DOWNBEAT Steve Turre Preservation Hall Jazz Band @ 50 SPECTRUM R OA D // STEVE STEVE T URRE // P RE S ERVATION HALL JAZZ BAN D // Spectrum Road M ARY HALVOR ARY MEDESKI, BLACKMAN SANTANA, REID & BRUCE S ON EXPLORE THE MUSIC OF TONY WILLIAMS Guitar School Mary Halvorson John McLaughlin TRANSCRIBED JULY 2012 U.K. £3.50 Neil Haverstick MASTER CLASS J ULY Eric Revis 2012 BLINDFOLDED DOWNBEAT.COM JULY 2012 VOLUme 79 – NUMBER 7 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips 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 Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. 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Box 11688, St. Paul, MN 55111–0688. CABLE ADDRESS: DownBeat (on sale June 19, 2012) Magazine Publishers Association. Á JULY 2012 ON THE COVER 24 Spectrum Road Dear Tony BY GEOFFREY HIMES On its self-titled album released 24 by Palmetto, the band Spectrum Road does more than merely pay tribute to the late, great drummer Tony Williams. Bassist Jack Bruce, guitarist Vernon Reid, drummer Cindy Blackman Santana and keyboardist John Medeski extend Williams’ jazz-rock innovations by exploring new sonic territory. FEATURES Jack Bruce performing with Spectrum Road at Dimitriou’s Jazz Alley in Seattle, Feb. 11, 2011 (Photo: Rick Kent) 30 Steve Turre’s On the cover, from left: Spectrum Road members John Medeski, Cindy Blackman Santana, Vernon Reid and Jack Bruce. Cover image shot by Jimmy and Dena Katz in New York City. World of Sound BY TED panken 34 Preservation Hall Jazz Band 50 Years of New Orleans Artistry BY JENNIFER ODELL 56 Floratone 63 Norah Jones 67 Jazz Soul Seven 69 Kenny Werner 40 Mary Halvorson Perfect Balance BY MICHAEL GALLANT DEPARTMENTS GUITAR SCHOOL 8 First Take 20 Players 78 Jazz On Campus 70 Master Class Luis Perdomo BY NEIL HaversTICK 10 Chords & 82 Blindfold Test Discords Mike Moreno Eric Revis 72 Transcription Don Braden 13 The Beat Melissa Stylianou 74 Toolshed 14 Riffs 45 Reviews 6 DOWNBEAT JULY 2012 First Take | BY BOBBY REED Preservation Hall Jazz Band’s Ben Jaffe (left) and Freddie Lonzo G N I R D L IKA GO R E Forward & Backward azz marches ahead while occasionally that everyone, everywhere, begins to associate glancing back. Part of the marvel of jazz the date April 30 with a celebration of jazz. is that it can be simultaneously forward- If you’re musician, make sure you get a gig Jthinking and retro-leaning. Jazz players push on April 30 (even if it’s a free one) and inform the art form forward into the progressive future your audience that it is a unique day. If you’re while still acknowledging and building on the an educator, work with your school’s adminis- music’s rich history and traditional sounds. trators to organize events in which musicians This duality is evident in two stories in this can talk to students about jazz and discuss con- issue, both involving New Orleans, the birth- cepts learned on the bandstand that are applica- place of jazz. In our feature on the Preservation ble to everyday life. If you’re a student, let your Hall Jazz Band (see page 34), writer Jennifer teachers know that you want to participate in Odell examines how this ensemble has kept or organize a jazz concert or panel discussion. traditional jazz alive while also remaining All these activities can serve as a forum to wildly creative through unique collaborations. discuss the cooperative and improvisational On April 30, in ceremonies in New Orleans aspects of human interaction. We’ve already —and in dozens of countries—thousands of seen such forums succeed. Through the efforts people gathered to celebrate the inaugural of the U.S. State Department, bassist Ari International Jazz Day, officially recognized Roland is one of many musicians who travel by the United Nations Educational, Scientific the world as a jazz ambassador, playing con- and Cultural Organization (UNESCO) as a certs and promoting dialogue. Roland recently way to nurture dialogue and foster cooperation. told me, “Jazz is the ultimate vehicle for bring- (See our coverage on page 16 of The Beat.) ing people together.” Roland has watched this UNESCO Goodwill Ambassador Herbie happen over and over in numerous countries. Hancock, who participated in International Still, there are people who are resistant to Jazz Day events in both the Crescent City and jazz. I never get upset when someone says, “I New York City during the momentous day, don’t like jazz.” Here’s my standard response: spoke passionately about the power of jazz to “Jazz is a big umbrella. Perhaps you just haven’t cross cultural boundaries. heard the right kind of jazz yet. What type of This year’s events were a terrific start. But music do you like? Tell me a couple of artists that’s all they were—a start. Let’s begin plan- you love, and maybe I can introduce you to a ning right now to make International Jazz Day jazz artist that you’ll enjoy.” Then the person in 2013 an even greater success. Think about it starts talking about his or her favorite music. for a second—a special day, recognized around Then I talk about my mine. The next thing you the world, devoted to jazz. It’s an awesome con- know, we’re standing on common ground. I cept. By raising awareness of this new event, may not have instantly converted this person we can promote meaningful dialogue and help into a jazz fan, but at least I’ve hinted at the introduce new listeners, both young and old, to dangers of trafficking in generalities, and per- the transformative world of jazz. haps opened up someone’s mind just a tiny bit. So, what can you do? Begin by starting a It’s a start, and it could lead to bigger things. conversation with a co-worker or neighbor So mark your calendar. April 30 will be a about International Jazz Day. Let’s make sure great day to start some new conversations. DB Chords Discords Owens’ Impact Around 1967, somewhere in New York City, arriving from Canada and thirsty for jazz, I stepped into a club—the name of which I no longer remember—and I heard a young trumpeter. He sounded good and his name remained in my memory, surfacing every once in a while in DownBeat. Therefore, I was happy to see a feature on Jimmy Owens (“Seeking Justice,” May) and very interested to see how writer Geoffrey Himes clearly showed that a life known, successful artists like Art Blakey and in jazz is not necessarily one of fame and glitter. Charles Lloyd made it possible for a young, Through Owens’ altruism, he has given much unknown guy called Keith Jarrett to build the to other musicians in the form of advice on first fundamental pieces of his stellar career.