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MAY 2011

Volume 78 – Number 5

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4 DOWNBEAT MAY 2011

MAY 2011

On the Cover

26  The Totality Of James Carter By Dan Ouellette 34 James Carter is an instinctual player who speaks on his array of reed instruments with manifold vocal inflections. He races and skids to a stop. He yells in exuberence, then quietly sobs. He slap-tongues and sings. He’s attentive to the world around him; no sound escapes him. He consumes tones and rhythms and reforms them anew. He’s a singular voice whose story runs deep.

Features

34 No More Apologies Marcus Miller

By Josef Woodard mark sheldon Cover photography of James Carter shot by Jimmy and Dena Katz on location at The Cornelia Street Café, . 38 Monty Alexander One World Of Music By Ted Panken 42 Eric Harland For The Love Of All By John Ephland

SPECIAL SECTION 81 2011 International 54 T.K. Blue 58 Vijay Iyer 64 Jane Ira Bloom 69 Summer Festival Guide

rEED SCHOOL Departments 70 Master Class By Ben Kono 8 first Take 20 Players 126 On Campus 72 Pro Session 10 Chords & 130 Blindfold Test By Miles Osland Nellie McKay Discords Keefe Jackson 74 Transcription 13 the Beat Jerome Sabbagh 76 Toolshed 18 Caught 47 Reviews

6 DOWNBEAT MAY 2011

First Take | By ed enright

The Call Of The eed School is upon us with this issue, featuring the woodwind-obsessed Rsaxophonist James Carter—one of my all-time favorites—on the cover. I once watched Carter wolf down two pounds of crab legs in one sitting. We were at Riva, a trendy restaurant on Chicago’s Navy Pier known for its seafood menu. He was in town for a per- formance that night at Schuba’s. As editor of this magazine at the

time, summer of 1996, I had in- TZ sisted on putting Carter on the

cover, having heard his U.S. de- AND DENA KA James Carter: insatiable appetite but J.C. On The Set (1994) on JI MM Y my office stereo about a hundred times, and decided to conduct the interview myself. We talked about every- thing from Coleman Hawkins to “Beavis and Butt-Head” to low-A versus low-B-flat baritone saxes. His ravenousness reminded me of his insatiable appetite for collecting interesting saxes and woodwinds, not to mention his larger-than-life stage presence. Carter blew my mind at the show that night, practically tearing the floor out from under the crowd that gathered to witness his amazing pyro- technics. He injected a sense of urgency into everything that came out of his horn. It was exhausting to watch him, but the experience was incredibly rewarding for a lifelong fan of the saxophone like me. “I identify with the whole attitude behind aggressive playing, especial- ly if it’s something urgent to say,” said Carter, who was then 27, had four CDs out under his own name and was starting to win various woodwind categories in DownBeat’s Critics and Readers polls. “Of course, it’s all re- ally urgent to say.” Today, Carter is still topping the polls, but he also continues to chal- lenge himself, taking on daunting projects like the symphonic, painstak- ingly notated Concerto For , the centerpiece of his new album Caribbean Rhapsody (Emarcy), one of many topics that DownBeat con- tributor Dan Ouellette discusses in this month’s cover feature (beginning on page 26). Always one to offer his listeners something new and genuine, Carter succeeds in uniting jazz, salsa and classical elements on the new re- lease, possibly his most ambitious work to date. Carter is just one of many saxophonists featured in this Reed School is- sue, which also includes profiles of saxophonists/multi-instrumentalists Keefe Jackson and Jerome Sabbagh, plus a Master Class by woodwind spe- cialist Ben Kono and a Pro Session on mouthpiece/reed setups with jazz educator Miles Osland. Also included are several product reviews of the latest saxophones and accessories. On a personal note, this sax-packed issue also marks my last as editor: I am departing DownBeat to once again pursue a career as a profession- al saxophonist and freelance journalist. And I’d like to take this oppor- tunity to thank everyone who has played a part in helping me produce DownBeat’s editorial content every month. It’s never easy to leave a gig where you love the people you work with and the artists you write about, but it sure feels good to go out on a favorite like James Carter. DB

8 DOWNBEAT MAY 2011

Chords & Discords 

Gratitude For Mingus Shorter Sounded Uncanny Thanks for reprinting the great 1971 Charles James Hale’s review of the new CD from Mingus article by Mike Hennessey (March). tenor saxophonist Walter Smith III, III (“Re- As a curious 18 year-old in 1977, I discovered views,” March), opens up some creditability Mingus’ music through the Three Or Four issues. Apparently, Hale has difficulty making a Shades Of The album. I have since distinction between ’s mid-1960s purchased 15 other recordings by this masterful recordings and the hard bop of the Dexter musician and enjoy every one of them. It was Gordon/Woody Shaw collaboration document- very interesting to get his 1971 perspective on ed on the 1976 live recording Homecoming. music from your article. DownBeat continues Shorter’s compositions and solo saxophone to be a great asset to my jazz education, while voice are uniquely his own. Using complex har- playing a valuable role in helping me to grow monic relationships, Shorter’s music bares little my music library. Keep up the good work! resemblance to Gordon’s. Hale also refers to A. Stan Davis as being “cowboy obsessed,” as [email protected] revealed on his Way Out West recording from 1957. But that Riverside date was an isolated Let Words Flow project and not a summary of his oeuvre. In reading both Kevin McIntosh’s letter Bill Benjamin (“Chords,” January) and Mike Eben’s follow-up Biltmore Lake, N.C. letter (February), I am struck by how blatant they are towards the use of censorship and the Italian Favorites restriction of self-expression. Jazz in and of itself I always enjoy receiving DownBeat, and I was is the expression of an individual, and when I particularly pleased to see that my favorite read interviews with a musicians I want the inter- Panic at Marostica has been included viewer to show that individual—as they are—in in the jazz venues in Italy (“150 Great Jazz full expression. I am not condoning cursing by Rooms,” February). However, I would like to any means; however, I am fully against any and point out that Panic also hosts concerts by all forms of censorship, and/or the restriction of top American jazz artists, such as Donny Mc- one’s self expression—this includes the writers Caslin and . While Panic does host of the interviews. I am aware that kids may read a gospel/spiritual concert before Christmas, articles that have powerful language, and it does it does not have an ongoing gospel series. have an effect, but I feel more compelled to Another great Italian venue with excellent teach students (kids) to think on their own, make programming is Il Torrione in Ferrara. their own judgments and to remain respect- Giancarlo Cesano ful of each individual’s form of expression. To [email protected] focus on the music is to focus on expression.

Shannon Morrison Have a chord or discord? Flagstaff, Ariz. E-mail us at [email protected].

10 DOWNBEAT MAY 2011

News & Views From Around The Music World The Inside 

14 I Riffs 16 I Vinyl Freak 18 I Caught 20 I Players

Farewell To Fellowship National Endowment for the Arts budget proposes eliminating Jazz Masters program hen President Barack Obama submitted his 2012 budget to Congress on Feb. 14, the news media noted its 13 percent funding Wcut to the National Endowment for the Arts—but it was the NEA’s appro- priation request, published the following day, that got the jazz world’s at- tention. It proposed eliminating its suite of arts awards for folk and opera along with the NEA Jazz Masters, a fellowship and honorarium ($25,000 this year) that the federal agency has given since 1982. The 2012 induct- ees may be the last. Instead, 2013 will bring an “American Artists of the Year” award, a more general prize for which artists from all NEA-funded disciplines will

be eligible. “The proposal will still honor jazz, folk and traditional arts, and t opera,” the NEA said in a statement, “and will include them as part of a fuller spectrum of American art forms and artists.” In addition to jazz, op- frank s t ewar era and folk arts, the agency gives endowments for classical music, visual arts, theater, design, dance, multimedia and literature. gram would also be a blow to morale. “Having separate awards and ceremonies would mean something like “It’s a very uplifting validation to receive that award from your govern- 10 events a year,” said agency spokesperson Liz Stark. “The NEA doesn’t ment,” said saxophonist , a 2009 Jazz Master. “When some- have the resources for that to be feasible. Instead, we decided to celebrate thing like this happens, talented people get a shock instead of a lift.” the community of American artists and create an opportunity to showcase “It was rewarding people who weren’t getting much else,” added the range of creative practices in this country.” Liebman. “This whole thing is definitely gonna be felt; in three to five years Jazz musicians were alarmed at the news, particularly incumbent Jazz it’ll really be felt.” Masters. Musicians also say that terminating the NEA Jazz Master’s program is “That’s terrible,” said tenor saxophonist Sonny Rollins, who received a reminder that this uniquely American art form has long gotten most of his NEA fellowship in 1983. “The money they’re gonna save is a drop in its recognition from foreign countries. “It’s always been like that,” Rollins the bucket compared to what goes into everything else. Why do govern- said. “Only in the last 25 years or so have Americans come on board; it was ments always have to hurt art? Everybody will be at each other’s throats nice that we were recognized in our own country.” trying to get recognition from the government. Jazz is on the bottom of the Although Konitz appeals for someone to “step in and do something pyramid anyway. This is just going to push it even further down.” about it,” the current political climate, with its emphasis on slashing bud- Saxophonist Dave Liebman, one of 2011’s honorees, agrees with gets, casts doubt on any help forthcoming. U.S. Rep. John Conyers, Jr. Rollins. (D-Mich.), Congress’ most passionate advocate for jazz, said he was “dis- “Whatever enthusiasm people have for jazz is gonna be sapped, be- appointed” in the cuts but would not comment as to whether he would of- cause there’ll be no way to pay for it. For musicians it means less playing, fer any amendments to them. more looking at the wall.” Nonetheless, Rollins maintains a determined optimism about the mu- While recipients have appreciated the monetary reward that comes sic. “They can’t kill jazz,” he said. “They’ve been trying as long as I’ve been with being recognized a Jazz Master, the musicians say the loss of the pro- around. But jazz is a spirit. You can’t kill a spirit.” —Michael West

MAY 2011 DOWNBEAT 13 Riffs  Kickstarter Becomes Crucial Funding Source For Indie Jazz Projects sour economy mixed with a steadily shrink- ing pot of record-company dollars has con- Avinced musicians to look to the Internet for proj- ect funds. Clarinetist James Falzone, bassist Matthew Rybicki and others have trumpeted their recording plans on social media fundrais- ing sites like Kickstarter and RocketHub, asking fans to become de facto executive producers. Kickstarter is the most visible face of a grow- ing movement in Internet altruism. Unlike char- ity websites reserved for nonprofit organizations,

on Kickstarter, artists, musicians and anyone else y b i ck with a fully formed project can select a fundrais-

Rollins Awarded: Sonny Rollins received tt hew r the National Medal of Arts from President ing goal, pick a time limit (30, 60 or 90 days) and t es y ma Barack Obama at a White House ceremony let fans donate at a number of pledge levels. Matthew Rybicki cour on March 2 (above). The saxophonist was Falzone logged on to Kickstarter to find one of 10 honorees who received the award some supplemental cash for Other Doors, his “There can be people who can donate, but for outstanding achievements in, and in sup- small-group tribute to , which don’t want to be known,” Rybicki said. “They port of, the arts. Details: nea.gov was released April 26 on Allos Musica. To can come in and be little saviors of people’s proj- sweeten the process, Falzone committed to com- ects and stay out of the limelight.” All-Media Grusin: Dave Grusin is delving posing a tune for each person who gave $100 or The site isn’t limited to recording projects. into new media on his upcoming disc, An more; the pieces were to be premiered during the SearchAndRestore.com, a nonprofit committed Evening With Dave Grusin (Telarc). Along Other Doors release party. to developing the audience for new jazz in New with releasing the music in compact and “I’m really into these new tunes, and I could York, raised $75,000 in startup costs. More then Blu-ray disc formats, an interactive ROBA see the next record easily being made up of these 280 people supported Tradition Is A Temple, a iPad App will provide interviews, video clips eight tunes or at least having them be the focus of documentary about New Orleans jazz. Even or- and other multimedia components. the new record,” Falzone said. ganizers of the Warwick Valley Jazz Festival in Details: concordmusicgroup.com The clarinetist eventually raised $3,895 from New York have turned to Kickstarter, hoping to 58 people. These backers were mostly friends, solicit $5,000. Cruise Debuts: The Jazz Cruise, which sails members of his mailing list or people he knew, Falzone sees Kickstarter as the future of fun- around the Caribbean Jan. 29–Feb. 5, 2012, has unveiled its complete lineup, including but he did end up receiving money from about 15 draising. He said he won’t be surprised if musi- many artists who will be making their first random Internet benefactors. cians and other artists looking for a bit of cash appearances on the ship, such as John Piz- For Rybicki, money from a complete strang- use the site, in some form or another, for years zarelli, Carmen Bradford, Kurt Elling and Kirk er is what helped offset the costs of his debut re- to come. Whalum. Details: jazzcruises-ecp.com cording, Driven. With half an hour to go before “A new generation of people have a different his fundraising time expired, Rybicki was look- mindset of how to spend their money,” he said. Kelly Wins: Saxophonist Grace Kelly won ing at a deficit of $1,500. Kickstarter doesn’t al- “They would love to give $25 to me or a friend a 2011 ASCAP Foundation Young Jazz low members to donate to themselves and the or someone they think is doing good work to get Composer Award on Feb. 10. artist doesn’t keep any pledge money if his goal this record rather than sending Amazon their $17 Details: gracekellymusic.com isn’t achieved, so Rybicki was in a bind. At the plus shipping when the record comes out.” last minute, an anonymous donor saved Driven. —Jon Ross Crescent City Conversations: Thomas W. Jacobsen has published a book of his interviews, Traditional New Orleans Jazz Joe Morello Made Timekeeping Creative ( State University Press). The col- lection features his pieces on Irvin Mayfield, nfluential jazz drummer Joe Morello, who Morello in March 1965. Don Vappie and Evan Christopher. rose to fame as a member of the Dave In the article, Morello said, “You know, Details: lsu.edu/lsupress IBrubeck Quartet, died in Elizabeth, N.J., on Marian, you used to say my playing was so pre- March 12. He was 82. cise, but I really think I’m beginning to play more New Duke Revue: Michael Feinstein will Morello’s mastery of odd time signatures sloppy now. But I’m continually trying to get my- begin hosting a series of cabaret perfor- mances at New York’s Jazz at Lincoln won him accolades from fans and critics, and self together and play something different, and Center. The first event will be “I Got It Bad: A his classic 5/4 beat on the quartet’s “Take one thing Dave [Brubeck] has taught me—that’s Duke Ellington Revue” at the center’s Allen Five” helped make it one of the most famous to try to create.” Room on May 3 and 4. Details: jalc.org jazz recordings of all time. He was also vot- Along with being a bandleader, Morello ed the top drummer in the DownBeat Readers earned wide acclaim as a jazz educator and in- RIP, Big Jack Johnson: Mississippi blues Poll for three consecutive years, from 1962 to structor at drum clinics around the world. The guitarist Big Jack Johnson died on March 1964. His discography of more than 120 al- percussionist, who had impaired vision from 14 at his home in Clarksdale. He was 70 and bums includes work with Gary Burton, Art birth, wrote instructional books on drumming had been battling cancer. Pepper, and Marian McPartland, and starred in instructional videos. who penned a DownBeat cover story about —Bobby Reed

14 DOWNBEAT MAY 2011 Musicians, Institutions Stand Up for Los Angeles’ Jazz Bakery or its 16-year life, the Jazz Bakery invigorat- capital when organizations like the Grammy ed jazz in Los Angeles, drawing bands to its Museum reached out to her that summer, offer- FCulver City site that otherwise wouldn’t have had ing their sites. Price forged ahead by present- a place to play in Southern . The ven- ing scattered concerts under the Jazz Bakery ue also provided an experimental forum for lo- name—“Moveable Feasts”—with the idea of cal players. reopening somewhere. Those concerts includ- “I’ve gotten so many opportunities to play at ed an 80th birthday celebration for on the Bakery, working with lots of singers and March 26 at the Musicians Institute Concert Hall soloists like Lee Konitz,” said guitarist Larry in Hollywood. Offers to relocate in Pasadena, Koonse. “I probably would have never been able Chinatown, downtown L.A. and Beverly Hills to have the same opportunity elsewhere.” were flattering, but Culver City wanted the Many other musicians, and institutions, would Bakery to stay. agree, and they’re helping the venue find solid “It’s so surreal,” Price said. “I’d driven by a footing and open a new location later this year. space and thought that I’d really like for us to be The year 2008 did not begin well for jazz right there. And that’s what the city gave to us.” singer and Bakery proprietor Ruth Price. Her To add to her good fortune, the Annenberg Ruth Price neck was broken in a car accident and she was Foundation—unsolicited—stepped forward and earl g i bson laid up in traction for a couple of months. Things gave the Jazz Bakery $2 million. Architectural got worse that spring. plans are being drawn up and permits cleared, She appreciates the intimacy between artist and “My head was held immovable by this thing but Price says the next big step is to secure cor- audience. called a halo,” Price said. “It had just been re- porate funding. “I love that the Bakery reflects Ruth’s taste,” moved when my landlord came to my house and “I’ve hired a fundraiser on a six-month trial Souter said. “She books people whose work she handed me a notice that nullified my lease. He basis,” Price said. The Annenbergs said there’s personally likes. So many times club owners told me I had to clear out at the Bakery at the end more available to us, but it’s still so surreal. When book people because they think they’re going to of May. I was numb. It took a good two months I was handed that two-million-dollar check in an draw a lot of people. But when they do that, their for me to fully grasp the reality. But I had to go envelope with a 42-cent stamp, I didn’t think it place loses an identity. You’ve got to balance the on because I had contractual obligations to live was real.” money with the artistic vision, of course, but the up to.” New York singer Tessa Souter played the Bakery has a particular flavor that you don’t find She learned the depth of the Bakery’s artistic Bakery each year, and three Moveable Feasts. elsewhere.” —Kirk Silsbee

MAY 2011 DOWNBEAT 15 Jeff Albert Vinyl Freak | By john corbett

Noah Howard Space Dimension America, 1970

Earlier this year, 74 books that Thomas Jefferson once owned were discov- ered to belong to the library at Washington University in St. Louis. Collections, we know, are meant to be assembled, categorized, sorted, studied, loved and maybe even, in the case of a library, shared. But they are also places in which things hide. Trolling a collection, perhaps one’s own collection, can involve a process of discovery—in some cases one with amazing surprises in the wings. It’s taken me a few weeks snuffling around in my memory banks to recall the circumstances of acquiring ’s Space Dimension, an LP that I’d completely lost in my own archives. It was a particularly fruitful jaunt to Mil- z ach sm it h waukee, Wis., about 20 years ago, in a junk store that had somehow turned up a selection of unusual fusion and free-jazz records. Strange now to think that at the time the Howard record was 20 years old. Now I’ve had it buried in my Trombonist Jeff Albert collection for just as long. It’s twice as vintage. And, it turns out, exceptionally Launches Experimental sought after. Howard, who died at 67 in 2010, was a fixture in the adventurous mid- Jazz Series in New Orleans 1960s Greenwich Village scene. His first two records were made for ESP; he ven in the birthplace of jazz, finding a home for cre- was associated with , , , and most extensively, ative music can be tough. But that’s changing, thanks with tenor saxophonist Frank Wright. With Wright, pianist , drum- Ein large part to the efforts of trombonist Jeff Albert and his mer and bassist , he became a regular face in the weekly Open Ears series at the Blue Nile in New Orleans. expatriate American free-jazz scene in in 1969. In this context, he and Wright recorded three closely related records, with basically the same bass- The Tuesday night shows are free and archived on Albert’s less quartet, two released under Wright’s name (Uhuru Na Umoja, also on website, openearsmusic.org. The organization also has events America, and Church Number Nine, on Calumet) and the record in question planned during JazzFest, including Albert’s Instigation under Howard’s. Quartet on April 26 and Will Thompson’s WATIV on May 3. Where Wright is as voluble and gruff as can be, Howard is the perfect com- “Lots of things happen musically that don’t happen in oth- plement, a compact, focused sound. By 1969, he’s left the freebop vestiges er venues,” says Albert, who started the series in part to give of his earliest LP for the eruptive, ecstatic world of Ayler, Pharoah Sanders his own quartet a place to play. “I told people if you’re having and late-. On the title track, which ladles on an extra helping of a hard time booking your project at the regular jazz clubs, I echo—putting some space into “Space Dimension”—Howard leaves Earthly want you to play here.” orbit by means of a hard, sustained split-tone, aided by Wright on harmonica. While many promoters shy away from the experimental, Odd-man-out on the session is drummer , hard-bop vet with curiosity the series has grown in size and diversity as far as both the about these New Thingers. You can hear him rooting around pretty effectively program and the turnout during its three-year run, making for what to do in more open ionospheric material, but on the groovy “Viva Albert’s work essential to the development of new music and Black” (titled “Ole Negro” on Howard’s LP The Black Ark) he’s at home with a new audiences in the city. little shuffle, and on the bouncy, childlike “Song For Thelma,” he finds an ap- Astral Project bassist James Singleton, who also plays in propriate place for some swing. crowd-drawing groove-oriented projects like the Illuminasti Pianist Few provides one of the hallmark features of these sessions, his Trio, performs regularly with combos like Jonathan pedal-down mass-of-sound giving it both a lugubrious quality and an unmis- Freilich’s Naked Orchestra. The creative music communi- takable fingerprint. On “Church Number Nine,” the one track that swaps in ty in Europe sees Open Ears as New Orleans’ premiere jazz drummer Ali, the whole machine takes its rightful shape, Wright screaming series (Ken Vandermark is slated to perform in July). And bloody murder, Howard joining for the ridiculously perfect little r&b/gospel riff, it’s a unique chance to hear players like cellist Helen Gillet, a maniacal laugh and corkscrew multiphonics ending the track on an unhinged one of the Crescent City’s busiest rising-star artists, in an in- note. It’s as if the LP was insanely happy to have been rediscovered in my col- timate setting. lection. DB “Jeff books experimental lineups without questioning their content,” Freilich said on his way to catch a project by Email the vinyl freak: [email protected] bassist Tarik Hassan at a recent Open Ears show in January. “An audience has built at Open Ears that now regularly shows More than 60 years separate the first jazz recording in 1917 and the introduction of the CD in the early ’80s. In this column, DB's Vinyl Freak unearths some of the musical gems made during this time that have yet to be up to see whatever is going on. In that way, my audience has reissued on CD. been slightly expanded, especially to a younger generation.” —Jennifer Odell

16 DOWNBEAT MAY 2011

Caught 

Portland Jazz Festival Keeps Up Positive Fight in Tough Times he last few years have been somewhat of a struggle for the Portland Jazz Festival. In Tspite of consistently sturdy lineups that have tout- ed names like and Trygve Seim, the event, now in its seventh year, has faced numer- ous financial difficulties that have threatened to shutter the whole operation for good. But orga- nizers always manage to pull it back from the brink, sometimes at the last minute. This year’s event, which ran from Feb. 18– 27, showed why artistic director Bill Royston and his dedicated crew sweat through the oth- er 11 months of the year. Empty seats abound- ed in some of the larger venues, and efforts to reach outside of the core audience of music fans (including organizing the 2011 fest around the theme of “Bridges and Boundaries,” a nod to connecting disparate cultures in the jazz com- munity) remain an uphill struggle. There were notable exceptions. The biggest one being the festival’s most talked-about show: an appearance by recent Grammy winner Esperanza Spalding. The singer/bassist staged the show’s opening moments like something of a mark sheldon homecoming (she grew up in Portland). Her first appearance before the capacity crowd saw her re- The crowds also flocked to see local song- to Jewish musical comedian Mickey Katz. But laxing stage left in a cozy armchair with a glass writer Dave Frishberg at the Winningstad the famed “floating” dance floor of the Crystal of wine. But once the curtain lifted to reveal her Theatre. The celebratory air of the evening was Ballroom stayed relatively still for the steam- (including three string players, and her lo- warranted as the septuagenarian received the ing cha-chas and Willie Bobo tributes of Pancho cal mentor and former teacher Darrell Grant first-ever Portland Jazz Master award and was Sanchez (he also had to contend with sound from on piano) and her standup bass, she never left read a proclamation from Mayor Sam Adams. the ’80s dance night going on one floor below). center stage. The 27-year-old commanded the He responded to the accolades with a charming, Even the SFJAZZ Collective faced unoccupied Newmark Theatre like the star she has quickly but ultimately lightweight, set of his toothsome front-row seats for the premier of its tribute to become, scatting, cooing and groaning through compositions and fluid, Erroll Garner-esque pi- : a brilliant mix of post-bop re- a stunning hour-plus performance that culled ano playing. constructions of the Motown icon’s classics like heavily from her breakthrough album, Chamber and his crack band played a “Visions” and “Do I Do” alongside the group’s Music Society. buoyant and kooky set of songs from his tribute lovingly rendered originals. —Robert Ham

Ben Allison Launches Yearlong Residency at New York’s Kush

hoever called New York the city that Ben Allison never sleeps probably wasn’t out pub- Wcrawling on a Tuesday night in the winter. It’s a certifiable ghost town, and yet bassist Ben Allison seems unfazed by the mere handful of patrons who’ve braved the sub-zero tem- peratures to check out his new Experimental Workshop Series at Kush, a downtown lounge whose North African-inspired decor has the feel of a swanky oasis. It may not be the most rousing start to what Allison said will be a yearlong Tuesday-night jam/residency, but as he counts off the tempo to “Fred,” a signature original, and the space fills with the composi- t oog i an/fron rowpho os

tion’s twangy, relaxed , it’s easy to over- j ack var

18 DOWNBEAT MAY 2011 look the series’ humble beginnings. idea’s promise from the inaugural perfor- ably impacted the trio’s decision to follow it “I’d kinda like the looseness of these mance. Endsley and Cardenas are the core of with a jaunty reading of ’s nights to point me back to a more organ- Allison’s regular touring outfit, but he plans “Turnaround.” That turned into a leitmo- ic way of doing things,” Allison said, shortly to roll out special guests in subsequent weeks tif: “Jackie-ing” found Cardenas spinning before moving with trumpeter Shane Endsley (he’s particularly excited about gigging with abstract note sequences out of Thelonious and guitarist Steve Cardenas to the makeshift a downtown neighbor, singer Joey Arias, a Monk’s simplicity, while the solos on John bandstand at the room’s center. “Just getting famed New York drag personality noted for Lennon’s “Jealous Guy” alternated between together and playing instead of making re- channeling Billie Holiday). The off-the-cuff pleading lyricism (Endsley), rustic hipness hearsals so formal, planning them weeks in nature of the set list gives up the only genu- (Cardenas) and cool resolve (Allison). In a advance. I’d like it to be an environment where ine surprises. That “Fred,” the opener, is dis- drummerless setting, Allison’s bouncy notes new ideas can take off.” tinguished by a cleverly engaging turnaround built a launchpad for trying just about any- Admittedly, it’s difficult to gauge the as the melody eases into its eighth bar prob- thing. —K. Leander Williams

Unison Fuels New Jason Moran–Ken Vandermark Quartet long pause, some sideways glances be- tween pianist Jason Moran and guitarist AJeff Parker, and a burst of laughter led the former to say, “That’s the piece. You didn’t hear that?” A few tunes into the opening set of the first perfor- mance by the quartet of Moran, Parker, reedist Ken Vandermark and drummer Nasheet Waits on Feb. 4 at Chicago’s Green Mill, there was, understandably, still some confusion and awk- wardness. Apparently, the band had a mere hour to work out some of the arrangements they’d be playing over the course of two nights. While Moran and Waits are longtime cohorts in the pi- anist’s trio the Bandwagon, and Vandermark has played a couple of times with them in a quartet organized by bassist Eric Revis (who was orig- inally scheduled to be on this gig as well), this was still a fresh endeavor. Yet the band soldiered on gamely from the uncertain start, transform- ing mistakes and rough spots with creative so- lutions, and gaining confidence and poise as the t k i n/pho o reserve evening progressed. The concert began with a charged but open na paul reading of ’s swerving “Fiasco,” that sapped the tune of its usual grace—although rugged individualists—and the fact that both the band delivering the tune’s minimal unison the string of solos that constituted the bulk of Moran and Vandermark have won prestigious theme before leaping into an improvisation- this particular performance easily made up for MacArthur Fellowships gave this grouping al maelstrom—in this particular case the band any clumsiness. Within those open sections the some extra dazzle on paper—but they still rep- ripped into some screaming energy music, howl- quartet belied its newness with a deeply intuitive resent different approaches. Vandermark has ing away with unfettered glee—and setting the power, instantaneously and instinctually craft- become an increasingly impressive composer, tone for the first two sets, with compositions by ing paths for each performance to move forward, but his roots belong more to a visceral brand each musician functioning primarily as loose whether that meant dropping out, engaging in fi- of that emphasizes rhythm and tex- schematic blueprints. That choice was probably ery back-and-forth duos, or simply improvising ture rather than harmonic development, while necessitated by the newness of the combo, and as a single organism. As Parker’s nubby original Moran and Parker are both fluent in improvis- aside from the pregnant pause, there were a few “Cubes” was winding down, Moran dropped a ing over changes. Bridging that divide would other rocky moments caused by unfamiliarity spontaneous, utterly seamless transition into his seem to be this combo’s greatest challenge, and divergent methodologies. That the band was own “Restin’,” shaping, manipulating and teas- since most of the writing by both pianist and able to navigate such challenges testifies both to ing out a series of long-tones and scrabbling in- guitarist digs deep into harmonic exploration. the imaginations of the players and to the fledg- side-the-piano scrapes while Parker tapped into Although if the band maintains the general- ling combo’s artistic potential. his inner-Derek Bailey with jarring volume-ped- ly open approach on display at the Green Mill, When the quartet played Parker’s elegant, al surges and acidic spikes. then that gap will become less of a concern. In rigorously zigzagging “Days Fly By (With Individually, all four members of the en- any case, here’s hoping that this gathering was Ruby)” there was a blockiness to the execution semble have established strong reputations as not a one-off meeting. —Peter Margasak

MAY 2011 DOWNBEAT 19 Players 

Adam Cruz Feeding The Fire s the drummer who propelled the flow on no small number of landmark documents Ain the evolution of jazz hybridity over the past two decades (these include ’s La Bikina, David Sanchez’s Sketches Of Dreams and Melaza, ’s Live At The Blue Note and ’s ...Till Then and Providencia), Adam Cruz understands what a milestone is. Indeed, his debut leader CD, titled Milestone (Sunnyside), contains similar signpost qualities. In mid-February, a few hours before hit time at the with Steve Wilson, an as- sociate and employer of long standing, Cruz of- fered two reasons why he waited until his 40th year to present his vision. “Part of the answer is wrestling with perfectionism,” he said. “That’s combined with having the complex of a drum- mer when we venture into harmony and melody. You wonder, ‘Do I have a command over this?’” Cruz pondered the interplay of spontaneous real-time playing and meticulous compositional craft within his sensibility. “With improvising, we don’t have a choice,” he said. “It represents where I was at that moment. Composing, you have time to edit—you have the chance to make it how you feel. But your limitations direct you.” Elaborating this point, Cruz paraphrased Jorge Luis Borges. “As a reader, you follow what you love, you feel this connection, and soak it all

up,” he said. “As a writer, you write what you’re S helagh murph y able to.” The aural evidence on Milestone (featuring Apache Band, whose drummer, Steve Berrios, things, and because he knows all the languages Chris Potter on , Miguel Zenón set an inspirational template with “his raw, funky, so well, we can take chances.” or Wilson on alto or soprano saxophone, Steve soulful jazz way of dealing with Latin rhythms.” Asked about his penchant for solving gnarly Cardenas on guitar, Simon on piano and Ben Cruz was gigging, too (Sanchez, a classmate dur- metric modulation puzzles, Cruz responds that Street on bass) indicates that Cruz somewhat ing a 1988–’90 stay at Rutgers, spread his name), such ideas arose in response to challenges posed exaggerates his limitations. His eight originals playing salsa with Willie Colon, Pan-American by Sanchez and Simon in the ’90s. “I’m not very mine raw materials drawn from many corners music with Paquito D’Rivera and Latin jazz mathematical,” he said. “With tunes in odd me- of contemporary jazz expression, mixing trans- with, among others, and trum- ters I’d hear phrases, and certain subdivisions diasporic drum chants, rockish anthems, classi- peter Charlie Sepulveda. emerged that were then clear to the body, like, cally tinged ballads and open-ended forms, and While working with Sepulveda, he met ‘This is how I’m feeling it.’ My process is to ges- present the soloists with impressionistic harmo- Pérez, who called him for occasional sextet tate and take time with things.” nies and shifting colors. Cruz feeds the fire with engagements, including a one-off concert in The process of privileging imperatives of a global array of fresh, immaculately execut- Panama. “Willie had a European tour that con- discovery over “clave police” precision acceler- ed rhythms drawn from the Pan-American and flicted,” Cruz recalled. “I wanted to be a jazz mu- ated over a decade of steady work with Pérez. straight-eighth lexicons. sician, so I quit Willie’s band.” “During my twenties, I tended towards real dil- “I have a great passion for playing swing, and “Adam’s perspective was almost like com- igence, craft, doing a good job in the idiom,” I’m sorry that it didn’t inform this record more ing from the north to Latin America,” said Pérez, Cruz said. “Danilo is incredibly intuitive, and explicitly,” Cruz said. He referenced his 1990– Cruz’s primary employer since 2000. “He mas- if he senses something in the music isn’t let- ’93 matriculation at the New School, where he tered the bilingual thing of playing tumbao and ting it fly, he’ll signal from the piano to shake studied with Kenny Washington and became “a swing, the straight-eighth and the triplet. He things up. A big thing is not being consistent— mono-maniac about the tradition.” opens a lot of windows when he plays in five; rehearse something one way, and then com- At the time, Cruz, a New Jerseyan who pos- it feels like the sea, a roller coaster. Particularly pletely contradict what we’re supposed to do. If sessed an intuitive clave feel from proximity to since he started playing piano, I feel his sense of I was trying to be too much of a stickler, maybe his father, a steadily employed timbalero, came structure with harmonic rhythm, too—he can go it wouldn’t work. That spirit isn’t what’s being under the wing of bassist Andy Gonzalez, then back and forth from being a drummer to also de- asked for. What’s being asked for is to say, ‘OK, “hitting hard” around New York with the Fort veloping melodies. Now he speaks all kinds of we’re going to do this now.’” —Ted Panken

20 DOWNBEAT MAY 2011 Theo Bleckmann Vocal Autonomy

ocalist Theo Bleckmann is trying to create the autonomy of his own instrument. And Vhe is succeeding, as a solo performer and as a member of ensembles led by some the more cre- ative jazz artists on the scene today. “I think of my voice as my voice,” says the 44-year-old Bleckmann, who was raised in Germany, currently lives in New York and fre- quently performs and records with the likes of guitarist Ben Monder, percussionist John Hollenbeck and keyboardist Gary Versace, among others. “And for the people that I work with, I think that’s what they want. They want a voice, not someone who sounds like a horn or re- places a trumpet or trombone. And that’s what I do. In jazz singing, that’s always been my pet peeve: that it’s always a step behind instrumental music in terms of how the singers think about the voice. They think they have to write a vocalese I Dwell In Possibility reflects the depth of to someone else’s solo, so it never has that auton- Bleckmann’s repertoire, featuring his own com- omy that I wish for my own voice. The people I positions along with bare-bones renditions of work with are so open and interested in all kinds more recognizable tunes like Supertramp’s of music, the last thing they want to hear is some- “Lord It Is Mine,” Joni Mitchell’s “The Fiddle body . We’re in the same territory, so And The Drum” and Meredith Monk’s signature that’s how we find each other.” solo piece “Wa-lie-oh,” as well as the songbook With the release of the solo disc I Dwell In standards “I Hear A Rhapsody” and “Comes Possibility (Winter & Winter, 2010), Bleckmann Love.” He employs extended vocal techniques has taken another bold step toward realizing his he has developed over the course of his career, ambition. Inspired by the Arte Povera, an Italian including ingressive singing and throat singing. art movement of the 1960s that created installa- Above all, though, Bleckmann says, he want- tions with the simplest of materials, Bleckmann ed to make an album that was accessible. “When recorded the entire album live at the remote mon- Stefan [Winter] and I set out to do a solo record, astery Beinwil in Switerland, without any post- the first thought was, ‘I don’t want this to be some production (save for a few vocal overdubs). He kind of catalog of what is possible with the hu- was accompanied only by what he calls his collec- man voice,” he says. “I wanted this to be the tion of “toys,” which includes music boxes, mega- record that you can put on and listen to. I love phones, melodica, autoharp, glasses, water, shruti songs, and I felt that some of the songs would and various other percussive instruments he regu- benefit from a stripped-down arrangement.” larly employs in his solo act. Bleckmann’s busy spring 2011 schedule saw “I’ve always been interested in contempo- him performing with keyboardist Uri Caine rary art, so it’s no coincidence that I came across at the Blue Note in New York, touring with Arte Povera,” Bleckmann said. “What I find fas- Hollenbeck’s Large Ensemble, performing a solo cinating is that vulnerability and humility with concert at the Bach festival in Leipzig, Germany, which Arte Povera creates any kind of art piece. and recording his own re-creation of the music And I wanted to do the same thing, or use a sim- of reclusive British pop icon Kate Bush, called ilar approach, by using very basic instruments Hello Earth!, with Hollenbeck, bassist Skuli that are so cheap and almost ridiculous, but I Sverrisson (bass), Henry Hey (keyboards) and didn’t want it to be a gimmick. I wanted it ac- Caleb Burhans (viola, guitar and backup vocals), tually to be beautiful and make music, to really for a fall release. explore and spend time with these instruments Bleckmann’s autonomy as a vocalist gives and treat them as a source of inspiration and of him an almost universal appeal that crosses mul- sound. When I perform solo I do part of the con- tiple genres and contributes to his widespread ap- cert a cappella, I use electronic looping and I also peal among listeners and fellow musicians alike. play piano on some stuff—a mesh-up of all of “A lot of people who I work with want to step these sonic-scapes. In this case all I had was my away from the regular jazz path and find new voice and some of these toys, so it was a little bit ways of creating sounds and music, so that’s why more bare and a little bit more frightening.” they have me.” —Ed Enright

MAY 2011 DOWNBEAT 21 Players 

Keefe JacksonIntent & Purpose ulti-reedist Keefe Jackson showed up in led to an invitation to guest with the hard-groov- Chicago in 2001 via his native Fayetteville, ing Saturday-night band at Chicago’s Green MArk., like a musical drifter. Oft sporting an earth- Mill, where the music of Hank Mobley meets toned tweed jacket with woolen hat, his unas- The Grateful Dead. suming manner belied talent and quiet deter- Jackson’s own compositional style is un- mination. The welcoming vibe of the improv forced, organic and deftly hued with melody community in Chicago and the city’s economic and counterpoint. Inevitably he is heavily in- viabilities enticed him to settle there. fluenced by the superbly committed plethora of Without undue fanfare Jackson rapidly es- players in his Chicago orbit, including cornetist tablished himself as an old soul on the scene, Josh Berman, drummer Frank Rosaly, trombon- possessed of a gorgeous rubbery tenor sound ist Jeb Bishop, cellist Fred Lonberg-Holm and pungent with the musty scent of , bassist Anton Hatwich. All the above feature in and Sidney Bechet, married to the the wryly titled cooperative sextet Fast Citizens, strategies of , Joseph Jarman which recorded two genuinely fascinating CDs and . for Delmark, Ready Everyday and Two Cities, “My father took me to see Ornette Coleman the latter inspired by the remoteness of their sixth when I was 10 years old,” recalls Jackson, who’s member, altoist Aram Shelton, who now resides also known for his work on bass and in the San Francisco Bay Area. . “I’d heard some controver- Jackson was recently featured alongside sy about Ornette, but thought, ‘What’s the prob- Shelton in a quartet with Hatwich and drum- lem?’ His Prime Time band sounded great to mer Marc Riordan on These Times (Singlespeed me then; [avant-garde New Orleans saxophon- Music), where likeminded conceptions flour- ist] Kidd Jordan opened the show, and I was im- ish (check Jackson’s quicksilver, nook-’n’-cran- pressed with him, too.” ny interrogations on the title track for evidence After dabblings with the cello and early fas- of his fluidity and resourcefulness, spiced with cination with drums, when Jackson developed tumbling phrases redolent of Sonny Rollins’ The interest in the saxophone his dad tellingly dug Bridge period). out from his record collection three of John When DownBeat met with Jackson in Coltrane’s late-career LPs: Ascension, Om and Chicago’s Pilsen neighborhood, at a somewhat the posthumous Expression. Both Jackson’s par- gothic former cafe populated with gargoyles, ents, now deceased, were restless autodidacts. sculpture pieces and candelabras whose owner His father made a Kafkaesque about-turn from lets him practice there, a moment in the discus- law work to become a librarian at the University sion touched on Jackson’s premise that idol wor-

of Arkansas, while his mother undertook serious ship in jazzlore is moribund. Cooperative effort Mi chael Jackson studies in Latin and Greek late in life. Keefe’s is the new paradigm, and there is little question outlook was also informed by a not-un-Coleman- that he and his key collaborators have, through don’t beg calibration of emotional gravity, but like career playing a broad swath of music as a empathy over grandstanding, carved an intrigu- there is something indelible about Jackson’s teenager, facilitated by legislation Bill Clinton ing niche. Though Jackson was able to pull off themes (the dirge-like opener “Maker” a case passed in Arkansas, commonly known as the the feat of corralling his horn-heavy 12-piece in point), and Jackson’s simpatico with Bishop Art Porter Bill, permitting precocious musicians Project Project under his own name (Just Like matches his frontline click elsewhere with to play in clubs before drinking age. This, Delmark, 2007), pooling inimitable mem- Berman and Shelton. The young Jackson fell in with some clued-in bers of the non-AACM Chicago creative scene, As with the late Chicago saxist Fred older jazzers playing the music of Charles this is music that generally rejects egomania and Anderson, who went about business like a freight Mingus and Coleman at the 1936 Club in self-interest. Jackson is just as happy to tour as train rather than an express, sans bell and whis- Fayetteville and ultimately toured with their unit, sidekick to Berman in the cornetist’s Old Idea tle, Jackson seems solidly grounded and self-di- the Big World Quintet, sojourning for a while in group, play in the Chicago/Luzern Exchange rected, traits offset by his skill at fragmentary, Portland, Maine, where he took lessons with sax- with tuba player Marc Unternährer or perform parenthetical musical statement. ophonist Bill Street (bassist ’s father). in Rosaly’s chamber-ish Cicada “It’s all about the intent,” he emphasizes Other grist to the mill had been klezmer, a Music, not to neglect duo contexts with Swiss when we discuss his sporadic deployment of stint with the Barrio Band, playing salsa for un- pianist Hans Peter Pfammaetter or Rosaly (the Anderson-like phraseology. “When I do that it is derground dance parties plus colorful experienc- drummer felt inspired to press a limited-edition as a conscious tribute to the spirit of Fred, not es with blues band The Confounders, who would vinyl 45 of a 2005 encounter between him and imitation as such. Musicians train themselves to occasionally play a rough pool hall in Little Jackson). sidestep comparisons here and there, not to let Rock from 1 until 5 a.m. on weeknights. Such One of Jackson’s more salient releases last their influences be too obvious. There are many experience prepped Jackson for unprepossessing year was the quartet date Seeing You See with players who quit playing after music college or Chicago haunts The Hideout, Skylark, Elastic Bishop, bassist Jason Roebke and Japanese become workaday musicians or acknowledged and The Hungry Brain, where his own music has drummer Nori Tanaka from Portugal’s hip as brilliant jazz artists. The directions you take been subsequently smelted on the bandstand. In Clean Feed label. There’s a workmanlike sense are all the result of levels of intent.” fact, the vintage qualities in Jackson’s conception of the inevitable to the music; its constructions —Michael Jackson

