March 2001 03 Jazz Ed

ALL ABOUT JAZZ monthly edition — march 2001 03 Jazz Ed. by Aaron Wrixon 04 From the Inside Out by Chris M. Slawecki 07 Fantasy Records by Derek Taylor EDITOR-IN-CHIEF: Aaron Wrixon 13 Improvisation by Peter Madsen

ASSOCIATE EDITOR: Michael Martino 16 Jazz on MTV by Stan Ra

CONTRIBUTORS: 18 Jim Black by Allen Huotari David R. Adler, Glenn Astarita, Mathew Bahl, Mark Corroto, Chris Hovan, Allen Huotari, Nils Jacobson, Peter Madsen, David A. Orthmann, Stan Ra, David Rickert, Jim Santella, 28 Ken Burns’ Episode Ten by David R. Adler Chris M. Slawecki, Robert Spencer, Derek Taylor, Don Williamson, Aaron Wrixon. 31 Steve Lacy by Robert Spencer ON THE COVER: Kurt Rosenwinkel

PUBLISHER: 33 René Marie by Mathew Bahl Michael Ricci 37 Kurt Rosenwinkel by David R. Adler Contents © 2001 All About Jazz, Wrixon Media Ventures, and contributors. 41 CD Reviews

Letters to the editor and manuscripts welcome. Visit www.allaboutjazz.com for contact information. Unsolicited mailed manuscripts will not be returned. Hear that? 20 hours of Ken Burns’ Jazz. Had I known That’s the sound of me settling into a the entire affair was less Ken Burns’ Jazz and groove. more Ken Burns’ jazz, I might have passed. As No, not with All About Jazz. Not anything it was, though, I slogged through the whole so noble. boggy marsh of it. There’s a good chunk of That was the sound of me settling into time I’ll never get back. the groove I’ve created on my couch by Now of course, I’m addicted to television. spending most of my time lately in front of Worst of all, I’m hooked on that hideous the television. Survivor. I used to be very anti-TV. Wouldn’t touch it. I missed it the fi rst time (see my The box sat in the corner of my living room, sanctimonious “television is bad” rant only a gathering dust. For a while there I even had few paragraphs above) but these days I fi nd it facing the wall. myself thinking in the shower about who’s Then a couple of things happened. going to hissy-fi t their way off the (continent- First, a local station showed a two-week- sized) island next week. The horror. ED. long marathon of the entire fi rst season of The On the plus side, I’ve been cooking up ways Sopranos. I got hooked. Then they announced to combine reality TV and jazz (bearing in you’d only be able to watch the second season mind, as I’ve recently learned, that no good on pay-TV. Oofa. Ditto with the third season. jazz was made after 1960.) Reluctantly, I signed up to pay $70 a month Check this out: Jazz Survivor, with the for every channel in God’s Own Creation, Bebopin Tribe battling it out against the because that’s the only way to get the digital Moldyfi g Tribe. Or Temptation H-land: put a box I need to score my mafi a fi x. bunch of hepcats on a rock with some heroin Second, like a sheep in the fi eld (or a pig and see who caves fi rst. at the trough, or a lamb to the slaughter — Or... Oh, sorry. Gotta go. Oprah’s on. J I’m not sure which yet) I sat through nearly

JAZZ NOTES FROM THE EDITOR Good autobiography explains the life of its subject. Great autobiography explains the life of its subject and more — not just what that life was, but also why and how that life came to be that way. Sammy Davis Jr. (1925-1990) recounts one hell of a life in Sammy: An Autobiography (Farrar, Straus and Giroux). His fi rst memoir, Yes I Can (1965), a true American rags to riches story, was both popularly and critically acclaimed; for an encore he delivered Why Me? (1980), which brooded more troublesome issues such as his personal relationships with the Kennedy family, his wives, and others. Davis wrote both books with the husband and wife team of Burt and Jane Boyar, his friends for decades. Burt combined both texts with previously unpublished interviews, and wrote a new prologue and epilogue, for this new Autobiography. Davis succumbed to throat FROM THE cancer in 1990 at age 64. Jane Boyer died in 1997. Davis was a rare breed of entertainer. He could sing, dance, and do comedy and INSIDEOUT drama with soul and style, sort of the CHRIS M. SLAWECKI prototype Michael Jackson. Much has been made, including much of this book review, changed, like the face on the man sitting for Stanley Kramer’s The Defi ant Ones, which of the fact that Davis was “burdened” as a inside the stage door, or which fl oor our eventually starred Tony Curtis and Sidney performer by being both Jewish and Black dressing room was on.” Poitier. But Elvis’ manager, Col. Parker, turned (though he wryly notes he started out as a As Davis searched for stardom, for the fi rst the deal down. Presley had to explain it to “Negro”) during a period where large expanses several years with his father and family friend Davis: “The real reason is because he says that of America were less than enlightened on in The Will Mastin Trio, he was running from all those people out there who buy my albums, racial and religious tolerance. In the year and running to many things. As a child, he among them are lots who won’t want to see 2000, ten years after Davis’ passing, a Jewish appeared in a Warner Brothers fi lm starring me chained to a colored guy and end up liking senator ran for the second highest offi ce in the Ethel Waters, Rufus Jones for President. Davis him.” United States, and a Black man is serving as played Rufus, a little boy who fell asleep on That same drive that drove Sammy Davis Secretary of State. Sammy: An Autobiography his mother’s lap and dreamt he was President. Jr. to stardom in many ways nearly drove him reminds us that things were not always so. It Davis recalls, “When Rufus Jones attended to death. “There had been no harm in the is not merely the autobiography of a talented a cabinet meeting, there were signs saying dream of a boy — ‘I’ve got to be a star’ Jewish, Black performer, even though that ‘Check Yo’ Razors at the Door.’ He appointed — until it hardened and fastened itself onto might be interesting enough. It is simply, a ‘Secretary in Charge of Crap Shooting’ and a man as a necessity, blinding, obstructing triumphantly, an American autobiography. a Secretary of Agriculture to ‘make sure the maturity, preventing reevaluation,” he learned. Davis saw himself as born to the stage. He watermelons come in good and the chickens “No white man could ever have been the was not someone who entertained — he was is ready fo’ fryin’.’” Davis’ depiction of several enemy to me that I had been to myself; he an entertainer. The road and the stage were instances of racial intimidation and abuse was often guilty of unkindness and stupidity, his home: “Although I had traveled ten states are absolutely horrifi c; he endured some but I had wasted my life and my talent to win and played over fi fty cities by the time I was unspeakable horrors while serving in the Army a victory over that stupidity. I was the man four, I never felt I was without a home. We during WWII, including being beaten and who’d opened the door and let Hatred come in, carried our roots with us: our same boxes of painted with the words “coon” and “I’m a and presented my case to a madman. I was the makeup in front of the mirrors, our same nigger” in white paint by his own troops. man who’d paid tribute to Hatred with every clothes hanging on iron pipe racks with our After he left the army, Davis and Elvis breath of my life.” same shoes under them. Only the details Presley were the original pair in consideration “All I really had was my talent,” he fi nally 1201 Music 32 Records 33 Jazz 4W Record Accurate Records Ace Records Acid Jazz Ltd ACM decided. “Without that I wouldn’t be welcome Later, he charmingly refl ects, Records Acoustic Records Acqua Records AC at the White House, I wouldn’t be able to help “Unfortunately, I wasn’t born sixty years old. Music + Vision Adelphi Records Affinityjazz Ahea Behind Music Airmen Records Aleph Records Allegr anybody, not even myself. If God ever took I had to work hard, fuck up a lot and MoreMusic Alto Records labels Amherst Records Amigo Mus away my talent I would be a nigger again.” consequently learned a lot.” AMM Group Antilles Records AntonJazz App Davis comes clean with other fl aws too. He Davis explains his mid-life conversion to Jazz Records Arabesque Jazz ARAS Records Arbo Recordsthan A-Records you Arhoolie can Records Arkadia Jaz struggled with the club performers’ equivalent Judaism, which was introduced to him by Art By Heart Artifex Records Artists Only Asia of writers’ block, where he lost respect for Eddie Cantor, with profound insight on the shakeImprov Records aAtavistic stylus Atlantic Jazz at. Audiophi himself because he knew he could do better, similarities between Jewish and Black Imports AudioQuest Music AUM Fidelity Record Axiom Azica Records Babel Barracuda Basin Stre and lost respect for his audience because American cultures. While reading “A History of Records Bassic Sound Beezwax Records Bemb they did not. “Phoniness, the lack of respect, the Jews,” Davis remembers that “I got hung Biograph Records Black Hat Records Black Orch had become a habit, a refl ex,” he wrote. up on one paragraph: ‘The Jews would not Music Black Saint Bleeding ARTs Blue Jackel Blu Night Records Blue Note Records Bluejay Record “And there had been a transition within me, die. Three centuries of prophetic teaching had Boheme Music BOPO Records BrainChild Record a shift of balance so slight that I hadn’t given them an unwavering spirit of resignation Braxton House Brisa Music Bucky Ball Music Butterf seen it happening and the ‘con man’ began and had created in them a will to live which Records BVHAAST Records Caber Music Cand J Records Carbon 7 Carpet Cat Records CAR creeping onstage until gradually but inevitably no disaster could crush.’” Production Catalyst Productions Catfish Records (U he overpowered the honest performer and I Cathexis Records Cavity Search Records Cexto was no longer able to take off the coat. I Records Challenge Records ChartMaker Record Chase Music / Mighty Tiger Chesky Records Chia had stopped playing the role and become the oscuro Records CIMP Records Collectables Colum character.” And Davis seems to relish that bia Records Compass Records Concord Record he absolutely hated the idea of singing “The Cordova Bay Records Corridor Records Crav Records Criss Cross Cubop Cuneiform Record Candy Man” with The Mike Curb Congregation Curling Legs Dacapo Records Darwyn Record for M.G.M. Records, which became a Number DCC Delmark Records Denon/Savoy Diamond C One single. His immediate reaction: “I’ve heard Records DMP Records Double-Time Records Drago FindRecords DreamSea them Records at Dreyfus Records D the song. It’s horrible. It’s a timmy-two-shoes, mala Records Drog Records Dymusic ECM Record it’s white bread, cute-ums, there’s no romance. allaboutjazz.com.Effendi Records EGEA Emanem Encounter Record Blechhh!” / Dreambox Enja Records (1) Enja Records (2 Ensayo Eremite Records ESC Records Evander Mus Evening Star Records Extraplatte Eyran Record Kid Ory was around practically from the beginning, a cast iron cog in traditional jazz circles who weathered the music’s waning periods of popularity and acted as a central revitalizing agent during its various resurgences. Ory came of age during the music’s halcyon days. Saturated in the sights and sounds of his native New Orleans, the Creole fl avors of his culture never left him. Modest tours in territory bands during his teens eventually led to now legendary stints with the likes of Jelly Roll Morton’s Hot Peppers, King Oliver’s Dixie Syncopators and Louis Armstrong’s Hot Fives and Hot Sevens (the latter two leaders it should be noted blossomed under Ory’s infl uence). In each setting the feral growl of his trombone provided a hair-raising hardiness with good- natured joviality. Ory’s sound eventually coalesced into a TAILGATE distinct style that infl uenced legions of brass players and was affectionately known as tailgate (a name according to Louis Armstrong originally derived from the type of wagon used TROMBONES by Ory as a traveling stage for his early band BY DEREK TAYLOR with Oliver). Applying all manner of mutes and plungers and an ingenious arsenal of guttural was ‘rediscovered.’ Tenure with the Ellington from Ory that mixes in the right measure barks and shouts his horn could scour paint Orchestra followed. Shortly thereafter producer of sadness for a dear friend departed, the off corrugated siding with the force of its Neshui Ertegun who formed the Crescent emphatic shuffl e beat of “Do What Ory Say” joyous gusts or just as easily coax carnal Records imprint with the express purpose replete with sage advice from the maestro feelings from the most jaded listener hearts. of documenting his comeback eventually himself, and another Ory feature “Ory’s Creole His sharply honed rhythmic and harmonic approached him. Trombone” brimming with colorful trombone sense was perfectly suited to the improvisatory 1944/1945 collects these historically and breaks. polyphony central in the New Orleans street artistically exceptional Crescent sides in a Turning the pages of time forward fi ve years band tradition. Equally adept at laying down single package under the Good Time Jazz the succinctly titled 1954 visits Ory in the a twisting rhythmic anchor in tandem with imprint, the label that would record much of company of a tightly knit regular working bass or drums or in rarer (and later) instances Ory’s output during the early to mid-1950s. band. Barring a few minor alterations it was moving to the fore for a melodically-charged The band in residence is fi lled with Ory’s the unit he would front for much of the solo exhortation his skills were suited to old comrades and attacks the songbook of 1950s. The album is lean on liners- a personal virtually any traditional jazz setting from New Orleans standards with unfettered brio reminiscence and two tantalizing recipes from Dixieland, to Spirituals, to funeral marches to to spare. Ory’s unctuous trombone routinely the ‘Ory Creole Cookbook (Creole Gumbo Filé the Creole-tinged melodies that formed the spreads a slippery rhythmic lubricant against and Shrimp Jambalaya) comprise them- but crux of his repertoire. the dancing traps of Redd and Hall with the meaty in terms of music. This latter component With the rise of Swing in the 1930s odd cowbell knock tossed in to spice things is one that carries through on all of the band’s traditional jazz took it on the chin both up. Running times are short, but each tune recordings for Good Time. The repertoire is fi guratively and fi nancially and as public is packed to the gills with spirited solos pretty standard trad jazz fare including Tin interest shifted to more commercialized sounds primarily from the likes of Simeon and Howard Pan Alley tunes by the likes of Scott Joplin many New Orleans and Dixieland players on their respective sides. Wilson’s keys are (“Maple Leaf Rag”) and W.C. Handy (“Yellow including Ory retired. Ory sat out of the music little submerged in the sonic sea, but every Dog Blues”) as well as the stray spiritual. But scene for the next nine years working as a once in while sparkle through with a wily the program also includes one of Ory’s most mail sorter in Sante Fe, New Mexico before sheen. Highlights include the referential “Blues famous compositions “Muskrat Ramble,” which eventually moving to Los Angeles where he For Jimmie Noone,” build on a boisterous solo the septet runs through at a leisurely pace. Hall’s drums lend a buoyant bounce to the and the piquant lines of Probert’s reed keep packing for the nearest tavern secure in the rhythmic end beneath Garland’s thick-fi ngered things percolating as Ory and Alcorn sail knowledge of session well done. strums and the frontline of Ory, Alcorn and around the theme. Probert takes center stage Subtitled The Legendary Kid, the 1956 Probert digs in with some freshly layered on the casual breakdown of “A Good Man date signaled another shift in personnel harmonies. The horns, and for that matter the Is Hard to Find” twirling above a fl uid with only the Alcorn and the stalwart Hall band in general is lovingly recorded and all of counterpoint of brass and drums before staying on. The new blood of Gomez, Reason, Ory’s signature slurs and smears are scored in dropping back and allowing Alcorn to lead. Davidson and Braud gives Ory’s aggregation a scintillating aural relief. Nanny goat bleats from Ory punctuate between comparatively lighter sound, but all the swing Hall’s snare rolls taking the tune out to and sass remains at full strength. For