JANUARY 2011 Volume 78 – Number 1 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser 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] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. 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Box 11688, St. Paul, MN 55111–0688. CABLE ADDRESS: DownBeat (on sale December 14, 2010) Magazine Publishers Association. Á 4 DOWNBEAT JANUARY 2011 january 2011 ON The COveR 24 Herbie Hancock Global Collaborator By JOHN EpHlAND Hancock is firm is his conviction that his latest CD release, The Imagine Project, 30 was not music-driven. In fact, the global scope of The Imagine Project echoes his comments about now seeing himself as being more than “just” a musician. In his 70th year on the planet, Hancock is truly celebrating his place in the world. FeatuReS 30 Dave liebman No Slowing Down By Ted PankEN 34 Sidewomen Of Soul Tia Fuller, Kim Thompson, Katty Rodriguez-Harrold, Marcie Dave Liebman Chapas & Crystal J Torres 2008 vashlishan Cover photography by Muse Media By DAN OuEllETTE 40 Best CDs Of 2010 5-, 4½- and 4-star Reviews from the Past Year DepartmeNTS 78 Jason Adasiewicz 83 Dave holland 92 the Rosenberg trio 94 Jane Monheit 8 First Take 10 Chords & Discords 13 The Beat 53 SPeCIAL SeCTION // JAzz SChOOL 16 vinyl Freak 54 Obstacles Overcome 66 Thief! 18 Caught Creative Arts High School, The Illegal Pirating of Jazz Camden, N.J. Books, Print Music and 20 players Educational Publications Geof Bradfield 57 Jazz On Campus Reaches Epidemic Proportions Orlando LeFleming Aaron Diehl 58 Master Class 68 School Notes WiTH DAvE DOuglAS Harold O’Neal 68 Transcription 62 Source uncovered For Dr. Martin Béla Fleck’s 5-String Banjo Solo 75 Reviews luther king Jr. Jazz Quote on “Joban Dna Nopia” 98 Blindfold Test 64 pro Session 70 Toolshed Dee Dee Bridgewater By JODy ESpiNA 6 DOWNBEAT JANUARY 2011 first take | By ED EnRIght herbie hancock, alumnus of the School of Miles Davis Courtesy of Muse Media Courtesy School of Jazz n this month’s cover story, Herbie Hancock explains how he went to the School of Miles Davis. Of course, he didn’t study formally with jazz’s legendary Prince of Darkness; rather, Hancock learned by osmosis from the many experiences—musical and otherwise—he shared with the Itrumpeter as a member of his historic quintet starting in 1963. Most of us aren’t so lucky, or so gifted, to have ever received such an education from one of jazz’s most brilliant visionaries. Sure, we learn plenty of valuable lessons from our mentors and contemporaries, both on the band- stand and off. But the world of academia offers one of the best educational resources available to us: formal jazz training, starting in middle school and high school and continuing up through the college and university level. The musicians among us who study jazz frequently supplement our classwork by doing homework that we assign ourselves: transcribing solos off records, attending master classes by professionals who come through town, jamming with jazz playalongs, pursuing various types of independent study, taking private lessons, just spending time with our instruments—es- sentially, woodshedding. With this month’s annual Jazz School supplement, beginning on Page 53, DownBeat aims to help ambitious jazz musicians help themselves by dedicating a special section of this month’s issue to the noble discipline of practicing jazz. Jazz School opens with a success story from Creative Arts High School in the economically depressed town of Camden, N.J., an unlikley place for a fledgling jazz education program to thrive. A Master Class with Dave Doug- las, who was in town this fall for a clinic at nearby Elmhurst College, provides insights into the art of composing as well as some hard-earned wisdom from the trumpeter. We check in with Juilliard’s performance-based jazz program 10 years after its hard-won inauguration and share a surprising discovery by researchers in the jazz department at William Paterson College regarding the original source of Dr. Martin Luther King Jr.’s famous jazz quote. The wood- shedding portion begins with a Pro Session by saxophonist and clinician Jody Espina on learning to solo by paraphrasing the greats, followed by an intrigu- ing Béla Fleck banjo solo courtesy of Jimi Durso, our go-to guy for transcrip- tions. I take a serious look at the growing online epidemic of pirating jazz publications, print music products and educational materials in a piece that we simply call “Thief!” And be sure to check out our Toolshed review of a cool new piece of equipment geared toward the education market. Add to that our profile of saxophonist Dave Liebman, who is among the most distinguished jazz educators working today. He will be honored as an NEA Jazz Master this January, and we extend our congratulations. There’s the bell: Jazz School’s in session. Happy woodshedding. DB 8 DOWNBEAT JANUARY 2011 chords & discords Lose The Cursing I’ve been a subscriber for more than 10 years. It’s obvious that I’m a jazz enthusiast and fan of your publication. However, I’m extreme- ly disappointed with your article on Paul Motian. There is no need for the filthy potty mouth language to write an article. You can get your point across just the same without it. I surely don’t need to read a piece peppered with cuss words to appreciate the subject. I would be remiss not to mention this isn’t the first time I’ve witnessed this in DownBeat. I’m hoping it will be the last. If not, I’ll be more than happy to end my subscription. KevIN MCINTOSh MIChIGAN Bad Vibes I was quite dismayed about the fact that there was no “Vibes” category in this year’s Readers Poll (December). My parents always told me that the vibes was a hard instrument to get recognition for: I knew that I should have become a Colombian harpist. cember). However, we’re puzzled by John McDonough’s assertion that our previous CD MIChAeL BeNeDICT GReeNvILLe, N.Y. output consisted primarily of something we did 15 years ago with a youth jazz orchestra Editor’s note: That slight was unintentional and in London. In fact, during that time we’ve ap- the category will be included on next year’s ballot. peared together and separately on more than 40 albums, with artists including Jazz at Lincoln Trio Booster Center Orchestra, Randy Brecker, Lionel Loueke, I felt compelled to write and totally disagree Matt Garrison, David Binney and John Mayer. with all of the reviews of the Trio of Oz (“Hot BRAD AND eLLIOTT MASON Box,” November). I am big fan of piano trios, NeW YORK CITY and this disc contains some of the most inven- tive and enjoyable trio music that I have heard McDonough: Go-To Guy in a long time. Paul de Barros complains I have returned to the August issue several about the lack of melody in the modern songs times and profited in rereading of numerous and in true DownBeat fashion he references articles.