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DOWNBEAT.COM
NOVEMBER 2015
DOWNBEAT JOHN SCOFIELD DEE DEE BRIDGEWATER AARON DIEHL ERIK FRIEDLANDER FALL/WINTER FESTIVAL GUIDE NOVEMBER 2015
NOVEMBER 2015
VOLUME 82 / NUMBER 11
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CONTRIBUTORS
Senior Contributors:
Michael Bourne, Aaron Cohen, Howard Mandel, 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. Jackson, Jimmy
Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom
Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin Tolleson;
Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow,
Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay:
Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael
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Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev
Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama;
Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South
Africa: Don Albert.
NOVEMBER 2015
ON THE COVER
24 John Scofield
Past Is Present
BY PHILLIP LUTZ
34
personal album yet.
GREG MILES
FEATURES
Dee Dee Bridgewater (left) and Irvin Mayfield
30 Aaron Diehl Cover photo of John Scofield and Joe Lovano shot by Jimmy and Dena Katz at
Birdland in New York City. Info for this venue is at birdlandjazz.com.
The Well-Tempered Pianist
BY ALLEN MORRISON
38 Erik Friedlander
Saluting the Mozart of Jazz
BY BILL MILKOWSKI 47 Arturo OFarrill 48 Enrico Rava 53 John Fedchock 66 James Brandon Lewis
No Boundaries
JAZZ EDUCATORS TODAY OFTEN DISCUSS THE IMPORTANCE of being able
to play a variety of types of music. That advice isnt intended to downplay the
importance of mastering the fundamentals of jazz and developing improvisational
chops. But rather, it addresses the reality that it can be tough to make a decent
living as a musician. Many working musicians nowadays are able to thrive because
they have one foot firmly planted in the jazz world, but theyre also flexible enough
to play a session of pop, r&b, hip-hop or classical music.
In our October issue, in a feature on the University of Miamis Frost School of
Music, the schools dean, Shelly Berg, said that one of his institutions goals is to
engender a culture of respect for all types of music. He also described the way
that Frosts jazz and classical music majors frequently perform together.
For many working musicians today, its all about ignoring boundaries, playing
music that they love, following their creative pursuits, and tapping into multiple
genresall while being mindful of the need to pay the rent.
This issue of DownBeat spotlights a number of musicians who have the ability
to play in a variety of settings and in multiple styles. Our feature on Erik Friedlander
(page 38) is a fascinating look at a widely respected jazz improviser whose pri-
mary instrumentcellois one that many listeners associate with classical music.
In his work as a bandleader
and as a collaborator with a Erik Friedlander
diversity of artists, including
John Zorn, Friedlander has
shown an adventurous spirit
and opened peoples ears to
what a cello can do. His latest
leader album, Oscalypso, is a
tribute to one of his heroes,
jazz cellist and bassist Oscar
Pettiford. See our sidebar on
page 40 for an overview of
the intriguing yet tragically
short life of this jazz icon.
In our Players section,
we profile another import-
ant jazz cellist, Tomeka Reid
(page 22). Her background
in formal studies of the clas-
sical repertoire has greatly
informed the genre-blend-
ing music that she makes
today. Reid is an artist to
watch, as evidenced by her
RACHEL STERN
R. ANDREW LEPLEY
entirely. Our earsboth aesthetically and
physicallyneed the relief.
BOB JACOBSON
BALTIMORE
Redd Defense right is his praise for bassist Jay Anderson and
I am writing to express my disagreement drummer Billy Drummond. Both play at a high
with Bob Doerschuks 2-star review of Freddie level throughout.
Redds Music For You (July). Doerschuk nega- I hope that Doerschuks wrongheaded re-
tively portrays the economy of Redds playing. view doesnt dissuade anyone from picking up
Redd has never been one to sacrifice expres- Music For You. It is a warm, engaging album by a
sion for the sake of displaying his virtuosity, so master pianist, and it deserves to be heard.
to say that he plays very sparely misses the
JUSTIN VARGO
point. As a pianist who has been working at his JVJAZZ@LIVE.COM
craft for so long, Redd has pared his playing
down to the essentials. Thus, what Doerschuk
calls a painfully cautious opening to Cher- Roneys Ratings
okee comes across as a thoughtfully playful In the June Blindfold Test with Wallace Roney,
way to begin a song that is otherwise uptempo. the fact that he gave ratings of star to 2
Doerschuks statement that Redd sounds at stars to seven out of the 11 tracks says more
times a bit lost is preposterous. This album is a about the reviewer than the music being re-
program of well-trodden standards and a Redd- viewed. Talk about a tough audience! Mr.
penned blues, and a player of Redds caliber and Roney reminds me of a teacher I had in high
experience easily knows his way around these school: He wouldnt give you an A grade if you
standards and many more. His knowledge of were Albert Einstein.
the tunes shines through in his comping. Rather
than distract the listener, as Doerschuk states, DENNIS WATSON
MACOMB, MICHIGAN
the way that Redd touches upon the melody of a
tune behind his bandmates solos, like on There
Will Never Be Another You or All The Things
You Are, enriches the performance.
Sounding Off
Doerschuk also criticizes the way that the Thank you for the review of the Brecker Broth-
songs are structured, citing the way that the trio ers album The Bottom Line Archive, which was
approaches the tunes as proof that this album recorded live in 1976 (Historical column, Sep-
is about looking back, maybe a little wistfully. tember). I caught that band many times back
While the trio may not break new ground in us- in the day; they were on fire!
ing a general formula of theme/solos/trading/ Also, regarding that issues cover story, I still
theme, it is a classic, artistically valid formula. dont understand why some folks dig Ornette
Furthermore, Doerschuks focus on music that Coleman. His playing always sounded off
Redd made 50 or 60 years ago indicates that it to me. I would rather listen to Jackie McLean,
is Doerschuk who appears to be looking back, James Spaulding, Charles McPherson, or most of
while ignoring Redds progression as an artist all, Eric Dolphy!
and unfairly giving short shrift to his latest al- STEVE SICILIANO
bum. About the only thing that Doerschuk gets MRSTEVENYC@GMAIL.COM
The
Inside
14 / San Jose Jazz
Summer Fest
15 / Joey Alexander
16 / Karrin Allyson
18 / European Scene
Ethos of Unity
A
lthough many contemporary musicians shy away from political themes
in their work, drummer-composer Kendrick Scott is not one of them.
We Are The Drum (Blue Note), Scotts fourth album as a leader, address-
es themes of racial and social injustice. The impressive program was influenced
by hip-hop, electronic music and Miles Davis groundbreaking 60s quintet.
Scotts bandmates in his quintet Oracle are saxophonist John Ellis, keyboardist
Taylor Eigsti, guitarist Mike Moreno and bassist Joe Sanders.
Scott has worked as a sideman with saxophonist Charles Lloyd, trum-
peter Terence Blanchard and vocalist Luciana Souza. Additionally, he is in
the supergroup Our Point of View with keyboardist Robert Glasper, trum-
peter Ambrose Akinmusire, tenor saxophonist Marcus Strickland, gui-
tarist Lionel Loueke and bassist Derrick Hodge.
Why did you title your new album We Are The Drum?
The album isnt a drum-centric record, but I wanted to create an ethos of
togetherness. And what better way to bring people together than a drum?
Thats what the drum circle was created around, that communal aspect. And
in the times we are living in, anything we can do to embrace common themes
that unite us and make us more empathetic, I want to bring that to light.
crossing leaves Southampton on Aug. 1, 2016, poser in the manner of Gerald Wilsona
and an eastbound crossing departs New York mentor and frequent employer during a
on Oct. 26, 2016. cunard.com decade-long apprenticeshipincorporating
into his works details and Afrocentric ges-
Whale of a Show: Live From the Blue Whale, a
tures that to this newcomer evoked, among oth- Washington hesitated. Im trying to decide which
weekly 30-minute television series showcasing ers, the Arkestras of Sun Ra and Horace Tapscott; song were going to play, he said, before settling
artists from the realms of jazz, blues, hip-hop, mothership-oriented post-James Brown 70s funk on Cherokee. Over a beat that seemed a hybrid
funk and soul, began airing Sept. 20 on the All and soul bands; and contemporary hip-hop. between reggae and J Dilla, Quinn sang the lyric
Music Television Network. Produced by Freder- Washington writes for a close-knit cohort of in half-time, focusing on the perspective of the
ick Smith Jr. and hosted by jazz radio personali- generational contemporaries who operate collec- brave Indian warrior, an emphasis cosigned by
ty LeRoy Downs, the show features interviews tively and thoroughly understand his intentions. intimations of Hugh Masekelas Grazing In The
and performances captured at the Blue Whale Several are highly trained instrumental virtuo- Grass in the horn backgrounds. Quinns reading
in downtown Los Angeles and at festivals sos who operate in multiple musical spheresfor was soulful and persuasive, reminiscent of June
around the globe. allmusictelevision.net whom jazz is one flavor among manyand who Tysons function back in the day with Sun Ra.
treated their solo opportunities in San Jose more Quinn launched The Rhythm Changes, fea-
Tribute Projects: Two noteworthy tributes as set pieces than responses to the moment. turing metaphysical lyrics (Somehow, no matter
to historic jazz figures were released this fall. Washington led a scaled-down edition of his what happens, I am here. Our love, our beau-
Reedist Oran Etkins salute to Benny Goodman, bandRyan Porter, trombone; Cameron Graves, ty, our genius; our work, our triumph, our glory;
Whats New? Reimagining Benny Goodman piano; Miles Mosley, bass; Lyndon Rochelle and I wont worry what happened before meI am
(Motma), features the leader on clarinet, Tony Austin, drums; and Patrice Quinn, vocals. here.). The lyrics seemed to encapsulate one
bass clarinet and saxophone, pianist Sullivan The first selection, Askim, opened with a big aspect of Washingtons vision, and yet he interpo-
Fortner, vibraphonist Steve Nelson, drummer invocational chord. Quinn intoned a mantra, then lated a Bird-centric Anthropology quote mid-
Matt Wilson and vocalist Charene Wade. unisoned with Washington and Porter over a roll- way through his solo.
Saxophonist Rob Reddy honors Sidney Bechet ing vamp that brought forth memories of Pharoah It will be interesting to track how this individ-
on Bechet: Our Contemporary (Reddy Music), Sanders cusp-of-the-70s collaborations with ualistic artist continues to balance the jazz bona
with support from trumpeter John Carlson, Leon Thomas. On the album version, the choir fides that give him flexibility to move freely within
trombonist Curtis Fowlkes, violinist Charlie and orchestra frame a guitaristic bass solo with other genres and the showier colors of his palette,
Burnham, cellist Marika Hughes, guitarist Mar- cinematic grandeur; this iteration opened with and if Brainfeeder continues to position him as a
vin Sewell, bassist Dom Richards and drummer
Porters trombone solo. Washington started with a Hollywood superhero who will uplift jazz from its
Pheeroan akLaff. motema.com; robreddy.com
lyric motif out of the Coltrane-Sanders playbook, purported aesthetic doldrums. Ted Panken
MRCIA LESSA
ful Sofia Jernberg) that gave a decidedly different voice to the
Scandinavian jazz inferno. Henry Threadgill (left), John Lindberg, Marcus Gilmore and Wadada
Leo Smith play at Lisbons Jazz em Agosto festival on Aug. 8.
Fortunately I was afforded another opportunity to hear
Gustafsson play two nights later when he appeared with his wonderful- understated noir surprises. At the festival, they were still willing to play to
ly named Swedish Azz, a thoroughly contemporary (slightly disturbed is form, but with more heated intensity. Butchers tenor overtones melded well
how he put it from the stage) band paying homage to Swedish jazz stars of the with Rodrigo Pinheiros ringing piano.
1950s and 60s, including Here Comes Pippi Longstocking composer Jan Butcher plays his best when couched beyond (or below) the extreme. But
Johansson and bari player Lars Gullin, as well as Quincy Jones, who spent he has buckets of technique. One of his most memorable passages involved
considerable time in Sweden during the early part of his career. him playing blurred glissandi over the trios driving staccato, and he made
If not faithful, it was nevertheless a loving tribute in the reverent-upend- a strong showing on soprano in an extended duo with bassist Hernani
ing-of-tradition mold practiced by Otomo Yoshihides New Jazz groups. Faustino, a highlight of the set.
Original themes and alien tones emanated from Dieb 13s turntables, while Trumpeter Wadada Leo Smith presented the European concert premiere
swing came in spurts from the sax and vibes. Turntables were a big part of the of his Great Lakes Suites, leading a stellar quartet with Threadgill, bassist
show, but co-leader Per Ake Holmlanders tuba and rarely seen cimbasso (a John Lindberg and drummer Marcus Gilmore (rather than DeJohnette, who
type of trombone with rotary valves) kept the music anchored in its origins. played on the album version released by TUM last year). Despite the quar-
The festival also hosted two other exemplary saxophonists: John Butcher tets high-profile personnel, this collaborative set wasnt about star soloists.
and Henry Threadgill. Butcher appeared with the Lisbon-based RED Trio. The music was broad and deep and occasionally sparkling, befitting the huge
Their 2011 collaboration, Empire (No Business), struck serene moods with bodies of water for which the pieces are named. Kurt Gottschalk
PETER GANNUSHKIN
NICK FINZER
SARA VONHOLD
Revitalizing the Heritage
T
rombonist Nick Finzer, 27, keenly recog- Heights neighborhood of upper Manhattan, close the color, he said. Lucas is someone who pursues
nizes the ebbs and flows of the jazz idiom. to where he has lived since arriving in New York the highest level of musicianship, improvisation
He appreciates its fluidity as pop music in 2010. He was friendly and asked me if I had and harmony. Its inspiring to see. So this song is
melds into the straightahead language of the jazz my horn. It was in the car. I remember it was in about what it takes to pursue music in New York,
legacy. But hes taken a different road for revitaliz- February when the temperature gets to 10 degrees to pursue the goals and dreams, to pursue the tra-
ing the heritage of jazz for the modern age. below zero. So I went out to get my trombone, but I dition of jazz. Its a rocky road, traveled at a fast
I dont want to abandon the tradition, said had to wait a while for it to warm up before I could pace with shifts of being uneasy and not settled.
the tall and slender Finzer, who plays his instru- play for him. He was great. He invited me to New Nicks music has really evolved, said Pino,
ment with a combination of fat-sound power and York to take lessons and later he wrote music for leader of the unconventional No Net Nonet, which
rich lyricism. I want to continue to swing, which me and my band. He helped me with my Juilliard includes Finzer. He stills works on technique
really wasnt in the air for my generation. But hip- audition, and he always comes to my shows and hes an excellent trombonistbut the further
hop wasnt part of my influence. I want to keep gives me pointers. away we get from school, we are digging deeper
jazz alive by incorporating sounds and emotions A fan of bandleader Maria Schneiders music, into our lives to discover what it means to be an
that are part of today. Finzer would sell her namesake orchestras CDs at artist. Thats where Nick is. Hes confident being
That flies true on his spirited second album, her annual Thanksgiving shows at the Jazz Standard. himself musically. Hes taking risks. His compo-
The Chase (Origin), where swing dominates and Thats where he established a friendship with band- sitions are very thoughtful. Hes thinking about
his 10 original compositions sway with curves and leader and arranger Ryan Truesdell, another import- the tradition and the art form as well as his col-
flow with colors. All of these songs have a story ant figure in his artistic development. Ryan allowed leagues. That motivates me. He forces me to
behind them, and I wanted to capture a specific me the opportunity to play with his band, Finzer keep pace so I wont get left behind.
feeling, Finzer said. For my first record [2013s said. He became another sounding board, and he While Finzer is only playing a few dates to
Exposition], I used a more academic approach, also opened the door to Gil Evans music for me support the release of The Chase due to his band
controlling the musicians who played the music. [showing] how the orchestration has a passion members busy schedules, hes not idle. A few days
This time, theres less of me and more of my group. behind it, beyond the notes. after our conversation, hes heading to Australia as
Like Duke Ellington, who wrote with a range of Both of Finzers albums feature the same line- a sideman with pianist Scott Bradlees immense-
emotions, I write music for the members of the upreedist Lucas Pino, guitarist Alex Wintz, ly popular New York-based Postmodern Jukebox
band. That serves the emotion I was going for, and bassist Dave Baron, drummer Jimmy Macbride show of pop covers performed in a quasi-jazz style.
the sessions were more relaxed and free-flowing. with the exception of pianist Glenn Zaleski join- Theres also an increasing demand for pro-
The focus was on passion and energy, versus tech- ing in for The Chase. Some of the more dynam- grams from the education-based Institute for
nical execution. ic tunes on the album showcase Finzer with his Creative Music (ifcmusic.org), which Finzer
A Rochester, New York, native who went to longtime friend Pino in the front linedoing a co-founded and for which he serves as artistic
Eastman School of Music and earned a gradu- trombone-bass clarinet dance through Search director. The institute presents tours and work-
ate degree at Juilliard, Finzer was mentored by For A Sunset, weaving bone-sax conversations shops with young musicians to teach them how
Wycliffe Gordon, whom he met after hearing on the catchy Spheres Of Influence and speed- to improvise, as well as lessons on teamwork and
him perform as a high school junior. My moth- ing together through the rollicking title track. technology. We focus on improvisation in gen-
er forced me to go up to him after his concert and Finzer points out that the title track was writ- eral with jazz bands, choirs, classical performers,
introduce myself, he recalled, sipping a Coke at ten with Pino in mind. There are tons of guys rock bands, Finzer said. We teach students how
the Hungarian Pastry Shop in the Morningside who play tenor and bass clarinet, but Lucas adds to take it to the next level. Dan Ouellette
SULLIVAN FORTNER
PHILIPPE LVY-STAB
Just Being Who I Am
S
ullivan Fortners life changed in Indianapolis to have it a month latereven if we dont play it,
on March 28, when he won the American Fortner said a few days after returning to New York
Pianists Associations Cole Porter Fellowship from a European tour with Hargrove.
competition over a high-profile, high-talent peer Fortners style began to take shape during pre-
group: Kris Bowers, Emmet Cohen, Christian adolescence, when he played piano and accompa-
Sands and Zach Lapidus. His victory raised the nied the choir at King Solomon Baptist Church in
thorny question of what the 29-year-old New New Orleans, where his mother was choir direc-
Orleans native did that the other musicians didnt. tor. The jazz bug bit at New Orleans Center
I felt the competition was Sullivans to lose, of the Creative Arts after the late Clyde Kerr Jr.
said pianist Fred Hersch, who teaches Fortner exposed him to Erroll Garners Concert By The
and Cohen privately, and has also worked with Sea. Even though Fortners classmates included
Bowers. Sullivan has a quiet command of the such future jazz stars as Jon Batiste, Trombone
material and the piano, never just for display. Shorty and Christian Scott, he performed pri-
His improvisations are organic and risky, and he marily in church, playing jazz mostly with outcat
has the pianistic resources and intelligence to tell elders Kerr and Kidd Jordan.
good stories. As much as I respect the others, hes a Later, while studying at Oberlin Conservatory
notch more spontaneousa notch better. of Music, professors Gary Bartz and Billy Hart
Herschs assessment was echoed by Etienne offered a birds-eye view of New Yorks hardcore
Charles, who has worked extensively with Fortner, cutting edge. Fortner graduated in 2008, then
Bowers and Sands. Sullivan seemed the most entered the masters degree program at Manhattan
comfortable, the trumpeter said. Like Kris and School of Music, where Jason Moran focused him
Christian, hes interactive; hell immediately flip on solo piano playing as a way to expand concep-
an idea upside-down, to show you his perspective tual scope.
on your ideas. He develops solos in the style of a Fortner describes his core principles as a
two-part invention, as though each hand is a dif- belief in swing, the power and the majesty of
ferent musician and then they become a band. the blues and the importance of the language
Fortner had a modest response to the victory. as a means of communicating from a band per-
In his view, the result depended on how the judg- spective. He cites advice from pianist Rodney
es felt that day. He added, Maybe I won because Kendrick, who initially recommended him to
I played as I normally play. My concept of music Hargrove and to Jean-Philippe Allard, head of the
isnt about competition. Its just being who I am. Impulse! label.
