DOCSLIB.ORG

61St Annual Critics Poll

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

D O W N B E AT 61st Annual Critics Poll 61ST A NNUAL CRITI C S POLL /// W AYNE AYNE S HORTER WINS! Jazz /// CHARLIE CHARLIE ARTIST Jazz H ALBUM A D Jazz Without A Net EN /// R GROUP O B Wayne Shorter ERT JOHNSON ERT Quartet Soprano SAX /// CHRISTIAN M Hall of Fame Charlie Haden C BRI Robert Johnson D E Poll Winners Wadada Leo Smith Christian McBride Gregory Porter AUGUST 2013 U.K. £3.50 Gerald Clayton Tia Fuller AU G UST Top 2013 91 DOWNBEAT.COM Albums AUGUST 2013 VOLUME 80 / NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Maggie Glovatski Cuprisin 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Belgium: Jos Knaepen; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. Jack Maher, President 1970-2003 John Maher, President 1950-1969 SUBSCripTION INFORMATION: Send orders and address changes to: DOWNBEAT, P.O. Box 11688, St. Paul, MN 55111–0688. Inquiries: U.S.A. and Canada (877) 904-5299; Foreign (651) 251-9682. CHANGE OF ADDRESS: Please allow six weeks for your change to become effective. When notifying us of your new address, include current DOWN- BEAT label showing old address. DOWNBEAT (issn 0012-5768) Volume 80, Number 8 is published monthly by Maher Publications, 102 N. Haven, Elmhurst, IL 60126-2970. Copyright 2013 Maher Publica- tions. All rights reserved. Trademark registered U.S. Patent Office. Great Britain regis- tered trademark No. 719.407. Periodicals postage paid at Elmhurst, IL and at additional mailing offices. Subscription rates: $34.95 for one year, $59.95 for two years. Foreign subscriptions rates: $56.95 for one year, $103.95 for two years. Publisher assumes no responsibility for return of unsolicited manuscripts, photos, or artwork. Nothing may be reprinted in whole or in part without written permission from publisher. MAHER PUBLICATIONS: DOWNBEAT magazine, MUSIC INC. maga- zine, UpBeat Daily. POSTMASTER: Send change of address to: DownBeat, P.O. Box 11688, St. Paul, MN 55111–0688. CABLE ADDRESS: DownBeat (on sale July 16, 2013) Magazine Publishers Association. Á AUGUST 2013 On the Cover 61st Annual Critics Poll 20 Wayne Shorter Jazz Artist, Jazz Album, Jazz Group & Soprano Saxophone WITH ESSAYS By JOSEF WOODARD, JOE LOVANO AND JON IRABAGON The saxophonist lands a quadruple-crown of victories. 28 Top Jazz Albums 30 Charlie Haden Hall of Fame By ED ENRIGHT 36 Robert Johnson Veterans Committee Hall of Fame By FRANK-JOHN HADLEY 38 Top Historical Albums 40 Christian McBride Bass AZZA 30 PI By TED PANKEN L AE H C Charlie Haden I 42 Wadada Leo Smith M Composer Cover photo of Wayne Shorter by Adam McCullough By AARON COHEN 44 Tia Fuller Rising Star Alto Saxophone & Rising Star Flute By ALLEN MOrriSON 46 Gregory Porter Rising Star Jazz Artist & Rising Star Male Vocalist By SHAUN BrADY 72 Tommy Emmanuel/ 78 Gregory Tardy 79 Keith Jarrett/Gary 84 Wallace Roney Martin Taylor Peacock/Jack DeJohnette 48 Gerald Clayton Rising Star Piano By JOE TANGARI 50 Jason Marsalis Departments Rising Star Vibes By Phillip LUTZ 8 First Take 69 Reviews 98 Toolshed 52 Derrick Hodge Rising Star Electric Bass 10 Chords & 94 Master Class 102 Jazz On Campus By HilARY BROWN Discords By Gabriel Alegría 106 Blindfold Test 54 Complete Critics Poll Results 13 The Beat 96 Transcription Javon Jackson 6 DOWNBEAT AUGUST 2013 AUGUST 2013 DOWNBEAT 7 First Take BY BObbY REED Youthful Ambition TEENAGERS ARE ImpRESSIONABLE. SEEING A GREAT MUSICIAN when you’re a youngster can alter your life’s path. Javon Jackson was 13 when he met Dexter Gordon in Denver and said to himself, “I want to do just what he does.” Jackson looked up to Gordon—both figuratively and literally—as he vividly explains in this month’s Blindfold Test, which also includes his anecdote about seeing Sonny Stitt in concert. When Wayne Shorter was 15 years old, he saw Lester Young perform in Newark, N.J. Charlie Haden was 18 when he grabbed a