those invisible applause. “A Closer Walk With Thee” keeping count the recipe for this outing is Perfect victuals is afforded a surprisingly slow and tender a tasty prescription for Red Beans and Rice. to accompany the preface by Alcorn, Kessel and the light accents “Mahogany Hall Stomp” opens things up and piping hot musical gumbo of Hall before the band charging forward Ory gets straight to growling in a short but the band serves up. at full muster swaggers by with a much wonderful vibrato-varnished break. Alcorn also more ebullient close. “Shake That Thing” is sounds in stellar form on this tune and on The eponymous Kid Ory’s Creole Jazz Band similarly energized thanks to Ory’s gravel- the following “Sugar Blues,” which is largely recorded four months later replaces Newman textured vocals and some jaw-dropping snarls a feature for Gomez and Reason. King Oliver’s with Kessel, but otherwise the group remains shoot forth from his broad bell of his brass. “Snag It” unfurls off a throbbing unison lead- the same. This time around the recipe gleaned The fast-paced syncopation of “Royal Garden in before solos by Gomez and a particularly from Ory’s cookbook is a particular mouth- Blues” and “Mississippi Mud” gives way to potbellied Ory. Hall’s small percussion accents watering rendition of Crawfi sh Bisque Creole. what may qualify as one of Ory’s most and the banjo-like strums of Davidson further Perfect victuals to accompany the piping extended workouts “Tin Roof Blues.” The horns add to the back alley feel. Pace quickens on hot musical gumbo the band serves up. The cycle through a string of insouciant choruses, the fl ighty “At the Jazz Band Ball” and the program is again an assorted bag of New each one the musical equivalent of an athlete innuendo-laden “Wang Wang Blues” fi nds the Orleans standards starting with Ory’s own in peak physical shape. A textbook take on septet at its bawdy best. “Bye and Bye” and “Savoy Blues.” Garland’s expressive string stops “Indiana” with plenty of asides sends the band “Make Me a Pallet On the Floor” may fulfi ll the traditional tune quotient for the session, but the surface very different from Ory’s. While no soloist on both sets, but the rest of the both are given the royal treatment and make doubt infl uenced by Ory (everyone was to at ensemble gets in plenty of licks during the for consistently thrilling listening. Ory waxed least some degree directly or indirectly) his collectively improvised breaks. The band starts several other dates for Good Time, but these style was much less extroverted making use Volume 1off with the old spiritual warhorse four titles rank among his fi nest for the label. of far fewer vocal and expanded techniques. “Down By the Riverside” moving on to brilliant Far less known than Ory, Big Jim Robinson His lines were often utilitarian by design readings of “Dallas Blues” and “Four or Five was actually only fi ve years his junior. buttressing the rhythmic end of a band with Times.” On the latter piece Lewis wrings a Robinson never garnered the wide spread little pomp or fl ash, but still with a healthy dusky deep tone from his reed and Howard notoriety or reach beyond traditional jazz use of slurs, smears and slides. Solos were also shouts out an impassioned vocal. “Tin Roof circles, but his contributions to the music are a rarity and Robinson nearly always favored a Blues” spreads out over an eight-minute nevertheless manifold. First learning trombone supporting role rarely falling prey to fl atulence duration with Robinson embellishing loose while stationed in France during the First or bombast on his brass. But even with his rhythmic commentary beneath Lewis’ singing World War Robinson quickly assimilated the predilection for the background his talents melodic line before a rare sliding solo turn. rudiments of New Orleans style into his playing were readily discernable to his colleagues Marrero and Pavageau lay down a chugging and when he returned home took up fruitful many of whom enlisted his stoic sound as a momentum on strings. Watkins takes a soulful gigs in the bands of several of his peers. sideman on their own recordings. and sanctifi ed vocal on “Lord, You’ve Been So Laying low like Ory and others during the The vast majority of recordings by Lewis Good To Me” accentuated by horns and fl exes Swing Era, Robinson refreshed his talents (who incidentally recorded prolifi cally during his aged pipes again on the closing “When during the New Orleans revival of the 1940s the 1940s and 50s) include Robinson in the the Saints Go Marching In.” Filling the space eventually hooking up with George Lewis line-up. The Beverly Caverns Sessions, Volumes between are rousing readings of classics like through a mutual stretch in Bunk Johnson’s 1 and 2 are two such documents which deliver “Bugle Boy March” and “Darling Nellie Gray” band. Lewis eventually left Johnson, taking not only a bird’s eye view of the band as a that set members of the audience to audibly Robinson with him. The trombonist spent the whole in their prime as well as their element shouting and jumping. next decade as the linchpin of Lewis’ group. in front of an appreciative Hollywood audience, Volume 2 is more of the same, but with an Robinson’s style, while indicative of the but also of Robinson in particular doing what almost completely different songbook of New tailgate tradition in New Orleans jazz, is below he did best. Lewis is predictably the principal Orleans standards as the fodder for the group’s collective inventions. Lewis’ preferred sign-off work as a sideman he did fi nd the time and sessions, but employ decidedly different “When the Saints Go Marching In” is the only opportunity on occasion to front his own material. Plays Blues and Spirituals centers on overlap and this time out it’s Howard handling groups. the older entries Robinson’s repertoire, but the lyrics instead of Watkins. The excitement stretches playing time out on many of the so apparent in the fi rst installment is a little numbers to allow for expanded exploration. diminished in this second set, but the band Even in the driver’s seat The band on board has a lighter more still sounds in stellar form. Lewis’s mahogany- he knows he’s best spacious sound than the one Robinson worked toned clarinet again takes the majority of in a supportive role. in for Lewis and the players make use of leads, but Howard and Robinson still chime in their dimensions to excellent effect. Bassist with numerous colorful improvisations on the Pavageau is the only left over from that earlier ensemble breaks as on their swirling interplay Two albums for the Riverside label showcase group and the solid anchor of his bass keeps throughout “12th Street Rag” and “St. Louis him best in this capacity. Both were part of the band’s bottom end from slipping. “In Blues.” “Bourbon Street Blues” perfectly the label’s ‘New Orleans Living Legends’ series, the Sweet Bye and Bye,” which saunters in evokes the royal mood of a prototypical a line designed to revisit many of the past via a vocal by bassist Pavageau’s wife Annie street band over the martial cadence of masters of traditional jazz and each allowed contains a particularly stunning exposition by Watkins drums and cymbal crashes, while the aging trombonist artistic freedom both in Robinson. “Tin Roof Blues” again taken in “Panama” sounds more like typical riverboat choosing sidemen and material. Convening a extended time also has a smoldering solo fare recalling the rapid currents of the cadre of old compatriots Robinson still seems from the leader. Drummer Williams sits out Mississippi through the torrential ensemble ill at ease bucking the New Orleans traditional for most of “Jeunes Amis Blues” leaving only interplay. During the latter Robinson turns template and leaves the majority of solo space Guesnon’s brittle banjo and Pavageau to keep it up a few notches, working his slide and to Cagnolatti and Cottrell. Even in the driver’s time for Cottrell’s clarinet before the eventual blasting out a sparse but spirited counterpoint seat he seems cognizant that his prowess is entrance of brass. Both spirtuals are brief in to Lewis’ mercurial phrasings. Both volumes are best put to action in a supportive role, though duration, but pack in a wonderful succession well worth investigating. there are still many grand solos heard from of ensemble improvisations. “Toulouse Street While Robinson’s appearances as a his horn. Lament” initially serves as a feature for Cottrell bandleader were rare compared to his prolifi c Both albums were recorded at the same again backed initially by the team of Guesnon and Pavageau. Robinson’s muted slurs add their own. Pavageau’s slap string statement and etching his legendary status in the music counterpoint prior to a bright string of phrases is especially animated. Williams kicks up a through more modest means. Both men reside by Cagnolatti and a carefully crafted comment sirocco of rhythmic energy with his booming in the upper echelon as masters of the from the leader and the obligatory ensemble bass drum on “Boogaloosa Strut” as the horns tailgate trombone technique that is so much close. This is New Orleans jazz with a palpable gyrate above around Robinson’s lubricious a signature part of New Orleans jazz. Listeners modern edge, which demonstrates that even slides. Robinson again reigns supreme on looking for evidence to corroborate the shared on the most traditional material Robinson “Ja-Da” pushing his partners forward with stature of these near mythic musicians need could still throw in a few unexpected tricks. brawny gusto before trading phrases with look no further than the individual recordings The self-titled Jim Robinson’s New Orleans Cottrell. The spirits of the brass bands each made for various imprints under the Band takes a similarly narrow thematic bend, pervades on “Bugle Boy March” while the Fantasy family of labels. J but uses it as a springboard for a wide array of Blues run thick as molasses through the applications. Focusing on the songbook of the sorrowful “Whenever Your Lonely.” One fi nal legendary Sam Morgan Band, one of Robinson’s jaunt through joyful syncopation “Somebody earliest employers and by his own admission Else Is Taking My Place” sheds more light on in the liners “the best band he ever played just how tight this ensemble could sound in with and one of the best he ever heard.” unison. Enlisting the aid of a curator at the Tulane Despite being nearly analogous in age and Jazz Archives Robinson was able to piece both maturing at the epicenter of traditional together the tunes of his old mentor from jazz Kid Ory and Jim Robinson experienced recordings of old 78s he waxed with the band markedly different careers in the music. Ory for Columbia. The band opens with “Ice Cream” was a leader and innovator almost from the one of Robinson’s most famous features. The start, quickly moving through the ranks of trombonist cuts to the melodic core of the musicians to take a preordained place at the piece slurring out a zestful solo before the forefront of the style. Robinson’s path was other members including Cottrell, Guesnon and trod largely out of the limelight, contributing Pavageau move in with pronouncements of to numerous bands from a supportive stance Welcome back to part 2 of an article in response to a question from Michael, a loyal AAJ reader with some interesting questions that I was asked to write about. Once again here’s the letter: I have a question, which might make a good topic for an article — maybe. In an old interview with Frank Zappa I read a while back, he talks a bit about his guitar playing and some of the nuts and bolts of his group’s improvisations. He makes an interesting remark about how in an improv; the soloist (i.e. Frank himself) might think, “let’s play a mixolydian scale here” at the exact moment that his bassist might think, “oh, let’s play a diminished scale here”. Basically he’s saying that this would not be a desirable effect in his guitar solo pieces and that coordinating the harmonic setting/events of the improvisation is an THINK ON important part of his performances. Now, I fully realize that ‘way out’ kind of jazz would be full of clashing harmonies as Frank is describing...in fact, consonance YOUR FEET may even be something freer players would BY PETER MADSEN want to avoid. My question is at what point in jazz do we start to hear players no longer the foundation for improvisation. Most music wanted as long as the line they played made playing in complete ‘scalar agreement’ with then and now is based on chord symbols as musical sense. This new style of improvisation one another? I’m not talking necessarily the basis for improvisation. But a few creative became the revolutionary cry for freedom in about total dissonance or atonality or souls have tried getting rid of the chord music. But don’t be mistaken and think that bitonality...I’m talking about one guy symbols and improvised freely using other free or open music is easy to play or that playing mixolydian and another guy playing ideas as the basis for improvisation. Pianist people can just play what they want. And also dorian with the same root, possibly by Lennie Tristano at a 1947 recording session don’t think that there is only dissonance in ‘mistake’ during an improv. (Also, let’s told an engineer to keep the tape rolling as this very diffi cult kind of music. Some open exclude from discussion any incidental use he had his band improvise a couple of pieces music is very beautiful, just listen to any of of chromatic scales...) using no set chordal pattern or song of any the wondrous free improvisations of the great Did this kind of thing happen in pre-free kind. The music they played was actually quite Paul Bley on the ECM label. In all music there jazz? Or did it happen later? When a hard beautiful and not very dissonant at all. The is a mixture of consonance and dissonance. bop group saw Cmaj7 on the lead sheet, did amazingly creative bandleader and composer They are two sides of the same coin. You need that mean they could only play one set of Sun Ra used open sections in the music of them both to make good music. I’ve played a notes at that chord change? Or did Cmaj7 his archestra also around this time. And of lot of open music and to me this imply a number of possible scales (with a course the king of free improvisation that There’s another kind of way out jazz they C root) from which each player could play infl uenced everyone from John Coltrane to you might be referring to and this is the from, regardless of what the rest of the Sonny Rollins was the great Ornette Coleman. music that was developed in the 1960’s by band is doing? His compositions from the late fi fties were very John Coltrane in his exploration of modes as Michael, a rock guy trying to expand his bebop oriented in the melodies that he wrote a tool for improvisation. The idea of using horizons but they had no chord changes. Improvisations modes in jazz was fi rst used and written about OK Michael, let’s start out part 2 by talking were based on the soloist’s individual taste by composer George Russell when he wrote a a little about “way out” jazz as you call it. and creativity. Ornette used what he called piece for Dizzy Gillespie’s band called “Cubana First of all since the late forties there have harmolodics, which in oversimplifi ed fashion Be” in 1947 as well as the book he wrote been experiments with free improvisation, meant that each person in the band could about his ‘Lydian Chromatic’ concept a few meaning using something other than chords as play in any key and switch keys whenever they years later. Of course it was Miles Davis who fi rst popularized the idea of using modes with intellectual approach to jazz. Musicians like wasn’t until the early 1940’s that musicians his Kind Of Blue album in 1959. But Kind Of Monk and Dizzy would often talk about music really found a desire to study harmony and Blue was not very ‘out there’ at all as everyone theory and try to search for more advanced scales in any depth. on the album (Bill Evans, Cannonball, Coltrane ideas to add into their music. Before so called The hard bop players of the 1950’s took this etc.) pretty much played within the keys that bebop (not a term developed by the musicians new knowledge and added another twist into the chord changes called for. It was Coltrane themselves) most musicians approached the mix — funk. They kind of took all this who really developed the