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Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado 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 Pete Fenech 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, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: 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, -
Jim Hall's Comping On
Jim Hall’s Comping on “The Days of Wine and Roses” By Tim Fischer Many guitarists find themselves at a loss when first asked to take on the role of the sole harmonic instrument in a small jazz combo. Often times, jazz guitarists develop their comping as members of a big band rhythm section, where three-note chord voicings with the root in the bass and four quarter notes to the bar are stock- in-trade. This traditional style of rhythm guitar does not always transition well into the small jazz combo, and many guitarists without small group combo experience are left with questions about voicings, rhythms, and bal- ancing silence with interaction. Mastering accompaniment, like improvisation, is a life-long process and is best developed by studying the recordings and transcriptions of the master musicians. In this article, we will study guitar comping in the rhythm section by looking at Jim Hall’s accompaniment behind Art Farmer’s solo on the standard “The Days of Wine and Roses,” from Farmer’s 1963 album Interaction. Jim Hall helped popularize the use of the guitar as a valid replacement for the piano in the rhythm section through his sideman work with such high-profile artists as Sonny Rollins,Art Farmer, Paul Desmond, Chico Hamilton, and Jimmy Guiffre during the 50’s and 60’s. Often cited as the father of modern jazz guitar, Hall’s accompaniment style in each one of the aforementioned artists’ recordings details how Hall adapted to the musi- cal demands of each situation. As the album title states, the Art Farmer quartet of 1963 and 1964 was based on active interaction between its members, which also included Steve Swallow on upright bass and Walter Perkins on drums. -
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis 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 Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
John Pizzarelli and Freddy Cole: Celebrating the Centenary of Nat
TD Jazz Concerts John Pizzarelli and Freddy Cole: Celebrating the centenary of Nat King Cole @ 100 Thursday, February 14, 2019 at 8:00pm Pre-concert Talk at 7:00pm This is the 913th concert in Koerner Hall John Pizzarelli, vocals & guitar Mike Karn, bass Konrad Paszkudzki, piano Freddy Cole, piano & vocals Elias Bailey, bass Randy Napoleon, guitar Quentin Baxtor, drums John Pizzarelli World-renowned guitarist and singer John Pizzarelli, established as one of the prime contemporary interpreters of the Great American Songbook, has expanded that repertoire by including the music of Paul McCartney, Joni Mitchell, Neil Young, Tom Waits, Antônio Carlos Jobim, and The Beatles. Having concentrated on the music of Paul McCartney, Johnny Mercer, and Frank Sinatra over the last two years, Pizzarelli has returned to the bossa nova of Jobim with his 2017 release Sinatra & Jobim @ 50. With co- vocalist Daniel Jobim, grandson of the legendary Brazilian composer, the two explore songs Sinatra and Jobim recorded, as well as add new songs flavoured with the spirit of the classic Francis Albert Sinatra and Antonio Carlos Jobim album. Pizzarelli has toured North America, South America, Asia, and Europe, performing shows centered on Frank Sinatra’s centennial, the songs of Johnny Mercer, and a McCartney program, in which his quartet is joined by strings and a horn section. He also tours on a double bill with pianist Ramsey Lewis. While plenty of jazz greats influenced his work, Nat King Cole has been Pizzarelli’s hero and foundation over the last 25 years. He devoted two albums to his music, Dear Mr. -
Gazette the LEADER in PROPERTY TAX REDUCTION Sign up Today
________________ GLEN COVE _______________ Reassessing property taxes (one house at a time ) SPRING FORWARD for nearly 30 years. at 2 a.m. on Sunday. HERALD Remember to change your smoke detector batteries. Gazette THE LEADER IN PROPERTY TAX REDUCTION Sign up today. It only takes seconds. ‘Richard III’ Getting ready for the Apply online at mptrg.com/herald18/21 itc FG or call 516.479.9176 Hablamos Español reinterpreted St. Pat’s Day parade Demi Condensed Maidenbaum Property Tax Reduction Group, LLC Page 15 Page 2 483 Chestnut Street, Cedarhurst,Page NY 11516xx Vol. 28 No. 10 MARCH 7-13, 2019 $1.00 1016600 MB_99945_NassHerald_3x3Note_OneHouse.indd 1 Don’t forget, 2/25/19 4:25 PM school bond vote is Tuesday Glen Cove residents will have Deasy School, the