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DownBeat Chick Corea // Bill Evans // Wallace Roney // Bobby Broom // 33rd Annual Student Music Awards June 2010
 June 2010
Volume 77 – Number 6

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4 DOWNBEAT JUNE 2010
 JUne 2010

On the Cover

26 Chick Corea

38
Further Explorations
of Bill Evans
By marius nordal
 he piano giant joins bassist Eddie
T
Gomez and drummer Paul Motian
to mark the 40th anniversary of Bill
Evans’ death with a special engage-
ment at New York’s Blue Note club.
The group aims to rekindle the rare
kind of trio interplay that Evans
established on landmark albums
like Sunday At The Village Vanguard
and Waltz For Debby.

Features

MARK SHELDON
34 Bill Evans Bobby Broom
Classic Interview:
New Intuitions Cover photography by Lynn Goldsmith. Inset photo of Bill Evans by Jan Persson.

By Len Lyons // March 11, 1976

38 Bobby Broom
Transcending
Sideman Status
By Lloyd Sachs

42 Wallace Roney 54 Brad Mehldau 62 Frank Kimbrough 57 Nels Cline Singers 54 Cindy Blackman
Controversy,
Frustration, Brilliance
By Jim Macnie
Departments
46 Indie Life

71 33rd Annual 8 First Take 22 Players 106 Master Class

Student Music 10 Chords & Discords Antonio Ciaccia 108 Transcription
Awards Ralph Lalama
13 The Beat Catherine Russell 110 Jazz On Campus
96 Jazz Education 14 The Question Sharell Cassity 14 Blindfold Test
1
Hall of Fame & Stanley Clarke
Achievement 16 European Scene 51 Reviews
Awards 20 Caught 102 Toolshed

6 DOWNBEAT JUNE 2010

 First Take | By ed enright

Bill Evans

jan persson

Bill Evans Remembered

W
hen Bill Evans passed away from a bleeding ulcer and bron-
chial pneumonia on Sept. 15, 1980, he had more than 50 al-
bums to his name, even though he was only 51 years old.
His substantial discography attests to the imaginative diversity, unflag-
ging taste, rigorous instrospection, intelligence and consummate craft
of a sensitive contemporary musician, one who came to national promi-
nence with Miles Davis on the classic LP Kind Of Blue (1959) and went
on to become one of the greatest jazz pianists and trio leaders in history.
Evans’ obituary, which ran in the December 1980 issue of Down-
Beat, provided a succinct summary of his career and his enormous in-
fluence, which is still felt by jazz musicians today—from this year’s
Student Music Award winners (Page 71) to this month’s cover subject,
Chick Corea (Page 26), who will honor the man and his craft with a
series of special performances in New York this spring.
No byline ran with Evans’ DownBeat obit, but editors at the time
included Charles Carmon, Howard Mandel and John Litweiler. A brief
excerpt from the article paints a vivid picture of the pianist, who was
two nights into a weeklong engagement with bassist Marc Johnson and
drummer Joe LaBarbera prior to his death:
“As his music reflected, Evans was a quiet, thoughtful man.
Hunched over the keyboard, his head parallel to his hands, he gave an
impression of loneliness, concentration, despair, perhaps tragedy. Rare-
ly displaying open enthusiasm at the piano, he was extremely critical of
his own talents. In the mid ’70s, his playing took on a new aggressive-
ness and his personality seemed to blossom with a marriage [to Nen-
ette], the birth of a son [Evan] and adoption of a daughter [Maxine].”
In 1979, Evans told DownBeat’s Lee Jeske: “My image seems to be …
the intellectual, serious, romantic, lyric ballad player, and this is certainly
one side of myself. But I think I put much more effort, study and develop-
ment and intensity into just straightahead jazz playing …swinging, energy,
whatever. It seems that people don’t dwell on that aspect of my playing very
much; it’s almost always the romantic, lyric thing, which is fine, but I really
like to think of myself as a more total jazz player than that.”  DB

8 DOWNBEAT JUNE 2010

 Chords & Discords 

Don’t Forget The Words

As a practicing musician, I found J.B. Dyas’
recent column, “Methods for Fighting the
Epidemic of Tune Illiteracy,” both helpful
and somewhat infuriating (“Woodshed,”
May). His four steps are certainly a thorough
program for familiarizing yourself with all the
melodic, harmonic and structural contours,
quirks and transitions of a song. But how can
a musician possess any insight into a song,
or interpret its sentiment with any sort of
credibility, with no knowledge of the lyrics?
Sure, this doesn’t necessarily apply to instru-
mentally composed pieces—although those
compositions often have a story behind
them, the knowledge of which would enrich
any performance.
I have been in so many situations in which
a musician has a complete knowledge of
the chord progression and melody at hand,
and yet his or her interpretation is bafflingly
wrong-headed with respect to the emotional
tenor of the piece. While Dyas’ technique may be rewarded. Suggestion for next year—how
be adequate for generating competent scale- about a panel of experts nominating their
spinning, the difference between merely capable favorite solo piano recordings?
improvisation and transcendence lies in a genu- Harry Briggs
ine appreciation of a song’s sentiment, and the Irvine, Calif.

ability to extend upon that and personalize it. I

wish I had a quarter for every time a young musi- Chicago Memories Via Hooper
cian said to me, “You mean ‘Body And Soul’ has It was great to read the review of the sorely
words?” You’d never know it by following Dyas’ overlooked composer/arranger Les Hoop-
advice as presented here. er’s new CD, Live At Typhoon (“Reviews,”
R.B. Martin May). Les has been creatively applying his
sanmarrb2@aol.com craft for four decades while flying totally
under the radar. Those of us older Chica-
Critic Must Know ‘Beyond’ go natives remember his wonderful charts
It is obvious from John McDonough’s review performed over countless Monday nights in
of Mose Allison’s The Way Of The World the 1970s by big bands led by Dave Reming-
(“Reviews,” April) that he is unaware of pro- ton and Roger Pemberton at the Wise Fools
ducer Joe Henry’s significance. This is another Pub on the city’s North Side. Thank you for
example of one of your lead reviewers knowing exposing Les Hooper to a wider audience.
little about the “Beyond” music in your banner Bill Benjamin
head. Still, he redeemed himself by giving it four Biltmore Lake, N.C.

stars. I’ll order it immediately, but in the future

please just give him “Jazz” CDs to review. Research Request
Keith Penhallow Willard Jenkins is researching the history
Canberra, Australia of jazz venues in the Brooklyn, N.Y. He is
interested in communicating with anyone
Clarke/Boland A Big possessing memorabilia, testimony, or other
Band Standout potentially valuable insights and information
Thanks for your panel’s 25 top picks of they’d be willing to share. He can be reached
“Favorite Big Band Albums” (April). I’m sure I through his Web site, openskyjazz.com.
wasn’t alone among your readers in counting
how many LPs or CDs I had in my collection Correction
(19). The one glaring omission, in my opinion, „„ Recording Academy president Neil Port-
was the absence of any work from the crimi- now’s name was misspelled in a news
nally underrated Kenny Clarke/Francy Boland item in “The Beat” (April).
Big Band, probably because no single album DownBeat regrets the error.
stands out in their consistently excellent body
of swinging work. Their CDs are not easy to Have a chord or discord?
find, but anyone who makes the effort will E-mail us at editor@downbeat.com.

10 DOWNBEAT JUNE 2010

 News & Views From Around The Music World

The
Inside 
14 I Riffs
14 I The Question
16 I E
 uropean
Scene
20 I Caught
22 I Players

Gratitude John McLaughlin

for Coltrane
John McLaughlin and the 4th
Dimension incarnate A Love Supreme

“W hen I grew up in the 1960s, the shit was passionate,” John

McLaughlin said from his home in Monaco. “Miles was killing.
Trane was burning in another way, Cannonball in another way, Sonny
Rollins in yet another way. But they all had this deep passion, an engage-
ment with life and with music and with their instrument. I grew up think-
ing that was normal, and I still do.”
Forty-five years after McLaughlin first heard what would be one of
the most profound influences on his life—Coltrane’s groundbreaking A
Love Supreme—he’s recorded a tribute of sorts to the event for his new To
The One (Abstract Logix).
“A Love Supreme was a pivotal record for me,” the guitarist said. “I
got the record in ’65 and it was 1966 before I could hear what he was
doing. He almost singlehandedly integrated the spiritual dimension of the
human being in jazz music—alone!

jos knaepen
“I was 22 and in a deep fog trying to find my way and some identity,”
McLaughlin continued. “If you want to improvise in jazz, you have to
have a clear idea of who you are. Otherwise who are you playing? At thinking about A Love Supreme again, particularly the period he discov-
some point you have to ask, ‘Who am I? What do I have to say? What is ered it. There are certain likenesses with the modal movement inside of
my relationship with the universe and the beings that inhabit it?’” the tunes and it’s John—lots of energy and balls-to-the-wall playing.”
McLaughlin’s To The One doesn’t literally cover any Coltrane mate- To The One isn’t McLaughlin’s first foray into Coltrane—that would
rial or explore A Love Supreme’s all acoustic format. Surrounded by his be his 1994 release After The Rain, a trio recording with organist Joey
agile 4th Dimension quartet, To The One takes a philosophical approach DeFrancesco and Coltrane’s longtime drummer, Elvin Jones. Covering
to assimilating the Coltrane masterpiece. multiple Coltrane classics, After The Rain was a warm-ish, oddly un-
“I am not trying to play Coltrane music,” McLaughlin said. “It’s just McLaughlin outing, considering the guitarist’s penchant for his need to
a big thank-you to him. It’s almost more of a chronology of my own en- see “blood on the stage.”
deavors in the same path that he was on. He was such an inspiration musi- McLaughlin cites the album’s song titles as a chronological docu-
cally and spiritually.” mentation of his own life explorations, from the bright tonalities of
Recorded over two days last summer at Solid Sound Studios in Nice, Latinesque opener “Discovery” and the rolling rhythms and subdued
France, To The One is prime McLaughlin. His 4th Dimension band—Gary mood of “Special Beings,” to the nearly heavy metal thunder of “The
Husband, keyboards and drums; Etienne M’Bappe, electric bass; Mark Fine Line” and the synth-swaying closing track “To The One,” which
Mondesir, drums—is easily his most spirited group in years, able to spin on references an old Mahavishnu standard, “Lila’s Dance.” McLaughlin
a musical dime at will. With two drummers aboard, McLaughlin’s predilec- ultimately sees everything in life as inseparable.
tion for complex, flowing, ferocious rhythms is particularly evident. “We are all totally inseparable from each other and everything else,
“John described it as A Love Supreme meets Mahavishnu Orchestra,” for that matter. So for me, everything we do is to the one. I just wanted
Husband said. “When we first met in 2005 we played through ‘Impres- to have that intention. The intention is what can help the music, that’s
sions’ and other Coltrane tunes. But this was something else. He’d been all. All music is spiritual. It’s the language of the spirit.” —Ken Micallef

JUNE 2010 DOWNBEAT 13

 Riffs  The Question Is … | By Dan Ouellette

What is an important topic on jazz and contemporary

music that should be discussed by panels of writers and
artists at jazz festivals and/or conferences?