22 DOWNBEAT MAY 2011 emra i slek Jerome SabbaghThe Real Deal erome Sabbagh is, if nothing else, a musician and soprano, it reflects a taste for tradition but committed to “real bands.” Now, that may go also free-jazz with stylistic links to inspirations Jwithout saying for any serious player. But when like , Lee Konitz and Hank Mobley. you realize how this saxophonist’s career reflects As for working with Monder, Sabbagh has that musical mantra, you get an idea of how a an ongoing connection with the guitarist. In “real band” is the lifeblood of a shared musical addition to the new trio, Monder plays guitar connection. in Sabbagh’s quartet. Bassist Joe Martin and His current “real” band is actually one of drummer Ted Poor fill out the band, the quar- three, but the one most prominent right now is tet having recorded two albums, 2005’s North the one found on his latest release, I Will Follow (Fresh Sound New Talent) and 2007’s Pogo You (Bee Jazz). Featuring longtime colleague (Sunnyside). Ben Monder on guitar and drum legend Daniel While the trio is important and a current vi- Humair, I Will Follow You follows its own script, tal expression of Sabbagh’s musical life, along with much free-jazz variety across 13 four-min- with the quartet, he occasionally regroups with utes-and-under pieces. another band of his with bassist Ben Street and Commenting on I Will Follow You and its drummer Rodney Green, heard on their stan- apparent storyline, Sabbagh states plainly, “I dards-oriented One Two Three album (Bee didn’t set out to communicate anything else Jazz, 2008). And, along with two piano quartet than what’s in the music. Each listener is free albums as a sideman for pianist Laurent Coq— to hear what they want in it. For me, it’s about Like A Tree In The City (Sunnyside) and Eight three musicians improvising together, listen- Fragments Of Summer (88 Trees)—Sabbagh ing to each other and finding common ground can be heard on other recordings, includ- while staying true to their musical personalities. ing the important collective Flipside (Naxos I tried to create an album that would draw the Jazz, 1998), with bassist Matt Penman, guitar- listener in, that had good pacing and that peo- ist Greg Tuohey and drummer Darren Beckett. ple would want to listen to all the way through.” Speaking of that recording, Sabbagh gets to the That is surely the case when you listen to I heart of what seems to be the driving force be- Will Follow You track to track, the moods go- hind any band he’s a part of when he says, “That ing from playful and jumpy as on the title track band was very important for me because it was to more serene and meditative on “Monolith.” the first real band that I recorded with. We Sometimes certain instruments are featured, as played together a lot. I really believe in play- with the alternately quietly probing then more ing music with the same people for a long time, rockish “More,” where Humair’s brushwork and that’s why I try to lead projects that can last paints a straight line to colleague Paul Motian. and develop. Most of the music I connect to the (At press time, Sabbagh was looking ahead to most in jazz was, and is, made by real bands. playing with Motian for the first time at New “There is nothing quite like being able to ex- York’s Cornelia Street Café at the end of May.) press yourself in the moment, creating some- The Paris-born, 37-year-old Sabbagh came thing together with other musicians, playing mu- to the States when he was 19, completing a sic in which everyone is fully him- or herself,” Berklee four-year program in two, subsequently Sabbagh concludes. “And, if all goes well, the moving to New York in 1995, where he’s been end result is more than the sum of everybody’s ever since. As for his playing, heard on tenor individual contributions.” —John Ephland

MAY 2011 DOWNBEAT 23

The Totality Of James Carter By Dan Ouellette // Photography by Jimmy and Dena Katz

ven though he possesses one of the most singular saxophone voic- es in the history of jazz, tonight James Carter hasn’t quite found his sound yet. Everyone agrees with that estimation at Avatar Studios in New York, where the 42-year-old maestro of all things reeds is negoti- ating yet another baritone take on the slow-walking blues “Aged Pain,” Ecomposed by drummer/percussionist Ronald Shannon Jackson and performed with Carter’s longtime organ trio mates, Gerald Gibbs on Hammond B3 and Leonard King on drums. In an isolation booth, Carter weeps and exclaims on the bari, utters low

growls and high-pitched yelps, issues stutter-stops and slides, and bleeds droplets James Carter at The Cornelia Street Café, drenched with the blues. New York City MAY 2011 DOWNBEAT 27 james carter

“That’s a damned good take,” says King when the group reassembles behind the board to hear the last run-through, which will undoubted- ly make the cut for the tentatively titled album It’s All Good News To Me, an eclectic collection spanning the spectrum of the blues from gospel to r&b that Emarcy will release late this year or in early 2012. Carter shakes his head slowly and asks pro- ducer Michael Cuscuna and engineer Jim Anderson, “Can I put in another solo?” A stickler for exacting expression in just the right tone of saxophone articulation, Carter ris- es to the summoning call just as he’s done on all of his recordings, beginning with his 1993 tour- de-force debut, J.C. On The Set (DIW), and con- tinuing with this spring’s release of Caribbean Rhapsody, which documents on record his bril- liant collaboration with classical composer Roberto Sierra on his orchestral four-movement Concerto For Saxophones. In all cases, Carter is meticulous, almost to a fault. He refuses to give up the pursuit. Cuscuna (on his third date as Carter’s pro- during the mixing stage. A challenge? “Oh, my God, it still is,” says ducer) and Anderson (on board way back “There are still things to fix on this album,” Carter, who sounds almost in awe of the complex when for J.C. On The Set as well as Caribbean he says. “When you’re in the studio, you listen yet exhilarating piece Sierra composed for him. Rhapsody) agree with Carter’s request, but first for the take’s sake. But when you listen to the “I started out having to deal with the metrics, and the announcement comes that the take-out din- whole album, you start seeing some inconsisten- then later on finding the balance between what’s ner has arrived. Nothing stops forward motion cies. That’s when the wheels begin to click. In the written and what’s improvised. Then, as work- in the studio as quickly as grub. The session im- grand scope, I want to get all the pieces lined up, ing with the composition progressed, I began to mediately shuts down while the band retreats see what they have to offer, then put a ribbon on see how the different saxophones had a gender to Avatar’s lounge. Sitting in front of two large the package to tidy it all up.” tendency—the tenor, male; the soprano, female. servings of salmon and unagi sushi and sashi- But is Carter being too particular, or perhaps I started thinking of the horns as people, which mi, Carter is unusually quiet, answering ques- too fussy, which is how King jokingly describes helped the piece to grow.” tions in short phrases, unlike his typical fire-up- it? Carter waves that notion off, returning to the Concerto For Saxophones debuted with and-go style, where he veers off into tangents track “Aged Pain.” He explains: “I’m just look- three performances in October 2002 with the about former collaborators and stories of his im- ing for a clean, clear cut. I recorded this song on Symphony Orchestra conducted by mu- mense saxophone collection (number unknown, Ronald [Shannon Jackson]’s album (What Spirit sic director Neeme Järvi at Orchestra Hall in he says). Say, DIW, 1995), but I played tenor. I listen to that Detroit. It was roundly welcomed by the crowd, “Coming down the home stretch, huh?” now, and I was doing a lot of [Ben] Webster-ish which, rare for orchestral events, demanded In between bites, Carter replies, “Not if I playing. But back then I couldn’t hear things that an encore. The show was reprised a year lat- don’t get a decent solo.” I wanted to do. I couldn’t get home. So I’m do- er in Detroit and has since been performed in He truncates his dinner break, obviously pre- ing this now, years away from the first time, and Hartford, Conn.; at Cornell University in Ithaca, occupied with the mental quest for discovering I never do anything on autopilot, which is why I N.Y.; Indianapolis; Columbus, Ohio; Buffalo, the elusive right notes, right emotion, right bari played the baritone this time.” N.Y.; Omaha, Neb.; Overland Park, Kan.; and sound. He returns to the isolation booth. Carter Eugene, Ore. counts, “One-two-three, two-two-three,” and couple days after the session, Carter admits It was finally recorded for posterity in then starts on the solo section. Once. Twice. that “my zoom lens was somewhere else” December 2009 in Warsaw, Poland, at the Witold Several times, each solo completely different Athat evening. In other words, he was in music Lutoslawski Concert Studio of Polish Radio with from the last—one that tears and snags, anoth- mode, not conversation mode. But now his focus the Sinfonia Varsovia conducted by Costa Rica- er that rips and whistles, still another that is lyri- is squarely on the saxophone concerto, a remark- born Giancarlo Guerrero, who is the music di- cally ecstatic. able classical-meets-jazz project that is largely rector of the Nashville Symphony. The 20-min- Cuscuna asks Carter if he wants to listen the antithesis to the Third Stream-like experi- ute live-in-the-studio performance, produced by back yet. “No,” he simply responds and set- ments of the past, where the two genres met and Cuscuna and engineered by Anderson, forms the tles into another take, this time his body bob- flirted but never achieved swinging consumma- first half of Caribbean Rhapsody, which also bing into the piece. He finally abandons his re- tion. Concerto For Saxophones dances and ro- features the 13-plus-minute title composition for mote post, comes into the boardroom, sits and mances with Carter’s saxophones (tenor and so- strings and saxophone (also by Sierra), a solo ten- listens. Hand on chin, eyes closed, he’s pleased prano) taking the spotlight as he plays the role or sax interlude and a soprano sax finale. until one of his solos moves to a point where he of both the flamboyant virtuoso and the eloquent Sierra wasn’t the first classical composer grimaces and raises his eyebrows in disappoint- balladeer. The material is rooted in the classi- who wanted to collaborate with Carter. In 2000, ment. With another take, he puts his head into his cal tradition but buoys with jazz, Latin and blues the saxophonist was approached by a Dutch or- hands and groans. He shakes his head and says to sensibilities. What’s particularly remarkable chestral writer who had a similar jazz/classi- King, “The search continues.” He finally agrees about the piece is how indistinguishable the not- cal proposal, but the timing was off because of to a couple of solos that will be doctored (read: ed parts are from the improvisation. Highlights Carter’s schedule. “That’s when I was preoc- one take stitched into another) a few weeks later include the tender beauty of the second move- cupied with working on the two albums I re- when he, Cuscuna and Anderson will reconvene ment and the boogie-woogie romp of the third. leased that year, Layin’ In The Cut and Chasin’

28 DOWNBEAT MAY 2011 james carter

The Gypsy,” Carter says. “But what made all the Yet the following month, Carter met up with the tempo,’ which made me realize that I had to difference was that the piece wasn’t specifical- Sierra at the Carroll Rehearsal Studio in New make metric sense out of it to start.” ly written for me.” Fast-forward to 2001 when York. “Roberto went over some ideas and sketch- Carter and Sierra began to collaborate on Carter performed a show with classical soprano es, which I dug,” Carter says. “He played one what worked and what didn’t in an orchestral set- in North Carolina. In the audi- snippet of a piece that eventually became part ting. Together they crafted the piece, whether it ence were Sierra and Cynthia Herbst, who man- of the second movement that I particularly liked. was Carter suggesting an improvised cadenza or ages both men. After that meeting I gave him the go-ahead, recommending that a sharp in the piece be flat- “Roberto came up to me backstage, said he’d and a month and some change later I received a ted or eliminating the grace notes to get straight been checking me out and wanted to write a con- big manila envelope in the mail. I opened it up to the point. “There was so much harmonic in- certo for me,” says Carter. “My initial reaction and ink came flying out at me—notes in seven, formation in the music Roberto sent to me,” says was, ‘Oh, Lord, oh, no.’ But I reluctantly agreed eight, nine groupings. I called him up and told Carter. “Every other month until the October de- to it, but by then I had started thinking about the him, ‘You’ve got me going all over the place,’ but I would receive another manila envelope. It Live At Baker’s Keyboard Lounge album.” but Roberto calmed me down. He said, ‘Look at was like when I was in school and an envelope with school letterhead would arrive at my house to my parents that would have something about a bad report card or some disciplinary action. So every time Roberto’s envelope came, it was like, ‘Here we go again.’ But Roberto always remind- ed me to pay attention to the tempo markings.” Sierra had his work cut out for him. His chal- lenge was to make his composition sync up with Carter’s saxophone voice and style. “When writ- ing the work, I had to really plan how best to in- tegrate the improvised parts within the written score,” says the Puerto Rico-born Sierra, who is a music professor at Cornell. “Also I had to man- age an orchestral accompaniment that would al- low the improvised sections to fit in.” In other words, Concerto For Saxophones is a musical confluence, not a cheap cross-genre stunt. Cuscuna marvels at the meld Carter and Sierra accomplished. “When I first heard the concerto live, I thought James was blowing his saxophone over the entire piece,” he says. “But then I looked at the score, and I saw how Roberto had written in James’ style of phrasing. It was organic how they sucked the blood out of both kinds of music—classical and jazz. It wasn’t forced.” While Concerto For Saxophones serves as the marquee work on Carter’s new album, the ti- tle track takes strong second billing. “Caribbean Rhapsody” is a joyful chamber piece with pock- ets of pastoral reflection and fiesta spirit. Written by Sierra for the saxophonist and his cousin, vi- olinist (a musical reunion of the pair, given her co-starring role on Chasin’ The Gypsy more than decade ago), the work also fea- tures cellist Akua Dixon’s string quintet (with vi- olinists Patrisa Tomassini and Chala Yancy, viola player Ron Lawrence and bassist ). It was written after the saxophone concerto. “Roberto knows a lot about me and Regina, and he knows what we can do,” Carter says. “It’s a beautiful situation for us to hook up, kind of like how Duke [Ellington] and [Billy] Strayhorn worked together, finishing each other’s thoughts. Roberto challenged us; he stretched us. And he encouraged us. We’d say, ‘Hey, you’ve got us playing triplets over four.’ But he replied, ‘Oh, babies, I know you can do it.’” Carter laughs and says, “And Roberto was right.” Sierra hopes that the music on the album will bring listeners “something really new and gen- uine.” He reflects on how he believes the mu-

30 DOWNBEAT MAY 2011 sic avoids the rise and fall of the Third Stream: savvy, style. the time and he was just a teen, but he always “Some of the past efforts that attempt to mix clas- Carter’s older brother Kevin was party to felt comfortable talking to me about music. No sical and jazz end up being hybrids which pre- getting him linked up with Washington. A gui- sounds are foreign to him. I remember playing cisely lack in those aspects what this work tries tarist who on occasion worked with Leonard once in 1988 at a club that had an ice machine to unite. When I listen to my saxophone concer- King, who was close to Washington, Kevin in- that would make these sounds, especially during to and ‘Caribbean Rhapsody,’ I realize that they quired about finding his younger brother a teach- quiet moments in the set. He incorporated that are unified works where one cannot separate any er. So the young sax player was invited to an au- into his solo, which knocked people out.” of their components; they’re works where the sal- dition. “My mouth dropped,” says King. “He was Meanwhile, Carter had begun feeling at- sa and jazz elements inform the classical modern just 14, but I knew he was an old soul from way tracted to New York, where two of his uncles tradition and vice versa.” back. A year later in December 1984 when he lived. In December 1982, one of his uncles took Caribbean Rhapsody also features Carter in was still 15, James was in my band. I’ve worked him to see the Broadway musical Sophisticated solo mode, using his tenor and soprano impro- with a lot of musicians who were special over Ladies, based on Ellington’s music and star- visations to round out the album. The robust, the years, but James is indescribable. I was 21 at ring Gregory Hines, Phyllis Hyman and Mercer squealing, soulful tenor piece serves as an inter- lude, while the high-spirited, rapturous sopra- no number makes for a fitting epilogue. While Carter has played extended solo spots as intro- ductions to tunes on record and in concert, this is his first bona fide outing going it . His ref- erence point? Sonny Rollins’ 1985 release The Solo Album. “I was pulling out some of my old albums when I was in Detroit one day,” Carter says. “And I came across an old cassette of that Sonny al- bum. That’s a hallmark of solo saxophone play- ing. It’s the template for any saxophonist. It’s hard to do that on a single-line instrument, but there was Sonny shading notes, playing split tones—no gimmickry or tricks or tomfoolery. It’s so honest. It’s so full of wit and wisdom.” That whimsy and sagacity as well as the re- spect he holds for jazz statesmen (case in point, Carter’s 1996 disc Conversin’ With The Elders, starring and Harry “Sweets” Edison) pretty much sum up the Carter mystique.

orn in Detroit and today splitting his time between there and the Upper West Side of BManhattan, Carter is an instinctual player. He speaks on his array of reeds instruments, with manifold vocal inflections. He races and skids to a stop. He yells in exuberance, then quietly sobs. He slap-tongues and sings. He’s attentive to the world around him, emulating the gritty roar of a midday truck clanging down a city avenue or capturing the pitch-perfect phrase of a songbird on a placid country afternoon. No sound escapes him. He consumes tones and rhythms and re- forms them anew. He’s a singular voice whose story runs deep. One of the early tales presaging Carter’s son- ic future occurred in elementary school when he emulated an outside birdcall within his class- room, which irritated the teacher enough that the whole class got in trouble. After getting caught trying out a saxophone owned by a boarder in his house when he was 11, he got his own in- strument, bought by his mother. He practiced by playing along to her Ellington, Count Basie and Billie Holiday albums, bought a couple of recordings of his own (his first two were ’ Playing With Myself and Basie Jam No. 3), discovered Bird from the “Bird” Symbols LP and eventually came under the tutelage of sax- ophonist Donald Washington, who became his mentor in all things jazz—history, technique,

MAY 2011 DOWNBEAT 31 james carter

Ellington, among others. “I was blown away by Organizer, in 1991 for the Japanese label DIW. that show,” Carter remembers. “I’d always heard Meanwhile Carter was fronting his own trio of cats talk about how everything is popping in fellow Detroit players, drummer and New York. After the show was over, while we bassist , which soon expanded to a were hailing a cab, Phyllis Hyman came out of quartet with pianist . It was at this the theater to get in her limo. I was awestruck. time that DIW A&R man Kazunori Sugiyama She was so tall and statuesque. She got in the car offered Carter the opportunity to record his de- and winked at me. That lit a fire under me.” but, J.C. On The Set, which was released in Japan In 1985, the music life was starting to take in 1993 and issued in the U.S. in 1994. off for Carter. In addition to performing with Anderson, who had worked on David King, he toured Europe for two-and-a-half Murray’s DIW releases, engineered the disc. weeks as a member of the Blue Lake Fine Arts He was impressed by Carter immediate- Camp’s International Jazz Band, and he met ly. “Halfway through the first tune, I realized , who was in Detroit perform- that James had a whole other vocabulary on ing with the symphony orchestra. During a Q&A the sax,” he says. “At times I was dumbstruck, session that Marsalis had done at his school awestruck. It was truly one of those moments (Northwestern High), Carter impressed him when you see a young player whose talent is with his knowledge of the music and his play- fully formed. And there he was moving from ing. They exchanged contact information, which one instrument to another with ease. When he led to an opportunity for Carter to fill in on tenor came up, James was new and different with his in Wynton’s band after brother Branford had left concept of sound and his articulation. He’s only to perform in Sting’s touring group. “I played my grown so much more since then.” first hit with Wynton at Blues Alley,” Carter re- Having seen him in the studio setting, calls. “And then I did a handful of hits on week- Anderson says he wasn’t aware of the critiques at ends. I was in high school, but I’d leave home for the time of Carter’s onstage persona, which some a few days, catch a plane, play with Wynton, then deemed a bit over the top. Indeed, the reeds man fly home to get back to school. I never did record was putting on a show for all to see, coming off with him, though.” as cocky and playful, surly and flashy. His sax- In May 1988, Lester Bowie came to Detroit ophone glossolalia got him dubbed the “Motor and enlisted Carter at the last minute to perform City Madman,” and he commanded the stage with him at a Detroit Institute of Arts concert. “I with a frothy swagger and roaring pyrotechnics. showed up wearing a red sharkskin suit,” Carter Carter told me in 1996 that he knew full well says. “When Lester introduced everyone in the that his wild saxophone ways were instrumen- band, he paused when he got to me and told the tal in drawing a younger audience. “I’ve seen crowd, ‘And on tenor and bass saxophones, here’s quite a few younger individuals at my concerts Santa Claus.’ The whole audience broke up.” that you’d guess would normally listen to r&b or But, Bowie, impressed by Carter’s playing, rock radio,” he said. “Case in point: There were kept in touch and called him to be in a new some hippy-dressed people in attendance at the band he was forming. That prompted Carter to Village Vanguard one night. They came up to me make the move to New York in 1990, playing after the show and talked about how I remind- some gigs with Bowie and then becoming one ed them of Jimi Hendrix. They mentioned things of the charter members of Bowie’s New York like the feedback and the way my notes seemed Organ Ensemble, which recorded its debut, The to be coming from nowhere. They said, ‘Oooh,

32 DOWNBEAT MAY 2011 man, we just wanted to mosh.’ And I told them, For the new organ trio album—which fea- maraderie. It’s very elusive.” ‘Glad to be of help.’” tures guest appearances by guitarists Bruce Even with the saxophone concerto finally Even though he seemed to bask in the light of Edwards and Brandon Ross, trombonist Vincent getting its true recognition on disc, and with the the image he was exhibiting, Carter insisted that Chandler, trumpeter Keyon Harrold, vocalist imminent completion of his new organ trio al- beneath it all was a spiritual depth of commit- Millicent (Miche) Braden and Eli Fountain on bum, Carter stops to think back to his first band ment to the music. “It’s not just entertainment,” tambourine—Carter feels like he’s in a comfort with Taborn, Shahid and Tabbal. “I thought we he said, while conceding that his horn blowing zone. For the first time in a long stretch, he has were in it for the long run,” he says. “But longev- could be viewed through that lens. “But that’s a solid band. He describes how both King and ity has its place. And cats have to move on.” He what a whole lot of people get tripped up on. It Gibbs came to the session fully prepared. “I was pauses to reflect that far back in his career with turns the whole process into minstrelsy, some- sending them PDFs, and they were sending me a note of sadness. But then he beams. Always on thing to just pass the time. But if you’re serious PDFs of the music,” Carter says. “We all dig this patrol for his next musical adventure, Carter says, about the music, you play so that it not only opens group and respect each other to help pull the col- “Do you know what would be really cool? For us ears but also opens a therapeutic membrane. It’s lective game up. In jazz, it’s rare to find true ca- to have a reunion.” DB like Albert Ayler saying that music is the heal- ing force of the universe. You need to tap into the spiritual even if it’s a rehashed version of ‘Take The “A” Train’ [which Carter rendered on his second DIW album, Jurassic Classics], because that’s the most viable element. If the passion and spirit aren’t there, what’s the use? If you’re not playing for a loved, labored cause, it doesn’t make any sense.”

t heart, Carter exudes that love for the music. He’s matured, and his range of musi- Acal mastery has expanded. He has even become a member of the legendary —a boyhood dream-come-true—ap- pearing on its last two CDs, including Yes We Can, recorded live during the 2009 exhibition Discover US! in Berlin and released earlier this year on the Jazzwerkstatt label. When asked in 2003 if his life as a soloist and bandleader had changed in his thirties, Carter replied, “I still feel the same way, but I’m able to use all the different shapes and forms in my playing better.” He explained it with a me- lange of metaphors: “I can ping-pong with some- one just as well as throw the shot put. There are more than just a couple of events in a decathlon. I want to play a piece different every time. That’s a hell of a tightrope walk. But when you have dif- ferent attacks in your arsenal, it’s a much easier balancing act.” In 2008, when Cuscuna first came on board as Carter’s producer, he said that he wanted to showcase “the totality of who he is,” which he felt had yet to be revealed. “In going through James’ entire output prior to recording Present Tense, it struck me that many of his albums were ingenious concepts. As successful as each was, none of them captured the breadth of his mas- tery of this music. When you see him live, he can reach for any decade in this music’s history as easily as he can reach for any [woodwind] on the bandstand. We wanted to bring that to the fore.” Cuscuna recalls that he first heard Carter years ago in Los Angeles with Michael and . “Even though James was only in his twenties, it was shocking to hear the total control he had with his music,” he says. “But he was also so young that he didn’t know how to edit and when to stop. He was exhausted at the end of each set, and I remember being physically ex- hausted myself after his show. I was brought into the picture to help him become more concise.”

MAY 2011 DOWNBEAT 33 34 DOWNBEAT MAY 2011 mark sheldon Marcus Miller No More Apologies By Josef Woodard

ore than most jazz polymaths, Marcus Miller is a complex character to pin down, categorize and otherwise attach a tidy label to. Even so, one word expresses, with minimalist gusto, a pinnacle of his life in music: Tutu. That was the 1986 al- bum, considered the masterpiece of Davis’ last phase, which Miller produced, played bass on and mostly wrote. Twenty-five-plus years later, the Tutu saga continues.

MOn a recent afternoon at Miller’s compact An elaborate set of music, recorded live and Miller explains that he has essentially been liv- but well-equipped studio and laboratory in bolstered by orchestrations for L’Orchestre ing in Los Angeles for 18 years, but “wouldn’t a creatively charged part of Santa Monica, Philharmonique de Monte-Carlo and special admit it for a long time.” He headed west to Calif.—near the Bergamot Station art gallery guests Roy Hargrove and Raul Midón, Miller’s work on Luther Vandross albums, and soon re- compound—he was on the phone for a news- new album includes a soulful-grooved version alized that the bicoastal residency conflicted paper interview. The subject: Miles Davis, and, of “So What” and “Amandla.” with his family life. yes, Tutu, in advance of a gig in Florida with a The album sports a well-considered mixture As he remembers of that time in the ’90s, project he has done for two years now, playing of genres, from funk to standards, and added stu- “The scene was changing in New York. When I the entire Tutu album live. dio tracks featuring Miller on his “other” instru- was there, it was Seventh Avenue South, Sweet This “Tutu Revisited” project began at the ment, . “Your Amazing Grace” and Basil. Then there was a transition period, when behest of the Frenchman Vincent Bessières, or- “Strange Fruit” feature on pi- it was just the Blue Note and the [Village] ganizer of an ambitious Miles Davis exhibi- ano, recorded back home in Los Angeles. Also Vanguard. Now, it has revived. But for a while, tion in Paris, which visited Montreal last year. equipped with plenty of Miller’s characteristical- it was like, ‘You know what? I’m going to see Initially resisting the idea, Miller came around. ly diverse and spot-on bass chops, the new album what this L.A. thing is.’” “I started to think about it and said, ‘You know sums up the vastness of Miller’s musical life so Meanwhile, out west, next in Miller’s ex- what? What if I got some young kids, who may- far. It’s a complicated story. panding work world came movie-scoring gigs, be weren’t even born when Tutu came out, and for such films as House Party. He continued have them playing this music?’ Miles used to n a career stretching back 30-plus years, with more pop and jazz production (including do that. He used to say, ‘Who’s the bad cat out through his life as a producer, New York ses- Wayne Shorter’s masterful and still underrated there?’ That’s how he found me. He asked, Ision player, L.A. scene-maker, electric bassist of High Life), and the slow process of developing ‘Who’s the bad, funky bass player in New no small chops or influence, bandleader with an his own voice as a solo artist. York?’ , the sax player, said, ‘Marcus.’ evolving musical mission and facilitator of Miles Currently, he savors the opportunity to play He was always doing that. . So I Davis in his final chapter, Miller seems to be an live, a process he came to fairly late in life. As was like, ‘Let me find some young cats, some archetypal wearer of multiple hats. Moving flu- he says, “In that respect, [my career] has been fire-breathing cats to play this music and see idly from one persona or task to another seems to upside down. Most guys start their careers on what we can extract from this music and make come naturally to him. the road, and then they settle into being a pro- contemporary.’ On that subject of his nimble role-switch- ducer, using all the experiences from the road to “It was supposed to be just one gig, but it ing, he takes the story back to the top. “I went inform their production. But for me, I was pro- was cool, and we’ve ended up doing it for al- to the High School of Music & Art, and my se- ducing starting at age 23, and was in the studios. most two years now. Everybody wanted to nior year, I had orchestration, then I’d have jazz I didn’t start doing heavy gigging until I was 35 check it out. It was nice to go back and play band, then I’d have the classical orchestra, then or something like that. So it’s backwards. some music that I hadn’t really played live. I did I’d have small group combo, then a private clar- “It was really nice to get out there and not it in the studio, and wasn’t in Miles’ band at the inet lesson. I went to Queens College in New have headphones on, and to really just let it time. I played ‘Tutu’ live, because it was a pop- York and it was the same kind of schedule. rip and not worry about the details so much. ular song, and maybe one or two of the other “When I went into the music world in New When you’re a recording musician, it’s all about ones, but most of them I hadn’t dealt with in a York City, I just kept doing the same thing,” he the details. I used to focus on the point when live way. It was interesting to strip it of all the laughs. “Every couple of hours, I’d switch into I stopped the note, not just when I started it. I techno and drum machine stuff, and just deal some other mode. I was doing jingles in the wanted to stop it on the ‘and’ of three, or the last with the compositions.” morning, and then was a studio guy doing re- 16th of four. It was that level of detail. Miller’s storied link to Davis is part of the cord dates in the middle of the day. I’d do a gig “To be on the road, I loved being able to let musical agenda and narrative on A Night In at a club at night. And when I got a chance, I’d go of that. No, I loved the idea of being able to Monte-Carlo, Miller’s latest—and possibly try to write an r&b tune.” let go of that. I never actually let go. People see best—album in a dozen-strong discography. A New Yorker born in Brooklyn in 1959, me playing one note and say, ‘Man, you’re play-

MAY 2011 DOWNBEAT 35 mARCUS MILLER

ing such a simple part.’ I say, ‘Dude, if you knew in the ’80s. In terms of self-discovery, I had It was still Mingus’ group, no question, because all the calculations going on in my head to play no idea who I was. I was a really popular ses- his presence was so strong. It was the same with this simple note—tone, attack, cutoff, place- sion bass player. I was playing with Luther, with and . These guys ment—this note is hard,’” he laughs. “That’s the Aretha, with Miles, all sorts of people. What were able to lead a band with their whole musi- way I’m approaching it.” made me good in those situations was that I cal personality.” could become a different cat. It was still the Bass occupies a unique place in the lineage long the way, Miller has also been unusual- same mentality, but I knew the different lan- of jazz instruments, as a foundational voice that ly adept at moving between worlds normal- guages. But when it came to making my own has evolved into a soloing voice in its own right, Aly disparate from one another. He has effective- records, as an artist, I didn’t really have a solid especially in the electric bass domain. But ques- ly worked “across aisles,” between “real” jazz, voice or know who I was. So I’ve been spend- tions of range, tone and personality have dogged post-fusion (including seminal work with David ing the last 25, 30 years just finding that voice. the culture of bass. Sanborn in the early ’80s) and the slick realm “On the last few albums, particularly on “For a lot of guys,” Miller says, “their solu- of smooth-jazz, and also between pop and jazz this one, I’m not apologizing anymore. This is tion is to go up high. For me, if I’m playing a quarters. As such, he’s in a position to see the dif- what you would hear walking down the street tune that’s funk-oriented, it’s hard for me to go ferences of attitude and bias firsthand. in New York. You don’t hear one sound. If you up and play lines. I’m playing the funkiest in- In jazz, he says, “A lot of guys don’t under- come from Minneapolis or New Orleans or strument in the band, and I’m going to go up stand pop music. They don’t understand the val- some other small cities, there is a sound that high and doodle around up there when I could ue of it. They can’t figure out why it’s good, and is associated with those regions. In New York, be extra-funky in the solo? So I started work- what makes it good. They’ll listen to a Stevie you can play anything. You just have to play it ing on ways to solo and not leave the bass area.” Wonder or a record and go, ‘Oh man, aggressively,” he laughs. As significant as his commanding and fo- it’s all one chord.’ OK, so you don’t speak that cused electric bass work is to his musical iden- language. If you don’t speak the language, you tity and also his reputation, Miller heeds a can’t judge it. But for me, if you put on a good “When I had people tell me more expansive picture of his artistic pur- Prince record or a good Mos Def record, I un- pose. Closing his new album with a tune fea- derstand why it’s good. I feel it. So if you’ve got that something I did affected turing Hancock brings the story full circle, in that in you, then you have the potential to move them on some profound the sense that, like Miller, Hancock has been around in between the different worlds.” moving intuitively between jazz, pop and “ac- From the other end of the spectrum, he level, helped them get cessible” realms for decades, and especially in comments, “In the pop world, jazz sounds for- through a difficult period Hancock’s current phase. Miller will also join eign. They say, ‘What are you doing?’ I say, ‘Let Hancock and Wayne Shorter for a “Tribute to me explain it to you.’ Then they say, ‘Well, how in their life and gave them Miles” project on the summer European jazz can I enjoy something if you have to explain it to festival circuit. me?’ They don’t understand that it’s just a lan- strength, it changes why you As Miller says, “I think you go through dif- guage. You don’t understand Russian, but if you make music. You can’t help ferent levels, in terms of why you make mu- take a couple of lessons or learn how to speak sic. The first level is that it’s interesting to you. Russian, you’ll see the beauty in it. but be affected by that.” Maybe the second level is because it’s getting “It’s the same thing on both sides. Pop mu- you some kind of attention and you realize sicians think that jazz is math, musicians who you’re good at it, and you love that. And then play so much music that they’re bored with what “At a certain point, I had to say to myself, you might make music to make a living. And everyone else enjoys. So they need to go beyond ‘OK, I can’t narrow stuff down. I’ve gotta go then later, you realize how powerful music is. and, in going beyond, they’re losing what the ac- with what I feel like is honest. The danger in For me, when I had people tell me that some- tual essence of music is. That’s what pop mu- that is that your record can sound like the ra- thing I did affected them on some profound lev- sicians feel. Jazz musicians feel like pop musi- dio, like you’re just flipping from one guy to the el in their life, helped them get through a diffi- cians are simple and are just appealing to the next guy. But it’s starting to feel like my musi- cult period in their life and gave them strength, lowest common denominator. cal personality is strong enough that there is a it changes why you make music. You can’t help “And they’re both wrong. I’m sitting in a po- through line, even though I’m going to be hit- but be affected by that. sition where I can tell you that you just don’t get ting you with songs from different areas of the “When I did ‘Tutu,’ I was concerned about it. Now, there are bad versions of both. You’ve musical world. You’ll hear my personality com- the South African thing, but it was person- got to compare the best with the best. But if you ing through, being the glue that holds the whole al. I didn’t expect anybody to be affected by take John Coltrane and take Aretha Franklin, thing together. Then, also, with this album, be- it on a profound level. But I’ve talked to South then you’ll see. OK, you may not understand cause I’m using the orchestra and have that re- Africans who said, ‘Do you know how impor- Aretha, but she’s putting it down, no question. ally distinctive sound, I figured that glues the tant that song was to us when we were fighting You may not get Coltrane. You may think he’s thing together, as well.” against apartheid?’ When you hear that, you from outer space, but he’s putting it down. Both say, ‘Whoa.’ You start to change. You think a sides just have a little more opening up to do.” iller is one of the few bassist-leaders on little more deeply about what you’re doing. While he has found plenty of work in today’s scene, but it wasn’t always thus. “I’m sure Herbie is aware how profoundly American film, pop, jazz and other entertain- MWhen he started out in the late ’70s, his role he can affect people, and that’s why he’s doing ment culture, Europe has been very good to models included Jaco Pastorius, Stanley Clarke, what he’s doing. It’s not like he had anything to Miller, as jazz artist and bandleader, and this , and even, prove. He’s actually now just free to do what he new album is another example of that patron- from the pop end, Sting. Today, he’s one of the really feels needs to be done. It is like it’s a mor- age. He was invited by Jean-René Palacio, the last bassist-leader holdouts. al imperative, that he is going to reach people head of culture in Monaco, to put together a “The thing is, it can be done,” Miller says. and make a better world. program for the Monaco Jazz Festival, with the “Look at the history of the bass-led band. The “And I think I’m trying to head myself in Monte-Carlo Philharmonic at his disposal. bass player is also the composer, the arranger, that direction—not that I would ever put my- Surveying his varied discography so far, the musical mind behind this group. Lots of self on his level. But I want to try to do as much Miller recalls that “the first album I made was times, Charlie Mingus didn’t even play a solo. good as [I] can with [my] notes.” DB

36 DOWNBEAT MAY 2011

38 DOWNBEAT MAY 2011 j os knaepen Monty Alexander One World

OBy Ted Panken f Music

he adage “absence makes the heart grow fonder,” George Fludas and a plugged-in Jamaican con- tingent—Wendel Ferraro on guitar (filling both coined to convey the kindling effect of separation soloistic and comping roles), Glen Browne on bass and Karl Wright on drums. upon romantic ardor, applies with equal measure This configuration, documented on the 2011 release Harlem-Kingston Express (Motéma) to pianist Monty Alexander’s ongoing obsession with Herlin Riley on drums, is the most recent iteration of a series of Alexander-conceptualized with the music of Jamaica, his homeland, from efforts over the past few decades to coalesce “things that reflect my heritage as an English- Twhence he migrated to Miami in 1961, at age 17. speaking Caribbean person” with the princi- ples of hardcore swinging jazz. “I was bummed As a Kingston youngster, Alexander re- ’70s, when he closed the books on his 300-days- out after it ended with John and Jeff because I’d called, “I soaked up everything—the calyp- a-year-on-the-road trio with John Clayton and gotten used to that precision, that projection,” he so band playing at the swimming pool in the Jeff Hamilton, he was an upper-echelon stylist, said. “Although other people were fine and good, country, local guys at jam sessions who wished referred to by Oscar Peterson, himself descend- no one came close to that, and I’m not one to go they were Dizzy [Gillespie] and Miles [Davis], ed from St. Kitts and St. Croix, as “my little West scouting.” To recharge, he began spending qual- a dance band playing Jamaican melodies, songs Indian counterpart.” ity time in Jamaica. “I’d go to the studio with Sly that [Harry] Belafonte would have sung. I was “You come to America, you try to blend in and Robbie, who know me from way back. It’s fully aware of the rhythm-and-blues, my he- and do what they do,” Alexander explained. “At simple music, two chords—but life is in those roes on piano were Eddie Heywood and Erroll first, I was even trying to speak like American two chords.” Garner, and, above all, was my people”—he demonstrated several voices—“so Later in the ’80s, Alexander—whose first king. I had one foot in the jazz camp and the oth- they wouldn’t keep asking, ‘Where do you come Jamaica-centric dates were the still-sam- er in the old-time folk music—no one more valu- from?’ But as the years went by, I started express- pled mid-’70s MPS groove albums Rass! and able than the other.” ing myself by claiming my heritage more. I said, Jamento—started to present units with which Once in the States, though, Alexander com- ‘Wait a minute, home is as good as it gets.’” he could incorporate Caribbean flavors, includ- partmentalized, sublimating roots towards estab- In Orvieto, Italy, for a five-concert engage- ing an “Ivory and Steel” ensemble with steel lishing a jazz identity. By 1970, he was a distin- ment at Umbria Jazz Winter 2010, Alexander drummer Othello Molineaux and hand drum- guished voice, with a CV citing long-haul trio spoke in the high-ceilinged sitting room of his mer Bobby Thomas. After signing with Telarc gigs with various New York A-listers, as well hotel, which evoked a ducal mansion. With him in the mid-’90s, he embarked on a succession of as consequential sideman work in Los Angeles for the week was a band comprising an acous- recordings on which he reunited with musicians with and Ray Brown. By the late tic trio with bassist Hassan Shakur and drummer he’d known since his teens, among them several

MAY 2011 DOWNBEAT 39 dates with guitarist Ernest Ranglin, and one with turned to an Ellington medley that resolved into six or seven that are soulful or meaningful.” Sly Dunbar and Robbie Shakespeare. Four other “Caravan.” After brief remarks, a brisk stomp The chops are abundant on Uplift (JLP), a recordings—Stir It Up and Concrete Jungle re- through “Sweet Georgia Brown” and some deeply swinging navigation of the American veal Alexander’s take on Bob Marley’s music, nachtmusik chords, Browne and Wright entered Songbook with bassist Hassan Shakur and while Goin’ Yard and Yard Movement address a stage right and laid down reggae riddims. Playing drummer Herlin Riley that follows the 2008 trio broader Jamaican spectrum—hearken to mento, percussively, Alexander soon segued into Ernest date The Good Life: Monty Alexander Plays Jamaica’s indigenous calypso, descended from Gold’s “Exodus,” blew a melodica, quoted “let The Songs Of and 2009’s Calypso the French quadrille music to which English col- my people go” within his solo, returned to the pi- Blues: The Songs Of Nat King Cole (Chesky) as onists danced in the 19th century. Mento evolved ano bench and ended with a flourish. With the companion pieces to his excellent 1997 Sinatra into, as Alexander puts it, “a deep country trio, he played a shuffle blues, then a hard-swing- tribute Echoes Of Jilly’s (Concord). Rather than Jamaican thing” that spread throughout the is- ing blues—midway through the latter, he stood, abstract the tunes, Alexander hews to the iconic land, and, as the 20th century progressed, cross- pointed to the Jamaicans and orchestrated a met- arrangements, illuminating the music from with- pollinated with r&b and jazz, evolving into ska. ric modulation, quoting “Manteca” in his solo, in, deploying effervescent grooves, lovely ruba- As Alexander delved ever deeper into these before seguing into Marley’s “No Woman, No tos, a killing left hand, an innate feel for stating rediscovered interests, he found it increasingly Cry.” The back-and-forth proceeded for anoth- melody, well-calibrated touch, harmonic acumen difficult to convene a single ensemble in which er half-hour, before Alexander concluded with and an ability to reference a broad timeline of pi- he could satisfactorily convey them. “I would a romping “Come Fly With Me” and a melody- ano vocabulary stretching to pre-bop. Each in- have a trio of jazz masters, and when I’d want to milking rendition of “All The Way.” terpretation embodies a point of view. Like his play something that reflected Jamaica, whether “Recently I’ve been doing this with more “eternal inspiration,” Erroll Garner, Alexander calypso or Bob Marley, I couldn’t get that thing commitment than before,” Alexander remarked gives the hardcore-jazz-obsessed much to dig because that’s not what they do,” Alexander said. of the real-time genre-switching. “I’m fulfilled, into, while also communicating the message to “Conversely, the Jamaican guys didn’t relate to because it’s my own life experience. It’s like the squarest “civilian.” the jazz experience. I wanted to give myself an Barack Obama music. We are all cut from the “In our home, Nat Cole was the voice of opportunity to share my two loves, which is one same cloth.” America,” said Alexander, who experienced a love, to coin Bob’s phrase.” transformational moment in 1956 when he saw This feeling had permeated the previous eve- erhaps 20 years ago, Alexander got angry at Cole play on a package concert in Kingston ning’s concert. Alexander came to the piano, po- someone, intended to hit them, thought bet- with Louis Armstrong. “My awareness of his sitioned stage center to the left of Shakur and Pter of it, punched the wall instead and broke his piano playing came later; it was just that smooth Fludas. He opened with Ellingtonian chords, hand. “Ever since that day, I don’t play as fast as I voice. At first I confused him with Gene Autry. and launched a chugging train blues, transitioned used to,” he said. “But instead of playing 20 notes I was always connecting one thing with an- to the changes of “Blue And Boogie,” then re- that may not mean that much, I started playing other—‘Wait a minute, that sounded like that.’

