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DB0609_001_COVER.qxd 4/16/09 4:17 PM Page 1 Page PM 4:17 4/16/09 DB0609_001_COVER.qxd DOWNBEAT BÉLA FLECK KEN VANDERMARK NELS & ALEX CLINE MARCUS ROBERTS 32 ND ANNUAL STUDENT MUSIC AWARDS JUNE 2009 DB0609_002-005_MAST.qxd 4/15/09 12:24 PM Page 2 DB0609_002-005_MAST.qxd 4/15/09 12:24 PM Page 3 DB0609_002-005_MAST.qxd 4/15/09 12:24 PM Page 4
June 2009 VOLUME 76 – NUMBER 6
President Kevin Maher Publisher Frank Alkyer Editor Jason Koransky Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser
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CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; 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: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer Odell, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob, Kevin Whitehead; 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, Bill Shoemaker, 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; Israel: Barry Davis; Japan: Kiyoshi Koyama; Netherlands: Jaap Lüdeke; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
Jack Maher, President 1970-2003 John Maher, President 1950-1969
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DB Inside
Departments
8 First Take
10 Chords & Discords
13 The Beat
17 Backstage With ... Kendra Shank
19 European Scene 34
Marcus Roberts
22 Caught CISFR/DALLE
24 Players 28 Béla Fleck Gerald Clayton Thrown Into Deep Water | By Geoffrey Himes Mike Holober Melissa Morgan The banjoist appears to not know how to just work on something as a side pro- ject. First he starts a project, and next thing he knows, he has immersed himself Garrison Fewell into a new musical vein. From his new Africa project to his work with the Sparrow Quartet and Edgar Meyer and Zakir Hussein—not to mention his ongo- 53 Indie Life ing, immensely popular Flecktones—Fleck stands as one of the most inquisitive, adventurous players in improvised music. 57 Reviews Features 100 Toolshed 34 Marcus Roberts 75 nd 104 Master Class 32 Annual J Master’s Return By Howard Reich 105 Transcription 40 Nels & Alex Cline 108 Legal Session Confluence of Divergence By Josef Woodard 99 Educator Hall of Fame & 114 Blindfold Test Achievement Awards Kenny Werner 46 Ken Vandermark Refreshing Initiative By Peter Margasak
60 Lynne Arriale 61 Branford Marsalis 62 Jason Marsalis 70 Amadou & Mariam
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First Take By Jason Koransky
Béla Fleck: African collaborations COURTESY BÉLA FLECK Curiosity Creations I first met Béla Fleck in 2000, around midnight Awards. Once again, the judges did amazing at a hotel lobby in Vitoria-Gasteiz, Spain. The work listening to the boxes of entries that we Flecktones had headlined the evening concert at received. They had hundreds of difficult deci- the Vitoria-Gasteiz Jazz Festival, and the post- sions to make to cull the best from this magnifi- show festival “hang” was in full swing, with cent batch of entries and pick the winners, which Christian McBride and Russell Malone fronting shows the amazing level of student talent that their respective groups in two separate rooms at exists around the world. The complete list of the festival’s official hotel. Being Spain, the winners, and stories on some of the winners, can music would last until near dawn. be found on Page 75. Fleck had played a long show, but this did Besides prodigious chops, a willingness to not stop him from delving into more music. Not explore music beyond standard jazz fare makes long into our conversation, the banjoist told me the SMA winners stand out from the pack. They that he had recently started to learn about Indian have open minds, and exhibit the potential (and classical music, studying the complex tala rhyth- ability) to create individual sounds on their mic patterns and raga melodies. Next thing I instruments or with their voices. They can look knew, I was counting and clapping along with to Fleck as an example of someone who, even Fleck in 5, 7, 9, 15—honestly, I can’t recall the though he has is a virtuoso on his instrument, specific patterns, but they weren’t your standard never rests in his laurels. I know that the