Haven’t we had enough discourse and open forums on topics

such as “Is jazz dead?” and “What is the state of jazz today?”
What is a fresh subject that needs to be discussed by a panel of

…
critics, journalists and artists?
­ ­
Mayfield Sworn In: National Endow-
Saxophonist Sam Newsome: Have love to have a reasoned discussion about
ment for the Arts chair Rocco Lan-
university positions become the new major the quantifiable shift in music that’s taken
desman (left) swore in trumpeter Irvin
label record deal for today’s jazz musician? place over the last 10 or so years without it
Mayfield to join the National Council on
When I moved to New York in the late ’80s/ resulting in vitriol or hurt feelings.
the Arts—the NEA’s advisory body—at
early ’90s, many of my peers—myself
the Nancy Hanks Center in Washington,
included—were either looking to play in the Saxophonist
D.C., on March 26. Mayfield will serve
band of someone famous or to get signed Greg Osby: My
for a six-year term. Details: arts.gov
by a major record label. Today, since topic would be:
neither is an option, university positions Why do festivals
Concord Buy: Concord Music Group
seem to be the “new hustle,” as one of my and jazz clubs
has acquired the Boston-based folk/jazz
colleagues likes to put it. Having added continue to book
label Rounder and 3,000 of its masters.
teaching jazz studies at a university to the the same artists
Details: concordmusicgroup.com
collection of hats that I wear as 21st-cen- over and over
tury jazz musician, I’d be curious to hear a again without
Jazzfriends Benefit: The Jazzfriends
panel discuss this new trend. giving promising
Festival in Porto Potenza Picena, Italy, is
younger artists an opportunity—or at the
putting together a limited-edition CD to
Pianist Geoffrey very least, try presenting some tried-and-
benefit Emergency, an organization that
Keezer: Rather true established veterans to do what they
assists war refugee and landmine injury
that asking “Is jazz do best? A quick glance clearly shows that
victims. Musicians participating on the
dead?” (because the same acts are dominating the bookings
disc include pianist Stefano Bollani, flut-
it isn’t), we should and lineups. The audiences are stuck with
ist Kristian Sensini and the Dams Jazz
look at jazz as a a narrow view of what jazz is truly repre-
Orchestra. Details: jazzfriends.it
folkloric music in sentative of since the music’s contempo-
the same way we rary face is now populated with about only
Chicago Summit: A group of Chicago
go to concerts or 10 acts that appear in heavy rotation.
jazz musicians—including saxophonists
clubs to hear tra-
Ed Wilkerson and Greg Ward and flutist
ditional flamenco, Trombonist Josh Roseman: I’d like to
Nicole Mitchell—will join the instrumen-
Indian, African, Asian or South American see a panel on how musicians can move
tal rock band Tortoise for the premiere
folkloric music. There are artists keeping a beyond the “tipping point” where market
of a concert-length composition at their
so-called “pure/traditional” form alive, and forces are too easily manipulated or lack
city’s Jay Pritzker Pavilion in Millennium
there are artists seeking to evolve the music the dimension to speak to the broader
Park on July 29 as part of the “Made
in their own way by mixing it with current long-term issues we face—politically,
In Chicago: World Class Jazz” series.
sounds. In a panel, we should be asking, artistically, economically, environmentally.
Details: cityofchicago.org
“How is jazz evolving? What are the myriad Can we develop a legitimate channel for
ways jazz is being kept alive, fresh, current group action that transcends the power
Vaughan Return: Blues guitarist Jim-
and creative?” of the marketplace? This isn’t necessarily
mie Vaughan will release his first disc in
an economically driven concern, but may
nine years, Blues, Ballads And Favorites
Guitarist Doug Wamble: I would love to speak to our core values.
(Shout! Factory), on July 6 and will be
have an honest discussion about the music
touring across North America this sum-
that’s being made today in the jazz world. Saxophonist John Ellis: Maybe we need less
mer. Details: shoutfactory.com
All of the “Where is jazz going” or “Is jazz panels and more creative venues. Less hand-
dead” panels never contain candor. While I wringing and more humor. If a panel were to
RIP, Geraldine Gay. Jazz-influenced
feel somewhat like an outsider these days, speak to my personal needs, it would have
gospel pianist Geraldine Gay died in
I still go hear a lot of jazz. And I am always to involve creative sources of funding. Lord
Aurora, Ill., on April 6 after complica-
troubled to go to gigs that are populated knows it’s hard to figure out how to make
tions from a series of strokes. She was
overwhelmingly by musicians. The music money in this business.  DB
79. Her distinctive style, which echoed
that is fashionable today is highly complex,
Erroll Garner, was featured alongside her
which is fine, and math-based, which is
vocalist brother Donald Gay on the 2007 Got an opinion of your own on “The Question”?
also fine. But the audience is shrinking. I’d E-mail: thequestion@downbeat com.
disc Soulful Sounds (Sirens Records).

14 DOWNBEAT JUNE 2010

 European Scene | By Peter Margasak

German Pianist Reaches Deep Within For New Tonal Possibilities

From the prepared piano sounds, so I place objects on
Magda Mayas
pioneered by Henry Cowell and the strings or where the tuning
John Cage to Hiromi’s recent points are, or I put gaffer’s
and flashy exercises, plenty of tape on the strings. I use my
musicians have experimented fingers and hands a lot. I don’t
with the peculiar and gripping stick stuff between the strings
world of sound that comes from beforehand because I want to
mucking around inside the in- be able to get a conventional
strument. Yet with two stunning piano sound when I want it, or
new albums, Magda Mayas to change sounds quickly.”
has expanded the language for Among her tools are wood-
internal piano music-making. en and metal objects, marbles,
Mayas was born and raised stones and even children’s toys.
in Münster, Germany. She be- tutelage of Georg Gräwe. saxophonist Christine Sehnaoui “I discover new sounds as I
came interested in jazz piano as Mayas has made a handful pushes the sound palette in play, but I definitely practice
a teenager, and while buying be- of records—including a superb other directions. Although the with new objects. Sometimes I
bop records she also picked up duet with Necks percussion- listener can certainly differenti- have a particular sound in mind
some albums by Cecil Taylor and ist Tony Buck, Gold (Creative ate between the reedist and that I want to create, so I work
Alexander von Schlippenbach. Sources)—but she’s made a keyboardist, that doesn’t mean until I get it, but I do practice
Mayas said she then quickly be- significant artistic leap with her the actual abstraction of sound so I can repeat certain sounds,
came enamored of free-jazz. In stunning solo debut Heartland bears much relationship to the more or less.”
1999 she began studying piano (Another Timbre). The album’s instrument’s expected tones. Mayas also has duo proj-
in Berlin, where her burgeoning two lengthy pieces showcase While Mayas has been ects with cellists Anthea Caddy
interests blossomed. the full diapason of her talent, interested by what she could and Okkyung Lee, and she has
“When I moved there people from thunderous rumbles to do inside the piano for years, two unusual quartets: one with
were playing free-jazz,” Mayas piercing high-end screeches, it’s only more recently that she’s Buck, trumpeter Peter Evans
said. “I heard lots of concerts from resonant, glowing long thrown herself into the practice. and bassist Clayton Thomas,
like that and I played with tones to abrupt, clattery “I don’t know what I’ll do in and another with Buck,
other people using extended explosions. Each improvisa- the future, but from playing the Sehnaoui and guitarist Andy
technique.” tion flows organically from one keyboard so much I became Moor from The Ex.
Two years later she moved episode to the next, with the more interested in creating “I feel like I’m still exploring a
to Amsterdam where she studied pianist balancing a keen sense sounds inside as well, and in lot, and I’m excited about it.” DB
under Misha Mengelberg for a of investigation and on-the-fly the last couple of years I’ve
year, and in 2005 she earned a compositional logic. A second really gotten into it,” Mayas
For questions, comments and
diploma from Berlin’s Hochschule recording, Teeming (Olof Bright), said. “I don’t prepare it because news about European jazz, e-mail
für Musik Hanns Eisler under the with the French-Lebanese I want to be flexible with the europeanscene@downbeat.com.

Herb Ellis’ Virtuosity Heard as Selfless Blues

H erb Ellis, one of the most versatile of late
20th century jazz guitarists, died March
28 of complications from Alzheimer’s disease
bassist Ray Brown.
“The group had a great understanding
among themselves and a great cohesion,” De-
in Los Angeles. He was 89. Franco said. “They were all great soloists, and
Along with Barney Kessel, Ellis was the Herb in particular made it function smoothly
greatest exponent of the Charlie Christian style because he was so selfless in his playing.”
of rapid-fire linear playing. He was also a valu- Vibraphonist Terry Gibbs added, “Herb was
able supporting player, first in the celebrated the best accompanist of all time—he’d come in
Oscar Peterson Trio of the ’50s and then as a behind you with with those big, fat chords in all
studio guitarist. the right places.”
A native of Farmersville, Texas, Ellis played Pianist Mike Melvoin recorded several al-
banjo and harmonica as a youngster. Later, Ellis bums with Ellis and Brown and also understood
worked in Charlie Fisk and then Tommy Dors- Ellis’ role. “I got the sense that Herb was the en-
downbeat archives

ey’s bands. He then formed the Soft Winds with gine,” Melvoin said. “Ray rushed the beat and
Dorsey alumns pianist Lou Carter and bassist Herb kept Ray honest.”
Johnny Frigo. The influential cocktail trio made After he left the trio in 1958, Ellis worked
“Detour Ahead” a jazz standard. with Ella Fitzgerald and his solo recording “Herb wasn’t specifically a down-home
Ellis joined the Peterson Trio in 1953 and it picked up while he found serial jobs in television player, a technical player, a blues player or
set a new standard for virtuosic interaction. studio orchestras. Gibbs and DeFranco played a rhythm player,” DeFranco added. “But he
Clarinetist Buddy DeFranco shared the Jazz at in small units with Ellis in the ’80s. Gibbs said, brought all of those things into a group and did
the Philharmonic Tours with Ellis, Peterson and “He was the juiciest blues player ever.” it all so effortlessly.”  —Kirk Silsbee

16 DOWNBEAT JUNE 2010

 Giuseppi Logan
josh rosenthal

Saxophonist Giuseppi
Logan Returns To
Recording After
40-Year Absence
I n 2007 Giuseppi Logan wandered into a Sam
Ash music store in Manhattan and asked for a
soft reed. The salesman, a musician named Matt
Lavelle, guessed the alto saxophonist’s identity.
Thus began a comeback for Logan, a man in his
seventies who by his own count had been insti-
tutionalized four times for drug abuse.
Logan began playing with Lavelle, who dou-
bles on trumpet and bass clarinet, at bassist Fran-
cois Grillot’s apartment. He led a group in early
2008 at the Bowery Poetry Club on New York’s
Lower East Side and released The Giuseppi Lo-
gan Quintet (Tompkins Square) in February.
“I feel a big relief to be playing again,”
Logan said. “It’s something I love to do and I’m
happy.”
Logan moved from Philadelphia to New
York in the 1960s, performing with Rashied
Ali, Archie Shepp, Pharoah Sanders, Don Pul-
len and Milford Graves. He recorded The Gi-
useppi Logan Quartet (1964) and More (1965),
for ESP-Disk.
The saxophonist later moved with his wife
and children to Norfolk, Va., and stopped play-
ing. Shortly before leaving Norfolk in 2007, he
earned enough money from a landscaping job to
purchase a saxophone.
Returning to New York, he lived in a Brook-
lyn shelter and played for tips, first on a subway
platform at 34th Street and Sixth Avenue and
then at Tompkins Square Park in the East Vil-
lage, his current neighborhood.
Josh Rosenthal, owner of the Tompkins
Square label, recalled seeing Logan last summer
at the park. Rosenthal invited the saxophonist to
record last September.
Logan also led a quintet at the Philadelphia
Art Alliance on April 1. The group included pia-
nist Dave Burrell, who appears on the album.
“With Giuseppi it’s always fresh,” Burrell
said. “[He’s] going to do things that no oth-
er saxophone player does. Whether it’s real
breathy and feint or if it comes out strong, you
don’t know.”  —Eric Fine