idea to it’s extreme improvisation usually by using their ears. They knowledge and went to church. Of course this over the next half dozen years or so. Coltrane really didn’t think much about the mixolydian meant using less complicated ideas as well and discovered that he could use Ornette’s idea mode or the diminished scale or even about going back to simpler ideas found in the blues. of playing in any key at any time when chord changes. They heard songs in tonal So Michael the answer to your question about improvising over chord changes as well. This areas and then improvised by ear. Most songs hard bop players seeing a C Major 7 chord idea worked great using modes as the basis for were not so complicated and so it wasn’t and being limited to playing only a certain creating his lines and of course this worked diffi cult to play by ear. Of course there scale or certain notes the answer is no. First best when playing compositions with only a were always composers like Billy Strayhorn because they were not just thinking about few chord changes that would often last for or Duke Ellington that tried to write some scales. They had other choices like arpeggios 8 or 16 bars at a time. So the chords would challenging harmonies in some of their pieces or other intervals to use as improvising tools remain static and Coltrane would play modes in and there were a few advanced players like as I said before. Also many hard-bop musicians many different keys over these static chords. the incomparable Art Tatum who could play would even play the blues scale over the C Some of the keys would be more related to the as much advanced harmony as any jazz player Major 7 chord as it helped to give a more chords sounding more consonant and others alive in the 1930’s. When Charlie Parker was soulful sound to even a standard. Check it out! would be very unrelated and of course be very a young man he came to New York and took Well Michael I hope I’ve answered your dissonant. a job as a dishwasher in a club that Tatum questions in a somewhat understandable Michael you were also asking about pre-free was regularly performing just to hear him as way and look forward to tackling some jazz improvisers. To me we need to talk about much as possible and Tatum surely had a great more! Please feel free to send me an pre and post bebop improvisers. You see it was infl uence on advancing Bird’s ear for harmony e-mail at [email protected] See you next some of the beboppers who brought a more as well as for playing super fast lines. But it month! J If we took a close look into the CD collections of let’s say, a thousand teenagers, jazz CDs would most likely be a rarity. Why is it that jazz music seems to by dying among the teens of the new millennium? What is it about the music that doesn’t appeal to the kids? We’ll take a look into the reasons why my peers won’t give jazz a chance, and what they think can be done to make jazz more appealing to kids. One cold January morning I started my survey amongst some friends and classmates in my school. Questions that I asked included, “Why don’t you listen to jazz?”, “What do you think of when you hear jazz?”, and “Name some jazz musicians.” Upon asking those questions I was very surprised by what people had to say. The answers that came for each questions were quite interesting and a few were disappointing. “So, why don’t you listen to jazz?” I asked. “It’s so boring and slow and how can you listen to music without any words? You’re so weird Stan.” replied a friend. iwantmymtv The general consensus among everyone I BY STAN RA talked to was that jazz was a slow, boring kind of music. While I could disagree very strongly, “If jazz videos were on TRL (Total Request Ken Burn’s documentary), jazz will remain an I understood where they were coming from. Live, an MTV music video show), I would go infl uential and important music. J Someone pointed out to me that when jazz out and buy jazz CDs.”. That statement by is heard in public, for instance TV or in the student Stephanie Carnation sums the problem Stan Ra is a sophomore at Neshaminy High movies, ballads and medium/slow tempo swing up the best. Many people showed interest in School in Langhorne, Pennsylvania. He plays the is being used. Therefore this is the only kind of listening to jazz but none knew where they alto and baritone saxophone, fl ute, clarinet, and jazz that a majority of teens are exposed to. could fi nd out about jazz CDs or the local jazz is learning to play the piano. Although some students noted that they radio station. had heard up-tempo songs of John Coltrane Jazz has seems to have an image attached to it of old people in smoky bars. In my People wanted opinion the problem isn’t the smoky clubs, but to sing along but the old people. The music is seen as for older said that jazz didn’t have folks, for those who were around during the that to offer to them. sixties and earlier. While I was talking to some of my peers they all seemed to say that jazz and Charlie Parker, they still found the music had a very elderly and boring image. Many of boring. I found that people wanted to hear them said that jazz needed to make an effort words in a song so they could sing along and to reach out to young people. such, but they said that jazz didn’t have that Although jazz seems to dying in mainstream to offer to them. media, especially in America, there is still hope In addition to jazz music being boring and for the music. The demand for it may not be slow, students stated that they didn’t know of so great amongst a large amount of teens but any jazz musicians or new jazz CDs that even on the other hand there are those who are come out. Basically stating that, jazz isn’t in demand for the music. That demand will getting enough media attention in mainstream keep it going. Hopefully with more publicity America. in the media, and more specials on jazz (Like Some musicians seem to suddenly rise to prominence, apparently out of nowhere, achieving notoriety with the relative ease of a casual stroll down the street. But more often, musicians slowly, gradually, fi nd their way into a broader public ear through arduously building a body of work, deliberately honing their craft, and continually striving to establish their voice. Then again, there are others who simply seem to have been there all the time. Take Jim Black for instance. If you have been even tangentially interested in modern jazz over the past 5 to 6 years, odds are pretty darned good that more than one recording featuring this exceptionally gifted musician have found their way into your collection or that you have seen and heard him in live performance. Although appearing on just a handful of recordings from 1989-1993, since 1994 Jim Black has contributed his distinctive approach to playing the drums to approximately 40 recordings with folks like Ellery Eskelin and BASIC BLACK Andrea Parkins, Tim Berne (as a member BY ALLEN HUOTARI of Bloodcount with Chris Speed and Michael Formanek), and Dave Douglas (as a member of tunes (composed by Mr. Black specifi cally of Jim Black will head in the future?” Tiny Bell Trio with Brad Shepik). for this ensemble) effectively run a gamut Although Jim Black would probably suggest There have also been meritorious of moods — from the sheer emotional that not even he knows an answer to that contributions to projects fronted by guitarist thrill of riding a skateboard downhill on question, the release of AlasNoAxis indicates Ben Monder, trumpeter Cuong Vu, keyboardist an icy street into oncoming traffi c, to that at least he’s begun to formulate one. Jamie Saft, saxophonist Donny McCaslin, and those thoughtful, quiet, introspective moments Due to the wonderfulness of mobile pianists Uri Caine and Satoko Fujii. to name that bear subliminal disquiet as tranquility communications technologies (had to get a but a few. imperceptibly shifts to uncertainty. hi-tech plug in somewhere), this interview was Also worthy of mention is Mr. Black’s aiding Of AlasNoAxis, All About Jazz contributor conducted via e-mail using laptop computer and abetting saxophonist/clarinetist (and long Derek Taylor writes: and cell phone during January 2001 in the time friend, conspirator, collaborator) Chris “From the Pachinko funk of the frenetically midst of the Eskelin/Parkins/Black tour of Speed in Yeah No (for three CDs on the paced “Nion” to the Indian drones of “Icon” Europe. Songlines label). these four players chart a course riddled with All About Jazz: Would you please tell Finally, of course, are the bands co-fronted impulsive spontaneity… These marriages of the AAJ readers about where you were by Messrs. Speed and Black, namely Human rock-rooted emotional immediacy and freely born, raised, and what your earliest musical Feel (on hiatus of unspecifi ed duration) and improvised forms create a new and thrilling memories are? What led you to choose drums Pachora. breed of fusion. Welding calm and dissonance and percussion as instrument(s) of choice? Now with the recent release of AlasNoAxis may be nothing revolutionary in free jazz, Jim Black: I was hatched in Daley City, (Winter & Winter), Jim Black offers up his but the ways in which Black and company California and spent my childhood migrating long anticipated debut as recording leader. incorporate these seemingly diametric between Seattle and the San Francisco area, Accompanying him are the aforementioned elements points to enticing new directions. depending on where was father was working Chris Speed, bassist Skuli Sverisson, and Most intriguingly this auspicious release makes within the United Airlines system as a ramp guitarist Hilmar Jensson. the probability of future Black-guided serviceman. In brief, AlasNoAxis is by turns delightful, excursions a virtual certainty.” Early musical memories… I remember being captivating, exhilarating, and haunting. To conclude, AAJ contributor Nils Jacobson 4 years old, jamming for days on a guitar that Incorporating a variety of musical styles, these has speculated, “Who knows where the music my father made for me out of a cardboard toilet seat cover box, complete with rubber to impress me and subtly terrorize my mom. John Silverman — and almost twenty years bands attached as strings. Also playing my Both my parents totally supported my musical later…still talking and playing together. drumset which consisted of dumped out plastic activities and encouraged me to practice and I was fortunate to have friends with more toy buckets, more cardboard boxes, and the take lessons. experience than myself around to expose me to ‘cymbal ‘- a plunger with a blanket covering Our family eventually moved to the then new music. I remember Silverman taking me to the handle where I would place my mother’s small city of Bellevue, WA, where I spent see Ornette Coleman’s Prime Time, which was circular electric broiler pan drippings catcher. my junior high and high school years so beyond me at that time but it seemed just I would beat on for hours, playing with my submerged in music programs. My junior high too cool with Jamaaladeen Tacuma on bass collection of cardboard cutout records from drummer-competitor-friend Pat Kylen got me and Ornette in something that looked like an the back of Post Sugar Crisp and Alpha Bits into Led Zeppelin, Hendrix, the Who, the orange dress. Another trumpet playing friend, boxes, featuring the works of a group called Doors, and Rush as we would have double Damon Bacheller, who played me my fi rst Miles The Sugar Bears and the Jackson Five (?!) I drumset freejams like the Grateful Dead in his and Weather Report, encouraged me to go to want to see how the contract read between basement. Because of this move to Bellevue, Berklee in Boston and to take music on as a Motown and Post cereal… I was able to hook up with a big band of career. When I was eight, we fi nally settled in 12-18 year olds called “HB Radke and Friends”, AAJ: Was there any pivotal moment where Seattle for good and a couple of years later which at 14 years gave me my fi rst professional you decided (or discovered) that you simply I got my fi rst snare drum to play in my experiences such as getting yelled at on stage had to become a professional musician? elementary school band, the tenor sax being for dragging, and being paid tens of dollars JB: As far as making a profession out my second choice had the music store run out playing for weddings, hotel functions and on of playing, because of these early gigging of snare drum rentals. Choosing the drums was local TV shows as something “cute”. It was experiences, I realized that it was wasn’t so pretty much a no-brainer for me… it simply also invaluable to have my ass kicked on stage hard to make a buck playing music… it just was and is to this day really fun to play. The by musicians way more experienced than me, meant that you would probably have to play fi rst drumset showed up a year later under which is an alternative yet effective way to all the time in many different situations where the Xmas tree and I was hooked. During these learn how to play in short period of time. the music was secondary to money — which times my father started cranking Gene Krupa This also was the band where I met Chris still seemed more attractive than breaking with Benny Goodman on the stereo at home Speed, Andrew D’Angelo, Brad Shepik, and my back everyday like my dad working in airline cargo pits. So I decided to let my these ideas in whatever ways possible. jamming with records and my friends… which instincts guide me into this strange and semi- AAJ: You’ve studied privately with Joe Hunt, to me was more like the real-time application dysfunctional relationship of music and how to Jeff Hamilton, and Jeff Watts. What have of my study. (What good was the ability to make a living with it. you learned from these gentlemen that has play fast broken triplets between my hi-hat, In hindsight, I’m glad the “what ifs” and provided you with the most guidance or had bass drum, and 5th tom-tom, while standing the “riskiness” didn’t deter me from pursuing the most impact on your career? on my head BUT not be able to keep time on music — too often the general feeling of JB: The learning process for me has been a simple Latin tune with my band… let alone fear in this society kills so many dreams and a cumulative experience from the beginning just listen and think about playing musically ambitions. I think as older experienced players to the ongoing present. Every one of my fi rst.) and humans, we literally owe it to people instructors, band leaders, sidepersons, etc. Maybe it’s in the nature of the instrument, younger and less experienced than us to give have helped me grow musically — adding in with all the limbs moving and things to hit support, inspiration and information where and those missing pieces of this ever evolving that gives drum pedagogy a license to gaze at when we can — to pass it on the way we musical puzzle and can continue to inspire and it’s own technical navel, but nowadays there got it. infl uence years after the actual experience. are more instruction books and teachers who AAJ: You’ve taught at Berklee and your I never was a model student — I tended to are approaching drums with an “it’s music fi rst upcoming schedule shows teaching at Banff. take what I needed and try to fi gure the rest approach” — I was saved by Bob Moses’ “Drum When you are teaching, is there any one on my own — it seemed more creative and Wisdom” book when I started college, because fundamental message or principle that you try natural for me this way. So whole courses of it dealt with concepts and possibilities that to communicate to your students? That is, if study and complete methods, or even weekly transcended the actual instrument — great there is one thing you want your students to lessons felt a bit like unnecessary homework advice for any player. learn and walk away with, what would it be? for me. That is not to say I didn’t work for So a single lesson with Jeff Watts meant the JB: Have an open mind, keep an open countless hours on my lessons and learning the world to me — illuminating all the things I mind… and look deep inside yourself to instrument — just that at some point I had to wondered about how he approached his unique uncover those inherently unique, creative ideas take issue with the absoluteness of practicing way of terrorizing the kit with Wynton Marsalis’ and impulses that are buried inside each of us, drum lessons by myself and would essentially quartet