some of 4/4 swing. Fleck had such enthusiasm about the the winners in this year’s Student Music Awards new music he was learning, as this helped to will be making music as adventurous as Fleck’s stoke the fire of his immense musical curiosity. in the not so distant future. This sense of exploration is a trademark of Other artists featured in this issue, including Fleck’s music—you never know what direction twin brothers guitarist Nels and drummer Alex the Flecktones may go in, or what guest instru- Cline (Page 40) and multireedist Ken Vander- mentalist will appear on their album or at one of mark (Page 46), have also built their reputations their concerts. This month’s cover story on by smashing musical boundaries and engaging Fleck by Geoffrey Himes (Page 28) emerges in pursuits of new musical frontiers. from new musical directions apart from the Marcus Roberts has taken a slightly different Flecktones that Fleck has veered toward because route. As Howard Reich explains in his story on of his curiosity. Most prominently, his travels to the pianist on Page 34, Roberts delves into the Africa resulted in an album and documentary, repertoire of the jazz and classical masters (his and he has recently toured the U.S. with a num- new album, after all, is called New Orleans ber of the African musicians from the album. Meets Harlem, Vol. 1, and features the music of His relentless search for new music has helped the likes of Jelly Roll Morton, Duke Ellington him produce one musical surprise after another. and Fats Waller). His goal is to fully explore the “There’s such pleasure in learning new work of the past masters. music,” Fleck told Himes. “I love busting my “Genius is a timeless thing,” Roberts said ass and feeling like I’ve got it.” “It’s never a question of looking back to Fleck’s openness to new music stands as a something.” good example to all of the winners and entrants That sure sounds like another valuable lesson of this year’s 32nd Annual Student Music from a master to the SMA winners. DB
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Chords & Discords
Shared Milestones Last year marked a major milestone for the Gretsch family as we celebrated 125 years manufacturing drums and guitars. This year is a milestone for DownBeat, as you mark your 75th anniversary. Over the past 75 years, you’ve had some of the greatest jazz musicians grace the pages of your magazine, sev- eral of whom we’re proud to say were Gretsch artists of the day. You may have had modest beginnings in 1934 as a musician’s newspaper, but DownBeat quickly became a driving force in shap- ing the tastes of the American jazz music fan and is regarded today as one of the finest jazz magazines. Congratulations to everyone at DownBeat on your 75th
anniversary. We hope this year will be a DOWNBEAT ARCHIVES year to remember for you as 2008 was for Gretsch. Remembering Louie Fred Gretsch I was shocked, stunned and saddened President, The Gretsch Company reading about the passing of Louie Savannah, Ga. Bellson, one of the premier drummers of all time (“The Beat,” May ’09). My fond- Another House Party est recollection of Louie as a member of Nice article about jazz house gigs (“The the great Duke Ellington Orchestra was Beat,” April ’09). Betty Hoover does a his showcase number, “Skin Deep,” terrific job with her Jazz At The ‘A’ when I went to the see the show at either Frame series. But the story failed to the New York Paramount, or the Strand mention the granddaddy of all such or Capitol theaters in the 1940s. At the “home” jazz events—the Bach Dancing end of the show, as the stage lowered and Dynamite Society at Pete Douglas’ into the pit, we’d rush to say hello to beach house in the San Francisco Bay Duke, Louie, Cat Anderson and other Area. This Sunday afternoon series of members of the Ellington Orchestra. jazz concerts began in the early ’60s Louie would hand out Louie Bellson and is still going strong. One of the best Drumsticks as a souvenir (I’ve got mine). gigs I ever played was there, with my In the realm of big band music, Bellson group in the ’70s. will never be forgotten. Dick McGarvin Herb Stark Studio City, Calif. Massapequa, N.Y.