These qualities animate Fortners impressive Rodney told me that in order to really play
leader debut, Aria (Impulse!), on which he this music, youve got to dig through the corny
uncorks thematically fluid solos, suffused by what stuff, Fortner said. Dig through hypepeople
Charles described as an innate joie de vivre, on five telling you whats hip, things that dont connect
originals and five interpretations. emotionally. Im very patient and I try to take in as
He has honed his formidable be-yourself mus- much as I can. If Im trying to understand some-
cle over six years with trumpeter Roy Hargrove. thing, Ill spend a lot of time on it. I wont leave
Roy teaches the piece by ear, and he expects me until I get a firm enough grasp. Ted Panken
TOMEKA REID
TONY SMITH
On the Right Path
C
lassically trained cellist Tomeka Reid bilities, and drummer Mike Reed encouraged Reid
doesnt mind when she plays octaves that to become a leader. When she joined the Association
are slightly out of tune. That wasnt always for the Advancement of Creative Musicians, the
the case. But nowadays, she plays the cello with a organization reignited her imagination.
great degree of freedom, and the result might be The AACM provides a platform to try out
funk, jazz or chamber music. things, Reid said. I came from school where it
Elements of multiple genres are blended into was, You have to study composition! Noif you
the pieces she composed for her namesake quar- hear a song [in your head], write a song.
tets self-titled disc on the Thirsty Ear label. The In addition to composing material for her
new albumrecorded with bassist Jason Roebke, quartet, Reid writes songs for various combina-
drummer Tomas Fujiwara and guitarist Mary tions of strings in the trio Hear In Now, where her
Halvorsonis the product of a recent surge in percussive attack complements the work of violinist
Reids self-confidence. Mazz Swift and bassist Silvia Bolognesi.
I play and sometimes its crazy, Reid said at a On the quartet disc, Reid spontaneously inter-
coffee shop in Chicagos Woodlawn neighborhood. twines her lines with those of Halvorson.
Sometimes its melodic, sometimes its rhythmic I like Marys approach, so I give her license to
and sometimes I might try to approach some bebop do as she pleases, Reid said. I like the smoothness
line and get pissed off I cant do it. But then I discov- of the cello against her crunchy sound, but I can do
er, I like that soundhow can I use it? that, too. So we can have crunchiness together.
Reids musical discoveries began when she On Aug. 20, Reid conducted the AACMs Great
was growing up outside of Washington, D.C. As Black Music Ensemble for the premiere of her 10-song
a late starter in a French immersion elementary suite In Spite Of, We Thrive at Chicagos Millennium
school, songwriting provided a safe space where Park. This ambitious piece, which includes sitar and
she didnt have to worry about saying the wrong oud arrangements, reflects her views on unjustified
word in a foreign language. police killings and the Black Lives Matter movement.
Music was my little world I created, Reid Reid took part in a different AACM-affiliated
said. I got this other girl to sing with me and concert when she joined saxophonist Roscoe
we had a tape recorder. Wed go to a room in the Mitchells quartet for a performance at Chicagos
library and cut our demo. I was 8 or 9 years old. Constellation on March 27. That setfeaturing
Reids inventive impulses gradually were sup- Mitchell, Reid, bassist Junius Paul and drum-
pressed when she began playing cello and studying mer Vincent Davisis documented on the album
the classical repertoire at the University of Maryland. Celebrating Fred Anderson (Nessa).
After she started investigating jazz, Reid met flut- Roscoe just goes for it, and you have to go for
ist Nicole Mitchell, who convinced her to move it, too, Reid said. Being recognized by an AACM
to Chicago in 2000. There Reid found a network elder like that is awesome: It makes me feel that
of supportive musicians. Mitchell and singer Dee Im on the right path and I have to keep working
Alexander showed her new improvisational possi- hard. Aaron Cohen
JIM CAMPILONGO
JOE FERRUCCI
Blending Genres
idea: Music is really timeless, and the whole thing The latest manifestation of that exploratory down embellishment in general. All of which,
of timeyou start to wonder what the hell it is. impulse is a project focused on country music. Swallow ventured, suggests a plan to interpret the
Here we are, these guysweve played togeth- Still in the early planning stages, Scofield has music in a remarkably straight manner.
er for years and know each other from decades selected his bandmates for the upcoming record- Scofield, he suggested, was drawn to countrys
agoand its just the now that counts. But the now ing sessions: Larry Goldings on piano (and pos- element of direct statement, a willingness to say
wouldnt be the now without all that other stuff. sibly organ), Brian Blade on drums and Swallow simple things clearly. And I think his immersion
Scofields respect for that other stuff is on bass. His plan for treating the songs is, at this in that music is a logical step in his development.
revealed in a curiosity about the vernacular that point, less clear, save for one thing: I want to Its probably true of many prodigiesand he was
extends beyond the newest new thing. Over the stretch on them. a prodigythat the project of growing up in his
past decade, he has delved deeply into the music Scofield has been quietly circling country art has been a process of subtraction more than
of Ray Charles, with Thats What I Say (Verve), music and its variants for years. While it may be one of addition.
and gospel, with Piety Street (Universal Classics), hard to imagine an artist with a predilection for Scofield echoed that sentiment, viewing the
along the way revisiting his particular brand of idiosyncratically shaped phrases focusing on a process of subtraction as a necessary counter to
fusion, with berjam Deux (EmArcy). genre known for adherence to conventional form, the occupational hazard of overplaying. Ive had
On the first two of those albums, he variously he has occasionally introduced country tunes into to work at whatever chops I have, he said. So I
enlisted an impressive lineup of practitioners his sets, such as George Jones 1962 hit A Girl I
worked on them and sometimes I went over the
associated with New Orleans, including Dr. John, Used To Know.
line a bit and played too much. Its a jazz musi-
Aaron Neville, George Porter Jr. and Jon Cleary. On Past Present, Chap Dance is notable for
cians disease. I may do it a lot, but its always a bal-
On the third, he recruited Israeli guitarist and what Scofield termed a faux Western quality. Its
ancing act.
sample-meister Avi Bortnick. title, he said, derives from the conventional image
Such projects hark back to a youth of eclectic it conjures of Rodgers & Hammersteins musi- If you just play pretty, youre running the
exploration in suburban Connecticut. By the cal Oklahoma!Broadway dancers dressed up risk of losing a really important element thats
70s, I had already been learning to play bebop, in chaps and cowboy hatsthough Scofields available to you as a jazz musician, which is to
he said, but before that, as a kid, I had been part pitch-warping proclivities might, in this context, slam it. But if you just slam itif youre losing
of folk musicjust looking at a guitar and learn- strike some ears as ironic. the songwhats the point of being there?
ing D and G and C chords. Along with that, I was The funny thing is, he said, jazz and Tellingly, he has carried out a conspicuous act
researching the blues. And that led me to checking Broadway and all this music has taken from the of subtraction for Past Present, laying aside his
out bluegrass and some classical guitar. Western cowboy. Its in there, from Aaron Copland pedals and playing through an old Fender amp.
His choice of instrument, he said, helped to Ornette Coleman. He might also have mentioned That dovetails with an ongoing attempt, in the
determine his destiny as an artist of wide-rang- Sonny Rollins 1957 classic Way Out West, which wake of tragedy and in the presence of an old
ing tastes. If I had been a trumpet player, it would includes Johnny Mercers Im An Old Cowhand. friend, to shake off artifice and tell the story of a
have been, Theres classical and theres jazz. But Scofield, Swallow said, has passed along coun- life, unadorned.
with guitar, you can listen to Segovia and Doc try-music compilations to him. And Scofield has I hope its getting more honest and more sim-
Watson and Robert Johnson and Tal Farlowand discussed with him an approach to vocabulary, ple, he said of that story. More to the point, any-
you do if youre serious about it. one avoiding the language of bebop and playing way. Thats what Im striving for. DB
A room of his Harlem home. Before him is his pride and joy, a 5-foot, 7-inch 1986 Steinway model
M that he recently purchased.
Strewn around the room, within easy reach, are well-thumbed books of print music: Art Tatum
transcriptions, Bla Bartks Mikrokosmos, a Thelonious Monk fakebook. Were talking about
his development as a jazz pianist, so the conversation turns to one of his greatest yet most unusual
inspirations: Mister Rogers Neighborhood.
One of my earliest introductions to jazz was through that program, Diehl says, referring to the
sparkling, virtuosic piano of Johnny Costa, who was the late Fred Rogers longtime musical director
on the childrens TV series, which aired nationally in the United States from 1968 to 2001. I think
about this today, that we had childrens programming on TV where you heard jazz. [Costa] just had this
amazing technique and facility like Art Tatum. At one time, I thought, This must be Art Tatum. I went
as far as to email the people at Pittsburgh Public TV to ask if it was Tatum; they told me it was Costa and
sent me a CD of his music. Later, Diehls first jazz piano teacher in Columbus, Ohio, included Costa on
a list of piano greats to whom his 14-year-old charge should be listening.
Diehl admires and continues to be inspired by Fred Rogers on another level. He shows his guest a
YouTube video from 1969 of Rogers melting the heart of a skeptical U.S. senator, gently persuading
him to support an increase in funding for educational programming for children. The video has been
viewed more than 2 million times. Diehl explains its appeal this way: Its just that the guy appears so
unassuming, and his demeanor could be misconstrued as soft and weak. He presents his argument in a
very cool, collected and respectful fashion. To be able to win someone over like that senator in the space
ofwhat, six minutes?its an incredible lesson in temperament.
Diehls cultivation of a calm temperament, it turns out, is one of the keys to his singular artistic voice.
He has become a model of pianistic poise and self-mastery.
The classically trained Diehl is known for many things: his impeccable technique; his mentorship by
Wynton Marsalis, who famously took him on a European tour with his septet when the younger man was
only 17; his sartorial style; his abilities as a private pilot, sometimes flying himself to gigs; and especially
for his role as accompanist and musical partner to his close friend, singer Ccile McLorin Salvant.
Aaron Diehl at the 2014 Litchfield
Jazz Festival in Connecticut
of Todd Stoll [former director of the Columbus
Youth Jazz Orchestra, currently vice president
of jazz education at Jazz at Lincoln Center]. In a
lot of ways, Todd is why Im sitting here. [Diehl
relates how, as a member of that youth orches-
tra, he was able to compete in JALCs Essentially
Ellington national high school jazz band competi-
tion, where he came to the attention of Marsalis.]
When Mayfield, an avowed fan of the now Horace Silver, Bridgewater has often ventured into being able to share experiences that can turn a
65-year-old Bridgewater, invited her to perform concept-driven projects. Part of that tendency light on for them. I love that. That happened with
at the groundbreaking of his new work-in-prog- may circle back to her sense of theater, even in jazz Ambrose [Akinmusire, the trumpeter with whom
ress, the Jazz Market, she suggested they work up mode, and the importance of a thematic, cohesive she worked in the Monterey All-Star band in 2013]
a recording to commemorate the connection. That core in an albumor putting on a show. and, of course, Theo Croker, who I produced [for
casual album, recorded in Esplanade Studios, I have always thought of myself as an artist his album AfroPhysicist], and his whole band.
turned into her first new album in five years. first, she says. I dont ever want to repeat myself. That happens with the musicians in NOJO,
During the Grammy Museum set, the pair I cant stand doing the same thing. I constantly too. I recently told them, Listen gentlemen, I am
and their band touched on key tunes from the need to challenge myself, to put myself into some from the jazz world. We dont play the same thing
album, including Harry Connick Jr.s wry ode to new musical setting. twice. You guys are going to have to come to the
lust, One Fine Thing, Big Chief (a duet with Dee Dees Feathers will help advance a truer table. You cannot be lazy with me and play the
Dr. John on the album) and her sassy rework- view of the richness of the musical loam with- same solos. That does not work. To the drum-
ing of St. James Infirmary. They also called in the New Orleans aesthetic. Apart from sophis- mer [Adonis Rose]who I loveI said, Adonis,
up Mayfields re-harmonized take on What A ticated arrangements and her own distinctive you gotta change this stuff up for me. I need you
Wonderful World. way with owning whatever song she takes on, in my ass. I need that in my butt. Ive got to feel
Two weeks before the Grammy Museum eve- Bridgewater also delves into some experimen- it. Theyre saying, Dee Dee, I never knew I could
ning, Bridgewater sat down for a long, reflective tal terrain on the title track and Congo Square, play like that. So its a beautiful experience, and
lunch interview at a hip eatery in the Los Feliz channeling her ability to call up various voices, in Im also realizing the influence that I can have.
area of Los Angeles. Arriving in her flower-print a hypnotic, layered effect. Mayfield confirms that Bridgewater has had
dress and floppy hat finery, she was surprised to Mayfield remembers those moments in the an emboldening effect on his 13-year-old NOJO.
learn that the special of the day was the Mini Fried studio when Bridgewater organically tapped into From a leadership standpoint, he says, you can
Oyster Sandwich, in honor of National Oyster the legacies of the Black Mardi Gras Indians, the never make an orchestra like someone or appre-
Day, according to the waiter. Get the fuck outta energies connected to the historic meeting place ciate someone or follow someone. Whether its a
here, she laughed. Even here on this day, way out Congo Square, and other New Orleans sources in symphony orchestra or a big band, they are only
west, an apropos New Orleans spirit was in the air. the course of her improvised vocals. We didnt going to follow the true leader, the true conduc-
At the time, a week before the U.S. release of have to have any deep conversations about this, tor. And Dee Dee Bridgewater is the real deal. We
the album, Bridgewater was home between legs of he said. We collaborated on it and she went and see it every night. These guys will follow her wher-
touring Europe, and she was high from the reac- recorded it. I said, Why dont you go back and do ever she goes, because she is the ultimate leader.
tion abroad, where the album had been released some more parts on it? Hearing her sing with her- A scan of Bridgewaters bio reveals a portrait
earlier. She enthused that its the first time I can self, I wish you could have been in the studio to of a multifaceted individual: the Grammy-
say we are truly making a joyful noise. You see the witness that. It sounds amazing on a record, but winning jazz singer, the Tony-winning musi-
transformation in peoples faces. Its like it soothes its amazing all by itself. cal theater actress-singer, a radio personality (on
the people. Its an experience. Thats what each Her relationship with the youngish NOJO NPRs JazzSet with Dee Dee Bridgewater) and a
concert turns into, with people saying, Oh my players operates on a level playing field, but producer, whose latest success was her work with
God, were going to New Orleans. also comes tinged with her natural mentorship trumpeter Croker. But at the center of the circu-
Among her 16-album discography, and espe- instincts attached. Im enjoying being at the age itous story, life as a jazz vocalist has always been a
cially since 1995s Love And Peace: A Tribute To that I am and working with young musicians, and natural byproduct and goal.
ROLAND ROSSBACHER
new interpretations. Erik put a lot of thought into
the arrangements and the feel of each piece, many
of which are reductions. So that helped strip away
some of the expectations we all had approach-
ing these works. He was very careful about what
Friedlander, who has become a Pettiford The reason that Michaels on the record is that his instruments played on what sections, and he
scholar in recent years, raved about the structure sound and his approach are just so right for the broke the quartet up into different duos and trios,
and logic of Pettifords lines, exemplified by such record, said the cellist. You can kind of hear the like on our version of Tricotism.
lesser-known tunes as Pendulum At Falcons history in his playing. Its not completely modern, I think his style really shines through in this
Lair, Cello Again and Cable Car (co-writ- its got echoes of tradition, and his approach is so music as you hear both his incredible bowing,
ten with Sonny Clark). As Friedlander put it, His in the pocket. And yet, it is a new feeling, and har- which is just so lush, but also his interesting pizz
plucked, pizzicato lines are so hip. And theyre so monically he kind of stretches you a little bit. So he work, Blake continued. Either way, he keeps
clear, like crystal. Hes like the Mozart of jazz. was the right guy. surprising us with which one hell choose. Using
Joining Friedlander on the front line for this Blake said he was excited to be involved in the either technique, he always swings hard, steer-
labor of love, blowing tight unison and harmony Pettiford project for several reasons. I had been ing the music along like a bassist might. Erik plays
lines on those tricky Pettiford heads, is saxophon- yearning to record some specific music from the with heft and really attacks phrases. I like that
ist Blake, who brings a distinct old-school quali- bebop lexicon, he said. I love playing unison as a saxophonist because it is more in the nature
ty to the proceedings in his tone and attack on the lines with cello and tenor, and I love the way O.P. of the instrument in jazz to play with some bite.
instrument (a quality also showcased on his own and saxophonist Lucky Thompson [who record- Especially when dealing with some of Pettifords
2014 leader project for Sunnyside, Tiddy Boom). ed a well-known version of Tricotism with more sentimental themes, Erik dug in and found
10 brothers and sisters. The family moved and Lucky Thompson, vibraphonist Milt
to Minneapolis when he was 9 years old Jackson, pianist Bud Powell and drummer
and he soon began performing around the Kenny Clarke.