in the 80’s. A week in a jazz camp and then cultivate, nurture and give form to play hookey with them by spending more time with Jeff Hamilton, where he passed on some brush beats Philly Joe Jones had showed him take anywhere from 20 minutes at a sound musical epiphanies happen while nowhere near — which I absorbed and naturally mutated check to four 5 hour rehearsals for a complex the drums. As far as motivation — if there into my own way of playing traditional jazz record date. I would recommend learning to is a place you envision yourself arriving at brushes. Joe Hunt simply listening to me play read, hear, and interpret written music for musically, compositionally, or in regards to fast time and remarking that “something didn’t the ability to process a lot of complicated improvising, then the only way to achieve this sound quite right” and if we could fi gure out written material in a short amount of time to make a conscious effort to move toward it what it was… Ian Froman, currently living — it allows you to walk onto many different — the desire should be there — if there is in NY and playing in the international scene, gigs and get to making music faster. After no desire, then why do it? Do something else, helping me weekly at Berklee by asking me if I that, it’s about interaction, improvisation and whether it be cooking or talking walks, until could approach everything that I played “in a the playing together that make the music take the desire for movement and growth returns. different way” — getting me to open my own shape and become valuable. As I get older, I have found it easier to allow creative valves. my musical activities to blend together with Then add in all the gigs, road trips, head the curiosity, creativity and exploration of my trips, crazy travel, hanging and rapping with These days, most of the daily life — to not separate the music part freaky and beautiful friends and strangers, and actual playing of my from the human part. I love the jump cut getting the opportunity to listen to so many instrument takes place in nature of daily life with all it’s interruptions, inspired and inspiring concerts — which are front of an audience. distractions, and unexpected turns — all of equally important to anyone’s education. When which I have to allow to be part of the musical do you stop learning? These days most of the actual playing of my process — a telephone call ruins new creative AAJ: How often do you practice/rehearse instrument takes place in front of an audience, thought, then, crazy taxi ride to gig, boom, and for how long? Do you ever force yourself but there periods where I go back and practice now you are stage and have to go deep into to practice/rehearse when you really don’t feel alone to develop technically and conceptually. the music, then… social time!… yakking away, like it? If so, how do you motivate yourself? There is always a way to practice or work boom, distracted by interesting music blaring JB: As far as the bands I play in, we on music and composition anywhere you are from the stereo speakers at the club… my will rehearse as long as necessary to get the — especially if you are stuck on a train attention is constantly shifting and having written material under our grip — which can for six hours a day on tour. Most of my to pick up in the same spot another time… mostly, this feels comfortable and natural. regards to money, success, business, the scene, what ‘integrity’ is in regards to one’s art and AAJ: Clearly many factors can contribute and these whack ideas which creep into your self… the sound of Cartman’s voice, singing to inspiring a musician: the music of others, head about “what you are supposed to be” and songs in an episode of South Park, is lodged in visual stimuli (literature, cinema, sculpture, “what you are supposed to achieve before you my brain, too. Also this week, performing with painting, nature), working with interesting die”… eek. Ellery Eskelin and Andrea Parkins — listening peers, maybe even food. Is there any one Real life and music have never been more to them night after night on stage playing catalytic element that seems to provide you integrated and seamless to me… it feels solo, gracefully kicking ass — wonderful… with the most inspiration? casual. I continue to play and work hard also Tricky’s new EP where track four contains JB: Staying awake and aware of my because I love being creative. Music alone, for a special message for the Polygram label… own conditionings, socially and musically. I’m me, is inspiring enough just as is — I still yeah. happy to say that after all these years of absolutely love to listen to it — any of it — I have never seen Chris Cutler live and only conditioning to be a “proper” musician and to and this drives me on. know one recording with himself and Fred Frith think in a type of Orwellian “musicthink”, I AAJ: Aside from musicians you regularly playing duo in Verona… which was really fun am relatively free of my past mental trappings collaborate with (e.g., Berne, Eskelin, Douglas, to listen to, even though I couldn’t tell who which inhibited my abilities as a composer, Speed, etc.) who would you cite as your was doing what. as a player, and even the simple enjoyment infl uences? Please elaborate. As quick follow AAJ: What do you feel you’ve learned from of being able to listen to music without pre up, is drummer/composer/improviser Chris working with Bloodcount, Tiny Bell Trio, Ellery or post judging it as “serious/valid” or not. Cutler an infl uence/inspiration? Eskelin/Andrea Parkins, and Uri Caine’s Mahler I remember coming to terms with this about JB: I like to allow myself to be infl uenced Project that you could NOT have learned six years ago — afterwards, playing started by anyone or anything that gives me feeds me anywhere else? to feel like as if I was a kid again jamming creative ideas. I don’t mean to sound like I’m JB: This last part (“that you could NOT have in my bedroom to records — very liberating. dodging a question, but this more true now learned anywhere else”) doesn’t make sense to Addressing my fears and insecurities about than ever before. This week, a visit to the me, because eventually something would have playing the drums, performing, and my feeling Kunsthaus Wien to see the painting and city taught me those lessons… of being obligated to compose in a certain planning works of Hundertwasser — you talk Playing with many different bands has way… reckoning with my ego and ambitions in about inspiring… for me he is the defi nition of become essential to my growth as a musician. The musical knowledge from one situation exploration and his thirst for sounds not yet makes me feel good. infl uences the next, and so on. This seems unearthed. Some of my current favorite bands are Melt obvious enough but I love how it can radically AAJ: If one of these musicians were to Banana, Blonde Redhead, Sonic Youth, Beck, infl uence and change my musical ideas, push depart, would AlasNoAxis cease to exist or and Radiohead, all for different reasons, but my physical abilities as a drummer, and the would it simply evolve/mutate? the main one being that I really like to just way in which it continually opens my ears to JB: Evolve? Possibly. Mutate, for sure. Cease listen to their music. I loved Nirvana (Kurt’s new perceptions. In a soundbite style: playing to exist? We have barely done a week of gigs… voice still freaks me out… ), as well as My with Berne’s Bloodcount forced me to express I’m not going there yet. Bloody Valentine. Others in the scene that myself quietly, sending me searching for other AAJ: One of the most refreshing (others move me would be Björk, Tricky, Busta Rhymes, sounds and textures…Ellery Eskelin’s music might say surprising if not shocking) aspects Stereolab and the Flaming Lips, to name a few. left me stranded on a number of conceptual of AlasNoAxis is the signifi cant “rock” content. I also admire the collective and co-operative islands, which I had to fi gure how to get Although some may dismiss this as simply the nature of these bands — and being a member off…Ben Monder’s music helped me overcome Seattle factor, it would seem (at least to me) of more than one myself, I can identify with my uneasiness with complex time signatures to transcend this reference. What rock bands these attitudes. Truly collective bands in the and forms… the list goes on, and hopefully are inspirational to you and why? ‘jazz’ world are rare, but can work. The jazz never stops. JB: That “rock” sound is a sound that I scene tends to promote individual names and AAJ: Since you composed the pieces on love, one I haven’t had the opportunity to bandleaders versus collective group names and AlasNoAxis specifi cally for this band, could explore yet in my regular musical activities. identities. Fortunately, I am starting to see a you please describe what unique or specifi c The idea of a “Seattle factor” is reaching a larger audience develop that cares fi rst about qualities each of the musicians in AlasNoAxis little, but I used to play in guitar rock bands actually listening to music regardless of what brings to the band? back there in high school and college — so it’s category or camp it is in or from, thereby JB: In a nutshell — Chris Speed for presence is an undeniable part of my musical helping to blur the lines between the scenes his sound. Period. Hilmar Jensson for his background (always seething at surface.) I also drawn by the promoters, media, record stores, shameless abilities as a guitarist and sound wrote most of the music for this band on the and many musicians. The collectives in jazz sculptor, as well as his sensitivity. Skuli guitar, so there you have it. I also like the that survive, are no different than in the Sverrisson for his low frequency oscillation aggressive nature of the sound — distortion indie/rock world — it takes commitment and personal investment… everyone has to put window that looked into the converted barn Click me. I mean, if you can find me. their own individual ego second and respect that we recorded in. and work with all of the member’s ideas Most diffi cult: The eternally developing and opinions…someone in the band has to technique of trying to verbally coax my run with the business ball and get gigs… musical desires out of a band as a leader- disagreements and resolutions are normal and without squishing the improvisational talents expected — but the invaluable music, that of the members. They totally dealt. could not have been produced in any other AAJ: As follow up, what areas of your way, is worth the collective effort. own playing/composing do you feel need In terms of their infl uence on my writing — improvement? I still hear these bands as a particular type of JB: It’s not so much about improving — sound which breeds something different in my only moving sideways to something different… ear, after it joins in the mix with all the other The question for me would be how to keep hundred bits of sound fl ying around in there moving deeper into what unique thing I alone mutating. The simple ideas of balance and can bring out of myself as a writer… and then variation are key in getting them organized develop a relationship with it. back into tangible form — which is the fun AAJ: I see from your homepage that Potential customers part for me creatively. I know it’s fi nished you and Skuli Sverrisson plan to include can’t connect with you when I listen to a piece and actually like it. G3 Powerbook in the “instrumentation” for if they can’t read AAJ: What aspect of making AlasNoAxis was AlasNoAxis. What is your interest or objective your sponsored link. the most fun? What was the most diffi cult? in using the computer? Are you interested What have you learned that you will carry in using the computer as an instrument? Dazzle your audience forward to the next recording? As another musician to interact with? Both? JB: Most fun: recording in the snow covered Neither? with big, beautiful ads. woods in upstate New York, with some deer JB: Hmm, where to start? As of today, watching us rock out through a large glass I want the laptop to be an extension of Only with All About Jazz. what I hear in terms of timbre and texture to it… which allows anyone without technical JB: Well, there’s so many musicians that I when I play drums and percussion. It’s like and instrumental skills, but with lots of ideas, would… Björk. Pretty unique huh? having an unlimited palette of colors and to get up on stage and play music… kinda like AAJ: What recording(s) as a sideman do you sounds that still fall subject to one’s own the drums?! wish more people would be exposed to? Why? take on improvisation, composition and most AAJ: Could you please provide details on JB: Interesting question — without importantly for me, taste. I have always your other quartet, Beat Table? thinking, I would say Chris Speed’s Yeah loved electronics and the computer provides a JB: At this time, that idea is mutating into No recordings. We worked hard as a band limitless ‘playland’ to explore and experiment. a pretty different future project, so aside from producing all of those discs and I think there I don’t plan on being a laptop and sound an improv gig, there is no news. There are are some really original ideas and music on sculpting master, like some of my favorites so many people to play with! It’s more of an those discs that could stand to be heard more, — Jim O’Rourke, Pita, Oval, Panasonic, Ryoji issue of time and the thoroughness I want to the recordings as well as live shows. We still Ikeda, Stilluppsteypa, Microstoria, Anthony approach my projects with… have yet to perform in Europe… fans over Burr, Skuli Sverrisson… but I would like to AAJ: How did you come to work with Satoko there tell me the CDs are very hard to get. I take my twenty-something years of musical Fujii and Natsuke Tamura? think it’s a matter of time, continuing to build experience and translate my ideas into sound, JB: I met them at a party… they made our audience, here and overseas, making our using this medium. I am currently performing delicious vegetarian sushi rolls, I was turned presence known to the media and working hard laptop duos with alto saxophone/bass clarinet on. The beauty of playing with them was to get it out there on the road… just like shredder Andrew D’Angelo in New York, where having not heard them play before we started every band, everywhere. there is no preparation, only taking our recording CDs together. I really admire their AAJ: What’s the funniest or most improvisational impulses and having to fi nd commitment to their musical beliefs in spite embarrassing thing that’s happened to you the appropriate sound and way to get it out of living in such musically conservative ‘jazz’ while performing or recording? of laptop using various programs and sound scene — although they are helping to change JB: Recording my fi rst CD ever, in Seattle, processors. It can be musically crass and that. when I was nineteen. It was a new age vulgar… it can be kinda heavy and serious, AAJ: What musicians would you most like album, when ‘new age’ was the rage, where but the laptop has an immediately accessible, to work with that you’ve never worked with the leader dug the fact I could badly emulate innocent, and creative impulse reaction quality before? a drum machine (go fi gure). The studio was in a hollowed out small hillside, close to a know the latest info — www.jimblack.com and served with crème fraîche. waterfront, constructed of wood on the inside. www.pachora.com. For the wine, a ‘96 or ‘97 Haut-Médoc Cru This wood contained termites and was due for AAJ: To conclude, a purely hypothetical Bourgeois, from Chateau D’ Arsac (a surprising its regular bug bombing. During a take, while question: if you were to cook dinner for the sherry color and dark berry taste) trying to ever so deftly reproduce the stiffness staff of AAJ (or could take them to dinner) Espresso, a tiny piece of dark chocolate of a 1986 cheesy drum machine pattern, a what would you serve (or where would you (85% cocoa) and a good calvados brandy… termite fell down from the black abyss above take them)? and then…a nap… J me in the drum booth. Five minutes later JB: Because of the French trip/tip I have both the drums and myself were covered in been on lately, I would serve up a petite but small vibrating termites — bouncing off the satisfying three-course French meal. cymbals, etc. When a very, very large one As a starter — a slightly