£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson 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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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 81, Number 3 is published monthly by Maher Publications, 102 N. Haven, Elmhurst, IL 60126-2970. Copyright 2014 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 February 18, 2014) Magazine Publishers Association. Á MARCH 2014 On the Cover 28 Dianne Reeves In Command, In Demand BY YOSHI KATO Whether through the lyrics to her original songs, the anecdotes she shares in concert or the material she chooses for her albums, the charismatic vocalist is fully in command of her acclaimed artistry. 28 Dianne Reeves onstage with the San Francisco Symphony on Dec. 11 (Photo: Mars Breslow) Features Cover photo of Dianne Reeves by Jerris Madison 34 Lou Donaldson Immersed in the Blues BY WILLARD JENKINS 38 George Colligan Tapping Into the Unknown BY MICHAEL J. WEST 42 Craig Handy 56 Jane Ira Bloom 59 Eric Reed 64 Irène Schweizer/ 67 Arild Andersen Pierre Favre Serious Fun BY ALLEN MORRISON Departments 46 Indie Life David Buchbinder Markus Gottschlich 8 First Take 53 Reviews 114 Toolshed Smoke Sessions 10 Chords & Discords 108 Master Class 118 Jazz On BY JEREMY COHEN Campus SPECIAL SECTION 13 The Beat 77 2014 International 110 Pro Session 122 Blindfold Test 22 Players BY MICHAEL PEDICIN Jeff Parker Jazz Camp Guide Karriem Riggins Listings for 101 112 Transcription David Krakauer John Scofield Great Camps Christine Jensen Guitar Solo Jason Anick 6 DOWNBEAT MARCH 2014 First Take BY BOBBY REED A student concert at Litchfield Jazz Camp DALE ROTHENBERG Campers Rule DAVE DOUGLAS, MATT WILSON, DIANNE REEVES, PHIL WOODS. Sounds like the all-star lineup for an awesome jazz festival, right? But it’s ac- tually a tiny portion of the long list of artists who teach youngsters through master classes, clinics and jazz camps. These artists “pay it forward” by offer- ing technical tips and sharing their hard-won knowledge with aspiring jazz musicians, just as they received invaluable instruction when they were young. In a wide-ranging interview with Reeves for our cover story (starting on page 28), the in-demand vocalist discusses her recent triumphs and reflects on the early years of her career. As a teenager in her high school’s jazz band, she met trumpeter Clark Terry and later benefited from spending time with musical titans like Sir Roland Hanna and Louie Bellson. Reeves referred to those experiences as being in “fertile soil.” She flourished in an environment that helped her grow into an artist who has now won four Grammy awards and routinely sells out auditoriums around the world. In our sidebar with Reeves on page 32, journalist John Murph recounts a master class that Reeves taught last year at the Kennedy Center in Washing- ton, D.C. For teenage vocalists who are still developing their craft, reading this article will be like taking a mini master class. The notion of “fertile soil” is what jazz camp is all about. Every year, our In- ternational Jazz Camp Guide assembles detailed listings of camps along with articles aimed at campers. For this year’s edition, Senior Contributor Aaron Co- hen addresses a fundamental question in his feature “Why Go to Jazz Camp?” If you are a student who is considering attending your first camp, check out that essay and dig into our descriptions of more than 100 camps. It will en- able you to make an informed decision. At the very least, going to camp can be a fun, fruitful experience that allows you to make new friends. But it can also be something much, much more. It can be a life-altering experience that transforms your ability to improvise, listen, lead and cooperate—skills that are enormously important both on and off the bandstand. Few endeavors are more noble than teaching a child how to play an in- strument—not because he or she might become the Duke Ellington of the 21st century—but because making music will exponentially enrich young players’ lives as well as the lives of those they interact with for decades to come. At places like Litchfield Jazz Camp in Connecticut, world-class artists such as saxophonist Wayne Escoffery and pianist Helen Sung help kids develop their chops. It’s like getting baseball instruction from a World Series champ or attending a fiction-writing workshop with a Pulitzer Prize winner. Only a minuscule percentage of the thousands of kids who go to jazz camp in 2014 will end up with a career as a professional musician or educa- tor. But whether one becomes a pro musician or not, the unique camarade- rie that jazz camp offers is a feeling that one never outgrows. The life lessons stick with you. And if you’re an adult who is jealous of all the energetic teenagers who get to be campers, check out the feature “Not Just for Kids” (on page 94), which profiles several camps that cater to adults. This is a booming field, so you don’t have to look far to find a camp that is geared toward adults, or one that is open to learners of all ages. So, think about attending a jazz camp this year. It just might make you feel like a kid again. DB 8 DOWNBEAT MARCH 2014 Chords Discords Burrell Hall-bound? I have nothing against Pat Metheny and his multitude of followers, but I wasn’t exactly jumping for joy upon reading of his induction by the readers into the DownBeat Hall of Fame (December). You see, I can’t Kenny for the life of me understand why Burrell guitar master Kenny Burrell hasn’t yet achieved that recognition. True, Burrell never made a jazz- rock fusion record, never recorded for ECM, never played a 42-string guitar, never recorded an album of atonal guitar distortion, never appeared on a Japanese girl-pop album, never jammed with computer robots, and never participated in any jazz-hillbilly-avant-garde-klezmer-Pe- ruvian-folk projects. All Kenny Burrell has done is play bluesy, gim- mick-free, deep-swinging, pure jazz guitar better than anyone who has ever strapped on a Gibson. Shouldn’t the fact that he’s one of the greatest guitarists in jazz history be enough? Heck, he should be enshrined for his guitar tone alone! GORDON WEBB SANTA CLARA, CALIF. MARK SHELDON Hall Worthiness Awesome Octogenarian I have read a lot of interviews with Pat Why have you not reviewed the new album To- Metheny over the years, but the one in your getherness: Live At The Blue Note (Jazz Legacy December issue is by far one of the most Productions) by the Jimmy Heath Big Band? amazing and substantial.