Midwest. Pettiford picked up bass at age In February of 1949, Pettiford joined
14 and began developing his own system Woody Hermans Second Thundering Herd,
of playing the instrument that involved a where he started utilizing the cello as a visual
strong melodic concept as well as a mus- gag, though he soon became smitten by the
cular approach to covering the bottom end. little instrument. He remained in Hermans
Frustrated by his lack of gigs, Pettiford band for ve months and the following year
gave up playing the bass by age 19 and joined a sextet co-led by drummer Louie
took a day job but was later encouraged Bellson and trumpeter Charlie Shavers.
to return to music by veteran bassist Milt Between 1953 and 1956, Pettiford played guitarist Attila Zoller and either fellow expa-
Hinton, who came through Minneapolis with with such great pianists as Bud Powell, triate Clarke or Jimmy Pratt on drums. That
Cab Calloways band in 1942. Two months Phineas Newborn, Horace Silver and year, Pettiford was involved in an auto acci-
later, Charlie Barnet hired young Pettiford, Thelonious Monk, appearing on Monks dent that fractured his skull. He returned to
and by May 1943 he made the leap to the rst three Riverside albums (Thelonious the scene, playing with a metal plate in his
Big Apple, where he began playing with Monk Plays The Music Of Duke Ellington, head. From late 1959 until 1960, Pettiford
saxophonist Coleman Hawkins. His brilliant The Unique Thelonious Monk and Brilliant performed with Stan Getzs quartet at the
melodic bass solo on Hawkins hit record- Corners). From 56 to 57, Pettiford led his Montmartre Club in Copenhagen.
ing of The Man I Love was an indication own big band, and in early 1958 he played Pettiford made his last public perfor-
of things to come from the young bassist. on Sonny Rollins trio outing for Riverside, mance on Sept. 4, 1960, at an art exhibit in
In November 1943, Pettiford and Dizzy Freedom Suite, with Max Roach. Copenhagen. The following day, he was taken
Gillespie co-led the rst bebop band on By September 1958, Pettiford had relo- to a hospital. He had contracted a virus similar
52nd Street at the Onyx with tenor sax- cated to Copenhagen, Denmark, where he to polio, and he fell into a coma. Pettiford died
ophonist Don Byas and drummer Max performed with saxophonist Hans Koller, on Sept. 8, 1960, at age 37. Bill Milkowski
Critics Comments
Dont panic. That blast of clawing abrasion, solo static and turntable whiplash is by choice, perhaps to bridge
the beauty/ugly duality. But ugly is still ugly. Less so are the Dali-esque bends in pitch and dynamics and
zithery virtuoso flourishes that tweak the ear here and there. John McDonough
Her first solo album spotlights the lyricism thats always pumped blood through her experimental romps.
Those trademark textural gambits come into play, and the strong melodies (Ida Lupino) provide a great
framework. Jim Macnie
Halvorson has created an original guitar style that usually depends on her own compositions, so this solo out-
ing on others tunes is a refreshing break. Ranging from the startling distortion of Oliver Nelsons Cascades,
through sitar-like microtones on Ornettes Sadness, a heartbreakingly glacial take on Ellingtons Solitude
and a dry, near-acoustic strum on Roscoe Mitchells Leola, Halvorson is a pure improviser who takes the
listener to new states while never letting one forget the essential guitarness of her music. Paul de Barros
This is mostly a smart, cohesive but fairly standard trio set with a few jokers in its deck. Wildwood Flower
steers a sharp detour into rural backcountry territory and finds some unexpectedly pungent paths. But
Walters vibrato-less vocal at the end is downright creepy in its androgyny. Some dazzling McBride on Tsaglis
Lean, though. John McDonough
Mixed programs can ask a lot of the audience, who have to make their way through the juxtapositions. This
one is diverse in the extreme, but great at its nucleus. Not sure the interlude fragments workthey break up
an already patchwork-like selectionand vamp tracks like Iz Beatdown Time are a bit less magnetizing, but
theres so much juice and brainpower, its invigorating. John Corbett
Autobiographies of musical influence are fraught with pitfallsamong them the mix of disparate genres and
potential listener indifferencebut fiercely talented keyboardist Evans keeps things lively and coherent here,
from his oblique spin on bebop (All The Things You Are) to standards (Autumn Leaves), hip- hop (Jewels
& Baby Yaz) and country music (Wildwood Flower). But the album is too long and the electronically remixed
interludes imply a superstructure that isnt really there. Paul de Barros
The series of individual moments that flourish and explode is impressive, but its the blend of sounds and
coordination of approaches that make these pieces stack up to a cohesive whole. Jim Macnie
I applaud the collegial and human impulse behind this project, celebrating and supporting a fellow musician
when hes incapacitated. Webers importance in the ECM legacy is indisputable, though hes less known than
friends like Garbarek and Metheny; this portrait captures his attention to hue and tune, featuring recorded
shards of his bass playing, which you either like or really dont. John Corbett
Collaborations between live musicians and archival tape often come off as gimmicky, but thanks to Pat
Methenys exquisite sense of compositional form and gracious respect for Webers music, the half-hour cen-
terpiece of this project is nothing short of elegant. While the music occasionally becomes solemn and grand,
the short pieces (Tbingen, Notes After An Evening) are lovely. Paul de Barros
Alexander puts some swing back into the music in this remarkably unaffected fling. The tempos are alive and
alert, keeping the musician skipping in a lively step. With The Chief, Mabern offers that rarity in jazz today:
an original composition that actually seems to be composed of something. John McDonough
Reminds me of an early 60s Prestige session, with too much reverb on the horn. Everyone sounds terrific,
especially Martino and Mabern (check the opening to his The Chief for flinty brilliance). Alexander is weighty
and buoyantand always on the mark. John Corbett
Sometimes its so straight it sounds pat. But Alexanders normal teems with such vitality that its hard to turn
away. Sometimes you can actually hear his commitment ghosting the quartets interplay. Jim Macnie
Speaking In Tongues: At The Fair; Hymn; Straw Hat; Split; Filhos De Gandhi; A Pebble In Still Water; Celebrating Fred Anderson: Song For Fred Anderson; Bernice; The Velvet Lounge; Hey Fred; Ladies
Free At Last; A.M.; No One To Follow. (47:35) In Love; Cermak Road. (70:03)
Personnel: Luciana Souza, vocals; Lionel Loueke, guitar, vocals; Grgoire Maret, harmonica; Massimo Personnel: Roscoe Mitchell, alto saxophone, soprano saxophone, sopranino saxophone; Tomeka
Biolcati, bass; Kendrick Scott, drums, percussion. Reid, cello; Junius Paul, bass; Vincent Davis, drums.
Ordering info: sunnysidezone.com Ordering info: nessarecords.com
Don Braden
Luminosity
CREATIVE PERSPECTIVE 3003
++++
On his latest disc, Don Braden gets personal.
Luminosity is a wonderful 10-track program fea-
turing songs inspired by memorable moments in
the saxophonists life. The resulting album is like a
musical scrapbook. As Braden turns the pages, he
makes good memories sound great.
In the liner notes, Braden makes clear that he
is thankful for the music in his life. The saxophon-
ist decided to pursue a full-time career in jazz
while he was an engineering student at Harvard,
and that sense of appreciation is palpable on this
disc. Here, he appears with longtime collaborators connection for Braden. When my daughter was
the Organix Quartet (Dave Stryker on guitar, Kyle little, I watched [the film] many times with her
Koehler on organ and Cecil Brooks III on drums), and was consistently moved by the beauty and
as well as two guest artiststhe silk-toned trum- optimistic tone of this song, he says in the liner
peter Claudio Roditi and the vivacious alto saxo- notes. Here, he plays the tune on flute. Its a breezy,
phonist Sherman Irby. uptempo waltz that retains all the awe and won-
The group coalesces nicely to bring Bradens der of the original, while adding a refreshing dose
remembrances to life. On The Time We Shared, of swing. The album closes with Herbie Hancocks
a swaggering soul tune, Stryker crafts terse, Driftin, a tune that Braden says makes me
heart-stirring phrases that frame the poetry of smile every time I hear it. Luminosity will have
Bradens emotive sax solofitting, as the song the same effect on you.
was inspired by a poem written by one of Bradens Brian Zimmerman
students. On Jive Turkey, which was written for
Luminosity: Luminosity (First Steps); Jive Turkey (West Side);
a student band Braden worked with New Jersey, Bud Powell; Do Love Me Do; The Time We Shared; I Could Write
Brooks athletic groove captures the songs sense A Book; Chelsea Bridge; Walkin The Walk; A Whole New World;
Driftin. (60:31)
of fun and exploration. Personnel: Don Braden, tenor saxophone, flute (9), alto flute
Listeners might be surprised to hear A Whole (4); Kyle Koehler, Hammond B-3 organ; Dave Stryker, guitar; Cecil
Brooks III, drums; Claudio Roditi, trumpet (7); Sherman Irby, alto
New World, from Disneys animated film saxophone (10).
Aladdin, on this disc, but it, too, has a personal Ordering info: donbraden.com
DREW REYNOLDS
Get You Out Of My Mind,
then transform the concert
hall into a hot-aired Turkish Barrence Whitfield (center)and The Savages
bath occupied by a young
audience that looks startled by the musics inten- the duos consistently fine instrumental craft tends
sity. The sheer power of Walkers vocals and guitar to be eclipsed by Fayes vocals, which show little
work magnifies his confidence as he sweats his instinctive kinship with the blues, and often come
way through top-grade songs of hard experience off as sultry and attitudinizing. Ballantines lead
like Ike Turners You Got To Lose and his own vocal on a reordering of the old spiritual Standing
Lost Heart. Penalized a half-star because of im- In The Need Of Prayer has a more personal than
perfect film production. postured point of view. They have good fun treat-
Ordering info: mvdvisual.com ing the catchy ditty Blues For A Crappy Day.
Barrence Whitfield & The Savages, Un- Ordering info: vizztone.com
der The Savage Sky (Bloodshot 230; 35:47 David Michael Miller, Same Soil (Food For
+++ ) Boston transplant Barrence Whitfields The Soul 54:57 +++ ) In western New York
unwavering commitment to raw, pulverizing r&b state, singer-guitarist-bandleader David Michael
reaches fabulously hysterical levels. His maniacal Miller recognizes Southern blues, soul and r&b just
ravingindebted to Little Richard and Screamin as assuredly as he puts his own spin on the genres
Jay Hawkinshas its match in original Savages to present a modern roots-music vision. Doing Me
guitarist Peter Greenbergs icepick-through-the- In, Doing Me Wrong belongs to Muddy Waters
cranium riffing. A dozen wild tracksa grab bag Chicago, yet carries a surprisingly fresh spirit. Go
of Greenberg-scribed peculiarities and new dem- Them Blues projects an aisle-dancing church rap-
olitions of obscure old material from the likes of ture with pastor Miller packing a heaven-bound
Timmy Willis and Kid Thomassuit an outrageous slide guitar that quotes an angelic Jimi Hendrix.
dance party that would have the Bride of Franken- These and nine more blues or mixed-genre songs
stein and her date Jerry Lee Lewis gyrating to The are well-crafted and full of empathy.
Claw to the point of collapse. Ordering info: davemillermusic.com
Ordering info: bloodshotrecords.com The Nightowls, Fame Sessions (Super
Nicole Willis & The Soul Investigators, Sonic Sounds 001; 31:37 ++) Austins little big
Happiness In Every Style (Timmion 12001; band proves that recording on special American
49:10 +++ ) On her third album in a 1960s music turf, Muscle Shoals FAME studios, is no
soul-blues-r&b groove, this Brooklyn native now guarantee of a good album. Despite walk-ons by
living in Helsinki sings original tales of romantic legends Spooner Oldham and David Hood, this
security, hope and ruin like she meant every word. album sounds as if it could have been made any-
No matter that her strength of personality is slight where. The central figure is Ryan Harkrider, whose
compared to 60s royalty Aretha Franklin, Gladys vocals dont begin to encompass superior soul or
Knight and Candi Staton, even second-level sing- soul-blues singing, lacking both churchy uplift and
ers Mable John and Lorraine Ellison. Willis compo- earthy sensuality. The band sticks with fair-to-mid-
sure is perfect for Paint Me In A Corner, a minor dling in-house material.
triumph improved by a sparkling vibraphone and Ordering info: wearethenightowls.com
funk guitar; several more originals are nearly as en- Christian Collin, Spirit Of The Blues
joyable. Making a good impression, the Soul Inves- (C-Train; 52:35 +++ ) Based in Chicago but
tigators (five-piece rhythm section, five horns) no not a Chicago bluesman per se, singer and gui-
longer confine their lively yet muted retro sound tarist Christian Collin pledges his craft to musical
to the Petri dish. diversity on his second album. The results are con-
Ordering info: timmion.com vincing. Guitar-friendly shuffles, slow blues and
Andra Faye & Scott Ballantine, Coulda other song types carry the auras of Johnny Winter,
Woulda Shoulda (VizzTone AFSB 01; 46:34 Chuck Berry, Muddy Waters, Memphis soul and
++ ) An easy chemistry of folk, blues and coun- southern rock. Everything coexists without blan-
try exists between acoustic guitarist Scott Ballan- keting the bandleaders agreeable personality. Jen
tine and ex-Saffire fiddler-mandolinist-bassist An- Williams supporting vocals are a nice touch. DB
dra Faye on their first collaboration. Unfortunately, Ordering info: christiancollin.com
The two-disc recording of the orchestras per-
formance in Havanas Teatro Mella has a nostal-
gic auraboth in terms of the bulk of the music
played and the enthusiasm displayed by the musi-
cians and the audience. There is a slightly super-
fluous feel to the orchestras performance of the
Beny Mor bolero Como Fuefeaturing home-
town Havana hero Bobby Carcasssbut any
semblance of paternalism is overshadowed by the
joyous approach to the music.
The band also teaches subtle lessons about
jazz history. The prime example is Vincent
Gardners arrangement of Thelonious Monks
Light Blue, which emphasizes the advanced
chord placement and uses high-pitched reeds to
accentuate Monks unique sense of whimsy.
Jazz at Lincoln Center Elsewhere, the program ranges from the play-
Orchestra ful (animal imitations on Baa Baa Black Sheep)
Live In Cuba to the majestic (the closing The Sanctified Blues),
BLUE ENGINE 1 with an overall spirit of celebration. Marsalis is
++++ always at his best when he is spreading the gospel
Around the time that the U.S. State Department of swing, and he certainly sounds like he is play-
launched its jazz diplomacy program in 1955, ing to the converted in Havana.
the flow of influence between America and Cuba James Hale
was at its peak. American fun-seekers threw their Live In Cuba: Disc One: 2/3s Adventure; Baa Baa Black Sheep; In-
money around Havana and the countrys beach akis Decision; Sunset And The Mockingbird; Como Fue; Dali; Light
Blue; Braggin In Brass. (69:31). Disc Two: Limbo Jazz; Doin Y(Our)
resorts, and Cubans moved easily to Miami and Thing; I Left My Baby; Bearden (The Block); Symphony In Riffs;
New York, seeking employment, both on and off Spring Yaound; Things To Come; The Sanctified Blues. (68:06)
Personnel: Ryan Kisor, Wynton Marsalis, Marcus Printup, Kenny
the bandstand. Rampton, trumpets; Chris Crenshaw, Vincent Gardner, Elliot Mason,
Sixty years later, the U.S. and Cuba are still trombones; Walter Blanding, clarinet, soprano saxophone, tenor
saxophone; Victor Goines, clarinet, tenor saxophone; Sherman
taking baby steps toward reconciliation, so in Irby, piccolo, flute, clarinet, alto saxophone; Ted Nash, piccolo,
2010, when Wynton Marsalis took the Jazz at flute, clarinet, alto saxophone, tenor saxophone; Joe Temperley,
bass clarinet, baritone saxophone; Dan Nimmer, piano; Carlos
Lincoln Center Orchestra to Havana for a multi- Henriquez, bass; Ali Jackson, drums.
day residency, it was big news indeed. Ordering info: jazz.org/blueengine
Mark Winkler
Jazz And Other Four Letter Words
CAF PACIFIC 45125
++++
Whatever happened to West Coast cool? Its alive
and well, judging by the recent output of singer,
lyricist and all-around hepcat Mark Winkler. Hes
a laid-back song stylist whose swinging approach
would not be out of place in the ring-a-ding-ding
1960s, and his latest album, Jazz And Other Four
Letter Words, is a gas.
In the tradition of Dave Frishberg and Mose
Allison, Winkler is a hip, crafty lyricist with a
flexible baritone and dry-martini delivery. His
songs have been recorded by artists like Dianne
Reeves, Dee Dee Bridgewater and Jane Monheit
(he recently wrote lyrics to four songs for her Moon, a moving tribute to his life partner, and
recent duo project with pianist David Benoit). the closer, Stay Hip, in which he offers the fol-
One of the highlights in this well-chosen set is lowing sage advice to jazz fans: Dont forget the
Your Cat Plays Piano, which showcases his ones who came before/ And the ones before that/
off-kilter sense of humor: The thing I like the But keep your ears open to the latest hapnin cat.
most/ Is when your cat plays piano/ Mostly on the Allen Morrison
black keys/ And I could swear hes a jazzer/ Cause Jazz And Other Four Letter Words: My Idea Of A Good Time;
he will not play the melody . Im Hip; Nice Work If You Can Get It; Your Cat Plays Piano; I Chose
The Moon; Have A Good Time; I Wish I Were In Love Again; Jazz
The title tune is a tongue-in-cheek defense of And Other Four Letter Words; I Never Went Away; In A New York
jazz from its critics, in which he recites the many Minute/The Great City/Autumn In New York; Stay Hip. (46:37)
Personnel: Mark Winkler, Cheryl Bentyne (2, 7), vocals; Jamieson
four-letter words associated with it, including Trotter (18, 10), Rich Eames (9, 11), piano; John Clayton (2, 4, 7, 10,
Bird, Monk, Chet, Prez, Ella, Pops, Duke and Getz. 11), Dan Lutz (1, 5, 6, 8, 9), bass; Jeff Hamilton (2, 4, 7, 10, 11), Mike
Shapiro (1, 5, 6, 8, 9), drums; Larry Koonse (2, 10, 11), Pat Kelley (3,
Winklers passion for life, love and jazz 5, 6, 9), guitar; Bob Sheppard, saxophone (4, 7); Kirsten Edkins,
saxophone (6, 8); Walter Fowler, trumpet (6, 8); Bob McChesney:
emerges with some regularity from behind the trombone (6).
easygoing hipster pose, including I Chose The Ordering info: markwinklermusic.com
es and freight-train drums honoring the muscle of Personnel: John Wojciechowski, soprano saxophone, alto
trailblazers like John Coltrane and McCoy Tyner. saxophone, tenor saxophone; Ryan Cohan, piano, Rhodes; Dennis
Carroll, bass; Dana Hall, drums.