broiled round of fi nally landed on my snare drum with a loud goat cheese, sprinkled with fresh herbs and ‘pap’ — I just lost it… screaming out of the served on a bed of baby lettuce greens with a booth. One good bug bombing and a chocolate side of poached fi gs in red wine, accompanied shake later, I felt better, as I inhaled the by sourdough toast points, fi nished with a freshly poisoned air of the studio, as I brushed drizzle of fruity olive oil and fresh cracked and picked (yuck) maybe 60 or so dead insects pepper. off and out of the kit. As a main course — a vegetable plate AAJ: What projects can we expect to hear consisting of fresh baby carrots and French from you in 2001 and 2002? green beans, drizzled with a white wine and JB: On the horizon is another AlasNoAxis Dijon mustard vinaigrette, two fresh steamed CD to be recorded in Iceland in May, and artichoke hearts with a sauté of mixed forest released by September or October… Pachora mushrooms, garlic and parsley spooned on just signed with Winter and Winter also, so top, and rounded out with a small portion of plans for another CD are in the works for late traditional potatoes gratin. spring… Check our websites if you want to For dessert — individual apple tarte tatin, Virtually every jazz critic has had a problem or two with the content of Ken Burns’s 19-hour PBS documentary Jazz. Most of the criticism has focused on the fact that many jazz greats go unmentioned. The fi lm’s blind spots are unfortunate, but some are inevitable, and their impact on the accuracy of the fi lm as a whole is not uniform. But Burns’s omissions begin to matter a lot more in his tenth and fi nal episode, “A Masterpiece By Midnight,” for here the recent past, present, and future of jazz fi nally emerge as the topics at hand. Up to this point, Burns has done a respectable job of introducing pre-1960 jazz history to a wide audience. In Episode Ten, however, he gives viewers a disastrously skewed portrait of the creative lineage that has produced much of today’s best jazz. The problem can be reduced to Burns’s treatment of two major fi gures: Miles Davis BURNED BY and Cecil Taylor. Together they stand in as representatives, respectively, of the fusion and avant-garde movements that evolved over the course of the last three decades or so. It’s hard BURNS to say which fares worse in Burns’s cursory BY DAVID R. ADLER treatment, but let’s fi rst consider fusion. In subtle ways, Miles is depicted as a about how more fusion bands soon emerged and Gene Lees is then trundled on-camera to sellout, and even a vain imbecile, for pursuing to follow Miles’s example. None are named. reprimand Taylor for “changing the vocabulary the direction that led to Bitches Brew and Thus is the music of the Mahavishnu Orchestra, rather than using the vocabulary.” After beyond. The writer Gerald Early offers his Headhunters, Weather Report, and Return to hearing Taylor get roughed up in such a opinion that Miles’s later bands tended to Forever written out of the history of jazz. fashion, one recoils at the footage of Duke “fall apart,” musically speaking, and the In fact, the 1970s as a whole basically Ellington that immediately follows. One wants pronouncement stands without rebuttal. Does never happened in Burns’s view. It is left for to celebrate Duke, but no longer on Burns’s no one recall the band that graced Black Branford Marsalis, who knows better, to declare terms. Burns has cheapened the entirety of the Beauty, the 1970 concert album recently that “jazz just went away for a while.” music by this point. He owes Taylor, whom released by Columbia for the fi rst time? Chick During the course of the Miles discussion, Howard Mandel recently called “the greatest Corea, Steve Grossman, Dave Holland, Jack Wynton Marsalis all but dismisses the electric living improvising pianist,” a formal apology. DeJohnette, and Airto Moreira couldn’t make a guitar as a non-jazz instrument, closing off If neither fusion nor avant-garde musicians band fall apart if they tried. More important, the possibility that Pat Metheny and John contributed anything of lasting signifi cance, this record and others like it are the furthest Scofi eld — both of whom drew considerable one might wonder: who has? Why, none other thing from a commercial ploy designed to crowds while jazz was supposedly dead — than the fi lm’s senior creative consultant, appeal to the masses. Quite the contrary, the made meaningful contributions to the music. trumpeter Wynton Marsalis, who is portrayed 70s albums document what is arguably the The fi lm, giving similar treatment to the toward the end of Episode Ten as jazz’s “saving least accessible music of Miles’s career. While electric bass (referred to ineptly in the script grace.” Forget all the pro- and anti-Wynton it’s not surprising that Burns presents, with as “electronic” bass), also dispenses with the arguments, for they’re not the point. Wynton’s little or no countervailing opinion, the dim towering infl uence of Jaco Pastorius. coronation in the fi lm is not merely biased. view of later Miles propounded over the years Turning to the avant-garde, Cecil Taylor It is not just aesthetically grating. It is by Wynton Marsalis and Stanley Crouch, that emerges in Episode Ten as the only musician unethical, given his integral role in the making doesn’t make it any less of a disgrace. in the entire 19-hour epic who is directly and of the very fi lm that is praising him to the Having acknowledged Miles Davis’s birthing savagely criticized. Branford, in a seemingly heavens. Furthermore, it misleads by of what came to be known as fusion, the out-of-context outburst, condemns a random suggesting that all worthy post-1980s jazz fi lm stops with a stunningly vague comment remark of Taylor’s as “self-indulgent bullshit,” has adhered to Wynton’s creative/ideological imperatives. A documentary is allowed to contain praise, just as it is allowed to contain critique. But How can you tell if there’s Burns’s fi lm is radically lopsided in this regard. A tone of breathless enthusiasm permeates an elephant in your banner ad? his fi rst nine episodes. Critique suddenly surfaces in the tenth and fi nal one, when the implications for present-day music-making become urgent. Responding to the charge that he short-changed modern jazz, Burns has explained that he is not an historian: “How could I presume to tell, (in) the current jazz scene, who’s great... History begins 30 to 40 You can’t. years out.” This is disingenuous, for Episode Ten is replete with historical judgments and thinly veiled agendas. Burns could have made a great documentary, but instead he made a good documentary with a very poor ending. J

Move away from tiny banner ads and increase brand loyalty, ad awareness and purchase intent. Only with All About Jazz. Since I fi rst profi led Steve Lacy as an Unsung Hero a couple of years ago, he has continued — with a steady stream of concerts, reissues, and new releases — to cement his reputation as one of the foremost jazz composers and instrumentalists of the last fi fty years. I mentioned recently, while reviewing Hooky for AAJ, that Lacy “has never gotten his due.” A reviewer whose opinion I respect took issue with this, saying that Lacy gets his props all over. And that’s true. So to clear things up, this is what I mean: despite exposure in Jazz Times, Down Beat, and even the mighty All About Jazz, however, Lacy’s reputation has not become street knowledge. Lacy is not numbered among the pantheon with his own heros Monk, Trane, Miles, and all the rest. Did Ken Burns mention him? Did Ken Burns devote a reverent segment to him and his multifarious straight horn? ‘NUFF He did not, friends. And all that is why it’s time to revisit Steve Lacy. There has been a string of notable reissues RESPECT! of solo material from the Seventies: Jim Eigo’s BY ROBERT SPENCER glorious recording of Lacy’s appearance at Environ in New York City in 1976, Hooky, Then there’s the small group work. Not only 8. If you really love jazz, maybe I’ll see you at a graceful Montreal performance from the did we see the release a year or two ago of the one of them. J same year brought to us by the superb label marvelous document of the current Lacy group Emanem, and Clinkers, a 1977 performance (Jean-Jacques Avenel, bass, and John Betsch, from Switzerland from the equally superb drums), The Rent, but also an incandescent hatOLOGY series from Hat Hut Records. quartet with Roswell Rudd (Monk’s Mood) and a Each of these shares in the Lacy solo 1979 trio featuring Ronnie Boykins (the bassist atmosphere of shimmering beauty, graceful from Saturn) and the late great Dennis Charles gestures, and controlled chaos. Each is a on drums. How these groups manage to be look back at a pre-Burns, pre-Marsalis time so tight and so loose is beyond me, but it’s when jazz was in its doldrums, and only there. men like Lacy were soldiering on, refusing The versatility and might of his horn. The to compromise their art to the commercial tremendous range of his music, and the huge demands of the moment, and producing some variety of settings he has constructed for it, magnifi cent music in the process. Music that from solo to full orchestra. The tensile strength lasts. Music that sounds fresh today, 25 years and lasting power of his compositions. Even later. Music that will be fresh and beautiful in the infl uence he has had on younger players. a hundred years, if they have the sense to take All these should count to induct Mr. Lacy into a break from the Mariah Carey Seminar and go the palace of the giants. Get with it, Ken searching in the archives. Lacy proves on these Burns. discs, again and again, that the saxophone The Steve Lacy Trio, a group of seasoned is viable as a solo instrument. That it can professionals who can read each other’s sustain forward motion and symphonic fullness thoughts and produce some of the greatest by itself. That some of the best music comes small-group jazz the planet has ever heard, now and always has come from a willingness to will be playing in assorted venues around the explore the edges of form. United States between February 20 and March “I don’t like being bored while I’m singing,” laughs René Marie. The Virginia-based vocalist and MAXJAZZ recording artist is explaining why she sings jazz. “You don’t know what somebody’s going to say, musically, or what somebody’s going to do. If you go to a rock concert or pop, they want to hear the song exactly like it is on the radio. But a jazz audience is looking to hear it done a different way and I like that.” The feeling appears to be mutual. René Marie made her national debut last May with the release of How Can I Keep from Singing? on the MAXJAZZ label. The album reached #1 on the Gavin Jazz Chart and prompted a stream of critical accolades. Marie has found herself singing for audiences all over the country and seems genuinely surprised by the positive response. “I am shocked that the CD has been so well received.” That reception may be attributed in part to SING! SING! the fact that René Marie refuses to conform to any of the preset expectations people have for jazz singers. She embraces the jazz vocal SING! tradition without ever allowing it to confi ne BY MATHEW BAHL her. “The voice is so fl exible,” Marie explains. “You can do anything just about. I don’t singing jazz for about fi ve years. More than the voice. The innocent yearning of her ballads.” think it should be limited.” Marie’s voice is title of her CD, How Can I Keep from Singing? Marie’s enthusiasm and affection for Fitzgerald a warm, supple and smooth instrument that describes René Marie’s unusual journey onto are readily apparent. “With Ella’s scatting, I seems to draw on a deep reservoir of the national jazz stage. could feel my heart pounding and racing. I inner strength. Blessed with excellent pitch René grew up surrounded by music from an couldn’t believe how excited I got.” and a superb rhythmic sense, she displays early age. “One of my earliest memories that I Music remained a private passion until the same effortless command of her talent have as a girl is of my father playing Ravel’s 1996 when her son dragged René to a local that distinguished her primary infl uences, Ella ’Boléro’ on the record player.” Her father also restaurant to hear a singer. He told her, “You Fitzgerald and Sarah Vaughan. Marie’s singing loved Bluegrass and Harry Belafonte. Like the can sing better than her, I know you can.” does not have a trace of the self-consciousness rest of her generation, René listened to the René recalls looking at her son and telling that mars the work of some singers. “I’m not Beatles, the Supremes and Peter, Paul & Mary. him in an excited voice, “Michael, I think tied to intellectualizing what I’m doing. I’m She studied piano for several years and, as you’re right, I think… I know I can sing basing it on how I feel at the time and what a teenager, sang with a couple of local R&B better than that.” René and her sister-in-law, the band is doing.” groups. “Ever since I was a little girl, I wanted a pianist, worked up six tunes and went back The band is very important to Marie. “I to be a singer,” she explains, “but I don’t to the same restaurant the following month. don’t feel comfortable separating myself from remember ever listening to jazz.” That changed They asked to play during the break. “I must the musicians. I feel like I’m along with them with the release of the Billie Holiday biopic have been out of my mind,” René laughs, “but not out front away from them.” For René Lady Sings the Blues. “I was just dumbfounded the audience was quiet and listening and the Marie, jazz is about collaboration. “I’m really with the lyrics and the music. It touched me applause was really good.” tuned into the group. I listen to them and,” deeply.” René started sitting in with local musicians. she adds with a chuckle, “I appreciate it if Marriage at age 18 followed by motherhood “I didn’t know how to hold a microphone. I they listen to me.” detoured her plans for a singing career, but she didn’t know anything about a sound system. I Marie’s unaffected modesty in conversation did not abandon her love of music. “I did a didn’t know I had to tell the band a key.” She seems at odds with the sheer authority of her lot of writing. I wrote lots of lullabies.” Her admits that, in the beginning, she imitated singing. But then, that authority is somewhat newfound passion for jazz also led her to the Ella and Sarah. “I listened to their stuff surprising given that she has only been music of Ella Fitzgerald. “The clarity of her so much and memorized their phrasing, their breathing, their scatting. Then I got bored.” of work, as I was walking out of the door, “Four Women” is more personal. “Those lyrics Instead of just mimicking her idols, she I remember being so scared, but I had this speak to our history so much. I believe in my began to learn from them. She also began giddy feeling like I had been cut loose and lineage all four of those women exist. It is listening closely to the voices of different was fl ying up in the sky.” Thirteen months not a stretch at all for me to say I’m Sweet instruments. She developed an approach to later René Marie found herself in a New York Thing or I’m Safranga. I think that is probably lyrics and scatting that incorporated the City recording studio working with nationally the case for most black women. They know [all rhythmic accents of a drummer. She also known musicians like Mulgrew Miller and Gerald four women] or they are them. My strongest allowed herself the freedom to improvise Clever under the supervision of producer Bruce connection is with Aunt Sarah.” and take chances on a par with what the Barth. The CD also contains three examples of instrumentalists were doing around her. The resulting album, How Can I Keep from Marie’s impressive talent for songwriting. The She became a popular attraction in the Singing?, is the work of a singer who has yearning “Hurry Sundown,” with its lovely Richmond, Virginia area. Under her married bridge, the sexy “Take My Breath Away” and name, René Croan, she produced her own Marie seems to delight the lively “I Like You” are smart, well crafted CD, Renaissance. However, it proved to be a in bringing a fresh tunes. Before the recording session Marie was diffi cult period. Her marriage of 23 years ended perspective to familiar or concerned about how the musicians would badly. “I had never been on my own. It was unexpected