seat on the front row to see Paul Chambers share the Wayne Shorter bandstand with Miles Davis, John Coltrane and Philly Joe Jones in Los Angeles. In hindsight, the artists see these as formative experiences. Today Jackson is an acclaimed saxophonist with a discography of more than a dozen leader proj- ects, and last year he released the CD Celebrating John Coltrane. And what ever happened to those kids crazy kids named Wayne and Charlie? Well, Shorter takes home four awards in this year’s Critics Poll, and Haden has just been elected as the 134th member of the DownBeat Hall of Fame. As he approaches his 80th H birthday, Shorter remains one of OUG the most revered musicians on LL the planet. He stands eternal- ly youthful and vital, garnering ADAM MCCU wins for Jazz Artist, Jazz Album (for Without A Net), Jazz Group (for the Wayne Shorter Quartet) and Soprano Saxophone in this year’s poll. A decade after he was elected into the DownBeat Hall of Fame, Shorter—whose bandmates in the quar- tet are pianist Danilo Pérez, bassist John Patitucci and drummer Brian Blade—continues to make some of the most exciting music of his career. For this issue, we recruited a couple of saxophonists (who are both poll winners) to write about Shorter’s unique artistry. Both of them have admired Shorter’s work since the days when they were young, aspiring musicians. Joe Lovano, this year’s winner in the Tenor Saxophone cate- gory, offers a loving, poetic, exuberant tribute to Shorter. Jon Irabagon, our winner for Rising Star—Tenor Saxophone, describes some of his favorite musical moments in Shorter’s oeuvre. Haden, the ultra-melodic bassist, has been an integral contributor to the music of dozens of Hall of Famers. And now, he rightfully joins Ornette Coleman, Keith Jarrett and so many more of his collaborators. We welcome Mr. Haden to the Hall of Fame. Our feature (starting on page 30) illustrates his deep love for the music and for his colleagues. Haden has been appearing in (and reading) DownBeat for a half-century. Each year, our Critics Poll provides a thorough picture of what’s hap- pening in the world of jazz, blues and improvised music. With 165 crit- ics voting, and more than 1,000 artists listed, these results provide an invaluable database for anyone who wants to explore the noteworthy singers and instrumentalists who are making waves in 2013. This issue is your invitation to the greatest virtual concert imaginable. Dig in. DB 8 DOWNBEAT AUGUST 2013 AUGUST 2013 DOWNBEAT 9 Chords Discords Snark Attack As a DownBeat reader since 1961, I have a comment regarding one of your Hot Box critics. The time has come to tell Paul de Barros to please cut back on the snark. In the May issue, he dropped a musical deuce on Aaron Diehl with a 2½- star review of the pianist’s The Bespoke Man’s Narrative and never took the time to mention the incredible musicality of Rod- ney Green’s drumming on that CD. Then, in the July issue, his 2-star comments offered nothing constructive in criticizing saxophonist Joshua Red- man’s album Walking Shadows. To call the work “dull” really provides no content upon which to judge. Looking over the majority of his reviews, I can JOHN ABBOTT From left: only assume that most of the mu- Drummer Rodney sic de Barros enjoys is the kind Green, pianist Aaron Diehl, that brings spontaneous rectal vibraphonist bleeding to the listener. Paul Warren Wolf and bassist de Barros is not a person to be taken seriously any David Wong longer. His personality gets too much in the way. THE REV. JEFFREY WALKER [email protected] Standing Tall Too Foul? Corrections Paquito D’Rivera’s tribute I am writing in regard to In the Reviews section of to the late pianist Bebo the Blindfold Test with the July issue, the Order- Valdés (“The Big Horse David Weiss in your May ing Info was incorrect for Rides Away,” July) issue.
Recommended publications
  • Guitar Center Partners with Eric Clapton, John Mayer, and Carlos