Mobley’s Heroic Stature Frank-John Hadley should know there’s Chicago Guitar Props nothing wrong with hero worship (“Re- With your headquarters in such proximity views,” March ’09). Had Derek Ansell’s to Chicago, I find it hard to believe that you book, Workout: The Music Of Hank Mobley, could have overlooked Bobby Broom and been written in a Ben Stein voice, the book Jeff Parker in your “75 Great Guitarists” would not have been as interesting. Nor article (February ’09). Both of these musi- would it have stimulated me to contact cians have been staples of the Chicago and Mosaic and other labels and try to locate international music scenes for years. Broom some Mobley recordings that I hadn’t has not only been playing with some of the thought I needed prior to reading the book. greatest jazz musicians for his entire career, It was also nitpicking for Hadley to write but he is a wonderful solo artist. Parker is that Ansell should have contacted Horace also a great jazz musician and he deserves Silver or the late Freddie Hubbard. I hope recognition for his association with that the book sells well and that many read- Tortoise. ers will use it to enhance their Mobley col- Kenneth Oshodi SUBSCRIBE! lections or try Mobley for the first time. New York 1-800-554-7470 Judith Pavitt Chelsea, Mich. Have a chord or discord? E-mail us at [email protected].
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INSIDE THE BEAT
14 Riffs 17 Backstage With… Kendra Shank 19 European Scene
Brass Panorama Dave Douglas shows off new alternative brass band on disc, the road and online Brass bands have been heard for centuries, but this format still shows off new twists. Enter trumpeter Dave Douglas’ Brass Ecstacy, which has just released its debut, Spirit Moves (Greenleaf Music). His band’s sound is tied to its distinctive lineup: The other instruments are French horn, tuba, trombone and drums. “In the first few years of the band I wanted to get into this idea of alternative brass music,” Douglas said. Referring to inspiration Lester Bowie’s Brass Fantasy, he added, “Brass Ecstacy is not a tribute to Lester, but is influ- enced by popular music and jazz. It’s its own thing, with original compositions.” Initially, the Festival of New Trumpet Music (which Douglas directs), jumpstarted the idea for this group in 2005. Then, the music grew out of an appearance at the 2008 Chicago Jazz Festival, which commissioned new music from Douglas. “It clicked with the guys,” Douglas said. “It opened up windows where we can play freely, Dave Douglas
with no chords, piano player or guitarist. I try to MARK SHELDON cover harmony and melody.” uals bringing that vision to fruition. For this pro- One of those other “lower instruments” is While most of the music is Douglas’, covers ject, the instrumentation creates an uncommon played by another Bowie alum, trombonist Luis on Spirit Moves include Rufus Wainwright’s environment. The way we recorded was pleasur- Bonilla. “This Love Affair,” Hank Williams’ “I’m So able. There was no separation. This transmits an The group will tour this year—with stops at Lonesome I Could Cry” and Otis Redding’s organic feeling, one where you’re responding to the Umbria Jazz Festival in Perugia, Italy, in “Mr. Pitiful.” the true sound of the instrument in real time. In July and at Jazz Em Agosto in Lisbon in early “I listened to it in a cab somewhere, and most studio recordings, what you hear is filtered August. Audiences are offered a different view never heard a horn line like that before,” through a headphone mix.” of the band’s creative process on greenleaf Douglas said of the Redding track. Referring to Brass Ecstacy’s unique instru- music.com. French horn player Vincent Chancey, a vet- mentation, Waits said, “Most of the groups I’ve “I am the owner of my own masters, and eran of Bowie’s Brass Fantasy, said, “I always found myself involved with over the last 10 my own boss at Greenleaf,” Douglas said. thought of [Douglas] as an incredible composer, years or so have had piano. There has also been “This project is self-made—the distribution, so I was more than interested to play his music a bass present. With Brass Ecstasy it’s just me interaction online. I can put more of myself and share the stage with him. He has a unique and Marcus Rojas, the tuba player, in the so- into the music. The artist has a message that take on brass writing like he does with every- called rhythm section. This setting provides they can get out there.” thing. His music goes places you don’t expect freedom.” This includes a digitally released free video and takes odd turns. But at the same time it is “I finally got it to sound the way I want it to of the group recording the album. musical and poignant. He has redefined the sound,” Douglas said. “I struggled with the “We filmed the whole session,” Douglas brass quintet.” instrumentation for a long time, so when Vincent said. “The Internet is so interactive, with com- Drummer Nasheet Waits helped shape the came in, the French horn formed a bridge ments on my blog, people writing in. We have sound on Spirit Moves. between the trumpet and the lower instruments. so much to learn from each other. It’s not just “Dave is thorough,” Waits said. “He has a Technically, the French horn is a woodwind and that the artists put out their music and that’s the specific vision that is embellished by the individ- that solved it. It’s a panorama of brass.” end of it.” —John Ephland
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Zack Pride (left), Takana Miyamoto and Marcus Riffs Printup at the Diana Wortham Theatre in Asheville, N.C.