material. react to her songs. “What if Mulgrew said,” a real struggle emotionally.” She continued to she adopts a voice of mock disdain, “who work fulltime at a bank while traveling to gigs learned to trust her own instincts. Marie seems wrote that!” However, she had nothing to several hours away at night. Looking back, to delight in bringing a fresh perspective worry about. As she stood in the vocal booth, she says the experience improved her singing. to familiar or unexpected material. Take, for she could see the musicians smiling as they “Pain makes everything clarifi ed. It separates example, her version of “The Tennessee Waltz.” played her songs. She remembers thinking, “I things.” “I always thought the words to that song were can’t believe these guys are smiling about The turning point came in December 1998. really nothing but the Blues,” she explains. “So music that I wrote.” “That,” she says happily, With the encouragement and fi nancial support I put some grease and fat back up in there.” “was a good feeling.” of her mother and six siblings, René decided Her pairing of the spiritual “Sometimes I Feel René Marie has not lost her love for the to concentrate on music fulltime. “My last day Like a Motherless Child” and Nina Simone’s great standards that brought her to jazz in the fi rst place. Yet, she doesn’t feel limited to that lot of energy and I’m raring to go.” Asked if repertoire. “I like incorporating music from she has any goals for her career, she pauses other cultures into jazz, not just American thoughtfully. “My goal is to avoid being in a music. It’s like eating. You like sweet and niche,” she says fi rmly. “I don’t ever want to salty. Soft and crunchy. Sometimes mixed in all sound like a cliché.” J together. Anything that makes me think, peaks my interest or perks up my ear.” When asked about the state of jazz singing, she defers by saying, “I’m still learning about myself and This is your computer. how I feel about my own singing.” But asked what could be done to increase interest in jazz, she is emphatic. “Take your kids to live music. Don’t let them think that real music has to sound to like that produced stuff on the radio. It’s not. It’s nothing like that.” Marie’s own live performances this year will take her from the Blue Note in New York to the Plush Room in San Francisco and a number of points in between. She will also be traveling This is your computer on to Europe for her fi rst overseas performances. Screen Themes. Next month she returns to the studio to record a new CD for release this summer. The new album will feature fi ve original tunes and, undoubtedly, some surprises as well. Any questions? René Marie is optimistic about the future. “It feels good. It really feels good. I’ve got a After nearly a decade in the trenches, Kurt Rosenwinkel is beginning to emerge as the next big thing in the world of jazz guitar. He has just released his second all-original Verve CD, The Next Step, a follow-up to last year’s The Enemies of Energy. Two earlier standards albums, Intuit (Criss Cross, 1998) and the hard-to-fi nd East Coast Love Affair (Fresh Sound, 1996) also attest to the scope of the young guitarist’s jazz talents. All the while Rosenwinkel has maintained a busy schedule of sideman performances, live and on record, with Mark Turner, the Brian Blade Fellowship, Chris Cheek, Danilo Perez, Paul Motian’s Electric Bebop Band, and more. Contemporary jazz giants such as Joshua Redman and Pat Metheny are loudly singing Rosenwinkel’s praises. Even in a jazz scene packed with strong players, Rosenwinkel stands out for his emerging brilliance. Put simply, there is nothing obvious about his music. As a composer, he steadfastly avoids cliches and yet his melodies, even at their most complex, GIANT STEP stick in one’s memory. As a guitarist, he’s BY DAVID R. ADLER developed a glistening, highly original sound that he often augments with his own wordless by The Shaggs, a late 60s band comprised But it cost a lot more money to get that vocalizing. He can swing like a horn player but of three sisters who could barely play or production quality. he plays the whole guitar — rapidly strumming sing. Something about the primitive honesty I began shopping it around to labels, and a chord near the bridge, for instance, to of this cult classic speaks to Rosenwinkel, and fi nally, after a long time, I got signed to achieve a crashing sonic effect. And unlike this says something important about his art. Impulse. And I made a record for Impulse with virtually all jazz guitarists, he has employed At a time when jazz education has produced the same band. That was in 1998. Then Verve alternate tunings, which enable him to play technical knowledge and ability in abundance, and Impulse merged. I got sent to Verve, and lines that literally no one has played. Rosenwinkel, despite his extensive schooling, when I did, they saw that here’s this artist But perhaps most importantly, Rosenwinkel keeps alive the spirit of the unschooled. who has two records: one that he did himself, has an idiosyncratic musical personality that All About Jazz: You’ve just released The one for Impulse. They looked at both those animates all his work, making it truly Next Step, but I’d like to talk for a minute records and decided that they’d prefer to put distinctive. Listen to “The Polish Song,” an about the previous record, The Enemies of out Enemies. acoustic ballad from The Enemies of Energy Energy. You recorded it back in 1996 and it AAJ: Before the merger, did you present that he sings in a fabricated nonsense went unreleased until 2000. Can you take us Impulse with Enemies and did they say no? Or language, and you’ll hear it to maximum effect. through the events that led to the album’s was it more a matter of Impulse telling you to Rosenwinkel’s got something different going fi nally being picked up by Verve? And did such give them something from scratch? on in his head, something he didn’t learn a belated release raise artistic issues for you? KR: It was more the latter. They said, “We’re at Berklee, something that fl ows from his Kurt Rosenwinkel: When we recorded interested in you as an artist, make us a deepest self. Even when he’s soloing at full- Enemies I wasn’t signed. But we knew we had record.” Which was great, and we did it. So tilt, he embraces a kind of imperfection and to record it because the music needed to be there’s one in the can, unreleased. risk-taking that marks only the greatest of manifested. We did it with the help of a lot AAJ: Will you release it at some point? players. A telling anecdote: When this writer of friends. The whole purpose was to have KR: I hope so, I really like it! And there’s no met Rosenwinkel at his Brooklyn apartment for something of a high enough quality that it artistic reason why it wasn’t released. a lesson in mid 1999, the rising guitar star could exist in the major label realm. That was AAJ: Do you see yourself doing another was moved to spin a few tracks from one of his a very intentional thing on my part, and I’m standards record like Intuit or East Coast Love favorite albums, Philosophy of the World (RCA) glad I did it, because that’s what happened. Affair? KR: Yeah. I’d really like to. of us have the kind of star power to command sound. Do you see it that way? Are you AAJ: Enemies is much more of a studio some of the bookings we’re going for, we consciously featuring your vocals, or are you record than The Next Step, which is more along decided to join forces so we could tour. We simply singing your phrases the way many the lines of a live jazz album. What were the got tour support from both Verve and Mark’s other players do? artistic impulses that led you to make such label, Warner Bros., which was a fi rst. Musically KR: It started as a natural thing, like lots different albums? it was totally fi ne, because our musics have a of players do, as you said. But I’d go into the KR: It’s very simple, a natural progression. lot of simpatico. studio and come away with the feeling that my It’s how we grew as a band. This is the AAJ: But what I’m referring to is when Mark sound had not been captured. For a long time nature of the music that we’re playing now. played the Vanguard back in mid 1999, when I felt that I never got my sound on records. That’s not to say that in the future we won’t he used your band, with Street and Ballard. Then I realized that the vocal is actually part make another more studio-oriented record. The Was that part of the “joining forces” that you of the sound. I needed to discover that. So making of The Next Step wasn’t really a matter just mentioned? I began to be more conscious of it and bring of responding to the last one in any way. It’s a KR: Not exactly. That actually presented a it out more. I started using a microphone on four-year development between the two, and it lot of problems, because it showed Mark that gigs, really exploring it as a possibility. In the brought us toward a more live sound. he really needed to defi ne his own group. At last several years I’ve started to work with it AAJ: Your quartet has played not only under that time he was looking for it and wasn’t in the studio. So it’s very deliberate. It’s miked your name, but also occasionally under Mark fi nding it. So for that engagement at the in the studio and very carefully mixed, because Turner’s name as well, no? Vanguard, he decided to try it with my band. It it has to be at that point between conscious KR: Sort of. There are distinctions. Mark’s worked in theory but not in practice. Or maybe and subconscious. band is now me, Nasheet Waits [drums], and the opposite [laughs]. Now we know we each AAJ: Do you work on your singing, or is it Reid Anderson [bass]. My band is Mark, Ben need to have our own groups. something that you just allow to develop, as Street [bass], and Jeff Ballard [drums]. The AAJ: Your vocalizations seem to be more your improvising on the guitar develops? reason why my name and Mark’s have appeared and more audible on the recordings you make KR: Sometimes I try to exercise my voice a interchangeably at times is that last year, we and appear on. Verve’s press release for The little bit if I know I’m going to be singing. I launched a joint band so we could present an Next Step goes so far as to state that the might focus on my voice just a bit, to warm attractive option for promoters. Since neither vocalizations are an integral part of your up. I don’t know any singer-type warm-ups. I just try to sing more strongly and go from the bottom register of the guitar to the top, going chromatically. AAJ: The most famous example of CLASSIFIEDS simultaneous playing and singing is George Benson, but he’s coming more from a traditional scat-singing concept. Your style is Rescue CDs from The most in-depth very different, no? scratches with Wipe periodical reference on KR: He’s an actual vocalist, and I’m not. Out! Available on jazz improvisation. With Benson there’s actually two things going activemarketplace.com. jazzimprov.com. on, voice and guitar, both totally central. With me the vocal is more just a part of the guitar sound I’m going for. AAJ: You’ve been working with alternate You’ve seen BugHouse You’ve got the right tunings for guitar, and you’ve said that often on AAJ. Now get the music. Now get the in an alternate tuning you don’t know what graphic novel online at right lamp from chords and notes you’re playing. What kinds topshelfcomix.com! allaboutjazz.com. of notational challenges does this pose when you bring an alternate tuning piece to your band? KR: It’s a minor technical problem. I just High-quality jazz See your name in lights use a tuner to fi gure out what note I’m screen savers and you in the Classifieds. playing, and write it down, and go from wallpaper! Contact Michael Ricci there. J screenthemes.com .com at All About Jazz. When Skies Are Grey... Ron Carter Blue Note While a Latin jazz element is his focus for this project, veteran Ron Carter’s recordings always hold the mainstream of jazz in high regard. A quiet session that swings, the bassist’s latest album swirls through the tradition with a light conga tinge. Bob Freedman’s intricate arrangements place the bassist in roles ranging from opening obbligato to soothing melody and focused improvisation. Pianist Stephen Scott brings a fresh approach to the session, particularly on Ray Bryant’s “Cubano Chant”, where he stretches out with a free hand. Bongos and drum set trade fours before Harvey Mason launches an extended solo. The session doesn’t place Mason out front, however, because of the intended quiet mood. Instead, the veteran drummer supports strongly with crisp articulation, light sticking, CD REVIEWS and swirling brushes. The Latin element, while not overly applied, I Can See Clearly Now more proof? Look no further than a totally colors each arrangement with its rhythmic, Dena DeRose fresh peek at the title track, with sexy and dance-like quality. With a clear focus on Sharp Nine elongated phrases so expressively supported mainstream jazz, Carter has produced another Without any doubt, pianist/vocalist Dena by vibist Joe Locke. DeRose even comes up prize-winning album. His four originals pique DeRose has come up with another winner with a new angle—singing along with her the senses in different ways. Carter’s and possibly her fi nest album yet to date. piano lines in a unique style that recalls “Caminando” could easily represent the album’s That’s saying a lot too because her previous similar techniques by George Benson and title because of its somber mood and tranquil, two sessions for Sharp Nine, Introducing Dena the late Major Holley. It quasi-tango transitions. His “Mi Tempo” is DeRose and Another World, have been critically adds a lovely touch to a provocative piece without piano. Walking lauded while also setting a new standard “I’ve Never Been In Love bass alternates with lyrical melodic phrases as among the female jazzer cum hip vocalist Before” and “The Touch Carter nudges a Latin tinge along the way. crowd. Even if DeRose had never discovered of Your Lips”. Drum set and conga fi lls provide a spicy fl avor. her vocal talents, her skills as a pianist would As with DeRose’s past In his interview with All About Jazz last have led to a successful career as a jazz efforts, she fi nds year, Carter said, “…I like to create a rhythm artist. But thank heavens she did get those capable support in a that will make the band take a different pipes ringing because this is where she excels crack rhythm team that includes bassist direction”. Firmly in control throughout the and leaves all competing peers behind at the Dwayne Burno, and drummers Matt Wilson session, the bassist makes all the right moves. starting gate. and Mark Taylor. Guests include the Due out February 13th, When Skies Are Grey…, While standards again constitute the bulk aforementioned Locke, trumpeter Jim Rotondi, the bassist tops the new list for best of the of the program, DeRose has a way of seeing and saxophonist Joel Frahm. And to make year. things, catching subtle nuances, and recasting sure Miss DeRose’s labors are not negated — Jim Santella melodies in a way that has previously escaped by technical tribulations, engineer Mike other interpreters. For instance, there’s that Marciano renders the session with the kind of ingenious drop in tempo and swift return focus and warmth that is needed for vocals to form on a lively “Detour Ahead” that and has now become one of the trademarks echoes the line “wake up, slow down”. Need of a Sharp Nine production. It cannot be overstated that DeRose’s time has come and Tuba Sounds Hackensack studio (his parent’s living room) it should be nothing but blue skies from here Ray Draper the fi delity adds even further to the fi ne on out. Prestige proceedings. — Chris Hovan “A Promise Derailed.” Such of phrase could The tunes on the date are a well-chosen mix easily have been etched on Ray Draper’s of originals with a single standard thrown in as tombstone to describe the tubaist’s trials in a nod to tradition. Draper’s potbellied horn is life and music. Killed in a botched robbery surprisingly agile on the changes, particularly at the tragic age of 42, his troubles both on his own numbers “Jackie’s Dolly” and personal and musical hounded him for much “Mimi’s Interlude”. Plump and viscous, it’s of his life. But reading the original liners to a sound that skates along the bedrock of this reissue penned by Ira Gitler it’s diffi cult the bass register while