addition of a the opportunity on Tuesday to second- floor restroom at Grib- vote on a bond proposed by the bin School, parking lot drainage Glen Cove City School District at Connolly School and four new to complete a variety of renova- classrooms at Landing School. tions in the district’s six schools. Additionally, Finley Middle If passed, each school would School would receive improve- see improvements in security; ments to Wunsch Auditorium, in its heating, ventilation and and the Glen Cove High School air conditioning systems; and in cafeteria, and many of its class- its compliance with the stan- rooms would undergo complete dards of the Americans with overhauls. Disabilities Act, as well as other The bond is projected to cost needed renovations. Four build- roughly $84.6 million. Taxes on a ings would receive new addi- Glen Cove household worth tions, such as classrooms or ele- $500,000 would increase by Roni Chastain/Herald Gazette vators. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
Thad Jones Discography Copy
Thad Jones Discography Compiled by David Demsey 2012-15 Recordings released during Thad Jones’ lifetime, as performer, bandleader, composer/arranger; subsequent CD releases are listed where applicable. Each entry lists Thad Jones compositions/arrangements contained on that recording. Album titles preceded by (•) are contained in the Thad Jones Archive collection. I. As a Leader or Co-Leader Big Band Leader or Co-Leader (chronological): • Thad Jones/Mel Lewis Orchestra, Live at the Vanguard (rec. 1/7 [sic], 3/21/66) [live recording donated by George Klabin] Contains: All My Yesterdays (2 versions), Backbone, Big Dipper (2 versions), Mean What You Say, Morning Reverend, Little Pixie, Willow Weep for Me (Brookmeyer), Once Around, Polka Dots and Moonbeams (small group), Low Down, Lover Man, Don’t Ever Leave Me, A-That’s Freedom • Thad Jones/Mel Lewis Orchestra, On Tour (rec. varsious dates and locations in Europe) Discs 1-7, 10-11 [see Special Recordings section below] On iTunes. • Thad Jones/Mel Lewis Orchestra, In the Netherlands (rec. 1974) [unreleased live recording donated by John Mosca] • Thad Jones/Mel Lewis Orchestra, Presenting the Thad Jones-Mel Lewis Orchestra (rec. 5/4-5-6/66) Solid State UAL18003 Contains: Balanced Scales = Justice, Don’t Ever Leave Me, Mean What You Say, Once Around, Three and One • Thad Jones/Mel Lewis Orchestra, Opening Night (rec. 1[sic]/7/66, incorrect date; released 1990s) Alan Grant / BMG Ct. # 74321519392 Contains: Big Dipper, Polka Dots and Moonbeams (small group), Once Around, All My Yesterdays, Morning Reverend, Low Down, Lover Man, Mean What You Say, Don’t Ever Leave Me, Willow Weep for Me (arr. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
A Journal for Contemporary Music (1971-1988)
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Reynolds, Lyndon. 1975. ‘Miles et Alia’. Contact, 11. pp. 23-26. ISSN 0308-5066. ! [I] LYNDON REYNOLDS Ill Miles et Alia The list of musicians who have played with Miles Davis since 1966 contains a remarkable number of big names, including Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Joe Zawinul, Jack de Johnette, Dave Hol l and, John McLaughlin and Miroslav Vitous. All of these have worked success fully without Miles, and most have made a name for themselves whilst or since working with him. Who can say whether this is due to the limelight given them by playing alongside , Miles, the musical rewards of working with him, or Miles's talent-spotting abili- ties? Presumably the truth is a mixture of all these. What does Miles's music owe to the creative personalities of the musicians working with him? This question is unanswerable in practice, for one cannot quan- tify individual responsibility for a group product - assuming that is what Miles's music is. It is obvious that he has chosen very creative musicians with which to work, and yet there has often been an absence of conspicuous, individual, free solo playing in his music since about 1967. It would appear that Miles can absorb musical influences without losing his balance. What we find then, is a nexus of interacting musicians, centring on Miles; that is, musicians who not only play together in various other combinations, but influence each other as well. Even if the web could be disentangled (I know not how, save with a God's-eye-view), a systematic review of all the music that lies within it would be a task both vast and boring. -
Harlem Speaks by Andy Vélez a SPECIAL SERIES HONORING HARLEM HEROES Recorded in 1959, Giant Steps Became John Coltrane’S First Genuinely Iconic Album