Chairman Hancock: Herbie Hancock took the baton from Christian McBride as the creative chair for jazz for the Los Angeles Philharmonic Association on March 16. Hancock’s two-year tenure will start with the Hollywood Bowl’s 2010 season. Details: laphil.org
City’s Saints: New Orleans Saints quarterback Drew Brees will help stage The Domino Effect, a concert that will
pay tribute to Fats Domino and raise HENRY NEUFELD money to rebuild damaged schools and playgrounds in New Orleans. The con- cert on May 30 at the New Orleans Grassroots Jazz Societies Bring Major Talent Arena will feature Chuck Berry, Little Richard, Taj Mahal and others. to Small, Affordable Performance Spaces Details: dominoeffectnola.com As part of April’s Jazz Appreciation Month, them after shows sponsored by the Presbyter- The Smithsonian Institute started listing orga- ian Jazz Society in Mt. Vernon, N.Y., which Buddy’s Turns 20: Buddy Guy will nizations that promote jazz performance and started in a small church. Jazz is hard to find in celebrate the 20th anniversary of his education. It ended up with more than 200 Asheville. “I wanted more of a jazz scene,” Chicago club, Buddy Guy’s Legends, organizations in 44 states. Many of these non- Farson said. “There’s a lot of dance, a lot of with a party at the venue on June 16. profit societies were founded in the 1980s and theater—there’s all kinds of music, but little to Details: buddyguys.com 1990s to foster a jazz following in music- no jazz.” starved communities. In large cities, these Concerts in the WNC series are populated Motown Lessons: Songwriter Lamont groups promote alternative venues removed by local artists who serve as the rhythm sec- Dozier will lead a master class in song- from the circuit of restaurants and clubs. Big tions for musicians like Kenny Barron and writing on June 16 at New York’s and small, with both meager and healthy bud- Wycliffe Gordon. These headlining perfor- Kaufman Center as part of the Song- gets, the goal of these organizations is simple: mances are booked by initiating personal con- writers’ Hall of Fame Master Class provide affordable access to jazz. tact with the players on jazz cruises. “If they series. Dozier was part of Motown’s ’60s In the past decade, additional societies have trust that you’re on the up and up and you’re house songwriting team with Brian and entered the picture. Channel Cities Jazz Club not going to make a big profit off them, they Eddie Holland. Details: songhall.org in Oxnard, Calif., was born in 2002, and Jazz will work with you,” Farson said, noting that Lovers of the Lowcountry formed in 2004 in most artists perform for a fraction of their nor- WGBO Launch: Radio station WBGO Hilton Head, S.C. New groups in Atlanta, mal fee. “I can’t compete with Dizzy’s Club of Newark, N.J., has started a new week- Santa Cruz, Calif., Palm Beach, Fla., and Coca-Cola or some jazz festival. By meeting ly jazz show and web site, “The Baltimore have also started holding concerts. the musicians, it’s all become possible.” Checkout.” Details: checkoutjazz.com Others, like Seattle’s Earshot Jazz, have grown The Jazz Arts Foundation in Lexington, to the point where they produce an annual fes- Ky., is trying to unite the loose conglomera- Detroit Award: The Detroit Inter- tival, as well as smaller events in museums tion of musicians who call the region home. In national Jazz Festival received a $50,000 and libraries throughout the year. 2007, the organization began holding free grant from the Joyce Foundation to sup- “Jazz societies try to present this music at monthly concerts at a 140-seat theater in the port John Clayton’s composition paying as moderate a price they can,” said Bo Farson, Lexington Public Library. The performers tribute to Thad, Hank and Elvin Jones, who runs the Western North Carolina (WNC) mostly come from nearby universities. as well as the city’s Guardian Building. Jazz Society in Asheville, N.C. Tickets for his “There’s a wealth of jazz talent in this area, Details: detroitjazzfest.com six-show concert series, which is housed in the but there aren’t many opportunities, other than 500-seat Diana Wortham Theatre, are $22 casual gigs, for them to go out and play,” Jazz RIP, Oquendo: Percussionist Manny each with a $30 membership. “[Jazz societies] Arts Foundation President Dave McWhorter Oquendo died in New York on March want to make the music available to as many said. “The biggest thing in Lexington now is 25. He was 77. After working with Tito people as possible.” dueling pianos. It’s a wild and crazy scene— Puente and Eddie Palmieri, Oquendo Farson, a New York City transplant, is they go late into the night over there—but it’s founded Conjunto Libre. from the latest crop of music promoters. He not jazz. We needed to do something to get started producing concerts in 2003, modeling jazz alive in our community again.” —Jon Ross