JUNE 2010 DOWNBEAT 19

 Miriam Parker (left) and William Parker

Caught 

Arts for Arts’ Vision Collaborations

Nights Combine Musical,
Physical Improvisation
T he modern-day potential for the charged art-form confluence of
dance and jazz has been well documented—from choreographer
Jerome Robbins’ “ballet in sneakers,” NY Export: Opus Jazz (recently
revised in film by dancers from the New York City Ballet and shown on
PBSs’ “Great Performances” TV series), to Dave Douglas’ 2000 jazz-in-
fused score to the Trisha Brown Dance Company’s El Trilogy. But there’s

Michael weintrob
risk involved. The layering of the jazz and dance currents can enhance
or detract from the creative flow, resulting in a joyous marriage or a dis-
heartening courtship. Both those dispositions were at work in the Seventh
Annual Vision Collaborations Nights: Dialogues in Sound, Space, Move- The “Crow Geometrics” father-daughter meeting of music and
ment, a four-evening festival presented by Arts for Arts at the 14th Street dance—with a projected video by Jo-Wood Brown that was indeci-
Y in New York City. pherable—was largely disappointing. Parker played a wooden flute
In the second show of the collaborations, on March 4, five pieces and later his bass to set up musical cues for the dancing that featured
were performed with bassist William Parker, violinist Rosie Hertlein jerky, slow-motion movement. While Parker plucked raindrop lines
and pianist Cooper-Moore, and dancers Djassi Dacosta Johnson, Emily and delivered bowed snippets throughout, Miriam’s action was halt-
Coates and Miriam Parker. The evening started promisingly with a pas ing and featured long poses rather than a fluid rendering of the mu-
de deux of Cooper-Moore and Johnson, who remarkably had only met sic—stylistically feeling more like a workshop atmosphere instead of
that day. After the dancer opened with a soulful solo rendering of “Sum- a finished piece of improvisation.
mertime,” with her ballet-meets-blues movement reflecting the lyrics, With her disjunctive and unrelaxed movement, Parker was also miss-
the pianist entered with a lyrical line that later developed into turbulent ing in action (in pockets, literally) on the post-intermission “Encounter,
fractures and crystalline sprinklings that Johnson effectively echoed in II” piece, which featured all the dancers and musicians. The music was
her frenzied-to-joyous dancing. “Forza Sottile And Other Travels” was an excellent, with its lyrical dreaminess and abstract cubism eliciting a sense
instance of dance following the music versus a give-and-take interchange. of passionate searching. The dancers responded in the free choreography
While it lacked the pizzazz of the opening number, “Circumstance,” mode of triad, duo and solo reflections. Some of the dancing was awk-
with Coates dancing to Hertlein’s music, featured a close eye-contact ward, some fluid, with the most riveting performance, again, by Johnson.
interaction as the two moved together across the stage. Coates skipped The evening ended with a short but fiery free-for-all without dancers,
whimsically, struck dramatic poses and at times lunged to the violinist’s as the musicians engaged in their own unpredictable instrumental conver-
feet. Hertlein bowed playfully and melancholically amidst the chases and sations. Titled “Trio 2,” the improvisation, unencumbered by the need to
coquetry. It was fun stuff, but came off a tad amateurish, unlike the previ- collaborate across art forms, made for the most potent, inspiriting music
ous encounter. of the evening.  —Dan Ouellette

Vossa Jazz Festival Brings Nordic Improvisers to New Peaks

T he 37th edition of the Vossa Jazz Festival,
held March 26–28 in the lovely fjord-
country town in western Norway, reasserted
via the fascinating, feisty band Mikko Innanen &
Innkvisitio, guided by the strong, free-minded alto
saxist, and with keyboardist Seppo Kantonen win-
its value this year. This festival accentuates the ning special points for originality. Think Ornette
town of Voss’ beauty while covering broad sty- Coleman in a honky tonk, updated and glazed with
listic turf in and beyond jazz. Vossa is held in dry Finnish wit.
multiple venues around the town, including the On Sunday afternoon in the acoustically
Vangsykyrkja church in the middle of town. blessed Osasalen of the Ole Bull Academy, the
This year, the most dramatic moments came city’s music school, Swedish pianist Bobo Stenson
on Saturday afternoon, as keyboardist Jon Bal- presented a commanding solo piano performance,
ke reprised his “Extremjazz” project, a sym- teeming with his characteristic blend of introspec-
biotic pact between music, the area’s dazzling tion, muscular musicality built on jazz-classical vo-
mountain-to-lake natural splendor and the city’s cabulary and his natural openness of spirit.
reputation as a mecca for “extreme sports.” Last Another inimitable explorer, Norwegian vocal
brynjar vik

year, Balke led his band down by the lake, but Bobo Stenson legend Sidsel Endresen, showed why she exists
this year, his illustrative and flexible score for a on a plane all her own in contemporary music. A
quintet was performed on the snow-covered ski area mountaintop of the modernist with roots in the primordial, Endresen is now almost religious-
Hanguren. Band and audience peered down to the town far below, and the ly devoted to true improvisation—of material, vocal/oral technique and
aerial arabesques of parasailers launching from stage right. form and content—and has worked effectively with kindred spirits like
Three of the finest Scandinavian jazz artists of the day—from three dis- Christian Wallumrød and Humcrush in recent years. Here, she collabo-
tinctly varied perspectives, and three different countries—offered up the rated with versatile saxist Håkon Korstad, who artfully deployed loop-
festival’s most memorable shows. On Friday, Finland was representing, ing effects. Meanwhile, Endresen’s unadorned technical feats sometimes

20 DOWNBEAT JUNE 2010

suggested eerie electronics, whether in chopped up time-space snippets or
backwards-like sounds and morphing tones.
Charlie Haden’s Quartet West opened the festival with the group’s
crowd-pleasing, mainstreaming sound. On the band’s closer, “Lonely
Woman,” pianist Allan Broadbent ventured into an ornately classical solo,
essentially and somewhat oddly Rachmaninoff-ing Ornette Coleman.
A more feel-good aura worked into sets by Andy Sheppard’s multi-
cultural band and Mike Manieri & Northern Lights, in which the veter-
an vibist relies on the musical kindness of Norwegian players, including
the refreshingly unpredictable keyboardist Bugge Wesseltoft. Capping
off the heady weekend with a progressive party sound, the Belgian Flat
Earth Society served up its tight, seductively irreverent Zappa-meets-
Peter-Gunn-meets-Willem-Brueker big band sound, rattling the walls
of the Fraktgodsen.  —Josef Woodard

New Mid-Atlantic Jazz Festival

Swings D.C. Suburbs
S axophonist Paul Carr had his
work cut out for him when he
produced the inaugural Mid-At-
lantic Jazz Festival Feb. 19–21
in Rockville, Md. Carr’s chal-
lenges included the location, as
suburban Washington, D.C., is
not exactly a jazz hub.
Carr’s reputation helped mat-
ters. He has recorded three albums
and directs the Jazz Academy of
Music in Silver Spring, Md. His
proteges include trumpet player
Terell Stafford, who gigged with
Carr in the early 1990s in Tacoma
Park, Md. His efforts also followed
a previous Rockville event called
leon james

the East Coast Jazz Festival, which Paul Carr

ran from 1992 to 2006 (Singer
Ronnie Wells-Elliston, who founded the festival with her husband Ron El-
liston, died in March 2007).
The event took place at the Hilton Rockville Executive Meeting Center,
roughly a half-hour outside Washington. As with its predecessor, the Mid-
Atlantic Jazz Festival looked to establish a niche as a focal point for area
high school jazz programs.
Carr reunited the lineup from his 2008 album Musically Yours during
the festival’s first night. The group featured Stafford, pianist Mulgrew Mill-
er and drummer Lewis Nash. The three musicians presented master classes
the following afternoon. Later, pianist Marc Cary’s group Focus performed
a set that typified New York’s younger musicians. The elastic arrangements
drew inspiration from Miles Davis’ early 1960s quintet and the John Col-
trane Quartet.
The gig marked a homecoming for Cary and tenor saxophonist Antoine
Roney, who as teenagers attended the nearby Duke Ellington School of the
Arts. During the readings of Jackie McLean’s “Appointment In Ghana” and
“Minor March,” Cary moved freely between piano and electric piano and
concentrated more on directing the band than soloing.
After Cary’s set, Bobby Watson headlined “The Word On Bird,” a
Charlie Parker tribute that also spotlighted fellow alto players Bruce Wil-
liams and Fred Foss. The sextet performed a largely up-tempo set that spot-
lighted area musicians such as Foss and a piano trio led by bassist Amy
Shook. Foss’ solo turn on “Cherokee” featured his singing tone, plenty of
blue notes and a quote from the 1960s pop song “Downtown.” Watson’s
unaccompanied chorus introducing “Donna Lee” served as the highlight,
showing off a technical command that puts this underrated musician and
composer in elite company.  —Eric Fine

JUNE 2010 DOWNBEAT 21

 Players 

Antonio Ciacca
Finding the Ferrari Level

I n 1989, Antonio Ciacca, a lapsed pianist, for-

mer semi-professional soccer player and engi-
neering student at Italy’s University of Bologna,
attended a concert by the Wynton Marsalis Septet
and experienced an epiphany.
“It completely reset my mind,” said Ciacca,
who became Director of Programming at Jazz at
Lincoln Center in 2007. “Music before was en-
tertainment—in Italy, people always sing about
love, as though there is nothing else to talk about.
That night it was clear that music is art. It’s like
driving a bicycle and then a Ferrari—completely
at another level.”
On a 41st birthday gig in March at Dizzy’s
Club Coca-Cola, Ciacca convened a quintet
comprising tenor saxophonist Grant Stewart,
vibraphonist Joe Locke, bassist David Wong
and drummer Francisco Mela to back his new
release, Lagos Blues (Motéma). He presented
a generous selection of standards and originals,
marked by fresh reharmonizations, intra-ensem-
ble counterpoint and considerable solo flights.
He set the tone on the set-opening “Riverdale”
after an abstract intro that referenced Thelonious
Monk’s “Thelonious.” Ciacca directed the flow
from the piano bench like a patient center-mid-
fielder, setting up ebullient solos by Stewart and
Locke before launching a canny declamation on
which he subsumed crisp technique to melodic
imperatives, deploying vocabulary that owed