still managing to fi re to prognosticate such a future for Draper. off quick salvos of notes. Young stays fairly Member of the All-City High School Symphony, understated, but still chimes in occasionally a budding playwright and with fi ne solos, as on the latter composition composer, and front man and some intriguing exchanges, as on the of a recording date for opening “Terry Anne”. McLean’s devilish alto, Prestige- all of these brimming with youthful bravado, routinely things point to bright dances rings around the leader’s fl eshy fi gures. and promising prospects The rhythm section is usually relegated to its as a musician. A careful regular chores, but Waldron fi nds space both inventory of Draper’s for a tune and several solo breaks. sidemen also speaks to his precocious talent. Draper recorded several other dates as a Even back in ‘57 McLean and Waldron were leader and parlayed some work as a sideman heavy hitters and the relative newcomers for employers like McLean, Coltrane and others Young, DeBrest, and Dixon are also solid throughout the remainder of the 50s. The 60s recruits. Taped at Rudy Van G’s original and 70s also afforded him sporadic dates with folks like Archie Shepp but the occasional As One Donaldson has a fl uid light touch that favors returns to music were always short-lived. Larry Goldings Trio this trios lyrical side. Listening in on the promise he so evidently Palmetto Goldings has had an impressive list of displays here it’s a shame Draper wasn’t able The words “graceful” and “organist” can instructors and mentors including Keith to persevere. almost never be used in the same sentence. Jarrett, Jaki Byard, Ran Blake, and Sir Roland — Derek Taylor But the agile fi ngering of Larry Goldings is Hanna. He joined Jim Hall’s band and stayed anything but the coarse, gritty soul music for three years, also taking gigs with Maceo that you hear everywhere. His follow-up to Parker, and John Scofi eld. His prior recordings the 1999 Moonbird trio session and the Peter always seem to begin with the core musicians Bernstein-led 1997 trio Earth Tones (Criss heard here. Except for side projects here and Cross) is his best work to date. Like the there, these three musicians have built their prior trios, this band is made up of Goldings, careers around each other. Every time Goldings guitarist Peter Bernstein, and drummer Bill has wandered off, be it last years hip-hop Stewart. The three musicians have been infl uenced VooDoo Dogs or a acoustical piano playing together since date with Paul Motian and Larry Grenadier, he 1988 and it shows. has produced less than exciting material. All Stewart, who recently the reason to stick with a great lineup. toured with guitarist Pat The trio plays exacting balanced music from Metheny’s trio, made two a tame take on “The Thrill Is Gone” to the critically acclaimed bop infl uenced “Calls”. They seem as unselfi sh records for Blue Note as the Modern Jazz Quartet, not tilting the Snide Remarks (1995) axis of each track in favor of one musician and Telepathy (1997), and has been the or another. They take on The Zombie’s “Time drummer of choice for John Scofi eld this past Of The Season”, a staple sixties rock anthem decade. Guitarist Peter Bernstein a regular with with the coolness and hip-sway of the original. both organist Mel Rhyne and saxophonist Lou Two tracks “Mynah” and “Glass” diverge from the formula. The latter is a three-minute solo- Domino of historical interest for its stellar cast of improvised piece with lots of weird effects. The Roland Kirk supporting players. former is a Bill Stewart piece from Telepathy, a Verve Master Edition Kirk’s arsenal includes two unusual page from Medeski, Martin, and Wood’s groove When Roland Kirk (pre-Rahsaan) issued instruments, the manzello (sort of like a book that hopefully is a signal of new territory Domino in 1962, the album contained 10 soprano sax) and the stritch (like a mellow for the band. tracks, which amounted alto), in addition to tenor, fl ute, and the The trio play jazz so hip and with such an to just over half an occasional siren whistle, usually to introduce insider’s groove there seems to be no reason hour of music. On this a piano solo. His simultaneous two- and three- to add pieces and parts to this already whole reissue there are 25 horn work led some to dismiss him as a lineup. tracks and nearly 80 gimmick player, which was absurd, for what’s — Mark Corroto minutes of music. What’s astonishing about the technique is its sheer more, the 15 bonus musicality in Kirk’s hands. Need to ratchet up tracks feature a 22-year- the intensity over a pedal point or during a old Herbie Hancock, who did not appear on solo? Add another horn or two and you’ve got the original Domino at all. (Getting left on an instant one-man shout chorus. (Check out the cutting-room fl oor must not have thrilled his faster-than-usual reading of J.J. Johnson’s the young pianist.) Bassist Vernon Martin is “Lament” for a good example of this.) And featured throughout all the sessions. Six of the mind you, this is not mere noisemaking — original 10 tracks feature Andrew Hill on piano his note choices, whether unisons or two- and and Henry Duncan on drums, both of whom three-part harmonies, make perfect sense. are replaced on the remaining four by Wynton Indeed, for a musician often thought of Kelly and Roy Haynes, respectively. Haynes as incurably odd and left-of-center, Kirk’s stays on for the tracks that feature Hancock. rootedness in tradition couldn’t be clearer on (No other Hancock/Haynes collaborations come Domino. On tenor he sounds not unlike Sonny to mind.) So in addition to what this reissue Rollins and his fl ute work surely infl uenced says about Kirk’s enormous talents, it is also Thomas Chapin. On the fast minor blues “Rolando” he plays a stritch solo full of Rob McConnell Tentet the tune: its lightly unconventional rhythm. exemplary post-bop lines. “E.D.”, the last of Rob McConnell Dizzy Gillespie and John Lewis’ “Two Bass Hit” the original 10 tracks, is a furiously fast Justin Time reveals the power of the band. But it really reworking of “Tea for Two”. At least at this After decades of recording on a number of is the foundation for the tentet’s saxophonists, stage, Kirk’s playing was far more inside than labels, including most recently a long stint P. J. Perry, Mike Murley, Ornette Coleman’s, for instance. with Concord, Rob McConnell is releasing once and Alex Dean, to do Perhaps this reissue will prompt a again another one of his almost annual CDs. battle, armed only by reappraisal of Kirk’s importance. As someone At the start of the millennium, he is recording their instruments and who took the tradition seriously and yet for the fi rst time on the Canadian label, Justin their talent. created something entirely new from it, he Time, appropriately enough. “Everything I Love”, has a great deal to say to today’s like-minded Recording Rob McConnell Tentet in Toronto, a tune inspired by Paul younger generation of players. McConnell still reminds his listeners of the Desmond, is valuable as — David R. Adler reasons for his groups’ distinctiveness: fresh, an arrangement that tests the group’s cohesion swinging arrangements that belie the relatively in the same way that Neal Hefti’s “Girl few musicians executing his richly colored Talk” does—with a solid group unity that sound. That sound remains intact in his delves into each note in anticipation of the “tentet.” beat and without ostentation. “Everything I Plunging into the fun with a right-on-the- Love” allows for a McConnell solo as well, beat start of “Old Devil Moon”, McConnell as he explores the harmonic underpinnings continues to delight his listeners with subtle, with a vibrant tone and an effortless, melodic unanticipated accents and unison horn lines improvisational approach. Percy Faith’s “Maybe in an arranged variation on the tune. “Speak September” glides through kaleidoscopic Low”, with its long and slowly deepening changes behind a luxuriant tenor sax brass tones over drum-and-bass propulsion, statement of the theme which is similar to the strips away the horn lines to allow bassist fi lm noir references of Charlie Haden’s Quartet Wallace to speak low of the true basis for West. Even within the consistency of McConnell’s Vol. 1: The Quintets college professors working on math problems patented arrangements and instrumentation, Lennie Niehaus (many critics of cool jazz say that it’s too unlike any others, Rob McConnell Tentet Fantasy/OJC intellectual and studied). The men in question contains a diversity of mood. With or without Cool jazz has always represented the tweed are Lennie Niehaus, Jack Montrose, and Bob the Boss Brass, McConnell’s allegiance to jacket and horn-rimmed glasses approach to Gordon; musicians who, while not that well the gorgeousness of a brass choir-like sound the music and has often been criticized known, were key to delineating a West Coast remains intact. for stealing jazz away from smoky bars to sound. Niehaus was fi rst and foremost an — Don Williamson college lecture halls and living room hi-fi s. arranger for the Stan Kenton band. His crisp A style that could only charts for the front line, mask the fact that have been conceived a piano is absent from the fi rst quintet. during the optimistic Instead of sounding hollow, the musicians bliss of the Eisenhower fi ll the empty space with great depth and administration and the imagination. Niehaus, who sounds like a more warm breezes of restless Lee Konitz, plays swift cat and mouse California, cool jazz was games with Montrose and Gordon, especially doomed to be overrun by the turbulent on “Whose Blues”. Gordon (who lived a 60s and the angry, socially conscious music tragically short life) always manages to blow that was its byproduct. Indeed, cool jazz the paint off of the walls on every session he’s disappeared as quickly as it started and truly at and this one is no exception. represents an anomaly; no one is really doing The second set of quintet cuts are less anything today quite like those guys were in inspired. Montrose and Gordon are replaced the fi fties. by Hawes and Williamson and the interesting One would be hard pressed to fi nd an album counterpoint of the three horns is lost. more representative of West Coast jazz than Niehaus plays with the same enthusiasm, but this one. For starters, the cover features three Williamson sounds a bit hesitant. Only when guys who, except for the horns, look like Williamson switches to trumpet for one cut do they reach the same level of accomplishment Creation Dream — The Songs of Bruce pieces such as “Mistress of Storms”, Byron as before. Manne, a standard bearer for West Cockburn and Occhipinti engage in rapid fi re yet Coast jazz, provides snappy brushwork on both Michael Occhipinti subtly stated unison lines as they segue sessions. True North into a tenacious swing vamp, marked by Greeted with either indifference or scorn by Canadian guitarist/composer and co-leader the guitarist’s interesting chord voicing and many, West Coast jazz deserves wider attention of the “NOJO” large ensemble, Michael tuneful melodies. than it has been given. Reissues like this Occhipinti pays homage to fellow countryman Violinist Hugh Marsh injects warm, sonorous one may help convince listeners to give this and celebrated folk singer, Bruce Cockburn motifs into “Wondering Where the Lions Are pleasant genre a second look. on Creation Dream—The (Giftbearer)”, as the band embarks upon an — David Rickert Songs of Bruce Cockburn. understated Caribbean groove amid Occhipinti’s With this release, the unconventional phrasing and clever melding of guitarist garners some roughly hewn statements performed on electric additional support from guitar. Marsh eventually picks up the tempo frequent collaborator, with a blistering solo. clarinetist Don Byron, Occhipinti alters the momentum and along with a elevates the intensity a bit during the rock/ sympathetic cast of top-notch Canadian jazz shuffl e groove titled, “Creation Dream”. Here, musicians, while Cockburn, strums his acoustic the artist exhibits his distinctive style yet guitar on one track, “Pacing The Cage”. rekindles memories of the late jazz/blues/ The musicians inject or perhaps transpose rockabilly guitarist Danny Gatton. Occhipinti the themes and fi nely crafted lyricism of also fuses avant-garde chord progressions with Cockburn into a jazz-based set, brimming with fi ery licks and glistening dynamics. The band softly executed statements, tender choruses surges onward with a rather playful take on and effective soloing by violinist and leader “Rumours of Glory”, while they pursue radiant Hugh Marsh, trumpeter Kevin Turcotte, and dreamscapes on “Homme Brulant”. Byron, who appears on three tracks. On It is evident that Michael Occhipinti and Co. have poured their respective souls into The Long Haul sparks of its own. Most of all, aside from this thoroughly convincing project. The band One 4 All the skill and technique involved, the music exuberantly extracts and reinvents the man’s Criss Cross possesses a fervency that is genuine. These music, in altogether attractive fashion! Working within the broad parameters of guys love playing together and it shows. — Glenn Astarita hard-swinging, harmonically sophisticated The disc’s opening cut, “A Cry For small-band styles from the 40s, 50s, and Understanding”, composed by John 60s, the music of the sextet One 4 All Farnsworth, encompasses the band’s virtues. also refl ects the experiences of the individual A slow, somber introduction convincingly members outside of their cooperative band. An executed by tenor saxophonist Eric Alexander incomplete but telling list of leaders who have and the rhythm section leads to all of the employed and infl uenced various members of horns playing the theme at a brisk tempo. the crew includes Cecil Payne, George Coleman, Alexander’s solo is a fi ne example of his Art Blakey, Jackie McLean, Junior Cook, Slide continuing development. His full-bodied sound Hampton, and Louis Hayes. spreads out and takes up space without On The Long Haul, the band’s second being overbearing, and he stays in absolute release for Criss Criss control while deliberately working through a (and fourth overall), variety of ideas that add up to a complete, they stake their claim to satisfying whole. In comparison, trombonist the tradition. The record Steve Davis’ approach is somewhat spare, comprises impressive skillfully playing off and interacting with material (six out of pianist David Hazeltine’s chords and the snap eight cuts were written of drummer Joe Farnsworth’s snare drum by various band members) and arrangements, accents. During a commanding, live wire turn, four primary soloists with something trumpeter Jim Rotondi frequently phrases on distinctive to say, and a rhythm section that top the beat and occasionally takes brief, responds to every exigency and shoots off fruitful detours. In the unenviable position of following the three horns, Hazeltine, ever footing while working against the weight of The Next Step mindful of Farnsworth’s and bassist Ray Hazeltine’s stabbing chords. Over Drummond Kurt Rosenwinkel Dummond’s pulse, at fi rst seems casual and and Hazeltine’s vamp, Farnsworth slyly mixes Verve then gradually hardens his touch, becoming rhythms that alternately refer to the pulse and When you stop to think about it, there are more expansive and forceful. Backed only by create unrelated waves of percussive sound. relatively few guitarists on the current jazz Farnsworth’s brushes, Drummond completes the — David A. Orthmann scene working to go beyond the boundaries cycle of solos, integrating a snippet of the of a mainstream manifesto. Sure, you’ve got song “Wade In The Water”, into a smart, talented youngsters such as Russell Malone, effi cient statement. Peter Bernstein, and many others functioning Alexander’s rollicking tune “Stash”, the within the tradition. But even as endowed band’s fi rst venture into the time signature of as these guys are, they have not chosen to 5/4, is another of the disc’s standout cuts. see outside of the box in the same manner It moves forward in a nice, lopsided manner, that Pat Metheny and Bill Frisell have. This with the horns brazenly stating the melody, is not to dismiss the then giving way to a string of compact solos. talents of anyone with First up is Alexander, who is clearly inspired by something important to the odd meter, starting off with short, soulful say