DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. 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Box 11688, St. Paul, MN 55111–0688. CABLE ADDRESS: DownBeat (on sale November 13, 2018) Magazine Publishers Association. Á 4 DOWNBEAT DECEMBER 2018 DECEMBER 2018 ON THE COVER 26 Medeski FRONTROWPHOTOS Martin & Wood ©JACK VARTOOGIAN/ Thriving in the ‘Omnisphere’ BY MICHAEL JACKSON Each member of Medeski Martin & Wood pursues projects outside the band, yet these musical brothers still foster the strong camaraderie of their long-running 26 trio. DownBeat catches up with keyboardist John Medeski, bassist John Medeski (left), Chris Wood and Billy Martin perform Chris Wood and drummer Billy at the Next Wave Festival in Brooklyn, New York, on Nov. 29, 1997. Martin to discuss Omnisphere, Cover photo of Medeski Martin & Wood shot by Jimmy & Dena Katz at The New School in New York City on Aug. 29. the band’s latest album, which From left: Billy Martin, Chris Wood and John Medeski. was recorded with the new-music ensemble Alarm Will Sound. FEATURES 32 Ralph Peterson ‘The Music Is Why I’m Here’ BY BILL MILKOWSKI READERS POLL 62 Yuhan Su 64 Muriel Grossmann 73 Reginald Chapman 79 Madsen/Vogel 38 Ray Charles DownBeat Hall of Fame BY AARON COHEN SPECIAL SECTION 42 Chick Corea Jazz Artist of the Year Jazz Album of the Year 81 Holiday Gift Guide BY TERRY PERKINS Top Jazz Albums 44 DEPARTMENTS 46 Top Historical Albums 8 First Take Sanah Kadoura 106 Transcription Michael Dease 48 Stanley Clarke Dennis Lichtman Electric Bassist of the Year 10 Chords & Discords Trombone Solo BY ANDY HERMANN 59 Reviews 108 Toolshed 13 The Beat 50 Lizz Wright 100 Master Class Beyond Album of the Year 22 Players BY GEOF BRADFIELD 110 Jazz On Campus BY AARON COHEN Marshall Gilkes 104 Pro Session 114 Blindfold Test 52 Complete Poll Results Rajiv Halim BY BILL WARFIELD Marcus Miller 6 DOWNBEAT DECEMBER 2018 First Take BY ED ENRIGHT ©HYOU VIELZ Hamiet Bluiett (1940–2018) performs at the Moers Festival in Moers, Germany, on May 26, 1996. Standing up for the Bari MUSICALLY, HAMIET BLUIETT MADE OUT- you, good.’ I think they’re tired of it, too. We got rageous statements on the baritone saxophone. notes that hit you in the ass; they’re ‘booty notes.’ His work with the World Saxophone Quartet … So, the horn can do that, and all the music alone served as testament to that. Verbally, these days is written for something else. And I’m though, Bluiett sometimes spoke of a different tired of being subservient to it. … I refuse to take kind of outrage—namely, the intense frustration the disrespect anymore.” he felt when he observed fellow musicians, band- Bluiett clearly saw his instrument as a force leaders and composers treating the almighty bari to be reckoned with, one that not only deserved as a lower form of life than other instruments more attention but practically demanded a sty- commonly featured in jazz ensembles. listic realm of its own. When Bluiett died on Oct. 4 at age 78, he left “It’s like being in the water,” he said. “The behind a legacy of always standing up for the baritone is not a catfish, none of them small fish; bari. At one point in his prolific career, Bluiett it’s more like a dolphin or a whale. And it needs formed an ensemble of four bari players—him- to travel in a whole lot of water; we can’t work in self, Patience Higgins, Alex Harding and James no swimming pools.” Carter—backed by drummer Ronnie Burrage. He suggested that the Baritone Nation group Their seismic performance at the 1997 Montreal was his way of speaking out against what he per- Jazz Festival is forever documented on the live ceived then as a lack of forward motion on the album Baritone Nation (Justin Time). jazz scene. After that show, which shook the earth below In light of all that Bluiett accomplished, it’s Montreal’s Théâtre Gesù, Bluiett was eager to obvious that he made valuable contributions talk about the role of the bari in modern music. to the advancement of the art form. (For more “You’ve never heard the horn sound like this information on his career, see our obituary in because the music is confined,” he said. “You The Beat, on page 20.) can’t play the horn the way it’s supposed to be With the subsequent emergence of played, because it’s always in a support role with bari-playing improvisers and bandleaders a bunch of other instruments. People don’t know of the highest order—contemporary artists what it sounds like. It’s immensely powerful.” including Carter, Gary Smulyan, Claire Daly, It was the start of an insightful, enthusiastic Charles Evans, Brian Landrus, Colin Stetson, rant that was heard by all of the bari players in Josh Sinton, Adam Schroeder, Lisa Parrott and the dressing room that night, myself included. dozens more—it’s clear that Bluiett not only Bluiett punctuated his comments with quick succeeded in helping to elevate the profile of pulls on a joint, which might have stimulated his the instrument itself, but he ultimately influ- musings on the subject. enced today’s jazz scene in a way that’s notice- “Music is too high right now; they don’t work ably more receptive to bari players in general. on the lows,” Bluiett said. “It’s all ‘ear’ sounds. For that, I thank him. Nobody’s playing in the pocket. … The bottom Long live Hamiet Bluiett, and long live the now has to rule, and the people will say, ‘Thank Baritone Nation. DB 8 DOWNBEAT DECEMBER 2018 Chords Discords COURTESY ATLANTIC RECORDS Aretha Franklin Heavenly Voice The great Queen of Soul, Aretha Franklin, She was always professional, always a per- was by far the most professional and talented fectionist, and always a brilliant performer who artist that I’ve ever worked with in my life. was eager to please. The heavenly choir has welcomed another RON LUCAS legendary performer. The world is in mourning, IRVING STREET REP [email protected] and rightfully so, because Aretha Louise Frank- lin was truly the Queen and left a blueprint for Editor’s Note: Thanks for your letter. See “The present and future divas to follow. Queen Still Reigns” on page 84. HOF Candidates Thankfully, we can now stream music be- I am a 68-year-old jazz fan, a former con- fore buying it. If I relied solely on DownBeat re- cert producer and a former employee of Verve/ views, I’d only have a collection of well-record- PolyGram. I would like to suggest some artists ed, well-played, unmemorable vin ordinaire. who should be inducted in the DB Hall of Fame.