    Guitar Center Partners with Eric Clapton, John Mayer, and Carlos

    Guitar Center Partners with Eric Clapton, John Mayer, and Carlos Santana on New 2019 Crossroads Guitar Collection Featuring Five Limited-Edition Signature and Replica Guitars Exclusive Guitar Collection Developed in Partnership with Eric Clapton, John Mayer, Carlos Santana, Fender®, Gibson, Martin and PRS Guitars to Benefit Eric Clapton’s Crossroads Centre Antigua Limited Quantities of the Crossroads Guitar Collection On-Sale in North America Exclusively at Guitar Center Starting August 20 Westlake Village, CA (August 21, 2019) – Guitar Center, the world’s largest musical instrument retailer, in partnership with Eric Clapton, proudly announces the launch of the 2019 Crossroads Guitar Collection. This collection includes five limited-edition meticulously crafted recreations and signature guitars – three from Eric Clapton’s legendary career and one apiece from fellow guitarists John Mayer and Carlos Santana. These guitars will be sold in North America exclusively at Guitar Center locations and online via GuitarCenter.com beginning August 20. The collection launch coincides with the 2019 Crossroads Guitar Festival in Dallas, TX, taking place Friday, September 20, and Saturday, September 21. Guitar Center is a key sponsor of the event and will have a strong presence on-site, including a Guitar Center Village where the limited-edition guitars will be displayed. All guitars in the one-of-a-kind collection were developed by Guitar Center in partnership with Eric Clapton, John Mayer, Carlos Santana, Fender, Gibson, Martin and PRS Guitars, drawing inspiration from the guitars used by Clapton, Mayer and Santana at pivotal points throughout their iconic careers. The collection includes the following models: Fender Custom Shop Eric Clapton Blind Faith Telecaster built by Master Builder Todd Krause; Gibson Custom Eric Clapton 1964 Firebird 1; Martin 000-42EC Crossroads Ziricote; Martin 00-42SC John Mayer Crossroads; and PRS Private Stock Carlos Santana Crossroads.
  • Tribute to Three Giants Figures of the Sixties' Pop

    Tribute to Three Giants Figures of the Sixties' Pop

    TRIBUTE TO THREE GIANTS FIGURES OF THE SIXTIES’ POP MUSIC IN THE 50th ANNIVERSAIRE OF THEIR DEATH. ALAN WILSON, JIMI HENDRIX AND JANIS JOPLIN: ASTROLOGICAL REVIEW OF THREE 27’ CLUB MEMBERS. We were at the end of the “sixties”, a remarkable decade of 20th century for popular music, revolutionary movements, technological achievements and radical changes in human relationships. It was also the time of “hippie liberation”, the spread of drugs through young people. Everything was fine when, just in the span of thirty days, three outstanding members of musical background suddenly died. 1970, September the 3th: Alan Wilson, “Canned Heat” guitar, harmonica and vocal, commit suicide at home of another member group, Bob Hite, in Topanga Canyon, California. An overdose was the cause of his death. He was 27 years old. 1970, September the 18th: Jimi Hendrix, one of the bests guitarrist of all times, share his last night with Monica Dannemann in Samarkand Hotel, London. When she woke up Jimi was inconscious, yet breathe. He was moved at St. Mary Abbot Hospital, but he was not alive. The cause of his death: asphyxia per vomit. His partner declared that Jimi had had seven tablets of Vesparax, a barbituric, say, 18 times the recommended dose. He was 27 years old. 1970, October the 4th: Janis Joplin, a singer and contraculture icon of the sixties was found dead in her hotel room, at Los Angeles, just when she was going to record the vocal part of Buried Alive in the Blues next morning. A portent, maybe a synchronicity. The official cause of her death was an heroine overdose, probably combined with alcohol effects.
  • Booker Little

