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31 #1 Jazz – 7/6: John Scofield 7/13: David Hazeltine #1 Smooth Album JazzWeek with airplay data powered by jazzweek.com • July 13, 2005 Volume 1, Number 33 • $7.95 In This Issue: MESHELL Blue Note to Release Rare NDEGEOCELLO’S 1957 Monk & ’Trane . 4 NATURAL Stubblefield, PROGRESSION Michelot and Other Passings . 8 page 12 Jazzin’ Around podcasting Success . 10 Reviews . 16 Jazz Radio . 19 Smooth Jazz Radio. 25 Radio Panels. 31 News. 4 Charts: #1 Jazz – 7/6: John Scofield 7/13: David Hazeltine #1 Smooth Album/Single – 7/6: Nils #1 Smooth Album/Single – 7/13: Richard Elliot JazzWeek This Week EDITOR Ed Trefzger MUSIC EDITOR Tad Hendrickson CONTRIBUTING EDITORS he internet era has seen some fads come and go – remember Keith Zimmerman “Push” technology or theglobe.com? They’re about as outdat- Kent Zimmerman Ted as the Lambada. But one new technology that I think is CONTRIBUTING WRITER/ going to be here for a long while is podcasting. PHOTOGRAPHER What’s podcasting? In a nutshell, it’s simply a way to provide Tom Mallison PHOTOGRAPHY prerecorded programming in a format that makes it easy to down- Barry Solof load to audio players or software. The “Pod” part refers to Apple’s iPod; former MTV veejay Adam Curry (the blonde guy with the PUBLISHER Farrah Fawcett haircut) pioneered using XML protocol for load- Tony Gasparre ing programs onto iPods only months ago. ADVERTISING: Contact Tony Gasparre Recently Apple added a podcasting directory and the ability (585) 235-4685 x3 or to retrieve podcasts in iTunes version 4.9, and its impact has been email: [email protected] felt already, as is witnessed in our article about Pittsburgh’s David SUBSCRIPTIONS: Prices in US Dollars: Jaye on page 10. Charter Rate: $199.00 per year, Before you jump into podcasting programs from your station, JazzWeek w/ Industry Access – Charter Rate: $249.00 per year though, be forewarned that webcasting royalties don’t apply yet to To subscribe using Visa/MC/Discover/ downloadable files like those in podcasts. Music rights for pod- AMEX/PayPal go to: http://www.jazzweek.com/account/ casting still need to be worked out. subscribe.html Hats off to David, though. He’s demonstrating that niche pro- grams made available widely will attract a significant audience. AIRPLAY MONITORING BY – Ed Trefzger, Editor Mediaguide 1000 Chesterbrook Blvd. Suite 150 Berwyn, PA 19312 JazzWeek (ISSN 1554-4338) is published weekly by 2117 Buffalo Road Suite 317 Rochester, NY 14624 phone: (585) 235-4685 fax: (585) 235-4685 [email protected] Copyright ©2005 Yellow Dog Communications Inc. jazzweek.com • July 13, 2005 JazzWeek 2 Contents July 13, 2005 News . 4 Blue Note To Release 1957 Monk, Coltrane Carnegie Hall Concert . 4 Passings . 8 Plaque Honoring Ella Fitzgerald Unveiled in Detroit . 9 Jazzin’ Around podcast Finds Success Via iTunes . 10 Koch Releases Bob James Smooth Best of Collection . 10 Birthdays . 11 4 Features Artist Q&A: Meshell Ndegeocello . 12 Reviews . 16 Ilona Knopfler . 16 Adam Rogers . 16 Dave Weckl Band . 17 Jazz Charts . 19 12 Jazz Album Charts . 20 Jazz Add Dates . 22 Jazz Current CDs . 23 Jazz Radio Panel . 31 Smooth Jazz Charts . 25 Smooth Album Chart . 26 Smooth Singles Chart. 28 Smooth Current CDs . 30 19 Smooth Radio Panel . 31 Classifieds . 18 Cover photo: Meshell Ndegeocello by Marc Seliger, courtesy 25 Shanachie Records JazzWeek Volume 1 Issue 33 jazzweek.com • July 13, 2005 JazzWeek 3 News Blue Note To Release Rediscovered 1957 Thelonious Monk and John Coltrane Carnegie Hall Concert ust minutes before the Jukebox early that year, and immediately began eral warnings, Davis finally ran out of Jury panel started at the 2005 working again around town. patience, and in April 1957 fired the JJazzWeek Summit on Friday, Monk had been on the verge of a saxophonist for his unreliability. June 24, permission came through to breakthrough since 1955. Having been Having squandered his best job allow those in attendance to hear a instrumental in the birth of bebop as to date, he returned home to Phila- track documented a performance few the house pianist at the Harlem club delphia, and in May of that year, he had ever heard. Minton’s Playhouse, as well as play- kicked his addiction cold turkey. Years On September 27, Blue Note Re- ing in the bands of Charlie Parker and later, Coltrane would also describe this cords will release that album, Theloni- Dizzy Gillespie, Monk was given his as a moment of spiritual reawakening, a ous Monk Quartet with John Coltrane: first opportunity to make his own re- path that would ultimately lead to per- Live at Carnegie Hall, a never-be- cords as a leader by Alfred Lion of haps his greatest achievement, A Love fore-heard jazz classic that documents Blue Note in 1946. After