twins music
more to Monk, Horace Silver, Sonny Clark and
Bud Powell than to their ’60s successors.
Lagos Blues is a two-tenor date on which improvised and written parts—the structure. Village Vanguard with Wess Anderson, Marsa-
Stacy Dillard, who plays on Ciacca’s Rush Life “For Steve, a gigantic super-chops piano lis—facing an imminent tour—put him up for a
(Motéma), from 2008, locks horns with veteran player with no swing wasn’t jazz, so I was trying fortnight.
Steve Grossman, a Bologna resident since the to swing from day one. I have plenty of harmony “Everyone was distracted by the opening of
time Ciacca heard Marsalis, and with whom with the European classical music. I have plenty the Rose Theater. I made phone calls to book
Ciacca developed a guru-disciple relationship. of beautiful melody with Neapolitan music and the people for the show, which was about Eu-
In 1993, after several years of intense lessons opera. I come from Verdi and Puccini; I can’t be ropean soundscapes, and also selected the mu-
on both the idiomatic syntax and the cultural really impressed by Cole Porter and Vincent You- sic—Stravinsky’s Ebony Concerto, Kurt Weill,
realities of mainstem American jazz and its core mans, who come from that tradition.” George Shearing, Django. Later, when I knew
practitioners, Ciacca spent a summer in Detroit, Unable to continue his American education that the Director of Programming position was
became fascinated with gospel and performed because of immigration issues, Ciacca and his coming available, I did the application.”
various bebop-oriented gigs with local alto hero wife, Giusa, a musicologist, decided to arrange With his third JALC season finalized and a
Larry Smith. gigs for such American heroes as Benny Golson, forthcoming big band release in the pipeline, it
“It was what Dave Liebman calls ‘valida- Art Farmer, Lee Konitz and Steve Lacy. In early is evident that Ciacca has transitioned his multi-
tion,’” Ciacca said. “You learn a language, then 2001, Marsalis—who had reconnected with Ci- tasking responsibilities from Italy to New York.
go to a country where people speak the language acca several years earlier while touring with El- But his aesthetic bedrock lies in the cultural con-
and they understand you. If you want to sing op- vin Jones—asked Ciacca to fill three off days on text—the Renaissance notion that science and art
era, and go to Parma and are invited to join the a forthcoming European tour. are one from which he emerged.
choir, you feel you’re doing the right thing. De- “An Italian agent boycotted the gig, so the “I like the constant search for beauty in the
troit was the opposite feeling from Italy, where U.S. agent, to preserve the relationship, followed Italian tradition,” he said. “I still study string
I was a complete outsider. Half my colleagues suit,” Ciacca said. “I drove from Bologna to Mi- theory, and I can spend a month in the Uffizi
were totally into blowing over changes, which lan and confronted him backstage. Wynton liked Gallery looking at the creative process. As hu-
seemed too limiting; the other half claimed that that I was standing up for my ideas.” In 2003 he man beings, we look everywhere for symme-
that free music was the European way to play booked and played piano on Marsalis’ septet for try—the Golden Mean—because it’s easy to
jazz. I was attracted by the relationship between a one-week tour; during a January 2004 run at the perceive.”  —Ted Panken

22 DOWNBEAT JUNE 2010

Ralph Lalama Suburban Expression
S axophonist Ralph Lalama often lets his
head, shoulders and arms bounce a bit
while walking, like the default bob and bobble
focus more when the audience is so obviously
digging what we’re playing. Who wouldn’t?”
Lalama moves among many activities with
of a hipster, as he recently coursed around the apparent ease. Besides his quartet, now in its
edge of an overflow crowd waiting to hear him third year and initially documented on the 2008
perform with his quartet, not in a club but in CD Energy Fields, he also leads a trio called
the program wing of the Rye, N.Y., library. Bop Juice and is a longstanding member of
After a brief welcome, Lalama started with Joe Lovano’s nonet and large band aggregates.
“Love Thy Neighbor” off his new quartet CD, Lovano and Lalama became pals while ap-
The Audience (Mighty Quinn). Backed by the prenticing with Woody Herman in the 1970s.

john abbott
three same musicians from the album—guitar- Six years ago, Lalama was one of the founding
ist John Hart, bassist Rick Petrone and drum- instrumentalists—playing tenor sax, clarinet
mer Joe Corsello—Lalama dug right in, quick- and flute—in the Westchester Jazz Orchestra, outside Pittsburgh, Lalama’s parents met on
ly helping to establish the song’s lively rhythm and he has occupied a chair in the Vanguard the bandstand. His father was a drummer, and
and then floating over it with his characteristi- Jazz Orchestra since 1983, back when it was his mother was a singer. Lalama keeps his fa-
cally exultant and spirited phrasing, bringing known as the Mel Lewis Orchestra. ther’s old drum set in the music room of the
his Sonny Rollins influence to mind. “A few years ago I decided to focus again house in Yonkers, N.Y., that he shares with his
A few days later, Lalama was still musing on my work as a leader, and that has brought wife, jazz vocalist Nicole Pasternak.
about the positive library show. “It was an in- me a whole new set of rewards in terms of be- “Nicole and I love being in Yonkers,” Lala-
teresting experience for me from the start,” he ing able to develop my sound and ideas” Lala- ma said. “It’s a 12-minute car ride to Harlem,
said. “Because people were really into the mu- ma said. “Leading the two groups, I’m back to and a half-hour door-to-door to the [Village]
sic without really knowing what to expect. It composing more and finding that I have a lot to Vanguard. You can’t beat that. I’m a city guy, but
wasn’t a jazz crowd per se, but they were really say about life through my music.” owning a home means a lot to me. It means pri-
listening—and enjoying the music. I definitely Born and raised in West Aliquippa, Pa., vacy and a place to really relax.” —Tom Staudter

JUNE 2010 DOWNBEAT 23

 Players 

Catherine Russell Upbeat Inheritance

L ike the stomping early jazz bands of New Or-
leans and Chicago, vocalist Catherine Rus-
sell puts big-note harmony and downstage pulse
An Undertaker,” while Matt Munisteri bent out
bluesy banjo tones and Russell waved her hands
from side to side. Her set included songs from
in her musical mix. “I like music that makes you Fats Waller, Sam Cooke, Willie Dixon and Bes-
want to move,” she said. “If it doesn’t swing sie Smith.
somehow, I don’t know where to put my voice The singer comes to rootsy jazz through her
because I sing from rhythm first.” genes. In New Orleans, her father, pianist and
Russell’s material brings the swing-band bandleader Luis Russell, started picking up
beat, but she enhances the bounce with banjo, dance hall gigs in 1919. Luis worked with King
mandolin, resonator guitar, accordion and even Oliver for three years, and then directed Louis

stefan falke
tuba on her new disc, Inside This Heart Of Mine Armstrong’s bands during the ’30s and ’40s.
(World Village). Russell gets a potion of Ma Catherine has photos of Armstrong holding her
Rainey’s low-country romp with Dan Hicks’ or when she was a child. Lauper, David Bowie and Steely Dan.
Robert Crumb’s cow-circuit roll. Following the advice of her mother, guitar- In the past, Russell has covered songs asso-
“With bebop, nobody wanted to smile any- ist/bassist Carline Ray, Russell took a music de- ciated with her father, including “I’ve Got That
more,” Russell said. “It was, ‘We’re gonna do our gree from Santa Rosa Junior College. But her Thing” and “Back O Town Blues,” co-written
thing, and you can dig it or you don’t have to.’” fears blocked her. One day she and Ray saw the with Armstrong. On Inside This Heart Of Mine,
So Russell emphasizes an earlier era. swing musical Bubbling Brown Sugar, and her she performs “Slow As Molasses,” which her
“I decided I’m gonna have people who are eyes widened. “I asked myself, ‘How old am I dad performed decades ago. She also delves into
audience-friendly and who love swing,” she going to need to be to just be myself?’” the blues on Dixon’s “Spoonful.”
said. “If the tunes aren’t fun for people, there’s To overcome her stage fright, she entered For Russell, swing is the common denomina-
another tune.” and graduated from the American Academy of tor. “When we hit a pocket, it moves the air. I’ll
On a recent night at Scullers in Boston, Rus- Dramatic Arts. Since then, she’s climbed the see toes tapping, fingers snapping and I’ll think,
sell shouted Dinah Washington’s “My Man’s ladder by singing backup for Paul Simon, Cindy ‘Yeah, the world can work.’”  —Peter Gerler

24 DOWNBEAT JUNE 2010

Sharel Cassity
 Ignoring
Restrictions
I n January 2008 Sharel Cassity
attended a New Year’s Day
party that would change her
life. An alto saxophonist un-
known outside New York, Cas-
sity hadn’t been invited to the
party at bassist John Lee’s house
in northern New Jersey. Her
boyfriend, trombonist Michael
Dease, received the invitation,
and she went along as his date.
That night Cassity sat in dur-
ing a jam session and took a solo
turn on Dizzy Gillespie’s “Be
Bop,” following trumpeter Roy
Hargrove and saxophonist Anto-
nio Hart. She more than acquit-
ted herself. Jimmy Heath and
Hargrove would ask Cassity to
join their respective big bands.
Lee, who directs the Dizzy Gil-
lespie All-Star Big Band, fol-
patrick hilaire

lowed suit last year, and also re-

leased Cassity’s second album,
Relentless, on his Jazz Legacy Productions she needs is more exposure to speak it to more
imprint. people. She’s always interested in new things
“You know how they say your life can and what she’s hearing, and in the history of
change in a minute, or change overnight?” Cas- the music. She’s great now. But she is always
sity said. “It did that day. From that moment on, searching, like all of us. The sky’s the limit.
that was when everything took off. Since then She’s a worker.”
I’ve been able to be a part of this legacy and While Cassity is among a small number of
learn from all the greats that are around [the Gil- female horn players in jazz, she attaches little
lespie] band. It’s a blessing.” importance to this issue. She enjoys camarade-
Cassity grew up in Yukon, Okla., and moved rie wherever she performs; this is especially true
to New York in 2000. By 2007 she had earned in big bands.
jazz performance degrees from the New School “When I was growing up I was always the
for Jazz and Contemporary Music and the Juil- only girl in the saxophone section,” she said.
liard School. She recorded an independent re- “For some reason I never realized that it was
lease while performing with the Diva and Fat anything different or anything unusual. Actu-
Cat big bands and trumpeter Ingrid Jensen. ally, it’s a strange experience for me playing in
Though hardly insignificant, these gigs fell short Diva [whose membership is restricted to wom-
of the national spotlight. en]. You would think I would feel like I’m at
To this end, Relentless could provide a boost home with all women; but it’s so unusual to me.
if not a breakthrough. The album recalls the It’s definitely a different experience.”
hard bop recordings of the 1960s. Cassity com- Cassity would like to translate the camara-
posed six of the eight tracks, and the sidemen derie of big bands to her own small groups.
include trumpeter Jeremy Pelt, pianist Orrin “When all the cats get together it’s like a fam-
Evans and drummer E.J. Strickland. In addition ily,” she said. “And I think that’s important be-
to showcasing Cassity’s chops, the album dem- cause the young musicians can learn from the
onstrates her talents as an arranger, a knack that older ones. I wouldn’t get that if I weren’t in big
has impressed Jimmy Heath and James Moody, bands. I’d love to have a small group one day
her peers in the Gillespie band’s reed section. that felt like we were a band, where we trust
“Moody dubbed her ‘Sectionette,’” Heath one another. But I think that takes time and that
said. “Because she’s a section player. Sharel has comes with the group aging, and I haven’t had
learned a lot about the language of jazz. And enough work yet as a leader for that to com-
she has the ability to speak it. The only thing pletely come together.” —Eric Fine

JUNE 2010 DOWNBEAT 25

 jos knaepen

26 DOWNBEAT JUNE 2010

 Chick Corea
Further Explorations of Bill Evans
By Marius Nordal
jan persson

Bill Evans circa 1964

Chick Corea will mark the 20th anniversary of jazz piano hero Bill Evans’ death with a
major two-week engagement called “Further Explorations” at New York’s Blue Note club
from May 4–16. Joined by Eddie Gomez on bass and Paul Motian on drums—both
of whom played with the legendary Evans in some of his more popular and influential
trios—and special guests John Scofield, Lee Konitz and Hubert Laws, Corea will perform
some rarely heard Evans compositions and will also premiere original material written
in his spirit. Corea and company aim to rekindle the rare trio interplay that Evans estab-
lished on landmark albums like Sunday At The Village Vanguard and Waltz For Debby.
Other illustrious guests—many of them Evans alumni—are expected to show up and
join in the exploration, which will be filmed for a future documentary release.