40 DOWNBEAT MAY 2011 That’s why for me, even now, it’s one world of of his beat, so he tried to be around him whenever music. I try to remove all the lines.” he could. “I got to know Ray better,” he recalled. By 1956, Alexander had already spent half “I went to see him in L.A. at the Gaslight. When his life entertaining people with music. “I’d em- I got there, nobody’s listening, nobody cares, it’s ulate people my folks knew who played old-time the last set, and they had to play one obligatory stride,” he said. “I was playing boogie-woogie tune. Frankie Capp walks to the drums, Mundell from the get-go, rockin’ the joint. I just had fun Lowe picks up the guitar, but the piano player is at the piano.” Later, he would extrapolate a con- boozed-out at the bar. I asked Ray, ‘Can I play a ceptual framework from Ahmad Jamal’s 1958 tune?’ Within two choruses, he’s screaming, he’s classic “Poinciana.” “It was a merging of two groovin’ and I’m groovin’, and we’re as happy as worlds,” he said. “Sophistication on the pia- kids in the candy jar. He said, ‘Where are you no, harmonic wonderment and the nastiest jun- going to be this summer? I want you to play with gle rhythm going on in the background. That’s me and Milt Jackson.’ Jamaica. It’s about dancin’, it’s about groovin’— “When you’re in company with people it’s all one thing.” who are at a certain level, it upgrades your Such formative experiences gave Alexander musicianship. I’d been smitten with the MJQ a certain ignorance-of-youth confidence when since I saw a record with these four dignified he started playing in “tough guy clubs” in black men on the cover—they looked like fu- Miami Beach. Within a year he was working neral directors. I learned about the connec- at Le Bistro, a two-room joint where he shared tions—John Lewis and Ray with Dizzy’s big the bill with a Sinatra impersonator named band, telling Dizzy about Ray. I Duke Hazlitt. One night after a concert at the took that personal thing on the bandstand. I Fontainebleau, Sinatra came through with an felt like I belonged to that crowd.” entourage, including Sinatra’s consigliere, Jilly Rizzo, and Rizzo’s wife, Honey. n spontaneously orchestrating the Harlem- “I’m playing, minding my own business, try- Kingston Express band in live performance, ing to behave and not to be too noisy,” Alexander IAlexander seemed to be paralleling the band- recalled. “But I must have been kicking up a stand procedures by which both Ahmad Jamal storm, because apparently Honey came in and and Duke Ellington deployed their units to con- told Jilly to come hear this kid play. In those days, vey their intentions in real time. The pianist I’d come in with all guns blazing. She told me, concurred. ‘We’ve got this club in New York, Jilly’s, and it “It’s a kind of joyful, loving dictatorship,” he would be nice to have you play in there, kid.’” said. “That’s why I use musicians who are will- About a year later, midway through 1963, ing and easygoing, who give me their trust and Rizzo finally brought Alexander to his epon- confidence and won’t question what I’m doing.” ymous West 54th Street tough guy bar, which More so than instant composition a la Jamal doubled as Sinatra’s late-night office. Just 19 and and Ellington as an m.o. for following the dic- residing a few blocks away in the Hotel Edison, tates of the moment, Alexander focuses on seri- Alexander joined Local 802, situated directly ous play. “I don’t read music, and I play by ear,” across the street from the club, and assumed his he said. “You can chalk it up to a certain amount place among New York’s jazz elite. Within a few of laziness, because if I really wanted to read, years, he was also working uptown at Minton’s there’s no reason I can’t. But when I see paper Playhouse and at the Playboy Club. in front of me, man, I start sweating. That part of “I remember sitting at Jilly’s piano bar, a my brain doesn’t function well. I don’t know how few feet away from Miles Davis and Frank in to play music that’s not coming from my instant, deep conversation,” Alexander reminisced. make-it-up stuff. “My crowning point was when Miles came to “I get bored with a planned format. I can’t me and said, ‘Where did you learn to play that repeat the same thing twice. I’m always reaching shit?’ Next thing, he writes his phone number for now, live in the now, present tense, and I look on a little matchbook, and we’re hanging out for inspiration from wherever.” at his house or going to the fights. Miles told This blank-slate attitude inflects the afore- me, ‘You got the right complexion.’” Alexander mentioned trio projects. “I just went in the stu- noted that his bloodline is an admixture of dio,” Alexander said, referencing the 2009 Nat Lebanese, Spanish and African strains, and Cole tribute. “‘Haji Baba’ is from a movie with that the ambiguity as to his racial identity had a Nat, and I used to sing it walking down the street great deal to do with his ability to comfortably when I was nine—I listened to the bridge on that navigate various circles in Jim Crow-era Miami and on ‘Again’ to make sure I had it right. But as well as New York City. “At Minton’s they’d for the most part, when I play music, I smell it say, ‘What’s this Puerto Rican guy doing who and see colors. Every song has its own personal- can play jazz like that?’ When I first saw Ray ity, its own soul, and if I can’t feel it, I can’t play Brown’s picture on an Oscar Peterson record it with feeling. cover, I saw the smile and the teeth and said, “I don’t understand what it is that makes me ‘Damn, Uncle Jim!’” different, but I feel I have very little in common More than the familial resemblance, with anybody else. I seem to be my own strange Alexander was drawn to Brown’s consistency, character. If I’m right in my motivations and atti- tone and the truck-coming-down-the-road surge tude, amazing things happen.” DB

MAY 2011 DOWNBEAT 41 Eric Harland By John Ephland For The LOVE Of All hen you talk to Eric Harland, you find early on that the conversation has the potential to go in a number of different directions, and not all of them musical. Then again, Harland might beg to differ, because the prism through which he seems to see his life—and life itself—can’t help but be a musical one. Call it a re-definition of the word “musical.”

WHis website, iharland.com, opens with these words on a single line recent releases showcase Harland’s work with Lloyd and James Farm: against a dramatic, dark backdrop: Lloyd’s eloquent, lovely Mirror (also with Moran and Reuben Rogers, “Welcome, Bienvenue, Willkommen, Tervetuloa, Bienvenidos, on ECM) and the eclectic, lyrical and energetic jazz offered with James Irashaimasu.” Farm’s self-titled debut (Nonesuch). And then there’s this dandy quote (the first of three): “If I were not But it’s also his experience as a leader that now brings him atten- a physicist, I would probably be a musician. I often think in music. I tion as well. 2010’s Voyager live by night (SpaceTime) found the Eric live my daydreams in music. I see my life in terms of music.” That’s Harland Quintet touring his first album to much acclaim, his crack Mr. Relativity himself talkin’, the daydreamin’ doctor, Albert Einstein. band of pianist Taylor Eigsti, guitarist Julian Lage, bassist Harish To the wider public, Harland’s best known for his standout work as Raghavan and tenor saxophonist Walter Smith III supporting and egg- a drummer, having played with, among many others, Betty Carter, ing him on every step of the way. And it’s this nice, ever-present blend , and Terence Blanchard. His work with of leader/sideman work that suggests that Harland, 34, is having the Charles Lloyd, which remains ongoing, has cemented his place in the time of his life. world of music, and his various other current projects only serve to If you ask him which role he prefers, not surprisingly Harland de- heighten his profile: the SFJAZZ Collective; the Overtone Quartet fers to the music. Alternately sounding philosophical and practical with Jason Moran, Chris Potter and Dave Holland; and James Farm, about it all, he notes, “I feel like being a leader is really the same to his band with , Aaron Parks and Matt Penman. Two me musically as being a sideman. [This is] mainly because I always

42 DOWNBEAT MAY 2011 mark sheldon try to express myself in the realm of what’s hap- as a musician. She and my mother are both his quintet. “I love their energy,” he says, refer- pening on stage, in the music. There are slight musicians and singers, who have taught and ring to Eigsti, Lage, Raghavan and Smith, “as advantages and disadvantages to being a lead- led some of the best in gospel music.” people, as human beings, as well as their talent; er. Some of the major benefits are that I get to He leaves it at that. Those auspicious be- they’re phenomenal players. But I look for more choose the set list, do the stage-talking, give my ginnings, the simple clarion call of family, than just someone who can play an instrument personal definition and take on my musical pur- supporting a loved one to pursue his talents well. I’m looking for very insightful people, that pose and so on.” and dreams. they have a good heart. That’s what they’re gonna And here’s the kicker: “But there’s also the And so, from the age of 5, Eric Harland was bring to the music. So, I want to be around peo- slight sacrifice of financial gain, which I still, in “playing the drums,” eventually getting lessons ple who hold life to a higher degree, the respect my heart, don’t agree has to be that way.” from Craig Green, an instructor Harland still of every individual soul and the love of all. Those The “slight sacrifice.” sees as one of the best teachers he’s ever had. His are the kind of people I like playing with, because How does that feed into his ideas on being a professional life as a drummer began in 1993, when you play with people like that, there’s not a musician? A clue might come from his recent lot of judgment that goes on on stage; everything background, which included spending some time is very open. That’s totally what I’m lookin’ for: as an ordained Baptist minister. “Studying the- “The freedom I’ve learned real people playing real music.” ology and becoming an ordained minister has through spirituality has The topic returns to personal history. “I had a great impact on my musical progression,” didn’t like music school, I was bored,” says he humbly states. “The freedom I’ve learned completely influenced my Harland, referring to his incomplete studies through spirituality has completely influenced at Manhattan School of Music. After all, his is my creative process or what I aim to achieve creative process or what I a journey of self-discovery, which led him to through my music. For example, man’s connec- aim to achieve through my Houston Baptist University. “So I figured I might tion with all, a.k.a. the universe, God and so on. as well go to school for something that I really That connection is very open and full of love and music. For example, man’s want to know something about.” Harland did go embracement, not biased with a sense of right or on to be a Christian minister and preach about wrong. Only love and support. connection with all, a.k.a. Christ for roughly three years, talking repen- “So,” he adds, matter of factly, “why should it the universe, God and tance and salvation. “But then I kept growing,” be any different in music?” he recalls, “and the universe kept speaking to me, An interesting twist here is that Eric so on. That connection and I started to see that maybe that wasn’t the be- Harland’s story is not about evangelizing in the is very open and full of all or end-all, that maybe we were not born sin- usual sense. After spending three years during ners, that maybe we were actually born OK, and the late ’90s doing church work back in Texas, love and embracement, that the universe has always been taking care of where he grew up, Harland realized his time us from day one, that there was no need to con- spent in New York City prior to that as a music not biased with a sense vert to this or to that. student at Manhattan School of Music and as a of right or wrong. “You know,” he continues, “it’s just all divine gigging player had planted some seeds, both in love. I feel like the spirit is not within the body; him as well as in others from him. He also real- Only love and support.” I feel the body is within the spirit. So I feel like ized that his viewpoints about the world and life our spirits are always connecting to each oth- were in transition. er, and I feel like the body is a representation of And then the call of the wild came via a being able to experience the physical aspects of phone call from Greg Osby, and, later, Betty with Harland playing locally as he finished going life, whereas the spirit is omnipresent, you know, Carter, both of whom wanted him back in New to the notable High School for the Performing you’re everywhere, your memory can go back as York, with Carter even offering him a sepa- and Visual Arts, the incubator for other wide- far as you want it to be, your imagination can go rate residence in her brownstone. But, by 2001, ranging talents such as Beyoncé Knowles, Jason as far forward as you want it to be. So no one is Harland was experiencing hard times, scuffling Moran and Robert Glasper. bound or limited by anything. I love that; just the as a freelancer in New York, playing late-night Around this time Harland won first chair thought of that is magnificent and wonderful.” jam sessions at the Blue Note for money. with the Regional and All State Jazz Band, As stated, that trip back to New York in the That’s until he crossed paths with Charles received a special citation for Outstanding late ’90s was a mixed blessing. After working for Lloyd, who was looking for a new drummer, and Musicianship from the International Association a few years, Harland confesses, “I was at a low knew Harland was somebody to pay attention to. of Jazz Educators and happened to meet Wynton point and a high point in my life: I was supposed But we’re getting ahead of the story. Marsalis during a workshop. Marsalis encour- to be going out on the road with Terence. My son aged the young high-schooler to study in New had just been born, and my wife and I moved out or Eric Harland, as with everyone, there’s a York City, where he received a full scholarship to Pennsylvania to buy our first home. But it was backstory that goes back even further. “My to attend Manhattan School of Music. His for- all on the whim that all these gigs were supposed Finterest in jazz goes back to when I was a child mal studies (thus far) were capped off at Houston to come in. And then none of them came in. I watching my uncle—who’s a great trumpet play- Baptist University, where he studied theology was spending my savings, and we were thinking er and singer—listen to his old jazz record collec- and became an ordained minister. More recently, as long as we can make the mortgage, we’ll be tion,” the Houston native recalls. DownBeat readers may know him as the drum- all right. Then my car got repossessed that year.” “But playing drums goes back even fur- mer who’s won the Rising Star award in the mag- That year was 2001. ther: There’s a story of my grandmother actu- azine’s Critics Poll the past three years. At one of those late-night Blue Note jams ally noticing me beating on the pots and pans Harland attended, Charles Lloyd happened to in my mother’s kitchen at the age of 2,” says aking a break from rehearsals with the stop by. About a year later, in the fall of 2002, Harland, referring to a family filled with -pi SFJAZZ Collective recently, the busy Harland got the word that Lloyd wanted to play ano players. “My grandmother encouraged THarland gives you the sense that the conversation with him and was asked to join and my mom and dad to get me into drum lessons you are having with him is all there is. So much Robert Hurst in his band. ’cause she saw the ‘gift,’ as they like to put it; of our talk centers around the idea of leading and And the rest, as they say, is history. meaning something that actually defined me playing with others, especially with members of The conversation naturally heads toward the

44 DOWNBEAT MAY 2011 subject of mentors. Lloyd, for one, seems ob- where everything should go. He uses it as a sense with. Dave Holland, he’s like a metronome, a vious. “He definitely is,” says Harland, but he of being able to understand where you are via the time machine. And the way that he orchestrates pauses and then adds, “I’ve always been a lon- vehicle of music. and writes his music is different from the way er. I pull my influences from everybody. Part “You don’t learn rhythms to just show them I’m used to. Dave is really taking chances, mu- of what makes me me is that I don’t really give off,” Harland continues, speaking of his expe- sically—the shapes and the odd meters, and over to people that well. I embrace people but I rience with Hussain. “You learn rhythms so those transitions. As a player, with Dave, because don’t change who I am because of another per- you can communicate with everyone no matter you’re not used to it, it starts to shape your play- son. Sometimes people, no matter what’s going where they are, musically. You know instinctive- ing in different ways because you start to listen on, they try to fit into what’s going on, they try ly, because you have an understanding of where differently, you realize different opportunities, to change their center to fit into what’s happen- they are. And that comes through experience. different rhythmic approaches to the music. And ing. I’ve never been that kind of person. I always That’s something that he and Charles both have. another thing: He’s such a grounded player, he’s like to have my feet on the ground and float at “Betty,” he recalls, “she taught me a lot so rooted in his sound and his rhythmic concepts. the same time. about being in a band, going with the dynam- That makes it easy to play with him.” “I consider those characteristics of a person ics of the band. When you’re playing with a Harland’s appeared on more than 80 record- that I really relate to, that I feel I want to be more singer, the singer doesn’t have to be something ings. Of those, 18 are with Terence Blanchard like,” he goes on. “In that way, like Charles, Betty that’s different from the instrumentation of the doing motion picture scores. “Terence is such a Carter, even Terence Blanchard. With Charles band. The voice is the first original instrument soulful guy,” says the composer/drummer. “He it’s his centeredness, being a spiritual person and that we ever had. The way she interpreted her has such a big heart and big spirit. His thing is being free at the same time. He’s created a life for voice within the band, she inspired us so that also about shaping the music, also about invok- himself, where there’s complete surrender to the we couldn’t just overplay her, we had to swing ing the emotions of the listener and taking them universe but at the same time he can function as together, we had to flow together, we had to get on an experience within the music.” Another a normal person in everyday life. He’s like a nice the dynamics together at the same time. She great talent and influence has been McCoy hybrid. I like that.” taught me all about shapes, how to shape the Tyner. “He took me back to the motherland,” Another influence is tabla master Zakir music, the highs and lows, how it moves from Harland beams. “It’s with his sound and articu- Hussain, a bandmate from another of Lloyd’s one place to another, how to be effective, and lation, but at the same time the cross-references groups. “Zakir represents the infinite possibili- truly listen to each other.” of his rhythms and the counterpoint within his ties of rhythms,” says Harland. “The first time I Shifting gears, Harland is on a roll as he runs playing. He has a whole symphony within his fin- played with him was on that live recording called down the list: “Greg Osby taught me that every- gers. And when you hear that as a drummer, it Sangam [ECM]. We started playing the sound- thing doesn’t have to fit into one structure. He changes the way you play, because you start to check, started playing some grooves. It was mag- likes to take chances, play over the bar lines, realize, ‘Wow, why shouldn’t I be doing that with ical from beat one. Even though he has such a come up with these weird rhythmic ideas, the my instrument?’” knowledge of rhythm, he doesn’t use it to dictate way he writes the kind of tonalities that he deals Maybe he is. DB

MAY 2011 DOWNBEAT 45

Masterpiece ★★★★★ Excellent ★★★★ Good ★★★ Fair ★★ Poor ★ Inside 

55 I Jazz 56 I Blues 59 I Beyond 61 I Historical 67 I Books

Eric Reed t es y er i c reed cour

Eric Reed that you can’t get at Monk’s music anced and buoyant, suggesting re- ing backward and forward. The Dancing Monk except through his own roadmap of serves of virtuosity worthy of Oscar He ends with two of Monk’s Savant 2108 intensions as implied in the tunes. Peterson. One senses he could take most famous pieces. “’Round ★★★½ Alas, it’s a straw argument, as he the music to many places, but most- Midnight” is the tune to immediately concedes. Monk’s ob- ly chooses not to, preferring propor- graduate from jazz standard to the In this modest but rewarding trio jectives are beside the point here. tion to surplus. Toward the end he American Songbook. Reed, who re- set, Eric Reed gives us an engaging These are “interpretations,” an- plunges into the bass clef, but finds corded it in 2002 on Savant, strokes —smooth, soft, swerable to Reed’s intentions, not no exit strategy so opts to merely it with soft, carefully strung swirls often urbane, sometime punchy. It’s the composer’s. fade out. “Eronel” is another simple of single-note meditations that Monk the composer, not the soloist, In revisiting Monk for the first but bright line from the Blue never crowd or overinflate. “Blue that’s his main concern. So there’s time since his Blue Monk CD five Note period that Reed slides on and Monk,” a blues theme that was actu- little of the tentative amble of a years ago, Reed offers nine Monk off the beat with skill. ally written by Charlie Shavers with Monk performance in which notes tunes (including reprises of “Blue “Light Blue” is interesting for variations in the last eight bars, is often spawn an awkward tension in Monk” and “Light Blue”), plus McClenty Hunter’s skillful brush perhaps the most Monkish, played each other’s presence. one swinging 12-bar homage of his work against a slow tempo, the tru- in terse spurts that acquire much of Reed, who is one of the many own, “The Dancing Monk.” est test of a drummer’s time in- the uplift and a few of the voicings talented players to spin off from Not all Monk tunes conform to stincts. Reed effectively doubles the of gospel music. Wynton Marsalis and the Lincoln his trademarked quirk factor, and tempo and marks his course plunk- —John McDonough Center circle, poses a curious most were conceived in the stan- ing out quarter notes and some- The Dancing Monk: Ask Me Now; Eronel; Re- thought in his notations. “Monk’s dard song form. “Ask Me Now,” times filling in with connecting ar- flections; Light Blue; Ruby, My Dear; Pannonica; Ugly Beauty; The Dancing Monk; ’Round Mid- playing and writing are essential- which he recorded in the early ’50s, peggios, sometimes not. The effect night; Blue Monk. (49:31) Personnel: Eric Reed, piano; Ben Wolfe, bass; ly the same,” he writes. That seems is as straightforward as a Broadway is an absorbing interplay of conflict- McClenty Hunter, drums. clear enough. But his suggestion is show tune. Reed’s touch is nu- ing intension, simultaneously lean- Ordering info: jazzdepot.com

MAY 2011 DOWNBEAT 47 Donny McCaslin Perpetual Motion Greenleaf Music ★★★½

Donny McCaslin is an excitable tenor. He ex- powder-keg group. presses his excitation not by means of volatil- On the first half of the record, ity or force, rarely in screaming-peaking arcs, drummer Antonio Sanchez adds but as an irrepressible outpouring of ideas, his nimble, attentive touch, giv- sometimes flowing with such force that they ing things a billowy, rolling seem to back up, tripping on each other, then feel. On the title track and “Five gushing forth giddily. Situate that activity in Hands Down,” McCaslin builds the middle of a burbling jazz-funk fusion en- his solos brilliantly, likewise semble with more than enough adrenaline of “Claire,” its Monkish little fig- its own, and you’ve got Perpetual Motion. ure emerging out of the skitter- McCaslin’s ninth outing under his own ing improvising, an abstract field name succeeds at providing a context both that suddenly yields an image. A propulsive and polished. The composi- tempo shift, “Firefly,” introduces tions are slick and sophisticated, saxophone an atmospheric ballad with humming electric on “Impossible Machine”—no solo, just fill- and electric piano converging for an ur- backdrop, tender tenor and Adam Benjamin’s ing out the melody (and co-penning the tune). bane cocktail. Sometimes the charts seem acid-etched Rhodes. The program chang- The program ends with an acoustic surprise, at odds with the energy of everything else, es in a marked way with a switch of drum- Uri Caine alone playing his “For Someone,” a Uri Caine’s deeply nasty Rhodes riff, like mer, as Mark Guiliana brings the hard funk caressing coda and smart way to bring all the the one on “L.Z.C.M.,” giving way to a line with explosive backbeat. On “Memphis disc’s motion to a rest. —John Corbett that’s weighted differently—lighter, that is— Redux,” the change registers in Lefebvre’s than Tim Lefebvre’s burping, slurping bass. Bootsy Collins-esque bass, which stops for Perpetual Motion: Five Hands Down; Perpetual Motion; Claire; Firefly; Energy Generation; Memphis Redux; L.Z.C.M.; East Bay But the whole thing holds together remark- a tart taste of wah, and the tandem plugged/ Grit; Impossible Machine; For Someone. (69:47) Personnel: Donny McCaslin, tenor saxophone; , alto ably, not only providing McCaslin an ener- unplugged piano, deftly juggled. Alto saxo- saxophone (9); Adam Benjamin (1–7, 9), Uri Caine (4, 8, 10), Rhodes, piano; Tim Lefebvre, electric bass; Antonio Sanchez (1–5), getic palette for his spectacular playing, but phonist David Binney, who produced the re- Mark Guiliana (6–9), drums. also prompting impressive interplay with the cord as he has other McCaslin outings, joins Ordering info: greenleafmusic.com

Paolo Fresu/A Filetta Corsican Voices/ Daniele di Bonaventura Mistico Mediterraneo ECM 2203 ★★★

By now everyone should know that Paolo atmospherics and engaging art. Fresu is an exceptional trumpeter. A 2007 Occasionally, the music takes disc with Carla Bley’s Lost Chords spotlight- on an aura of prayer. The flow ed the Italian improviser’s signature poise as between “Figliolu D’Ella” and much as it did the American composer’s sub- “Gradualis” feels like a hymn, lime pen. And last year Fresu’s splendor was set to assuage any pain the listen- displayed in an even more revealing duet with er has ever absorbed. Other mo- Ralph Towner, a date that illustrated just how ments pulse with proclamation. deep a dreamy ECM program could be. It’s Sung in Latin, the opening “Rex good that Fresu’s horn had so much elbow Tremendae” floats on an azure room in those situations, because its plush cloud, but allows the singers to tone and sage lines aren’t the main focus of percolate. “Da Tè A Mè” is a cas- this new collaboration—more like icing on cade of vocal harmony that con- the cake. jures both a liturgical vibe and The meat of the program comes from the rich voicings of doo-wop harmonies. with the Hilliard Ensemble—but Mistico Jean-Claude Acquaviva’s A Filetta ensemble, Fresu and di Bonaventura judiciously Mediterraneo’s singularity is unmistak- a septet of Corsican singers who have made a weave their lines through the voices, the able. That, however, doesn’t mean I didn’t jot name for themselves by tipping the hat to tra- trumpeter with poignancy and his “Nusrat Fateh Ali Kahn blended with Music dition while sticking their feet in the door of mate with cosmopolitan elan. Both musicians For Airports and a Ben Neill fantasia” into modernism. A fetching chorale that lines its are bent on milking every drop of lyricism my notebook while basking in its radiance. bottom for plenty of sensual girth, the group’s from the disc’s themes. “Corale” finds them Here’s to inspired confluence. —Jim Macnie whispers and wails are what your ear follows alone together, muted and hushed, respective- Mistico Mediterraneo: Rex Tremendae; Liberata; Da Tè A Mè; Le as this somewhat eerie, rather exquisite pro- ly. Between the chanting (“Le Lac”) and the Lac; Dies Irae; Gloria; Corale; La Folie Due Cardinal’ U Sipolcru; gram drifts along. With Italian squeezebox droning (“U Sipolcru”), the music’s seductive Scherzi Veranili; Figliolu D’Ella; Gradualis; Sanctus. (56:31) Personnel: Paolo Fresu, trumpet, flugelhorn; Jean-Claude Acqua- maestro Daniele di Bonaventura in cahoots, temperament is key. Some ECM artists are viva, Paul Giansily, Jean-Luc Geronimi, José Filippi, Jean Sicurani, Maxime Vuillamier, Ceccè Acquaviva, vocals; Daniele di Bonaven- the group creates a blend of bandoneon, brass skilled at such matters—there are parallels tura, bandoneon. and polyphony that makes for both enchanting between this record and Jan Garbarek’s work Ordering info: ecmrecords.com

48 DOWNBEAT MAY 2011 HotThe Box CD  Critics  John McDonough John Corbett Jim Macnie Paul de Barros

Eric Reed ★★★½ ★★★½ ★★★½ ★★★½ The Dancing Monk

Donny McCaslin ★★ ★★★½ ★★★ ★★★ Perpetual Motion

Paolo Fresu/A Filetta Corsican Voices/Daniele di Bonaventura ★★ ★★★½ ★★★ ★★★ Mistico Mediterraneo World Saxophone Quartet Yes We Can World Saxophone Quartet Jazzwerkstatt 098 ★★★ ★★★★ ★★★½ ★★★★ ★★★★ Yes We Can Critics’ Comments  After all the guest artists and special projects, Yes We Can is, refreshingly, the straight brew— bristling, old-school four-sax groove, the way this Eric Reed, The Dancing Monk band first came on, so many years ago. OK, so it’s Resolutely un-Monk-like, with buffed edges and more brilliant curves than corners, Reed’s light-hearted pro- really only half the original quartet—Bluiett and gram is peppered with sweet imaginative intrigues, surprising little adjustments and shifts of weight. Murray—but what better place for James Carter? —John Corbett His raw sound and raucous nerve seem made for Sometimes I think Monk should be delivered with all the prickly parts intact, but this trio makes a case for this quartet, so much so it’s a wonder he hasn’t having a jeweler’s eye when it comes to beveling. They turn the corners of “Ask Me Now” and “Ugly Beauty” with an elan that brings a personal perspective to the table. And on “Light Blue” they’re able to split the dif—the joined before. Kidd Jordan thought the whole best of both worlds. —Jim Macnie project up in the first place, so he’s emeritus. Reed has always struck me as self-conscious, but on this quite smart take on Monk the romantic, Reed From Bluiett’s first, popping, telegraphed vamp seems to have put ego aside. “Light Blue,” “Ruby My Dear,” “The Dancing Monk” (very strong solo) and of “Hattie Wall” to the reprise of same, this al- “’Round Midnight” stand out, and so does drummer McClenty Hunter. —Paul de Barros bum is a joyous, saxophone bath. I wish, given its Donny McCaslin, Perpetual Motion celebratory nod to President Barack Obama, that it could have come out in the flush of exhilaration Loaded with heat, but leaves me a bit in the dark. McCaslin, clearly skilled, seems persuaded that raw stac- cato shouts equal rooted emotion and therefore content. But if you look for emotion as an outcome of content, that followed the election. But let’s take it as a re- this one may leave you wondering what all the shouting is about. “For Someone” is a placid non-sequitur. minder of that moment, and an alert that we need —John McDonough to hold on to what we’ve got. I find myself following his horn lines rather than absorbing the band as a whole. Don’t know if that means he’s As for musical moments: How about the spit- red hot, the guys are only mildly connecting, or—most likely—the tunes are on the so-so side. Whichever, ting duo on Jordan’s “River Niger,” Carter’s vir- there are thrills in store if you find yourself focusing on the boss’s ax. —Jim Macnie tuoso soprano on the pretty title tune, Murray’s When McCaslin chews ferociously into his solo with drums-only accompaniment on “Claire,” he sounds like the man to take up where Sonny Rollins left off. His steel-trap mind never loses the thread. But this album is tour de force of raw, wide vibrato on “The God all over the place. I wish he’d gone all-out with the out-electronic vibe. Some terrific keyboard solos from Uri Of Pain,” Bluiett’s chopsy B-flat clarinet, with a Caine and Adam Benjamin. —Paul de Barros pad-popping interlude on the eventually spiritu- Paolo Fresu/A Filetta Corsican Voices/Daniele di Bonaventura, Mistico Mediterraneo al-sounding “The Guessing Game,” and the cra- zy, chirping sing-song of Murray’s “Long March I hear a choral mix of “new age” exotica, medieval mysticism and world music, warmed with di Bonaventura’s to Freedom,” with its cool ending chords? The touches of Parisian romance. As a showcase for Fresu, though, it confines him to a dreamy, emotionally clois- tered stoicism—one so unceasingly soothing and contemplative, the listener is lulled into a Hearts-of-Space only track that lost me was Murray’s diffuse stupor. —John McDonough “Angel Of Pain,” though the coda’s cute. But Clearly aiming at the same zone as Jan Garbarek’s lucrative collaborations with the Hilliard Ensemble, this Bluiett’s the hero here, with his infectious vamps project is more successful, less precious, pitting Fresu’s sumptuous horn against sun-bleached Corsican and clarinet majesty. polyphony, girded by Bonaventura’s tart squeeze box. Reverb and electronics are an occasional distraction. —John Corbett Eighties nostalgia has overtaken pop music, Blissful vibe. The moving parts of the vocal polyphony are sometimes breathtaking, but a lot of this is a bit so it’s difficult not to be swept up with the same bland, rhythmically, and Fresu himself plays very little of interest. —Paul de Barros kinds of feelings here, remembering how thrill- ing a beacon—esthetically and politically— World Saxophone Quartet, Yes We Can this band was when it first came to life. But if A freer, harsher, more astringent and squawky WSQ. The Carter effect perhaps. And a point of pride for the caterwauling interludes and quick-switches Jordan, who in the notes pointedly rips music people actually pay money to listen to. Not to worry here. As the from intensity to romance aren’t new anymore, joke says, that’s why it’s free-jazz. Yet, a fierce intent behind its swirling, collective virtuosity. Less grace, more they’re still really, really good. grit this time. —John McDonough —Paul de Barros Strongest lineup since the original. Kidd Jordan gives WSQ a waft of old-style tonk, harder and grittier than before, but there’s still the theatrical panache that made their first decade such a delight. Carter’s a blatant Yes We Can: Hattie Wall; The River Niger; Yes We Can; The God show-off, but he sure does bring the goods. —John Corbett Of Pain; The Angel Of Pain; The Guessing Game; Long March To Freedom; Hattie Wall (reprise). (68:28) Their heyday may be in the rear-view mirror, but the exclamation of their squawk still imparts a kind of joy that Personnel: , baritone saxophone, clarinet; Kidd Jor- isn’t often heard in jazz these days. And the gnarled grace of their freedom swing still has a rather singular dan, alto saxophone; David Murray, tenor saxophone, bass clarinet; momentum. Hats off to Kidd and Carter for integrating so seamlessly. —Jim Macnie James Carter, tenor saxophone, soprano saxophone. Ordering info: records-cd.com

MAY 2011 DOWNBEAT 49 Peter Schärli Trio featuring Ithamara Koorax O Grande Amor TCB 03172 ★★★★½

So often, singers function as featured entities, supported by but separate from the instrumen- tal ensemble. This pairing of Brazilian singer Ithamara Koorax and the trio of Swiss trumpeter Peter Schärli is a rare instance of a voice working as another instrument. Koorax is singing songs here, to be sure, but her work is always within the instrumental context. As a result, this a quiet, un- assuming gem of a recording. Koorax and Schärli share simplicity of ex- palpable body to his tone. He might not be as pression. That’s not to say what they do is naive rhythmically ornamental as Koorax, but the Chris Dahlgren or rudimentary in any way. Her ethereal voice— contrast of his minimalism is a nice counter- Mystic Maze & Lexicon singing in Portuguese throughout—packs much voice to hers. jazzwerkstatt 088 emotional implication in it. Likewise, his open Pianist Hans-Peter Pfammetter is another ★★★½ trumpet—sounding fat enough to be taken for a minimal dynamo. Hammering one- and two- cornet—always finds the shortest route to musi- finger percussiveness on “Sandalia Dela” deft- Chris Dahlgren’s Mystic Maze & Lexicon can be cal and emotional communication. With a voice ly hints at the Bahia carnaval without having to heard as a throwback to the times when jazz scarcely larger (though an octave lower) than replicate it. He never overplays and instinctive- and poetry had their biggest splash. That 1950s Blossom Dearie, Koorax authoritatively conjures ly leaves holes for Schärli to fill. This ensemble, and early ’60s era has stood the test of time. In compact majesty on the melodically beguiling and its collection of songs, is an inviting combi- Dahlgren’s case, it may not have anything to do “Setembro” and sings the rhythmic romp “Zum nation. —Kirk Silsbee with recreating an era. Instead, the vibe or atti- Zum” with no discernible fuss. Then she floats O Grande Amor: Fotografia; Sandalia Dela; Setembro; Wedileto; tude seems more contemporarily dissonant even O Grande Amor; Deixa; Para Machucar Meu Coraçao; Zum Zum. the title ballad with lighter-than-air musical pil- (46:00) as it carries with it a certain, occasional swing. Personnel: Peter Schärli, trumpet; Hans-Peter Pfammatter, piano; low talk. This woman has manifold ability. Thomas Dürst, bass; Ithamara Koorax, vocals. “A Mystic Maze,” which starts the program, Schärli has a medium-dynamic attack and Ordering info: tcbrecords.com finds the leader reading about Bela Bartok, his back-in-the-mix voice surrounded by an equal- ly laid-back, medium tempo amidst a somewhat The O’Farrill Brothers busy arrangement. Giant Peach Easing into the program, Dahlgren (who Zoho 201101 doubles on bass) and group veer leftward for ★★★ “Repetition Unit 1” and “Painless Dentistry No. 1.” The angular lines, the loose, jumbled rhythms Courting the dynamic feel of a much larger, and squished juxtaposition of notes provide a cu- much more experienced lineup, the O’Farrill rious mix of spontaneity and avant-garde classi- Brothers’ music echoes their father Arturo’s cism. The forms are mostly sections, also sug- tendency to swing hard while keeping the gesting a pretext for organization, but the soloists vibe light, airy and warm. That said, this can get weird and wooly, as reedist Gebhard is hardly a case of coattail riding. Adam Ullmann and drummer Eric Schaeffer do O’Farrill, 16, and his 19-year-old brother, throughout the (first) “Dentistry.” Zack, imbue their debut album together with To recall poetry and jazz here is to minimize a mix of highly structured, catchy originals Dahlgren’s overall approach, which seems to be (most of which are penned by Adam), plus more about group ensemble and passion. “Great a lukewarm arrangement of ’s Desires Of The Modernists” rivets specifically “Stablemates” that opts for a fade-out rath- because it takes the technology involved in using er than the reverberating wind-down on the voices and almost turns the material into a forced original recording. joined by unison horns before the melody opens march. On “Reminiscences On The Fourth A Latin rhythm sneaks into the etude “The up and then out into a confident trumpet solo. Quartet Of Bela Bartok,” the famed composer is Composing Process” as the piano—and occa- Eventually, a string-bending bass accents the referred to literally, with Dahlgren’s eerie voice sionally, the trumpet—sounds out the struggle of oddball, shuffling rhythm. and the spare, probing musical accompaniment creating new work. Zack’s drum chops and the The high level of playing and composing dis- suddenly miles away from anything jazz-related, clever interplay between horns and the rhythm played here would be commendable for artists of the music more about ideas and conceptions and section take centerstage on bassist Michael any age; that the leaders are still in their teens less about the body. —John Ephland Sacks’ “Side Street,” which transitions from suggests something truly great lies ahead. Mystic Maze: A Mystic Maze; Repetition Unit 1; “Painless Den- tistry” No. 1; Great Desires Of The Modernists; Reminiscences On snappy to funky to sultry with ease. —Jennifer Odell The Fourth Quartet Of Bela Bartok; It Was As If Two People Were But the title track displays the most creative Improvising Against Each Other; Mesto; “Painless Dentistry” No. Giant Peach: Stablemates; Face It!; Giant Peach; Side Street; The 2; The Composer Promenading The Keyboard In His Boots; Bitter flexibility. After drummer Zack sets the tone Composing Process; Happy Hours; Crazy Chicken; Afterwalk. Champagne; Repetition Unit 2; “Painless Dentistry” No. 3. (55:13) (55:42) Personnel: Antonis Anissegos, piano, Wurlitzer, sampler, voice; with a tense, brush-heavy pattern, the somewhat Personnel: Adam O’Farrill, trumpet; Zack O’Farrill, drums; Livio Chris Dahlgren, bass, voice narration; Eric Schaeffer, drums, percus- Almeida, tenor saxophone; Zaccai Curtis, piano; Michael Sacks, sion, voice, glockenspiel sampler; , tenor and so- macabre Roald Dahl story is referenced by an bass. prano saxophones, bass clarinet; Christian Weidner, alto saxophone. appropriately sinister piano ostinato, which is Ordering info: zohomusic.com Ordering info: records-cd.com

50 DOWNBEAT MAY 2011 McManus matches Hemingway’s flexibility, turns on her self-devised electric instrument. shifting from looming formations of rocky noise —Bill Meyer to a bracing, pointilistic spray, and the drummer Inbetween Spaces: Motion And Thought; Stillness And Flow; seems to be keeping several sound-streams in ac- Sustain And Footwork; Deft And Bounce; Shaken And Spill Stars And Treetops. (67:03) tion at once. They may be a duo, but their music Personnel: Ellery Eskelin, tenor saxophone; Gerry Hemingway, never sounds empty. The record with Kim, who drums, percussion, voice. is active in multimedia art and Korean classical Pulses: Double Portraits; Windtails Rain Dance; Pail Blue Dot; Dei- mos & Phobos; Saturn’s Ring; Quick Step; Return; Pulses. (62:41) music as well as improvisation, recalls the pio- Personnel: Jin Hi Kim, komungo, electric komungo; Gerry neering cross-cultural recordings that American Hemingway, drums, percussion, voice. oud player Sandy Bull and jazz drummer Billy Below The Surface Of: The Night Ocean; The Constants; The Glass Lake; The Rush To Get There; The Dry Land; The Distur- Higgins made in the ’60s. Hemingway focuses bance; The Amber Field. (60:08) Personnel: Gerry Hemingway, drums, percussion, voice; Terrence more on groove and momentum here, propelling McManus, electric guitar, nylon string stereo guitar. Kim’s tart acoustic runs and startlingly bluesy Ordering info: gerryhemingway.com

Ellery Eskelin & Gerry Hemingway Inbetween Spaces Auricle Records 11 ★★★★ Jin Hi Kim & Gerry Hemingway Pulses Auricle Records 10 ★★★ ½ Terrence McManus & Gerry Hemingway Below The Surface Of Auricle Records 9 ★★★½

The three latest releases from Auricle, drummer Gerry Hemingway’s label, make it clear that he’s at the height of his musical powers, playing with immense imagination, precision and grit on each of these duets. For decades Hemingway has kept up affiliations with ensembles on both sides of the Atlantic, playing chamber improv with Georg Grawe and Ernst Reijsiger, electron- ics with Thomas Lehn and swinging jazz with Ray Anderson and Mark Helias. Now he’s left to his own resources, not only releasing but re- cording and mastering his own music. Living in Switzerland doesn’t make it any easier. His solu- tion is to subcontract with a company that burns the music onto CDRs and packages it according to his specifications as the orders come in. And Hemingway is one hell of an engineer. Each re- cord captures not only the sounds, but a palpable sense of the space between each musician. Hemingway and Ellery Eskelin have worked together for years, and it shows. Each man plays with enormous trust in the other’s ability to make sense of whatever he does, and that trust is well placed. Even at its most inward-look- ing, this music never feels precarious or private. Hemingway’s accompaniment runs the gam- ut from sprightly, dancing brushwork to glint- ing, elongated electronic tones; Eskelin ranges from marvelously antique-sounding figures to pure-sound ruminations, often played at low vol- ume. The partnership with McManus grew out of their joint association with Kermit Driscoll.