    Booker Little

    1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz.
  • Victory and Sorrow: the Music & Life of Booker Little

    Victory and Sorrow: the Music & Life of Booker Little

    ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P.
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle

    John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle

    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
  • The Crusaders - Street Life (1979)

    The Crusaders - Street Life (1979)

    The Crusaders - Street Life (1979) Written by bluesever Monday, 03 April 2017 14:27 - The Crusaders - Street Life (1979) 01. Street Life 02. My Lady 03. Rodeo Drive (High Steppin') 04. Carnival Of The Night 05. The Hustler 06. Night Faces Arthur Adams - Guitar Roland Bautista - Guitar Oscar Brashear - Trumpet Garnett Brown - Trombone Randy Crawford - Vocals Paulinho Da Costa - Percussion Wilton Felder - CoSaxophone Barry Finnerty - Guitar William Green - Saxophone Stix Hooper - Drums Paul Jackson, Jr. - Guitar James Jamerson - Bass Alphonso Johnson - Bass Robert O'Bryan - Trumpet Jerome Richardson - Saxophone Billy Rogers - Guitar Joe Sample - Keyboards Although the Crusaders could not have known it at the time, their recording of "Street Life" (which features a memorable vocal by Randy Crawford) was a last hurrah for the 20-year old group. Their recordings of the next few years would decline in interest until the band gradually faded away in the '80s. However this particular set is well worth picking up for the 11-minute title cut and there is good playing by the three original members (Wilton Felder on tenor, soprano and electric bass, keyboardist Joe Sample and drummer Stix Hooper) along with guitarist Barry Finnerty; horn and string sections, plus additional guitarists are utilized on Sample's commercial but listenable arrangements. ---Scott Yanow, AllMusic Review By 1979, Crusaders were a well established jazz fusion crossover act with leader Joe Sample providing keyboards, Wilton Felder saxophone, and “Stix Hooper” drums and percussion. Whilst viewing some chaotic scenes at the beginners slope at the Mammoth Mountain California resort, Sample came up with the idea for a song titled “Street Life” which reflected his love for the hubbub of the city.
  • A Conversation with Petra Haden by Frank Goodman (Puremusic.Com, 1/2009)

    A Conversation with Petra Haden by Frank Goodman (Puremusic.Com, 1/2009)

    A Conversation with Petra Haden by Frank Goodman (Puremusic.com, 1/2009) A short while back, we interviewed a fascinating accordionist, music-oriented photographer, and image and scene maker in Portland named Alicia J. Rose, aka Miss Murgatroid. She'd taken very compelling photos of several bands we'd covered (Sophe Lux and Boy Eats Drum Machine come to mind), and then we stumbled on to her signature accordion work, which often involved multiple effects pedals. Her best known CD was one she'd woven with her friend and musical partner Petra Haden. Although you might know Petra as a member of the Decemberists, or as one of Charlie Haden's daughters (the legendary jazz bassist), or the guest soloist in any of many bands (including the recent Foo Fighters tour), she is still and deservedly best known for her a capella version of the entire Sell Out record by The Who. (She later cut a record with Bill Frisell that happens to be rather divine, called simply Petra Haden and Bill Frisell.) But the Petra project that ignited our conversation was Hearts and Daggers, the long awaited and satisfying reunion with Miss Murgatroid. Some sounds are best heard before described, and you'll find the customary links to those audio clips along the way. We're sure you'll find Petra's words interesting, as we certainly did. And thanks to Miss Murgatroid, aka Alicia J. Rose, who led us here. Puremusic: Let's talk first about this recent release with Miss Murgatroid, Hearts and Daggers. We like that a lot.
  • May • June 2013 Jazz Issue 348