Ushered in by an ominous two-minute drum solo,
the band shows off their confident command. Ordering info: originarts.com
Mike LeDonne
AwwlRight!
SAVANT 422148
+++
On AwwlRight!, Mike LeDonne demonstrates his
deep knowledge of, love for and comfort with
the organ idiom as practiced by exemplars from
Jimmy Smith to Charles Earland. Working with
the regular members of the Groover Quartetthe
working ensemble he performs with at Smoke in
New York Cityand a pair of respected guests,
LeDonne revels in crisp, bluesy, swinging music.
The genre retains its fundamental charms, and
the players engage in a spirit of playfulness, thus
enlivening a program that offers satisfactions
though no surprises.
The repertoire here depends on breezy, socia-
ble melodies, taken mostly at a finger-snapping bassists case, thats natural: Cranshaw has always
pace (Mary Lous Blues is the one slow tune). been a subtle, self-effacing player, and LeDonne is
LeDonne uses his instruments reedy voicings for adept at walking his bass lines on the pedals. On
long-wending phrases and springy, juicy chords; trumpet, Pelt has a bright, clean approach that
guitarist Peter Bernsteins tonal clarity con- perfectly matches the Groovers. Virtuosity thats
trasts well with the organs more complex tim- made to sound easy, ideas that refresh even as they
bres. Tenor saxophonist Eric Alexander wields cohere to convention, the conviction that jazz as
his ax with forthright swagger, and drummer its long been is worth hearingits is even better
Joe Farnsworth keeps the tempo energized with- than all right. Howard Mandel
out any grandstanding. The benefits of working
together regularly are evident as the Groovers AwwlRight!: AwwlRight!; Love Dont Love Nobody; Never Can
Say Goodbye; The Boss; Let It Go; Mary Lous Blues; You Are So
attack Never Can Say Goodbye with consider- Beautiful; Hadley Joe. (55:48)
able speed: It never flies apart. Personnel: Mike LeDonne, Hammond B-3 organ; Eric Alexander,
tenor saxophone; Peter Bernstein, guitar; Joe Farnsworth, drums;
Special guests Jeremy Pelt on trumpet and Bob Cranshaw, bass (1, 5); Jeremy Pelt, trumpet (1, 5, 8).
Bob Cranshaw on bass dont stand out. In the Ordering info: jazzdepot.com
Ladies Night
NERVOs Collat-
Gina Izzo (left) and Erika
eral (Ultra 93176; Dohi of RighteousGIRLS
54:00 ++ ) rep-
resents the epito-
me of EDM in this
all-womens column.
(EDM stands for
Electronic Dance
Music, which could
also include trip-
hop, electronica,
house music and
ambient sound.)
Every song on this
CD is danceable,
and the material is
well produced. The
reigning vibe here
is no doubt an ath-
letic one. That said,
Australian DJ twins
Miriam and Olivia Nervos 15-track album tends enliven the mood. On Anzu, trumpeter Ambrose
to be generic and repetitiveeven derivative. The Akinmusire brings a kind of stillness to this expres-
opener Bulletproof, with guest artist Harrison sive chamber-like piece. The three instruments
Miya, suggests Phil Collins before the mesmerizing exchange ideas in a captivating musical give-and-
disco beat begins. A standout is the swinging yet take, like dancing of a different sort.
subtle Oh Diana. Best heard with headphones Ordering info: newfocusrecordings.com
with or without a dance floor. Irish singer/songwriter Risn Murphys
Ordering info: nervomusic.com Hairless Toys (Play It Again Sam 152; 50:00
Similarly, Little Boots Working Girl (Dim ++++ ) takes the EDM genre and makes hay
Mak 90219; 49:30 +++) is also true to the with eight originals, the danceable and the tuneful
EDM style. The 14-track album distinguishes it- songs like putty in her musical hands. Her subtle
self with creative touches, melodic invention and pop sheen is alluring, an invitation to the dance by
catchy choruses. The Debbie Harry voicings in way of the back door. On the peppy Gone Fish-
Help Too recall 80s synthetic rock with more ing, the playful beat is sassy and dreamlike, with
programmable, slightly more innovative beats and a bouncy rhythm that complements the melody
tempos. Little Boots (English DJ Victoria Christina instead of competing with it. Quietly compelling,
Hesketh) has clearly spent time developing this Murphys voice at times evokes a soft-spoken
music, as demonstrated by the romantic quality Dusty Springfield, even Aretha Franklin from a
of her songs. Desire is sing-songy and fun, while late-night-dance-party perspective. Murphys pop
No Pressure is slightly mysterious. Robust en- moments are many, such as the fetching keyboard
ergy powers the driving Get Things Done, and touches and lively attitude on the downright infec-
Little Boots slight voice manages to balance the tious Evil Eyes. But rhythmically, the currents can
musics heavier, more chromatic forward pres- get rough, as with the hearty, thrusting Exploita-
sure. Heard with headphones, delicate percussive tion. Murphys quiet voice works well in numerous
and keyboard touches to tunes like Taste It and settings, getting funky with Uninvited Guest and
Heroine remind us that with a little studio magic, even displaying a country air with the languorous,
simplicity can be not only creative but transportive sexy Exile.
and seductive. Ordering info: roisinmurphyofficial.com
Ordering info: littlebootsmusic.co.uk Los Angeles singer/songwriter Shana Hal-
RighteousGIRLS is the real qualifier here, ligan delivers yet another variation of creative
straddling the pop/indie divide. The duo claims EDM with the restrained, slow funk of Back To
that its sound is rooted in classical idioms yet Me (Plug Research; 56:30 ++++). Fifteen cuts
draws from other genres, and one of those in all, the tantalizing Something Real combines
genres is certainly pop. Their Gathering Blue a pop luster and a seductive plastic nature with
(Panoramic/New Focus 03; 55:39 ++++ ) is pure, primal emotion. Halligans singing holds in
revelatory. Flutist Gina Izzo and pianist Erika Dohi reserve but connects to some deep feeling. Been
excel as instrumentalists, and the 13 originals on Waiting suggests real pain; its melodic invention
their latest album are a study in contrast. On the and propulsive beat grab you by the ear, while
surface, they dont seem danceable, at least not Take You Home, with its slow funk and sultry
in the typical sense. But from the dark notes and honesty, almost make you think this is a blues al-
elliptical, frantic counterpoint of GIRLS to the bum in disguise. The slow-dance EDM crowd will
elegiac, gravity-defying Non-Poem I, the artist- love it. DB
ry is at times stunning. A number of guest spots Ordering info: shanahalligan.com
Stephen Haynes
Pomegranate
NEW ATLANTIS 015
++++
Its tempting to describe trumpeter
Stephen Haynes music in terms of his
long-term relationship with multi-in-
strumentalist Bill Dixon. It is true that
Haynes penchant for long tones and vig-
orous smears strongly resembles Dixons
brass voice, and that Haynes has a simi-
lar capacity to suggest openness in the space between notes.
But Pomegranates success derives influence from more widely known
bandleaders: Miles Davis and Duke Ellington. Each of the albums six piec-
es grows from bare scraps into deeply involved exchanges, much as Davis
music often did from his soundtrack for Ascenseur Pour Lchafaud onward.
And Ellington made hay by creating situations that elicited his musicians
individual strengths, just as Haynes does here.
This music reveals and capitalizes upon relationships, and some of its
most exciting moments come from the sideways whirlpools induced by Joe
Morris and William Parkers semi-private conversations. The album is also
enriched by virtuosic idiosyncrasies, such as the West African sonorities that
Morris gets by bowing his strings with a pick, the lung-busting tectonic rum-
bles of Ben Stapps tuba or Haynes own vocalized lines.
But no matter how unusual or intricate the playing, the compositions
never feel like theyre meant to put those qualities on display. Rather, they
contribute to the totality of the album, which feels like a world unto itself,
mysterious and complete. Bill Meyer
Pomegranate: Sillage; Mangui Fii Reek (I Am Still Here); Pomegranate; Becoming; Crepuscular;
Odysseus. (49:54)
Personnel: Stephen Haynes, cornets; Joe Morris, guitar; Ben Stapp, tuba; William Parker, bass, sintir,
bass shakuhachi; Warren Smith, drums, percussion, marimba.
Ordering info: newatlantisrecords.bandcamp.com
Will Herrington
Solace
SELF RELEASE
+++
Pianist Will Herrrington grew up in
New Orleans, and he aspires to the
great piano professors from the
Crescent City. His latest record, Solace,
is a collection of tunes in a mostly trio
format with the piano front and cen-
ter. His songs demonstrate a great
range of vintage and modern touches,
as well as plenty of New Orleans riffs to go around.
Most of the material here has a familiar, down-home sound, whether its
the gospel feel in Waiting For A Train or the rainy-day melancholy in
Bywater. Part of the appeal of Herringtons music is the density of his piano
playing, which is thick with chords and melodic motifs. Much like the great
New Orleans pianists James Booker and Henry Butler, his solos run up and
down the keyboard in surprising, novel ways. Just when you think hes about
to finish a phrase, he adds another idea or two.
Herrington clearly has the bluesy piano feel down pat, and the songs here
are pretty and soulful, but the album could have benefited from some more
variety. Special guest Ambrose Akinmusire adds some excitement, playing
stirring, powerful trumpet on both Elegy and Ballad Of Marie Laveau.
For fans of New Orleans piano, this will be a welcome addition. Herrington
can play, and he has Jon Cleary, Dr. John and Davell Crawford to thank for
that. However, based on this record, his identity as a pianist seems built
upon the formidable voices of others. For his next record, he should focus on
strengthening his own. David Kunian
Solace: Jockamo; Bywater; The Chief Speaks; Elegy; Waiting For A Train; Restoration; Dont You Come
Struttin In Here; Ballad Of Marie Laveau. (36:38)
Personnel: Will Herrington, piano; Jon Richards, bass; Andrew Boyle, drums; Ambrose Akinmusire,
trumpet (4, 8); Kiel Feher, percussion (8).
Ordering info: itunes.com
Sammy Figueroa
Imaginary World
SAVANT 2151
+++
Afro-Latin percussionist Sammy
Figueroas fourth album as a leader
is a silken ride of simpatico grooves,
stylized ethnic rhythms and nimble
soloing in terrain as breezy and burn-
ing as a Miami sunset. Much of the
albums kinetic flow is owed to drum-
mer David Chiverton, who brings a
streamlined attack to every track. His
sparse fills and punchy funk patterns hold the music together as Figueroa
adds spice and texture above. Imaginary World also features the great
Brazilian guitarist Chico Pinheiro, who brings his lovely textural picking to
Figueroas slick Latin mix.
Figueroa told liner notes writer Fernando Gonzalez that he was tired of
the macho posturing, the showing off inherent in many Afro-Latin albums.
To that end, Imaginary World percolates with the kind of simmering low-
key intent that, while edgy and hard-hitting, never stoops to animalistic
chest-pounding. In a way, its the West Coast cool equivalent to East Coast
hard-bop. The music never loses its composure amid its arid pulse. Opener
Bittersweet is an example of this albums hybrid funk and Latin brew.
Chiverton displaces pianist Silvano Monasterios piano solo like a 20-limbed
octopus as Figueroa charges ahead. The title track is a subtle blowout. The
groove is as light as air, with Chiverton and Figueroa cautiously stoking the
rhythm furnace. A breakdown follows, drums and percussion driving hard-
er as the song nears climax, again and again. Ken Micallef
Imaginary World: Bittersweet; Waiting For You; He Didnt Know; Flow Of The Universe; The Jumping
Blue Jay; Imaginary World; Alegria; Mysterious Energy; Cuidado. (50:40)
Personnel: Sammy Figueroa, percussion; Silvano Monasterios, piano; Gabriel Vivas, bass; Troy Rob-
erts, saxophone; Alex Pope Norris, Cisco Dimas (1), trumpets; David Chiverton, drums; Chico Pinheiro,
guitar (5, 8).
Ordering info: jazzdepot.com
Jeff Hackworth
The Heart Of The Matter
BBM 1007
++
Beefy-toned tenor saxophonist Jeff
Hackworth starts the party with his
Big Bad Boogaloo, and soon after,
standard organ quartet fare ensues.
Funky drummer Vincent Ector
and organist Kyle Koehler perco-
late, and Dizzy Gillespie alum Ed
Cherry contributes classy guitar solos.
Hackworth has a rubbery, joyous
sound and plays strongly on the beat, no doubt why tenor legend Houston
Person endorses him.
But sometimes his righteous timing can be a little cloying, and too often
he cleaves to the rails when he should be running free. Still, Hackworth has a
scrabbly, playful side to his technique that isnt otherwise pedantic.
His ballad playing doesnt necessarily go anywhere but offers honest vul-
nerability as it should on a title like Fool That I Am, which has an arpeggiat-
ed coda riff reminiscent of Bennie Wallace. 3rd Avenue Blues is a leisurely
skate in waltz time, and another Hackworth original, Sweet Tea, is quietly
compelling, though the solo falls short. On the title cut, Hackworths phras-
es are a little blunt, but heartfelt nonetheless. The closer, Osvaldo Farrs Tres
Palabras, carries a similar melody to Besame Mucho, and underscores the
yearning in Hackworths palette, characterized by rangy playing in both low
and high register. In many ways, Hackworths approach is buoyant and dis-
arming, but these particular ears crave more negotiation between the cracks
of the rhythm. Michael Jackson
The Heart Of The Matter: Big Bad Boogaloo; Fool That I Am; That Old Black Magic; 3rd Avenue
Blues; September Song; Sweet Tea; The Heart Of The Matter; Mr. Gentle And Mr. Cool; Tres Palabras.
(60:02)
Personnel: Jeff Hackworth, tenor saxophone; Ed Cherry, guitar; Kyle Koehler, organ; Vincent Ector,
drums.
Ordering info: jeffhackworth.com
Michael Blum
Commitment
SELF RELEASE
+++
Winner of DownBeats 63rd Annual Critics Poll
in the Rising StarGuitar category, Michael
Blum is only 21 years old, yet he shows the skill
and maturity of a veteran. His sophomore album,
Commitment, is an album of smartly chosen stan-
dards and original material.
New listeners may be discouraged by
Commitments opening tracks, Pick Yourself
Up and Heres That Rainy Day. Though Blums
vocals are pleasant in these songs, you really want
to hear his guitar. You have to wait for the third
track, bassist Jim Stinnetts Dark Snow, before
that request is granted, and even then you must
wade through a long electric bass solo to get there. Other highlights: Blum burns though Birds
Finally, Blum delivers with sweet, rounded Kim, performs gracefully on Like Someone In
notes that recall Johnny Smith and a broad melod- Love and scorches a clean solo on Mr. P.C.
ic sense that brings to mind both Kenny Burrell Though Blums stellar guitar playing is any-
and Barney Kessel (though the overly loud bass thing but highlighted on Commitment, it rises
detracts from Blum, who is squashed to the right above the sonic muck often enough to point to an
channel). exceedingly bright future.
The odd sonic approach continues in Blums Ken Micallef
Houston, where the guitarists solo follows a Commitment: Pick Yourself Up; Heres That Rainy Day; Dark
turn by saxophonist Fred Haas. Blum is a crafty, Snow; Houston; Kim; How Deep Is The Ocean; Redwood; Like
Someone In Love; Stutter Step; Mr. P.C. (54:21)
dark-hued accompanist, but shouldnt his guitar
be front and center? Blum smokes a dulcet solo Personnel: Michael Blum, guitar, vocals; Jim Stinnett, acoustic
here, with Wes Montgomery-style chordal jumps bass; Grant Stinnett, electric bass (5); Brad Smith, piano; Fred Haas,
saxophone.
augmenting his fluid picking. Ordering info: michaelblumguitar.com
Anthony Strong
On A Clear Day
NAVE 624571
++
Stevie Wonders Higher Ground,
Michael Jacksons Dont Stop Till You
Get Enough and Bill Withers Use
Meas finger-snapping swing? Well,
why not? Thats the case being made
on the latest disc from British vocalist/
pianist Anthony Strong. And to that
end, the singer is relentless.
His voice is bright and vibrant, and so are his piano chops. And you cant
argue with the arrangements on this album, Strongs fourth as a leader and
first for big band. His approach serves him well on standard swingers like
the title track or What Is This Thing Called Love. And at the bridge of
Whatever Lola Wants, the singer loses his head in a dementia of swirling
reeds. But the pop fare can be less convincing. Elvis Costellos Baby Plays
Around, for example, sounds like diluted Sinatra, and even a standard like
The More I See You feels weighed-down. To be fair, Dont Stop Till You
Get Enough has an infectious Afro-Latin groove, and there are some stand-
out solo spots throughout, including Nigel Hitchcocks blistering alto on
Nothing Like You. Of the handful of Strong originals (written with Guy
Mathers), That Kind Of Guy pops with Louis Prima-like jump. If anything,
Strong makes the case that it might possible to swing a little too much.
Jon Garelick
On A Clear Day: On A Clear Day; Whatever Lola Wants; As Time Goes By; Nothing Like You; Unforget-
table; The More I See You; Higher Ground; Baby Plays Around; That Kind Of Guy; When It Moves You;
Dont Stop Till You get Enough; Use Me; What Is This Thing Called Love?; The Outgoing Administration.
