A decade into her remarkable career, Norah Jones moves in a Testylish new n direction Ye a rs A f te r

Jamie Cullum Interviews Paul McCartney Paul Simon Joins Wynton Marsalis Sonny Rollins Dr. John Matthew Shipp John Pizzarelli Jenny Scheinman Kenny Garrett

Summer 2012 Display until September www.jazziz.com Grégoire Maret

Summer Variations OnFor more information regardingDisc this and more than 100 other JAZZIZ discs available for purchase, go to www.jazziz.com

Following in the “tootsteps” of the venerable monica ace with guest spots on his album, most honest and direct message I have ever Toots Thielemans, and Thielemans blesses Maret by perform- let out of my heart,” the Bulgarian-born Grégoire Maret is ing a duo with his young compatriot. Vitchev writes in the liner notes. And that’s poised to make his The emotionally shifting “Lucilla’s Dream,” not hard to believe, as the pair wend their mark among the our selection, showcases Maret’s wistful-to- way through the sometimes melancholy, relatively small joyful sound, as he engages with his sometimes exuberant expressions. Vitchev fraternity of jazz- superb quartet of pianist Federico Gonzalez alternates acoustic and electric instru- harmonica virtuosi. Peña, bassist James Genus and drummer ments and displays a strong Metheny Now in his mid-30s, Clarence Penn. influence on both. Despite its title, don’t the Swiss musician has just released his look for echoes of Monk’s “Crepuscule for self-titled debut recording for the eOne label. The musical partnership of Hristo Vitchev Nelly” on the lovely “Crepuscular Rays,” or Trained at the New School University in and Weber Iago its brief prelude, which we’ve included here. New York City, Maret established himself has produced rich Instead, the pair evoke the warm colors of as a first-call player, whose talents were and evocative twilight painting the evening sky. sought by headliners from Youssou N’Dour results. On the heels and Meshell Ndegeocello to David Sanborn of their quintet Pioneers of acid jazz and neo-soul, the U.K.’s and Cassandra Wilson. He subsequently recording The Incognito continue toured and recorded with the Pat Metheny Perperikon Suite, to craft superbly Group and the bands of Marcus Miller and reviewed elsewhere funky tracks with Herbie Hancock. For his debut recording, in this issue, the guitarist and the pianist bright horns and Maret dips into the songbooks of important have just released their second duet record- big vocal perfor- influences such as Metheny, Chick Corea, ing, Heartmony (First Orbit Sounds). Once mances. On their Milton Nascimento and Stevie Wonder, again, Bay Area-based guitarist Vitchev latest recording, whose chromatic-harp sound is reflected in called on his Vancouver-based colleague to Surreal (Shanachie), his own blowing. Former employers Miller interpret his very personal-sounding music. founding member, guitarist and producer and Wilson show their esteem for the har- “The 11 compositions presented here are the Jean-Paul “Bluey” Maunick calls on the vocal

JAZZIZ ON DISC is a 2-CD music compilation from the artists of yesterday, today and tomorrow, bundled in the subscriber copies of the print editions of JAZZIZ Magazine. This issue’s theme is “Piano Variations and Summer Variations.” Disc One contains a selection of songs by prominent pianists. Disc Two is a collection of music drawn from recently released albums.