JUNE 2010 DOWNBEAT 27

 This spring, we conducted an email interview with Corea, who has politely accepted the sheet music and we exchanged some social com-
been out on the road performing in a variety of configurations. We asked munication. I would like to have gotten to know him better. I remember
him to share his reflections on Evans and give a preview of the upcom- him being very kind, soft spoken and sharp witted.
ing Blue Note show. “Further Explorations” will be just one of many
serious engagements in a year filled with big gigs for Corea. Also on Nordal: I hear that you’re preparing some original material for the
the agenda for 2010 are solo piano dates, duos with Gary Burton, an ex- Further Explorations concert. Are you channeling your inner Bill Evans
tended tour with the Freedom Band (featuring Kenny Garrett, Christian in this process? Have you unearthed any unreleased Evans tunes you’re
McBride and Roy Haynes), duos with Stefano Bollani, a trio reunion going to play? If so, how in the world did you find them?
with Haynes and Miroslav Vitous, and a new trio outing with McBride Corea: I have a pretty deep collection of Bill’s recordings and I have
and Brian Blade. As if that weren’t enough, Corea will kick off next found a few tunes, both well known and not so well known, that I will
year with a gala performance of his own compositions with the Jazz at bring up for consideration with the guys. For now, I’ll have to keep my
Lincoln Center Orchestra. other sources private.
Of course both Eddie and Paul have actually played in some of Bill
Marius Nordal: You’ve mastered so many facets of music, ranging from Evans’ most important and well loved trios, so we’ll be mostly tak-
serious composing, complex Latin rhythms, lush harmonies, down- ing this opportunity to simply re-explore some of his greatest and well
home groove playing and even channeling some Bartok and Scriabin— known pieces. It will be interesting to see how Eddie and Paul respond
who were some of the heroes and influences that led you there? to them in 2010.
Chick Corea: Music started for me in our three-room apartment on
Everett Avenue in Chelsea, Mass., 1941, where my dad played his 78
r.p.m. vinyl. I got to hear Bird and Diz, the Billy Eckstine big band with
Sarah Vaughan and Art Blakey, and later Miles on his first recordings
with Bird on the Dial label. My dad, Armando, and his musician friends
“It was Bill’s sound that I loved as
all tried to play jazz and emulate Miles and Bird.
After I started playing the piano, I got deep into each new Horace soon as I heard it. He knew how
Silver recording as it came out; I followed Miles with each of his new
releases from ’51 onward and, later, did the best I could transcribing to touch the piano gently and elicit
Bud Powell, Wynton Kelly, Red Garland and then later on, Bill Evans,
McCoy and Herbie. That was all great ear-training, by the way. such a beautiful and recognizable
When I finally made it to New York after high school in ’59, I was
fortunate to work with many great musicians and bands through the ’60s: tone from the instrument. … Bill’s
Mongo Santamaria, Willie Bobo, Thad Jones and Mel Lewis, Maynard
Ferguson, Herbie Mann, Kenny Dorham, Joe Henderson, Art Blakey harmonic sense and approach to
and the Jazz Messengers, Blue Mitchell and Junior Cook—then a big
break, working with Sarah Vaughan and Stan Getz with Roy Haynes standards certainly made a big
and Steve Swallow. Shortly after, in ’68, I joined Miles’ quintet with
Wayne Shorter, Dave Holland and Tony Williams then Jack DeJohnette. impression on me. I was more
Of course, then there was the ’70s, ’80s and ’90s, all learning expe-
riences—but maybe that’s for another article. encouraged to produce a beautiful
Nordal: Bill Evans generally had a gentle, lyrical approach to the pia-
no—you’re often more dynamic, energetic and rhythmic. Did he influ-
sound on the piano.”
ence your compositions or concept of touch and sound on the piano
when you were developing musically?
Corea: It was Bill’s sound that I loved as soon as I heard it. He knew
how to touch the piano gently and elicit such a beautiful and recogniz- Nordal: This Explorations series may be the jazz event of the season.
able tone from the instrument. Up to that time, most jazz pianists were How did this all come into being?
accustomed to playing on inferior instruments: old, out of tune, out of Corea: My interest in this project began with a basic idea: my desire to
regulation and generally beat up. That was the “club piano.” But Bill play with Eddie and Paul. Eddie is an old friend and has always been a
was aware of the fine sound that a well-prepared grand could deliver. genius rhythm section partner. Paul is a treasure of a musician who I’ve
It’s odd that Art Tatum is the only pianist I know of before Bill that also had too little time playing with. I’ve thought about us three as a trio for a
had that feather-light touch—even though he probably spent his early long while—so finally, we make it happen. We are reaching out to invite
years playing on really bad instruments. some friends to join us, and that’s being worked out right now.
Bill’s harmonic sense and approach to the standards certainly made
a big impression on me. I was more encouraged to produce a beautiful Nordal: I always considered you to be one of the three main jazz piano
sound on the piano. giants of the past 40 years—Herbie Hancock and Keith Jarrett would be
the other two, in my opinion. Since you have always had such a strong
Nordal: Could you describe the times when you met Bill Evans jazz voice, does it seem strange or awkward to momentarily yield to
personally? Evans’ style? Any second thoughts or breaking out in rashes at midnight
Corea: It was just briefly, a few times at the Top Of The Gate, where or anything?
Bill’s trio would appear in the lounge for weeks on end. Being friends Corea: As I said earlier, my main interest is the experience of playing
with Eddie Gomez was my intro to Bill. I sat in on Bill’s last set a few trio style with Eddie and Paul. Any “yielding” will be towards finding
times when there was hardly anyone in the club. I played with Eddie and common ground with these two amazing artists.
Marty Morell and sometimes Jeremy Steig on flute, when Bill would Just another thought on the matter of tribute: the concept of “Tribute
take a break and hang out at the bar. to…” is commonly used to promote projects where the name of a fa-
I remember after the set one night meeting Bill at the bar and pre- mous artist is invoked to draw the public’s attention. This kind of pro-
senting him with a song that I wrote for him titled “Bill Evans.” He motion can be fine if it is really heartfelt from the performing artists,

28 DOWNBEAT JUNE 2010

 whereas too often it is clearly the idea of the promotion people and not
the artists that will be participating. I have always felt that every time I
performed a piece of music composed by another or made popular by
another, I was paying tribute to that artist. I play “Pannonica” and it’s a
tribute to Monk. I play “Oblivion” and it’s a tribute to Bud. I play “On
Green Dolphin Street” and it’s a tribute to Miles.
With our Further Explorations project, given Eddie and Paul’s close
and deep association with Bill Evans along with my admiration of Bill
and his legacy, there will be a natural tribute paid to the great man wheth-
er we’re playing our version of Bill’s compositions or playing anything
else we choose. We’ve taken the concept of “Explorations”—which is
also the title of a Bill Evans album—and applied it respectfully to this
special trio project with the intention to do some exploring ourselves.

Nordal: Over the years, as you’ve played in all the radically different
groups and contexts you’ve exposed yourself to, do you find Bill Evans’
influences surfacing in unexpected places?… like maybe in the middle
of a screaming arrangement for Return to Forever?
Corea: Some people say that we’re merely a collection of our experi-

andrew elliot
ences and influences. I think that would be short-changing the imagina-
tion of an artist. I suppose I could pick apart my or any other musician’s
performance and list the things he’s doing that remind me of someoneJarrett have all followed various musical paths these past 40 years, you
else. This is probably a game we all play from time to time. The positive
all have one striking feature in common: when relaxing, really dipping
side of this is that music and art on our planet is a wonderful and ongo-
into the musical soil and playing old fashioned groove-time and speak-
ing culture—with new ideas being added to that evolution every day. ing your own language, you all channel Wynton Kelly’s rhythmic feel.
But to answer your question more directly, there are those times
Did he come up with some magical, post-1950s groove that blended
when I will intentionally invoke an emotion or a turn of phrase fromwell with ’60s modernism?
Corea: Wynton is one of my piano heroes, and he did bring a popping,
one of my heroes. While actually playing, though, I’m not conscious of
making decisions like that. bluesy groove onto the scene that holds a unique place in our piano cul-
ture. He provided an elegant and appropriate accompaniment to Miles’
Nordal: I’ve noticed that even though you, Herbie Hancock and Keith sophisticated ideas. In fact, all the Miles Davis pianists have carried

30 DOWNBEAT JUNE 2010

forward the tradition he began. I can even hear Wynton’s influence in
Bill Evans, and certainly in Herbie’s playing.
Wynton Kelly’s recordings were so much a part of our household
that even my daughter Liana took to transcribing some of his pianisms
and actually does a very decent job of sounding like him.

Nordal: The last “Big Bang” of major jazz activity seemed to end by
around 1975. By that I mean that John Coltrane had long since moved us
beyond bebop and you and Miles Davis had already helped establish the
mature electric jazz movement. Jazz and even pop music seemed to look
towards the future. As a creative person, how does it feel now to work in
an era where so many only revere the past? Are we really living in an era
where most of the original jazz voices are all 60 to 70 years old?
Corea: That’s an interesting question, which probably deserves some
extensive discussion amongst those who notice something about the
phenomenon you’re referring to.
I don’t know the answer, but I will give you a perception I have. It
reminds me of a question interviewers liked to ask years ago—the “Is
jazz dead?” syndrome.
What I personally observe is the continual creativity of artists that I
come into contact with everywhere on Earth, young and old. There
seems to be no lack of invention, creativity and technical advancement
in music and every other art form. I think it takes many decades to be
able to make a correct evaluation of the current scene. In present time
there’s too much noise from the media, too much information—most
of which is beyond our grasp—to be able to distill it all so quickly. The
other factor is a gradual de-emphasis on individuality in artistic presen-
tations and in our culture in general. These days it’s the “Jazz Festival”
and the “Tribute to Miles Davis or John Coltrane”—not the work of an
individual artist. New music is hard to find in the media.
These are just a few thoughts off the top of my head on the matter.
But if one wants to find exciting new forms and new approaches and
amazing artists doing their thing, one would have to get off the prover-
bial “beaten path” and go looking in the small clubs and in musicians’
apartments and studios.

Nordal: I sometimes watch you on YouTube playing some Mozart piano

concertos quite beautifully. Is that something you would like to do more
of? Is the stress of playing someone else’s music note-perfect in front of
a huge orchestra worth the effort?
Corea: Playing Mozart doesn’t come nearly as easily as improvising
and playing my own music. But playing with an orchestra or a compe-
tent chamber ensemble can have an atmosphere so inviting that I just
want to try to do something within it. Orchestral and chamber music
musicians have learned how to blend their sounds together—and that’s
a musical point I hold very dear and try to attain myself in every band
I play in. So there’s a certain comfort in working with orchestral and
chamber musicians.
Add to that that all my life I have spent time listening to, reading the
scores of and practicing the piano music of certain composers to enhance
my knowledge and ability as a composer and a pianist. So I thought that
I should involve myself further by actually trying to perform some of this
orchestral music. Bobby McFerrin and my wife Gayle both encouraged
me along the way to actually take my practice-room work to the stage.
That having been said, my greater goal is to write my own music for
chamber orchestras—something which I’ve attempted a few times with
various degrees of success—but a form which I would like to continue
to develop.

