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. 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Box 11688, St. Paul, MN 55111–0688. CABLE ADDRESS: DownBeat (on sale April 22, 2014) Magazine Publishers Association. Á MAY 2014 Drummer Albert “Tootie” Heath (left), saxophonist Jimmy Heath and bassist Percy On the Cover Heath of the Heath Brothers perform with trumpeter Wynton Marsalis at New York’s Lincoln Center in 2001 (Photo: Jack Vartoogian/FrontRowPhotos). 28 Jimmy Heath Diz to Today BY DAN OUELLETTE The amiable 87-year-old saxophonist, educator, NEA Jazz Master, big band leader and elder statesman in the Heath Brothers group is optimistic about the future of jazz as he keeps “the continuum” going. Features 28 36 Danilo Pérez See a Little Light BY TED PANKEN Cover photo of Jimmy Heath shot by Jimmy and Dena Katz in New York City 42 Regina Carter Mining History BY PHILLIP LUTZ 5-Star Review 46 Keb’ Mo’ +++++ ‘No Genre Will Claim Me’ BY AARON COHEN SPECIAL SECTION 97 2014 International Summer Festival Guide 56 The Bad Plus 58 Glen David Andrews 59 Mehldau/Guiliana 65 Sun Ra 75 REED SCHOOL 76 Your Next Horn: Today’s Departments Pro Model Saxophones BY ZACH SOLLITTO 10 First Take 20 Players 51 Reviews 84 Master Class Sons of Kemet 142 Jazz On BY BRANFORD MARSALIS 12 Chords & Discords Simona Premazzi Campus 86 Pro Session Jacques Schwarz-Bart 146 Blindfold Test BY MAURO DI GIOIA 15 The Beat Brian Culbertson Antonio Hart 88 Transcription Phil Woods Alto Sax Solo 90 Toolshed 6 DOWNBEAT MAY 2014 First Take BY BOBBY REED Herbie Hancock and his band performing at the 2010 Newport Jazz Festival DOUGLAS MASON ‘Festive’ Winners Get Creative WE ASKED FOR YOUR LETTERS, and you responded. In the November issue of DownBeat, the First Take column announced that we would hold our inaugural “Get Festive Contest” in which we asked readers to email us their most memo- rable jazz fest anecdotes. The emails poured in, and we’ve sent five winners a DownBeat T-shirt. There were so many great tales that we couldn’t possibly publish them all, but we’d like to share one in particular here. Reader David Gutmann related the story of how he got bit by the Newport bug and kept returning. Gutmann wrote, “I am one of those impossible people to buy birthday pres- ents for. Cleverly, 11 years ago, my wife decided that the best way for me to celebrate another year would be to sojourn to Rhode Island for the Newport Jazz Festival. I cannot think of a better gift for an ardent jazz enthusiast. I have listened to some of the world’s best music there, and personally met some of the nicest practitioners of the art form. Some of my favorite memories include: meeting Hank Jones and Herbie Hancock; posing with Joe Lovano for my 50th birthday; watching my daughter talk to Jamie Cullum and Luciana Souza; hear- ing Tony Bennett duet with Dave Brubeck on ‘That Old Black Magic’; and, most importantly, sharing these precious moments with my wife and daughter. In 2008, I was reading George Wein’s autobiography, and decided to bring it to Newport, hoping to have the grand master sign my copy. I approached him and asked if he would oblige me. He smiled and in a gruff voice said, ‘Well, did you like it?’ My answer is simple: I cannot listen to a jazz recording now without feeling the soft breeze of Narragansett Bay, hearing the song of the seagulls, and reliving the sweet ambiance of Fort Adams State Park. Thank you, Mr. Wein, for the wonderful memories—past and future.” If that letter doesn’t make you want to hit the road for a jazz festival, noth- ing will. For an insightful look at Newport Jazz Festival founder George Wein, as well as a description of the special events celebrating the fest’s 60th anniversary in August, check out our annual International Summer Festival Guide, starting on page 97. We’ve also got a feature on the 30-year history of Canada’s always intriguing FIMAV festival, and detailed listings for fests all over the world. Our festival listings begin on page 104, and the color orange for a fest name indicates that there is an advertisement for that fest within the guide. Each list- ing contains lineup info along with a website address, so if you’re interested in attending a fest, be sure to go online to get recent updates and the complete artist lineup. As usual, in 2014 DownBeat will be sending correspondents to cover fes- tivals throughout the world. They’ll be reporting online and in print. Are you hitting a fest this year? If so, be sure to tell us about your “festive” adventures by sending an email to editor@downbeat com. Thanks in advance for sharing your thoughts with us. DB 10 DOWNBEAT MAY 2014 Chords Discords A Gig’s a Gig I applaud Steven Bernstein’s position that musicians should be free to take any gigs they like (“Spontaneous Arranging,” April). All professional musicians I know will rarely turn down a gig if they’re free and can use the money. This raises the question of music as a career vs. music as a hobby. After attending a recording session of some of my original music back in my college days, my saxophonist-clarinetist father chided me: “You play music for musicians. If you don’t play music for other people, you’re not going to make any money.” I’ve since decided to go the hob- by route to be free to play the music I like without concern for the finances. I’m satisfied with my decision, despite recent ribs from my teacher, composer John Harbison, who wished I had taken the career track. I knew I made the right choice at my wedding over 20 years ago, when I’d hired a pricey union band and the guitarist-bandleader called in sick a few days before. He sent Drew Zingg as a replacement. I thought, “If Steely Dan’s lead guitarist is playing at my wedding, at whose wedding would I play had I chosen the pro route?” ROBERT J. REINA [email protected] NEA Jazz Master Keith Jarrett speaking at Education Matters Jazz at Lincoln Center on Jan. 13 I love Keith Jarrett’s music. But his comments about jazz education at the Jan. 13 Jazz at Lincoln Center event came across as being disrespectful of Jamey Ae- bersold, a tireless advocate for the art of jazz (“Concert Honors NEA Jazz Masters,” April). Is this the same Keith Jarrett who, in the early 1960s, studied at the Stan Kenton Band Camp, held at Indiana University, and attended other jazz clinics during the same period? Thankfully, some of the nurturing from these jazz education opportunities stuck with him.