn Hume, p, Peter the music of Fourth Page. It's not for every lover of cre- J.S. BACH - SONATA majestic butterfly has on her, using fluttering of wings Marsh, b, Paul May, perc. ative improvised music, but is highly recommended to IN C / BARRY GUY – assimilations. For Guy’s “Lysandra,” many different leit- July 25, 2011, Weybridge, those late night owls. LYSANDRA motifs are employed, combined with tastefully utilized Surrey, England Michael G. Nastos MAYA 1101 space and extended techniques. This is music to be enjoyed and not really appropriate for being analyzed, Sonata No. 3 In C Major/ although the astute listener will hear both the similari- ANDREW his is the second duet effort for McCormack and Yarde, swinging on mainstream ideals that suggest Lysandra/Partita No. 3 In ties and differences in the strictly composed pieces. McCORMACK / JASON T E Major. 55:27 Though for specialized listeners of classical music, YARDE they are writing their own songbook of relative straight ahead jazz without a rhythm section safety net. Cadence readers should appreciate the whole of this PLACES & OTHER Homburger, vln. Dec. 13017, Swapping original compositions throughout this effort. You are also encouraged to seek Homberger’s SPACES 2010, St. Gerold, Austria original set, the two create a colorful tapestry of phrases prior CD’s EDITION / JOY & EARS and moods that suggests many influences, but one con- Michael G. Nastos 1028 joined purpose. D-Town/Spanish Princess/ There are some purely solo piano or sax tracks, but Dark Too Bright/Antibes/ for the most part, this duo plays off each other, taking a n the spirit of modern modal mainstream artists such Epilogue/Hill Walking DANIEL ERDMANN / few chances via improvisation, but generally swinging Ias and John Scofield, the Erdmann/Rohrer On The Tynerside/Other SAMUEL ROHRER along, with plenty of room for introspection. Of the tan- 4tet play solid, strategic melodies with just a small edge. Spaces/Holding Pattern/ HOW TO CATCH A dem efforts, “Hill Walking On The Tynerside” is particu- The music is very pleasant, contemporary, restrained The Spaces Before/ CLOUD and tasteful, even if a bit derivative. Nonetheless, it’s larly delightful in its playful 7/4 modal framework. A INTAKT 196 Flowers For Japan/ made with a good deal of craft and wit that can appeal Embraceable You. 65:16 to most everyone.

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While sign posts of the Scofield/Lovano era of Still Awake But Already Upon repeat listenings, this recording yields more Blue Note recordings is evident, there also a more Dreaming/5463/Les magical sounds, and comes highly recommended. progressive element reminiscent of David Binney's Melons De Cavaillon/ Furthermore, it seems Rieman is scratching the surface collaborations with Adam Rogers. The signature track Broken Tails/How To of what can be done in this context. Perhaps a Rhodes “M39 - Route To Bishkek” reflects this nicely rendered Catch A Cloud/In The ensemble is the next step in his evolution, and it would style of sound and teamwork between Erdmann and Valley/M39 - Route To be welcome. Mobus. Their compatibility sings in volumes of rich Bishkek/One Old Soul/No Michael G. Nastos River But Trees. 47:03 colors that are only slightly muted. While occasionally dealing in free improv, modalities, spacey notions or ALESSANDRO SACHA hree free spirited Italian saxophonists led by Caini romantic thoughts, their centerpiece is that slower, Erdmann, ts, Rohrer, d, Vincent CAIANI comprise the bulk of music on this challenging proj- light, low key groove as on “Still Awake But Already T Courtois, cello, Frank Mobus, g EFFETTO LUDICO ect, using a combination of improvisation and some Dreaming,” or the clockwork timing heard during June 2011. Italy SILTA 904 composed segments. There’s no modicum of wailin’ “Broken Tails”. here, as Caini, the formidable Succi, and Coppa lean into The diversity of the combo playing contemporary Trio Starting/Duo these pieces with