32 summer 2012 jazziz tion seamlessly. The performances on this she loves to warp the sound of her guitar in and pianist Ivo Neame. And while Eger’s two-disc set reflect the personalities of both unusual ways, such as the spooky, B-movie “Democracy,” for example, points the group the composer and a large, revolving cast of effects she coaxes on “The Periphery of in a new direction, individual tracks form players. For example, it’s often impossible to Scandal.” Her compositions are obviously a cohesive set. Compare the introductions distinguish between written and impro- abstract, with disjointed melodies, harmony to the title cut, by Høiby, and to Eger’s “The vised melodies in the sextet pieces “No that always seems in flux and rhythms Economist.” The latter kicks off with a Exercise” and “The Fugue No. 2.” that suddenly fall apart and reconfigure. frantic figure by Neame, regularly supple- “Love in the Middle of the Air,” an Even the titles of her songs, which are also mented by cymbal smacks that are equally astonishing duet for vocalist Dee Dee numbered, command extra attention. witty and exciting. The pace of the former Bridgewater and bassist Reggie Workman, “Deformed Weight of Hands” starts as hard- may be considerably more deliberate, but vacillates naturally between composed and charging experimental rock, briefly settles the elements, and the precision of their improvised passages. Abstract yet lyrical, into a mellow jazz groove then explodes in a presentation, are quite similar. structured yet remarkably free-flowing, barrage of free improvisation. Which isn’t to suggest the recording Stadler’s pieces take many of the players in But the proceedings also bear a strange lacks variety. On Neame’s “Passing Clouds,” directions they never pursued elsewhere. beauty. The opening moments of “Sea Cut the pianist creates a bucolic environment Trumpeter Jimmy Owens seems especially Like Snow” exude a chamber-like delicacy, that subtly builds in urgency, the aural inspired by the challenging music on the with trumpeter Jonathan Finlayson and equivalent of a sunny day giving way to a sextet tracks. And Tyrone Washington, who alto saxophonist Jon Irabagon deliver- sudden storm. In contrast, Høiby’s “Suede achieved fame as a fusion saxophonist, ing their most fluid lines on the disc. On Trees” swings with practiced assurance, plays with unsuspected fire and intricacy. “That Old Sound,” Halvorson bends chords as epitomized by a bass solo so confidently A European big band performs a previ- and single notes to create a sustained rendered that it doesn’t need to swag- ously unreleased arrangement of Russ atmosphere of mystery. And there’s often ger. And then there’s “American Jesus,” a Freeman’s “Bea’s Flat,” and features vivid a compelling contrast in the jagged forms compendium of oddball snippets, courtesy solos from trombonist Albert Mangelsdorff, that Halvorson, bassist John Hébert and of composer Neame, which shouldn’t cohere trumpeter Manfred Schoof and saxophonist drummer Ches Smith play on top of the but somehow does. The track not only Gerd Dudek. When the album was originally fairly tight horn arrangements. rewards repeated listens, but demands issued, the jazz world wasn’t ready for what Bending Bridges won’t be to everyone’s them. As does Walking Dark, satisfying with was then a novel concept — the music of liking. Some of it, to be sure, is downright the lights on or off. —Michael Roberts one composer, and an unknown one at that, unsettling. But venturesome listeners will played by several different ensembles. Even likely find themselves intrigued at first, then Hristo Vitchev Quintet with the presence of heavy hitters like Joe going back for more. —John Frederick Moore The Perperikon Suite Chambers and Workman, it was likely a tough (First Orbit Sounds) sell. However, judging by the recent critical Phronesis Concept albums devoted to ancient civiliza- acclaim for Brains on Fire, and the 2011 reissue Walking Dark tions are common of Stadler’s A Tribute to Monk and Bird, the jazz (Edition) in prog-rock and world may be ready now. —Ed Hazell The title of Phronesis’ latest recording alludes classical music, but to concerts the are rare in jazz. The Mary Halvorson Quintet European three- ancient Thracian Bending Bridges piece has played in city of Perperikon (Firehouse 12) total darkness. Their inspired this resplen- Mary Halvorson’s music is tough to pin down. performances were dent seven-part jazz Jazz, avant-garde rock, inspired by double suite from Bay Area guitarist Hristo Vitchev, punk and classical bassist Jasper Høiby’s who composed and performed it at the 2010 are all in evidence. sister, who was Monterey Jazz Festival. An intricate ECM- The guitarist’s second blinded by cataracts. Nonetheless, Walking influenced offering, The Perperikon Suite disc with her quintet, Dark does follow a roadmap. Each of the 12 truly manifests the spirit of a mystical place. Bending Bridges, is numbers has a single author and displays Dating to 5000 B.C., Perperikon was a even more adventur- the structural integrity achieved by reading religious center and natural fortress atop ous than their previ- from the same page. Yet the intuitive playing a rocky hill in present-day Bulgaria. Today, ous outing, 2010’s excellent Saturn Sings. is suffused with lessons learned from their the city’s ruins are an archeological site and The only constant is Halvorson’s relent- “sightless” experiments. Four albums in, these historical attraction in Vitchev’s homeland. less experimentation, both as a musician guys know where their cohorts are headed, Vitchev’s multihued compositions and a composer. Her aggressive picking with or without a destination in view. are like impressionistic sound paintings technique results in spiky, Marc Ribot-like Original tunesmith Høiby now shares — melodic yet understated. In fact, the solos and sharp-edged, crunchy chords. And writing duties with drummer Anton Eger guitarist is also a talented artist whose