visitors center: OPEN M-F 10 AM - 4 PM 104 E. 126th Street, #2C, New York, NY 10035 (Take the 2/3/4/5/6 train) WWW.JMIH.ORG THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS Giant Steps Unison Tommy Flanagan George Mraz/Zoe (Enja) Rahman (Cube-Metier) Harlem Speaks by Andy Vélez A SPECIAL SERIES HONORING HARLEM HEROES Recorded in 1959, Giant Steps became John Coltrane’s first genuinely iconic album. Pianist Tommy Flanagan was among the players on the recording, which was 10/31 David Amram notable stylistically for a movement away from chordal Multi-instrumentalist/ composer/ author jazz. This reissue of Flanagan’s 1982 Giant Steps is an homage to Coltrane, repeating several of the tracks while adding “Central Park West”. During the ‘80s, Photo copyright Richard Conde. THE NATIONAL JAZZ MUSEUM IN HARLEM 104 EAST 126TH STREET, SUITE 2C DONATION SUGGESTED 6:30 - 8:30PM FOR MORE INFORMATION: 212-348-8300 Flanagan favored trios and frequently played with Czech-born bassist George Mraz. Theirs was a felicitous coming together as evident here and recalled fondly by denizens of Bradley’s, a long-gone-but-not-forgotten Village jazz spot where they appeared frequently. Flanagan is notably more confident with what had been a new idiom the first time around. That sureness of technical facility is evident from the first note to the last and the same is true for Mraz. By this time the latter had become one of the most dependable of October 4: FFEAR rhythm men. Together they are as close as pages in a $18 ADVANCE $20 AT DOOR book on a funky “Cousin Mary”. -
Impex Records and Audio International Announce the Resurrection of an American Classic
Impex Records and Audio International Announce the Resurrection of an American Classic “When Johnny Cash comes on the radio, no one changes the station. It’s a voice, a name with a soul that cuts across all boundaries and it’s a voice we all believe. Yours is a voice that speaks for the saints and the sinners – it’s like branch water for the soul. Long may you sing out. Loud.” – Tom Waits audio int‘l p. o. box 560 229 60407 frankfurt/m. germany www.audio-intl.com Catalog: IMP 6008 Format: 180-gram LP tel: 49-69-503570 mobile: 49-170-8565465 Available Spring 2011 fax: 49-69-504733 To order/preorder, please contact your favorite audiophile dealer. Jennifer Warnes, Famous Blue Raincoat. Shout-Cisco (three 200g 45rpm LPs). Joan Baez, In Concert. Vanguard-Cisco (180g LP). The 20th Anniversary reissue of Warnes’ stunning Now-iconic performances, recorded live at college renditions from the songbook of Leonard Cohen. concerts throughout 1961-62. The Cisco 45 rpm LPs define the state of the art in vinyl playback. Holly Cole, Temptation. Classic Records (LP). The distinctive Canadian songstress and her loyal Jennifer Warnes, The Hunter. combo in smoky, jazz-fired takes on the songs of Private-Cisco (200g LP). Tom Waits. Warnes’ post-Famous Blue Raincoat release that also showcases her own vivid songwriting talents in an Crosby, Stills, Nash & Young, Déjá Vu. exquisite performance and recording. Atlantic-Classic (200g LP). A classic: Great songs, great performances, Doc Watson, Home Again. Vanguard-Cisco great sound. The best country guitar-picker of his day plays folk ballads, bluegrass, and gospel classics. -
Bright Moments!
Volume 46 • Issue 6 JUNE 2018 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. On stage at NJPAC performing Rahsaan Roland Kirk’s “Bright Moments” to close the tribute to Dorthaan Kirk on April 28 are (from left) Steve Turre, Mark Gross, musical director Don Braden, Antoinette Montague and Freddy Cole. Photo by Tony Graves. SNEAKING INTO SAN DIEGO BRIGHT MOMENTS! Pianist Donald Vega’s long, sometimes “Dorthaan At 80” Celebrating Newark’s “First harrowing journey from war-torn Nicaragua Lady of Jazz” Dorthaan Kirk with a star-filled gala to a spot in Ron Carter’s Quintet. Schaen concert and tribute at the New Jersey Performing Arts Fox’s interview begins on page 14. Center. Story and Tony Graves’s photos on page 24. New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Prez sez Editor’s Pick/Deadlines/NJJS Info . 6 Change of Address/Support NJJS/ By Cydney Halpin President, NJJS Volunteer/Join NJJs . 43 Crow’s Nest . 44 t is with great delight that I announce Don commitment to jazz, and for keeping the music New/Renewed Members . 45 IBraden has joined the NJJS Board of Directors playing. (Information: www.arborsrecords.com) in an advisory capacity. As well as being a jazz storIes n The April Social at Shanghai Jazz showcased musician of the highest caliber on saxophone and Dorthaan at 80 . cover three generations of musicians, jazz guitar Big Band in the Sky . 8 flute, Don is an award-winning recording artist, virtuosi Gene Bertoncini and Roni Ben-Hur and Memories of Bob Dorough .