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Tiempo Libre: Jorge Gomez (left), Luis Castillo, Joaquin Diaz, Hilario Bell, Leandro Gonzalez, Tebelio Fonte and Cristobal Ferrer Garcia CRACKERFARM Cuban–American Tiempo Libre Fires Up Bach-Fused Timba When Miami-based Tiempo Libre signed to National School of the Arts, where Bach’s “Mass In B Minor” fuse Bach with Cuban Sony Masterworks last December, it would have music is respected. Bach was heard at Gomez’s dances, including bata, bolero, danzón, guaguan- been expected for the band to bring solid Afro- home, too, as his father, Jorge Gomez Labrana, co, son and timba. Guest saxophonists Yosvany Cuban timba to wider audiences. But the seven is a respected classical pianist. Evenings found Terry and Paquito D’Rivera also add to Bach In Cuban émigrés, together since 2001, took a sur- the students caught up in Afro-Cuban music at Havana’s improvisational direction. prising turn toward the baroque on the new disc dances and religious ceremonies. The group, whose name translates as “free Bach In Havana. “It was inevitable that the two would eventu- time,” was one of the first bands to specialize in “We mix everything,” said bandleader/key- ally merge creatively,” Gomez said. “We revere timba. Gomez called timba “a combination of boardist Jorge Gomez. Bach for his musical genius. He was composing the Buena Vista Social Club and Chick Corea.” Tiempo Libre’s fiery conflation of Johann works for his contemporaries as a popular artist, He drew a distinction between timba and better- Sebastian Bach works with traditional Cuban while also creating deeply religious composi- known salsa: “We have different instruments. sounds, Latin jazz and pop. It isn’t a huge tions. He was fascinated with dance rhythms, We play electronic keyboards, and the bass has stretch. Cuba has a long tradition of embracing which makes him an even more powerful inspi- five or six strings, looking for a big sound. European classical music and the members of ration.” We’re more energetic and more jazzy. We have Tiempo Libre studied at Havana’s prestigious Tiempo Libre’s take on “Minuet In G” and a lot of solos.” —Frank-John Hadley
Shank Sailed Above Expectations Bud Shank, a leading multireed voice of West Coast jazz, died of a pulmonary embolism at his home in Tucson, Ariz., on April 3. He was 82. After a tenure with Charlie Barnet, Shank gained national attention as Stan Kenton’s lead alto in the Innovations in Modern Music band of 1950–’51. He seldom got to solo and went to Los Angeles, where he gained confidence in George Redman’s raucous r&b band. He joined Howard Rumsey’s Lighthouse All-Stars and
blossomed as a player, sharing fluidity with his Bud Shank JACK VARTOOGIAN/FRONTROWPHOTOS DOWNBEAT ARCHIVES main inspiration, Lester Young. Shank picked up the flute casually around himself into a hard-edged alto saxophonist. He that time. He led his own bands from ’56–’61 continued touring and playing throughout the Avakian Hits 90 and, when the jazz market was depressed, past few years, including duos with Brazilian Columbia Records producer George Shank’s treatments of pop material—like the pianist João Donato. Avakian (left) celebrated his 90th birth- Michelle album—were big sellers. Pianist Bill Mays played with Shank since the day with his wife, violinist Anahid Shank then plunged into recording work and early ’70s. “Bud wanted to be taken seriously as Ajemian, on March 18 at New York’s became Los Angeles’ first-call flute player, a jazz player, that’s why he gave up the flute,” Birdland. Guests included Tony enhancing “California Dreamin’” by the Mamas Mays said. “He felt he was typecast as part of the Bennett (right), Quincy Jones and Bob and Papas and The Association’s “Windy,” old West Coast jazz period and he wanted to be Newhart. Paquito D’Rivera was also on among others. But Shank chafed at being what seen as a bebopper. He was stubborn. The same hand and sat in to perform Louis he called “a studio sausage” and found gratifica- thing that made him sail from California to Armstrong songs with David tion in racing sailboats. Hawaii made him continually reach for some- Ostwald’s Gully Low Jazz Band. Beginning in 1980, Shank began to remake thing in his music.” —Kirk Silsbee