Nordal: For centuries, European masters such as Bach, Mozart and

Chopin based their music on dance rhythms of the day. More recently,
Louis Armstrong, Charlie Parker, John Coltrane and Bill Evans and
other great jazz players also based their styles around 20th century
dancehall rhythms. Usually those two- or four-beat swing patterns.
By 1970, though, pop music had abandoned that swing feel and
replaced it with newer dance rhythms and movements based around

JUNE 2010 DOWNBEAT 31

straight eighth notes and electric instruments. You formed Return to personally excited about at the moment
Forever right on the cusp of this change, and it certainly played a role This question of “styles” is interesting. Let’s talk more later about it.
in helping serious jazz catch up to what a new generation of dancers
were doing. Nordal: During your 1950s early roots period, Oscar Peterson, Ray
How does it feel to you today to alternate between two musical iden- Brown, Erroll Garner, Ahmad Jamal and Dave Brubeck won polls and
tities? I refer to playing traditional, harmonically rich, swing-based, critical acclaim, filled stadiums and generally seemed to “own” the
Bill Evans-type music contrasted by all the more contemporary eighth- piano or piano trio scene at the time. Recently I was astonished to see
note and Latin music that you’re known for? that some of the most prominent and influential college jazz history texts
Corea: The question of styles of music, rhythm and popular danc- today have literally excised most of those names and replaced them with
ing can only be resolved in my mind by noticing the constant element: George Russell, Lennie Tristano and Cecil Taylor. That would seem sim-
change. By this, I mean society’s change, not the spirit of the artist. The ilar to banishing Elvis, Chuck Berry or the Beatles from pop music texts.
actual spirit of the art and the artist’s awareness of aesthetics in life are Do you think universities, to some extent, might be erasing the com-
usually highly developed and stay the same, which make them the real mon street history of jazz and replacing it with an alternative, academic,
constant here. fantasy universe?
I think this sense of spirit is part of every human being, whether it’s Corea: I don’t have any direct info on this, but it doesn’t surprise me.
realized and developed or not. That’s why “everybody” loves music and This would be a very good subject for an astute investigative reporter to
art (eliminating the 2 percent of real Scrooges) whether they are pro, delve into. I’d buy the book!
educated in it or not.
I’ve seen some definitions of “aesthetic,” and here’s one I like: “Ar- Nordal: Finally, with the wide variety of gigs you have coming up this
tistic, pleasing to the senses, in good taste, elegant” and so on. year, how does the Evans tribute fit in with your schedule, and what are
The part that seems right to me is the part about something, any- your hopes or expectations for the Explorations concerts?
thing, being “pleasing to the senses.” And this is a totally subjective Corea: Balancing my composing and prep time at home for gigs like
sense, unique to each individual. these and then going out on tours to play them is always the challenge.
All this is to say that my own tastes are pretty wide, and one part of The Explorations Series concerts here give me a focal point when con-
that desire is wanting to bring something that audiences consider pleas- sulting the muse in my home study, which is something I love to do.
ing and aesthetic today. I’ve never considered this wrong or a sellout as That’s where the balancing act really is—in the preparation of each
some might say because I will always use my own sense of aesthetics to project. Once I get to the rehearsals and gigs, group-life takes over and
keep it alive. No matter what some young musicians may believe today, away we go!
jazz didn’t stop evolving in 1955. My hope for the concerts is to make great music with two of my
As a continual student of music and art, I get interested in all the favorite musicians and fulfill a dream I’ve had about this trio combina-
new creations and forms, I always try to bring to audiences what I’m tion for a long while. I’m looking forward to two weeks of fun.  DB
 DOWNBEAT ARCHIVES

34 DOWNBEAT JUNE 2010

Bill Evans
New Intuitions
By Len Lyons // March 11, 1976

A
week before playing at the Monterey do is say something in the context of my music. given all the heavily produced vocal albums that
Jazz Festival this year, Bill Evans be- What I’m learning how to do is say it with lis- are played, it was very fresh and pure.
came a father for the first time, and the tenable, understandable musical language that Evans: That’s exactly what I wanted, but it’s
birth of his son (Evan Evans) seems like an apt gets deeper into meaning. The best example very chancy, because a lot of the public wants
symbol for the regeneration that has taken place I can think of is what Philly Joe Jones can do that big sound—the studio orchestra, highly
in his music. Of course, the connection is not with an eight- or four-measure solo. Using the produced, or over-produced. So I thought we’d
only symbolic, and Evans readily called atten- same rudiments that other drummers use, he go all the way in the other direction, and I think
tion to the influence of his burgeoning family can do something that makes you say, “Wow! it’s timely because a lot of young people are
life on his artistic ability. “I think the most im- Yeah, what a beautiful way to put those things looking for that personal quality. It’s been lost
portant element is the spiritual content of what together, so simply and to say so much.” in much of the rock and pop music. That big
you’re doing. My personal life has become so I’m trying to say strong things, strong ideas. electric sound. It worries me. It seems desper-
happy in the last couple of years,” he explained, I’m speaking as if it’s a technical consideration, ate. The elements are coarse. There’s no element
“getting a whole family thing going, buying a but when I’m playing I’m thinking of being in of greatness. It makes me worry about the state
home, becoming a father. All this contributed to the flow of the music, allowing it to develop of the world. What qualifies for greatness now is
my motivation, which is a mysterious element over a period of time. whatever sells the most records.
in anybody’s life. Lyons: To be more specific about my own ob- Lyons: Well, did you feel the duet album with
“I’m just feeling more alive now, alive in a servation, you seem to be digging in harder. I Bennett succeeded?
broader way than just being a musician or an feel there’s more “definiteness.” Evans: I thought it came off nicely. I haven’t
individual on the music scene. When you have Evans: Really? I hope that’s true. I think it may done much accompanying or solo playing in the
children, it seems you’re more tied to the future be true. I play almost everything I play now last 20 years, so it worried me a bit. But we got
and to everything that’s going on in the world.” with conviction and without much equivocation a relaxed, pure feeling going. It couldn’t have
Anyone who has followed Evans’ playing in my feeling about the music. I went through a been much better. The piano, itself, is great. I
since he first passed through the limelight with lot of confidence problems when I was coming love Tony’s singing.
Miles Davis’ band of the early 1960s can hear up. It seems like you go off in one direction or Lyons: How did you feel about the lyrics to
the difference in the piano/bass duets (with Ed- another and each time you return to yourself you some of those old songs?
die Gomez) on his recent album, Intuition. The have a little more confidence. Maybe when you Evans: I never listen to lyrics. I’m seldom con-
melodic lines are longer, the ideas more defi- have enough experience and get old enough, scious of them at all. The vocalist might as well
nite, the rhythms more forceful. A firmness and you have enough courage to really believe in be a horn as far as I’m concerned.
musical power has been acquired, which gives where you’re at and realize that it’s the only Lyons: Intuition seems to go in that “personal”
weight to the always-present, bucolic lyricism. place for you. direction, too. Without mincing words, I thought
If Evans used pastels before, he works with Lyons: How did The Tony Bennett/Bill Evans it was successful and very accessible. People I
more primary colors now. Album come about? know who never listen to jazz seem to love it.
Evans: It was one of those things that was in the Evans: I’m glad I’m hearing that. I find myself
Len Lyons: From hearing you live and listening air for years. I always figured that if Tony would putting it on at home, too, and I don’t listen to
to your new albums, I get a strong impression do any of my tunes I’d be overjoyed. In fact he many of my own records.
that your playing has developed markedly. Do did record “Waltz For Debby” once. Debby’s Lyons: Following this move toward a personal
you feel that way about it? my niece. I wrote that for her when she was and a pure sound to its logical conclusion,
Bill Evans: There has been development, but three, and she’s getting married this year. Tony wouldn’t you be due for a solo album—like
the development I’m looking for is right through and I always had a mutual respect and distant Alone—one that’s not overdubbed like Con-
the middle. I don’t try to go to the edges of what acquaintance with each other. It so happens that versations With Myself?
I’m doing and spread out that way. I try to go my manager (Helen Keane) and his (Jack Rol- Evans: I just haven’t played enough solo, but I
through the middle, the essential quality, and ex- lins) are good friends. think it’s kind of necessary. If I get my studio
tend that. Consequently, a lot of listeners might It was my idea that we make it only piano set up in my new house, I may be able to work
not hear any development for a long period of (and voice), though it kind of scared me. It on that. I’d have to prepare for a solo album by
time, but there is inner development going on. seemed to be the best way to get that intimate playing solo at home. I was talking to Marian
It might have something to do with ideas or communication going. It was pretty much off McPartland about that after she played solo the
the rhythmic displacement of ideas, but that’s the top of our heads. We picked the tunes and other night. It sounded marvelous. She’s work-
speaking technically about something I’m not then went in to do them. ing a solo gig in New York, so I said, “Now I
thinking about technically. What I’m trying to Lyons: The voice/piano is very traditional, but, know why you sound so good solo.” It’s the best

JUNE 2010 DOWNBEAT 35

 practice in the world for a pianist. I wish I could really what technique is all about. I think that’s
play a solo gig for about a year; but I am inter- what LeRoi Jones was talking about. He was
ested in the trio, and to keep it together I have to right; but Peterson was right from a different
keep it working. standpoint. What Jones might not realize is that
My conception of solo playing is a music this type of direct technique isn’t enough today.
that moves—oh, let’s say a more rhapsodic A musician has to cover more ground than that.
conception that has interludes of straightahead That’s one of the criticisms of pop and rock mu-
jazz. It would be a more orchestral conception, sic. Kids get into being creative before they’ve
moving very freely between keys and moods. In experienced enough on their instrument. You
other words, things you can’t do with a group. need both. You need a comprehensive, tradi-
That’s the added dimension. tional technique.
Lyons: I’m wondering if you’ve latley felt an Lyons: Mechanical?
evolution occurs in your technique. I had an in- Evans: You could call it that. Whenever I was
teresting conversation about this with Oscar Pe- practicing technique—which wasn’t that of-
terson recently. We were discussing LeRoi Jones’ ten—but if I spent a couple of days playing
idea that technique is inseparable from content, scales and so on, I found that my playing be-
implying that a player like Thelonious Monk is came a shade more mechanical. What has to
not limited technically any more than Oscar is. happen is that you develop a comprehensive
Peterson insisted that technical dexterity is a technique and then say, “Forget that. I’m just
purely physical problem. Do you have any ideas going to be expressive through the piano.”
about this in terms of your own playing? The more you express yourself through
Evans: I can tell you that, for me, technique is your instrument, the more identifiable your
the ability to translate your ideas into sound touch becomes, because you’re able to put
through your instrument. Monk does it perfect- more of yourself, your personal quality, into
ly, though he is “limited” in the sense that if you the instrument. The piano is very mechanical
put a Mozart sonata in front of him or asked him and you’re separated from it physically. You
to play an Oscar Peterson chorus, he couldn’t do can only control it by touching it, stirking it
it. I’d agree, though, that technique is separable and pushing a key down. Playing a wind or a
from the context of ideas in this sense. In play- stringed instrument is so much more vocal be-
ing a keyboard instrument you should develop cause of its contact with the player.
a comprehensive technique. This enables you So pianists go through long periods where
to go in new directions without worrying about they’re putting themselves into their instru-
your hands. ments only to a limited degree. There comes a
What you have to remember is that your time after pushing very hard against the prob-
conception can be limited by a technical ap- lem when they suddenly break through. Oscar is
proach. Someone who approached the piano the right. That’s a very physical problem. You have
way Oscar Peterson does could never have the to spend a lot of years at the keyboard before
conception that Monk has. If you play evenly, what’s inside can get through your hands and
attacking notes in a certain way, you wouldn’t into the piano. For years and years that was a
conceive of making the sound that Monk would constant frustration for me. I wanted to get that
make. If you could develop a technique like expressive thing in, but somehow it didn’t hap-
Peterson’s—which is practically unmatched, I pen. I had to spend a lot of years playing, espe-
guess—and then forget it! Tell yourself to try cially Bach, which seemed to help. It gave me
anything you can conceive of. I think a great control and more contact with tone and things.
technique would be to develop an entirely new When I was about 26—about a year before I
articulation and make it happen on the piano. went with Miles—that was the first time I had
Lyons: Like Cecil Taylor? attained a certain degree of expressiveness in
Evans: That’s an example. Or being able to my playing. Believe me, I had played a lot of
breathe into the piano, make vocal nuances come jazz before then. I started when I was 13. I was
through the piano. That’s a great technical chal- putting some of the feelings I had into the piano.
lenge. The classical tradition never utilized a real Of course, having the feelings is another thing.
vocal utterance. Sometimes there were vocal ut- Lyons: When we last spoke, you had just signed
terances, but they were translated through a very with Fantasy via your relationship with Orrin
great architectural tradition in classical music. To Keepnews, who had produced your first River-
really breathe through the piano … well, Erroll side recordings. But between the Riverside and
Garner did it some, but in a limited way. Fantasy affiliations there seemed to be a lot of
Lyons: Like on a reed instrument? label-hopping. What happened? Did you feel
Evans: Right. This is a comprehensive tech- you were getting some bad deals?
nique which goes beyond scales and so on. It’s Evans: Yeah, kind of. I was talking to Chuck
expressive technique. Mangione about that today. We agreed that it
Lyons: Would you call it “touch”? was disappointing to be with record companies
Evans: No, I wouldn’t. Touch seems to connote as jazz artists. You tour, but you don’t get back-
being very sensitive or tender. I don’t mean that ing. They won’t help out. There are no displays,
this has to be tender. What I’m talking about is no coordinated advertising.
a feeling for the keyboard that will allow you to The stint I had with Columbia: I thought I’d
transfer any emotional utterance into it. That’s finally arrived at a company that had the money