MAY 2011 DOWNBEAT 51 Pierre Favre Ensemble Le Voyage Intakt 186 ★★★ ½

Versatile and precise, Pierre Favre’s drum- ming makes as much sense in a hushed chamber setting with accordionist Dino Saluzzi as it does in a volcanic duet with pianist Irène Schweizer or an international percussion ensemble. But the Swiss septuagenarian’s instru- ment on this date is the band, and he often plays it well. The music is carefully charted and immaculately performed, so that the lu- minous harmonies at the beginning of “As Far As That Goes …” radiate like the first Jacques Coursil rays of the sun rising from behind a moun- Trails Of Tears tain, and “Anapana”’s intricate contrapuntal reed the music that often sounds quite like that of a Sunnyside 3085 figures flow effortlessly over Favre’s sprightly Hindustani tablas player without ever sounding ★★ ½ brushwork. He knows how to use his resources exotic for exoticism’s sake. But the reeds don’t sparingly, letting most of the horns drop out dur- get as much solo time as they deserve. Favre’s Jacques Coursil anchors Trails Of Tears with a ing “Akimbo” so that Philipp Schaufelberger’s melodies, while fluently performed, sometimes weighty theme: the expulsion and genocide tart guitar can exchange succinct phrases with feel overly ornate. This is a strong and enjoy- of Native Americans and Africans that taints Samuel Blaser’s dopplering trombone. able album, but it still leaves the listener wanting American history. For the most part, he’s effec- This points up one asset that Favre uses per- more. —Bill Meyer tive at evoking feelings of despair and physical haps too stingily on this recording—the soloists violence. Le Voyage: Les Vilains; Vreneli Ab Em Guggisberg; One For Maka- in his band. Schaufelberger shines throughout, ya; Akimbo; As Far As That Goes…; Anapana; Attila est-tu là?; Trails Of Tears proceeds with the opening Wrong Name. (46:40) perhaps in part because of the tonal and affec- Personnel: Claudio Puntin, clarinet, bass clarinet; Samuel Blaser, “Nunna Daul Sunyi” setting the somber mood as tive differences between his dark sound and trombone; Philipp Schaufelberger, guitar; Beat Hofstetter, soprano Coursil blows out a pithy melody on the trum- saxophone; Sascha Armbruster, alto saxophone; Andrea Formenti, the bright voicings of the horns. And the lead- tenor saxophone; Beat Kappeler, baritone saxophone; Wolfgang pet, distinguished by his arid tone and fluttering Zwiauer, bass guitar; Banz Oester, bass; Pierre Favre, drums, er not only gets some solo time, which he uses percussion. embellishments, against Jeff Ballard’s drab key- well, but maintains a running commentary upon Ordering info: intaktrec.ch board chords. and/or José Zébina punctuate the mood with sudden tom rolls and cymbal crashes while Al Silva and/or Alex Sandra Booker & Friends Bernard add nice counterpart voices on acoustic When Love Happens: The bass to Coursil’s sorrowful melody. Loving Day Concert “Nunna Daul Sunyi” offers an enticing set- The Booker Group 1101-4 up, but Trails Of Tears gets too fascinated with ★★★ exposition and pays little attention to discern- ible narrative arc. The following song, “Tagaloo, One of the ongoing mysteries of the Southern Georgia,” bears so close of a resemblance to California jazz market is the absence of a rep- “Nunna Daul Sunyi” in mood and execution that resentative recording commensurate with the it goes by nearly unnoticed. The ambiance con- true measure of vocalist Sandra Booker’s talent. tinues on “Tahlequah, Oklahoma” as Coursil’s She has a full, sure alto voice, fine phrasing and a epigrammatic melody pierces through a fog of confident delivery. Her forte passages (delivered oppressive keyboard chords. sparingly, for the most part) are a reminder that Things start to shake up on “The Removal” she could easily have been a musical theater diva. as the ensemble engages in heady dialogue with But Booker enjoys riding a rhythmic groove and and Mark Whitecage joining in sidesteps melodrama. Easy swing and taste in the fray with their textual mastery on the clarinet performance have always informed her singing. and alto saxophone. All of the musicians become She staged this recorded concert to com- of aimlessly bob around. She begins strong (with more concerned with textural and sonic explora- memorate the 1967 Supreme Court decision to “On A Clear Day”) and calls the meeting to or- tion rather than conventional melody. Yet it con- allow inter-ethnic marriage. Booker couldn’t der midway with a bracing “Amazing Grace,” veys the theme wonderfully, especially Bobby have chosen a better musical director than pia- yet her own songs are eclipsed. Let’s hope that Few’s piano jabs and glissandos. While Coursil nist/arranger Tamir Hendelman. His playing is Hendelman midwifes Booker’s next album, the expresses the theme’s emotional intent, Trails Of exquisite and though uncredited, he probably one California audiences in particular are still Tears seems more of an exercise in building sus- wrote the gorgeously understated string charts. waiting for. —Kirk Silsbee pense than moving into tension-and-release ter-

Booker penned most of the songs here, like When Love Happens: The Loving Day Concert: On A Clear Day ritory that invites repeated listening. A more ex- (You Can See Forever); People Alone; Over And Over Again; Mel- “When Love Happens,” a bit of a centerpiece ody Is You; What Made God?; Amazing Grace; Somehow; Spring pansive followup is in order. —John Murph to the program. Like the disc’s other composi- Song; Café Du Monde; Laíssez Les Bon Temps Rouler. (46:87) Trails Of Tears: Nunna Daul Sunyi; Tagaloo, Georgia; Tahlequah, Personnel: Sandra Booker, vocals; Brian Swartz, trumpet; Dale Oklahoma; The Removal, Act I; The Removal, Act II; Gorée; The tions, it points out pitfalls that untrained writ- Fielder, tenor saxophone; Tamir Hendelman, piano, Larry Koonse, Middle Passage. (39:57) guitar; John Leftwich, bass; Robert Perkins, drums (2–4); Estaire Personnel: Jacques Coursil, trumpet; Michael Whitecage, alto ers usually encounter: Her lines are excessively Godinez, percussion, vocals (4, 8–10); Paul Cartwright, 1st violin; saxophone; Perry Robinson, clarinet; Jeff Ballard, keyboards and Reiko Nakano, 2nd violin; Miguel Atwood-Ferguson, viola; Ryan Fender Rhodes; Bobby Few, piano; Alex Bernard, double bass; wordy, syllables suited to head tones are pitched Cross, cello. Alan Silva, double bass; José Zébina, drums; Sunny Murray, drums. low (and vice versa) and the melodies just kind Ordering info: whenlovehappens.com Ordering info: sunnysiderecords.com

52 DOWNBEAT MAY 2011 Ricardo Gallo’s wildly rollicking “La Pina Blanca.” Tierra de Nadie Gallo is in a more extroverted mode across The Great Fine Line the board on Resistencias, the latest album Clean Feed 209 from his long-running Bogota-based quar- ★★★½ tet, showing off his rhythmic electricity from the start with the crackerjack bounce of Ricardo Gallo Cuarteto “Bailemesta.” Even with a kit drummer and a Resistencias percussionist, it’s Gallo who steals the show La Distritofonica 024 with his blazing, buoyant attack. Pieces like ★★★ “Inseguridad Democratica” show a meditative side, but the bulk of the album taps into Latin On the debut album by his New York quintet and South American rhythms, although the Tierra de Nadie, Colombian pianist Ricardo band never plays any of them straight, instead Gallo took his title from novelist Julian Cortazar twisting the grooves to fit the furious intensity as a metaphor for the dissolving boundaries be- of Gallo’s writing. Even a piece like “Kitchen tween disparate musical traditions. The music Kuartet Kumbia,” with the leader switching to bears it out not because of the leader’s nation- original compositions emphasizing alert in- melodica and Juan Manuel Toro playing snak- ality, but because he renders it irrelevant; Gallo terplay, multi-linear improvisation and rapid ing electric bass hardly seems concerned with feels no compulsion to drop in glib cumbia ref- shifts in density and tone. The tunes eschew setting the dance floor on fire even though the erences. Over the last four years Gallo has be- facile structures, and nearly every piece un- performance is plenty burning. come increasingly visible in New York—most folds as a episodic narrative with each subse- —Peter Margasak recently working in a quartet led by wunder- quent passage or solo materializing naturally The Great Fine Line: Intruders; Stomp At No Man’s Land; Con- kind trumpeter Peter Evans and heard on the al- from what preceded it. Gallo’s got a wide ro- spiracy; Three Versions Of A Lie; Hermetismo; The Intervention; South American Idyll; Improbability; La Pina Blanca. (61:56) bum Live In Lisbon, also on Clean Feed—but mantic streak, injecting his compositions and Personnel: Ricardo Gallo, piano; Mark Helias, bass; Ray Ander- son, trombone; Dan Blake, soprano and tenor saxophones, Sa- he’s got no shortage of his own ideas. solos with a dark turbulence and a brooding toshi Takeishi, drums (1, 2, 4, 9), percussion (3, 5, 7, 8); Pheeroan akLaff, drums (5, 6, 7, 8). This project draws firepower from its vet- lyricism, but the music achieves an indelible Ordering info: cleanfeed-records.com eran lineup, especially the muscular yet lithe liftoff from his nonchalant polyrhythms, giv- Resistencias: Bailemesta; Inseguridad Democratica; Carola y bassist Mark Helias and the re-emergent trom- ing the music an elusive springiness without Pascual; Aurora Parcial; AIS; Kitchen Kuartet Kumbia; Iky; Viejo Presagio. (53:57) bone genius Ray Anderson. While everyone ever drawing attention to its rhythmic fierce- Personnel: Ricardo Gallo, piano, melodica; Jorge Sepulveda, drums; Juan Manuel Toro, double bass, electric bass; Juan David is accorded solo space, this is genuine ensem- ness. The album concludes ebulliently with a Castaño, percussion. ble music, with the arrangements for Gallo’s blast of post-New Orleans polyphony on the Ordering info: ladistritofonica.com

MAY 2011 DOWNBEAT 53 T.K. Blue Latin Bird Motema 57 ★★★ ½

Interpreting is a big business. Musicians from all over the jazz spectrum have issued a slew of tribute recordings, so it’s no sur- prise that alto saxophonist T.K. Blue, who rose to prominence playing with Randy Weston, has taken his shot at one of his major influences. Parker’s music is still so omnipresent that a lot of critics await releases like these simply to dress down every strange interpretation of this sacred music—and some recordings right- fully deserve it. What’s refreshing about Latin placing the melody in a very deliberate, nearly Bird, however, is that the tunes stand by them- straight, introduction before launching into dou- selves; Blue brings something new to old mu- ble-time for solos. The tune ends with a decelera- sic and is not simply a Bird clone. These are tion back to the original tempo. Parker’s melodies, but Blue has deconstructed Blue plays without a net on “He Flew Away the tunes and pasted them back together in a Too Soon,” his introspective tribute to Parker. format all his own. Though Blue’s soloistic style differs vastly from The songs span Bird’s career and are easily Parker’s, they both have a wide-open tone and a tailored to a Latin flavor. Lewis Nash, Willie soaring range. Blue spends a lot of time in his al- Martinez and Roland Guerro lock into a steady, tissimo register, but the playing is never forced. unchanging percussion groove, giving Blue and The playful “Buzzy,” with which Latin Bird re- trombonist ample room to explore gains its churning, danceable momentum, is a fit- the material. ting coda to a recording that establishes a new “Moods Of Parker,” a Blue composition generation of Bird songs. —Jon Ross

based on “Parker’s Mood,” is wholly original, Latin Bird: Chi Chi; Si Si; Visa; Bluebird; ’Round Midnight; Barba- with Blue’s melody veering off the original script dos; Steeplechase; Moods Of Parker; Donna Lee; He Flew Away Too Soon; Buzzy. (52:22) in a chromatic riff of the main theme before he Personnel: T.K. Blue, alto saxophone, flute; Steve Turre, shells, trombone; Lewis Nash, Willie Martinez, drums; Roland Guerrero, mixes in additional Parker motifs. Blue com- percussion; Theo Hill, piano; Essiet Okon Essiet, bass. pletely changes the architecture of “Chi Chi,” Ordering info: motema.com

Alon Nechushtan Words Beyond Buckyball Records 024 ★★★★

Israeli pianist Alon Nechushtan has recorded on John Zorn’s Tzadzik label with a klezmer proj- ect featuring his originals, nine more of which appear here. The company Nechushtan keeps with Dan Weiss and Francois Moutin, two high- ly sought-after sidemen, gives advance notice of his standing. “Muppet Shock” searches playful- ly for a television theme hook with driving en- ergy and acute punctuations. Weiss injects tee- ter-tot rhythms, and the three dice the beat with Like another expansive pianist, Michiel tenterhooks. Braam, Nechushtan revels in boundless eclecti- Nechushtan scatters gemstones behind cism. “Secret Short/Short Secret” is layered and Moutin on “A Different Kind Of Morning,” the forceful; “Entranced” is ecstatic rather than be- ride is thrilling, everyone is in step and bristling witched; “Heartbreakthrough” is resolved and with virtuosity and enthusiasm, the recording confident, and doesn’t lack flashes of poignancy hot and loud, Bad Plus-style. The leader’s left despite not playing for sympathy. hand gets funky on “Spinning The Clouds” be- Though, to my knowledge, this trio are not fore a benign middle section, then he stomps out well journeyed together, they share tremendous the riff from Sade’s “Smooth Operator” before simpatico. Nechushtan is a talent to watch, with a some nice a cappella counterpoint. “Dr Master surfeit of ideas, an unbridled spirit and bold, two- Plan” contains a Thelonious Monk-like percus- fisted sense of architecture. —Michael Jackson sive quality (as does “The Traveler”), a hint of Words Beyond: Muppet Shock; Different Kind Of Morning; Spin- ning The Clouds; Dr Master Plan; Spring Soul Song; Secret Short/ “Straight No Chaser” in the chromatic line, be- Short Secret; Entranced; Heartbreakthrough; The Traveler. (54:15) Personnel: Alon Nechushtan, piano; Francois Moutin, bass; Dan fore it spills into cantering swing and snatches of Weiss, drums. the riff from “Take The ‘A’ Train.” Ordering info: buckyballmusic.com

54 DOWNBEAT MAY 2011 Jazz | By peter margasak

FMP Closes Out Peter Brötzmann With Glorious Flourish It’s hard to think of another label that’s done more to document, sup- port and nurture European free jazz and improvised music than Berlin’s Free Music Production. The label has experienced a spurt of activity over the last few years with label co-founder Jost Gebers back at the helm following a disastrous at- tempt to hand the company down to someone else back in 1999. Alas, the recent flourish looks like a glo- rious death rattle. With the release of the astonishing 12-CD box set FMP Im Rückblick—In Retrospect 1969–2010 (FMP 137-148; 77:41/7 0:37/57:03/56:54/49:22/54:48/75: 36/58:06/62:48/65:33/49:24/59:48 ★★★★★) the company is shutting down operations, but what a way to go out. Packaged with a lavish 12-inch by m i chael j ackson 12-inch 216-page booklet featuring illuminating essays, detailed discographical with Parker, Kowald and Lovens is at the peak information and a thorough listing of concert of its power on At Quartier Latin (which pairs a productions that formed the other key part of side each from two early FMP albums), while the company’s activity, this set vibrantly tries the searing Kowald solo Was Da Ist (Live) is a to sum up more than four decades of history. previously unissued 2000 live take on ideas Such an undertaking is daunting and impos- from his 1995 studio album of the same name. sible to accomplish, but the attempt is remark- Part of FMP’s importance was reflecting able in its generosity, range and energy. Seven the strong network of musicians all over Eu- of the discs are culled primarily from the label’s rope, usually in shifting constellations among out-of-print catalog, appearing on CD for the themselves, but sometimes with lineups re- first time, and it should come as little surprise vealing a transcontinental cast. Messer Und … that the selections are dominated by the pow- features the dynamic trio of Swiss pianists Irene erhouse names that first made their marks with Schweizer, German reedist Rüdiger Carl and releases on the label. the great South African expat drummer Louis Baden-Baden ’75 features knockout per- Moholo, collecting the four dynamic tracks formances by Alexander von Schlippenbach’s from their 1975 album Messer, and the title Globe Unity Orchestra from November of that track from Tuned Boots, recorded a couple of year; the Peter Kowald composition “Jahr- years later. Soprano saxophone genius Steve markt” turned up on a record issued on Po- Lacy was one of a handful of American greats Torch, but the other four fiery tracks are previ- well-represented by the FMP catalog; In Berlin ously unissued. The lineup is heavy-duty, with contains the entirety of his crucial 1975 solo al- Kenny Wheeler, , Paul Lovens, bum appended by two quintet tracks from Fol- Enrico Rava, Peter Brötzmann and Anthony lies (1977), with Steve Potts, , Kent Braxton jubilantly attacking a program of com- Carter and Oliver Johnson. While the work on positionally rooted improvisations, at least in Manuela + is unadulterated improvised music, contrast with the band’s all-improvised ap- the titular trio of Carl, guitarist Hans Reichel proach these days. Many of those players are and the Portuguese violinist Carlos Zingaro are leaders on other discs in the set: Brötzmann’s joined on this previously unissued 1999 date 1976 solo recital Wolke In Hosen lays out his by the daring Korean komungo player Jin Hi durable template for the format, his absorption Kim: The label anticipated the real flowering of of post-bop flurries exploding into pure ear- intersecting, global traditions. cleaning sound, while the unissued live 1994 All 12 CDs are also available individually, session captured on Close Up finds him with but this monumental set exceeds the kind of his furiously energetic Die Like A Dog band, detail and splendor that FMP delivered through with William Parker, Hamid Drake and Toshi- its history. DB nori Kondo. Schlippenbach’s bracing quartet Ordering info: fmp-label.de

MAY 2011 DOWNBEAT 55 Blues | By frank-john hadley

Jump and Charlie Parr Shout Charlie Parr: When The Devil Goes Blind (Ne- ro’s Neptune 16; 38:57 ★★★★) Parr, a Minneso- ta-based solo performer who tours the world, is fiercely his own man, only beholden to the humanity of the old rural American characters populating his original songs and spe- cially chosen traditional material. Moral strength and inspiration drive his trenchant singing, wheth- er it’s about a city boy drawn to country life (“Up Country Blues”) or some- one shedding his mortal cord (a fantastic version of “Ain’t No Grave Gonna Hold My Body Down”) or a song protagonist visit-

ing Wounded Knee creek t es y forced exposure soon after the bloodletting cour (“1890”). Parr’s deft playing of guitars has the Ordering info: alligator.com quality of genuine backcountry, untouched by Lara Price: Everything (Price Produc- affectation or artificiality. tions 2011; 45:41 ★★★) One of the Bay Area’s Ordering info: charlieparr.com leading blues singer, Price diversifies to some Chris Antonik: Chris Antonik (Silverbirch degree on her fifth album with lightly attrac- 083110; 43:50 ★★★) On his studio debut, An- tive arrangements of dog-eared material from tonik’s guitar cranks energy in a conscientious, John Prine, Leonard Cohen, Lennon & Mc- unrushed and emotionally convincing manner Cartney and Otis Blackwell. Her vocal abilities that contributes volumes to the immediacy are showcased even better on Mighty Mike of his tunes (a generally good lot) and to his Schermer’s two slow-burning soul-blues, “One makeovers of Freddie King’s “She’s A Burglar” More Day” and “You Won’t Miss Me,” and on and Otis Rush’s “Double Trouble.” Acclaimed the relatively torrid Price-Schermer corker in Canada, this 35-year-old Torontonian even “I Didn’t Miss A Beat.” Schermer, a member has a lyrical side (hear “The King of Infidelity”). of the Marcia Ball Band, not only writes fine Not secure with being identified as a vocalist, songs but also plays excellent guitar, doing so Antonik nevertheless gives it a try on the Rush on the aforementioned and on Price’s burning- blues and gets a passing grade. Main singer down-the-house stomp “Everything,” which Josh Williams, a member of North Country points to pyromaniac Etta James. jam-band Fat Cats, scrapes by too, at least Ordering info: laraprice.com when not emulating Gregg Allman. Big Joe & The Dynaflows: You Can’t Ordering info: myspace.com/chrisantonik Keep A Big Man Down (Severn 0051; 40:08 Roomful Of Blues: Hook, Line & Sinker ★★½) Big Joe Maher has been a mainstay on (Alligator 4941; 41:32 ★★★) Not wavering the Washington D.C.-Maryland blues scene for from decades of commitment to jump-blues, many years, and the drummer’s latest album Roomful welcomes yet another new singer finds him down in Nashville jumping and shuf- into the band here. Phil Pemberton sounds fling with three members of Delbert McClin- like he’s chugged cod liver oil a few times, but, ton’s crack band. But he stays down for the so be it, he fits right in with the patented horn count because his barely serviceable singing section, with the swinging rhythm section and doesn’t do justice to good McClinton, Jay Mc- with bandleader Chris Vachon, always a pil- Shann and Jimmy McCracklin tunes, or even lar of consistency on stinging Chicago guitar. to the undistinguished ones he penned him- Roomful is a curator’s cover band, and the self. The glaring exception is his “Nothin’ But guys trawled the r&b and blues waters to find a Trouble,” where Maher’s dramatic declamation treasure-trove of songs belonging to historical between talking and singing is as impressive figures like Don & Dewey, Gatemouth Brown as Rob McNelley’s guitar solo. DB and Big Maybelle. Ordering info: severnrecords.com

56 DOWNBEAT MAY 2011 Doug Webb Nick Mazzarella Trio Renovations Aviary Posi-Tone 8075 Thought To Sound Records ★★ ½ ★★★ ½

From the opening track—a jump- Aviary introduces Nick Mazzarella, a and-jive version of “Satin Doll”— face new to anyone outside of Chicago, it’s easy to hear what Renovations and the trio that he’s led for the past is all about: slick saxophone in a couple years. First albums shouldn’t tightly arranged package. Webb be this good. The writing is direct, has played with everyone, released engaging and succinct with melodies a large collection of records and has so indelible that you might find yourself humming them during the bet- even taken the reins of the theme songs for “Law And Order” and “The ter parts of your day. Mazzarella’s tone on alto sax, which is not his only Simpsons,” so he knows his way around a studio. horn but is the only one he plays on this recording, has just enough but- The studio feel permeates his latest record, placing his music firmly in ter in it to slide effortlessly over his tunes, but he balances that smoothness artificial surroundings. This production unfortunately constrains a solid set with nimble, sharp-toothed elaborations and a distinct, if familiar, cry. The of tunes; the most glaring instance of detachment is the static dynamics record’s one flaw, and it’s a debatable one, is how close Mazzarella some- of the rhythm section, which essentially drains all emotional heft out of times sounds to -vintage Ornette Coleman; he may not Webb’s slowly building solos. Webb and his sidemen—especially bassist sound like his own man, but his music evinces the same joyousness that Stanley Clarke and pianist Larry Goldings—shine through the tunes, but enabled Coleman to win over a broader audience who cared less about his are never allowed to break free of their studio constraints. innovations than about how good it felt to hear his tunes. The other mem- Webb has an equal ability on ballads and uptempo numbers. He may bers of the trio hold up their end. Drummer Frank Rosaly holds back on be most compelling, though, on “They Can’t Take That Away From Me,” the force he sometimes summons in other ensembles, playing elaborately on which he plays alto accompanied only by Joe Bagg’s piano. He also but with restraint. His frolicking Latin accents on “Pescador” are a special turns to the alto saxophone on “Then I’ll Be Tired of You,” and these are treat. Bassist Anton Hatwich supplies the real propulsion with economical the best tracks on the album due to Webb’s open sound and agile playing. lines that zero in on a destination and pull the music inexorably along. If —Jon Ross anything, the trio could afford to take a few more side trips; one suspects it’s in the digressive details rather than the bold statements that Mazzarella Renovations: Satin Doll; Then I’ll Be Tired Of You; I Can’t Get Started; I’ve Never Been In Love Before; You’ve Changed; They Can’t Take That Away From Me; Blusette; Slow Hot Wind. (52:04) will find the voice that is most uniquely his. —Bill Meyer Personnel: Doug Webb, tenor, alto and soprano saxophones; Larry Goldings, Joe Bagg, Mahesh Balasooriya, piano; Stanley Clarke, bass; Gerry Gibbs, drums. Aviary: Quarantine; Pistachio (For My Bird); Eternal Return; Pescador; Free Dance; Aviary. (30:06) Nick Mazzarella, alto saxophone; Anton Hatwich, bass; Frank Rosaly, drums. Ordering info: posi-tone.com Personnel: Ordering info: nickmazzarella.com

MAY 2011 DOWNBEAT 57 Dan Tepfer Trio tossed against a dark sky. But Five Pedals Deep the effect is the same as on Sunnyside 1265 “All I Heard Was Nothing”: ★★★★ He suggests or implies the chords, with individual notes Dan Tepfer’s originality indicating a pivot point on a makes him the locus change, for example, while throughout Five Pedals at the same time gradually Deep. His approach cen- outlining the rhythmic mo- ters on steady eighth- mentum. Through careful note pulses, which func- dynamics and variations in tion as chords normally density, these tracks heat up do. Other pianists might spell out the harmon- like popcorn on a stove, starting slowly and in- ic movement in “All I Heard Was Nothing,” tensifying toward a tasty resolution. the opening track, but Tepfer suggests it with a Special attention should be paid to the four steady two-note oscillation in his left hand; this “Interludes,” each one a short solo piano study Reverend John Wilkins allows more room for extemporization by imply- based respectively on unisons, fifths, sevenths You Can’t Hurry God ing rather than articulating the chords while also and sixths. These are the gems of the album, gen- Big Legal Mess 0259 assuming much of the responsibility for driv- tly dissonant, fragile and beautiful. But Tepfer’s ★★★★ ing the rhythm, which in turn gives drummer aesthetic is clearest on the closer, a solo rework- Ted Poor more room to play around the beat. It ing of “Body And Soul,” reborn in Tepfer’s re- John Wilkins is at the vanguard of a special also allows Tepfer to heighten tension by build- markable, harmonically illuminating treatment. merger of sacred and profane sounds in the ing his solos beyond the four-bar delineations of He takes the tune down a shadowy, introspective Mississippi hill country. He grew up learning the tune; one phrase might run for five beats, the path, which leads to a roadblock just before the guitar at the knee of his father, Robert Wilkins, a next for seven, all of which rubs against the reg- end. Here, he repeats the line in the second-to- celebrated bluesman during the Depression who ularity of the steady tremolo. The same meth- last bar (“I’m all for you, body and …”), seems to renounced the devil’s music in 1935 to become od applies to “Peal, Repeal,” though the tremo- try to get away from it in vain, slips out at last into a minister. Still, the elder Wilkins never stopped lo doubles to 16th-notes and morphs constantly an unexpected minor mode before ending on a playing blues licks. Well-taught John eventual- to outline more complex changes. To keep his major interval that nonetheless feels less like a ly moved beyond blues riffing and chording and balance, Tepfer plays an uncluttered solo, in ef- triumph of romance than an acceptance of unre- mastered tone, melody, dynamics and subtle de- fect letting its left-hand foundation speak more solved mysteries. —Robert L. Doerschuk lineations of mood. John’s mix of Sunday morn-

prominently. Five Pedals Deep: All I Heard Was Nothing; Le Plat Pays; Interlude ing spirituality and backsliding blues in the stu- This formula becomes more abstract on 1 (Unisons); Peal, Repeal; Back Attya; Interlude 2 (Fifths); The Dis- dio has resulted in a small miracle of an album. tance; Diverge; Interlude 3 (Sevenths); I Was Wonderin’; Interlude 4 “Back Attya” and ”Diverge.” In place of a bed- (Sixths); Body And Soul. (58:17) Wilkins’ focused, easy urgency affirms his Personnel: Dan Tepfer, piano; Thomas Morgan, bass; Ted Poor, rock ostinato, Tepfer scatters notes outside any drums. trust in his Lord in a heavenly group of original apparent metrical construction, like sparkles Ordering info: sunnysiderecords.com songs and blues classics. The reverend’s blues guitar is never at a loss for authority. He tot- ters on the brink of spiritual ecstasy in “Jesus Vijay Iyer– goal is not to blend jazz and Will Fix It.” Here his intensity is matched to Prasanna– Indian music as much as to a ragged-saw, trancelike groove summoned Nitin Mitta use unique accents to un- by bassist Eric Deacon and other northern Tirtha derpin a resolutely modern Mississippi blues musicians in thrall of fall- ACT 9503 musical approach. Despite en North Mississippi blues heavies Junior ★★★★ Iyer’s reputation for outward Kimbrough and R. L. Burnside. Wilkins and leanings, one of the session’s friends virtually stomp to kingdom come play- In the late 1990s, Vijay greatest accomplishments is ing Mississippi Fred McDowell’s opus “You Iyer joined alto saxophon- the trio’s immediate appeal. Got To Move” (they shove aside the Rolling ist Rudresh Mahanthappa Part of the reason must lie Stones’ version). Wilkins’ daughters help him and tabla player Trichy with the lack of ostentation avow the rightness of their Redeemer. Without Sankaran to put together displayed by the three virtu- affectation, Wilkins makes clear the extent the Manodharma Trio. It osos, who prefer to harness of his understanding of blues style in a gos- was the first time the pianist had striven to con- their enormous technical abilities to build vari- pel context when, singing and playing guitar nect with his Indian heritage and investigate how ous layers of emotional expression, which en- without accompaniment, he sizes up his fa- he could incorporate it within jazz. Since the sures that the initial impact never wears off. ther’s adaptation of a New Testament para- project folded, Iyer has had some time to reflect The fast execution and direct delivery also ble, “Prodigal Son” (originally titled “That’s on the concept and tweak it. His thought process contribute to a dense fabric and an irresistible No Way To Get Along,” long before Mick has led to the creation of another trio—this time momentum. But there is also time for introspec- Jagger and Keith Richards swiped it). Another with different personnel. Judging by Tirtha’s suc- tion, which is brought forth with a rare clarity. outstanding solo performance streaked blue, cessful outcome, it looks like time has indeed And “Abundance” is as beautiful a piece as Iyer “Thank You Sir,” sustains an ambiance of been beneficial, for the brand new band has a re- has ever written. Since compositional duties are humble awe over God’s grace for flawed hu- newed focus and purpose. divided between the pianist and the guitarist, mankind. —Frank-John Hadley Guitarist Prasanna’s occasional sitar-like the musical vision they have in common greatly You Can’t Hurry God: You Can’t Hurry God; Jesus Will Fix It; Sinner’s sounds and Mitta’s tabla are obvious referenc- helps the project. —Alain Drouot Prayer; Let The Redeemed Say So; Prodigal Son; You Got To Move; I Want You To Help Me; Thank You Sir; On The Battlefield. (45:18) es to a shared cultural heritage (“Entropy And Tirtha: Duality; Tribal Wisdom; Tirtha; Abundance; Falsehood; Personnel: Reverend John Wilkins, vocal, guitar; Jake Fussell, gui- Gauntlet; Polytheism; Remembrance; Entropy And Time. (60:36) tar; Eric Deaton, bass; Wallace Lester, drums; Adam Woodard, or- Time” also finds its inspiration in a raga writ- Personnel: Vijay Iyer, piano; Prasanna, guitar, voice; Nitin Mitta, tabla. gan; Tangela Longstreet, Joyce Jones, background vocals. ten by T.R. Subramamyam), but the trio’s actual Ordering info: actmusic.com Ordering info: biglegalmessrecords.com

58 DOWNBEAT MAY 2011 Beyond | By Frank-John Hadley

Made In Aaron Neville Americana Various Artists: Black Sabbath (Idelsohn Society 018; 54:34 ★★★½) The Idelsohn Society for Musical Pres- ervation turns the spotlight on 14 Afri- can American pop or jazz worthies who recorded Jewish and Jewish-themed songs between 1939 and 1982. The Red Sea almost splits again when Al- berta Hunter pours her heart into “Ich Hob Dich Tzufil Lieba,” and Jimmy Scott emotes like a singing angel on “Exo- dus.” Recorded at the home of clarinet- ist Tony Scott, Billie Holiday pushes her voice’s expressive capabilities to the grueling limit interpreting “My Yiddishe Momme.” A serious and somber Can- nonball Adderley Sextet offers “Sab- bath Prayer,” off its 1964 Fiddler On The Roof album. Those providing modest entertainment include Slim “Kosher Deli Man” Gaillard and Cab Calloway. Ordering info: idelsohnsociety.com Aaron Neville: I Know I’ve Been

Changed (EMI Gospel 509996; 42:43 sarah fr i edman ★★★½) Neville uses his distinct vibra- to-laden voice to present the sanctified words with folk, country, blues and pop 78s waxed in of “I Am A Pilgrim” and 11 more pew-and-pul- commemoration or burlesque of the Civil War, pit favorites in praise of his Maker. The equally the Spanish-American War and the First World eminent Allan Toussaint plays piano with sup- War. Fiddlin’ John Carter is the most familiar pliant pleasure. Producer Joe Henry frames name, having made one of the first country the vocal drama with rock-and-sway choral recordings. A dozen others, like guitarist-har- singers and marginally graceful dobro, bass monica player Frank Hutchinson and string and drums. band Earl Johnson & His Clodhoppers, are just Ordering info: emigospel.com as compelling to hear. Rockin’ Jason D. Williams: Killer In- Ordering info: tompkinssquare.com stincts (Rockabilly 001; 41:51 ★★) Mem- Les Sampou: Lonesomeville (Monando phis-based Williams is a lunatic boogie-woo- Music 010; 35:27 ★★★½) Back on the roots gie pianist in the mutant mold of his idol Jerry scene after a long break, Sampou never wa- Lee Lewis. In the recording studio, he comes vers from a steady tone of genuineness as off as a one-trick pony, not so good as a singer, she sings sharply observant songs that she a songwriter or a humorist. He’s the full pack- wrote about disarray and failed communica- age in live performance. tion in relationships. She has the ability to Ordering info: rockinjasondwilliams.com dramatize the sense of hurt at the heart of the Mark Erelli & Jeffrey Foucault: Seven characters without floundering in self-pity or Curses (Blueblade 0001; 47:40 ★★★½) Er- weak sentiment. Guitarists Kevin Barry and elli, on vocals, guitar, mandolin and harmonica, Mike Dinallo prove important to the flow of teams with singer-guitarist Foucault to bring her honky-tonk music. emotional heft to historic and modern murder Ordering info: lessampou.com ballads they’ve gathered from several roots Various Artists: The Mississippi Sheiks purveyors of morbidity: Woody Guthrie, Steve Tribute Concert (Black Hen DVD 0066; Earle, Neil Young, Bruce Springsteen, honky- 85:00 ★★) This unimaginatively filmed concert tonker Blackie Farrell and bluegrass’ Norman in Vancouver last spring in honor of a leading Blake. Moderating fiery passion by intellect, Memphis string band of the early 1930s sel- the two almost make listeners believe they dom rises above the unexceptional with the know the scoundrels in the songs personally. likes of guitarist Bob Brozman (showy, un- Ordering info: markerelli.com convincing) and singer Robin Holcomb (arty, Various Artists: Bloody War: Songs pretentious). On a more positive note, Alvin 1924–1939 (Tompkins Square 2479: 45:26 Youngblood Hart, Geoff Muldaur and the ★★★½) Nothing, it may be argued, is more Sojourners vocal group stimulate, and don’t American than war, and this old-time music spoon-feed, the audience. DB collection takes listeners near the front lines Ordering info: blackhenmusic.com

MAY 2011 DOWNBEAT 59 Universal Sounds Porter 4053 ★★★½

The intensity that permeates “The Binder,” a piece brimming with outward-bound free-jazz energy, finds many different expressions on Universal Sounds, and not all of them sound- ing like hell with the lid off. Tenor saxophonist Odean Pope’s approach seems more nuanced to the point of veering off a comfortable cliff. The program feels weighted toward impro- vised music akin to Sun Ra experimentalism, the presence of alto saxophonist no doubt a factor. “Custody Of The American Spirit” and “Custody Of The American (Bullshit Version)” combine the double-sax ferocity of “The Binder” but with arrangements that keep you guessing, the mood suddenly changing, with space and silence guided by bassist Lee Smith’s softly churning motifs. And the biggie here that keeps it all a little wild is the three-drum choir of Craig McIver, Jim Hamilton and Warren Smith. Along with trapset playing all around, there’s requisite percussion for a little added spice. The recording has a you-are-there sound to it, suggesting this was a live date, the mix giv- ing each instrument its due without being too dis- crete. There’s a blend to the “universal sounds” here, with no one predominant but everyone on board. Tunes like the bass-driven, marching- drum vibe of “Mwalimu” and swinging “Blues” are more arranged and possess a clear, definite pulse, while the wherewithal of “The Track” echoes Sun Ra’s otherwordly voodoo with Allen going for broke on his EWI (electronic wind in- strument). And the lovely “She Smiled Again” provides a rhapsodic pause and showcase for Pope’s more lyrical side to shine. All original material, Pope contributes four tracks (five with a co-credit) with one each from Smith and Allen. Over the years a stalwart colleague of , and a member of the collaborative Catalyst, with Universal Sounds, Pope sounds bright and interesting as ever. —John Ephland

Universal Sounds: Custody Of The American Spirit; Mwalimu; The Binder; She Smiled Again; Go Figure; The Track; Blues; Cus- tody Of The American (Bullshit Version). (55:12) Personnel: Odean Pope, tenor saxophone; Marshall Allen, alto saxophone, EWI; Warren Smith, drums, percussion, timpani, vocals (1, 8); Craig McIver, Jim Hamilton, drums; Lee Smith, bass. Ordering info: porterrecords.com

60 DOWNBEAT MAY 2011 Historical | By james hale

Miss Dinah Misbehaved Divinely One of the best-known music industry flame- outs of the immediate postwar era—a star at 23, dead of an overdose at 39—singer had a singular voice that was in- stantly recognizable. No matter how banal or bombastic the setting, her voice slashes through the 107 performances on The Fabu- lous Miss D!: The Keynote, Decca & Mer- cury Singles, 1943–1953 (Hip-O Select B0014668; 76:44/73:27/76:06/77:06 ★★★★) like a beacon through fog. When the material, the arrangement, the musicians and that voice coalesce, the result is magic. Washington was 19, and had only recently shed her identity as Ruth Lee Jones, former child gospel singer, when she recorded her first four sides at the behest of journalist . Backed by members of Lionel Hamp- ton’s band—including Hamp himself on piano and drums—Washington struts her persona as teenage temptress, an “evil gal” who “knows how to do it.” It’s hard not to think of the simi- Dinah Washington un i versal mus c larity between Feather’s manipulation and the manufacture of latter-day sex bombs like a trio version of “Ain’t Misbehavin’” backed Britney Spears and Christina Aguilera. Image by her own “No More Lonely Gal Blues.” She making was a theme throughout Washington’s repeated the formula with “West Side Baby” first decade—and she wasn’t shy about name- three months later and then, in August 1948, checking herself in the third person—but while hit the top of the charts with “Am I Asking Too she seemed constantly to be trying on different Much,” backed by Dave Young’s orchestra. roles, her perfect diction and tone were con- Throughout, there is also something tremen- stants. dously appealing about Washington’s ex- Although the four tracks with Hampton’s tremely open vibrato and the consistent timbre crew are arranged as a band with a featured of her voice. With subtle choral backing from singer, Washington’s voice rivets the attention, Mitch Miller’s orchestra she varied her deliv- cutting Joe Morris’ trumpet as it enters on “Evil ery, striking a balance between subdued cho- Gal Blues.” Juxtaposed against Arnett Cobb’s ruses and tremendous power. She toyed with grainy sax and Morris’ pinched, muted horn on straight pop music, backed by a male chorus “Salty Papa Blues” she sounds sharp and con- on “Journey’s End,” found a steady anchor in fident, despite a rather noisy transfer source. bassist Ray Brown on several sessions and Meanwhile, her brassy tone and her boasts of even fronted a band featuring a young John being “high last night” establish her as a wild Coltrane for three numbers. girl who won’t be tamed. As a singles artist, Washington’s final ma- The same persona is maintained on the jor change came when she took up with drum- 1945 recording “Blow Top Blues,” which was mer Jimmy Cobb, who recruited players like issued under Hampton’s name. Playing the Ben Webster, and good-time girl again, she dominates the song to accompany his paramour. While the best of with a single drawn-out “yes” in her second these singles feature some honking r&b, there line. are also nuanced performances like a beautiful It’s quite a step to her first Mercury single, take of Noel Coward’s “Mad About The Boy,” “I Can’t Get Started With You,” with its lyrics where her sense of timing and ability to inhabit about “selling short in 1929” and the melo- a lyric really stand out. Yet she remained open dramatic introduction by trombonist Gus to the raucous double entendre, epitomized Chappell’s orchestra. Her early solo singles— by “TV Is The Thing (This Year),” which hit the recorded at three sessions in 1946—veer charts by mining the combination of pop cul- between saccharine arrangements and nov- ture and sex. elty pieces like “Oo Wee Walkie Talkie,” which And, just as today’s pop coquettes can features a great band under Gerald Wilson’s suddenly take a serious turn, Washing- leadership. Her voice remains powerful and ton’s penultimate single was a double-sided distinctive, particularly when fronting a small Christmas feature, returning her to her gospel combo in a session from fall 1947. roots—if only for a moment. DB Finally, in February 1948, she had a hit with Ordering info: hip-oselect.com

