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Bobby Mcferrin Third Stream Lives D O W N B E AT Gunther Schuller Bobby McFerrin THIRD STREAM LIVES KURT KURT R OSENWIN K EL /// BO bb Y MCFERRINY /// GUNTHER GUNTHER S CHULLER SPECIAL SECTION /// JAI GUITAR SCHOOL M EO BROWN EO Buddy Guy TRANSCRIBED Elliott Sharp MASTER CLASS The Art of the Archtop Jaimeo PLUS Brown JULY 2013 U.K. £3.50 JULY 2013 DOWNBEAT.COM july 2013 VOLUME 80 / NUMBER 7 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 7 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 June 18, 2013) Magazine Publishers Association. Á JULY 2013 On the Cover 24 Kurt Rosenwinkel Dreamer BY DAN OUELLETTE Underlying all of guitarist Kurt Rosenwinkel’s musical endeavors are his dreams. 24 Not just quaint aspirations or romantic quests, but real, deep- to-the-marrow dreams that have significantly shaped his artistry. Features Cover photo and above photo of Kurt Rosenwinkel in New York City by Jimmy and Dena Katz 30 Bobby McFerrin Lyrical & Spiritual BY ALLEN MOrrisON 34 Third Stream Then And Now BY JOEL HArrisON 40 Jaimeo Brown Greater Darkness, Greater Light 48 Charnett Moffett 50 Jason Marsalis 52 Asuka Kakitani 66 Steve Coleman BY GEOFFREY HIMES SPECIAL SECTION 71 Guitar School Departments 72 The Art of the Archtop 8 First Take 45 Reviews Ingrid Jensen BY KEITH BAUMANN onstage at Blues Alley in 10 Chords & Discords 86 Jazz On Washington, D.C. 78 Master Class Campus BY ELLIOTT SHARP 13 The Beat 90 Blindfold Test 20 Players 80 Transcription Ingrid Jensen Buddy Guy Guitar Solo Cécile McLorin Salvant MENEZ Joshua Kwassman I 82 Toolshed Gary Schwartz ELA J G N Helen Gillet A 6 DOWNBEAT JULY 2013 First Take BY BObbY REED Ryan Truesdell ANT F HAL C TODD The Best of Both Worlds JAZZ FANS LOVE BLUE NOTE. OF ALL THE RECORD LABELS IN HISTORY, Blue Note—founded in 1939 by Alfred Lion and Francis Wolff—is one of the most revered. The label is legendary for both its music and the elegant design of its LP jackets (and today, its CD covers and digital artwork). The list of iconic artists who have recorded for Blue Note includes Miles Davis, John Coltrane, Sonny Rollins, Thelonious Monk, Horace Silver, Art Blakey, Herbie Hancock and Dexter Gordon, just to name a few. The current Blue Note roster is an eclectic mix that has jazz greats such as Wayne Shorter, Joe Lovano, Jason Moran and Terence Blanchard, as well as genre-blending artists such as Norah Jones, Gregory Porter and José James. In May the label announced a progressive new chapter in its ongoing evo- lution. Blue Note has formed a partnership with ArtistShare, which was found- ed in 2003 as the Internet’s first fan-funding platform. Using crowd-sourcing to pay for recordings is a widespread practice today, especially among jazz artists. Musicians who have released albums through ArtistShare include Jim Hall, The Clayton Brothers, Chris Potter, Maria Schneider and Ryan Truesdell. Under the new business arrangement, Blue Note will be involved in the selection of artists, and it will lend its logo and promotional support to the finished album. Blue Note also will offer the potential to “upstream” the artist to the official Blue Note Records roster for future releases. The Blue Note/ArtistShare plan seems to offer the best of both worlds: Artists will have creative freedom and can retain full ownership of their mas- ter recordings. They’ll also benefit from the promotional prowess of Blue Note and the instant recognition that comes with the famous Blue Note logo. And artists will continue to foster a strong relationship with their committed fans who, after all, are incredibly important in this scenario because they help fund the recording sessions and other aspects of production. Truesdell is one of the ArtistShare success stories. In May of 2012, Trues- dell released the ArtistShare CD Centennial: Newly Discovered Works Of Gil Evans. Truesdell brought to light some previously unheard works that Evans (1912–’88) had written. Centennial is an ambitious project that merges the cre- ativity of Evans with the talents of Truesdell, who conducted all the music, en- listing 35 players for the sessions, including Lewis Nash, Donny McCaslin and Frank Kimbrough. In February, a track from the album, “How About You,” won a Grammy in the category Best Instrumental Arrangement. Evans (a member of the DownBeat Hall of Fame) wrote the arrangement, so he won his third Grammy posthumously, in addition to the two he won during his lifetime. Artists like Truesdell make big, bold, intricate plans, and sometimes they need financial support from fans in order to turn a vision into a reality. As the music business continues to shift in the digital age, there will be even more developments in terms of intriguing models for getting music to fans. We’re eager to hear the music that will be generated through the Blue Note/ArtistShare plan, and we’re excited about the possibility of other, similar endeavors. Creative freedom combined with smart marketing sounds like an ideal recipe for success. DB 8 DOWNBEAT JULY 2013 Chords Discords No Surrender I love DownBeat and have been a faithful reader since 1974. In the last few years, how- ever, I’ve been dismayed by the Blindfold Tests. The range of music choices has become rather narrow—even rote and predictable—like a solo with few surprises. Great musicians have big ears. They’re not just influenced by those who play the same instrument they do, and they certainly don’t just listen to their contemporaries. If you’re testing a drummer, then sure, most of the music should be drummer-led. But c’mon, throw in a left-fielder on occasion. In a hypothetical Blindfold Test with Antonio Sanchez, for example, I wouldn’t want to hear him react solely to other drummers on the scene today. Get creative. What does Sanchez think of Sid Catlett or Buddy Rich? And how about other classic instrumentalists? Miles or Ornette? And what would he say to a track by Jane Bunnett, David Binney or Keith Jarrett? The Blindfold Test has always been one of my favorite fea- tures in DownBeat. Here’s hoping that writer Ted Panken and Charles the others who nobly perpetuate Leonard Feather’s great Mingus, taking the idea start mixing it up again. The last thing that a maga- Blindfold Test zine about jazz needs to do is to surrender to a formula. back when Leonard Feather used BEN MURRAY an actual EDMONTON, ALBERTA CANADA blindfold DOWNBEAT ARCHIVES On the Money Corrections Bill Milkowski’s feature on Duke Elling- There were several errors in the Student Music ton, Charles Mingus and Max Roach Awards section of the June issue.
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