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Backstage With … By Eric Fine
have been done by so many great vocalists over the years. Maybe it‘s that the generation I come from didn’t grow up with the Great American Songbook songs as popular music. I grew up with Joni Mitchell and Kendra James Taylor. I look in all kinds of places for those songs. I ask my Shank peers about their original tunes. I sometimes look for old chestnuts that come from Tin Pan Alley or the Great American Songbook but haven’t been recorded so much. I’ve always looked into the ’70s music that I grew up with. In addi- tion, there are more singer-song-
JACK VARTOOGIAN/FRONTROWPHOTOS writers in jazz today than there have been. Singer Kendra Shank not only looks beyond the Great American Songbook for Of those songs from the ’70s, can inspiration. She searches beyond the you name one or two that translate songs’ lyrics. She will scat, sometimes sug- well to jazz? gesting a muted trumpet or even a birdcall, Great jazz musicians have taken simple and her penchant for taking liberties with a folksongs and made beautiful music, like melody can suggest a horn player. Shank “The Water Is Wide” that Sheila Jordan spoke at New York’s 55 Bar on March 27, did with Kenny Barron. And like Charlie where she performed before embarking on Haden doing “Goin’ Home” or John a three-week tour in support of her quar- Coltrane doing “My Favorite Things.” It’s tet’s new album, Mosaic (Challenge). what you do with it. Some songs are composed with rich harmony and a lot of I assume your decision to credit Mosaic to harmonic movement, and some aren’t. your quartet reflects the group’s chemistry. Joni Mitchell’s material lends itself well to Would you elaborate? jazz. She has a jazz influence in what she That was deliberate. This group (pianist does, anyway. But I took James Taylor’s Kimbrough, bassist Dean Johnson and “That Lonesome Road,” which basically drummer Tony Moreno) has made three is hymn-like. It’s simple, but Frank records together, and it’s always been Kimbrough and I reharmonized it. under my name. But we’re a group. We’ve been together 10 years, and the music is a Do you still perform the music from result of our collaborative approach. I want- your previous album, A Spirit Free: ed to call it the Kendra Shank Quartet to Abbey Lincoln Songbook (2007)? acknowledge that this isn’t just me. This is I love those songs, they’re part of my book an ensemble of musicians of which I am now. Those songs are so powerful, and only one member. that’s why I did that record. I met Abbey in I don’t approach it as a typical singer 1994. I’d seen her perform at Jazz Alley in fronting a band, where I’m calling all the Seattle, and she knocked me out. She was shots, everything is set in stone and the so powerful. Her songwriting is full of arrangement has to go this way in order for truth. The songs deal with subject matter me to be comfortable. The arrangements that is timely, philosophical and has social are a collaborative effort. importance. I thanked her for her music, and we How prominent is original and unconven- became friends. She made me realize that I tional material in your repertoire? Is this a shouldn’t abandon my folk music roots, growing trend among jazz vocalists? and I shouldn’t be embarrassed by them I was always looking for songs that were while trying to be a jazz singer. She told me off the beaten path. Maybe part of it has to I should be embracing all of myself, all my do with the fact that the standard songs musical influences and roots. DB
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Jazz’s roots in Europe are strong. This column looks at the musicians, labels, venues, institutions and events moving the scene forward “across the pond.” For EUROPEAN SCENE questions, comments and news about European jazz, By Peter Margasak e-mail [email protected].