36 DOWNBEAT JUNE 2010

and the interest. Clive Davis and I just didn’t hit
it off. I never even talked to the man, and he was
already directing my career, changing me, mak-
ing me “creative,” “communicative,” whatever.
Lyons: And before that was Verve.
Evans: Verve: I was with them for quite a while.
Creed (Taylor) was very shrewd and did a lot
of good things. He got some commercial suc-
cess out of jazz artists, which no one else had
been able to do: Stan Getz, Wes Montgomery,
Jimmy Smith.
Lyons: He’s still doing it, it seems.
Evans: He’s still doing it, and it’s to his credit. I
was with him for seven years.
Lyons: I’ve spoken to a lot of musicians who
believe jazz is quite identifiably black-Ameri-
can music in the sense that the innovators and
creative forces in the msuic have been black
people. Interestingly, you’re often cited as an
exception to the rule. How do you feel about
this issue, and do you feel you’re an innovative
force just as Teddy Wilson was in the swing era
or Bud Powell in the bop era?
Evans: I think whether I’ve been innovative is
for somebody else to judge, not me. But I think
it’s sad that these questions come up. There’s a
sense of the hurt child in the people who want
to make this only a black music. They haven’t
had much so they want to make jazz 100 percent
black. Historically, I suppose, the black impetus
was primarily responsible for the growth of jazz,
but if a white jazz artist comes through, it’s just
another human being who has grown up loving
jazz and playing jazz and can contribute to jazz.
It’s sad because all that attitude does is to turn
that prejudicial thing right around. It makes me
a bit angry. I want more responsibility among
black people and black musicians to be accurate
and to be spiritually intelligent about humanity.
Let historians sort out whether it’s 67.2 percent
black-influenced or 97 percent. To say only
black people can play jazz is just as dangerous
as saying only white people are intelligent or
anything else like that.
Lyons: I hope I didn’t present this sentiment in
an oversimplified way. The usual point of view
is that—in fact—all, or almost all, the innova-
tors have been black.
Evans: An innovator. That’s even more ridicu-
lous. Now, there could be an argument in the
case of soul music, because the black culture has
been separated form the white culture to such an
extent that there could be a spiritual content in
the black culture lending itself to “soulfulness,”
which the white culture may have less of. But
to say only black musicians can be innovative
is so utterly ridiculous I can hardly consider the
question.
Lyons: Do you have any aversion—as many
musicians do now—to having your music clas-
sified as “jazz.”
Evans: Hell, no. I think jazz is the purest tradi-
tion in music this country has had. It has never
bent to strictly commercial considerations, and
so it has made music for its own sake. That’s
why I’m proud to be part of it. DB

JUNE 2010 DOWNBEAT 37

 Bobby Broom
Transcending
Sideman
Status
By Lloyd Sachs

N
o one would mistake it for the Vil- leader, to basically just accept the role of Deep Blue Organ Trio, a Tuesday staple at
lage Vanguard. Located in down- sideman,” said the 49-year-old Broom, Chicago’s historic Green Mill formed in the
town Evanston, Ill., not far from whose affability shouldn’t be confused late ’90s by drummer Greg Rockingham.
the Northwestern University campus, Pete with easygoingness. Those agents might as It features the great unsung Hammond B-3
Miller’s Seafood and Prime Steak is about well have told him to take up zookeeping. artist Chris Foreman. After a long absence,
four-fifths restaurant to one-fifth jazz club. Once he decided he was going to put away Broom also is back in Sonny Rollins’ work-
Patrons in the designated jazz lounge, a the pedals and effects he had employed as ing band, along with Kobie Watkins, his
strip of tables and chairs adjacent to the a musician-for-hire and devote himself to trio’s free-spirited original drummer, who
main dining room, are more attentive to the his own clean, flatpicking, non-blues-based now lives in North Carolina.
music than they once were, but they can still style—characterized by its tensile strength, Broom’s emergence came through a
talk over performances. tonal range and rhythmic as well as melodic kind of three-step program. He first sepa-
For all that, Pete Miller’s has played as invention—there was no turning back. rated himself from the mainstream with a
significant a role in guitarist Bobby Broom’s A brief fill-in stint with Miles Davis’ series of albums featuring smart, boldly as-
career as the Vanguard has for any number post-Tutu group in 1987 sealed his fate. sertive reworkings of pop classics including
of notables. Jazz clubs are about more than Broom agreed to plug the gap between Hi- Sly and the Family Stone’s “Stand,” Derek
history and ambience. They’re also about ram Bullock and Foley, because, well, who and the Dominos’ “Layla,” the Mamas and
providing artists with the opportunity to turned down a chance to play with Miles? the Papas’ “Monday Monday” and Jimmy
develop. Since settling into a weekly gig But fusion was a bad fit. “I was faking it,” Webb’s “Wichita Lineman.” (The first of
at Pete Miller’s 13 years ago with his trio, he said. “By the fourth gig, I was bored. It these recordings, 2001’s Modern Man, was
after moving to Chicago from his native was a crazy message for me, but an impor- a blowing session with Lonnie Smith, Ron-
New York, Broom has accomplished pre- tant one that helped me define who I am and nie Cuber and Idris Muhammad.) Some
cisely what he set out to do: transcending who I am not.” critics say pop songs make for poor jazz
the ace sideman status acquired with such The real Bobby Broom stands tall these vehicles because they lack harmonic pos-
luminaries as Sonny Rollins and Dr. John days not only in the Pete Miller’s group, sibilities. Broom begs to differ. “Just listen
and establishing himself as an elite player a Wednesday attraction featuring his long- to the harmonic motion in ‘Stand,’” he said.
in his own right. time bassist Dennis Carroll and young “It’s 2–5–1, which is very modern, not 3–6–
“I had agents tell me that I wasn’t a drummer Makaya McCraven, but also the 2–5 [the structure of most Great American

38 DOWNBEAT JUNE 2010

MARK SHELDON

JUNE 2010 DOWNBEAT 39

 Songbook entries]. These are great songs with makes you extra sensitive to everything, too.”
great songwriting and great structure. Did Rollins offer any insights into the Monk
“People made snide remarks about me play- tunes, having played with the man himself?
ing pop tunes,” he said. “But what’s wrong Broom said that though he is more comfortable
with helping people in their late teens and early discussing music with jazz’s most towering liv-
twenties relate to what you’re doing? I wanted ing figure than he once was, he’s still loathe to
to connect with that audience, without dumb- ask questions about the past. “If an anecdote
ing down.” And without the self-consciousness comes up, that’s one thing,” he said. “But other-
of Herbie Hancock’s much-hyped, not-so-great wise, I try to stay in the present.”
1986 album The New Standard, which featured Spoken or not, Rollins’ influence on his pro-
songs by Prince, Paul Simon, Peter Gabriel and tege is profound, as reflected in Broom’s com-
Nirvana. mitment to a personal sound, his openness to
Step two in Broom’s ascent was The Way I popular tunes and especially his passion for dis-
Play, a set of classic jazz standards (“Body And secting melodies. “Every jazz musician wants
Soul,” “Airegin,” “Donna Lee”) documenting to play the hippest stuff they can during their
the trio with Carroll and Watkins at Pete Miller’s. solos,” said Broom. “But who is still interested
The album was culled from weeks of shows in getting something across to the listener while
captured by a friend of Broom’s on a mini disk playing the melody of a song?” (His debt to Rol-
recorder. Then, most impressively, came Bobby lins also can be detected in his naming of This Is
Broom Plays For Monk (Origin), the trio’s widely How I Play, which echoes Rollins’ This Is What
acclaimed 2009 effort. There have been other no- I Do.)
table Thelonious Monk tribute albums by guitar-
ists, including Steve Khan’s solo work Evidence
(1980) and Joshua Breakstone’s Let’s Call This
Monk (1996), but none have the power, fluency
B room was a 16-year-old prodigy at New
York’s High School of Music and Art, liv-
ing on the Upper West Side and performing
and surprise of this one. several nights a week with pianist Al Haig at
Broom had been thinking of doing a solo a 62nd Street club called Gregory’s, when Rol-
tribute himself on which he would recreate per- lins came into his life. The tenorist’s guitarist at
formances from Monk’s solo piano recordings. the time, Aurell Ray, saw Broom play in Young,
But he nixed it, deciding it was “not the right Gifted And Broke, a musical by one of Broom’s
thing to present, to get me what I needed.” He early champions, Weldon Irvine, at the Billie
had his doubts about doing Bobby Broom Plays Holiday Theater in Brooklyn. Ray arranged
For Monk as well, and almost dropped the proj- for Broom to meet and play with Rollins at a
ect when he discovered that Peter Bernstein had rehearsal, after which Rollins asked Broom to
just released an album of Monk songs—also a go on the road with him. Broom declined, still
guitar, bass and drums album, including several in high school, but Rollins called him later in
of the tunes Broom had chosen for his record. 1977 with an invitation to perform with him at
He found out about Bernstein’s Monk while Carnegie Hall.
doing online research to make sure that some- Four years after that momentous occasion,
one else—possibly John Scofield—hadn’t having gone on to study at Berklee, Broom
beaten his trio to the idea of laying a second line began a six-year stint with Rollins’ work-
beat on “Bemsha Swing.” “It was like some- ing band—but not before further establishing
one kicked me in the gut,” he said. Prodded by himself as an artist who wasn’t afraid to look
friends and fellow musicians into not letting a gift horse in the mouth. After sitting in with
the Bernstein album deter him from recording Art Blakey and the Jazz Messengers, which in
his Monk album (“Well, is his gonna be better pianist James Williams and saxophonist Billy
than yours?” Rollins asked), Broom accepted Pierce featured a former and an ongoing mem-
the challenge. “I remembered being at Berklee ber of the Berklee faculty, he was asked to join
[College of Music] with a thousand guitar play- the starmaking band—as its first-ever regular
ers out on the street, and how intimidated I was guitarist—along with Wynton Marsalis. Instead,
that everyone had a guitar,” he said. “I got over Broom joined Berklee friends Omar Hakim,
that, and I became determined to get over this.” Marcus Miller and Bernard Wright in trumpeter
The arrangements for Bobby Broom Plays Tom Browne’s popular crossover band. “I re-
For Monk, which includes a solo guitar treat- spected those guys as much as I did Wynton,”
ment of Jerome Kern’s “Smoke Gets In Your said Broom. “They played good music.”
Eyes,” were worked out in the studio. It’s a After playing on Browne’s hit GRP album
mark of Broom’s originality and dedication to Love Approach, Broom made his own debut
the group concept that the album’s first solo is for the young, not-yet-Spyro-Gyrized label. “It
by Carroll, whose weighty, considered tones on was an honest effort,” he said of Clean Sweep,
“Ask Me Now” effectively build walls for the a sleek blend of jazz and urban soul on which
guitarist to scale, and whose ostinato attack on he sang and played a la George Benson (whose
“Evidence” gives that song an unusual clipped “Breezin’,” he wrote in a 2007 column for Chi-
urgency. “Bobby is hypersensitive,” said Car- cago Jazz Magazine, was one of the five jazz
roll, who has been playing with Broom for guitar albums that had the strongest effect on
nearly 20 years. “He’s so attuned to everything, him when he was coming up). “We were true
to sound, to volume, to the littlest tremors. He to that music. We loved it, pursued it, listened