all the fervor they can muster. music just on the cusp of modernity is commendable. Starting/A Storm/On The Where the three sax attack comprises the most excit- We should look forward to further efforts from this Beat, Part I-III/Achille/ ing music on the date, each individual has a featured ensemble should they choose to stay together and Biagio/Silvia/C.S.A./X.B./A selection - Succi during “Achille,” Coppa on “Biagio” and offer further explorations. Song. 60:44 bassist Bolognesi during “Silvia”. This allows the leader to Michael G. Nastos feature the band mates he rightly reveres in a manner Caini, ts, Achille Succi, as, away from collective improvisation. During the proceed- or this author, the Fender Rhodes electric piano b cln., Biagio Coppa, ts, ss, ings there’s some out-and-out thrash or grunge, elec- has always been addictive. Having said that, upon F Xabier Triondo, mahai metak, tronic sounds, a hint of spaciousness, or Succi’s bass clar- listening to Rieman’s mutations of the instrument, I shaji baaja, Silvia Bolognesi, b, inet acting as a spiritual digeridoo accenting “A Song”. ERIC GLICK RIEMAN would never have thought it could be modified to Cristiano Calcagnile, d. Sept. The real prize comes when their sax synergy is in full IN MY MIND create the sounds you hear. Perhaps a bit arresting, 24, 2008, Tavernago/Piacenza, flight, which hopefully suggests a further project that HER IMAGE WAS even confounding, this solo reinvented and repur- Italy concentrates on the triad really digging in and holding REVERSED posed sound of the Rhodes offers a completely unique their ground, with or without a rhythm section. ACCRETIONS 53 approach. Michael G. Nastos Rieman uses many percussive applications, includ- Forgetting Belief/What’s ing muffling the Rhodes with his hands, cloth and ure but unpredictable improvisation with a twist Said, Reinterpreted paper, or playing it using rocks, marbles, a wire brush, best describes the style via the thorny guitar of By Future Hearers/ or bowing its amplified zinc rods. Loops, effects and P Aldcroft, and the reliable, inspired bass playing of Parker. Reiterated, Opinion sparse chords are heard in the opener “Forgetting These excursions feature an on the edge theorem bal- Changes Meaning/ Beliefs,” while the final track “Reinventing Beliefs” has anced by Parker’s black bottom inspiration, a shared Transmigrating Flock Of the instrument sounding more like a toy piano. In vision that at times drifts into separated entities of Beliefs/In My Mind, Her between, you occasionally hear some better beats, a expression that can seem a bit disjointed. Image Was Reversed/The light flight of fancy in “Transmigrating Flock Of Beliefs,” The two lengthy pieces ranging, from 24 to 30 min- Past, Aerated/Reinventing at times a more pure, familiar Rhodes style, and some KEN ALDCROFT / utes, are difficult to grasp and hold one’s attention. Belief. 56:32 pulses of six notes per bar during the title selection. WILLIAM PARKER “One Sunday” is anchored by Parker’s bowed bass, with Industrial space and stratospheric loops identifies a ONE SUNDAY Aldcroft in a wildly free spontaneity that grasps little Rieman, Fender Rhodes. perfectly titled “The Past, Aerated”. TRIO 14 melodic substance. “Sweet Beverley” has a better sense March, 2010, Taos, N.M

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bluesy jazz without being held to its rhythmic restraints, One Sunday/Zum hough well regard- but on occasion you do hear an inherent swing element. Schneider/Sweet ed in his home area The shorter pieces have Parker on the more blues T Beverley/Warm'in On of NYC, Jimmy Owens centered trombonium with guitar rhythms tapped out McKibben/Monroe Street has been under the on “Zum Schneider,” while his shakuhachi flute leads Bop. 73:15 radar nationally due to Aldcroft’s percussive plunking during “Warm’in On a paucity of recordings McKibben”. The music is staunchly original, perhaps to Aldcroft, g, Parker, b, over his lengthy career. a