jazziz summer 2012 119 paintings adorn his CD covers. While Albert Ayler’s New Orleans-influenced taining an even-keeled intensity. Vitchev’s music feels fully composed, the style of extemporization. In contrast, on The sextet handles the challenges of players impart a sophisticated spontaneity. “Quadraphonically,” Eskelin and Ballou compositions such as “Shape One,” which Vibraphonist Christian Tamburr lends a support their leader with brief, ingenious, contains multiple layers of time, without strong Gary Burton-like feel to the music. staccato notes. breaking a sweat. Thus, the music, even at This sensibility is enhanced by the leader’s On “Thicket,” sax and trumpet resemble its knottiest, carries a comfortable, lived-in agile, Metheny-esque guitar and the brainy mournful bagpipe notes floating across quality. And shifting rhythmic foundations piano of his frequent collaborator Weber a lonely, moonlit heath, as Eskelin and don’t trip them up as soloists, either. Iago, a Brazilian émigré to the United States. Ballou harmonize over virtuoso Michael Pianist Art Hirahara consistently raises Bassist Dan Robbins and drummer Joe Formanek’s heady bowed bass. A nocturnal the emotional stakes, studding his solo on DeRose build an ever-shifting foundation ambience also pervades their free-flowing, “Shape One” with bruising chords and long, beneath the atmospheric textures. four-way musical conversation “Prospect sprinting lines. Trumpeter Frank London Each movement evokes a sense of mystery Park in the Dark.” A composition of Zen takes a subtly colored, soft-textured solo on befitting a particular site within the ancient beauty, it’s dedicated to the quintessential “Robeson House Echoes,” an homage to the city. “The Stone Passage” opens the album on modernist of American music, Charles Ives. late trumpeter Bill Dixon. Trombonist Reut a haunting and lyrical note. DeRose’s vigorous With lyricism and vibrato, Eskelin’s solos Regev “livelies up” the reggae-inflected sec- rhythms drive “The Great Hall,” another add an edge to tunes such as the intricately tions of “Recurring Dream,” and his duet with complex piece that captures the grandeur of a crafted and down-home funky “Down Time” bassist Wes Brown is one of the highlights of palace’s ceremonial room. Propelled by a quick and the turbulently engrossing “Katahdin.” “The Transient.” Meanwhile, drummer royal vamp, “The Acropolis” portrays the bustle Exhibiting both exuberance and hartigan keeps everyone in the groove with of a Thracian city. “The Shrine of Dionysus” maturity beyond his years, Gray’s eloquent, his relaxed, conversational trap kit. features a dramatic head, rhapsodic form and freshman statement lives up to his well- Bindman’s beautifully crafted and several dazzling solos. deserved reputation. —Hrayr Attarian executed major statement should be a Vitchev’s emotive music exudes a harbinger of things to come. —Ed Hazell spacious, jazz-meets-folk-meets-classical David Bindman Ensemble aesthetic more typical of Nordic jazz than Sunset Park Polyphony Gabriel Vicéns traditional Bulgarian forms. Regardless, (self-produced) Point in Time the musicianship is exquisite. Fans of Gary The self-released Sunset Park Polyphony (self-produced) Burton and Pat Metheny should enjoy The is saxophonist Gabriel Vicéns’ Point in Time displays Perperikon Suite. —Ed Kopp David Bindman’s exceptional maturity most ambitious in composition and Devin Gray recording to date. performance. As the Dirigo Rataplan On this double-CD, Puerto Rican guitar- (Skirl) he defines himself ist thoughtfully The title of drummer Devin Gray’s debut as a as a bandleader, com- develops each impro- leader, Dirigo Rataplan, poser and improviser vised solo, it’s easy loosely translates more fully than on previous recordings. to forget this is his from Latin and French His compositions blend jazz with musical debut release. What’s more, his beautifully as “leading from the elements from India and Africa, without crafted, thoroughly modern compositions fill beat.” And Gray’s skills sounding a bit like world-music fusion. the entire program. Puerto Rican stalwarts allow him to do just They’re complex, but lyrical and clear, and David Sánchez on tenor saxophone and Eddie that, with grace and broadly programmatic. Gómez on bass join in on several cuts, their determination. According to liner notes, the nostalgic instrumental offerings adding recognizable The 28-year-old, Brooklyn-based drum- “Long Line Home” contains autobiographical voices rather than raising the bar. mer and composer builds complex tonal impressions of childhood, while the title Vicéns and his regular band of like- structures with angular and percussive track was inspired by observations of daily minded Latinos — alto saxophonist taps and thrums that are frequently in the life in his Brooklyn neighborhood. “Landings Jonathan Suazo, pianist Eduardo Zayas and forefront. And he not only keeps pace with Suite,” the lengthy piece that occupies most drummer Vladimir Coronel — along with his more-seasoned bandmates, he also cre- of the second disc, weaves political, cultural Australian bassist Matt Clohesy, deliver ates environments for their individual skills and metaphysical themes into a personal stellar performances. This cohesive unit to shine. On “Talking With Hands,” tenor mythology. Bindman’s solo on the title track adds fire and depth to most of the dozen saxophonist Ellery Eskelin and trumpeter deftly displays tension and release, allow- tracks. Mexican drummer Coronel espe- Dave Ballou, both mainstays of New York ing it to breathe naturally. Moreover, his cially shines. His percolating rhythms drive City’s progressive-jazz milieu, improvise thoughtful solo on “The Transient” contains the band hard, although he never plays over Gray’s melody in a quasi-tribute to varied phrasing and textures while main- particularly loudly. His subtle transitions

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