    May • June 2013 Jazz Issue 348

    may • june 2013 jazz Issue 348 &blues report now in our 39th year May • June 2013 • Issue 348 Lineup Announced for the 56th Annual Editor & Founder Bill Wahl Monterey Jazz Festival, September 20-22 Headliners Include Diana Krall, Wayne Shorter, Bobby McFerrin, Bob James Layout & Design Bill Wahl & David Sanborn, George Benson, Dave Holland’s PRISM, Orquesta Buena Operations Jim Martin Vista Social Club, Joe Lovano & Dave Douglas: Sound Prints; Clayton- Hamilton Jazz Orchestra, Gregory Porter, and Many More Pilar Martin Contributors Michael Braxton, Mark Cole, Dewey Monterey, CA - Monterey Jazz Forward, Nancy Ann Lee, Peanuts, Festival has announced the star- Wanda Simpson, Mark Smith, Duane studded line up for its 56th annual Verh, Emily Wahl and Ron Wein- Monterey Jazz Festival to be held stock. September 20–22 at the Monterey Fairgrounds. Arena and Grounds Check out our constantly updated Package Tickets go on sale on to the website. Now you can search for general public on May 21. Single Day CD Reviews by artists, titles, record tickets will go on sale July 8. labels, keyword or JBR Writers. 15 2013’s GRAMMY Award-winning years of reviews are up and we’ll be lineup includes Arena headliners going all the way back to 1974. Diana Krall; Wayne Shorter Quartet; Bobby McFerrin; Bob James & Da- Comments...billwahl@ jazz-blues.com vid Sanborn featuring Steve Gadd Web www.jazz-blues.com & James Genus; Dave Holland’s Copyright © 2013 Jazz & Blues Report PRISM featuring Kevin Eubanks, Craig Taborn & Eric Harland; Joe No portion of this publication may be re- Lovano & Dave Douglas Quintet: Wayne Shorter produced without written permission from Sound Prints; George Benson; The the publisher.
  • BOY S GOLD Mver’S Windsong M If for RCA Distribim

    BOY S GOLD Mver’S Windsong M If for RCA Distribim

    Lion, joe f AND REYNOLDS/ BOY S GOLD mver’s Windsong M if For RCA Distribim ARM Rack Jobbe Confab cercise In Commi i cation ista Celebrates 'st Year ith Convention, Concert tal’s Private Stc ijoys 1st Birthd , usexpo Makes I : TED NUGENFS HIGH WIRED ACT. Ted Nugent . Some claim he invented high energy. Audiences across the country agree he does it best. With his music, his songs and his very plugged-in guitar, Ted Nugent’s new album, en- titled “Ted Nugent,” raises the threshold of high energy rock and roll. Ted Nugent. High high volume, high quality. 0n Epic Records and Tapes. High Energy, Zapping Cross-Country On Tour September 18 St. Louis, Missouri; September 19 Chicago, Illinois; September 20 Columbus, Ohio; September 23 Pitts, Penn- sylvania; September 26 Charleston, West Virginia; September 27 Norfolk, Virginia; October 1 Johnson City, Tennessee; Octo- ber 2 Knoxville, Tennessee; October 4 Greensboro, North Carolina; October 5 Philadelphia, Pennsylvania; October 8 Louisville, x ‘ Kentucky; October 11 Providence, Rhode Island; October 14 Jonesboro, Arkansas; October 15 Joplin, Missouri; October 17 Lincoln, Nebraska; October 18 Kansas City, Missouri; October 21 Wichita, Kansas; October 24 Tulsa, Oklahoma -j 1 THE INTERNATIONAL MUSIC-RECORD WEEKLY C4SHBCX VOLUME XXXVII —NUMBER 20 — October 4. 1975 \ |GEORGE ALBERT President and Publisher MARTY OSTROW cashbox editorial Executive Vice President Editorial DAVID BUDGE Editor In Chief The Superbullets IAN DOVE East Coast Editorial Director Right now there are a lot of superbullets in the Cash Box Top 1 00 — sure evidence that the summer months are over and the record industry is gearing New York itself for the profitable dash towards the Christmas season.
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa

    Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa

    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
  • January 1988

    January 1988

    VOLUME 12, NUMBER 1, ISSUE 99 Cover Photo by Lissa Wales Wales PHIL GOULD Lissa In addition to drumming with Level 42, Phil Gould also is a by songwriter and lyricist for the group, which helps him fit his drums into the total picture. Photo by Simon Goodwin 16 RICHIE MORALES After paying years of dues with such artists as Herbie Mann, Ray Barretto, Gato Barbieri, and the Brecker Bros., Richie Morales is getting wide exposure with Spyro Gyra. by Jeff Potter 22 CHICK WEBB Although he died at the age of 33, Chick Webb had a lasting impact on jazz drumming, and was idolized by such notables as Gene Krupa and Buddy Rich. by Burt Korall 26 PERSONAL RELATIONSHIPS The many demands of a music career can interfere with a marriage or relationship. We spoke to several couples, including Steve and Susan Smith, Rod and Michele Morgenstein, and Tris and Celia Imboden, to find out what makes their relationships work. by Robyn Flans 30 MD TRIVIA CONTEST Win a Yamaha drumkit. 36 EDUCATION DRIVER'S SEAT by Rick Mattingly, Bob Saydlowski, Jr., and Rick Van Horn IN THE STUDIO Matching Drum Sounds To Big Band 122 Studio-Ready Drums Figures by Ed Shaughnessy 100 ELECTRONIC REVIEW by Craig Krampf 38 Dynacord P-20 Digital MIDI Drumkit TRACKING ROCK CHARTS by Bob Saydlowski, Jr. 126 Beware Of The Simple Drum Chart Steve Smith: "Lovin", Touchin', by Hank Jaramillo 42 Squeezin' " NEW AND NOTABLE 132 JAZZ DRUMMERS' WORKSHOP by Michael Lawson 102 PROFILES Meeting A Piece Of Music For The TIMP TALK First Time Dialogue For Timpani And Drumset FROM THE PAST by Peter Erskine 60 by Vic Firth 104 England's Phil Seamen THE MACHINE SHOP by Simon Goodwin 44 The Funk Machine SOUTH OF THE BORDER by Clive Brooks 66 The Merengue PORTRAITS 108 ROCK 'N' JAZZ CLINIC by John Santos Portinho A Little Can Go Long Way CONCEPTS by Carl Stormer 68 by Rod Morgenstein 80 Confidence 116 NEWS by Roy Burns LISTENER'S GUIDE UPDATE 6 Buddy Rich CLUB SCENE INDUSTRY HAPPENINGS 128 by Mark Gauthier 82 Periodic Checkups 118 MASTER CLASS by Rick Van Horn REVIEWS Portraits In Rhythm: Etude #10 ON TAPE 62 by Anthony J.
  • Wavelength (April 1981)

    Wavelength (April 1981)

    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 4-1981 Wavelength (April 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (April 1981) 6 https://scholarworks.uno.edu/wavelength/6 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. APRIL 1 981 VOLUME 1 NUMBE'J8. OLE MAN THE RIVER'S LAKE THEATRE APRIL New Orleans Mandeville, La. 6 7 8 9 10 11 T,HE THE THIRD PALACE SUCK'S DIMENSION SOUTH PAW SALOON ROCK N' ROLL Baton Rouge, La. Shreveport. La. New Orleans Lalaye"e, La. 13 14 15 16 17 18 THE OLE MAN SPECTRUM RIVER'S ThibOdaux, La. New Orleans 20 21 22 23 24 25 THE LAST CLUB THIRD HAMMOND PERFORMANCE SAINT DIMENSION SOCIAL CLUB OLE MAN CRt STOPHER'S Baton Rouge, La. Hammond, La. RIVER'S New Orleans New Orleans 27 29 30 1 2 WEST COAST TOUR BEGINS Barry Mendelson presents Features Whalls Success? __________________6 In Concert Jimmy Cliff ____________________., Kid Thomas 12 Deacon John 15 ~ Disc Wars 18 Fri. April 3 Jazz Fest Schedule ---------------~3 6 Pe~er, Paul Departments April "Mary 4 ....-~- ~ 2 Rock 5 Rhylhm & Blues ___________________ 7 Rare Records 8 ~~ 9 ~k~ 1 Las/ Page _ 8 Cover illustration by Rick Spain ......,, Polrick Berry. Edllor, Connie Atkinson.