(48:39)
Personnel: Anthony Strong, piano, vocals; Tom Farmer, bass; Sebastien De Krom, drums, percussion;
Andy Greenwood, Tom Walsh, Adam Chatterton, Graeme Flowers (solos 7, 8), trumpets; Simon Marsh,
James Gold, Jon Shenoy, Pete Long, Nigel Hitchcock (solo 4), saxophones; Paul Nathaniel, baritone
saxophone; John Stokes, Callum Au, Chris Traves (solo 9), trombones; Barry Clements, bass trombone;
Gareth Lockrane, flute, piccolo; Billy Adamson, guitar; Emma Stockton, Janine Johnson, backing vocals.
Ordering info: naive.fr
OKEH 88875082762
an outro that overlays Pearls spoken word. Its a +++
+++ tantalizing glimpse of how powerful this could be As the preeminent blues singer of her generation,
Though this is only his second studio album, sax- if it were slightly more concise and unified. As it Shemekia Copeland might be content to rest on
ophonist/composer James Brandon Lewis already stands, theres plenty to like, and Lewis continues her laurels. But shes found the blues identity to be
has a thoroughly developed conceptual approach to show great promise as a leader. Joe Tangari limiting. Blues-based rock is the delivery system
to building a record. In this case, Lewis reach- she prefers. Returning to her first label, Alligator,
Days Of FreeMan: Foreward; Brother 1976; Of Dark Matter;
es back to his formative years growing up on Black Ark; Break I; Days Of FreeMan; Bird Of Folk Cries; Break II; after nine years away, she demonstrates a strong
Freeman Street in Buffalo, New York, listening to Wilson; Lament For JLew; Break III; Bamako Love; Boom Bap Bop; gift for detailing emotional drama.
Steelo; Break IV; Able Souls Dig Planets; Speaking From Jupiter;
hip-hop supplied by his older brother and talking Unarmed With A Mic; Epilogue (Brother 1976). (62:21) Honest as the day is long, Copeland fashions a
to his grandmother, whose voice appears on sever- resolve to have love win out over evil when singing
Personnel: James Brandon Lewis, saxophone; Jamaaladeen
al interstitial tracks across the album. Tacuma, bass; Rudy Royston, drums; HPrizm, sound designer (1, 5, the words to The Battle Is Over. Strong-voiced
Lewis seems to prefer a trio format, and 8, 11, 15); Pearl Lewis, vocal, narration (1, 5, 6, 8, 11, 15); Supernatural,
and straight-talking like Koko Taylor, the thir-
vocals (6).
recruited former Prime Time bassist Jamaaladeen ty-something singer stakes out fierce resistance
Tacuma and drummer Rudy Royston (Bill Frisell, Ordering info: okeh-records.com to wickedness on a stirring makeover of Devils
Hand, originally performed by her guitar-play-
ing father, Johnny Clyde Copeland. Picking up
steam on I Feel A Sin Coming On, she confi-
Joel Harrison 5 dently taps into the same currents of sacred-secu-
Spirit House lar confliction that vexed the songs original vocal-
WHIRLWIND 4673 ist, soul-testifier Solomon Burke.
++++ Copeland has spent many Sunday mornings
If music is a language, then guitarist Joel Harrison in a gospel church, and she gets to the emotional
is a polyglot. His influences are wide-ranging nub of Jesse Mae Hemphills Lord, Help The Poor
and disparateDuke Ellington, Charles Ives and And Needy. Alvin Youngblood Harts vocals
Jimi Hendrix are among his idolsand the tim- mirror the sincerity of Copelands as they dig into
bres he coaxes from his electric guitar range from the moral fiber of Cardboard Box, an intelligent,
squeaky clean to grimy and harsh. On his latest socially conscious tale written by her manager
disc, Spirit House, the guitarist appears with a John Hahn with help from Ian Siegel. (Copeland
talented quintet whose strength comes from its and Hart should do a whole album together.)
diversity of voices. Hahn and producer-guitarist Oliver Woods
Just how eclectic is this quintet? For starters, it routine rockers Outskirts Of Town and
features an electric bassoon. Like Harrison, bas- Crossbone Beach are salvageable only because
soonist Paul Hanson knows how to manipulate of Copelands ability to invest banal lyrics with
his instrument to fit the context of a song, sound- power. Her version of ZZ Tops Jesus Just Left
ing rich and warm on the ballad Sacred Love, Chicago (longbeard Billy F Gibbons plays guitar)
and reedy and bright on the pulsing Left Hook. mentation is endless, and definitely worth a listen. will pique the interest of fans of that Texan trio.
Ascending trumpeter Cuong Vu has an equally Throughout, drummer Brian Blade adds Frank-John Hadley
malleable style. On the title track, he climbs the fierce, rumbling drum fills with precision, and
range of his instrument with a soft, flute-like tone. bassist Kermit Driscoll holds everything togeth- Outskirts Of Love: Outskirts Of Love; Crossbone Beach; Devils
But on An Elephant In Igors Yard, he produc- er with a sweet, glowing tone. Bravo to Harrison Hand; The Battle Is Over (But The War Goes On); Cardboard Box;
Drivin Out Of Nashville; I Feel A Sin Coming On; Isnt That So; Jesus
es hoarse, abrasive shrieks that rip through the for blending such distinct voices into a uni- Just Left Chicago; Long As I Can See The Light; Wrapped Up In Love
songs dense fabric. fied wholeeven if those voices, like Harrisons Again; Lord, Help The Poor And Needy. (43:17)
Harrison himself is a library of sounds and career, are ever-evolving. Brian Zimmerman
Personnel: Shemekia Copeland, vocals; Oliver Wood, guitar,
textures. His gentle touch is evident on songs like Spirit House: An Elephant In Igors Yard; Old Friends; Left Hook;
background vocals; Jano Rix, drums, percussion, keyboards; Lex
Price, bass; Billy F Gibbons, guitar (9); Alvin Youngblood Hart, guitar,
Johnny Broken Wing, an eternally optimistic Johnny Broken Wing; Some Thoughts On Kenny Kirkland; You
vocal (5); Robert Randolph, steel guitar (2); Will Kimbrough, guitar
Must Go Through A Winter; Sacred Love; Spirit House; Look At
ballad that opens with a washed-out, dreamy gui- Where You Are. (55:47)
(1, 3, 4, 6, 7, 10); Pete Finney, pedal steel (6); Matt Glassmeyer, horns
(3, 7); Jason Eskridge, background vocals (4, 7, 8); Eric Fritsch, organ
tar passage. But on the opening track, he distorts Personnel: Joel Harrison, guitar, voice (5); Cuong Vu, trumpet; (1); Mike Poole, percussion (9).
Paul Hanson, bassoon, electric bassoon; Kermit Driscoll, bass; Brian
his tone into something more sinister, sounding Blade, drums, voice (5).
almost like a musical buzz saw. His sonic experi- Ordering info: whirlwindrecordings.com Ordering info: alligator.com
++++
In An Ambient Way, erroneously listed as per-
formed by a group called Powerhouse, was, in
fact, delivered by the Wallace Roney Quintet.
Performed in a large church with huge arched
ceilings and a two second echo, according to the
late reedist Bob Beldens liner notes, the atmo-
sphere was designed to evoke the sonic equiv-
alencies heard in the studio where Miles Davis
originally recorded In A Silent Way in 1969, at
Manhattans 30th Street Studios, a setting also
referred to as The Church.
The album was recorded as part of Chesky
Records Binaural+ Series, which uses special-
ly callibrated microphones built into a dummy
human head. This practice is meant to replicate
for the listener the experience of sitting in front of
the band.
The core material, difficult to revisit with any
authenticity, is played in the spirit of the original
recording, but with a 21st-century vibe. Strong
playing comes from Roney, especially, who sounds
like hes been set free. But in truth, everyone seems
at home in this rarefied setting. Belden, on sopra-
no and flute, characteristically dips in and out,
while the rhythm section burns.
Keyboardist Kevin Hays resonates on his
funky Fender Rhodes, with bassist Daryl Johns
and guitarist Oz Noy becoming one with the
music. And drummer Lenny White is all up in it,
clearly relishing the opportunity to play all-out.
Its not like the original. Not even close. Even
Davis live revisits over the years tended to sound
less than ideal without the magic touches original
producer Teo Macero proffered.
But that doesnt seem to have been the
point here.
John Ephland
AURAL
INFLUENCES
HOW THE JAZZ
SAXOPHONE MASTERS
AFFECT OUR PLAYING
BY MILES OSLAND
PAGE 70
BILL KIRCHNER
PRO SESSION
PAGE 72
CHRIS POTTER
TRANSCRIPTION
PAGE 74
TOOLSHED
NEW SAXOPHONES
& MOUTHPIECES
PAGE 76
Miles Osland (Photo: Damien M. McLean)
MASTER CLASS
REED SCHOOL Woodshed BY MILES OSLAND
Aural Influences
How the Great Jazz Saxophone
Masters Affect Our Playing
IM SURE THAT YOU HAVE HEARD THE OLD ADAGE: ITS NOT WHAT
you play, but how you play it. When improvising, the what you play con-
sists of choosing the right notes, licks, patterns, etc. The how you play is
the soul, emotion and, most importantly, playing with correct style, which
comes down to phrasing and articulation.
Ive spent four decades transcribing solos of great jazz saxophone mas-
ters. By doing this, the how and the what of these influences have crept their
way into my own natural way of playing. In this article, I have chosen to dis-
cuss the aural influence of four of my favorite saxophonistsJohnny Hodges,
Cannonball Adderley, John Coltrane and David Sanbornon my playing.
Johnny Hodges
The what (vertical vs. linear): Early jazz saxophonists were generally verti-
cal players. In other words, a lot of the content in their lines and improvisa-
tions were arpeggiations of chords. Coleman Hawkins comes to mind (espe-
cially his famous Body And Soul recording) as primarily a vertical player.
Lester Young was more of a fluid, or linear, player. He achieved his fluidi- Miles Osland
ty with linear interpretations or embellishments/modifications based on the
melody. Johnny Hodges was primarily a vertical player, but at times some tongue on notes that are to be articulated.
real swinging linear lines would creep into his playing. Example 2 is the Turnaround jazz articulation, which also involves cells
The how: When I transcribe, I transcribe not only the notes, but also glis- of twos. Here you tongue downbeats and slur into upbeats (turned around
sandi, scoops, growls, use of vibrato, flutter tonguing, phrasing/articula- from the Basic jazz articulation). The Turnaround articulation is shape-orient-
tion, etc. What makes a players personal style and sound unique is how they ed and usually applied when the upbeats are lower in pitch than the surround-
phrase (articulate) their lines. Johnny Hodges dark, soulful sound and espe- ing downbeats. When the Turnaround articulation is applied to this particular
cially his unique use of vibrato really make him stand out to me. He was also shape, it gives the upbeats a bit of a ghosted note effect. This effect occurs because
a master at the use of the scoop, and especially the glissando. He could slow- you are naturally slightly articulating (accenting) the downbeats that are higher
ly gliss up to an interval of a fourth or fifth and make it sound as smooth as in pitch than the surrounding upbeats.
a trombone slide. One of my favorite recordings that demonstrates his mas-
tery of this effect is Prelude To A Kiss. Hodges and his partner in crime in
the Duke Ellington Orchestra, baritone saxophonist Harry Carney, both had Julian Cannonball Adderley
very fast tongues, and would articulate many notes in a row. This is what real- The what: Since alto saxophone is my main horn, Im highly influenced by
ly gave their improvisations that old school sound. Charlie Parker, as was Julian Cannonball Adderley. I have transcribed
Ive also discovered that a majority of jazz articulation patterns can be many of Birds solos over the years, and memorized many of his verses in
broken down into four categories of eighth-note phrasing cells. These pat- our Bible of the saxophone, the Charlie Parker Omnibook (Hal Leonard). But
terns I like to call the Basic, the Turnaround, the Cannonball and the theres something about Cannonball that really draws me to him. Adderley
Coltrane (see Examples 14). As I stated earlier, the how of what you play is is one of my favorite saxophonists to listen to and transcribe. His articula-
directly related to your phrasing and articulations. tions, both from a verbal and performance standpoint, are precise and some
In phrasing jazz eighth notes, its the articulation in combination with of the cleanest on record. Influenced by Bird, Cannonball was a very lin-
the jazz feel that really makes a line swing. In cells of eighth notes, a line ear player, with his lines fluidly navigating through the upper extensions of
is usually being phrased/articulated
by groups of twos or threes. Take a Example 1: Basic jazz articulation
look at Example 1. This is the Basic
jazz articulation: phrasing in cells of
twos by tonguing upbeats and slur-
ring into downbeats. When using
this articulation pattern, make sure
the note that you slur into does
not get cut off by the tongue com-
Example 2: Turnaround jazz articulation
ing back up too early to articulate
the next upbeat. If this occurs, your
phrasing will sound ricky-tick.
Jazz eighth-note phrasing is a lega-
to articulation. Movement from one
note to the next must match up per-
fectly with the application of a legato
David Sanborn
The what: David Sanborn is influ-
enced by Cannonball. I think Gil
Evans described it best when he said:
[Sanborn] has that haunting cry
Example 6: Phrasing with 16th-note cells a real sound innovator.
The how: Sanborn has a contem-
porary style, playing 16th-note pat-
terns as compared to fast eighth-note
lines; but because of his Cannonball
influence, he often phrased these
16th notes with the articulation pat-
terns that we have discussed. The
16th notes can be thought of as fast,
straight, bebop-style eighth notes
and articulated as such. Look at
Example 6. This is an excerpt from
a funky straight-eighth-note solo
the chords, but he could also get incredibly bluesy Steps changes, or the cycle of descending major (quarter note equals 100 bpm) in the
with the best of them. thirds. Explaining this concept could take up an style of Sanborn. Once again, the articulation of
The how: Example 3 is the Cannonball jazz entire article on its own. To make a long story and every note can be justified by one of the four artic-
articulation. Using this articulation, you are now theory lesson short: Within a four-bar phrase of ulation patterns. Depending on tempo, you can
phrasing in cells of threes. With this pattern, you Giant Steps changes, you will navigate through apply the same phrasing concept to double-time
have two notes that are tongued consecutively four major tonal centers. In the key of C, the four bebop licks.
(downbeat/upbeat of beats 1 and/or 3). To make tonal centers begin with C, then descend a major Let me conclude by suggesting that neither
this pattern sound smooth, you have to make sure third to Ab, descend a major third to E, then Hodges, Cannonball, Coltrane nor Sanborn ever
that the downbeats you tongue are tenuto and descend another major third back to C. Then you consciously thought about these phrasing pat-
attached to the upbeats that you articulate. Using place the V7 before each major tonal center. So the terns while improvising. Neither should you. But
this articulation pattern in consecutive four-note complete progression in C would be (two beats if you listen, transcribe and practice your scales,
cells places a natural light accent on beats 1 and each): C, Eb7, Ab, B7, E, G7, C. Pretty heady stuff, patterns and licks using these articulation pat-
3. This fact naturally locks the player in with the but thats just one part of what made the genius of terns, hopefully they will find their way into your
rhythm section at fast bebop tempos. playingif theyre not already there. DB
John Coltrane.
The how: Example 4, the Coltrane jazz articu-
John Coltrane lation, is another phrasing cell by threes. Its a Miles Osland is Director of Jazz Studies and Professor of
Saxophone at the University of Kentucky. He travels the globe as
The what: John Coltrane used a unique harmonic lot like the Cannonball pattern, but displaced by a clinician and performing artist for Selmer (Paris) saxophones,
concept that has come to be known as Giant two eighth notes. Much like the Turnaround jazz JodyJazz mouthpieces and DAddario Woodwind reeds.
Saxophone Modifications
Inspired by Mother Necessity
AS A CENTURIES-OLD PROVERB HAS IT,
Necessity is the mother of invention. Or, as
the seminal tenor saxophonist Lester Young
is reputed to have said, Necessity is a moth-
er (or something like thatits probably an
expurgated version).
Either way, Im a case in point. From 1980
until March 1993, I made a comfortable living
largely as a New York City-based woodwind
doubler. I played soprano, alto, tenor and bari-
tone saxophones, flute, alto flute, piccolo, clar-
inet and bass clarinet. In addition to a whirl-
pool of freelancing, I also led my own nonet,
and as a composer-arranger-bandleader, I did
well enough to place in this magazines and
anothers International Critics Poll (as Talent
Deserving Wider Recognition) several times.
All of this activity ceased when a neuro-
surgeon told me early in 1993 that I had a
benign tumor on my spinal cord. It was on my
breathing nerves, and if not removed it would
kill me. So in March of that year I had sur-
gery that successfully removed the tumor.
However, the surgery left me with chronic
pain, a severe limp and a crippled right hand.
Since then I have had no feeling in that hand,
and only two fingers (thumb and index finger)
with any facility.
Needless to say, that brought my career as
a player to an abrupt halt. Fortunately, I was
able to fill the income gap with teaching (at
the New School for Jazz and Contemporary
Music, and later at Manhattan School of Music
and New Jersey City University as well) and a
JUDY KAHN
newfound career as a jazz historian (including
editing two books, producing and annotat- Mechanical modifications are clearly visible on
ing CD reissue projects for numerous record Kirchners Couf Superba II soprano saxophone.
labels, and producing and writing for National
Public Radios Jazz Profiles series and WBGO-FMs Jazz from the Archives my case, a particularly urgent consideration.
series). By the end of the 90s, I was starting to play gigs again as a jazz soloist,
But I refused to give up on playing. The soprano saxophone has always including a duo concert at the Jazz Bakery in Los Angeles with pianist Alan
been my favorite instrument, and I found that even with a dysfunctional Broadbent. It wasnt a perfect solutionI couldnt play written music, say, in
right hand, I was still able to cover its keys. Unlike with my other instru- a saxophone section with any precision. But as long as I had control over the
ments, I could watch and see my hand press down the keys. So there was music I was playing, and wasnt expected to play written music with 100-per-
hope. A fine bassist, Sean Smith, started coming to my apartment, and the cent accuracy, I could go out and hold my own with first-rate players from
two of us played tunes together, just to get me back to playing. New York and Los Angeles to Austria, Finland and Armenia.