making a se- Supreme. And so it was with a renewed one of the most historically impor- ries of early recordings for Blue Note spirit and dedication that Coltrane re- tant working bands in all of jazz his- and then Prestige, he began to reach a turned to New York mid-1957, began tory, a band that was both short-lived wider audience upon his move to Riv- attending Monk’s informal workshops and, until recently, thought to be frus- erside in 1955. at his apartment, and eventually joined tratingly under-recorded. The concert, However, due to his inability to Monk’s quartet at the Five Spot in late which took place on Nov. 29, 1957, perform in New York during that time July. was preserved on newly-discovered period, and his unwillingness to travel, The Five Spot engagement was a tapes made by Voice of America for a mainstream recognition was still out of triumph. The club was packed with later radio broadcast. Those tapes were reach. So, upon the return of his caba- lines around the block every night dur- found stored at the Library of Con- ret card in 1957, Monk wasted no time ing what would become a five-month gress in Washington, D.C., earlier this in getting back on track. His first gig engagement. Monk was finally given year. was an open-ended engagement at the the recognition that he long deserved, 1957 was a pivotal year in the lives Five Spot Café in the East Village for and Coltrane, inspired by Monk’s mu- and careers of both Thelonious Monk which he hired a quartet that included sic and pedagogy, began developing at and John Coltrane. For Monk, 1957 the tenor saxophonist John Coltrane. an astounding rate. began auspiciously. For several years For Coltrane, 1957 began with the “My time with Monk brought me the pianist had been unable to perform lowest point of his career. He had been into association with a supreme ar- in New York City’s clubs and concert lifted from obscurity two years before chitect of music,” Coltrane said in a halls due to the loss of his cabaret card, when Miles Davis hired him into his Down Beat article. Coltrane also made but with the help of his manager Har- quintet, but by late 1956, Coltrane’s Blue Train, for Blue Note in Septem- ry Colomby and the patroness Nica de heroin addiction had started to inter- ber 1957, just two months before the Koenigswarter, he regained his card fere with his performance. After sev- continued ... jazzweek.com • July 13, 2005 JazzWeek 4 News Monk, Coltrane Concert on Blue Note (continued) Don Schlitten (courtesy Blue Note) Monk’s quartet at the Five Spot Cafe in 1957. (L-R: John Coltrane, Shadow Wilson, Thelonious Monk, Ahmed Abdul-Malik) Carnegie Hall concert. ist Ahmed Abdul-Malik and drum- and closing with an incomplete sec- Monk and Coltrane had been mer Shadow Wilson, at the height of ond-take of “Epistrophy” that ends working together for a solid four their powers. when the tape runs out. months by the time they set foot on The quartet performed two short The concert, which was a bene- stage at Carnegie Hall. By all accounts, sets, with the repertoire largely culled fit for the Morningside Community Coltrane had been tentative early on in from Monk’s book. The first set con- Center in Harlem, boasted an amaz- the Five Spot run, challenged at first sists of “Monk’s Mood,” “Evidence,” ing line-up of artists that also included by Monk’s quirky melodies and chord “Crepuscule with Nellie,” “Nutty” and Billie Holiday, Dizzy Gillespie, Ray changes, but the 51 minutes of mu- “Epistrophy.” In the second set they Charles, Chet Baker with Zoot Sims, sic captured in pristine sound quality stretched out a bit more, opening with and Sonny Rollins, and was recorded on Live at Carnegie Hall, present the “Bye-Ya,” followed by the sole standard for a later broadcast overseas by Voice quartet, which was completed by bass- “Sweet & Lovely,” then “Blue Monk” continued on page 7 jazzweek.com • July 13, 2005 JazzWeek 5 Our Deepest Appreciation for Your Professionalism, Support & Friendship David Newman David Newman Eric Alexander Steve Turre Winner I Remember Brother Ray Nominee The Spirits Up Above Instrumentalist of Winner - Record of the Year Instrumentalist of Nominee - Record of the Year the Year the Year Joe Fields Winner Duke Dubois Humanitarian of the Year Award You have all helped make the past year one of our best ever. Together, we can make the future even better. Upcoming titles Raising the Standard - HCD 7143 World On a String - HCD 7141 Celebration - HCD 7136 The Battle - HCD 7137 106 West 71st Street • New York, NY • 10023 tel: (212) 873-2020 • fax: (212) 877-0407 E-mail: [email protected] Visit us at: www.jazzdepot.com News Monk, Coltrane Concert on Blue Note (continued from page 5) of America.
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