MAY 2011 DOWNBEAT 61 George Colligan fact, it would be easy to mistake es its distinct identity. Instead, we have a long Isolation them as projects by two com- exhibition of what sound like real-time in- SteepleChase 31692 pletely different keyboard play- ventions based on ideas drawn from one har- ★★★ ers. But Colligan is nothing if not monic resource or another depending on the schooled in modern tradition, if moment. At times the elements of the work be- George Colligan that’s not too oxymoronic. And come clear, as on “Lonely Wind,” on which a and Mad Science with these two releases he proves left-hand figure moves the performance along, Pride And Joy himself to be as up on Return To starting on the first beat of the bar or synco- Piloo 005 Forever and as he pated just before it. But more often, the music ★★★ is on McCoy Tyner and his acous- moves at a pace whose stateliness is empha- tic brethren. sized by Colligan’s tendency to play mainly in The solo piano excursion Isolation and the elec- Every track on Isolation has its share of the middle range of the keyboard. He stops oc- tro-extravaganza Pride And Joy would seem augmented chords, clusters and dense tex- casionally for a free-tempo interlude, as in the to represent two sides to George Colligan. In tures—so much so that after a while each los- heavily pedaled whole-tone runs and tremolos that briefly interrupt the progression of “Dead Of Winter” or the thunderous interweaving of octaves, again with the sus pedal fully down, during a break in “The Secret Of Andreas’ Beard.” On “Simple Pleasures” the density of his voicings weighs down what seems like an attempt to convey something playful. The sameness of the impressions created throughout Isolation comes mainly from Colligan’s reluctance to resolve his ideas or even outline any progress his music might be making. While careful listening usually reveals the archi- tecture of the composition, most of the time it seems as though his aim is to spotlight moments of his performance, whether it be what he choos- es to do during a fermata or how he moves a se- ries of diminished sixths around, as opposed to letting the track proceed with clear intent. Isolation seems to pull from within, while Pride And Joy explodes across a DayGlo hori- zon. In its broad sweep and finer details, this trio date might have been pulled from a time cap- sule buried in the early ’70s. Colligan goes en- tirely electric here, concentrating mainly on what sounds like a Hammond L100 organ. That’s enough of a throwback, but with the old-school analog synth solos and splashy textures you’re transported back to the glory days of fusion. In his liner notes, Colligan argues that there’s a difference between “jazz-rock” and “fusion,” using the former term to characterize his group. That may be, but there’s no mistaking the inspi- rations. Tom Guarna’s guitar lines possess that singing, edgy feel that Al Di Meola pioneered on electric, though Guarna plays with fewer fireworks, and can be lyrical, like Pat Metheny. Drummer Kenny Grohowski is all about sum- moning the spirit of Lenny White. His powerful playing runs the gamut from busy to way busier. From the first notes on “Tightrope” he stirs up a furious momentum, to the point that when the drum solo arrives he hardly has to alter anything he’s been playing with the group. —Robert L. Doerschuk Isolation: Song For Sinne; Lonely Wind; Dead Of Winter; Flint Michigan; The Wrong Stuff; Isolation; The Secret of Andreas’ Beard; Simple Pleasures; The Old Danish Castle; The Road Back; Regret (61:34) Personnel: George Colligan, piano. Ordering info: steeplechase.dk Pride And Joy: Pride And Joy; Keeping Pace; Song for Obama; Birth; Interiors; The Shadow Knows; Utsukushi; Tightrope; Soul- pain; The Promised Land; Anthem. (61:45) Personnel: George Colligan, organ, keyboards; Tom Guarna, gui- tars; Kenny Grohowski, drums. Ordering info: piloorecords.com

62 DOWNBEAT MAY 2011

Yaron Herman Trio Promise is evident but Follow The White seldom fulfilled throughout Rabbit the album. One solo piano ACT 9499 fragment, “Wonderland,” ★★½ starts with an open fifth pulsing in eighth-notes The dilemma posed through- and an interesting melo- out Follow The White Rabbit dy speaking below in the is where exactly this rabbit is bass register. As the title leading. Clearly Herman’s trio suggests, a childlike qual- can play, but it’s difficult to dis- ity begins to emerge, only cern whatever substance there might be beneath to end after less than a minute. With so little sub- the glisten of their sound. stance and only a suggestion that Herman’s ideas The title track, for example, opens the album might have been nurtured further, one wonders with a tinkling, upper-register piano motif in 5/4. why this mini-piece is even included at all. Its dreamy ringing suggests a fairy tale or per- With one exception, the covers are equally haps an arrangement of “Carol Of The Bells.” unrevealing. Radiohead’s aptly named “No But after Herman’s solo, structured in phrases Surprises” is more or less recited, with no one Marty Nau Group that slip in and out of synchronicity with the beat, stepping far beyond the written content. You Mood Ebony the tune suddenly evaporates, with no recapitu- could say that Herman and his group, playing Summit 555 lation or sense of a statement having been com- sensitively and with restraint, are choosing to let ★★★½ pleted. From start to this quizzical finish, there’s the music speak for itself, but more ought to be an expectation that something is about to happen expected in a jazz trio presentation. On the oth- Clarinetist Marty Nau follows up his three-alto- and a finish where nothing quite does. er hand, their rendition of Dov Aharoni’s “Ein sax album, At The Bouquet Chorale, with a Aside from four covers, Herman wrote or co- Gedi” is extraordinary. They take it at a very showcase for his clarinet prowess. As he did on wrote all of this material. His compositions, like slow tempo as Herman caresses the melody with the earlier album with “Airmail Special,” he in- his playing, show polish and assurance but fail love and reverence. His harmonies enhance the cludes a tune made famous by Benny Goodman, to deliver either a sense of completion or even performance simply but expressively. Rendered opening with Goodman’s “Slipped Disc.” Nau progression toward completion. On “Aladin’s as if the group were handling a precious vase, doesn’t throw his back out with hasty blowing, Psychedelic Lamp” he attempts to reflect the ex- these six minutes almost redeem the many mo- however. He maintains his rich tone and crisp otic theme suggested by the title, with modal- ments on this album where stories are left unfin- articulation with clear ideas, beautifully over- isms that feel vaguely Middle Eastern. These oc- ished or barely begun. —Robert L. Doerschuk dubbing several to idiomatically back- cur in free tempo between melodramatic accents drop his lead voice. The whole neat conception Follow The White Rabbit: Follow The White Rabbit; Saturn Re- from Chris Tordini and Tommy Crane, which turns; Trylon; Heart Shaped Box; Ein Gedi; The Mountain In G Minor; is over in under three minutes yet contains sus- Cadenza; Airlines; Aladin’s Psychedelic Lamp; Baby Mine; White make the piece feel closer to parody than gen- Rabbit Robot; Clusterphobic; Wonderland; No Surprises. (60:00) tained high notes, tight chromatic lines and per- Personnel: Yaron Herman, piano; Chris Tordini, bass; Tommy uine cross-cultural expression, if not even a bit Crane, drums. fectly poised antiphony, an abundance of musi- pretentious. Ordering info: actmusic.com cal elements. Nau, with his precise intonation and phrase- ology, is clearly a man of discipline, whose con- Jane Ira Bloom 1977’s Heavy Weather, both siderable experience shines in his Wingwalker in the arrangement and in the blending of voices—in this case, notwithstanding Outline OTL140 groove underneath. It is the bass clarinetist/arranger Scott Silbert, primarily ★★★★ first of several tracks in which his own. No info is given as to how many clari- Bloom incorporates electron- net tracks are overdubbed, though Phil Woods— Beginning an album with ic effects that add width to who was on the front line of At The Bouquet a ballad may be unusual, her tone and, at times, ampli- Chorale—takes a guess in his liner notes. The but Jane Ira Bloom does fy her sax from a single horn primary feature for overdubbing, however, is a so with good reason on to a quasi-section. bravura take on “Night In Tunisia.” The band is Wingwalker, her first re- The blues, “Freud’s absent save for Silbert providing the bass coun- lease since 2008: What Convertible,” is played fair- terpoint, leaving Nau to faultlessly juxtapose a better way to showcase ly straight, albeit with quirky gorgeous lattice of clarinet lines. her chosen instrument, the soprano saxo- turnarounds, before it digresses from the Robert and Chuck Redd get a taste on Nau’s phone? Such repertoire is well-suited to the form near the end. By contrast, “Frontiers In uptempo “Blues For Benny,” where Silbert dem- soprano’s melancholy timbre. The ballad Science,” an angular piece built around several onstrates his chops running basslines. Woods “Her Exacting Light” is a series of long, arch- intervals, affirms Bloom’s avant-garde sensi- composes and arranges three tracks. His wistful ing lines highlighting Bloom’s beautiful tone. bilities. All in all, Wingwalker does nothing to “Doctor Tee,” a duet with pianist Wade Beach, During the reading she sometimes holds the undermine Bloom’s reputation as a premiere bookends jazz with a display of Nau’s chaste final note of a line, as if marking the end of a soprano player. And Bloom’s intonation and classical chops. Ending the album with abrupt sentence before beginning anew. Blurring the technique raise the bar for the soprano, pri- deployment of Fender Rhodes on a turgid ballad boundaries between composition and impro- marily a second horn for most sax players. is this effort’s only stylistic misstep. visation, the track is brief but quite moving. —Eric Fine —Michael Jackson Bloom’s affinity for abstract composition Wingwalker: Her Exacting Light; Life On Cloud 8; Ending Red Mood Ebony: Slipped Disc; As Long As I Live; Smoke Dreams; Songs; Freud’s Convertible; Airspace; Frontiers In Science; Roof- Doctor Tee; Three In One; Night In Tunisia; Ballad For Hank; Bossa and electronics is prominently featured, although tops Speak Dreams; Rookie; Adjusting To Midnight; Live Sports; For Eddie; Blues For Benny; You Came Into My Life. (50:09) Wingwalker; I Could Have Danced All Night. (57:46) Personnel: Marty Nau, clarinet; Scott Silbert, bass clarinet; Robert the set includes a blues and a Songbook standard, Personnel: Jane Ira Bloom, soprano saxophone, electronics; Redd, piano; Tommy Cecil, bass; Chuck Redd, vibes; Wade Dawn Clement, piano, Fender Rhodes; Mark Helias, bass; Bobby Beach, piano (3, 4, 7); Steve Novesei, bass (2, 10); Brooks Tegler, in addition to occasional jazz-rock references. Previte, drums. drums (2, 9). “Life On Cloud 8” recalls Weather Report, circa Ordering info: janeirabloom.com Ordering info: summitrecords.com

64 DOWNBEAT MAY 2011 Herb Alpert/Lani Hall I Feel You Concord Jazz 32757 ★★★½

This husband-and-wife outing of trumpet- er Herb Alpert and singer Lani Hall has more than a few surprises, though not all of them pleasant. A protean rhythm sec- tion supports the duo, whose musical gifts are disparate. He’s a warm trumpeter in the Chet Baker mode with a conversation- al style; she has an alto range with a formal address that can border on concert singing. Alpert will never be mistaken for but his lyricism and economy of expression are not to be sneezed at. Hall is a passionate singer who, while not quite as steeped in serendipity as the other participants, downright deconstruction. Van Morrison’s is intensely musical. Her Portuguese offerings “Moondance” gets a one-chorus run-through, (“Berimbau” and “Club Esquina”) in particular with an elliptical end. The gender reassignment breathe and dance in a natural way. of “Something Cool” wasn’t the best vehicle for Bassist Hussain Jiffry serves as the supple Alpert’s wispy vocals. But savvy rhythmic re- spine of the ensemble. His virile, pliant lines can casting of a couple of tunes from Alpert’s histo- support the instruments or wholly define the mu- ry (“What Now My Love,” “Call Me”) show he’s sic’s contour. Bill Cantos wisely lies back when not interested in legacy so much as new creation. Alpert solos or accompanies; when his key- —Kirk Silsbee boards discreetly brush a backdrop or splash I Feel You: Moondance; Cast Your Fate To The Wind; There Will Never Be Another You; Fever; Viola (Viola For a De Moda); Something wildly, it’s always meaningful. Cool; What Now My Love; Here Comes The Sun; Blackbird; Club Much of the material on hand is post-Great Esquina; Berímbau; I Feel You; Call Me; ’Til There Was You. (48:30) Personnel: Herb Alpert, trumpet, vocals; Lani Hall, vocals; Bill American Songbook standards, and all get over- Cantos, piano, Fender Rhodes, organ, synthesizer, vocals; Hussain Jiffry, electric basses; Michael Shapiro, drums, percussion, loop hauled. The casual arrangement sounds spon- arrangements. taneous and organic. Then again, there’s some Ordering info: concordmusicgroup.com

Rich Halley Quartet featuring Live At The Penofin Jazz Festival Pine Eagle 001 ★★★½

At this late juncture free-jazz players are like bare-knuckle fighters, throwbacks who are no more avant-garde (by definition, anyway) than their bop counterparts. Rich Halley, a tenor saxophonist from Portland, Ore., typi- fies the sensibilities of this era even more so by enlisting cornet player Bobby Bradford, an early colleague of Ornette Coleman. Halley displays a bright tone and pen- chant for the horn’s altissimo register on Live At The Penofin Jazz Festival, recorded in 2008 frenzied, play just enough within the harmon- in northern California. What also distinguishes ic framework provided by Clyde Reed’s bass the album, though, is drummer Carson Halley, to keep things coherent. If the two horn play- who does more than just ride shotgun; he not ers are carrying on a conversation, they alter- only provides a tangible pulse, but also a variety nate between the roles of the big talker—brash, of rhythmic pockets. direct, colorful—and the companion who says His backbeat sets the tone on “Streets Below,” just enough. The absence of a piano allows the during both the reading of the syncopated chart dialogue to encompass a broad range of topics. and the horn solos. At the beginning of “Grey The result is freewheeling and satisfying. Stones” he pounds the drum kit, particularly —Eric Fine his snare, like a rock drummer; he moves into a Live At The Penofin Jazz Festival: The Blue Rims; Streets Be- march or parade beat and then, after the other in- low; Grey Stones/Shards Of Sky; The River’s Edge Is Ice. (41:58) Personnel: Halley, tenor sax; percussion; Bobby Bradford, cornet, struments drop out, plays a really cool solo. percussion; Clyde Reed, bass; Carson Halley, drums. Halley and Bradford, whose style is less Ordering info: richhalley.com

MAY 2011 DOWNBEAT 65

Books | By michael jackson

Journalist Kevin Whitehead Pens A Jazz Bluffer’s Guide for Students and Critics As a fan of Kevin Whitehead’s embedded documentation of the Amsterdam scene, New Dutch Swing, the blunderbuss target of Why Jazz? (Oxford University Press) came as a surprise, as the book kicked off like a Q&A Bluffer’s Guide. Even Whitehead’s inquisitive alter-ego asks himself in the introduction, “Isn’t this a short book for such a complicated sub- ject?” prior to the Socratic response: “We pack a small bag for a long trip.” Whitehead, who has taught at the Univer- sity of Kansas, provides a Cliff Notes format to jazz, which might seem corollary to one of his music history classes. Despite its brevity it functions as effectively, in its way, as vaster tomes by the likes of Gary Giddins or Alyn Shipton because Whitehead is a succinct, amusing summarist (part of the gig as long- songs are about other train songs more than time National Public Radio critic) and com- actual trains.” mands a broad appreciation and experience Elsewhere Whitehead’s condensed CD re- of the music. He also values originality without views (he restricts himself to one less-picked- pretense, which extends to his own prose. The over recording per artist) replace cliche super- questions posed during this five-chapter, 150- latives with such endorsements as, “The music page volume vary from moderately naive (“Is has the whirling intricacy and elegance of an jazz about self-expression?”) to the technical atom.” Whitehead draws cartoon music, west- (“What is the circle of fifths?”). Most of the dia- ern swing and Charles Ives into the orbit of jazz lectical inquiries concern individuals—“Why is and compares John Coltrane’s “Mr. Day” with Billie Holiday so beloved?” “What did Sun Ra a field recording of a West African playing an contribute?”—eliciting thought-provoking links instrument fashioned from a millet stalk. between Holiday and or Ra and Tad He focuses on the perspec- Dameron. Some entries (“What were the early tive, despite firsthand familiarity with the Euro- ’90s ‘Jazz Wars’ all about?” “Didn’t Anthony pean scene but doesn’t omit Asian American Braxton himself say he wasn’t a jazz musi- and Native American jazz musicians, nor the cian?”) tackle ticklish issues regarding per- fact that the Vietnam War prompted Stateside ceived credibility within factions of the genre. bluesy swinging to be vetoed by European im- Whitehead doesn’t shy from race issues, giving provisers. There’s no mention of Jamaican Joe white musicians credit where due (notably the Harriott (a free-jazz and Indo-fusion innovator), early freedom experiments of , Trevor Watts (an improv and world music pio- Lee Konitz and Warne Marsh), but arguing the neer) or the ’80s racial polarization in London debate over who first pioneered 5/4 meter in between Courtney Pine and the Jazz Warriors, jazz, scoring Max Roach’s “As Long As You’re Django Bates and Loose Tubes. Living” over “Take Five” with: “So Brubeck got Whitehead is no soothsayer, and his re- credit for making sound hard what Roach got sponse to the final question from his Platonic no credit for making sound easy.” jazz neophyte, “What is the Future of Jazz?” Master of the wry putdown, Whitehead’s nips fanciful projections in the bud. He’s con- more hilarious observations are often accu- cerned with brass tacks and nails points with rate sketches rendered in layman strokes, precision, deftly handling the jazz education rather than smug; his offhandedness righted debate or the crux of George Russell’s Lyd- with further probing about imperatives behind ian chromatic concept. But it’s the erudite the music. That said, ’s hubris is asides about lost-in-the-mist practitioners Wil- pierced with, “He also had the unfortunate ten- bur Sweatman or vaudeville drummer Charlie dency to sing along with himself in the voice of Johnson, forgotten lore about how King Oliver Jerry Lewis’s nutty professor”; Albert Murray’s and Louis Armstrong pulled off their uncanny hypothesis that jazz is more about imitation, two-cornet breaks, that makes Whitehead’s variation and counterstatement than original- tidbits more nouveau than just fun-size. DB ity is dispatched with, “For Murray jazz train Ordering info: oup.com

MAY 2011 DOWNBEAT 67 Matt Haimovitz Uccello Grace Kelly & Phil Woods Meeting Of The Spirits Man With The Hat Oxingale OX2017 PAZZ18-11 ★★★★ ★★★½

Like maverick violinist Nigel Teen wunderkind alto saxophonist Kennedy, cello virtuoso Haimovitz Grace Kelly previously paired up on is as au fait with Jimi Hendrix as J.S. CD with Lee Konitz. This outing finds Bach. This highly eclectic program her in the company of another alto pa- features his groundbreaking cello triarch, Phil Woods. This is not so octet with guests John McLaughlin, much a summit meeting as a series of May-September exchanges; low- Matt Wilson and pianist Jan Jarczyk. Beginning bucolically with cellos pressure reciprocity full of mutual respect and affection. If fireworks are slapped, bowed and plucked in counterpoint, a pause barely prepares us for not on display in this collection, subtle delights are. the shimmering swagger of the Mahavishnu Orchestra’s “Open Country It’s a tribute to the contained musicality that some of the most satisfy- Joy” with McLaughlin echoing tight swarms of cellos with trademark tri- ing passages are when Woods and Kelly blend on the heads. It’s a pleasure ple time licks. A lovely, layered intro introduces a benign Birth Of The to savor the two tones, slowly turning around each other, as on Woods’ Cool-inspired “Half Nelson.” Sanford funnels “W.R.U” via John Zorn’s “Love Song.” Another joy is the fatherly care he takes in his obbligatti be- hardcore Ornette album Spy Vs. Spy, with rockchops courtesy of Wilson. hind her vocals. It in no way diminishes her to say that his attack has more Haimovitz and Dominic Painchaud tackle John Lewis’ 12-bar passacaglia snap and his sound more ingredients; this is to be expected. “Blues in A Minor” as a duet. Painchaud faithfully exhumes Mingus’ in- The preponderance of slow material is a programming problem. While tro to “Haitian Fight Song” by tuning the cello’s C-string to a low G, and it admirably showcases her emerging sound—pretty, controlled and wres- Haimovitz attempts to mimic ’s tenor solo on the original. tling with melodic strategies—more rhythm and movement throughout Jaki Byard’s piano solo is recast using pizzicato cellos, with dynamic sub- were in order. Kelly’s own limpid “Gone” is overly long. It’s followed by an tlety. “Blood Count” reimagines Billy Strayhorn’s hopital bed composition, even slower, out-of-tempo Woods feature, “Every Time We Say Goodbye.” Haimovitz simulating the melisma of ’ alto sax. The one The pacing of the program is on life support when a brisk “Way You original, “Triptych,” is a spine-tingling intense performance in which this Look Tonight” fortunately closes, driven by the fine Monty Alexander-led brilliant platoon of cellists scramble at red alert. —Michael Jackson rhythm section. Kelly sings a couple of original ballads. She’s a modest, if

Meeting Of The Spirits: Open Country Joy; Half Nelson; W.R.U; Blues In A Minor; Meeting Of The charming instrumentalist-singer with a sparkle in her voice. She hits the Spirits; Blood Count; Triptych; Liza; Haitian Fight Song. (51:04) Personnel: Matt Haimovitz, cello; Jan Jarczyk, fender Rhodes (track 5); John McLaughlin, electric notes, is able to throw in a couple of octave jumps, and has a little bit of soul guitar (1); Matt Wilson, drums (3, 5); Ucello: Chloe Dominguez, cello, cello drums, (track 2, 7, 9); Ama- ryllis Jarczyk, cello (1-3, 5-9); Yoona Jhon, cello (2, 7, 9); Alice Nahyun Kim, cello (2, 7, 9); Dominic in her delivery. —Kirk Silsbee Painchaud, cello (tracks 1, 2, 4, 5, 7–9); Leana Rutt, cello (1–3, 5–9); Andrea Stewart, cello, cello Man With The Hat: Man With The Hat; Love Song From Brazilian Suite; People Time; Ballad For Very drums (2–5, 6–9). Sad And Very Tired Lotus-Eaters; Gone; Everytime We Say Goodbye; . Ordering info: matthaimovitz.com (42:39) Personnel: Grace Kelly, alto saxophone, vocals; Phil Woods, alto saxophone; Monty Alexander, piano, Rhodes, melodica; Evan Gregor, bass; Bill Goodwin, drums; Jordan Perlson, percussion. Ordering info: gracekellymusic.com

Scorch Trio Melaza Rune Grammofon 2104 ★★★★

Deftly named, this incendiary trium- virate has recorded several times with a previous lineup featuring ferocious Norwegian drummer Paal Nilssen- Love. Chicago’s Frank Rosaly recently replaced Nilssen-Love, and his punchy polyrhythms and restless creativity amply fuel this hyper-expressive date on which Ingebrigt Haker-Flaten’s alternately motile/tethered Fender bass provides contrast to guitarist Raoul Björkenheim’s adventurous forays. Björkenheim should be better known. His outsize musical personality ex- plodes like a Jimi Hendrix, Frank Zappa or John McLaughlin, with plosive throwdowns like the title track and the power riffs and flangy heavy rock pyro of “Iesnu!” In contrast, “Raitru” occupies reverberant Scandinavian pastoral terrain, Björkenheim morphing his sound into arco bass or cello. As with Hendrix, there is camp flamboyance in Björkenheim’s outrageous- ness, he embraces feedback and overtones. “Relajo” is loud and enervat- ing, Haker-Flaten’s eventual ostinato the flywheel for a rip-snorting drum/ guitar stenchout. The band filters industrial rock and grunge through the dark kaleidoscope of King Crimson, or perhaps Motorhead; then “Orita” reminds of Marc Ribot’s quizzical, elliptically comedic meanderings. Norwegian guitarist Terje Rypdal may be an influence, but Björkenheim flouts all pigeon-holes. —Michael Jackson Melaza: Relajo; Bambalán; Fajao; Orita; Melaza; Estinche; Raitrú; Iesnú!. (40:33) Personnel: Raoul Björkenheim, electric guitar; Ingebrigt Haker-Flaten, Fender bass; Frank Rosaly, drums. Ordering info: runegrammofon.com

68 DOWNBEAT MAY 2011 Peter Erskine//Darek Oles/ Standards 2: Movie Music Fuzzy Music 018 ★★★

I won’t apologize for liking albums de- voted to Songbook standards. With a minimum of sight-reading and unusu- al chord changes to worry about, the musicians can find freedom in the fa- miliar. Of course there’s a caveat: While such an album doesn’t have to break new ground, it needs to find its own entry point into the ageless rep- ertoire. If not, the music runs the risk of sounding uninspired or predictable. Standards 2: Movie Music, on drummer Peter Erskine’s Fuzzy Music imprint, spotlights alumni from three noteworthy jazz-rock groups: Erskine (Weather Report), Alan Pasqua (Tony Williams Lifetime) and Bob Mintzer (Yellowjackets). Tenor player Mintzer, the group’s nominal front man by virtue of his ax, displays an attractive tone, edgy but not over- whelmingly so. Rather than helming another horn-meets-rhythm-section date, Mintzer often cedes the first solo to someone else. In addition, each musician contributes at least one arrangement, allow- ing the songs to transcend their war-horse status. The music is uniformly good, but may require more than one listen to fully appreciate. That may be a result of placing several ballads whose arrangements are a little stiff early in the set: the back-to-back positioning of “Somewhere” and “Dr. Kildare,” and also “Rosemary’s Baby.” The mid- and up-tempo tunes, though, cel- ebrate jazz’s classicism, especially the readings of “Night And Day” and “Cinema Paradiso.” —Eric Fine Standards 2: Movie Music: Tara’s Theme; Somewhere; Dr. Kildare; Three Stars Will Shine Tonight; Night And Day; Rosemary’s Baby; Cinema Paradiso (into and tune); I Concentrate On You; For All We Know. (59:45) Personnel: Bob Mintzer, tenor; Alan Pasqua, piano; Darek Oles, bass; Peter Erskine, drums. Ordering info: fuzzymusic.com

Gutbucket Flock Cuneiform 321 ★★★

As they’ve done since their inception, Gutbucket delights in moments of au- ral squirming and brainy humor. Here, the band tried out a new approach, re- cording the new material to analog tape, before overdubbing and editing their most produced effort to date. Replete with awkward squawks, power chords and smart alecky song titles like “Dyslexic Messiah (Where’s Your Dog?),” the results are still 100 percent Gutbucket. But as the quartet storms through a series of odd- meter rhythms and dissonant melodies, an underpinning of tenderness emerges to smooth out some of the material’s complex, angular edges. “Tryst ’n Shout” gets a dose of emotion from Eric Rockwell’s deep elec- tric and acoustic bass plunks. Ken Thomson marries beauty and tension in a series of sax and clarinet lines that rise above the swell of grinding guitar and drums on “Fuck You And Your Hipster Tie.” That constant presence of something soft and vulnerable throughout such math-rock-oriented material adds depth. It also provides a lifeline when the band’s punk instincts kick into overdrive and they start grinding out chords with the frenetic pace that makes their live shows so memorable. —Jennifer Odell Flock: Fuck You And Your Hipster Tie; Zero Is Short For Idiot; 4 9 8; d0g Help Us; Murakami; Tryst ’n Shout; Said The Trapeze To Gravity (Why Are You So Old?); Give Up; Born Again Atheist Suite: Part One: Dyslexic Messiah (Where’s Your Dog?); Part Two: Sacrificial Vegan; Part Three: Turning Manisch- ewitz Into Wine. (60:20) Personnel: Ty Citerman, electric guitar, prepared guitar (7), electronics (7); Adam D. Gold, drums, percussion, Wurlitzer (6); Eric Rockwin, electric upright bass, acoustic bass (1, 6, 9), bass guitar (3, 8, 9), cello (1), Wurlitzer (3, 6, 10, 11), bass synth (3, 6, 10); Ken Thomson, alto saxophone (1–6, 8–11), baritone saxophone (4, 5, 7), soprano saxophone (1, 3), clarinet (6), bass clarinet (8–10), contrabass clarinet (1, 4, 11). Ordering info: cuneiformrecords.com

MAY 2011 DOWNBEAT 69 Master Class REED SCHOOL Woodshed | By ben kono

Sax Section Evolution: Leading The New Pack ize matters. Or does it? There was a time the big band era, and I learned a great deal about during my development as a lead alto saxo- phrasing, swing feel and tonal concept from the Sphonist when I was obsessed with my own vol- guys who were actually there. I played tenor, ume. Whether it was competing with a Stan but I learned a lot about how to lead a section Kenton-sized brass section, a bombastic rhythm from our lead alto saxophonist, Tracy Knoop. section, or just staying on top of the other sax- This was very traditional big band writing from es, the answer always seemed to be “play loud- the ’40s and ’50s—many arrangements by Billy er.” There was definitely a time when this was Byers, Nelson Riddle, Neal Hefti, Bill Finegan— in vogue, perhaps a leftover sentiment from the where you played in a sax section that almost al- Buddy Rich and schools. But ways took its cue from the lead alto, and you had the scene has changed quite a bit and so have the to be aware of how you fit within the group: how rules. It’s not all about volume and pyrotechnical to feel the time; exactly on what part of the beat chops anymore. to cut off a note; when and when not to use vi- In my world as a saxophonist and wood- brato; inflections; volume. These are the things winds specialist in New York City, “size mat- a lead player must always make decisions about ters” doesn’t carry the usual innuendo. Rather, and do exactly the same way each time. the clever play on words points to an ongoing After leaving the Dorsey band I went to the concert series at the Tea Lounge in Brooklyn, the University of North Texas to get a master’s in brainchild of trombonist/composer JC Sanford. woodwinds, and while there I played lead alto in Monday nights have traditionally been “rehears- the One O’Clock Lab Band. Talk about a com- al big band night” in the city, but Sanford curates pletely different experience! Suddenly I found a completely different evening of large ensem- myself sight-reading all the time. There was just ble music every week. Bandleaders and compos- so much material; we would literally be sight- ers have been coming out of the woodwork with reading new charts during concerts. It could Suggested Listening their own individual takes on what the new mod- be frustrating not getting to “settle in” with the ern big band sound should be. Despite the abys- music at times, but it truly prepared you for the Duke Ellington, “Jeep’s Blues,” mal state of the industry, large ensemble jazz is New York scene where rehearsal time is at such Ellington At Newport 1956 (Columbia) thriving, and there is more interest than ever in a premium. Coming from mostly a tenor saxo- writing in this format. What is also apparent is phone background, I spent many hours listening Count Basie, “Jessica’s Day,” that the sound has changed and so has the need to, transcribing and playing along with some es- The Complete Roulette Studio Recordings for a different kind of musician, particularly in sential recordings from the Count Basie, Thad Of Count Basie (Mosaic) the role of a lead saxophone player. Jones/ and orches- There is nothing like the experience of being tras and trying to get the sound and phrasing Miles Davis/, “Move,” in the midst of a great swirling, swinging, groov- right. Since much of what we were playing in Birth Of The Cool (Blue Note) ing mass of sound, everyone giving their all to school came from these libraries, it was im- combine into a sum greater than its parts. But portant to notice the different approaches: the Thad Jones/Mel Lewis, “Tiptoe,” think about what you have to give up: The big lush vibrato of Marshal Royal with Basie, the Consummation (Blue Note) band is not a democracy. It is an autocracy, or dry and austere tone of Lee Konitz with Kenton perhaps a dictatorship. There is a chain of com- and Gil Evans, and the pungent, penetrating, al- Thad Jones/Mel Lewis, “Little Pixie,” mand and, as a saxophonist, you are pretty much most tenor-like approach of Dick Oatts at the The Definitive Thad Jones: Live From The on the bottom rung of that ladder. Your choices Vanguard. I spent the next four years after UNT Village Vanguard, Vol.1 (Nimbus) on how to phrase a line are limited to what is be- honing my lead alto skills with the U.S. Army ing dictated by the lead trumpet or trombone. As Jazz Ambassadors. It was a good time to prac- Maria Schneider, “Dissolution,” the leader of a saxophone section, you need to tice woodwind doubling, build chops and write Allegresse (Enja) set the example: impeccable intonation; accurate music, but by the end of my hitch I was ready for John Hollenbeck, “The Cloud,” sight reading and rhythm; being able to listen, a move to New York and to work on my career Eternal Interlude (Sunnyside) understand and follow the hierarchy of drums to as a solo artist. lead trumpet to lead trombone; knowing when to Of course all those skills came in handy for John Hollenbeck, “A Blessing,” blend instead of being on top; producing a clear, the New York big bands scene. I arrived in the A Blessing (OmniTone) classical tone on all your doubles; phrasing in- city at a time when Maria Schneider’s orches- telligently and doing it consistently and correct- tra was starting to attract a lot of attention with Darcy James Argue, “Zeno,” ly each time. her new sound, informed more by the orchestral Infernal Machines (New Amsterdam) There is definitely a tradition of leading a colors of Gil Evans and Bob than saxophone section, and many of the princi- the hard swing of Basie and Thad. At the time, Ed Palermo, “What’s New In Baltimore,” ples remain the same to this day. Right out of the BMI Jazz Composers Workshop Orchestra Eddie Loves Frank (Cuneiform) Eastman College, I spent a year touring with the needed a saxophonist; the lead tenor was re- Tommy Dorsey Orchestra under the direction of quired to play English horn, so I subbed in that Ben Kono Group, “Castles And Daffodils,” Buddy Morrow. It was a crucial part of my edu- chair and eventually moved over to the second Crossing (Nineteen-Eight) cation, for the band was a direct connection to alto spot, where I still play. After years of play-

70 DOWNBEAT MAY 2011 ing lead alto, it was a great education to play sec- ical sax section in favor of double reeds, flutes ond to Mike Migliori and, often, Gerry Niewood. and clarinets. Then there is Argue, who retains I tell students the best way to learn lead is to play the traditional instrumentation but uses the horns second—you learn by shadowing the lead and in unusual ways. Again, it’s pretty heavy on the playing inside their sound. The majority of the woodwind doubles; the lead book has some fea- bandleaders I play for in New York all went tures on alto flute and often calls for advanced through the BMI program at one point, so it was techniques like flutter-tonguing and growling. a great launching pad for me. It was here that I Being proficient on multiple woodwinds and met composers Sanford, Darcy James Argue and saxophones has been absolutely central to my Joe Phillips, and reconnected with a classmate success in this arena. I actually detest the term from Eastman, John Hollenbeck. The workshop “doubling,” because the great doublers in New requires all participants to work within the big York are at the top of their game on every instru- band instrumentation, but beyond that the sky ment. I prefer “woodwind specialist.” The way is the limit. Strong reading skills are a must to composers are writing for large ensembles is navigate most modern charts, and sometimes more demanding than ever and assumes the reed math skills are a plus. I would say that rhyth- player has a fairly wide arsenal of woodwinds to mic complexity is the most distinguishing factor bring to the music. If you have a special skill, you separating the newer breed of writers from the might want to advertise it. old. In Argue’s band Secret Society, we are of- One of my favorite bands to play with is led ten playing in several time-feels layered at once. by Ed Palermo, who has been arranging and per- Hollenbeck had once written a piece for us based forming the music of Frank Zappa for more than on the transcribed rhythm of raindrops falling on 15 years. In his band I play tenor, flute and a roof—probably the most rhythmically complex and will probably never play alto. What sets this thing I’ve ever read. band apart is the stylistic thing you need to bring Hollenbeck’s large ensemble writing spot- to the gig—straight-up and funk. What lights another departure from tradition. In the I love is that a song like “King Kong,” which has reed section the baritone sax is replaced by con- basically two chords, can become such a great tra-alto and bass clarinet; one of the saxophone solo vehicle when it’s opened up and stretched chairs is almost entirely clarinet; one of the ten- way out in creative ways. It’s changed the way I ors doubles on English horn; and the lead alto like to improvise. plays primarily flute and soprano saxophone. Some of the new bands can get quite “out The addition of vibes and Theo Bleckmann’s there.” In the BMI class there is always some- voice round out a sound that is very orchestral body trying to reinvent the wheel. What I like to in color. In fact, the instrumentation and his writ- hear is some kind of connection to the lineage ing for it grow largely out of the musical relation- of the big band, writing that displays a sense of ships Hollenbeck has with his musicians; he’s the history and tradition while still pushing the writing for the performer’s unique voice, not nec- boundaries of the new and unfamiliar. Just as the essarily the instrument. This seems like a return jazz improviser’s unique voice grows out of what to Duke Ellington’s concept of writing for a par- has been handed down, so does the tradition of ticular group of players and using their particular writing, and the composer almost always has personalities to mold the music. Another parallel some sonic picture of what the saxophone sec- to Ellington’s approach is how Hollenbeck often tion should sound like. You just can’t play this doubles instruments across sections. Your focus music right without having at least checked out of attention gets moved around the band in inter- Johnny Hodges, or Marshal Royal, or esting ways and doesn’t reside within a section and Lee Konitz, or Jerome Richardson and Dick for very long. Oatts. And now the big band has changed again, Other favorites of mine in this regard include and it is lead players like Tim Ries, Charles Joe Phillips’ Numinous, which started out with Pillow and Steve Wilson who are setting the the BMI big band instrumentation and quick- standard with strong woodwind doubling and in- ly morphed into a much more orchestral instru- stantly recognizable solo voices. mentation with strings, voices and mallet percus- I am happy to say, after so much large en- sion replacing much of the brass and woodwind semble participation, I am finally releasing my roles; the reed players themselves would be dou- own debut recording, Crossing, on Nineteen- bling on five or six woodwinds. It’s a thrill to im- Eight Records. Interestingly enough, many of provise over such a rich tapestry of sound, and the tunes have long, complicated forms, complex the rhythms and harmonies owe more to mod- rhythms, dense textures and lots of woodwind ern classical genres than jazz. Sanford’s own orchestrations. You can take the player out of the band, Sound Assembly, has gradually taken on big band, but just try it the other way around— a more chamber music vibe, eschewing the typ- the big bands have come back to haunt me! DB

MAY 2011 DOWNBEAT 71 pro session REED SCHOOL Woodshed | By miles osland

The Eternal Quest For The Perfect Saxophone/Mouthpiece/Reed Combination he subject of this article is a highly person- have been playing on a gold Charles Bay 7 with al and subjective topic. One person’s dark Rico Jazz Select 3M reeds (unfiled). In a “blind” Tis another person’s bright. One person’s hard listening test, many of my students will say that (as in reed strength) is another’s soft. One per- my Bay metal setup is actually darker than my son’s open (as in tip opening) is another person’s Meyer hard-rubber setup. closed. So, I must state my disclaimer right off Bob Mintzer emphasizes the idea not to the bat: I will be speaking in generalities, not in choose a mouthpiece/reed just because some- definitive terms, but my opinions are based on one else plays it and to concentrate on the mu- more than 40 years of enduring “the quest.” sic, not the equipment: “The idea, as I see it, is I polled more than 50 of my closest friends, to find a mouthpiece that affords you the abili- colleagues and saxophone enthusiasts on this ty to produce the sound you are hearing in your subject. As you can imagine, I received a wide head, as well as the ability to play bright, dark, range of answers, opinions and conclusions. loud, soft, and blend in a wind section,” Mintzer First, from David Demsey (William Patterson said. “You want to have a mouthpiece that is easy College): “For my students and developing play- to play in tune, and with a good sound from top ers in general, I always follow the rule of ‘every- to bottom of the horn. You don’t need a mouth- thing in moderation.’ In other words, nothing too piece that is so loud that you can play louder than open, too closed, too dark, too bright. The key a guitarist on 11. You will most likely be playing is to find a mouthpiece that allows you to find into a microphone in these instances. So it is bet- your sound, and not let the mouthpiece ‘put an ter to go for a good sound that will translate well attitude’ on your sound. In the case of high- when playing into the microphone (and that is a baffle pieces, Mike Brecker used to call this a whole other conversation). I’ve played Freddie ‘false brightness’; the same thing is true with Gregory mouthpieces for many years. They super-dark mouthpieces that deaden the sound work for me. This is not to say that they would too much. Every player has their own individu- work for everyone. Never buy al sound, and a middle-of-the-road mouthpiece/ a mouthpiece because reed approach will help them discover what that someone else plays sound is and develop their own personality.” I it. You really need couldn’t agree more with his comments regard- to try the mouth- ing moderation. piece to see if it There are always exceptions to every major- ity, but a great place to start is with medium- strength reeds (e.g., Rico Jazz Select 2H, 3S; Java 3) combined with medium-open and medi- um-chamber mouthpieces (e.g., Meyer 5M, 6M for alto; Otto Link 6*, 7* for tenor), but many artists I polled do prefer a small chamber. Those choices were by far the most com- monly recommended by the saxophon- ists I polled. Other mouthpieces includ- ed (for soprano) Selmer C*, D, S90/190, Vandoren, Bari and Jody Jazz; (for alto) Vandoren V16, Rousseau, Jody Jazz, Bay and Morgan; (for tenor) Berg Larsen, Jody Jazz and Bay; and (for baritone) Berg Larsen, Otto Link and Bay. With tip openings/numberings of mouthpieces, there is no standard- ization across the industry. There are many mouthpiece comparison charts online to check out. Accepted wis- dom dictates that metal mouthpiec- es should be reserved for tenor and baritone, yet there are many fine art- ists who play metal pieces on soprano and alto and hard-rubber pieces on ten- or and baritone. For more than 10 years I

72 DOWNBEAT MAY 2011 works for you. There are many ‘designer’ mouth- pieces that guys play and sound very good on. You would have to try one to make sure it is right for you. Be ready to shell out beaucoup dinero if you take this route. I guess the main thing is to find a mouthpiece, reed and horn that get you close to being able to produce a good sound. Stay with that mouthpiece, reed and horn for a good long while and learn how to make them work. Rather than spending too much time on equip- ment, spend the time learning the music.” Traditionally, “German-cut” (unfiled) reeds work well for jazz and “French-cut” (filed) reeds work best for classical. Examples of German-cut reeds are Rico Jazz Select (unfiled), Vandoren Java (green box), LaVoz and Rico. Examples of French-cut reeds are Rico Jazz Select (filed), Rico Reserve Classic, Vandoren Java (the new red box), Vandoren Traditional (blue box), Hemke and Rico Royal. There are many other brands, but these were the reeds that were mentioned the most in my polling. This is not to say that a “clas- sical-cut” reed (French-cut/filed) is not a good reed in combination with a jazz mouthpiece. Many fine jazz artists I polled use Vandoren Traditional or Rico Royal reeds. Beware: Much like a mouthpiece tip opening, the labeling of the strength of a reed has no consistency or standard- ization from brand to brand. Most reeds come in one-half sizes; Rico Jazz Select reeds are offered in one-third sizes (3S, 3M, 3H, etc.); and LaVoz lists their strengths as medium soft, medium, me- dium hard, etc. Your best bet is to check out the many reed-strength comparison charts that are online. Here’s a unique exception to the majority: Jeff Coffin (saxophonist with Béla Fleck, Dave Matthews and the Mu’tet) uses tenor reeds on his alto. I have actually tried this and it works for me, also! I’ve found that you usually have to go up a strength or two to make it work. For the past five years, I’ve been using tenor Rico Reserve 3.5 or Vandoren Traditional 3.5/4.0 with my Meyer 7M (small chamber) alto mouthpiece. Once again, neither Coffin nor I recommend this, but it’s defi- nitely something to consider and explore. In conclusion, I can say that these are only choices for exploration. After 30 years on the prowl, I have found my “perfect” setups, and have been playing on the same ones for more than 10 years, so maybe the search isn’t quite “eternal.” DB

Miles Osland is a Selmer (Paris) saxophone, Avanti flute and Rico reed clinician/artist. He is cur- rently Director of Jazz Studies and Professor of Saxophone at the University of Kentucky. His recordings have garnered him 4-star reviews from Downbeat magazine and multiple recommendations for grammy nominations.