Swedish Perspectives Festival Offers Cross-Genre Conversations Perspectives, an ambitious and fiercely pianist Marilyn Crispell, bassist Barry Guy Raymond Strid (left) and adventurous event that reedist Mats Mats Gustafsson and drummer Sven Åke-Johansson, and Gustafsson has organized in Västerås, figures from the noise and experimental Sweden, looks and behaves like a music scene like Hijokaidan, Borbetomagus and festival. The latest installment of the fest Otomo Yoshihide. But even that analysis was held this past March, and it has been misses the point, as Guy ended playing staged sporadically since 2004. Dozens of Baroque music and Åke-Johansson sound- concerts were held on multiple stages in dif- ed experimental. ferent buildings. There were festival passes Gustafsson and Lennart Nilsson—the for sale, a thick brochure with bios of the former jazz club owner and philosophy pro- artists and special releases produced to fessor who handles the financial and logis- mark the occasion. But Gustafsson prefers tical needs of Perspectives—have had to to think of Perspectives as a “meeting.” rely on an ever-shifting array of funding “Festivals are meeting points,” Gustaf- sources over the years, but they’ve never sson said. “When musicians tour and play GUNNAR HOLMBERG succumbed to tacky corporate presence. club gigs we meet the audience, but we don’t Australian bassist Clayton Thomas and Perspectives will hold another event in meet many other musicians, organizers or Swedish percussionist Raymond Strid. 2011, but without Gustafsson at the helm. media. The festival is a great platform to “Festivals around the globe that are run “It takes an enormous amount of work meet people, to get ideas, to start new collab- by musicians are the best ones because we and time,” he said. “You live with it, waking orations. The word meeting is key. It should have the network,” Gustafsson said. “We up in the middle of the night, thinking about be relaxed and you should be able to sit have the contacts, we know each other. If we different ideas. But with I need to be with my down and have a beer or a coffee and talk.” don’t know each other, we can get recom- family more and I need more time for my During the 2004 Perspectives, Anthony mendations and contacts quickly in a way a own work.” Braxton first heard the chaotic electronic- normal organizer can’t.” Bringing in new blood has been one of noise combo Wolf Eyes—an unlikely pairing Most of the musicians who’ve performed his goals from the start. that went on to perform together and at Perspectives are interested in different “You have to put it out and to find the released Black Vomit (Victo) in 2006. While sorts of music, so someone like France’s tools to present the spectrum. Then people other first-time encounters at the festival Xavier Charles can play a set of improvised can make up their own minds. I would love haven’t been as celebrated, the latest install- clarinet music and then turn around and young people attending the festival starting ment witnessed some gripping new constel- create musique concrète with his long-run- to think that they might be able to do some- lations of musicians, including a brilliant set ning trio Silent Block. This year’s event thing of their own on a smaller scale some- by British keyboardist Pat Thomas, included people associated with jazz like where else. That would be great.” DB
Rising Canadian Singer Yanofsky Begins U.S. Push
On a Monday night in March, a near-capacity turned her on to jazz. Nikki Yanofsky audience at Catalina Jazz Club in Hollywood “I fell in love with her sound, phrasing and was on its feet after a 90-minute set by singer her tone—that’s perfection to me,” Yanofksy Nikki Yanofsky. The crowd contained notables said. “I needed a song for the Montreal Jazz like Phil Ramone, who produced her recent disc, Festival program. As an experiment, my teacher Ella …Of Thee I Swing (A440). The Montreal at the time, Nancy Martinez, brought me an native, who was making her Southern California arrangement of ‘Airmail Special.’ I heard Ella’s debut, commanded the stage, including a funk- recording of it, and something clicked. I learned beat arrangement of “The Wind Cries Mary.” it in three days and discovered that I had an ear More remarkably, she’s 15 years old. to hear music and transpose.” The youngest artist ever to sign with Verve Along with swing, Yanofsky’s disc includes (she participated in the We Love Ella tribute a couple blues standards, such as “Evil Gal album), Yanofsky sang on Disney’s High Blues.” She’s equally enthused about the time- School Musical 2 and debuted at the 2006 honored American genre. “The blues are so Montreal Jazz Festival. Afterwards, she per- important,” Yanofsky said. “It’s roots music.” formed with the Count Basie Orchestra, Marvin After her U.S. visit, Yanofsky plans to tour Hamlisch and Wyclef Jean. Yanofsky has also her country’s festival circuit this summer. She’s been nominated as Best New Artist in Canada’s also keeping the brighter spotlight from chang-
Juno Awards, which will be held in June. ing her attitude. EARL GIBSON While Yanofsky’s father, Richard “I try to stay grounded and I do that by keep- “I want to keep growing as an artist and learn Yanofsky, is a pianist, Fitzgerald’s voice ing close with my family and friends,” she said. more about music.” —Kirk Silsbee
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Jazz Legends, Indian Masters Join Forces for Goodwill Celebration As Herbie Hancock, George Duke and Dee Dee musician for goodwill among Bridgewater entered the Ravi Shankar Institute nations,” Duke said. “Music is the of the Performing Arts in New Delhi in true international language. It February, they noted the welcome sign adorning speaks to people’s hearts and you the entrance: “Peace Through Music.” It was the don’t need a language to be com- first time that Hancock and sitarist Shankar met pletely understood. Musicians can and played together—a convergence of cultures do way more than any politician reminiscent of the event they were celebrating. on a one-to-one level.” The U.S. State Department, Thelonious The U.S. Information Agency, Monk Institute of Jazz and the Indian Council as part of the State Department, George Duke (left), for Cultural Relations began planning this event founded the Jazz Ambassador Ravi Shankar and last summer. The musicians gathered for the program in the mid-1950s to Herbie Hancock tour, which included concerts in New Delhi and counter Soviet propaganda in the ROBERT PILON Mumbai, between Feb. 13 and 18 to commemo- midst of the Cold War. During the past tour of India (his first was in 1996 with the rate the 50th anniversary of Martin Luther King, decade, the Jazz Ambassador program has Monk Institute) and Duke’s second in three Jr.’s month-long pilgrimage to India to study seen a revival in its transformation into pro- years, performing before with Al Jarreau, Ravi Mahatma Gandhi’s teachings on nonviolence. grams like The Rhythm Road: American Coltrane and Earl Klugh. Martin Luther King III was also part of the Music Abroad, co-organized by New York’s “This is a great moment for the musicians to group of visiting dignitaries. Jazz at Lincoln Center. be working under Hancock and hopefully that Besides the main concerts in New Delhi and “If you’re going to celebrate an American will help to bring more of the Indian art forms Mumbai, the headliners and students from the transformation, what better art form than jazz?” out there,” Hussain said. Thelonious Monk Institute of Jazz in New said Michael Macy, cultural attaché for the U.S. Bridgewater said the musicians’ visit met Orleans performed at an orphanage as part of an Cultural Affairs Office. “Jazz is popular in India. their expectations. outreach program in Mumbai. At the Ravi It communicates to an Indian audience. And we “Music is a healing force,” Bridgewater said. Shankar Institute, Hancock and Shankar taught a had tabla player Zakir Hussain, who has his own “Just the reaction of the audience in Delhi was master class. influence on American music.” evidence that music could indeed bridge cultur- “There’s no greater ambassador than a This was Hancock’s third Jazz Ambassador al gaps.” —Brian Dwyer
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