fault. It is clearly Aldcroft’s vision and stance, unlike trombonium, shakuhachi flt. The Monk Project will any other guitarist you’d care to name, especially Jan. 9, 2011, Brooklyn, NY hopefully change that compared with the Bailey’s, Mazzacane’s and Frith’s of perception, finally the improvised world. Patient listeners will be more humbly rewarded in vaulting him into the listening to this pithy music, as opposed to those larger spotlight. Owens with shorter attention spans. Aldcroft in particular arranges most of these takes a warming period to fully appreciate, but his classics (with help from unique musicianship is there. some of his students) via the Thelonious Monk songbook, and parks always fly when the deep, introspective pianist elevates them with Courvoisier and vibrant violinist Feldman combine S an all star septet in a efforts, extracting elements of improvisation when they manner the author closely listen to one another. In this quartet setting, never did. making up melodies, harmonies and rhythms on the spot effectively seems natural and vital to their inner Everything here is done with thorough profession- selves. “To Fly, To Steal” is a perfect title for the sponta- JIMMY OWENS alism, starting with the flippant sax and tuba rapport neous varieties that soar and slink with stealth abandon. THE MONK PROJECT on “Bright Mississippi”. The fluid dynamics of this tight SYLVIE COURVOISIER Eschewing jazz influences for the most part, the music IPO 1022 unit is evident from start to finish, whether cruising / MARK FELDMAN of John Cage and Olivier Messiaen is more present and on the bluesy swing of “Stuffy Turkey” with wonderful QUARTET accounted for. There’s a skittish, ribald, runaround feeling Bright Mississippi/Well, counterpoint between Owens and tenor saxophonist TO FLY, TO STEAL present in the lead track. Feldman’s “5 Senses Of Keen” You Needn't/Blue Monk/ Marcus Strickland, or romping on the eleven minute Stuffy Turkey/Pannonica/ INTAKT 168 is utterly provocative, while his violin profoundly sings “Epistrophy”. The highlights are a marvelous rendition of and speaks during “Coastlines”. Courvoisier’s signature Let's Cool One/It Don't Monk's spritely waltz “Let's Cool One,” and a monster ver- Mean A Thing (If It Ain't Messiaenesque/ piano is heard most prominently during the somber, sion of “Brilliant Corners,” with the stunning, staggered Got That Swing)/Brilliant Whispering Glades/The delicate, almost tepid strains of the title selection in a horns shouting out for attention among the shifting Corners/Reflections/ Good Life/Five Senses Of very purposeful manner. “The Good Life” is stunning in pace of plodding rhythms and bopping tempos. Kudos Epistrophy. 75:03 Keen/Fire, Fist & Bestial its start-stop drums/bass theme, as the principals have to the rhythm section led by pianist Kenny Barron, and Wall/Coastlines/To Fly, their way with an arresting, lengthy motif over nearly another great addition to the discography of the crimi- Owens, tpt, flgh, Wycliffe To Steal. 62:08 eleven minutes. Gerry Hemingway is continually brilliant, nally under appreciated Howard Johnson, not to men- as always. At times bold or sneaky, this band perfectly Gordon, tbn, Marcus tion leader Owens. Strickland, ts, Howard Johnson, Courvoisier, p, Feldman, vln, exemplifies how master craftspersons create truly new The end result is an effort that will please both main- tuba, bari s, Kenny Barron, p, Thomas Morgan, b, Gerry music, with no hint of hesitation unless they choose to stream and progressive jazz audiences. This should eas- Kenny Davis, b, Winard Harper, Hemingway, d. July 23, 2009, pause for reflection. It’s another triumphant recording ily be a candidate for Best Mainstream Jazz CD o 2012, d. June 2 & 8, 2011, New York New York City, NY for Courvoisier and Feldman’s discographies, and comes and comes highly recommended. highly recommended. City, NY. Michael G. Nastos Michael G. Nastos

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