MAY 2011 DOWNBEAT 73 SOLO REED SCHOOL Woodshed | By jimi durso

Gary Thomas J OS KNAEPEN

Gary Thomas’ Intervallic Flute Solo On ‘Chiaroscuro’ ary Thomas has a unique voice, both as a these ideas until the next section change (at 32), saxophonist and a composer. He is also quite where he goes chromatic again, only this time for Ga flute player, as he displays on “Chiaroscuro,” most of the next 10 measures (until 43). Then he from his 1987 album Seventh Quadrant (Enja). condenses his ideas, playing a handful of inter- The improvisation section of the song consists of vallic licks, one quick chromatic idea (measure long modal sections in G minor separated by an 50) and ending with a short intervallic lick. There eight-bar chord sequence (16–24), and then one is a sense of closure that Thomas creates by end- that’s 15 bars (32–47). The changes in this sec- ing with the same descending fourths (C-G-D) ond section are particularly angular in that the that he played in the first measure. At the begin- chords aren’t key-related to one another (e.g., ning he resolved up a minor third to F (the sev- Bm7 isn’t in the key of G minor and vice versa). enth), but here he resolves up a major second (1/2 This could be enough of a challenge for step difference) to E (the sixth). some improvisers, but Thomas goes further by Let’s look at how Thomas constructs some making his solo less about playing the changes of these phrases. Some are just stacked fourths, and more about the intervallic ideas he is incor- like the descending line from F to D in the first porating—while still making those ideas work measure (which includes all the elements of within the context of the harmonies. The inter- Gm11 except the third and ninth), which happens vals he favors are fourths and steps, which he again over the barline from 3–4. It’s no surprise breaks up with long chromatic runs, tending to that he would put these early in his solo, making group his ideas into sections. The first 18 mea- the listener aware of the sound he will be devel- sures are all intervallic, with a chromatic passage oping. Sometimes he varies this idea just by in- appearing at the end of measure 19 (and fore- verting a fourth into a fifth. this in mea- shadowing where he’ll be going). We then hear sure 36, where instead of descending from F# to some more intervallic material before the long C# to G# (which would be descending in fourths), chromatic 16th-note passage that spans from the Thomas puts the first note an octave lower so he end of bar 22 to the middle of 23, where he ends ascends a fifth and then descends a fourth. There with some more fourths. Thomas continues with is a great lick in measure 18 where he goes up a

74 DOWNBEAT MAY 2011 fourth from E to A, then down a fifth to D and up er extent in other places. In measures 18 and 19 a fourth to G. What’s great about this lick is that there is a descending whole step from E to D that the notes all fit well with the Fmaj7 chord (7, 3, 6, Thomas then transposes down a fourth to B and 9) but emphasize the upper degrees. A (which all work within Fmaj7#11). The same Thomas also intersperses whole steps into idea happens in the beginning of measure 23, his fourths (a la Eddie Harris’ “Freedom Jazz only inverted (an ascending whole step trans- Dance”). Thomas alluded to this right at the be- posed up a fourth). ginning when he played the B a step below the You can find more examples of this kind of C of his fourths lick in both measuresb 1 and 3. thinking throughout Thomas’ solo. In fact, He develops this more as the solo goes on (e.g., at there’s almost never a scalar run (measures 23 measure 7 we have a step, a fourth, a fourth and and 32 possess four-note scale fragments, but a step). We also see Thomas exploring the minor that’s the closest thing to a scale I can find here). third he ended his first lick with. In measures 29 It’s astounding how he can approach his impro- and 30 Thomas constructs a lick with a descend- visation with a mind toward the intervallic aspect ing fourth, an ascending third and a descending of his lines and yet still remain within the sound fourth, playing this idea on a high B , but play- of the harmonies. DB ing the same sequence of intervals offb middle C in the next measure (and all those notes fit with- Jimi Durso is a guitarist and bassist in the New York in the Gm11 sound). Thomas does this to a less- area. He can be reached at jimidurso.com.

MAY 2011 DOWNBEAT 75 REED SCHOOL Toolshed 

RS Berkeley Virtuoso Saxophone Solid Vintage Design

he search continues for the saxophonist’s being made on the I really like this horn and I can see holy grail: that is, of course, a new horn cheap—the Virtuoso why many significant modern Twith the sound and feel of the legendary Selmer is incredibly well built players are picking it up. Mark VI. I am one of those vintage lovers, play- and in a word, solid. It’s important to acknowl- ing an early 1960s tenor Mark VI. As such, I This particular tenor came with plastic reso- edge the fact that the creative am frequently skeptical and even dismissive of nators and no high F-sharp key, although that is process of finding one’s sound most new horns because they simply lack some- an option. The action was predictably stiff for a should not be constrained to con- thing—let’s call it the “X” factor—that makes the new horn, and the key height was a bit low, espe- vention, and although I do love my Mark VI sing. Suffice it to say, the brand new, cially in the upper stack. I played the horn with Mark VI, I believe the arrival of se- in-the-wrapper RS Berkeley Virtuoso tenor I’ve my regular setup (Vandoren V16 T7 mouth- riously formidable new horns like been playing for a week needed to be pretty spec- piece, Vandoren Optimum ligature and Rico the Virtuoso are an important ad- tacular to win my affection. Jazz Select 4S unfiled reeds). My first impres- dition to the player’s list of options. RS Berkeley obviously takes their pursuit sions upon playing the horn were, “Wow, it ac- Ultimately we don’t move our art very seriously, and they clearly believe they have tually plays,” and, “Huh, I wonder where the form forward if we all sound the the ability, willingness and passion to make a weird, temperamental notes are?” The scale same, and I predict we will stellar horn. Tim Ries (of The Rolling Stones, is even through the entire range of the instru- see more players choosing Maria Schneider’s Jazz Orchestra, etc.) and the ment, and intonation is effortless (some- to play the RS Berkley late have collaborated with thing of an adjustment if you’re used to Virtuoso. If you’re in RS Berkeley to provide feedback on many de- playing older horns). The Virtuoso is in- the market for a new sign elements of the horn. I ran into Ries sever- credibly responsive, and the sound is fo- horn, or if the stag- al weeks ago, and he’s loving his horn (he isn’t cused—even a bit compact (the plastic gering price tag just holding it for the photo shoot and then pull- resonators may be contributing to this). of the vintage ing out the VI on gigs). The horn feels perfectly Wide intervallic movements speak horns is putting natural and comfortable in the hands of some- immediately and without effort, you off, you need to give one used to the Mark VI, but I was immediately and the altissimo range pops with the Virtuoso a try. struck by how substantial the horn feels. I haven’t equal ease. Playing whisper-soft on The Virtuoso tenor and weighed the Virtuoso to compare it to a Mark VI, this horn is a downright trip because alto models are available in but it sure does feel heavier. The bracing, guards, it is so easy, stable and reliable. When matte, lacquer, silver-plated,

rods and keywork are all impeccably crafted, pushed to the other end of the dy- William Hauser black nickel, gold-plated, dark the matte finish on the model I’ve been playing namic spectrum, the horn loses its lacquer and unlacquered finishes. (VIRT2001M) is flawless, and the engraving manners a bit, and I was surprised The horn comes in a lightweight, work (if you care about such things) is also nicely by the spreading of the sound past fabric-covered rectangular case done. Perhaps the one unfortunate visual element a certain point. With my Mark VI, with two exterior zip pockets, sep- of the horn is the brown “Virtuoso” logo on the I definitely work harder to play as arate interior compartments for neck bell, which I think makes it look more like a stu- softly as I was able to play with ease on and mouthpiece, and a large compart- dent horn than it should. These horns are being the Virtuoso, but when pushed, I feel like the ment for additional storage. —Nic Meyer manufactured in China, but they certainly aren’t Virtuoso runs out of room before I do. All in all, Ordering info: rsberkeley.com

P. Mauriat Le Bravo 200 Alto Sax Serious Punch Mauriat has introduced the Le Bravo 200 ual din of impatient diners, rushed wait- Blued steel springs are standard on the in- alto saxophone, a step-up instrument with a ers and over-served revelers. Over the strument, and the key touches are all genuine Pthick sound and serious punch, as well as several course of a 7-hour job, I was able to sup- abalone. Like all P. Mauriat saxes, the Le Bravo nice professional appointments. port the instrument’s well-rounded tone 200 alto comes equipped with Pisoni profes- The Le Bravo 200 features a red brass body with relative ease, playing a Couf rubber sional pads containing metal resona- tube with matte lacquering and yellow brass mouthpiece and a medium-soft jazz reed. tors. A high F-sharp key is included. keys. A solid nickel-silver neck comes standard. Intonation was nice and even from low to With its matte lacquer finish and Red brass is used for warmth and depth of tone high registers, keywork was tight and ac- engraved nickel-silver neck, the Le Bravo color, and the nickel-silver neck provides extra curate under my fingers, and the horn re- 200 has a striking, satiny look that will punch. sponded immediately to changes in dy- add a touch of class to your onstage ap- I play-tested the Le Bravo 200 alto on a row- namics and embouchure. Overall tone was pearance. It carries an MSRP of $2,540. dy Mardis Gras gig, and I found that it projected slightly bright, on the contemporary side, —Ed Enright exceptionally well—unmiked—over the perpet- without being brittle or shrill. Ordering info: pmauriatmusic.com

76 DOWNBEAT MAY 2011 Buffet 400 Series Saxes French Style, Modern Design

t was an eye- and ear-opening experience to and is one ment a slightly brighter tone color play-test the new Buffet 400 Professional of the rea- without losing the focus and core of ISeries alto and tenor saxophones, made in China sons I like the traditional French sound Buffet and designed for advancing students and pro old Martin is known for. players. tenors. I was very comfortable Both the tenor and alto 400 At first I was struck by how beautiful these playing a warm ballad with this Series horns feature a large bow (for saxophones looked. The tenor I played had an an- tenor. I found the tone to be fair- improved response on low C-sharp, tique brass/matte finish. There is a lot engraving ly consistent throughout the C, B and B-flat) and double brac- on this horn—including engraving on the bell, range of the horn as well. ing to keep the low C, B and B-flat the neck and the keys—yet it is not overstated. The next day I played the keys in adjustment for a tight seal. I brought the tenor to a jam session, and right Buffet 400 alto. It took me The have a focused, clear tone away other musicians remarked on its nice ap- about 20 minutes to get rea- that’s suitable for both pearance. The alto had a gold lacquer finish and sonably comfortable with the jazz and classical the same engraving style, which really makes the keys, but I was soon play- performance and horn stand out. ing up and down the horn come in a durable, The first horn I played was the tenor, and af- with no trouble. The alto also lightweight deluxe ter about 15 minutes I was able to adjust rather has the high F-sharp key, backpack case. well to the keys—especially the left-hand palm which I found I could easi- Overall, I am very keys, whose profile filled my hand more than my ly work into my scales af- impressed with the own tenor, a vintage Martin. I was able to move ter a while. I found the Buffet 400 series, which up and down the horn and hit a high G with ease key action in general to is very affordably priced. after getting used to the feel and the keywork of be very responsive. My If Buffet is attempting to the instrument. The Buffet 400 series tenor also tone was solid and consis- make a statement with the has a high F-sharp key, however I preferred my tent through the range 400 series, I would say the own fingering for F-sharp simply out of habit. of the horn. I also found company has done an excel- Overall I found the tenor to be very expres- that I could play brightly lent job. These are beautiful sive. I could play softly with a nice, full tone. when I put a lot of air in horns to see and play. When I put in some air, I really liked how bright the horn. The alto’s lac- —Peter McCormack the sound was. This was a nice surprise to me, quer finish gave the instru- Ordering info: buffet-crampon.com

Theo Wanne Gaia Soprano Sax Mouthpiece Large-Chamber Tonal Options

heo Wanne has introduced the Gaia with the ligature make it easy to change out ing piece that gives a thick sound and allows for mouthpiece for soprano sax, an in- the plates using a special screwdriver that’s plenty of volume. High notes in particular pop Tnovative design that gives players a included. out easily; low notes respond nicely, too, but re- wide-open airstream and plenty of On soprano, I usually prefer a darker- quire quite a bit of air. If you’re trying to blend tonal options to experiment with. sounding setup, as I find sopranos to be with other woodwinds in a classical or cham- With the Gaia, you get a choice edgy and bright by nature. I preferred the ber type setting, you might blow your fellow in- of different pressure plates to hold Gaia’s Heavy Copper plate, which created strumentalists away with the Gaia. But if you’re the reed in place, and each plate a duller sound with fewer harmonics and playing in a big band or a jazz combo, you’re has its own unique tonal charac- more laid-back projection than the Alive definitely going to be heard, and felt, and your teristics. The Alive Gold plate Gold, which was significantly brighter. I preferred tone will shine through. I tried both a allows a free and vibrant sound, could further adjust the tonal response size 7 x 266 and an 8 x 280 Gaia; I felt the 7 was while the Heavy Copper plate by changing the ligature position more than sufficient and much more manage- emphasizes the core of the on the mouthpiece: Moving it for- able than the 8, which required huge amounts sound with fewer harmon- ward toward the tip focused the of air for a soprano mouthpiece and might take ics. Both come included with sound more, and moving it back some getting used to. the piece, and additional spread the sound into a brighter, Everything from sensible packaging to qual- pressure plates (Solid Silver, wider tonal spectrum. ity of tone production to ease of hardware-tweak- Titanium, Stainless Steel and The Gaia features a true large cham- ing made the Gaia experience a good one on so- Vintified) can be ordered to ber, which makes it feel more like an alto prano. It’s well designed, well thought-out and a further personalize your sound. or tenor sax mouthpiece and allows more pleasure to play. —Bruce Gibson The instructions that come air to enter the horn. It’s a strong, full-play- Ordering info: theowanne.com

MAY 2011 DOWNBEAT 77 REED SCHOOL Toolshed | Gear Box

{5}

{2}

{3}

{1} {4}

{1} Baritone Red Zone Vandoren has released its Red Java reeds Javas are particularly noticeable on the baritone for baritone saxophone. The Reds are the sax, where the reeds’ sonic subtleties are exag- company’s first file-cut (or “French cut”) gerated by the their relatively large surface area. reeds and have been gaining popularity “We’ve received a lot of very positive com- since Vandoren released them for soprano, ments on the new Java Reds,” said Sylvain alto and tenor sax in spring of 2009. Carton, west coast artist advisor and product The driving force behind the Reds is to offer more specialist for Dansr, distributor of Vandoren sonic possibilities to saxophonists while keeping products. “Every artist we’ve worked with has the qualities of the original German-cut Java reeds (green box), which were developed in 1983 noticed the increased flexibility, projection for jazz and commercial music. The Reds offer a and ‘snap’ of the new cut. For saxophon- little more tonal body and flexibility, contributing ists who are looking for these kinds of playing to a rich, centered sound and excellent projection characteristics, this is a reed they must try.” with an extremely precise attack. The differences Especially bari players. —Ed Enright between the Reds and the original unfiled green More info: vandoren.com

{2} Reserved Ricos For Alto Rico has added alto saxophone reeds to its internode cane for consistent tone. The reeds Reserve Classic line. The Reserve Classic feature a thicker blank that allows for more Alto Saxophone reeds are made from lower- resonation as well as a profile that provides

78 DOWNBEAT MAY 2011 more flexibility than standard alto saxophone reeds. Reserve Classic Alto Saxophone reeds are available in strengths of 2.0 to 4.5. “The Reserve line for saxophone has been out for about two years, but we’ve made some upgrades to the alto reed specifically that have gone over well with sax players,” said Robert Polan, woodwind product manager for D’Addario. “It’s more of a traditional classical style reed—some guys do play jazz on our traditional cut—designed as a classical setup. And the thing that has won over so many people is the consistency.” The Reserve Classic line also offers 3.0+ strength, making Reserve Classic the first line of reeds to offer this strength option for the alto saxophone. “The point of that is it’s an in-between strength, slightly harder than a 3 and softer than a 3.5, which is the number-one thing that classical alto guys are always asking for,” Polan said. “It falls right smack in the middle.” —Ed Enright More info: ricoreeds.com

{3} Blow-Dry Your Sax Hollywood Winds’ Horn Blower extends the lifespan of saxophone pads and relieves instru- ments of unhealthy bacteria that can build up when a horn is put away damp. The lightweight unit, crafted from ABS polycarbonate plastic and featuring a battery- and USB-powered fan, is inserted into the sax’s bell after play. At a noise rate of 15–20db, the Horn Blower emits quiet airflow at room temperature without creating unnecessary heat within the instrument. More info: hollywoodwinds.com

{4} Tuned In Cherub Technology has enhanced its tuner offer- ings with the WST-910 universal orchestra tuner. The WST-910 features similar functions as its predecessor, the WST-920, in a more traditional desktop style. An LCD displays a non-linear ana- log meter and shows the pitch and tuning mode (chromatic, F, B-flat, E-flat, guitar, bass, violin, C ukulele, D ukulele, and Chinese erhu and pipa). More info: cherubtechnology.com

{5} Blues At Midnight Hohner’s Blue Midnight is the latest addition to the MS series of 10-hole diatonic harmoni- cas. Named after the instrumental hit “Blue Midnight” by Little Walter Jacobs, the new model features a blue plastic comb, stainless steel cover plates and closed side vents similar to those of the company’s Blues Harp. Set- ting the harp apart is a custom Chicago-style tuning from Hohner’s vaults, offering the strong chords that vintage blues requires, as well as melodic single notes. The Blue Midnight comes in seven keys: A, B-flat, C, D, E, F and G. More info: hohnerusa.com

MAY 2011 DOWNBEAT 79

International Summer Festival Guide 2 0 11

Complete Listings For 160 Festivals

Blue Skies & Blue Notes Musicians, fans traverse the globe during jazz festival season

Xerox Rochester International Jazz Festival Turns 10 Page 90 Claire Daly Pays Tribute To Feminist Hero at Juneau Page 100 Memorial Jazz Festival @ 40 Page 110 Trombone Shorty @ Playboy Jazz Festival Photo by Earl Gibson International Summer Festival Guide 2011

EAST COAST

Cape May Jazz Festival Cape May, New Jersey April 8–10 The fest harbors both the Big Apple and an ever-improving roster of artists, including “Tonight Show” alum Kevin Eubanks and percussionist Poncho Sanchez, who headline at Our Lady Star of the Sea Auditorium in the Washington Square Mall. Patrons can also converse with artists personally at a special CD signing party and various workshops. Lineup: Kevin Eubanks, Gregory Porter, Leon Jordan Jr. Quintet, Winston Byrd, Lauren Hooker, Tom Larsen Blues Band, John Beasley, Rotimi Hundeyin and de Afrophonic Rhythms Crew, Warren Wolf, Kim Clarke’s Inner Circle Trio with Sheryl Bailey and Syl- via Cuenca, Point Blank with Gerald Chick Corea Freedom Band @ Caramoor Jazz Festival Chavis, Andrew Boy Jr. Blues Band, Blue Bone. More info: capemayjazz.org Massé and Lauren Kinhan), Jamie Béla Fleck and the Original Fleck- Baum Septet, Tia Fuller Quartet, tones, “Cubano-Be, Cubano-Bop” Harlem Jazz Shrines Festival Corky Hale, Peggy Stern and Sue featuring Poncho Sanchez and New York, New York Terry. Terence Blanchard, Bitches Brew May 9–15 More info: kennedy-center.org Revisited, JD Allen Trio, Myra Melford A brainchild of the Apollo Theater, Jazzmobile Be Bread Sextet, Sheila Jordan and and Harlem Stage, the inaugural Harlem Jazz DC Jazz Festival Jay Clayton, Catherine Russell, Ray Shrines Festival reinvents the neighborhood’s Washington, D.C. Vega Latin Jazz Quintet. jazz heyday by presenting big band concerts, June 1–13 More info: discoverjazz.com late-night cutting contests, dance jams and For its seventh year in the nation’s capital, the conversations about jazz culture across a wide festival is hosting events throughout the city Vision Festival swath of Uptown Manhattan, with most ticket and bringing back the free all-day concert, New York, New York prices hovering at an affordable $10. In “Blaz- Jazz At The National Mall. June 6–12 ing Tongues: The Singers and Writers of Lenox Lineup: Bobby McFerrin, Roy Hargrove, Ed- The Abrons Art Center remains the epicenter Lounge,” the festival explores the legendary die Palmieri, Donald Harrison, more. of this Lower East Side standby, adding to the venue’s rich history of showcasing both artists More info: dcjazzfest.org mix an array of emerging young talent in the such as John Coltrane and Harlem Renais- fields of music, dance, poetry and visual art. sance authors like James Baldwin, through a Pittsburgh JazzLive International Peter Brötzmann will receive lifetime achieve- selection of music and literature presentations Pittsburgh, Pennsylvania ment honors, marking the first time in Vision’s on May 11. Panel discussions focus on inter- June 3–5 history that a European has been recognized. sections between jazz and gospel, the music’s Situated in Pittsburgh’s thriving cultural dis- Lineup: David S. Ware, Kidd Jordan, John Afro-Cuban connections and more. trict, The Pittsburgh Cultural Trust presents its Tchicai, more. Lineup: Jason Moran and Meshell Ndegeo- first jazz program apart from the organization’s More info: visionfestival.org cello, Wycliffe Gordon with Savion weekly summer series. A JazzLive Club Crawl Glover, Carla Cook and Nikki Yanof- and the Three Rivers Arts Festival accompany Xerox Rochester International sky, Big Band, Geri three days of music on the JazzLive Summer Jazz Festival Allen. Stages, along with the Showcase Noir African- Rochester, New York More info: harlemjazzshrines.org American Fine Art Sale. June 10–18 Lineup: Soulive, Gretchen Parlato, Sean With the help of a multi-venue pass, patrons Kennedy Center’s Mary Lou Jones, Roger Humphries, more. can frequent 17 stages over the course of nine Williams Women in Jazz Festival More info: pittsburghjazzlivefest.com days, all within the confines of the burgeoning Washington, D.C. East End. Among the 250 shows and 1,200 May 19–21 Burlington Discover Jazz Festival artists, the 10th edition of this Rochester Off the heels of the Mary Lou Williams’ centen- Burlington, Vermont staple hosts a variable who’s who of global nial birthday celebration, the D.C. showcase June 3–12 all-stars. pays homage to the genre’s paramount female The New England fest celebrates its 28th year Lineup: , Elvis Costello and performers. The Kennedy Center highlights amid a scenic backdrop of Burlington greenery The Imposters, Béla Fleck and The piano as its keynote instrument for this year’s and a slew of local and national musicians. Flecktones, Trio, Re- Emerging Artist Workshop, which rediscovers The lineup offers up an versatile combo of gina Carter’s Reverse Thread, Mark the Williams catalog and culminates in a Mil- everything from Latin rhythms to epic names Murphy, Trombone Shorty & Orleans lennium Stage performance. in fusion. Avenue, Bill Charlap Trio, Bill Frisell’s Lineup: JaLaLa (featuring Janis Siegel, Laurel Lineup: Herbie Hancock’s Imagine Project, Beautiful Dreamers, G. Love & Spe-

82 DOWNBEAT MAY 2011

cial Sauce, The Trio of OZ, Supersilent, In The Country, The Jazz Passengers, Kevin Eubanks, Martin Taylor, Sheila Jordan and Jay Clayton, Rick Braun, Bonerama, Lucky Peterson, Matt Wilson’s Arts & Crafts, Pee Wee Ellis, , ’s All Stars. More info: rochesterjazz.com

West Oak Lane Jazz and Arts Festival Philadelphia, Pennsylvania June 17–19 Free to visitors, the eighth annual northwest Philly gala offers an array of worldly fare for eyes and ears, including a marketplace of original local artwork, a 72nd Avenue food vending area and non-stop live jazz rippling down Ogontz Avenue. The three-day outdoor event sticks to its New Orleans theme, offering up its Second Line parade in true Mardi Gras fashion. Lineup: TBA. Last year’s lineup included Al Jarreau, Dirty Dozen Brass Band, Preservation Hall Jazz Band, Dianne Reeves, , . More info: westoaklanefestival.com

Paulie’s NOLA Jazz & Blues Festival Worcester, Massachusetts June 24–25 This central Massachusetts celebration of New Orleans music takes place at an urban fairground. Talent comes straight from Louisiana and various parts of the Bay State. Lineup: Tab Benoit, Eric Lindell Band, Mem Shannon & The Mem- bership, Big Sam’s Funky Nation, Henri Smith with Charles Neville, Anders Osborne, Chris Fitz Band, more. More info: baevents.com/pauliesnolabluesandjazzfestival/

Freihofer’s Saratoga Jazz Festival Saratoga Springs, New York June 25–26 Freihofer’s 34th-anniversary year brings more than 20 ensembles and solo artists to the Saratoga Performing Arts Center. The two-day week- end fest also features a fine arts and crafts area with a children’s tent. Lineup: Michael McDonald, , “Sing The Truth” featuring Angélique Kidjo, Dianne Reeves and Lizz Wright, Jack DeJohnette Group featuring Rudresh Mahanthappa, Eliane Elias, Sharon Jones & The Dap-Kings, The Bad Plus, Tia Fuller, Ben Allison. More info: spac.org/jazzfest/

Syracuse Jazz Festival Syracuse, New York June 25–26 Held at the Onondaga Community College campus, the largest free jazz fest in the Northeast puts an emphasis on education with comple- mentary clinics, master classes and workshops. Per usual, producer Frank Malfitano delivers a solid lineup of soul, jazz and fusion talent. Lineup: TBA. Past performers have included Aretha Franklin, Dave Brubeck, Wynton Marsalis, Pete Fountain, Sonny Rollins, Smokey Robinson, Sergio Mendes, Chaka Khan, Roberta Flack, Jeff Lorber Fusion. More info: syracusejazzfest.com

Belleayre Music Festival Highmount, New York July 3–September 3 The Catskill Forest Preserve has become a focal point for festival-goers seeking entertainment outside the urban limits of New York. They can find it two-and-a-half hours away, when the Belleayre Mountain ski resort offers two sessions of jazz programs ranging from the traditional to the experimental.

International Summer Festival Guide 2011: east

Lineup: Ravi Coltrane, Jimmy Cobb’s “So What Band,” k.d. lang, Bela Fleck and the Original Fleck- tones, more. More info: belleayremusic.org

Briggs Farm Blues Festival Nescopeck, Pennsylvania July 8–9 Not far from Wilkes-Barre, this 14-year- old event takes place on a 350-acre farm. In addition to top blues performers from the Delta, Chicago and elsewhere, there’s food—people swear by the roasted corn- on-the-cob—and on-site camping. Lineup: Eddie Shaw & the Wolf Gang, James Armstrong, Jimmy “Duck” Holmes, Alexis P. Suter Band. More info: briggsfarm.com

North Atlantic Blues Festival Rockland, Maine July 16–17 Right on beautiful Penobscot Bay, this Jimmy Heath @ Litchfield Jazz Festival gala is going strong in its 17th year. During the same weekend, several restaurants and Crockett, Felicia Carter. pubs in tourist-friendly Rockland provide blues More info: marylandsummerjazz.com entertainment. Lineup: Eric Bibb, Brooks Family Reunion, KoSA International Magic Slim & The Teardrops, Robert Percussion Workshop Cray, Billy Branch, more. Castleton, Vermont More info: northatlanticbluesfestival.com July 26–31 This intensive hands-on experience lectures Jazz in July “campers” on a spectrum of drumming tech- New York, New York nologies and hosts informal daily jams. Along July 19–28 with a memorable faculty of seasoned percus- Artistic Director Bill Charlap takes the 92nd sionists, the Castleton State College six-day Street YMCA gig back to an unforgotten era of workshop includes globally diverse seminars New York swing. This year’s July festival spot- and video conferences. lights jazz pianists with additional tributes to Lineup: TBA. Past performers have included , Dave Brubeck and Irving Berlin. Glen Velez, Steve Smith, Horacio This year's event will also and also give special Hernandez, Antonio Sanchez, Dave attention to the influence of New York-based Samuels, Mike Mainieri, Giovanni . Hidalgo. Lineup: Kenny Barron, Marilyn Maye, Hous- More info: kosamusic.com ton Person, Bucky Pizzarelli, Renee Rosnes, Phil Woods. Pennsylvania Blues Festival More info: 92y.org/jazz Palmerton, Pennsylvania July 30–31 Maryland Summer Jazz Rising out of the ashes of the late Pocono Camp & Festival Blues Festival, the first festival at the Blue Rockville, Maryland Mountain Ski Resort in the Pocono Mountains July 20–22, July 27–29 offers world-class acts on two stages. Chairlift The two sessions of Maryland’s capital city rides, food and craft booths, and on-site festival consist of three instruction-heavy camping are also part of the attraction. days of workshops and jam sessions, each Lineup: Shemekia Copeland, Bettye LaVette. of which offers a 7:1 student-to-teacher ratio Lil’ Ed & the Blues Imperials, John for extremely personal instruction. The festival Nemeth, Kenny Neal, Samuel James, culminates in faculty and student concerts to more. demonstrate newly acquired techniques. More info: skibluemt.com Lineup: Jeff Antoniuk, Fred Lipsius, John D’Earth, Alex Norris, Tom Baldwin, Caramoor Jazz Festival Amy Shook, James King, Steve Katonah, New York Subscribe Rochinski, Steve Herberman, Tony August 5–7 877-904-JAZZ Martucci, Frank Russo, Wade Beach, Organized by jazz producer Jim Luce, the Alan Blackman, Greg Boyer, Alison 18th edition of the weekend-long Caramoor

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International Music Festival subsidiary boasts a lineup ranging from ambitious up-and- comers to crowd-pleasing chart-toppers. Once again, the fest will commence amid the Caramoor Center’s Mediterranean-style villas, opera-epicentric Venetian Theater and scenic botanical gardens. Lineup: Jason Moran and The Band- wagon, Trio, Joshua Redman’s James Farm, Christian McBride Big Band, & Nico Gori Duo, Renee Rosnes Quartet, Robert Glasper Trio, Lucky Peterson, Edmar Castaneda Quartet, Juan-Carlos Formell & Johnny’s Dream Club, more. More info: caramoor.org

Litchfield Jazz Festival Kent, Connecticut August 5–7 The grounds of the Kent School provide a wealth of entertaining and educational opportunities, such as Q&A with artist-in- residence Matt Wilson and NEA Jazz Master , and various clinics by festival performers. Step outside the confines of the Springs Center, and jazz enthusiasts can delight in between-show performances by the school’s own jazz ensembles, as well as the charm and cuisine of downtown Kent. Lineup: The Clayton Brothers, Trombone Shorty & Orleans Avenue, Albert Rivera Organ Trio, Champian Fulton Quartet, The Bronx Horns, Vijay Iyer, Tribute featuring Davell Crawford, Roy Haynes, Dena DeRose Trio, Dr. Lonnie Smith, Matt Wilson Quartet Plus Strings, Joe Lovano Nonet, Jimmy Heath Big Band. More info: litchfieldjazzfest.com

Newport Jazz Festival Newport, Rhode Island August 5–7 George Wein’s flagship festival returns to Rhode Island this summer under the auspices of a non-profit organization, the Newport Festivals Foundation. Wein hopes the move to non-profit status will extend the event’s poten- tial lifespan and allow foundations and others to make donations to the cause throughout the year. Lineup: Mostly Other People Do The Killing, Regina Carter, , Wyn- ton Marsalis, Charles Lloyd, John Hollenbeck Large Ensemble, Eddie Palmieri, more. More info: newportjazzfest.net

Scranton Jazz Festival Scranton, Pennsylvania August 5–7 Now in its eighth year, the Scranton fest deliv- ers another round of stellar jazz performances, expanding its repertoire outside of the historic

88 DOWNBEAT MAY 2011 Radisson Lackawanna Station Hotel to a num- Berklee BeanTown Pittsfield CityJazz Festival ber of other downtown venues. Jazz Festival Pittsfield, Massachusetts Lineup: TBA. Past performers have included Boston, Massachusetts October 7–20 the Marko Marcinko Latin Jazz September 24 A Berkshire Hills annual jazz crawl Sextet, Nate Birkey, Pete McCann The city comes out in force—a record- complements the much-anticipated Quintet, Bill Carter and the Presby- breaking 80,000 for its 10th anniversary in reunion of headliners Grace Kelly and Phil bop Quartet. 2010—for jazz and Latin artists on three Woods. This year will mark the fifth an- More info: scrantonjazzfestival.org stages for six-blocks in Boston’s South End niversary of the pair’s performance at the neighborhood. Along with ticketed concerts, festival with the U.S. Army Jazz Ambassa- Provincetown Jazz Festival the festival also features more than 15 artists dors rhythm section. Cape Cod, Massachusetts on three stages. Lineup: Grace Kelly, Phil Woods, August 12–13 and 15 Lineup: Joshua Redman, more. Armen Donelian. The seventh annual festival brings three days More info: beantownjazz.org More info: berkshiresjazz.org of jazz to the furthest reaches of Cape Cod, with concerts held at Provincetown Town Hall and the Cotuit Center for the Arts. Lineup: Adrienne and Josh Hindmarsh, String of Pearls, Dane Vannatter, Stage Door Canteen, Bruce Abbott, Holli Ross. More info: provincetownjazzfestival.org

Tanglewood Jazz Festival Lenox, Massachusetts September 2–4 Held over Labor Day weekend in a historic and scenic part of the state, the Boston Symphony Orchestra revue will showcase a stellar roster of artists, as well as a featured presentation of NEA Jazz Masters Jimmy Cobb and Gunther Schuller. Lineup: Jimmy Cobb, Angélique Kidjo, Dianne Reeves, Lizz Wright, Gunther Schuller, Mingus Orchestra, Michael Kaeshammer, Robin McKelle, Judy Carmichael, John Santos Quartet, Federico Britos Quintet. More info: tanglewoodjazzfestival.org

The Many Colors of A WOMAN Hartford, Connecticut September 3, September 24 The 24th annual celebration of female per- formers worldwide offers patrons a broad edu- cation in contemporary jazz and now includes an additional day of festivities. Lineup: Nicki Mathis’ Afrikan Amerikan Jazz New Millennium All Stars, Interna- tional Women In Jazz Chorus. More info: themanycolorsofawoman incorporated.webs.com

COTA Jazz Festival Delaware Water Gap, Pennsylvania September 9–11 This promising jamboree unites Poconos artists of multiple disciplines, from classical music to dance, and provides juried reviews for each area. The event also features artisan booths, as well as a children’s area. Lineup: A tribute to vocalist Bob Dorough will feature music from the Bob Dor- ough Songbook and “Schoolhouse Rock,” as well as a guest appear- ance by Dorough himself and many of his bandmates. More info: cotajazz.org

MAY 2011 DOWNBEAT 89 International Summer Festival Guide 2011: Feature

Music Stars, Nightly Jam Sessions Anchor Upstate New York Rochester Festival By Thomas Staudter

uitarist and educator Bob Sneider, the majordomo for the nightly jam sessions at the Xerox Rochester GInternational Jazz Festival in upstate New York, recalls leading the informal soi- ree the first night when the event began in 2002 and wondering if any of the “big names” would show up. Saxophonist John Nugent, founder and artistic director of the festival, had stopped by to play and was so- loing “with his eyes closed tight,” Sneider says, when headliner George Benson sneaked onto the stage, commandeered his guitar and joined right in mid-“Cherokee.” “The second a different guitarist comping behind him he opened eyes, saw George, then turned to me with the biggest smile,” says Sneider. “Immediately, we both knew we were into something special.” The 10th Anniversary Edition of the Xerox Rochester International Jazz Festival takes place June 10–18, and the galaxy of performers slated to appear include popular acts like Chris Botti, John Nugent k.d. lang, Bela Fleck and the Original Flecktones, Natalie Cole and Elvis Costello nascency. along with top purveyors and progenitors of Attendance at the Rochester Jazz Festival the improviser’s art, world music and rootsy (hometown office products giant Xerox has been Americana genres. Serious jazz fans undoubt- the title sponsor for the past three years, with edly will make a beeline to shows led by Jim M&T Bank serving as a presenting sponsor) has Hall, Kenny Barron, Bill Frisell, Mark Murphy, grown from 15,000 to 2010’s 165,000 across 17 Regina Carter, Bill Charlap and , venues. Nugent and Marc Iacona, the festival’s to name a few, but the full lineup—all 120 acts— executive director, wisely organized the footprint poses the sort of conundrums that happily agog of the festival so that attendees need only walk festival goers always face. less than 10 minutes from gig to gig and lobbied This year, Nugent is also on the bill, as an an- city officials to close down a mile-length section niversary gift to himself, in a performance with of East Avenue to create a promenade during the strings on 10 commissioned arrangements. festival. A “club pass” ticket system ensures that “Our philosophy, from the beginning, has people are on the move from one show to the been to bring in music fans with all kinds of mu- next until the end of the night, when a line devel- sic, including pop shows, to get people walk- ops outside the Rochester Plaza Hotel for admit- ing around to hear everything we have to offer,” tance into the jam session. Nugent said. “This is no different than, years Musical artists appreciate that the local citi- ago, George Wein bringing to Newport both zenry shares in the excitement of the Rochester Duke Ellington and Chuck Berry. With Aretha festival. Jake Shimabukuro, the crossover ukule- Franklin, Sonny Rollins, Dianne Reeves and Dr. le virtuoso, was one of those lesser-known artists John as our headliners in 2002, we were able Nugent invited to the festival a few years back to pack the big venues and get people to check and then returned as a headliner. out what was going on in the clubs. This idea is “Performing at the Rochester festival has what’s behind the festival’s motto: It’s Not Who been one of the most inspiring events in my ca- You Know, It’s Who You Don’t Know. That’s reer,” Shimabukuro said. “Initially, I was ner- how we’ve been able to build an audience that vous about how I’d be received because I’m not gets excited about discovering new music.” a jazz artist, but everyone welcomed and em- Indeed, Nugent books dozens of lesser-known braced me and my playing. There are so many Subscribe acts and groups made up Eastman School of people from the community involved in the fes- 877-904-JAZZ Music students, giving festival-goers an oppor- tival, and their energy and enthusiasm are total- tunity to catch tomorrow’s headliners in their ly infectious.” DB

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International Summer Festival Guide 2011