I soon realized, though, that I needed additional help with that horn, so I I compare this to what Billie Holiday had to do vocally: altering the songs
went to a prominent New York City woodwind repairman, Perry Ritter, with she sang to fit the limitations of her vocal range. Needless to say, my style as
my predicament. Ritter watched me play the soprano, quickly analyzed what an improviser has changed somewhat, and it has been incumbent upon me
I could and could not do with my right hand, and came up with some inge- to make a virtue out of necessity. My playing is now sparer than it was before
nious alternative solutions. Those included keys that I could play with my left surgery, but thats actually been a good thing. One of the best bits of advice
thumb to press down the low C and E-flat keys (which, as all saxophonists Ive ever gotten came a few years ago from my friend and erstwhile teacher,
know, are usually played with the right pinkie). He also came up with a right the great alto saxophonist Lee Konitz: You can always simplify.
thumb key (my thumb was still usable) to facilitate playing a low D (and with I also discovered that jazz has a history of instrumentalists who have had
it, the other low notes as well). to modify their playing as the result of misfortunes. The best-known instance
I should add that along with many other soprano players, I have always is guitarist Django Reinhardt (191053), whose left hand was badly burned
used a neckstrap. This takes the weight of the horn off of my right thumbin in a fire at age 18. As a result, he had to relearn the guitar with limited use
of his fretting hand. Two lesser-known examples are pianists Carl Perkins
(192858) and Horace Parlan, both of whom were affected by childhood
polio. Perkins held his crippled left arm parallel to the keyboard. Parlan,
whose right hand was damaged, has learned to use that hand in a unique
way; like me, he has only two working fingers.
Also, the phenomenal multi-instrumentalist Rahsaan Roland Kirk
(193577) had his tenor saxophone and flute rebuilt after suffering a stroke
in 1975 that paralyzed his right side. From then until his death, he was able to
play each instrument using only his left hand.
Closest to my heart, though, is my tumor brother, Israeli soprano sax-
ophonist Yuval Cohen (of 3 Cohens, along with his siblings, clarinetist-ten-
or saxophonist Anat and trumpeter Avishai). To our mutual astonishment,
Yuval and I discovered a few years ago that we both had experienced a similar
affliction, surgery and resultant damagein his case, to his left hand. As he
recently told me, I had stuff built on my soprano, because my left hand lost
sensation and dexterity. So I have silver half-rings glued to all the left-hand
keys, so I can place my fingers in the right place (helped by eyesight), and this
way the fingers dont run away, because the half-rings hold them in place.
But my journey was far from over. My right hand was slowly deteriorat-
ing, and I found that I needed additional alterations on the horn. As luck
would have it, I discovered that a colleague of minean excellent jazz trum-
peter named Danny Hayes (19462004)was a mechanical wizard. So I
spent hours with Hayes at his apartment, attaching wires to the keys in a
primitive but functional way that improved upon Ritters modifications. As
soon as we found what worked best, I brought the horn back to Ritter, and he
made Hayes improvements permanent.
You can see the photos of my soprano (a Couf Superba II, manufactured
by Keilwerth, that Ive owned since 1977) and the changes that have been
made on it. Its a one-of-a-kind instrument. Ive recorded three full CDs with
it post-alterations. Everything they say about necessity is true.
If you have a situation that in any way resembles mine, feel free to contact
me at kirch@mindspring.com. DB
Bill Kirchner is a saxophonist, composer-arranger, bandleader, jazz historian, record and radio
producer, and educator who lives in New York City. His latest CD is An Evening Of Indigos
(Jazzheads).
STEVEN SUSSMAN
concept to triads. At the end of a fourth, down a half step and
bar 18, he plays a descending Db then down another half step.
triad, which is quite in, as the Chris Potter He then moves this lick down
underlying harmony is D maj7. in whole steps. The first two,
Then, over the bar line he plays the same descend- with the emphasized B , F, Eb, A and D , fit very
ing chord up a whole step, then up an additional well over the D maj7, but the next two get increas-
half step, and then another half step, ending on F. ingly out. When the last group ends on an A nat-
Potter does a similar thing at the end of bar 19, ural, Potter moves straight into the descending
starting again on a descending D triad, but in this chromatic line mentioned earlier, ending on a C,
instance he moves up a half step to a D major triad the seventh of D maj7, which anticipates the fifth
on the downbeat (very out on the Dmaj7) and con- of F major in the next measure.
tinues in half steps through E (less out) and on to E In essence, Potter uses this type of chromati-
natural (fairly out). He doesnt stop here, so the dis- cism to move outside the harmonies but in a man-
sonant quality of the E against Dmaj7 is tempered. ner that is logical and creates a means of relating
The next bar shows another interesting approach these outside pitches to the chords, producing
to chromatics. From just before the second beat tension-and-release in a very stirring manner. DB
through the middle of the last beat, we basically have
a chromatic scale from a high C# down to F, but Jimi Durso is a guitarist and bassist based in the New York area.
Potter doesnt just run down the notes in sequence. Visit him online at jimidurso.com.
P
. Mauriat has completed its intermediate-level Le Bravo 200 series of able with this option. The instrument was
saxophones with the introduction of a soprano model. Opening the well-balanced by the strap and the differ-
case, I met an impressive-looking two-piece soprano with a bronze ent body angle created no problems for meit
body (also available in yellow brass) in a stylish matte finish, complete with felt natural. With the curved neck in place, it
pearl key touches and leather pads with metal resonators. Two neck options seemed the higher notes responded more eas-
immediately caught my eye: straight and curved/bent styles. A quick look ily. I quickly decided that I preferred to play
at the instruments keywork revealed a high F-sharp key, front high-F key, the 200S this way. During further play-test-
neckstrap hook and adjustable thumb rest. ing, I discovered that by opening the G-sharp
First, I went with the straight neck, as I am used to my straight, one-piece key, the front high E, F and F-sharp spoke more
Selmer Mark VI. My soprano has no neckstrap hook or front high-F key, so clearly and easilya technique thats known to
these offerings were of special interest to me. I added my Selmer D mouth- be effective on many saxophones. I enjoyed
piece, Vandoren Java red box #3 reed and got right down to playing. several hours of playing the Le Bravo 200S,
I found the keywork very comfortable, consistently low and well placed. and I emerged from the play-test session quite
The keys were definitely ready to move and keep up with me. The instru- impressed with the saxophone.
ments response was excellent, especially in the lower register. The more time The 200S comes with a P. Mauriat
I spent playing the horn, the more I relaxed and felt at homeespecially with trekking casea large, roomy contain-
the location and feel of the palm keys, which on any unfamiliar horn can be er with a separate, secure groove for both
hard to get used to. necks and plenty of storage space. Included
The Le Bravo 200S had a well-centered and pleasing tone of its own. I were a starter mouthpiece, ligature, cloth,
noticed it is a bit lighter and has less projection power than my Mark VI. I was neckstrap and shoulder strap for the case
able to achieve excellent intonation with my regular soprano setup in place, itself.
with octaves and overtones nicely lining up, pitch-wise. If you are looking for a good option in a
The 200S came with a comfortable neckstrap that didnt get in the way of soprano, this is one to consider. The Le Bravo
my handseven with the straight neckand stayed securely snapped to the 200S shows many fine qualities at an MSRP of
well-located hook. Good design choices. $2,249. Bruce Gibson
Next, I switched to the curved neck and discovered I was very comfort- Ordering info: pmauriatmusic.com
T
he Axos alto saxophone is the latest entry in the ing in consistency of quality and considerably lower prices.
SeleS range of instruments from Henri Selmer The Axos alto saxophone is assembled at the Selmer factory (the same
Paris. This sub-brand, which also includes the facility where all Selmer Paris saxophones have been made since 1922) in
Presence clarinet, was launched last year to accom- Mantes-la-Ville, France, and all the parts are ultimately French-made. With a
modate more affordable price ranges and make street price of just over $4,000, it is in the same price range as certain Yamaha
quality instruments accessible to players who want and Yanagisawa alto models that do well among students who are getting
something thats better than a student horn but isnt serious about their playing.
prohibitively expensive. For the advancing high-schooler, its definitely where they want to go,
These days, with prices of some new saxo- said Bob Lichty, Category Manager of Saxophones at Conn-Selmer, which
phones reaching as high as $15,000, theres a defi- distributes SeleS in the United States. Thats something that they can carry
nite need for something more reasonable among with them all through college if they need to.
advancing students and semi-pros who simply The Axos has a mini-ribbed (or post-to-body) construction, resulting in
dont have that kind of dough. There is a wide a lightweight frame that is quick to respond. The horn is made with the same
range of price points to shoot for when bring- metals as other Selmer Paris saxophones, and it has a Selmer signature bore
ing a new saxophone to market. that can be immediately identified by its rich harmonics and roundness of
In creating the SeleS range, Selmer sound.
Paris streamlined its manufacturing pro- A lighter socket makes the instrument a little more free-blowing than
cess and standardized certain horn-craft- what you might expect. It has a light, colorless lacquer, which gives it a bright-
ing procedures. The company also invest- er tone than some Selmers. There is a minimum amount of engraving on the
ed in new manufacturing tools in order hornby no means ornate, but enough to give it a classy look. Leather pads
to optimize production time, and with metal resonators round out the profile.
began doing more outsourcing with I found the adapted keywork on the Axos felt especially comfortable
external industrial collaborators. under my fingers. It has great mechanics, so getting around on the instru-
This all translates to more modern, ment was a piece of cake.
more efficient methods of making I played two big band sets on the Axos using two different mouthpieces.
instruments using recent tech- The first set, I used my preferred mouthpiece for playing the 2nd Alto
nological innovations, result- booka hard-rubber Couf Artist model. I found that I blended well with
the Mark VI players in the section, not just in terms of tone, but also into-
nation-wise. The lead alto player was especially attentive to dynamics, and I
was able to keep up with him every step of the way, even amid drastic chang-
es in volume. There was one point where an arrangement called for the altos
to play unison high Fs at mezzo-forte, and the Axos nailed it perfectly
with no clash of tone or disagreement of pitch. When it came time for
sax section solis, I found I could cruise along quickly and accurately
without hitting any bumps in the road, thanks to the horns excellent
keywork. In general, I felt like I fit in nicely playing this ax.
On the second set of the gig, I switched to my Claude Lakey hard-rubber
mouthpiece, which is more suitable for lead playing and expressive soloing.
This really brought out the responsiveness and brightness of the Axos, which
came in handy when it was my turn to solo over the band. It showed me that
the Axos is capable of taking a lead role, with plenty of tones at your disposal
depending on what setup you choose.
In a separate practice session, I put a metal Brilhart Level-Air on the
Axos and discovered a whole new area of modern, edgy power-alto tones
suitable for contemporary styles. With the proper setup, this saxophone
would definitely do well in the horn section of a loud rock band or r&b outfit.
From its clean and solid-sounding high end down to its fat, full low
notes, the Axos is one of those saxophones that sounds great and responds
well over the entire range of the horn. Low notes are especially sweet, and
the middle register is nice and round. Altissimo came easily on the Axos; I
enjoyed popping out full-sounding, in-tune high Gs in particular.
The Axos has a lot going for it, most of all the Henri Selmer Paris heritage
thats behind it. It might not have the high-end appeal of the companys pre-
mium professional saxophones, which have been preferred by top artists
around the world for decades. But it should definitely satisfy the needs of a
lot of players and students who need an accurate, reliable alto in their arsenal.
The Axos comes with a classic Selmer S80 C-star mouthpiece, neckstrap
and a convenient backpack-style case. Ed Enright
Ordering info: conn-selmer.com
1. Reeds on Reserve
DAddario Woodwinds has expanded its Reserve
Saxophone Reed line with the addition of DAddario
Reserve Soprano and Tenor Saxophone Reeds. The
premium reeds each feature seven strengths, ranging
from 2.0 to 4.5, including a special 3.0+ (3.25) quarter
strength. DAddario Woodwinds has also introduced
a line of accessories that includes a protective reed
guard and premium cork grease. The reed guard has
a grooved surface that prevents reed warping, and its
soft elastomer cover will securely hold any assortment
of B-flat and E-flat clarinet reeds or soprano and
alto saxophone reeds. The all-natural cork grease
provides and retains lubrication to keep corks at
their best and prevent them from breaking
down. More info: woodwinds.daddario.com
2. Vintage Appeal
Vandorens V16 line of metal tenor saxo-
phone mouthpieces has been revamped
to appeal to a wider range of players. The
new exterior shape and interior design of
the V16s evoke the sound of famous metal
tenor mouthpieces of years gone by, with
two additional chamber offerings: a Medium
chamber for players seeking the 1950s jazz
aesthetic, and a Large chamber for players
preferring the 1940s sound. The existing
models are still available, now renumbered
to a simpler system, akin to the Vandoren
ebonite line as well as popular vintage
mouthpieces. More info: vandoren.com
3. Microfiber Cloth
The Premium Microfiber Cleaning Cloth
from JodyJazz is designed to help keep 5
mouthpieces and instruments clean and
dry. The specially formulated microfiber cloth
preferred for its light weight, super-absorbencycy
and rapid drying propertieswill safely remove
fingerprints and oils from metal, wood, hard rubber
and plastics. With 100,000 fibers per square inch,
the material is softer than silk yet extremely durable.
The cloth features a graphic design incorporating
an image of the JodyJazz DV mouthpiece and the
companys familiar logo. More info: jodyjazz.com
4. Inspired Setup
Lgre has launched the Inspiration mouthpiece-reed
combination, designed by Austrian mouthpiece
craftsman Nick Kckmeier. The mouthpiece is ma-
chined to deliver a dark, warm tone and to allow for
quick articulation and precise intonation when used
with Lgre premium synthetic reeds. The Inspiration 2
setup requires less power from the player up front
while delivering more power to the instrument. Each
Inspiration package for B-flat clarinet and alto saxo- 3
phone includes a matte-finish mouthpiece, a Rovner
(North America) or BG (outside North America) liga-
ture, a Lgre Signature or Classic reed, a mouthpiece
cap and a mouthpiece cushion. More info: legere.com
5. 3-Horn Fakebook
Sher Music Co.s most popular fakebook, The Real
Easy Book, Vol. 1, is now published in an expanded
edition with three horn parts, each on their own sepa-
rate page. Produced in conjunction with the Stanford
Jazz Workshop, the three-horn edition includes
harmony parts for every melody and background
horn lines to be played underneath soloists. Several
shout choruses are also included. The three-horn
arrangements, by pianist Larry Dunlap, create a fuller
and more varied professional combo sound. Each
part is simple enough for beginning improvisers to
play. At 172 pages, the book is available in C, B-flat,
E-flat and bass clef versions. More info: shermusic.com
FESTIVAL
GUIDE
TUCSON JAZZ
FESTIVAL
HEATS UP
United States Festivals 84
Spotlight on Tucson Jazz Festival 90
Spotlight on Jazzdor Festival 92
Spotlight on Punta Del Este Jazz Festival 94
Allan Harris at the 2015 Tucson Jazz Festival in
Arizona. (Photo: Denny Schreffler) International Festivals 96
NOVEMBER 2015 DOWNBEAT 83
UNITED STATES This treble clef denotes a
corresponding ad in this guide.
Angel City Jazz Festival at various locations in historic Fernandina Martinez, Tomeka Reid/Nicole Mitchell/Mike
Los Angeles, California Beach on beautiful Amelia Island, which Reed, Larry Fuller Trio, Scott Amendola
is close to Jacksonville. Artistic Director Band with Nels Cline and Jenny Scheinman.
Sept. 25Oct. 11 Les DeMerle presents world-class jazz in
The theme for this years Angel City Jazz earshotjazz.org
numerous styles, including swing, bebop,
Festival is Listen! The goal is to unite modern, Dixieland, big band and Latin jazz.
musicians and fans through the act of Lineup: Larry Coryell, Kevin Mahogany, Trio
Pittseld City Jazz Festival
purposeful listening. The festival presents a
Caliente, The Dynamic Les DeMerle Little
Pittseld, Massachusetts
diverse collective of up-and-coming artists, Oct. 918
well-known veterans and innovators who Big Band with vocalist Bonnie Eisele, Navy
Band Southeasts TGIF Brass Band, Les The 11th annual Pittseld City Jazz Festival
represent the forefront of todays jazz scene. takes place in various venues in downtown
Lineup: Jen Shyu with Ambrose Akinmusire, DeMerle Jazztet with vocalist Bonnie Eisele. Pittseld. In addition to the regions top
Yosvany Terry with Baptiste Trotignon, ameliaislandjazzfestival.com big band, the festival presents top female
Lucian Ban & Mat Maneri, Motoko Honda instrumental and vocal performers, a
& Vanessa Anh Vo, Mark Dresser, Miguel Duck Jazz Festival new entry in the Jazz Prodigy series, and
Atwood Ferguson, The Empty Cage Quartet. Duck, North Carolina the annual jazz crawl, which features
angelcityjazz.com Oct. 911 performances in restaurants and lounges
The 9th annual Duck Jazz Festival presented throughout downtown Pittseld.
by PNC is situated between sound and Lineup: Randy Brecker, Frank Vignola, Greg
Oregon Coast Jazz Party sea on the Outer Banks of North Carolina. Hopkins Jazz Orchestra.
Newport, Oregon A jam session and other events at Duck berkshiresjazz.org
Oct. 34 businesses lead up to a full day of jazz at
The Oregon Coast Jazz Party, now in its this free, non-ticketed festival. Sun Valley Jazz & Music Festival
12th year, follows the jazz party format, Lineup: Maceo Parker, Bria Skonberg
which means that the musicians appear in Sun Valley, Idaho
Quintet, The Monitors, The Mint Julep Jazz Oct. 1418
different combinations called sets during
the three-day festivities. Fans can expect Band, First Flight High School Jazz Band. Fans at the 26th annual edition of this
multiple sets from renowned jazz stars, duckjazz.com diverse festival will hear many styles of
nightcap performances and educational music: contemporary jazz, swing, vintage
presentations. Earshot Jazz Festival jazz, blues, cabaret, Western Swing, big
Lineup: John Clayton, Gary Smulyan, Piano Seattle, Washington band, zydeco and gypsy jazz. Theres also
an amateur dance competition.