regardless of the phrases. When Hazeltine and Farnsworth signal medium, just to put a change in emphasis, he takes off in into context the fresh a series of sprints which ends in barrage perspective of Kurt of overblowing. Rotondi burns through the Rosenwinkel, a major rhythmic thicket with ease, making his lines talent who has dwelled in obscurity for far too rhyme with call and response patterns. Initially long. A regular of the downtown crowd and taking more care than usual in placing mainstay at the New York jazz club Smalls, his notes and letting the rhythm section Rosenwinkel has the ability through a major fi ll in space, Davis’ solo gradually gains label recording contract to now bring to a wider audience the sound that has heretofore of jagged melodies that dictate phrase length “Live” At The Left Bank only caught the ears of a privileged few. and bar lines. Collective banter between Turner Sonny Stitt Following up on a debut set for Criss Cross and Rosenwinkel becomes heated, leading Label M and his fi rst Verve side, The Enemies of Energy, to a dramatic solo statement from drummer The electric saxophone was a good idea that Kurt’s The Next Step is so aptly titled that it’s Jeff Ballard. Several tunes fi nd Kurt singing just didn’t work out. Sonny Stitt is able to play downright scary. This proves to be the perfect along with his guitar lines, adding another “alto”, “tenor” or a combination of the two forum for the guitarist and composer as he dimension to such cuts as the previously synchronized in perfect harmony. The baritone lets it all hang out over the course of eight mentioned “Zhivago”. Man of many hats, sax effect is added to “The Shadow of Your clever originals. What’s so hip is that as quirky Rosenwinkel puts down the guitar and sits at Smile” and “Blues Up and Down”. His skills on and downright odd as Rosenwinkel’s tunes can the piano for the title romp, changing gears at the saxophone aren’t in the least diminished be, they also have a beguiling quality that its conclusion with a catchy shuffl e beat. by this innovation. Stitt could play bebop rings true. After just a few introductory spins, Only time will tell, but it seems fairly with the dexterity and understanding that I spent the rest of the day with the lead off certain that Kurt Rosenwinkel stands on the only a few could manage. The instrument’s tune “Zhivago” turning around in my brain. verge of becoming the next major innovator in sound, of course, isn’t natural. A reedy tone Additionally, the axiom that a working band the lineage of jazz guitarists, picking up where that blends the qualities of the kazoo, pipe develops along lines quite superior to that of Bill Frisell left off and taking us far into the organ, and harmonica your typical jam session is brought home due 21st century. with saxophone, Stitt’s to the fact that Rosenwinkel has been seen — Chris Hovan electronic instrument regularly with this group for some time and still leaves no doubt his relationship with tenor saxophonist Mark that he’s playing bebop Turner goes back to 1994. alto. Don Patterson and There’s something to be found in each Billy James contribute of the guitarist’s lines (and the nuances to the session’s spirit. keep appearing after many exposures), yet it They’re tight. As a result, Stitt’s bop lines roll wouldn’t hurt to touch on a few points of off complete and natural. The recorded sound intrigue. “Filter” is a prototypical chart, full is fi ne and the mood is all about intensity. Sonny Stitt could make bebop take the room Á Paris by storm, even on a Sunday afternoon. No Jacky Terrasson Raise a glass to wonder Joel Dorn gets so excited about these Blue Note things. Jazz took a left turn in the late 1940s During a tour of Europe last summer, a great jazz! when this new music hatched. Sonny Stitt number of American-based jazz musicians of was still making it work for club audiences Jacky Terrasson’s generation settled in a small when this was taped in 1971. Times have remote town in France to record an album. The changed, but the excitement and wonder are studio had been converted from a winery. The still there. This “secret treasure” combines camaraderie of the musicians developed from both the ferocious charm that emanated from the fact that the closest town was 20 miles Stitt’s horn and the ambience he created when away. The result of the collaboration is Á Paris, working before an enthusiastic audience. Terrasson’s tribute to the — Jim Santella music he heard while he was growing up in the City Of Light. After a stunning and infl uential recording debut on Blue Note in Every month David Ginochio 1994, Terrasson has reviews a fine wine proceeded to thrill audiences with his and pairs it with fine jazz. percussive and seemingly confl icted style on the piano. Combines force with sudden Jazz Uncorked quietude, rumbling percussion with rubato and so much more. ruminative stretches, melodic sweetness with angular improvisation, perambulating Every month at relaxation with unpredicted acceleration, allaboutjazz.com Terrasson teases with anticipation and surprise. musicians for his project, including his original piano. Such is not the case on Á Paris. trio of Okegwo and Leon Parker on three tunes. French guitarist Bireli Lagréne joins Instead of surprise, Terrasson honors the However, the bulk of the recording is done Terrasson on three tracks, most notably leading melodic form of French songs popularized by by French bassist Remi Vignolo and Stefon the development of the title tune, “Á Paris”. singers like Edith Piaf, Barbara, Jacques Brel Harris’ drummer, Terreon Gully. Since Harris was Performing a gorgeous ballad unfolding over or Charles Trenet. Such a deference includes performing in Europe at the same time, he was Terrasson’s half-note changes before the two containing the songs within the three- or four- able to appear on Á Paris’ fi nal track, Métro, of them glide into a middle-section blues. minute length of the typical recordings he a medium-tempo, minute-and-a-half imitation They delicately trade phrases in gypsy-like heard on the record player in his home. One of of the sound of the Parisian subway as it references of fl atted fi fths and fl atted seconds the songs spanning the longest track length is careens through the tunnels beneath the city. in a minor scale. Terrasson and Lagréne have Terrasson’s fi rst recorded composition, “I Love In fact, Terrasson is scheduled to appear on fun with “Que Reste — T’il de Nos Amous?” You More”. Harris’ next CD. (“I Wish You Love”), as Lagréne assumes the In contrast, Terrasson’s interprets chanteuse The salient ingredient of Á Paris, though, rhythm guitar part behind Terrasson’s light- Barbara’s song, “Nantes,” as a music-boxed, is the singability of the music. Terrasson’s trio hearted improvisation on Fender Rhodes. childhood song of only two minutes that calms down the chauvinistic French national The fi rst two tunes on the album convey slowly envelopes the listener and then abruptly anthem, “La Marseillaise,” into a waltz that the variability of Terrasson’s styles. He adds ends. could be sung soothingly without bombast a spiritual element to Edith Piaf’s “Plaisir Terrasson’s now-classic arrangement of “I or force. Terrasson’s (as well as Little Jimmy d’amour,” somewhat akin to the hand- Love Paris” has evolved on Á Paris into a Scott’s) harmonica player, Gregoire Marat, clappable “Oh Happy Day”. And yet on Francis funkier version with a strong bass line from adds a sense of melodrama to Jacques Poulenc’s “Les Chemins de L’amour”, Terrasson Ugonna Okegwo. Yet, after starting on the Brel’s “Ne Me Quitte Pas” (“If You Go substitutes horizontal fl ow over bar lines for piano, Terrasson performs the slowed middle Away”). Interestingly, Terrasson opposes the startling percussiveness to reveal the melodic section on Fender Rhodes — an instrument urgency of the harmonica with blues- potential of the song. gaining more of his recording attention lately, infl uenced modulations and exploding bombs — Don Williamson especially on his last album, What It Is. of unanticipated strikes before calming into Terrasson has assembled a diverse group of a straightforward melodic exposition on the Soundtrack To Finding Forrester disrespect for authority. Our pride in the The Prestige Legacy Vol. 1: The High Priests Various Artists music echoes the character’s acceptance of his Various Artists Columbia/Legacy surroundings. Bill Frisell’s guitar enters during Prestige Reissued material by Miles Davis, Ornette times when the youngster becomes faced with This appropriately titled disc, the fi rst in Coleman and Bill Frisell for a fi lm score? It unfamiliar, outside pursuits. The gentle stroke what will presumably be a continuing series works out perfectly as accompaniment to the of Frisell’s guitar urges the teenager to remain of retrospective compilations, gathers seminal fi lm’s changes in scene and mood. Creative strong in the face of opposition. The guitarist’s work by the four bop Brahmins of the Prestige music to accompany a creative motion picture. creative quartets also serve to assuage the label—Rollins, Davis, Coltrane and Monk. Each While remaining unobtrusive throughout the fears of Sean Connery’s character and to offer one of sixteen tracks is a cornerstone classic in wholesome saga, this music contributes to the him the self-confi dence he needs to fi nish jazz history, but curiously the uniformly stellar fi lm’s intentions from a distance. what he’s started. In the end, the fi lm’s nature of the material points to an inherent The music of Davis’ 1970s-era rebirth gently storyline takes its characters on unexpected problem with the project: the albums from nudges the fi lm’s central character towards his roads with the help of these classic jazz which these tracks are culled are all essential social and intellectual discoveries. A 16-year- recordings. in their own right. Sonny Rollins With the old kid from the Bronx with unusually gifted — Jim Santella Modern Jazz Quartet, Monk, Walkin’, Coltrane, talents for creative writing and for basketball Traneing In, Soultrane — is continually reminded not to sound cliché, but of his roots through these are records that the majesty of Davis’ belong in every jazz horn. African percussion, collection. This series mysterious strings and seems geared primarily keyboards, earthy to folks not wishing to woodwinds, and break the bank acquiring handclaps add all sixteen LPs or jazz afi cionados seeking the considerably to the scene’s visions of high-rise ideal vehicle by which to convert their friends apartments, urban graffi ti, and public and family to their obsession. For listeners from these demographic segments it should be time forward to 1953. “Compulsion” is arguably Let’s Get Lost: The Songs of Jimmy McHugh considered the aural equivalent of a gleaming most famous for the addition of Charlie Parker Wesla Whitfi eld golden ticket in a bar of Wonka chocolate. (under the transparent moniker of Charlie HighNote Starting the tour with Miles Davis’ “Down” Chan) on tenor and “When Lights Are Low” Although not in the same class as and the now legendary supporting cast of reconvenes the rhythm team of Lewis and innovators like Jerome Kern, Irving Berlin, Rollins, MJQ mainstays Lewis and Heath, Heath, this time with Roach carving out George Gershwin, Cole Porter, or Harold Arlen, and Roy Haynes on sticks things kick off the rhythms behind the kit. Four tunes from the composer Jimmy McHugh (1894-1969) auspiciously. Listening to this tune and 1954 follow Monk’s early reading of the near achieved, by any standard, the songwriting it’s follow-up, Rollins’ infectiously syncopated extemporaneous “Let’s Call This” including a trifecta. His songs were of exceeding musical “Mambo Bounce”, it’s hard to fathom the brief solo run through of “Just A Gigolo” that merit, they enjoyed huge commercial success, reputation Prestige had as a second class label is fi lled with just the right measure of shyness and they have endured the test of time. prone to slapdash blowing sessions. Instances tinged with sadness. Coltrane takes things out In his seminal book, American Popular Song, of noticeable roughness do creep up in these on the tail end with four more beginning with Alec Wilder observed that Mr. McHugh “wrote pieces, but it’s tempered with a rollicking briskly rendered “Sunday” and winding down a great many songs, among them some confi dence that’s rare even in the most with the ballad “You Say You Care”, backed of the best pop songs carefully rehearsed studio settings. Monk’s pair by his favorite rhythm section of the moment, ever written”. In The of three-minute masterpieces “Little Rootie Garland, Chambers, and Taylor. On the latter, Unsung Songwriters, his Tootie” and “Bemsha Swing” are similarly the early infl uence of Dexter Gordon is nakedly survey of Tin Pan Alley spellbinding thanks mainly to the pianist’s apparent both in his phrasing and tone. songwriters published already intensely original ivory hunting and As a reasonably priced sampler designed last year, Warren W. the presence of either Blakey or Roach in the to pave the way for further purchases, this Vaché noted that Mr. drum chair. Blakey’s signature press rolls incite compilation defi nitely fi ts the bill. Pick this McHugh’s songs “have the action on “Tootie” while Roach takes the up for the friend or relative who’s still on the become fi xtures in the jazz catalog . . . and honors on “Bemsha” stretching the beat to a fence about the artistry of jazz. will probably remain an integral segment of near snapping point. — Derek Taylor our musical heritage”. Yet, for all that, Mr. Two more from Davis turn the hands of McHugh’s songs are rarely associated with him. The singer Wesla Whitfi eld seeks to remedy to lyrics, Ms. Whitfi eld’s ballad singing strongly Ted Koehler, Harold Adamson, and his most that situation on her latest recording, Let’s Get recalls the late Irene Kral. prominent partner, Dorothy Fields. The album Lost: The Songs of Jimmy McHugh. As always, anchoring this collection is Ms. allows the composer’s unique “voice” to be At the beginning of the new century, Wesla Whitfi eld’s pianist, arranger and husband, Mike heard by not drawing too heavily from any one Whitfi eld has emerged as one of the fi nest Greensill. Both as an accompanist and an of these collaborations. living interpreters of songs from the beginning arranger, Mr. Greensill seems to have a deep Let’s Get Lost is not by any means of the last century. Like Rosemary Clooney and understanding of exactly the kind of support ground breaking or revelatory. However, it is Sylvia Syms, Ms. Whitfi eld is a jazz-infl uenced his wife requires. He plays with a light touch a thoughtful and satisfying examination of storyteller rather than an improviser. Her dry, and an attentive ear. His smart, superbly the music of a songwriter whose best work acidic voice has a way of sharpening the edges crafted arrangements make good use of not surprisingly refl ects Tin Pan Alley’s vision of of a song. Never content to simply defi ne only the reeds but also the rest of the itself: bright, optimistic, and most importantly, a song by its tempo, Ms. Whitfi eld extracts excellent rhythm section. Mr. Greensill also hummable. meaning from every word. She focuses the explores the many gradations of tempo that — Mathew Bahl listener’s attention on lyrics in a way that can exist between slow and fast on this generally make you think you are hearing the words to well-paced CD. a warhorse like “I Can’t Believe That You’re In Like all of Ms. Whitfi eld’s recordings, Let’s Love With Me” for the fi rst time. She mines all Get Lost is a mixture of the familiar and the the wit from Johnny Mercer’s lyric for “You’re forgotten. Even veteran song hounds will be the One for Me” without ever sounding like she surprised by the three beautiful and obscure is trying to be witty. Ms. Whitfi eld also has ballads unearthed here: “Warm and Willing”, the gift of taking antiquated expressions like “They Really Don’t Know You”, and “It’s “You’re a Sweetheart” or “that doggone moon Me, Remember”. There are also a number of above” (from “Don’t Blame Me”) and making rarely heard verses reunited with their more them sound natural and even poignant. With often encountered choruses. Throughout his her tendency to hold long, sustained notes long career, Mr. McHugh wrote with some with no vibrato and her clear-eyed approach very talented lyricists including Frank Loesser,