MIDWEST Brian Simpson Quartet @ Columbus Jazz & Rib Fest

Tri-C Jazz Fest Cleveland, Ohio April 28–May 8 In its 32nd year, Tri-C will be the quintessential fest for up-and-comers and legends alike. This Playhouse Square program sports big names like Smokey Robinson and tributes from Dee Dee Bridgewater and Sammy DeLeon, once again bringing education to the forefront with its “Jazz for Kids” and “Debut” series. Lineup: Smokey Robinson, Trombone randall sch i eber Shorty & Orleans Avenue, Tribute to featuring Dee Dee Twin Cities Jazz Festival Washut’s Dream Band. Bridgewater, Maurice Brown, Sammy Saint Paul, Minnesota More info: summerofthearts.org DeLeon y su Orquesta, The Robert June 23–25 Glasper Trio, Oikos Ensemble, Minnesota’s largest jazz festival converges on Sioux Falls Jazz Festival Regina Carter’s Reverse Thread. the historic Lowertown district for the 13th year, Sioux Falls, South Dakota More info: tricjazzfest.com offering free concerts on two Mears Park stages. July 14–16 Lineup: Gary Burton Quartet with Julian In addition to three days of live music on two Glenn Miller Festival Lage, Antonio Sanchez and Jorge stages, this family-friendly jazz cornerstone Clarinda, Iowa Roeder, Danilo Pérez, Deodato, hosts a summer jazz camp for budding musi- June 9–12 Airforce Noteables. cians and a Yankton Trail Park 5K. The festival For the 36th time, a fellowship of jazz fans More info: hotsummerjazz.com celebrates its 20th anniversary this year. head to the legendary bandleader’s birthplace Lineup: TBA. Past performers have included to pay homage to the man himself. The festival Elkhart Jazz Festival Keb’ Mo’, Bettye LaVette, Jonny celebrates all things Alton Glenn Miller, from Elkhart, Indiana Lang, Taj Mahal, Dr. John. tribute stage shows to picnics and historical June 24–26 More info: jazzfestsiouxfalls.com displays, including tours of the Glenn Miller A diverse lineup of more than 90 performers, Birthplace Museum and Home. ranging from traditional gypsy swing and Delta Columbus Jazz and Rib Fest Lineup: The World Famous Glenn Miller blues to New Orleans and Dixieland brass, Columbus, Ohio Orchestra, United States Airforce brings Elkhart full-circle at six separate down- July 22–24 Noteables. town venues. The annual competition for the area’s best More info: glennmiller.org Lineup: Alfonso Ponticelli & Swing Gitan, finger-licking ’Q celebrates its 32nd year at the Ariel Pocock Trio, Bill Allred’s Classic downtown riverfront and hosts a surplus of Chicago Blues Festival Jazz Band, Bucky Pizzarelli Quartet, glory-seeking rib-burners from 10 states and Chicago, Illinois Cakewalkin’ Jass Band. Canada, along with a variable smorgasbord June 10–12 More info: elkhartjazzfestival.com of national and international jazz fare. For a While Chicago will have a new mayor this year, sample of regional musical flavor, head to the the city remains the proud host of the largest Mississippi Valley Blues Festival Jazz Cafe, which serves up the hottest local free-admission blues festival in the world. The Davenport, Iowa jazz acts. annual celebration will mark the centennial of July 1–3 Lineup: TBA. Past performers have included the legendary Robert Johnson. Launched in 1986, this Mississippi Valley Trombone Shorty & Orleans Avenue, Lineup: TBA. Last year included Zora Young, Blues Society-produced concert weekend Tito Puente Jr. Lurrie Bell and John Primer. features about 30 leading bands and solo per- More info: hotribscooljazz.org More info: chicagobluesfestival.us formers in LeClaire Park, on the banks of the mighty Mississippi. Performers in recent years Prairie Dog Blues Festival Ravinia Festival have included Buddy Guy, Mavis Staples and Prairie du Chien, Wisconsin Highland Park, Illinois Honeyboy Edwards July 29–30 June 11–August 26 Lineup: TBA. Arrive via boat, plane, car or foot for this The summer home of the Chicago Symphony More info: mvbs.org/fest gala—two stages, 12 bands, food vendors— Orchestra continues its grand tradition of on scenic St. Feriole Island, near the conflu- superior jazz programming with more com- Toyota-Scion of Iowa ence of the Mississippi and Wisconsin Rivers. missioned works and ensembles through- City Jazz Festival On-site camping is available. out the summer. The season’s anticipated Iowa City, Iowa Lineup: TBA. performances include Ramsey Lewis’ debut of July 1–3 More info: prairiedogblues.com “Colors: The Ecology of Oneness.” Courtesy of a grant from the National Endow- Lineup: Jazz at Orchestra with ment for the Arts, this year’s festival ups its Bix Beiderbecke Memorial Wynton Marsalis, Steans Music Insti- instructional offerings. A Saturday morning Jazz Festival tute Jazz Showcase, Dave Brubeck educational workshop spotlights the experi- Davenport, Iowa and Sons, Ramsey Lewis Trio, Eldar ence and technical advice of mainstage acts. August 4–7 Djangirov, Tony Bennett. Lineup: Roswell Rudd, Bob Washut, For its 40th run, this popular Quad City gather- More info: ravinia.org Deborah Weisz, The Trombone Tribe, ing relives its humble origins, recreating its first

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International Summer Festival Guide 2011: midwest

Detroit International Jazz Festival

lineup with a slew of Bix fest vets. This hotbed Watts, Ivan Lins, Amina Figaro- of traditional jazz brings back some of the va, Sing the Truth featuring festival’s original performers at some of Bix’s Angélique Kidjo, Dianne Reeves old stomping grounds. and Lizz Wright, Kevin Eubanks, Lineup: Vince Giordano and The Nighthawks, Vijay Iyer, Dave Holland. Jim Cullum, Andy Schumm, West More info: detroitjazzfest.com End Jazz Band, Statesmen of Jazz, Dave Greer, Josh Duffee, Jimmy Blues At The Crossroads Valentine, Hot Club of Davenport. Terra Haute, Indiana More info: bixsociety.org September 9–10 This party takes place on 7th and Wabash Lansing JazzFest with a host of blues and beyond headliners. Lansing, Michigan Lineup: Mike Nelson, Jacob Jones, more. August 5–6 More info: bluesatthecrossroads.com Drawing nearly 15,000 people annually, the 16th edition promises an even greater lineup World Music Festival of artists amid the artistic ambience of Old Chicago, Illinois Town’s gallery row. Each of the artists is asked September 16–22 to play an original composition never played at Artists from across the planet converge on previous festivals. venues throughout Chicago, and many have Lineup: Nicole Mitchell Quartet, more. made their U.S. debuts at this event. Jazz More info: jazzlansing.com musicians are always invited and often col- laborate with artists from Africa, the Middle Chicago Jazz Festival East and Europe. Chicago, Illinois Lineup: TBA. September 1–4 More info: worldmusicfestivalchicago.org The Chicago Jazz Festival is the city’s longest running lakefront music festival and a Labor Hyde Park Jazz Festival Day Weekend tradition. The festival is free and Chicago, Illinois features four stages of jazz performances. September 24 Other jazz events are planned for the nearby Throughout the afternoon and late into the Millennium Park and Chicago Cultural Center night, this historic neighborhood will host the during the weekend. Orbert Davis is this year’s fifth anniversary of this festival that brings in artist-in-residence. more than 100 musicians to a dozen venues in Lineup: TBA. Last year included Nicole and around the University of Chicago. Expect Mitchell, Henry Threadgill, a mix of the city’s veterans and new talent, as Brad Mehldau. well as national stars. More info: chicagojazzfestival.us Lineup: TBA. More info: hydeparkjazzfestival.org Detroit International Jazz Festival Detroit, Michigan Edgefest September 2–5 Ann Arbor, Michigan The 32nd annual Detroit Jazz Fest will set sail October 19–22 once again with its annual fundraising cruise. Edgefest remains Michigan’s perennial hot Subtitled “We Bring You the World,” the 2011 spot for the avant garde. This year will focus season will celebrate world influences on jazz, on multi-instrumentalists who blend classical as well as its influence on the world. As is the music and jazz. tradition at the festival, Detroit’s significant jazz Lineup: Andrew Bishop, Tony Malaby, legacy will be front and center. , more. Lineup: 2011 Artist-in-Residence Jeff “Tain” More info: kerrytownconcerthouse.com

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International Summer Festival Guide 2011

SOUTH Kris Kristofferson (left) and Elvis Costello @ Denton Arts & Jazz Festival

French Quarter Festival New Orleans, Louisiana April 7–10 The 27th edition of this New Orleans stan- dard—offering three waterfront stages—now features an extra day of Big Easy diversions, including an opening Bourbon-to-Jackson street parade, a Thursday night kickoff party and the “World’s Largest Jazz Brunch.” Lineup: Trombone Shorty & Orleans Avenue, Lost Bayou Ramblers, Freddy Omar con su Banda, Banu Gibson & The New Orleans Hot Jazz. More info: fqfi.org

Festival International De Louisiane

Lafayette, Louisiana Juan A ndrés April 27–May 1 For its quarter-centenntial, the fest empha- features dozens of critically acclaimed Haitian Patti LaBelle, Spyro Gyra, Tito Puente Jr. sizes a “Past, Present and Future” Louisiana artists and musicians in what’s being touted More info: jaxjazzfest.com theme that celebrates its evolution with a as the “largest celebration of Haitian culture plethora of old and new artists. In addition in the United States” since the January 2010 Spoleto Festival USA to its traditionally Francophonic, Cajun-style earthquake. “Where They At,” a photographic Charleston, South Carolina lineup, patrons can delight in similarly themed and archival exploration of the history of New May 27–June 12 culinary demonstrations and artwork. Orleans bounce, joins the usual lineup of Now in its 35th season, this year marks the Lineup: Lil Nathan & The Zydeco Big Timers, Mardi Gras Indian costumes, Creole cooking debut of guest conductor James Gaffigan as Horace Trahan & the Ossun Express, demos and artist interviews inside the grand- leader of the Spoleto Festival USA Orchesta. Keb’ Mo’, Master Drummers of stand this year. Among other noted events is the presentation Burund, Rootz Underground, Sonny Lineup: Sonny Rollins, Ahmad Jamal, Ron of “13 Most Beautiful ... Songs for Andy War- Landreth, The Duhks, Soul Express Carter, Terence Blanchard, Maceo hol’s Screen Test” featuring Dean Wareham Brass Band, Locos Por Juana, Bomba Parker with PeeWee Ellis, Allen Tous- and . Estéreo, Red Baraat, Toubab Krewe, saint, Irma Thomas, Kermit Ruffins, Lineup: Dianne Reeves, Béla Fleck and the Terrance Simien & the Zydeco Experi- Henry Butler, Preservation Hall Jazz Flecktones, Dean Wareham, Britta ence, Brass Bed, Steve Riley & The Band, Jeremy Davenport, Robert Ran- Phillips, , Ketil Bjorn- Mamou Playboys, Jesse Legé & The dolph & The Family Band, the Avett stad, Toningo Ferragutti, Willy Gon- Cajun Country Revival, Michael Juan Brothers, Pete Fountain, Soul Rebels zalez and Micaela Vita, Danilo Rea, Nunez, Balkan Beat Box, JJ Grey Brass Band, Amos Lee, Willie Nelson. Trombone Shorty & Orleans Avenue. & Mofro, BeauSoleil avec Michael More info: nojazzfest.com More info: spoletousa.org Doucet, Soul Express Brass Band. More info: festivalinternational.com Hill Country Harmonica Atlanta Jazz Festival Waterford, Mississippi Atlanta, Georgia Denton Arts & Jazz Festival May 21–22 May 28–29 Denton, Texas Fifty miles south of Memphis, Tenn., at Foxfire Following a brief hiatus, the annual festival re- April 29–May 1 Ranch, this rural “Northern Mississippi Blues turns to its original home in Midtown Atlanta’s As a hat tip to North Texan artists, this two- Harp Homecoming” brings together top harp Piedmont Park for a second consecutive year. and-a-half-day festival donates proceeds to players and the listening public for lectures, Lineup: Ninety Miles with , David the Denton art community, attracting 200,000 concerts and jam sessions. Sanchez and Christian Scott, Gerald spectators to see more than 2,700 artists at Lineup: Satan & Adam, Sugar Blue & Band, Clayton Trio, Regina Carter’s Reverse seven stages, eat at six food courts, and mold Jason Ricci with The Hill Country Thread, Sean Jones. and sculpt at a children’s art tent. All-Stars, Charlie Sayles, Sonny Boy More info: atlantafestivals.com Lineup: “A Tribute to Leon Breeden” featuring Terry, more. , and Marvin More info: hillcountryharmonica.com Eureka Springs Blues Weekend Stamm and the Official Texas Jazz Eureka Springs, Arkansas Orchestra, The Quebe Sisters Band, Jacksonville Jazz Festival June 2–5 Texas Tornados, Brave Combo. Jacksonville, Florida A Victorian resort town in the Ozark Mountains More info: dentonjazzfest.com May 26–29 becomes a blues hot spot every summer, with Along with the usual spectacle of jazz perfor- shows inside at the Eureka Springs Auditorium New Orleans Jazz & Heritage Festival mance, this fest offers a unique array of activi- and the Basin Park Hotel and outdoors at the New Orleans, Louisiana ties outside the norm. The Round Midnight Basin Park Shell. Blues also offered nightly at April 29–May 8 Jazz Jam, the Wine Down Tasting Experience area clubs and restaurants. The 42nd annual JazzFest pays tribute to and the Sunday Jazz Brunch are featured Lineup: TBA. Last year’s artists included Char- New Orleans’ deep cultural connections with highlights, along with a juried art show. lie Musselwhite and John Hammond. Haiti in a vast programming initiative that Lineup: TBA. Last year’s performers included More info: eurekaspringsblues.com

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International Summer Festival Guide 2011: south

Virginia Blues & Jazz Festival Satchmo Summerfest Jeremy Davenport @ Satchmo SummerFest Hot Springs, Virginia New Orleans, Louisiana June 10–12 August 5–7 Friday night jazz in the Garth Newel Music Directors coined the name of the Center’s Herter Hall, a converted horse barn, French Quarter fest after the alias is followed by a Saturday afternoon lawn con- of the gravelly toned trumpeter it cert. The musical weekend in the Allegheny celebrates. Planned purposely around Mountains wraps up on Sunday with a New New Orleans-native Louis Armstrong’s York Style Jazz Brunch. birthday weekend, the host of events Lineup: Chris Potter Underground, Bert Carl- includes tribute concerts, a children’s son Quartet, Tizer, Duke Robillard, stage and Satchmo seminars. Mark Hummel’s Blues Harmonica Lineup: TBA. Past performers have in- Blow-Out, Steve Hudson Chamber cluded Yoshio Toyama, Kermit Ensemble. Ruffins, Shamarr Allen, Treme More info: garthnewel.org Brass Band, Rebirth Brass Band, Leroy Jones. Bentonia Blues Festival More info: fqfi.org Bentonia, Mississippi

June 18 Les DesMerle Amelia Zack S m it h In the heart of the Delta, this free festival Island Jazz Festival features gospel in the morning followed by 11 Fernandina Beach, Florida Clearwater Jazz Holiday hours of Southern soul and raw blues at the October 2–9 Clearwater, Florida Blue Front Café. Also part of the festivities are With ticketed and free offerings at mul- October 13–16 food vendors, arts and crafts displays and all tiple venues, the festival brings attention to White sandy beaches of Coachman Park in kinds of family fun. mainstream artists, as well as Latin and blues downtown Clearwater become home to this Lineup: T. K. Soul, Johnny Rawls, Big Joe talent. warm autumnal event. Mainstream jazz is Shelton, Terry “Harmonica” Bean, Lineup: TBA. Past performers have included usually featured along with a healthy dose of Kenny Brown Band, Jimmy “Duck” Ramsey Lewis, David Sanborn, Latin music. Holmes, more. Marcus Printup, Harry Allen. Lineup: TBA. More info: yazoo.org More info: ameliaislandjazzfestival.com More info: clearwaterjazz.com

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International Summer Festival Guide 2011: Feature

Claire Daly Brings Inspiration to Claire Daly Juneau Jazz & Classics Fest By Ken Micallef

laska has always drawn more than its share of adventurers, pioneers, prospectors and plain crazy fools, but none more courageous than Wisconsin-born Mary Joyce. In the 1930s, Awhen most women were confined to the kitchen while dreaming of romancing “A Latin From Manhattan,” Joyce became a Hollywood actress, a nurse, a stewardess, a bush pilot, a bar owner and a hotel entrepreneur. Joyce was the first non-white Alaskan to dogsled the 1,000-mile run between Juneau and Fairbanks in 1936, the first ham radio operator in the Alaskan Territories and undoubtedly the only woman to run supplies for the Allies by dogsled during WWII. “She was different from anyone I’ve ever met,” recalls Claire Daly, baritone saxophonist and composer of Nothing To Lose, a 12- song homage to Joyce that will debut at the Juneau Jazz & Classics Music Festival, which is celebrating its 25th anniversary this spring. “I thought she was cool, but I didn’t realize how cool until later in my life. She had these little bangs, and she wore fashionable clothes, but fashionable from a previous generation. She was just different. She always sat with me and showed me her scrapbooks when she visited us in the 1970s.” A second cousin to Joyce and first cousin to Mary Anne Greiner, who collected Joyce’s memoirs for the book Mary Joyce Taku to Fairbanks 1,000 Miles by Dogteam (AuthorHouse), Daly collabo- rated on Nothing To Lose with pianist Steve Hudson, the pair work- ing together in her New York apartment. Accompanied by Mary Ann McSweeney (bass), Peter Grant (drums) and Napoleon Maddox (human beatbox), Nothing To Lose is by turns earthy, evocative, in- trospective and elusory, but always swinging. Daly, whose saxo- phone work and hard-bop-tinged, conversational compositions recall y S ch i ller Jud or Vince Guaraldi, envisioned Nothing To Lose not so much as a soundtrack to Joyce’s legendary Juneau-to-Fairbanks run, ance of mood and melody to reflect Joyce’s true grit. The as-yet unnamed but as tribute to her willpower and endurance. song that will open the piece includes a spoken-word introduction: “Time “I am so impressed with her spirit,” Daly says. “I found tremendous to explore the universe again/Quiet breeze on a Taku wind.” The uptem- strength in her fortitude, her resolve to make her own path in life. I ad- po “Cluane” swings hard, Daly’s bari snorting like an Alaskan moose. mire her humility, her determination and sense of humor.” The Latinish “Gotta Go” is followed by a 6/8 hand-drum-led piece in- Joyce’s Lady Luck Saloon (b. 1898) and Taku Glacier Lodge (b. spired by the Alaskan Tlingit Indians. The group also covers the 1935 1923) still stand today, the bar’s walls lined with photos and remem- smash hit “When I Grow Too Old To Dream,” a favorite of Joyce. brances of its former proprietor’s heroics. The sled and harness from The debut of Nothing To Lose marks Daly’s second visit to Alaska. her dogsled journey are on display at Taku Glacier Lodge. Joyce re- During the festival’s 16 days, her quintet will conduct a jam session at the mains a revered figure in Juneau, and was even inducted into the Lucky Lady, debut Nothing To Lose at a Juneau theater and host a concert Pioneers of Alaska. An excerpt from Taku to Fairbanks 1,000 Miles by for “the Young and Young at Heart.” A perennial DownBeat poll winner, Dogteam reveals her courage. At one point, accompanied by her five- Daly has recorded a handful of recordings, including Heaven Help Us All dog team and guide Chocak Lagoose and his sons, Joyce crossed the with the trio Solar, Rah! Rah! with the Claire Daly Band, and Two Sisters frozen Taku River. Joyce’s journal reads, “Chocak scolded his sons and Inc.’s Scaribari. But the creation of Nothing To Lose, like any homage, made them put boughs over holes so I could not see the water under- required more than the standard songwriting approach. neath while crossing. ‘White Lady plenty scared.’ Crossed on my hands “We didn’t want to only draw a picture of Mary’s dogsled trip, but and knees and dogs followed like soldiers. Crossed upper Taku and an- inspire the listener to think about what inspires them. We’d like the other place over rapids on huge cakes of ice three feet apart helped by listener to have some kind of transformational experience through the sweepers and snags. Put chain on Tip (lead dog) and each dog fell into music. Mary was a joyous person, but she experienced some pretty dra- water, pulled them out on another cake of ice. In places, just room for matic tragedies in her life, too. Her life informed our music. Some of sled on ice cakes with water leaping over and gurgling underneath.” the music is dark and textural, some of it is warm and beautiful.” The next 300 miles proved treacherous for both woman and beast. Mary Joyce’s life has inspired Claire Daly, and through more than The team was exposed to the elements, with nighttime temperatures music. dipping below –50 F. Finally stopping to travel by plane, Joyce returned “This project inspired me personally and musically,” Daly adds. to her dogs and pressed on through a blizzard, eventually reaching “All of a sudden, after all these gigs I’ve spent my time and energy on, Fairbanks on March 26, 1936. I’m ready to shift focus. I can trust that my needs will be met and now It’s hard to imagine Joyce’s frozen adventures sitting in Claire Daly’s it’s time to concern myself with the quality of the work and the joy of cozy Chelsea apartment. Here, her quintet rehearses Nothing To Lose, expression, my humanity. This is the beginning of a new phase for me, working out the kinks, adding spoken-word tributes, finding the right bal- of creating new projects.” DB

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International Summer Festival Guide 2011

ROCKY MOUNTAINS

Greeley Blues Jam Greeley, Colorado June 10–11 In northern Colorado, this citywide event offers popular acts in Island Grove Regional Park Arena and many of Colorado’s leading blues artists on the Back Porch Stage. Tie-in blues activities are held at local taverns and restaurants. Lineup: North Mississippi All-Stars, Night- hawks, Robert Randolph & The Fam- ily, Coco Montoya, Trampled Under Foot, Dwayne Dopsie & the Zydeco Hellraisers. More info: greeleybluesjam.com

Jazz Aspen Snowmass Aspen and Snowmass, Colorado June 24–July 2, September 2–4 Aspen’s four days of jazz veer a bit main- stream with world-class acts performing nightly at the Benedict Music Tent. Like its @ Telluride Jazz Celebration Aspen sister fest, Snowmass Village offers not only big names, but up-and-comers out of artist with a headline spot, as well as toting a JAS Academy and small venue shows. stellar supporting backing lineup. Lineup: Wynton Marsalis & Jazz At Lincoln Lineup: Paquito D’Rivera, Clayton Brothers, Center Orchestra, others TBA. The Bad Plus, Badi Assad, Melvin More info: jazzaspen.org Taylor, Tower of Power, Alex Brown Quartet, March Fourth Marching Salt Lake City International Band, Telluride Student All Star Jazz Jazz Festival Ensemble. Salt Lake City, Utah More info: telluridejazz.org July 8–10 The 11th year of downtown Salt Lake revelry Blue Star Blues Festival brings national and Utah artists to the stage, Littleton, Colorado as well as free clinics to the University of Utah. August 6 Lineup: TBA. Past artists have included This Clement Park concert is produced by a Nancy Wilson, The Yellowjackets, non-profit organization that benefits children Kurt Elling, Juan & . and young adults with serious health con- More info: slcjazzfestival.org cerns. There’s a mix of national, international and regional musicians. New Jazz Festival Lineup: Tommy Castro, Ana Popovic, Jack Albuquerque and Santa Fe, New Mexico Hadley, Mike Zito, Zac Harmon, July 19–31 Deanna Bogart. The sixth annual edition of New Mexico’s More info: bluestarconnection.org premier fest takes the jazz aesthetic and free outdoor offerings across city limits, featuring Vail Jazz Party concerts in Albuquerque and Santa Fe, with Vail, Colorado the Summerfest celebration featuring the Ma- September 1–5 ceo Parker Band in Nob Hill. NEA Jazz Master The reunion of the Monty Alexander Trio—fea- Randy Weston will also be onhand to discuss turing Monty Alexander, John Clayton and Jeff his recent autobiography. Hamilton—equals big news for this ski-town Lineup: Randy Weston and his African fest. A Vail Jazz workshop precedes the Rocky Rhythms Sextet, Dee Dee Bridgewa- Mountain soiree and is led by artists-in-resi- ter, Band, Preservation dence the Clayton Brothers, whose quintet will Hall Band. perform at the weekend party. More info: newmexicojazzfestival.org Lineup: Monty Alexander Trio, Clayton Brothers Quintet, Shelly Berg, Bobby Telluride Jazz Celebration Floyd, Graham Dechter, Tom Kenne- Telluride, Colorado dy, David Tull, Jerry Weldon, Warren Subscribe August 5–7 Wolf, Ernie Adams, Louis Armstrong 877-904-JAZZ Telluride celebrates the life and work of Paqui- Salute featuring Byron Stripling. to D’Rivera, honoring the versatile Cuban jazz More info: vailjazz.org

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International Summer Festival Guide 2011

WEST Jazz at the Bowl

Paradise Valley Jazz Party Phoenix, Arizona April 16–17 This year’s soiree brings attention to the man who started it all, naming Jazz Valley co-found- er and compére Don Z. Miller as the festival’s 2011 guest of honor with equally honorable backup by a posse of venerable trios. Lineup: Jeff Hamilton Trio, John Clayton Trio, John Proulx, Dee Daniels, Mike Kocour, Jodi Proznick, Herlin Riley, Bruce Forman, Wycliffe Gordon, Bobby Shew, Warren Váche, Houston Person, Ritchie Cole, Eric Schneider, Arizona State University Jazz Band. More info: paradisevalleyjazz.com

Ballard Jazz Festival Seattle, Washington April 20–23 Fairbanks Summer Arts Festival In addition to a not-to-be-missed mainstage per- formance, the Ballard Jazz Festival serves up a lineup of events for Puget Sound out-of-towners, including a Sunset Tavern guitar and drum sum- mits, the 16-band/12-venue Jazz Walk and the ever-popular Swedish pancake brunch. Lineup: TBA. Last year’s performers included Claudio Roditi, Hadley Caliman, John Moulder. More info: ballardjazzfestival.com

Juneau Jazz and Classics Juneau, Alaska May 6–21 This 25-year-old southeast Alaskan festival cel- ebrates this important milestone with separately ticketed shipboard performances/wine tastings, educational workshops and various concerts throughout the capital of Juneau. Venues range from in-office atriums to schools. Lineup: Adawagin Pratt, Evan Drachman, Chuck Cooper, Claire Daly, Richard Dowling, Gras fashion—boasting a Friday parade with Locations range from tableside sit-ins to the Poncho Sanchez, Rick Estrin and the beads in tow—the West Coast’s premier jazz intimate acoustics of the Meydenbauer Theater, Nightcats, Jasper String Quartet. feast includes a renowned lineup of artists with a Sunday brunch finale that features the More info: jazzandclassics.org unlimited by genre. Included among the blues, area’s most prestigious high school bands. gospel, barbershop and zydeco acts is the Lineup: TBA. Past performers have included Sonoma Jazz Pianorama jazz ivory-tickling showcase and a Dianne Reeves, Kurt Elling, Danilo Sonoma, California Lindy-inspired swing dance competition. Pérez. May 20–22 Lineup: Banu Gibson & New Orleans Hot More info: bellevuejazz.com With a seventh edition that promises a notable Jazz, Vince Bartel’s All Stars, Mick lineup, Sonoma turns its focus to what it does Martin and The Blues Rockers, Tom Healdsburg Jazz Festival best, along with excellent food and wine. This Rigney & Flambeau, Natural Gas, Healdsburg, California year’s edition of vino-country’s Wine & Song Johnny Cash Tribute featuring James June 3–12 brunch pre-empts a Gipsy Kings performance Garner, Steelin’ Dan, Lisa Haley & The 13th run of this Sonoma staple promises and centers around a N’awlins culinary theme. The Zydekats. seasoned talent from all walks of the jazz com- Lineup: , Sheryl Crow, Gipsy More info: sacjazz.com munity. The standby Hotel Healdsburg and the Kings. Dry Creek Kitchen become the mise-en-scène More info: sonomajazz.org Bellevue Jazz Festival for wine country jazz dinners, along with a Bellevue, Washington Raven Theater kickoff concert by pianist Fred Sacramento Jazz Festival & Jubilee June 1–5 Hersch and emerging guitarist Julian Lage. Sacramento, California Even with a roster of national and Seattle metro- Lineup: Fred Hersch, Julian Lage, Charles May 27–30 area talent, this four-day festival channels small- Lloyd, Zakir Hussein, Eric Harland, John Although the party kicks off in typical Mardi club feel with a mishmash of familiar venues. Santos Sextet featuring Pete Escovedo

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Earth, Wind and Fire @ Sonoma Jazz

and Arturo Sandoval, Geri Allen, Kenny Barron, Ronnie Ben-Hur, George Cables, Marc Cary, Santi Debriano, Ray Drummond, Danny Grissett, Charlie Haden, Craig Handy, Billy Hart, Lorca Hart, John Heard, Bobby Hutcherson, Azar Lawrence, Baba- tunde Lea, , Charles Lloyd, , Nilson Matta, Bennie Maupin, James Newton, Bobby Watson, David Weiss, Denny Zeitlin. More info: healdsburgjazzfestival.org

Playboy Jazz Festival Los Angeles, California June 11–12 The 33rd venture of the L.A. Philharmonic sister fest will undoubtedly guarantee a respectable turnout and a surge of top-notch talent. Once again, the genial Bill Cosby will serve as master of ceremonies at the picnic-friendly confines of the Hollywood Bowl, which offers a revolving stage to readily present upcoming acts. Lineup: The Roots, Lee Konitz, Dianne Reeves, Buddy Guy, John Scofield, Robben Ford. More info: playboyjazzfestival.com

Jazz At The Bowl Los Angeles, California June 22–September 7 Once again, the Hollywood Bowl delivers a variable Mount Rush- more of jazz greats during this summerlong series, from Delta blues legends to r&b all-stars on Wednesdays at 8 p.m. The program deigns to venture into the little known work of big name artists, including Joni Mitchell’s jazz repertoire and George Benson B-sides. Lineup: Jazz at Lincoln Center Orchestra with Wynton Marsalis and Hugh Masekala, Chris Botti and Bobby McFerrin with Yellowjackets, Gladys Knight, Robert Cray, Keb’ Mo’, Mavis Staples, Dave Koz & Friends, Spyro Gyra, Herbie Hancock, Wayne Shorter, , Orquesta Buena Vista Social Club featuring Omara Portundo, Ninety Miles featur- ing Stefon Harris, David Sanchez, Christian Scott, George Benson, George Duke, Marcus Miller, David Sanborn, The Band featuring The Global Gumbo All-Stars & Friends, Patti Austin, Nikki Yanofsky. More info: hollywoodbowl.com

Monterey Bay Blues Festival Monterey, California June 24–26 Celebrating its 26th year, this gala takes place on three stages at the 22-acre Monterey County Fairgrounds, near the Pacific. Lineup: TBA. Last year’s performers included Tommy Castro, Can- dye Kane and Johnny Rawls. More info: montereyblues.com

MAY 2011 DOWNBEAT 107 International Summer Festival Guide 2011: west

Roy Haynes @ Monterey Jazz Festival , Matt Wilson and a gathering place for artists—sponsors a Friends, Gerald Clayton Trio with week of country blues with up-and-coming Special Guest, Stefon Harris Festival musicians grouped with masters of guitar, All-Star Big Band in a Celebration harmonica and other instruments. Mountain of NEA Jazz Masters. ranges and the Strait of Juan de Fuca provide More info: centrum.org/jazz the beautiful backdrop for the grand finale concert. Port Townsend Acoustic Lineup: Artistic Director Corey Harris, Guy Blues Festival Davis, Otis Taylor, Orville Johnson, Port Townsend, Washington Nat Reese, Ann Rabson, Erwin Helfer, July 31–August 7 more. The Centrum at Fort Worden State Park— More info: centrum.org/blues cra i g lovell

Safeway Waterfront Blues Festival Portland, Oregon July 1–4 The afternoon and evening boat cruises on the Willamette River have about 20 acclaimed acts playing on three stages for a great cause. This fundraiser for the non-profit Oregon Food Bank—a modest charge and two cans of nonperishable food gets each person in—even has fireworks on the Fourth. Lineup: Buddy Guy, Maceo Parker, Robert Cray, James Harman, Corey Ledet & His Zydeco Band, Grady Champion, Black Joe Lewis, more. More info: waterfrontbluesfest.com

Fairbanks Summer Arts Festival Fairbanks, Alaska July 17–31 A self-proclaimed “summer camp for adults,” the 31st edition of the Fairbanks festival keeps education in check with musically minded classes and workshops. Campers appropri- ately matriculate at the University of Alaska, Fairbanks. Off-campus participants can complement their broadening jazz education with the charm and coziness of Fairbanks’ many bed and breakfasts. Lineup: Bill Anschell, Brad Boal, Barney Mc- Clure, Chris Symer. More info: fsaf.org

Jazz Port Townsend Port Townsend, Washington July 24–31 New to the festival this year is the premiere of NEA composer and arranger , a seasoned jazz veteran of more than 60 years. Holman will instruct various jazz workshops and perform in student lab combos. The focus turns to grandiose big band stints with artistic director John Clayton premiering his piece. Lineup: Jeff Hamilton Trio, Dee Daniels and Charenee Wade, Paquito D’Rivera,

108 DOWNBEAT MAY 2011 AT&T San Jose Jazz Festival George Clinton. Bonerama, Marcia Ball, Charlie San Jose, California More info: jazzfest.sanjosejazz.org Hunter Trio, Justo Almario Quartet. August 12–14 More info: oceanbeachsandiego.com The recently upsized venue offers nine Jazz 88 Ocean Beach Jazz Festival stages—four of which are indoors—for a Ocean Beach, California San Francisco Jazz Festival quintessential something-for-everyone experi- September 10 San Francisco, California ence. Along with a dense lineup of funk and The Ocean Beach pier soiree jam-packs 26 September 15–November 20 jazz powerhouses, patrons can navigate an live bands on seven stages for a stellar one- Programmed by the thriving SFJAZZ or- expansive club crawl to pick and choose day event. Vendors also display various murals ganization, this festival continues to bring select venues. and trinkets on the block long Art Walk, which high-profile jazz artists and talented local Lineup: TBA. Last year’s lineup included boats 60-plus artisans. musicians to venues throughout the city. Tower of Power, Marcus Miller, Lineup: TBA. Past performers have included Genre-crossing heroes are also included. Lineup: TBA. More info: sfjazz.org

Monterey Jazz Festival Monterey, California September 16–18 The world’s longest continually running jazz festival presents another packed weekend of music in this Pacific Coast town. Big ticketed events take place in the arena, while the fairgrounds feature indoor and outdoor stages that often host the main stage performers after their arena sets. Lineup: TBA. More info: montereyjazzfestival.org

Angel City Jazz Festival Los Angeles, California September 20–October 9 The emerging Angel City fest exposes a diverse cast of Los Angeles patrons to a realm of avant-garde jazz and world artists. The series brings creativity to six different venues, with a culmination performance at the John Anson Ford Ampitheatre. Lineup: Tigran Hamasyan, Rudresh Ma- hanthappa, Pan Afrikan People’s Arkestra. More info: angelcityjazz.com

Jazz at Newport Newport, Oregon September 30–October 2 Settled on the Oregon coast, this workshop-intensive program features a plethora of seasoned talent at the Newport Performing Arts Center. Lineup: TBA. Past performers have included Dave Captein, John Clayton, Jim Douglas. More info: jazzatnewport.org

Earshot Jazz Festival Seattle, Washington October 14–November 6 The yearly rite of fall in the Pacific Northwest has a twofold mission: to present artists whose music falls outside the mainstream and to provide a showcase for Seattle’s multigenerational jazz scene. Lineup: TBA. Last year included Erik Friedlander and Henry Threadgill. More info: earshot.org

MAY 2011 DOWNBEAT 109 International Summer Festival Guide 2011: Feature

Bix Beiderbecke Festival Keeps The Trad Faith By John McDonough

he Bix Beiderbecke Memorial Jazz Festival in Davenport, Iowa, which marks its 40th anniversary and the T80th year since Beiderbecke’s death Aug. 4–7, is the Mostly Mozart of American jazz festivals, the only one branded and dedicat- ed to the music and spirit of one musician. When the first Bix Festival was orga- nized in the summer of 1972, Beiderbecke was long gone, dead at 28 in 1931. But some locals in that first crowd such as Espen Spurrier had memories of hanging out with him or hearing him play. And many of Beiderbecke’s contemporaries were still ac- tive: Bing Crosby, Benny Goodman, Hoagy Carmichael, , Al Rinker Bud Freeman and others. They never visited a Bix Fest, but others did, according to music director Josh Duffee, including Bill Challis, Chauncey Morehouse, Bill Rank, Wingy Manone, Paul Mertz and Doc Ryker. The Beiderbecke branding may come from a distant antiquity, but it touches the present in ways that aren’t discussed much at the festival. Beiderbecke is the romantic template of a uniquely 20th-century hero. The self-extinguishing artist-martyr is an extension into modern pop culture of the 19th century literary triumvirate of John Keats–Percy Shelley–Lord Byron. In his footsteps would follow a tragic procession of later cultural heroes made incomplete by their own hand: Charlie Parker, Jimi Hendrix, Kurt Cobain, etc. Yet, in a way, Beiderbecke was truest to the 19th centu-

ry romantic ideal, dying in uncelebrated ob- t on reed

scurity to be discovered posthumously and t her Josh Duffee

reborn in mythic legend. susan al No one has nourished that legend more diligently than the Bix Beiderbecke Memorial cent. Moreover, 74 percent of those white-haired and drummer Josh Duffee, who at 31 is nearly a Society, which was founded in 1971. Its focus has stompers were older than 60 while only 5 per- decade younger than the event he oversees. never roamed from its original mission, which cent were under 41, according to the festival’s “I was a part of the Bix Youth Band in 1998 remains not merely “traditional” jazz, but specif- own survey. and I loved it,” Duffee said. “About that same ically that unique slice of tradition that centers “Certainly that’s a concern,” said Michael time I watched the New Wolverine Jazz Band on the white Midwest and New York scenes of Boyler, president of the Bix Society. “One of the do Jean Goldkette’s ‘I’m Going To Meet My the 1920s. main strategies of preservation is through music Sweetie Now’ [1927], and the light bulb went on. Those who recoil at tubas and banjos or be- education. For several years we’ve sponsored a This is what I want to do, play ’20s music.” lieve that Dixieland has been squeezed of any Bix Youth Band, which involves students cho- Duffee promises 17 bands this year, more capacity for surprise may find unexpected de- sen from high schools within about 50 miles of than at any previous festival. Dick Hyman, Allen light in its fundamental logic. As for the True Davenport. It’s a purely extracurricular activi- Vache and (whose four-year-old Believers, they need no convincing. This ami- ty outside the public school band programs and son is named Bix) will headline the Statesmen able assortment of camp followers remains the covers a fairly broad range of big band music be- of Jazz. Vince Giordano’s Nighthawks and the core of the festival audience. But it’s hard not to yond Bix and the Paul Whiteman era. But it’s re- West End Jazz Band will provide a wider peri- notice the aging demographics. Last year 92 per- markable how involved these kids get. Many are od context of 1920s dance music. The Giordano cent of the crowd had attended previous Bix festi- going outside on their own to get more education and Duffee bands will also stage a battle reen- vals. While such loyalty may be warming, it also in this genre of music.” acting the 1926 Roseland showdown between means that new attendees numbered only 8 per- A case in point is festival musical director Goldkette and Fletcher Henderson. DB

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CANADA

Festival de Musique Actuelle de Victoriaville Victoriaville, Quebec May 19–22 FIMAV offers a unique, eclectic lineup of jazz, electronic music and sonic experimentation. The intimate venues and imaginative program- ming make this small Quebec city a destina- tion for music fans from around the world. Lineup: The Ex & Brass Unbound, Koi- chi Makigami, Kid Koala, Peter Brötzmann, Anthony Braxton Echo Echo Mirror House, Ig Henneman Sextet, Wolf Eyes, more. More info: fimav.qc.ca

World Guitar Festival Rouyn-Noranda, Quebec May 28–June 4 Now in its seventh year, the World Guitar Festival celebrates an array of jazz performers touting influences of blues, reggae and Latin Stanley Jordan @ World Guitar Festival rhythms. Lineup: Jose Feliciano, Don McLean. Forever IV, Dave Brubeck, Jacky Ter- More info: fgmat.com rasson, Randy Weston, Eliane Elias, Youssou N’Dour, more. TD Ottawa International Jazz Festival More info: tojazz.com Ottawa, Ontario June 23–July 3 TD Winnipeg International Canada’s capital city offers tremendous ven- Jazz Festival ues both outside at Confederation Park and Winnipeg, Manitoba inside the National Arts Centre. The festival’s June 16–25 late-night jam sessions are particularly well Festivities in this culturally rich prairie city cul- attended by headliners and fans alike. minate with a weekend-long series of outdoor Lineup: Elvis Costello & The Imposters, concerts at Old Market Square in the heart of Return To Forever IV, Paco de Lucia, the historic Exchange District. Brad Mehldau & Joshua Redman, Lineup: Jazz at Lincoln Center Orchestra Darcy James Argue’s Secret Society, featuring Wynton Marsalis, Robert Kurt Elling, Christian McBride & Glasper, Trombone Shorty, The Lost Inside Straight, Kenny Wheeler, Evan Fingers, Gary Burton, more. Parker, more. More info: jazzwinnipeg.com More info: ottawajazzfestival.com TD Vancouver International Edmonton International Jazz Festival Jazz Festival Edmonton, Alberta Vancouver, British Columbia June 24–July 3 June 24–July 3 One of Canada’s original jazz festivals, the During its 26 years, the festival has established Edmonton event has maintained this northern a reputation for combining the best European city’s reputation as a great jazz town. Venues improvising artists with homegrown talent and include the legendary and the U.S. headliners. Among the highlights are free soft-seat Winspear Centre. weekend concerts and daily workshops. Lineup: TBA. Lineup: Paco de Lucia, Jazz at Lincoln More info: edmontonjazz.com Center Orchestra featuring Wynton Marsalis, Peter Brötzmann, Trom- TD Toronto Downtown Jazz Festival bone Shorty, Christian McBride Toronto, Ontario Inside Straight, Satoko Fujii, more. June 24–July 3 More info: coastaljazz.ca Featuring more than 350 concerts, the festival spreads across 40 venues in Toronto’s core. SaskTel Saskatchewan Jazz Festival The programming runs from noon to 4 a.m. Saskatoon, Saskatchewan daily, and covers a broad range of genres. June 24–July 3 Lineup: Kurt Elling, Béla Fleck & the Original The festival is held on two riverfront stages Flecktones, Paco de Lucia, Return To and a number of indoor venues around this