Duo: Bill Charlap/Renee Rosnes, Gilbert Oct. 9Nov. 18 Lineup: After Midnight, Sun Valley Jazz All
Castellanos, Larry Fuller, Alvester Garnett, Critical acclaim as Seattles most important
annual jazz event is just one of the many Star Big Band, Barnhart-Midiri Quartet,
Holly Hofmann, Mike Horsfall, Alan Jones,
accolades this festival has received. This Blue Renditions, Blue Street Jazz Band,
Marilyn Keller, Bill Mays Inventions Trio
exciting festival brightens up the rainy fall Bob Draga & Friends, Boise Straight Ahead,
with Alisa Horn and Marvin Stamm, Ryan
nights with shows in venues throughout the Brianne Gray & The Jake VP Band, Bruce
Meagher, Reinhardt Melz, Frank Potenza,
city. The program includes jazz masters, Innes Trio, Casey MacGill & His High 5,
Mary Stallings, Katie Theroux, Bobby
important innovators, bright local stars and a John & Kristy Cocuzzi, Cornet Chop Suey,
Torres, Tom Wakeling, Mike Wofford, Rickey
special focus on Seattle hero Wayne Horvitz Ellis Island Boys, Gator Nation, Gonzalo
Woodward. at 60. Bergara Quartet, High Street, Ivory & Gold,
oregonjazzparty.com Lineup: Wayne Horvitz, Brad Mehdau Trio, Jacob Miller & The Bridge City Crooners,
Wayne Shorter Quartet, Charles Lloyd Jerry Krahn Quartet, Joe Fos Trio, Lisa Kelly
Les DeMerle Amelia Quartet, Anat Cohen, Hugh Masekela, & JB Scott with Jeff Phillips and Friends,
Island Jazz Festival Seattle Symphony Orchestra with special Kyle Rowland Blues Band, Kings of Swing,
Fernandina Beach, Florida guest Bill Frisell, Kris Davis Trio, Myra Midiri Brothers Sextet, PBJ (Paul Reid,
Oct. 411 Melfords Snowy Egret, Somi, Chris Potter Brian Casserly & Jim Lawlor), Pieter Meijers
Now in its 12th year, the AIJF will take place Trio, Jacob Fred Jazz Odyssey, Pedrito Quartet with Brady McKay, Gary Ryan, Ellie
Festival Miami
Miami, Florida
Oct. 16Nov. 6
The University of Miami Frost School of Music hosts Festival Miami
on its picturesque Coral Gables campus in comfortable and intimate
venues including the newly renovated Maurice Gusman Concert Hall
and the Weeks Center for Recording and Performance.
Lineup: Terence Blanchard, Ben Folds, Freda Payne, Black Violin,
Frost Wind Ensemble, Joey DeFrancesco, Simone Dinnerstein,
Raquel Sofa, Charles Castlemam, Gonzalo Rubalcaba, John
Easterlin, Natalia Lafourcade, Cyrille Aime, Richard Todd, Joel
Smirnoff, Christopher ORiley.
miami.edu/frost/index.php/festival_miami
Edgefest
Ann Arbor, Michigan
Oct. 2124
The 19th annual Edgefest will explore new music created by
trumpeters, cornetists and ugelhorn players. As always, the festival
will also present some of the most creative multi-instrumentalists
on the scene today. As in past years, Edgefest reaches out beyond
the concert hall with Fringe at the Edge performances, public
discussions, workshops and school residencies. The community is
invited to attend all educational and Fringe events free of charge.
Lineup: Taylor Ho Bynum & Tomas Fujiwara, Derek Worthingtons
Arbor Composers Collective, RDM, Rob Mazurek, Lina Allemano,
Andrew Drury, Fred Lonberg-Holm & Piotr Michalowski, Mark
Kirchenmanns Big Fun, Peter Evans, Tim Bernes Decay, Ken
Kozora, Joe McPhees Survival Unit III, Vagabonds, PhillyBloco, Pat Martino Trio Divina departs from Miami and heads to
Leimgruber/Demierre/Phillips. (with horns), Buster Williams, Marc Carys the Southern Caribbean for 10 nights.
kerrytownconcerthouse.com/index.php/ Harlem Sessions All-Stars, Shai Maestro Attendees have their choice of performances
events/edgefest Trio, Oran Etkin Quartet, Larry McKenna & each evening of the cruise, and there are
Bootsie Barnes, Gal Holiday & The Honky afternoon sessions during the days at sea.
Otis Taylors Trance Blues Jam Tonk Review. Lineup: Houston Person, Bucky Pizzarelli,
Allen Vache, Warren Vache, Butch Miles,
Festival exit0jazzfest.com
Paul Keller, Banu Ginson, John Cocuzzi,
Boulder, Colorado Mike Pittsley, John Allred, Randy Reinhart,
Nov. 12 TD James Moody Jazz Festival Bob Leary, Danny Coots, Kristy Cocuzzi,
Fans can join acclaimed blues artist Otis Newark, New Jersey
Taylor for the extraordinary Trance Blues Nov. 715 Tardo Hammer, Charlie Silva, Yve Evans.
Jam Festival. The festival encourages and For the fourth year, the TD James Moody jazzfestatsea.com
inspires people to be active participants. The Jazz Festival, one of the largest gatherings
point is to create music together. The trance of jazz fans on the East Coast, presents Frank Morgan Taos Jazz Festival
jam is where fans get to live their musical a lineup of the countrys best musicians. Taos, New Mexico
dreams. This festival, held in the New Jersey Nov. 1821
Lineup: Otis Taylor, Javina Magness, Performing Arts Center, features concerts, This is a four-day tribute to alto saxophonist
Ron Miles, Cassie Taylor, Paul & Jessica panel discussions and workshops. Ticket Frank Morgan (19332007), who called
Rogalski, Erica Brown, Anne Harris, Larry holders to the Nov. 9 concert, The Real Taos home. The festival celebrates his life
Thompson, Vieux Traore, Todd Edmunds, Sinatra Songbook, can attend a pre- and music with events throughout Taos,
GJai, MJ Merrian Johnson, Jack Gaffney, concert discussion with Sinatra historian featuring musicians he connected with or
Daniel Sproul, Taylor Scott. Charles L. Granata and other experts. The inuenced during his career. The festival
Sarah Vaughan International Jazz Vocal includes a screening of N.C. Heikins
trancebluesfestival.com Competition takes place on Nov. 15. documentary Sound of Redemption: The
Lineup: Tony Bennett with Antonia Bennett, Frank Morgan Story.
Exit 0 Jazz Festival Judy Carmichael Trio with Harry Allen, Lineup: George Cables Trio, Grace Kelly
Cape May, New Jersey Dorado Schmitt & The Django Festival Quintet, Lorca Hart Trio, others.
Nov. 68 All-Stars, Christian McBride with Bruce taosjazz.org
Since its debut in 2012, the Exit 0 Jazz Hornsby, Bill Charlap, Dianne Reeves,
Festival has drawn world-class musicians Sharon Jones & The Dap-Kings, T.S. Monk
and music acionados alike. During the Sextet, The Real Sinatra Songbook with
Winter Jazzfest
festival weekend, Cape May is transformed Ken Peplowski, Kevin Mahogany, Sue Raney
New York City
into a jazz village as fans and musicians
& Tom Wopat.
Jan. 810, 2016
make their pilgrimage to the little town by Since launching as a one-day festival
the sea to witness rst-rate performances njpac.org
in 2005, Winter Jazzfest has expanded
from established artists, exciting new artists to multiple days and numerous venues,
and local favorites. JazzFest at Sea showcasing hundreds of artists and
Lineup: Jazz at Lincoln Center Orchestra Cruise leaving from Miami, Florida attracting thousands of attendees each
with Wynton Marsalis, Bettye LaVette, Nov. 1121 year. In 2015 the festival featured more
Terri Lyne Carringtons Mosaic Project: This cruise presents traditional jazz, classic than 100 groups and 400 musicians in
Love & Soul, The Skatalites, Davina & the jazz, swing and other styles. The MSC 10 venues while welcoming more than
7,500 attendees. Set against the historic
backdrop of New Yorks Greenwich Village,
the festival extends the rich jazz heritage of
the downtown neighborhood. The festival
offers an intimate, energized environment for
audiences to experience todays diverse and
thriving jazz scene.
Lineup: Last years festival featured JD Allen,
Ambrose Akinmusire, The Cookers, Dave
Douglas Quartet, Robert Glasper, Jos
James, Lionel Loueke Trio, David Murray,
Rudresh Mahantathappa, Arturo OFarrill,
Kendrick Scott Oracle, Nicholas Payton Trio,
Marc Ribot & The Young Philadelphians
with strings, Catherine Russell, SFJAZZ
Collective, Tyshawn Sorey, Ken Vandermark.
winterjazzfest.com
ZACK SMITH
French Quarter Festival
classes, world-class main-stage acts, French Quarter Festival instrumental jazz experts, have a private
after-hours jam sessions in restaurants, New Orleans, Louisiana clinic with one of them, and attend an
and opportunities to visit with renowned evening performance of select professional
musicians and educators in an intimate April 710, 2016
The French Quarter Festival presents more and amateur musicians. This years guest
indoor setting. clinicians are Jennifer Barnes, Duane
than 2,000 musicians on 23 stages, 60 food
Lineup: Monty Alexander Trio, Ignacio Berroa vendors from well-known local restaurants Davis, Jeff Jarvis, Greg Jasperse and Pete
Quartet, Dee Daniels Trio, Lionel Hampton and countless special events. This is a spicy, McGuinness. This years festival will feature
Jazz Festival Big Band with special guest exciting showcase of Louisiana food, music The Real Group, a groundbreaking vocal
Warren Wolf. and culture. ensemble from Sweden.
uidaho.edu/jazzfest Lineup: Kermit Rufns, Little Freddie Lineup: The Real Group. Previous performers
King, Irma Thomas, The Dixie Cups, Allen include New York Voices and Bob Mintzer.
Elmhurst College Jazz Festival Toussaint, Jeremy Davenport, New Birth mcp.us/new-york-city-jazz-festival
Elmhurst, Illinois Brass Band, Leroy Jones Original Hurricane
Feb. 2528, 2016 Brass Band, Hot 8 Brass Band, The Original
Every February, the best college jazz Pinettes Brass Band, Treme Brass Band, Knox-Rootabaga Jazz Festival
bands in the country converge on the Rockin Dopsie & The Zydeco Twisters. Galesburg, Illinois
Elmhurst College campus for three days of fqfi.org April 1416, 2016
performances and education. Bands take Knox College and the Galesburg community
turns performing for some of the greatest Next Generation Jazz host three days of concerts and workshops.
names in jazz, who offer critiques and award Festival Presented by The festival is held in the birthplace of
a variety of honors. The professionals cap Monterey Jazz Festival Pulitzer Prize-winning writer Carl Sandburg
off each night of the festival with a rousing and is named for his 1922 childrens book,
performance of their own. The 49th annual Monterey, California
April 810, 2016 Rootabaga Stories. On April 14, there will be
edition of the festival will feature Ryan a Faculty & Friends Combo concert featuring
Truesdell, who has won acclaim for his live Each spring, more than 1,300 of the nations
and recorded performances of Gil Evans top student musicians come to the Next Knox Colleges jazz faculty members and
arrangements. Generation Jazz Festival. One of the most professional jazz musicians from central
Lineup: Ryan Truesdells Gil Evans Project, inclusive festivals in the country, the festival Illinois.
welcomes middle, high school and collegiate Lineup: Knox Jazz Ensemble with Brian
Bob Mintzer Big Band, Michael Davis, Scott big bands, combos, vocal ensembles and
Wendholt, Donny McCaslin. Blade & The Fellowship Band, Matuto, Knox
conglomerate bands. From over 130 groups,
elmhurst.edu/jazzfestival the very best win a spot at the Monterey Alumni Big Band, Rootabaga Kids.
Jazz Festival in September. knox.edu
San Jose Jazz Winter Fest Lineup: Past performers have included
San Jose, California ensembles from throughout California, as Eau Claire Jazz Festival
Feb. 27March 8, 2016 well as Texas, Florida, Massachusetts and Eau Claire, Wisconsin
Winter Fest is the cool counterpart to San Canada. April 2223, 2016
Jose Summer Fest, presenting jazz talent montereyjazzfestival.org
Founded in 1967, this festival is held on the
that pushes the art form forward. In addition
University of WisconsinEau Claire campus.
to Grammy winners and up-and-coming New York City Jazz Festival It will include more than 100 regional
players, the festival places a spotlight on New York City
education with student band performances. schools competing, as well as community
April 811, 2016 events, concerts by headliners and guest
Lineup: Past performers include Vijay Iyer, Held at the world-famous Apollo Theater,
Robert Glasper Experiment, Jos James, La artist master classes.
this festival gives instrumental and vocal
Santa Cecilia, Thundercat, Moses Sumney, jazz ensembles the opportunity to perform Lineup: Last years festival featured Terell
Miguel Atwood-Ferguson. as part of a ticketed daytime performance, Stafford and Ignacio Nachito Herrera.
sanjosejazz.org receive comments from a panel of vocal and eauclairejazz.com
JOERG STEINMETZ
Drummer Eric Schaefer (left), pianist Michael Wollny
and bassist Christian Weber will perform at the 30th
annual Jazzdor Festival in Strasbourg, France.
AghaRTA Prague Jazz Festival Angra Jazz Festival Jodos Trio, Pentatonic Jazz Fusion Band,
Prague, Czech Republic Angra do Herosmo, Portugal Swing Brosse System, Nate w/ The Wong
Sept. 23Nov.14 Oct. 13 Way Down, Dock in Absolute.
This festival is held in the Lucerna Music One of the main cultural events of the hkijf.com
Bar and the AghaRTA Jazz Centrum, a jazz Azores Islands for the last 14 years, this
club housed in the basement of a building festival has hosted a number of the worlds Jeonju Sori Festival
constructed in the 1400s. The festivals most important jazz musicians. Angrajazz Jeonju, South Korea
lineup mixes European and American acts. takes place at the Centro Cultural de Angra Oct. 711
Lineup: Steve Gadd Band, St. Germain, do Heroismo, which is set up as a large jazz Jeonju International Sori Festival is a global
Divinity Roxx, Electro Deluxe, Laco Deczi club, holding 550 people and hosting double music festival centered on exquisite Korean
Cellula New York, The Souljazz Orchestra, concerts each night. Spend time outside vocals and music. The festival covers a wide
Dean Brown Band. the festival discovering the beautiful Teceira array of genres, from fringe styles to global
agharta.cz Island and the city of Angra do Heroismo, a music to master performances by some of
UNESCO World Heritage Site. the worlds most recognizable voices.
Barcelona Voll-Damm Jazz Festival Lineup: Gregory Porter & Band, Jeff Denson Lineup: Richard Galliano Sextet, Ana Alcaide,
Trio + Lee Konitz, Orquestra Angrajazz Gotrasawala Ensemble, Rhythm in Bronze,
Barcelona, Spain
with Ricardo Toscano, Ren Urtreger Trio, Muzykanci, The Outside Track, Art-
Sept. 26Dec. 11 Sexteto De Jazz De Lisboa, Tord Gustavsen
Held since 1966 and lasting almost eight trio Volnitsa, Claire Memory Orchestra,
weeks during the fall, this is the longest Ensemble. Pradeep Ratnayake, Barbara Furtuna,
running and the only privately run festival angrajazz.com Hasan Hujairi, Song Changsik, Yang Hee-
in Spain. With the great pianist Chucho eun, Jang Pilsun, Kang Jeongsuk & Lee
Valds as godfather and co-artistic director Hong Kong International Saenggang, Park Dalnim & Seo Youngho,
alongside Joan A. Cararach, the festival Jazz Festival Yu Seulgi, Lee Seonghyeon, Kim Daeil,
presents plenty of Cuban music, true Hong Kong, China
masters of jazz and a special focus on Ahn Eeho, Lee Jisuk, Kang Gyoung-a, Kim
female vocalists. Oct. 14 Soyoung, Kim Semi Yun, Jongho Choi,
Lineup: Diana Krall, Chucho Valds, Chick The Hong Kong International Jazz Jinsuk Ju Soyeon.
Corea, Maria Schneider Orchestra, Buika, Festival has become one of the signicant sorifestival.com
international events in jazz. This years
Neneh Cherry, Ccile McLorin Salvant, festival features more than 40 musicians
Stacey Kent, Gonzalo Rubalcaba, David from 13 countries. The theme of the festival Jarasum International
Virelles, Children of the Light: Danilo revolves around integration, inclusion and Jazz Festival
Prez/John Patitucci/Brian Blade, Paquito a world without discrimination, with an Gapyeong, South Korea
DRivera, Bla Fleck, Ambrose Akinmusire, optimistic look toward the Hong Kong of Oct. 911
Kurt Rosenwinkel, Mark Turner, Stefano tomorrow. This years festival presents Jarasum International Jazz Festival, held on
Bollani, Fatoumata Diawara & Roberto musicians from Hong Kong and Taiwan on a beautiful island in Gapyeong, celebrates its
Fonseca, Iron & Wine, Becca Stevens, Selah the same stage. 12th edition this year. More than 10 stages
Sue, Havana DPrimera, Uri Caine, Marc Lineup: Pasquale Stefano East-West Quintet, will be set up throughout the picturesque
Ribot, Antonio Snchez, Melissa Aldana, Hristo Vitchev, Luo Ning Trio, Bianca Wu surroundings, with a mountain, river and
others. with Sylvain Gagnon Quartet, Veronica elds nearby.
barcelonajazzfestival.com Nunes and Ricardo Vogt, Brazil Ernesto Lineup: Richard Bona, Spyro Gyra, Paolo
Oct. 29Nov. 1
Every year, the Tampere Jazz Happening Dominican Republic Jazz Festival Bleckmann, Ccile McLorin Salvant, Miguel
presents the top names of international jazz Santiago, Sosua, Puerto Plata, Cabarete, Zenn Quartet, Charles Lloyds Wild Man
as well as pioneers of the future. Now 34 Dominican Republic Dance Project, Diwan der Kontinente,
years old, the four-day festival is renowned Nov. 48 Giovanni Guidi Trio, Tigran Hamasyan Trio,
for its warm atmosphere and open-minded The Dominican Republic Jazz Festival, Dylan Howes Subterraneans, Laura Jurds
approach to modern jazz. The festival presented by the Ministry of Tourism, is a Dinosaur, Julia Kadel Trio, Lumen Drones,
presents high-prole Finnish musicians free cultural event held annually on the north Louis Moholo-Moholo Quartet, The Necks,
as well as world-renowned performers on Paal Nilssen-Loves Large Unit, Vincent
concert stages and in intimate club settings coast, featuring the worlds best jazz artists.
Providing more than culture and entertainment, Peiranis Living Being, Plaistow, Splitter
until the wee hours. Orchester + George Lewis, The Keith Tippett
the festival foundation FEDUJAZZ conducts
Lineup: Ginger Baker Jazz Confusion, Paolo music education workshops for youth of the Octet.
Fresu/Omar Sosa/Trilok Gurtu, Carla Bley Dominican Republic. berlinerfestspiele.de.
Trios, Maria Faust Sacrum Facere, The Lineup: Pedrito Martinez Group, David
Young Mothers, Colin Stetson & Sarah Snchez, Big Band Conservatory of Santo
Neufeld, David Murray Innity Quartet Leverkusener Jazztage
Domingo with Javier Vargas featuring Leverkusener, Germany
featuring Saul Williams. special guests Jim Kelly, Jim Ogden & Jason
tamperemusicfestivals.fi/jazz/en Nov. 511
Camellia, Roy Assad Trio, Manuel Tehama, Founded nearly three decades ago, the
Berklee Global Jazz Institute with Marco annual Leverkusener Jazztage festival has
Wangaratta Jazz & Blues Festival Pignataro, Josean Jacobo, John Patitucci, become one of the largest cultural events
Wangaratta, Victoria, Australia Mario Canonge Trio, Pengbian Sang & Retro in Germany. More than 20,000 people ock
Oct. 30Nov. 2 Jazz, Student Loan String Band. to Leverkusener for an eclectic event that
Venture to Victorias high country to enjoy drjazzfestival.com draws artists from a variety of genres and
live music from some of the worlds nest countries.
jazz and blues artists and discover the Lineup: John Scoeld & Joe Lovano Quartet,
rich experiences the region offers. Stroll Jazzmandu: Kathmandu Yellowjackets, Mike Stern Band featuring
friendly streets to nd music in new spaces, Jazz Festival Dennis Chambers, The Bad Plus, Marcus
visit bountiful valleys and beautiful places. Kathmandu, Nepal Miller, Avishai Cohen, WDR Big Band
Across four days and nights, the city will Nov. 410
jump to the sounds of jazz and blues, featuring Richard Bona, Philipp Poisel, Avery
Jazzmandu, the Kathmandu International Jazz Sunshine, Sophie Hunger.
from more than 300 musicians in over 80 Festival, will present musicians from across
concerts on the main program. leverkusener-jazztage.de
the world for a week of performances in
Lineup: Dave Douglas Quartet, Aaron Choulai spectacular venues across this historical city.
Trio, Canned Heat, Alex Hahn & The Blue Lineup: Gabacho, Cadenza Collective, Yaite Jazzdor Festival
Riders, Alister Spence Trio, Blow, Black Ramos, Kane Mathis, Banda Magda, Kjetil Strasbourg, France
Jesus Experience, Chris Cody Quartet, Dave Huseb, Julie Saury Trio. Nov. 620
Goodman Quartet, David Friesen, Geoff Bull jazzmandu.org For its 30th anniversary edition, Festival
& The Finer Cuts, Hammerhead, Linda Oh Jazzdor, which is one of the main music
Quartet, Joe Camilleri & The Voodoo Sheiks. events in the north of France during the fall,
wangarattajazz.com
Berlin Jazz Festival will welcome almost 30 bands in 15 different
Berlin, Germany venues around Strasbourg.
Nov. 58 Lineup: Jason Moran, Archie Shepp, Michael
Roma Jazz Festival The Berlin Jazz Festival begins its second Wollny, Joachim Khn, Julia Hlsmann,
Rome, Italy half-century by taking a step into the future Michel Portal, Louis Sclavis, Mark Turner,
November and asking the question: What is jazz Joshua Redman, Polymorphie, Plaistow,
Founded in 1976, the Roma Jazz Festival today, and what will it become? This years
presents an outstanding array of Italian, Christophe Imbs trio, Auditive Connection,
program reects the continued development Eve Risser White Desert Orchestra.
European and American acts. of a music whose inuence is increasingly
Lineup: Last years lineup included Dave jazzdor.com
felt far beyond its own borders, presenting
Holland & Kenny Barron, Enrico Rava, Dee artists united by a single characteristic: the
Dee Bridgewater, 3 Cohens, Fabrizio Bosso, desire to move forward. Artists in the 2015 Padova Jazz Festival
Franco DAndrea. program represent many generations and 30 Padova, Italy
romajazzfestival.it nationalities. Nov. 914
Lineup: Ambrose Akinmusire & Theo The 18th edition of the Padova Jazz Festival will
of warm hospitality and first-class music education. This year, the festival will and other genres to huge audiences but also
in Umbria, a city rich in history and art. honor the contributions of jazz pianist and provides a smaller, more intimate settling
The program will include new musical composer Randy Weston. The festival is with its Jazz Garden performances.
encounters between artists as well as the most important annual event for the Lineup: Past performers include Sting,
innovative projects. The goal is to create a Fundacion Danilo Prez, which aims to John Legend, Jason Mraz, Santana, Jamie
musical mix that will appeal to longtime fans positively transform society through music.
of jazz as well as new fans. The 4th Annual Latin America Music Therapy Cullum, Esperanza Spalding, Jools Holland,
Lineup: Allan Harris, Paolo Fresu, Kurt Elling, Symposium is presented in conjunction with Yellowjackets, Mike Stern, Chico Freeman.
Romero Lubambo, Lewis Nash, Steve the festival. dubaijazzfest.com
Wilson, Rosario Giuliani, Jarrod Lawson. Lineup: Randy Weston, Rudresh
umbriajazz.com Mahanthappa, Dave Douglas, David Murray/ Jakarta International Java
Geri Allen/Terri Lyne Carrington, Dominique
Eade, Danny Rivera, others.
Jazz Festival
Festival Internacional de Jazz panamajazzfestival.com Jakarta, Indonesia
de Punta del Este March 46, 2016
Finca El Sosiego, Punta Ballena, Winter Jazz The 12th edition of the three-day jazz festival
Punta del Este, Uruguay Prehallen, Valby, Copenhagen, Denmark will present top jazz musicians from around
Jan. 610, 2016 February 2016 the globe as well as Indonesias best talent.
The festival has been held since 1996 in the Winter Jazz is a nationwide music festival Lineup: Past lineups have included Jamie
middle of the countryside, surrounded by a that takes place in February each year. Cullum, Natalie Cole, Snarky Puppy, Roy
natural environment. It features musicans The festival spans 17 days featuring more Ayers, Bobby McFerrin, Chris Botti.
from all over the world in an easygoing than 450 concerts, 100 venues and 25 javajazzfestival.com
setting sharing special moments among independent organizers from all across
themselves and the audience. Barbecues Denmarkfrom Aalborg, Aarhus, Odense
and special meals are also included. and Esbjerg to the historic jazz capital, Cape Town International
Lineup: Paquito DRivera, Diego Urcola, Copenhagen. The combination of the Jazz Festival
Makoto Ozone, Jimmy Cobb, Harold festivals length and the countrywide aspect Cape Town, South Africa
Mabern, Peter Bernstein, John Weber, Eric makes Winter Jazz an opportunity to meet
Alexander, Grant Stewart, Steve Davis, international stars on tour as well as up-and-
April 12, 2016
James Burton, Tardo Hammer, Helen Sung, coming Danish artists. Now in its 17th year, the festival is famous
Lineup: Last years lineup included Benjamin for delivering a star-studded lineup.
Manuel Valera, Manuel Valera Sr., Alex
Koppel, Aske Jacoby, Thommy Andersson, Affectionately referred to as Africas
Brown, David Feldman, Idriss Boudrioua,
Peter Nilsson, Eythor Gunnarsson, Tomas Grandest Gathering, the Cape Town
Lula Galvo, Pipi Piazzolla, Popo Romano.
Email: festival@festival.com.uy Franck, Daniel Franck, Alex Riel, Ole Kock International Jazz Festival is the largest
franyo@festival.com.uy Hansen, Hugo Rasmussen, Frands Rifbjerg. music event in sub-Saharan Africa. This
Website: festival.com.uy jazz.dk South African-produced event is held at the
Cape Town International Convention Centre.
Panama Jazz Festival Dubai Jazz Festival Lineup: Last years lineup included the
Panama City, Panama Dubai, United Arab Emirates Gerald Clayton Trio, Gavin Minter Septet, Al
Jan. 1116, 2016 Feb. 2426, 2016 Jarreau, Basia, Naima Mclean, Cannibal Ox,
For 13 years, the Panama Jazz Festival has Held in the massive Dubai Festival City, this Mike del Ferro Trio featuring. Tony Lakatos,
shown a deep commitment to Panamas event attracts tens of thousands of fans Madala Kunene.
culture, society, tourism, economy and each year. The nine-day festival brings jazz capetownjazzfest.com
MATTHEW HOLLER
Vocalist Jane Monheit will salute Frank
Sinatra at an MSM concert on Nov. 13.
ROY GROETHING
of the Manhattan School of Musics 201516
performance season, the MSM Jazz Orchestra
David Demsey (left) and Bill Charlap are faculty members
at William Paterson University in Wayne, New Jersey.
will perform a 50th anniversary tribute to Herbie
Hancocks Maiden Voyage on Oct. 22, under the
direction of Justin DiCioccio. Vocalist and MSM
Charlap Builds on Tradition alumna Jane Monheit (BM 99) will celebrate
the Frank Sinatra centennial in concert with the
MSM Jazz Orchestra on Nov. 13. Bobby Sanabria
at William Paterson
BILL CHARLAP HAS ALWAYS SEEMED LIKE up as the son of composer Moose Charlap and
leads the MSM Afro-Cuban Jazz Orchestra in a
program of funk music on Nov. 5. msmnyc.edu
DB Music Shop MasterCard are accepted. Deadline: Ad copy and full payment must arrive 2 months prior to DB cover date.
Send your advertisement by MAIL: DownBeat Classifieds, Att. Sam Horn, 102 N. Haven Road, Elmhurst, Illinois,
60126, EMAIL: samh@downbeat.com, FAX: (630) 941-3210.
Cannonball Music ........................79 Jacob Anderskov Music ...............58 Sam Ash ....................................... 22
cannonballmusic.com jacobanderskov.com samash.com
Cape Town Jazz Festival .............101 Jamey Aebersold ......................... 19 Sedo Audio .................................. 73
capetownjazzfestival.com jazzbooks.com sedoaudio.com
Capri Records............................... 52 Jazz at Lincoln Center Blue Sony Music ............................ 29, 42
caprirecords.com Engine Records ............................68 sonymusic.com
Chicago Symphony Center ..........82 blueenginerecords.org
cso.org Soprano Planet ............................58
Jazz de Punta del Este .................99 sopranoplanet.com
Columbia College Chicago .............4 festival.com.uy
colum.edu/music Summit Records........................... 23
Jazz Education Network ............ 103
summitrecords.com
Concord Music Group .............. 7, 45 jazzednet.org
concordmusicgroup.com Sunnyside Records ................. 51, 53
JodyJazz ...................................... 81
jodyjazz.com sunnysiderecords.com
Conn-Selmer ................................ 77
conn-selmer.com Ted Klum Moutpieces .................. 10
Juilliard .......................................89
Consolidated Artists Publishing ..65 juilliard.edu/jazz tedklummouthpieces.com
jazzbeat.com
Kim Nazarian Music ..................... 73 Tucson Jazz Festival.....................85
CowBell Music.............................. 18 newyorkvoices.com tucsonjazzfestival.org
cowbellmusic.dk
MacSax ........................................67 USA Horn .....................................60
Creative Perspective Music .........74 macsax.com usahorn.net
donbraden.com
Mason Gross School of the Arts ... 41 Vandoren ....................................... 3
Cuneiform ................................... 21 masongross.rutgers.edu wearevandoren.com
cuneiformrecords.com
MCG Jazz .....................................56
Verve Records ...............................11
DAddario ......................................5 mcgjazz.org
daddario.com vervemusicgroup.com
Music Dispatch ............................ 33
Dave Stryker Music ...................... 75 musicdispatch.com WJ3 ..............................................62
davestryker.com williejones3.com
New Jersey Performing
Dot Time Records .........................54 Arts Center ....................................8 Zildjian ........................................93
dottimerecords.com njpac.org zildjian.com
Joe Locke
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Bobby Hutcherson
I Am In Love (Mirage, Landmark, 1991) Hutcherson, vibraphone; Tommy Flanagan,
piano; Peter Washington, bass; Billy Drummond, drums.
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RICHARD CONDE
enced by this combination of incredible harmonic depth and poetic playing.
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Joe Locke
Chris Dingman
Same Coin (Waking Dreams, Between Worlds, 2011) Dingman, vibraphone; Fabian
Almazan, piano and Fender Rhodes; Erica von Kleist, flute; Mark Small, bass clarinet; is his soulful delivery. Warren makes it sound easy, but if that were easy to do
Joe Sanders, bass; Justin Brown, drums. on the vibes, more people would do it. 5 stars.
7KHSLDQLVWUHPLQGVPHRI(G6LPRQWKRXJKLWVQRW>2QYLEHV@P\UVW
WKRXJKWLV6WHIRQ+DUULVZKRSOD\VZLWKDJUHDWVHQVHRIPHORG\OLNHKHV Dave Holland Quintet
singing through the instrument. This player has that lovely quality, too, and a Amator Silenti (Critical Mass, Dare2, 2006) Holland, bass; Steve Nelson, vibra-
phone and marimba; Chris Potter, tenor saxophone; Robin Eubanks, trombone;
QLFHVRXQG,OLNHWKHPDWFKLQJRIXWHEDVVFODULQHWDQGYLEHVZLWKWKHSLDQR Nate Smith, drums.
DVDFDUSHWXQGHUQHDWKLWDORYHO\FRQFHSWLRQ7KHSLDQRVRORLVEHDXWLIXO Ill guess Dave Hollandand Steve Nelsonbecause of the instrumentation.
7KHYLEHVVRORLVWHUULFDQRULJLQDOYRLFHDQGPXFKVLQFHULW\VWDUV Its a heartfelt, romantic track, showing a side of the quintet that I miss in
some other writing for it. It goes from that very consonant, open, beautiful
Stefon Harris
Thanks For The Beautiful Land On The Delta (African Tarantella: Dances With Duke,
sound into the freeway, from the most inside to the most outside within a few
Blue Note, 2006) Harris, vibraphone; Steve Turre, trombone; Anne Drummond, flute; minutes. Steve is the composer? [after] When he writes, its a good one. You
Greg Tardy, clarinet; Xavier Davis, piano; Junah Chung, viola, Louise Dubin, cello; Der- can tell theyve made a lot of music together by the way theyre dialoguing,
rick Hodge, bass; Terreon Gully, drums. speaking with one voice. I like the colors created by different instrumental
Stefon. African Tarantella? That melodic, singing expression I talked about combinations. Stunning. 5 stars.
with Dingman comes through loud and clear here. Not sure if theres a bass
trombone, but the low end is palpable; the piece is emotionally resonant. Jason Adasiewiczs Sun Rooms
Beautiful orchestration and arranging. Theres a big, wide-open half-time Bees (Spacer, Delmark, 2011) Adasiewicz, vibraphone; Nate McBride, bass; Mike Reed,
feelthe drummer knows how to sustain that good feeling and not get in drums.
the way while keeping things interesting. I dont know if Terreon Gully had Jason Adasiewicz. I dont consider this avant-garde, but it represents an aes-
come on the scene then, or if its Eric Harland. 5 stars. Its exciting to hear a thetic thats thriving in Chicago. Im not moved by him as a linear improvis-
vibes player who transcends the instrument, and makes music on those 37 er, but I love what he does sonically. On this track, for example, he speeds up
cold bars. Stefons playing has poetry and fire, intellectual rigor, and the blues and slows down the motor for an aesthetic effect, which Matt Moran of the
are intact. Claudia Quintet does. Hes exploring textures in a cool way. Its valid to use
all the possibilities at your disposal on an instrument whose possibilities are
Dave Samuels inherentlyor ostensiblyvery limited. I wouldnt go back to it to get my
Resemblance (Tjader-ized, Verve, 1998) Samuels, vibraphone; Eddie Palmieri, piano; head right on any given day, but I appreciate it. [The fact] that I could identi-
Joe Santiago, bass; Bobbie Allende, Marc Quiones, percussion. fy it as Jason means he has a voice. 3 stars.
Cal Tjader? It sounds like something I recorded with Eddie Palmieri when
we re-did the El Sonido Nuevo album on KUVO in Denver. The vibes have Dave Pike
crisp, precise, beautiful articulation like Gary Burton. A very strong linear Forward (Its Time For Dave Pike, Riverside, 1961/2001) Pike, vibraphone; Barry Harris,
improviser. Ah! Dave Samuels. That sounds like Eddie on piano. Theyre piano; Reggie Workman, bass; Billy Higgins, drums.
playing beautifully together. 4 stars. Dave Pike. The Bud Powell of the vibes. Its Time For Dave Pike? So its Barry
Harris. One of the greatest bebop vibes records ever. Im surprised I didnt
Warren Wolf know it at first, but this track didnt ring a bell. It doesnt get any better. Dave
Annoyance (Wolfgang, Mack Avenue, 2013) Wolf, vibraphone; Benny Green, piano; Pike is a great, eloquent bebop improviser, on the level of Sonny Stitt, but
Christian McBride, bass; Lewis Nash, drums. doing it on the vibraphoneand he sounds very different than Bags. 5 stars.
[after 4 bars] Warren Wolf. Warrens phrasing is beautiful. The combination DB
of almost childlike consonance, and then little dissonances thrown in as
though something is encroaching, is an interesting compositional device. The Blindfold Test is a listening test that challenges the featured artist to discuss and identify
Besides being a wonderful melodic improviser, Warren has the blues in his the music and musicians who performed on selected recordings. The artist is then asked to rate
playing. His dazzling chops and speed impress people, but what hits me most each tune using a 5-star system. No information is given to the artist prior to the test.