112 DOWNBEAT MAY 2011 lushly treed northern prairie city. daytime stages and three evening main stages Lineup: Christian McBride Quintet, Holly share green space with International Food Cole, Oliver Jones, Hilario Duran booths and the Arts Market. Latin Jazz Big Band featuring Jane Lineup: TBA. Last year’s artists included Alvin Bunnett, more. Youngblood Hart, Jim Byrnes. More info: saskjazz.com More info: thefestival.bc.ca

TD Victoria International JazzFest Kitchener Blues Festival Victoria, British Columbia Kitchener, Ontario June 24–July 3 August 4–7 The festival features more than 90 perfor- In its 11th year, Canada’s largest free blues mances in Canada’s westernmost city. Venues festival, held downtown, hosts leading re- include outdoor stages and four hotels. gional, national and international artists. This Lineup: Paco de Lucia, Lincoln Center Jazz year there’s a special salute to Muddy Waters Orchestra featuring Wynton Marsalis, Band alumni Pinetop Perkins, Bob Margolin Trombone Shorty, Christian McBride and Willie Smith. & Inside Straight, . Lineup: Johnny & Edgar Winter, John Mayall, More info: jazzvictoria.ca Jimmie Vaughan, Bettye LaVette. More info: kitchenerbluesfestival.com Festival International de Jazz de Montreal Labatt Blues Festival Montreal, Quebec Edmonton, Alberta June 25–July 4 August 19–21 From the intimate confines of Salle de Gésu The only Canadian event to earn an interna- to the free outdoor extravaganzas, which tional Blues Foundation award takes place at regularly draw tens of thousands of revelers Hawrelak Park’s Heritage Amphitheatre in the to Rue Ste. Catherine, North America’s largest panoramic North Saskatchewan River valley. celebration of jazz, blues and beyond remains Lineup: John Nemeth Big Band, Guitar the summer’s best opportunity to immerse Shorty, Chubby Carrier & The Bayou yourself in music. Swamp Band, more. Lineup: Diana Krall, Paco de Lucia, Milton More info: bluesinternationalltd.com Nascimento, Pink Martini, Holly Cole, Sade, Madeleine Peyroux, George Guelph Jazz Festival Wein’s 85th Anniversary Celebration, Guelph, Ontario more. September 7–11 More info: montrealjazzfest.com Located in a university town an hour out- side Toronto, the festival is set apart by the TD Halifax Jazz Festival inclusion of an academic jazz colloquium and Halifax, Nova Scotia numerous workshops featuring musicians in July 8–16 intimate settings. The festival has a history of Known for its casual, intimate atmosphere booking artists who are rarely featured on the and late-night hangs on the city’s waterfront, North American festival circuit. the festival features 450 artists and dovetails Lineup: TBA. with the annual Creative Music Workshop, More info: guelphjazzfestival.com which brings together players from all musical traditions to work together and study with Pender Harbour Jazz Festival drummer Jerry Granelli, saxophonist David Pender Harbour, British Columbia Mott and other clinicians. September 16–18 Lineup: TBA. Set in a picturesque fishing town north of More info: halifaxjazzfestival.ca Vancouver on Canada’s Sunshine Coast, the 15-year-old festival uses a variety of waterfront Vancouver Island MusicFest venues, including a floating one. Courtenay, British Columbia Lineup: Amanda Tossoff Quintet, Jesse Ca- July 8–10 hill’s Night Crawlers, more. On the Comon Valley Exhibition Grounds, More info: penderharbourmusic.ca alongside farmland on the island’s east coast, MusicFest hosts several dozen acts from vari- Quebec City Jazz Festival ous roots-music styles. Quebec City, Quebec Lineup: Steve Riley & The Mamou Playboys, October 24–30 , more. Focused in the Saint-Roch neighborhood More info: islandmusicfest.com and a beautifully restored concert hall over- looking the gates of the old city, this four-year- Vancouver Folk Music Festival old event has established itself as a great Vancouver, British Columbia fall festival. July 15–17 Lineup: TBA. At Jericho Beach Park on the Pacific, seven More info: jazzaquebec.ca

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EUROPE

International Jazz Festival Bern Bern, Switzerland March 11–May 21 This Swiss festival hosts plenty of interna- tional jazz and blues artists at multiple venues within this metropolis of jazz, such as ticketed evening concerts at classic house of jazz Mar- ian’s Jazzroom and the historic National Bern Theater, while the park of the Hotel Innere Enge provides free entertainment. Lineup: Biréli Lagrene Trio, Jean-Luc Ponty & Duo, Joe Louis Walker, Sista Monica, Roy Gaines Orchestra, Ahmad Jamal, Car- men Lundy, The Overtone Quartet, Pacquito D’Rivera’s Tango Jazz Septet, Quintet, Michel Camilo Trio, Bob Wilber & The Young Generation All-Stars, Patti Austin and Trio, Michel Legrand Trio, HKB Mary Halvorson Trio @ Jazz Festival Willisau Jazzorchestra featuring Bert Joris, Pommelhorse, Bounce, Wolverines Jazz Band. well as various combos and ensembles. Lineup: TBA. Last year’s lineup included More info: jazzfestivalbern.ch Lineup: and Concert Jazz Kurt Rosenwinkel Trio, Chuck Israels Band, Nigel Kennedy Septet, Colin European Group. Barclays Cheltenham Vallon Trio, Gianluigi Trovesi/Gianni More info: vincenzajazz.org Jazz Festival Coscia–Duo, François Couturier Cheltenham, England Quartet “Songs For Tarkowsky,” Matosinhos Jazz April 27–May 2 Bobo Stenson Trio, Tobias Preisig Matosinhos, Portugal Held in association with BBC Radio 2, this Quartet, Dave Holland’s Overtone May 11–14 festival has featured mainstream and cutting- Quartet featuring Jason Moran, In this fishing town close to Oporto, new edge jazz from around the world, including Muthspiel & Grenadier & Turner, architecture and historical monuments create young British talent. The fest is located about Jean-Paul Brodbeck Quintet, Joe the festival’s unique setting. This year the 100 miles west of London. Locke/Dado Moroni/Rosario Giuliani, Matosinhos Jazz Orchestra will perform with Lineup: Overtone Quartet, BBC Concert Renaud Garcia Fons Sextett plays Maria Joao. Orchestra, James Hunter, Tord Gus- the Filmmusic “Prince Ahmed” (mit Lineup: Matosinhos Jazz Orchestra, Larry Carl- tavsen, Jamie Cullum, Django Bates, Film!), Dianne Reeves Guitar Project, ton, Tania Maria, Ivan Padois, more. Kyle Eastwood, Curios, Andreya Incognito: The Jubilee Band, Rita More info: cm-matosinhos.pt Triana, Susanna, Kit Downes. Marcotulli-Nonett play Pink Floyd, Till More info: cheltenhamfestivals.com/jazz Brönner Group, Bobby McFerrin. Estoril Jazz More info: jazzfestivalbasel.ch Estoril, Portugal Ulrichsberger Kaleidophon May 27–June 5 Ulrichsberger, Austria Moulin Blues Festival This festival devoted to mainstream jazz takes April 29–May 1 Ospel, Limburg, the place in a sea-coast town near Lisbon. All From North America to Asia, this gallery-style May 6–7 concerts take place at the Casino Estoril. exhibition draws in international movers and The popular Dutch festival is in its 25th year and Lineup: Joe Lovano, Tia Fuller, Anat Cohen, shakers from the jazz and art worlds and oc- imports talent from the United States, France, , more. curs circa the Bohemian Forest. Markus Riebe Great Britain, and other places. B.B. More info: projazz.pt will showcase his digital media works to the King and Buddy Guy are among the scores of sounds of improvisational and contemporary musicians who’ve performed here. Iford Festival 2011 jazz numbers. Lineup: Dave Riley & Bob Corritore’s Juke Brandford on Avon, England Lineup: Deployment 3, Violin and Electron- Joint Blues Band, Homemade Jamz June 10–11, August 12–13 ics, Red Trio, Recall Pollock, Lazro/ Blues Band, Nick Moss & the Flip- The Italianate Peto Garden sets the stage for Pauvros/Turner, Theseus vs. John tops, Los Lonely Boys, more. four nights of otherworldly jazz experiences, Lindberg’s TriPolar, Sebastian Lexer, More info: moulinblues.nl offering jazz promenade performances and Sum, B:F:N, Dawn of Midi. seated cloister shows. Iford’s diverse program More info: jazzatelier.at –Vicenza Jazz succeeds an intimate pre-show picnic, with Vicenza, Italy programs such as “First Night Jazz Party,” Jazzfestival Basel May 6–14 “Midsummer Jazz” and “Friday Fiesta.” Basel, Switzerland The 16th run of this renowned jazz extrava- Lineup: Tina May, The Numbers Racket, April 30–May 13 ganza brings present-day artists to the quaint Jim Hart, , Omar The jazz organization Offbeat lives up to its and intimate venues of Renaissance-era Puente, Claudia Aurora, Kosmos, name, honing a variable hodgepodge of un- Vincenza, including the city’s Teatro Olimpico, She’koyokh. derground artists while enlisting big names, as the world’s oldest indoor theater. More info: ifordarts.co.uk

114 DOWNBEAT MAY 2011

International Summer Festival Guide 2011: Europe

Moers Festival Lineup: Cassandra Wilson, Lagaylia Frazier Jazz A Vienne Moers, Germany & Jan Lundgren Trio, Hal Frazier, Vienne, France June 10–12 Lekverk, Niklas Barno with Je Suis!, June 29–July 13 This year marks the 40th anniversary of the Robert Glasper Experiment. With around 150,000 people attending the festival that may be best known in America More info: stockholmjazz.com various concerts, Vienne is truly one of the for its live recordings of progressive jazz and major jazz events in Europe. The festival new music artists of the ’70s and ’80s—like JazzAscona will be celebrating its 31th anniversary this Fred Anderson and Anthony Braxton. The Ascona, Switzerland summer with a program as eclectic as it has event that spawned this creativity carries on June 23–July 3 always tried to be, mixing straight-ahead with a dynamic mixture of artists. For his birthday centennial, bebop trumpet- jazz with pop acts. They also try and focus Lineup: Achim Tang, more. er Roy Eldridge gets recognized in a series on a different theme each night—blues, soul, More info: moers-festival.de of tribute performances at this multicultural gospel, funk, etc. The festival makes the most gathering. Widely regarded as a paramount of its four different stages, including the pres- Stockholm Jazz Festival European jazz event, the Lake Maggiore tigious Roman theater for the bigger names, Stockholm, fest presents more than 200 concerts and the midnight club devoted to the rising stars June 17–19 300 artists, with emphasis on New Orleans- or the Jazz Mix for musicians beyond the For its 28th run, one of Sweden’s oldest fes- style acts. strict jazz canon. tivals moves from the island of Skeppshol- Lineup: TBA. Last year’s lineup included Lineup: Tom Jones, Jamie Cullum, Rhoda men to the highly regarded Skansen venue. Wycliffe Gordon, Herlin Riley, Scott, a Tribute To Miles Davis by The acclaimed soiree brings together a Jay Leonhart. Marcus Miller, Herbie Hancock and variety of noted jazz, rock and r&b artists. More info: jazzascona.ch Wayne Shorter. More info: jazzavienne.com

Lakeside (Puisto) Blues Festival Jarvenpaa, Finland June 29–July 3 One of Europe’s most popular festivals, Puisto takes place in a modest-sized city north of Helsinki. The festival runs five days and con- cludes with dozens of musicians performing in a park next to Lake Tuusula. Lineup: TBA. More info: puistoblues.fi

Ljubljana Jazz Festival Ljubljana, Slovenia June 29–July 3 The Ljubljana Festival has always been impres- sively programmed and wide ranging. The ven- ues range from clubs to a sizable amphitheater. Check out the view from the hilltop castle. Lineup: TBA. More info: ljubljana.si

Copenhagen Jazz Festival Copenhagen, Denmark July 1–10 With more than 1,000 concerts spread out over 100 venues, Copenhagen always delivers with a sublime program of international A-list talent that never edges out the country's own Nordic jazz greats. This festival takes up the entire city; its friendliness and walkability make the event all the more attractive to interna- tional visitors and locals. Lineup: Keith Jarrett Trio, more. More info: jazz.dk

Istanbul Jazz Festival Istanbul, Turkey July 1–18 This cosmopolitan event brings international stars and newcomers together in stadiums and small venues throughout the city. Lineup: Chick Corea, Stanley Clarke, more. More info: iksv.org

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International Summer Festival Guide 2011: Europe

Montreux Jazz Festival Berges quintet, Joshua Redman/Brad rock and folk directions. There has been a Montreux, Switzerland Mehldau, Gumbo, Maya Homburger/ clear strengthening of the jazz program, with July 1–16 Barry Guy, Maria Kannegaard Trio with a different theme each night (jazz & folk night, The most notable Swiss event continues Siri Gjaere and Ola Kvernberg, Chili funk night, etc.). It remains one the most lively mixing great jazz with rock and blues stars. Vanilla, Charles Lloyd, more. festivals in the southeast of France. Lineup: TBA. More info: kongsberg-jazzfestival.no Lineup: TBA More info: montreuxjazz.com More info: nicejazzfestival.fr Gent Jazz Festival JazzBaltica Gent, Belgium North Sea Jazz Festival Salzau, Germany July 7–17 Rotterdam, The Netherlands July 1–3 Once again, the medieval-style port city July 8–10 Held in the historic Salzau castle, this year’s offsets its traditional architecture with a stellar This classic northern European festival brings Baltica program honors Esbjörn Svensson with a lineup of fusion and contemporary jazz names. between 60,000 to 70,000 people to its three- promising lineup of jazz greats. The festival also The festival annually presents its Django D’Or day bash at the city’s Ahoy Complex. Most of hosts the premier of supergroup Apex featuring Award to standout European musicians. the festival’s 200-plus jazz, blues and pop acts Rudresh Mahanthappa and Bunky Green. Lineup: B.B. King, Steven De Bruyn, Tony on 15 stages are free. Lineup: Apex, Pat Metheny, Nils Landgren, Vi- Gyselinck & Roland. More info: northseajazz.com jay Iyer, Donny McCaslin, . More info: gentjazz.com More info: jazzbaltica.de Umbria Jazz Festival Nice Jazz Festival Perugia, Italy Kongsberg Jazz Festival Nice, France July 8–17 Kongsberg, Norway July 8–12 One of Europe’s most grand and classy affairs, July 6–9 The Nice Jazz Festival has been a musical the Umbria Jazz Festival celebrates its 38th With a name similar to a Sonny Rollins classic, event with a shifting identity. Two years ago, year with a supergroup of Wayne Shorter, the “Silver City” mining town exhibits a four- they had showed a clearly ambitious jazz Herbie Hancock and Marcus Miller paying day lineup of eclectic artists a mere 90 miles program with Brad Mehldau, McCoy Tyner, tribute to their former bandleader, Miles Davis. from Oslo. While the Scandinavian festival Joshua Redman and Sonny Rollins. Last year’s Also, to celebrate the 150th anniversary of Ital- serves up an array of international artists, its focus had been on Al Jarreau, Earth, Wind & ian unification, all of the country’s homegrown claim to fame is the focus on local talent. Fire, Dweezil Zappa, Herbie Hancock, Fiction artists will perform their own rendition of “Inno Lineup: Bergen Big Band with Terje Rypdal & Plane, Pat Metheny and Pink Martini. The main Di Mameli,” the national anthem. Most of the Skywards, Monolithic, Andrea Rydin body of the program branches out into pop, concerts are ticketed, but there is also a large

118 DOWNBEAT MAY 2011 variety of free music throughout the festival site. Jazz Vitoria-Gasteiz Bohemia Jazzfest Lineup: Anat Cohen, Tia Fuller, B.B. King, Vitoria-Gasteiz, Spain Various cities, Czech Republic Ahmad Jamal, Michel Camilo, Sergio July 10–16 July 12–16 & July 21–24 Mendes, Caro Emerald, Trombone The 35th anniversary of the Spanish fest honors The largest jazz festival in the Czech Republic Shorty, more. Miles Davis with a triumvirate of jazz legends: offers a series of free outdoor concerts on More info: umbriajazz.com Herbie Hancock, Marcus Miller and Wayne beautiful town squares in Domazlice, Plzen, Shorter. The historic Basque region tempts fes- Tabor, Brno, Prachatice, Ceske Budejovice Aarhus Jazz Festival tival-goers with a pastiche of local venues, from and the stunning baroque capital of Prague. Aarhus, Denmark century-old theaters to intimate jam sessions. Run by Rudy Linka, the Czech-born, inter- July 9–16 Lineup: Herbie Hancock/Wayne Shorter/Mar- nationally acclaimed jazz guitarist, Bohemia This adjunct of the trademark Copenhagen Jazz cus Miller “Tribute to Miles Davis,” Ja- Jazzfest has succeeded in presenting a Festival prides itself on the evolution of its lineup. mie Cullum, Jose James, Branford dynamic mix of top European and North The popular Danish fest brings in artists from all Marsalis, Miguel Zenón, Ruben American artists since its inception in 2005. over the world for an enticing program of many jazz Blades, more. Lineup: McCoy Tyner Quartet, John Scofield sects, among them Latin jazz and world music. More info: jazzvitoria.com Quartet, Dr. Lonnie Smith Trio, Terje Lineup: TBA. Rypdal Big Band, Rudy Linka & Bobo More info: jazzfest.dk Roma’s Jazz Cool Festival Stenson, more. Rome, Italy More info: bohemiajazzfest.cz/en Pori Jazz Festival July 11–17 Pori, Finland The seventh edition of this workshop-affiliated Jazz A Juan July 9–17 program showcases two performances per Juan-les-Pins, France Attracting 60,000 patrons last year, the west day: an earlier presentation of well-known July 14–24 Finland coastline fest hopes to garner a few artists and original works, as well as a late- After last year’s celebration of its 50th an- more with Elton John as its Saturday night night showcase of young emerging artists niversary and concerts by Marcus Miller, Keith headliner. Infamous for bringing a realm of and experimental acts. Concurrently, master Jarrett, or David Sanborn, Jazz à Juan will jazz legends to the forefront of international classes are conducted alongside the festival’s try and keep up the good work. The Gould festivals, Pori also attracts a wealth of genre- top-tier talent. Theatre among the pinewood by the sea has spanning talent, including world music and Lineup: , Sheila Jordan, John always hosted prestigious bills and this year hip-hop artists. Patitucci, Lage Lund, Dave Liebman, again a number of famous artists will grace its Lineup: Elton John, Sing the Truth, Jo Stance. Joe La Barbera. stage, among them B.B. King. Other guests More info: porijazz.fi More info: jazzscool.it will be the French singer Ben Oncle Soul and

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Trio 3 @ Vicenza Jazz

drummer Manu Katché. Always a classy event, Siena Jazz Festival this festival bears special significance as the Siena, Italy oldest of its kind in Europe. July 24–August 7 Lineup: B.B. King, more. The multifaceted, workshop-intensive Siena More info: jazzajuan.fr fest lets jazz students participate in various master classes ending in publicly open con- Jazzfest Wien certs. The concerts combine student artists Vienna, Austria with venerable Italian talent. July 15–17 Lineup: TBA. Past performers have included The Vienna-based fest brings an onslaught of Miguel Zenón, Eddie Henderson, international jazz performers to venues once . frequented by Beethoven and Mozart, including More info: sienajazz.it the Vienna State Opera, Town Hall, Konzer- thaus and others. The urban house of neo- Jazz A Foix classical music also boasts a diverse nightlife Foix, France that includes soul and blues performances. July 25–31 Lineup: Chick Corea, Omara Portuondo, Located in the southwest mountains near the Thomas Quasthoff. Spanish border, Foix has been an ambitious More info: viennajazz.org festival for 11 years. Ira Gitler presented last year’s concerts (notably Kenny Barron, the MoldeJazz Curtis Fuller Quintet, the Charles McPherson Molde, Norway Quartet), showing that the festival’s philosophy July 18–23 is about no-nonsense jazz. The program will Even in the 50th year of this Norwegian stan- feature Ahmad Jamal, The Cookers, Gypsy dard, festival directors organize a program that guitarist Steeve Laffont, as well as piano leg- gravitates toward an audience of younger jazz ends René Urtreger and Roger Kellaway with enthusiasts. The lineup combines contempo- altoist Dimitri Baevsky. Foix is renowned for its rary jazz with a selection of mainstream pop spectacular landscapes. and hip-hop acts, with Nils Peter Molvaer Lineup: Ahmad Jamal, The Cookers, more. resuming the role of artist-in-residence. More info: jazzfoix.com Lineup: John McLaughlin, Dianne Reeves, Mostly Other People Do The Killing, Jazz in Marciac Trombone Shorty, more. Marciac, France More info: moldejazz.no July 29–August 15 As one of the main European festivals, Marciac Heineken Jazzaldia as always made specific efforts to offer both San Sebastian, Spain high-profile bills for the general public and a de- July 21–25 manding content representing a wide spectrum The 46th annual coastline concert brings big- of the contemporary jazz scene. The music name jazz artists to the medieval Plaza Trini- outside the main venue during the day is very dad and state-of-the-art Kursaal Auditorium varied and plentiful (and by no means a lesser during ticketed shows. Talent also performs program) than the evening concerts. The village seaside, courtesy of the free concerts at Zur- of Marciac and the surrounding countryside riola Beach. in the southwest of France is also of particular Lineup: TBA. Last year’s lineup included Elvis interest in itself as a place for summer holiday. Costello and Kris Kristofferson. Lineup: TBA. More info: heinekenjazzaldia.com More info: jazzinmarciac.com

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International Summer Festival Guide 2011: Europe

Jazz in Ramadan Lineup: Herb Geller, Richard Galliano, Jazz Festival Willisau Istanbul, Turkey Enrico Pieranunzi, Paolo Fresu, Willisau, Switzerland August 1–29 Toots Thielemans, Miriam Aida, August 24–28 Each year, Jazz Ramadan brings new per- Youn Sun Nah, Stefano Bollani, Along with a weekend of camping, visitors can spective to this sacred time of cultural unity, Scott Hamilton, more. partake in a jazz program that offers contem- combining social peace with a unique jazz More info: ystadjazz.se porary and traditional jazz in the confines of experience. Patrons make pilgrimage to the the Festhalle in medieval Willisau. This year landmark Sultanahmet venues to listen to jazz Gouvy Jazz & Blues Festival marks the fest’s 37th anniversary. by enlightening Middle Eastern artists. Direc- Gouvy, Wallonia, Belgium Lineup: TBA. tors readily incorporate a lineup of traditional August 5–7 More info: jazzfestivalwillisau.ch and classical Turkish music into the mix of “Gouvy is Groovy” remains the rallying cry regional jazz. for the 32nd open-air concert weekend at International Jazz Festival Saalfelden Lineup: Last year’s performers included Madelonne Farm. The host family brews Saalfelden, Austria Ahmad Jamal, Anouar Brahem, festival beer. European and American August 25–28 , Dhafer Youssef, musicians are featured. The region of Salzburg remains an artistic cen- Ilhan Ersahin, Aydin Esen. Lineup: Ricky Ford, Michel Legrand, David terpiece for this promising festival, now in its 31st More info: heproductions.com; Sanchez, Bernard Allison, “Girls With year. The avant-garde lineup performs not only on jazzinramadan.com Guitars” Blues Caravan, Christophe the festival’s main stage but also on a number of Marquilly Blues Trio, more. stages dispersed throughout historic Saalfelden, Ystad Sweden Jazz Festival More info: gouvy.eu/madelonne such as the “Short Cuts” secondary venue. Ystad, Sweden Lineup: TBA. August 4–7 Jazz Em Agosto More info: jazzsaalfelden.com Due to its increasing prominence in the Lisbon, Portugal Scandinavian jazz scene, Artistic Director August 5–14 Sierre Blues Festival Jan Lundgren adds another day to the Ystad This year, the festival will take place for 10 Sierre, Switzerland program, rounding out the weekend with 10 straight days without a break, bringing togeth- August 25–28 more concerts for 32 total performances. A er the leading lights in European and American In the middle of the Swiss Alps not far from mere ferry away from epicenter jazz and . Italy, this open-air festival has two stages on of Copenhagen, this festival prides itself on Lineup: Cecil Taylor, Wadada Leo Smith, fairgrounds and several more downtown. its pastiche of world-class and breakthrough Fight The Bull with Steven Bernstein, more. Lineup: TBA. Swedish talent. More info: musica/gulbenkian.pt/jazz More info: sierrebluesfestival.com

122 DOWNBEAT MAY 2011 Voll-Damm Barcelona Salzburger Jazz-Herbst jazz has since transcended from its 40-year- Barcelona, Spain Salzburg, Austria old origins, and makes this title well-deserved. October 4–December 1 October 25–November 6 Though the festival traditionally offers a heady Meticulous year-round planning results in a With more than 50,000 visitors attending more series of noteworthy American names, it has two-month marathon event in the fall that than 100 events in this historic music city, since shifted its focus toward regional artists. offers more than 50 shows at some of the re- Salzburger Jazz-Herbst has been expanding JazzFest brings local folk sounds to the fore- gion’s most prestigious jazz haunts in Spain's since its inception in 1996. Performances take front but has established itself as a borderless most beautiful city. For the 43rd run, venues place in elegant concert halls as well as in European forum for the genre. range from the more prominent Palau de la clubs and outdoor venues. Lineup: TBA. Past performers have included Musica to some of the party city’s hole-in-the- Lineup: Hans Salomon & Vienna Big Band Rudresh Mahanthappa, Terence wall jazz gems, such as the Jamboree and Machine, Tia Fuller, Hugh Masekela, Blanchard, Peter Erskine. Harlem Jazz Club. Jeremy Pelt, Charlie Haden Quartet More info: jazzfest-berlin.de Lineup: TBA. Part performers have included West, Bettye LaVette, more. Wayne Shorter, Marcus Miller, More info: salzburgerjazzherbst.at London Jazz Festival Jimmy Cobb. London, England More info: barcelonajazzfestival.com Seixal Jazz November 11–20 Seixal, Portugal Once an offshoot of the extinct Camden Akbank Jazz Festival October 26–29 Festival, the north London jazz week exploded Istanbul, Turkey This festival near Lisbon brings together into a highly anticipated, 10-day event now October 13–23 American and European post-bop musicians honed as the region’s largest music festival. Turkey’s premier jazz celebration occurs for alongside a healthy representation of contem- Among its developments is the New Audience the 21st year throughout downtown Istanbul at porary Portuguese players. scheme, which exposes young listeners to a variety of venues, from the large-scale Lutfi Lineup: TBA. Last year included Dave Hol- emerging talent at some of the city’s most Kirdar Concert Hall boasting festival mainstays land, Charlie Haden, Odean Pope. historic performance halls, such as the to the more modest Babylon, Ghetto and More info: cm-seixal.pt/seixaljazz Barbican, Wigmore Hall and Ronnie Scott’s Nardis hotspots. legendary digs. The BBC also presents Lineup: TBA. Last year’s performers JazzFest Berlin concert broadcasts. included John Suman, Miroslav Berlin, Germany Lineup: TBA. Last year’s performers included Vitous, Nils Petter Molvaer, November 3–6 Sonny Rollins, Charles Lloyd, Robert Ahmad Jamal. Self-proclaimed as a “capital city” of the Glasper. More info: akbanksanat.com/jazz_festival genre, Berlin’s four-day marathon of non-stop More info: londonjazzfestival.org.uk

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OTHER INTERNATIONAL

Melbourne International Jazz Festival Melbourne, Australia June 4–13 Melbourne reimagines its popular themed pro- gramming streams with the Modern Masters collection, which explores the handiwork of professional jazz gurus, and the Metropolis Series, which bridges the gap between sym- phonic music and improvisational jazz by the Melbourne Symphony Orchestra. Lineup: Sonny Rollins, Lee Konitz, Chris Botti, Jason Moran, more. More info: melbournejazz.com

Rio Das Ostras Jazz and Blues Festival Rio Das Ostras, Brazil June 22–26 Tudo E Jazz For the ninth edition of this beachfront celebra- tion, a fourth stage in St. Peter’s Square has been added to accommodate the festival’s vast array of Brazilian-flavored artists. Additional acts will perform both indoors and outdoors at Lagoon Iriri, Turtle Beach and Costazul, complementing a harvest of Rio de Janiero fare. Lineup: Yellowjackets, Nicholas Payton, Bryan Lee, Azymoth com Leo Gandelman. More info: riodasostrasjazzeblues.com

Red Sea Jazz Festival Eliat Harbor, Israel August 22–25 At the banks of the Red Sea, Israel’s feature jazz event celebrates 25 years in existence, offering more than 32 concerts at modestly sized venues. The 4,000-seat Arena, 2,000- seat Hall and 1,000-seat Jazz Club host at Rio Das Ostras Jazz and Blues Festival least 20 Israeli ensembles along with a lineup of internationally renowned artists. Within the Tudo E Jazz Don Burrows, Louis Banks, Natalie three different halls, guests can attend up to Ouro Preto, Brazil Williams, Simark Dialog, Remi Abram. four concerts each evening, and with various September 8–11 More info: jazzmandu.org celebrations and pool parties occurring simul- The 10th edition of this Brazilian program taps taneously, guests can enjoy the pleasures of an all-star band and the Symphonic Orchestra International Jazzuv Festival the Red Sea to the tune of jazz. of Minas Gerais for its tribute to Tom Jobim. Xalapa, Mexico Lineup: TBA. Last year’s performers included Dubbed “The Golden Years,” the aptly themed November 3–13 Rickie Lee Jones, Gary Burton, lineup is derived from previous programs, Situated near the Gulf of Mexico, Veracruz’s Stefon Harris, Danilo Pérez, based on audience votes. jazz event allows student and audience Nikki Yanofski. Lineup: TBA. participation via jam sessions and seminars. More info: redseajazzeilat.com More info: tudoejazz.com.br The Universidad Veracruzana-affiliated festival celebrates its fourth year of educational and Curacao North Sea Jazz Festival Kathmandu Jazz Festival recreational jazz performances. Piscadera Bay, Curacao Kathmandu, Nepal Lineup: TBA. Last year’s performers included September 2–3 October 14–25 McCoy Tyner, Jack DeJohnette, The Lesser Antilles region becomes a hybrid of The Nepalese capital city is quickly becoming Mulgrew Miller, Ray Drummond, noteworthy jazz and r&b acts combined with a prominent name on the global jazz circuit, Lewis Nash, Jason Palmer, regional Caribbean cultural influences. The and hosts the ninth edition of this culturally in- Francisco Mela. festival attracts about 70,000 visitors annually teractive fest. “Jazzmandu” hosts a plethora of More info: jazzuv.com and will incorporate soul- and world music- general education workshops for jazz novices inspired artists for this September’s event. and experts alike, along with a Peace Parade Lineup: , Chic, Earth Wind & in Lazimpat that aims to be as awe-inspiring LISTINGS COMPILED BY HILARY BROWN, AARON COHEN, Fire, Rubén Blades. as the festival’s Himalayan setting. JOSE DUARTE, ED ENRIGHT, FRANK-JOHN HADLEY, JAMES HALE, MICHAEL JACKSON, PETER MARGASAK, JENNIFER More info: curacaonorthseajazz.com Lineup: TBA. Past performers have included ODELL, JON ROSS AND JEAN SZLAMOWICZ.

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Jazz On Campus  School Notes 

Terence Blanchard Francisco Mela Hopes To Turn Xalapa Into Mexican Jazz Education Mecca

utside the packed Casa Del Francisco Mela Lago in Xalapa, Mexico, the Olakeside venue currently bouncing with the sounds of the Latin-tinged Big Band JazzUV, Grace Kelly is swamped by young fans wielding T-shirts and program books for her to autograph. That’s an unusual ex- perience in itself for an 18-year-old Blanchard Directs Mancini: Trumpeter jazz saxophonist not used to the Terence Blanchard has been named artistic rock star treatment, but the situation director of the Institute at the turns even stranger when the gag- University of Miami Frost School of Music. gle sheepishly ask if her father will Blanchard’s duties will primarily include sign as well. “Why?” the elder Kelly conducting the Mancini Institute Orchestra asks incredulously. throughout the year. Also, at Miami, the The answer is simple: “Because university’s student-run Cane Records has you’re a part of it, too!” released Breaking The Surface, Volume 1– That vigorous embrace of every Miami Artists On The Rise. The disc includes aspect of the Festival Internacional jazz vocal student John Splithoff. JazzUV is typical of the over- Details: miami.edu whelming response it has received in this small but vibrant city. New Oklahoma Program: Beginning this “I’m honestly blown away at the fall, the Academy of Contemporary Music enthusiasm of the people who come at the University of Central Oklahoma will Ja zz uv offer a bachelor’s of applied technology with to this festival,” Kelly said on the a focus in contemporary music to students final evening of the weeklong festival. “Every ploma program. Dorantes hopes to offer a bach- who graduate with an associate’s of applied place is packed to the walls, they all go crazy for elors’ degree in the years to come. science degree. It will be the only program of the music, and it’s just a very warm festival.” The festival, which this year featured top-ti- its kind in the United States. Drummer Francisco Mela first encountered er artists including McCoy Tyner, Jack Details: acm-uco.com that warmth in 2008, when he played the festival DeJohnnette and Ray Drummond, is focused as a sideman for pianist Gabriel Hernández. The on providing not just performances but oppor- Hamilton, Nash Sit In: Drummer Jeff event was inaugurated as a showcase and learn- tunities for students to interact with the head- Hamilton will join the DePaul University Jazz ing experience for the students and teachers of liners through master classes and jam sessions. Ensemble at Chicago’s Jazz Showcase JazzUV, a newborn jazz school formed under the “The idea of this festival,” Mela said, “is not April 28–May 1. Just north of Chicago in aegis of the Universidad Veracruzana. Mela has only bringing, for example, McCoy Tyner and Evanston, saxophonist Ted Nash will col- maintained a close relationship with the school his trio and they play, they make their money laborate with Northwestern University’s Jazz and its founder, pianist Edgar Dorantes, ever and they go home. The idea is they come here, Orchestra at Pick-Staiger Concert Hall on since, and became the festival’s artistic director they interact with the students, they play with May 18. Details: depaul.edu, northwestern.edu in this, its third year. the students, and they stay for one week. The “I have a goal,” Mela said, “which is making purpose of this festival is making sure the stu- Berklee Disc: Berklee’s student-run label, Xalapa the mecca of jazz in Mexico.” dents have a connection with the artists.” Jazz Revelation Records, has released For now, the city’s music scene, while thriv- Dorantes insists that the school’s small its eighth compilation, Octave. The disc ing, still stands far behind that of the much larg- size—it is housed in eight small classrooms in a includes combinations of jazz, electronic and er Mexico City. A native of Córdoba, Veracruz, former residence, ringing a central courtyard that international musicians. Details: berklee.edu Dorantes recognized a need for jazz education serves during the festival as a stage for master Harvard Exhibit: Harvard University in when he returned to Mexico after a three-year classes—is an advantage, allowing the faculty to Cambridge, Mass., is exhibiting a collection stint in the States, where he earned his masters in work collaboratively. of scores, letters and other memorabilia from jazz studies at the University of North Texas. “I “We try to teach the tools you need for being such composers as Benny Carter, Buck found a large community here in Xalapa that was a good, creative musician who can solve prob- Clayton and Jane Ira Bloom at the Richard F. hungry for learning,” he explained. lems in the moment and adapt to different re- French Gallery in the school’s Music Build- The school was founded in February of alities,” Dorantes said. “It doesn’t matter if ing. Harvard Jazz Bands and the university’s 2008, and Dorantes was stunned when 140 stu- you’re playing at a jazz festival or in a church, Office of the Arts donated the collection, dents enrolled—followed by another 140 for the it doesn’t matter if you like cumbia or classical which will be on display through Sept. 30. second term. That number has remained steady or son jarocho or swing or Latin jazz, we can The event is part of Harvard’s celebration of throughout all three years, with a 30-member provide the students with a good attitude, mu- 40 years of jazz at the institution. faculty instructing students ranging in age from sical and human, to do the job at the moment.” Details: harvard.edu 8 to 18 years old for individual tutoring and a di- —Shaun Brady

126 DOWNBEAT MAY 2011

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MAY 2011 DOWNBEAT 129 Blindfold Test | BY TED PANKEN Nellie McKay eteran New York Times music critic Jon Pareles once described Nellie McKay’s style as “arch but amiable, with teeth behind the gig- Vgles.” It’s an apt description for the 28-year-old singer-songwriter’s com- portment during her first Blindfold Test, conducted between the release of her fourth album, Normal As Blueberry Pie: A Tribute To Doris Day, and her late-2010 issue, Home Sweet Mobile Home (Verve/Forecast). Tierney Sutton “Whatever Lola Wants, Lola Gets” (Desire, Telarc, 2009) Sutton, vocal; Christian Jacob, piano; Trey Henry, bass; Ray Brinker, drums. It’s dream-like. It’s getting what you want through sheer force of will. It’s that power that comes out of desperation, or perhaps nothing to lose. Over a driving, propulsive rhythm and bass, it’s drawn out like taffy. You have the sense of being underwater. The vocal, even though it’s stretched, is very precise, very tart and pointed. [afterwards] I never would have guessed

Tierney Sutton. Ri ck G on z ale

Madeleine Peyroux Louis in the winter. It sounded very live. I kept seeing her singing it, just as “Love And Treachery” (Bare Bones, Rounder, 2009) Peyroux, vocal, lyric, acoustic kind of a light on stage; I kept going off in my own world, which is one of guitar; Walter Becker, co-lyric; Larry Klein, bass; Vinnie Colaiuta, drums; Dean the greatest recommendations you can give. Parks, pedal steel guitar; Jim Beard, Wurlitzer piano; Larry Goldings, Hammond organ. Champian Fulton What a great beat! I really liked the kind of two-feel and guitar line. I think “If I Had You” (The Breeze And I, Gut String, 2010) Fulton, vocals, piano; Neal that was Madeleine Peyroux. God, what a sad song that was! But beauti- Miner, bass; Fukushi Tainaka, drums. fully sung. The quality of her voice and that kind of lonely tumbleweed One of the greatest songs and one of the most under-performed. I’d quite feel is fantastic. like to perform it, so I hope it doesn’t get performed that much! The vocal felt very feral and feline. Sinuous. Shades of Dinah Washington and Eartha John Pizzarelli Kitt. I liked those chunky chords from the piano in the beginning. I’d do the “Perdido” (Rockin’ In Rhythm, Telarc, 2010) Pizzarelli, vocals, guitar; Kurt Elling, song differently—I can’t sing like Dinah Washington or Eartha Kitt! The Jessica Molaskey, vocals; Larry Fuller, piano; Martin Pizzarelli, bass; Tony Te- vocal almost sounded like a guitar at times. [afterwards] She played piano desco, drums. during that? Incredible. She was doing some lovely filigrees while she was That rendition has such a happy feel. It makes me want to go out and get a singing. She’s really good. tattoo. I love that song. The whole track had a sense of humor. I wonder if in the beginning I could feel that “Perdido” was coming, or if I like the be- ginning on its own as much as I thought I did. I also found myself wonder- “Hunger” (Mythologies, Blue Note, 2006) Barber, piano, vocal, lyric; Neal Alger, ing how many overdubs they had to do to get everybody that in-sync, and guitar; Michael Arnopol, bass; Eric Montzka, drums. whether everybody was isolated or all in the same booth. I think it’s fitting that a song that mentions foie gras sounds like a vision of Hades in some wretched corner of the tourist section of Cancun. It has a Dee Dee Bridgewater mean, hard-bitten quality, and when the vocal breaks out of the threat of the “You’ve Changed” (Eleanora Fagan 1915–1959: To Billie With Love From Dee Dee, bass and the metallic guitar sounds, it’s as if she’s gasping for air. That song Verve, 2010) Bridgewater, vocals; James Carter, tenor saxophone; Edsel Gomez, is potent! The singer has the reassuring quality of a modern-day Doris Day piano, arr.; Christian McBride, bass; Lewis Nash, drums. ... although she doesn’t sound like Doris Day. It’s a very soothing voice; she I love that saxophone, and what a heartfelt vocal. The arrangement was could easily sing a lullaby, and yet she sings this kind of song. There were simple, not embellished, which I liked a lot. The song is a powerhouse. It some wonderful images. That sense that everybody’s hungry could apply always feels wrenched from the singer, as opposed to deliberately sung. I to anything. And that you can never lick your plate clean. guess you could look at it as the peak of the mountain on Lady In Satin. It ties the whole album together; it comes in the middle like a shot. I’m so fa- Jamie Cullum miliar with Billie Holiday’s version, I don’t think I could ever attempt that “Just One Of Those Things” (The Pursuit, Verve Forecast, 2010) song, but she pulled it off with something completely different. It feels a lit- Was that Jamie Cullum? He’s got some piano chops. I think people could tle angrier than Billie Holiday’s version. go for it that way more often, with those boulders falling from the sky. His delivery sounds so disillusioned, like a Fiona Apple, “This world is Melissa Walker bullshit” feeling. Then that ending swoop up is so glorious. That’s a new “Where Or When” (In The Middle Of It All, Sunnyside, 2009) Walker, vocals; Aaron take on the song. It’s so punky! I feel like he’s going to sing that and go and Goldberg, piano; Gregoire Maret, harmonica; Christian McBride, bass; Clarence trash his hotel room. DB Penn, drums. Those liquid piano lines! I liked the ay-yi-yi-yi at the end. That’s nice—not The “Blindfold Test” is a listening test that challenges the featured art- ist to discuss and identify the music and musicians who performed on exactly humming, but humming through singing. That song always re- selected recordings. The artist is then asked to rate each tune using minds me of Alice Doesn’t Live Here Anymore, and, for some reason, St. a 5-star system. No information is given to the artist prior to the test.

130 DOWNBEAT MAY 2011