40 DOWNBEAT JUNE 2010

to it. If I had wanted to, I could have become a
smooth jazz star.”
He rejected that possibility as decisively as
he rejected young lionhood with Blakey. In
1984, the year he saw the release of his second
GRP album, the keyboard-heavy Livin’ For The
Beat, Broom moved to Chicago. “It was basi-
cally an ass-backwards move,” he said. “I knew
that. Most successful jazz musicians were in
New York.” But Broom, who made the move
to pursue a relationship, also knew that New
York was only a 90-minute flight away. Again
emulating Sonny Rollins, who spent some piv-
otal years living in Chicago early in his career,
Broom immersed himself in the Windy City
scene, playing with organist Charles Earland,
“young, straightahead guys” including Ron
Blake and Eric Alexander, a group of young
Miles Davis alums called ESP and a band of
his own that leaned toward instrumental r&b.
He taught at Roosevelt and DePaul universities
while maintaining his eastern ties as a member
of Kenny Burrell’s Jazz Guitar Band. (His cur-
rent educational duties include teaching high
school students as part of the Ravinia Festival’s
Jazz Mentor Program.)
As rewarding as his dual tenure with the
Bobby Broom Trio and Deep Blue Organ Trio
has been, his 2005 reunion with Rollins was a
major boost. “Never in my wildest dreams did
I think I would play with Sonny again,” said
Broom. When Rollins called to ask Broom to
help him with a concert, the tenorist was mourn-
ing the death of his wife, Lucille. “I thought
maybe he wanted me in some other kind of sup-
portive role as well.
“The question I had when I rejoined,” said
Broom, “was whether I would be given the space
to play, now that I was strong enough to hold my
own, as opposed to 20 years ago. I didn’t want
to be relegated to the background. I was trying
to break through the glass ceiling of sideman to
leader and I didn’t want to lose momentum.” As
one gig led to another, Broom got the opportuni-
ties to shine that he was looking for. “Bobby is
one of my favorite musicians,” said Rollins. “He
explains why I like the guitar. He’s got a strong
musical sixth sense. That makes a lot of expla-
nations and directions unnecessary.”
As he geared up for the start of a spring tour
with Rollins, Broom could take pride in know-
ing the master hasn’t enjoyed as extensive or
meaningful a relationship with a guitarist since
Jim Hall in the ’60s—meaning, among other
things, that Broom is now part of the story that
first grabbed him when he was playing with Al
Haig and on occasion another of Charlie Park-
er’s great pianists, Walter Bishop Jr., at Grego-
ry’s. “The spirit in the music in those men, what
they stood for, what they expressed, had such an
impact on me,” said Broom. “I became obsessed
with the jazz lifestyle, and the folklore and the
culture. I wanted to be those guys, only I was
born 30 years too late.”
Thirty years later, being Bobby Broom is
working out pretty well, too.  DB

JUNE 2010 DOWNBEAT 41

 By Jim Macnie

F
la-da-la-da, fla-da-la-da, fla-da-la-da, fla- recollections of seeing the young Roney live in to Ornette’s band,” he says. “The second thing
da-la-da! The beautiful blare of Wallace 1976. “The passion for jazz was so thorough that they need is their own sensibility. You have one
Roney’s horn is bouncing around his the atmosphere inside the club was completely drummer who listened to all those artists and has
Bloomfield, N.J., living room. Fla-da-la-da, fla- rearranged.” one way of playing ’em. Then you got another
da-la-da! “That’s Freddie, right?” the trumpeter A glimpse of that passion was captured in a drummer who heard them, but has a different
queries. The subject of iconic brass men and their photo that sits on a side table in Roney’s house. take on ’em. What if you marry what Tony [Wil-
sounds has bubbled up in the middle of an inter- It’s a shot of the trumpeter at age 11, with two of liams] did with what Elvin [Jones] did here, in-
view about Roney’s rather killing If Only For his siblings. He’s got a smile on his face and he’s stead of taking what Jimmy Cobb or Art Blakey
One Night (HighNote), the first of his 15 records holding a horn that’s almost as long as his torso. did there? And what about putting a little Ed
as a leader to be cut live. Roney grabs his instru- His brother is behind a set of toy drums, and his Blackwell or Sunny Murray into it? All of ’em
ment when one of us mentions Freddie Hub- sister is using a broom for a microphone. Roney’s have to be understood, but it all has to come out
bard’s work on Oliver Nelson’s Blues And the precociousness turned a lot of heads early on. ‘you.’ When we play the songs I write or a classic
Abstract Truth. In an instant, the tail end of Hub- “Even back then I was practicing hard to figure tune, my band knows how to follow when I start
bard’s “Stolen Moments” solo is in the air, care- out the intricacies of what Lee [Morgan] was do- to go to certain places—but each of ’em has their
fully delineated and blistering with clarity; Roney ing and what Freddie was doing and what Miles own take. I really work with ’em on getting that
is in lift-off mode, turning a curt illustration for a [Davis] was doing,” he says, nodding to the pic- balance.”
journalist into an inspired flurry of sound. ture. “Yeah, some people were flabbergasted that You can hear that schooling on the new disc’s
That’s par for the course. The trumpeter is I could play the way I did. That made me feel “Only With You.” It’s the sound of a working
one of jazz’s thriller-diller instrumentalists, a guy good. That kept me striving.” band, a group of individuals that has logged
who plots the trajectory of a solo, takes aim at Remarkable work has resulted from such dili- rehearsal hours and stage time in the name of
the nexus of technique and transcendence, and gence: a stint with Art Blakey & the Jazz Mes- eloquence. Tempos invariably shift, duties are
lets it rip. His improv on the new disc’s “Quad- sengers, bandstand time with celebrated leaders steadily amended and the term “support” is re-
rant” keens with a barrage of notes that swerve stretching from Tony Williams to Ornette Cole- defined as each new musical episode emerges.
through the buoyant funk defining the tune. It’s man to Cedar Walton, and the much ballyhooed Rapport is everything to Roney.
an extended moment that makes you wish you association with Davis, who, toward the end of Rashaan Carter has been the bandleader’s
had been at New York’s Iridium club the evening his life, deemed Roney a protege of sorts. The bassist for a few years now. Chatting on the
of the performance. trumpeter has absorbed lessons from each of his phone after a West Coast gig, he says that Roney
The 50-year-old bandleader has had such encounters, and when he builds his own groups, he has been an inspirational teacher, not only offer-
skills for a long time. “As soon as [he] com- knows exactly what he needs from them. ing eye-opening tales about elder jazz personali-
menced to swing, the noise level in the club im- “The first thing is a thorough understanding ties such as Wayne Shorter and Herbie Hancock
mediately dropped off, and those in the middle of the innovations that have already happened. (whom the trumpeter worked with in VSOP), but
of conversations turned their attention to the The guys that play with me have to understand explaining the mechanics of improvisation, and
bandstand,” Stanley Crouch once wrote about his everything from Bird and Diz to Miles and Trane the wealth of ways that a song can be approached.

42 DOWNBEAT JUNE 2010

courtesy of champagne music agency
 “A lot of what we do at rehearsal is imple- One Night liners and thinks the new album is as part of the standard vocabulary. So that ‘learn-
menting concepts,” Carter says. “Wallace will the bandleader’s best record thus far, has seen ing about the past’ dynamic does happen on a
play something for us. We’ll examine how it things from both sides. Roney’s affiliation with regular basis.”
works. We push and pull, introduce ideas and al- Miles once helped cloud the respected critic to
low lots of creative space for each other to react.
I didn’t know a lot of this stuff until he dropped
it on us. He’ll set us in motion and walk upstairs
the depth of the trumpeter’s skills. “To be hon-
est, early on, I think it did,” says Davis. “He was
playing in settings like tribute albums or Quintet
T ributes may make good economic sense in
the short run, but Roney feels it squanders
young talent that needs to be strengthened, and
and have us work on it—it’s a lab. He’s an incred- reunions minus Miles. So in a way [that’s how I in the long run waylays the growth of bands like
ible nurturer; he always wants to push the music framed him]. But I think I was wrong. I think it his. He wonders if the tributes are better served
to the next level.” kept me from listening to what was really unique by staying in what he calls “the subscription
about Wallace Roney. You know how sometimes halls”: Lincoln Center, Carnegie Hall and college

O ne of the moves Roney has made towards

that goal is using turntables and samples in
his otherwise acoustic music. Ten years ago, on
you listen to the surface and sometimes you listen
more deeply? That’s what I did.”
Roney wonders if a similar perspective hasn’t
theatres—venues where education is a tacit goal
and the examination of history is somewhat ex-

No Room For Argument, he brought in Val Jeanty stymied his career trajectory. His own group isn’t
to program samples of spoken word snippets—in thriving the way he’d like it to these days, and he “I got so much contro-
this case, cuts of speeches from such philosophi- believes it’s partly due to the way he’s embraced versy—I couldn’t play
cal figures as Martin Luther King, Malcolm X and Miles’ canon. Decades ago it was VSOP with
Deepak Chopra. He wanted to use the voices as Hancock, Shorter, Williams and Ron Carter. Last
nowhere without com-
part of the rhythm, legitimate musical info that year he participated in a Kind Of Blue 50th an- ments. It was the same
would trigger improv possibilities. “Val came up niversary tour. From a Birth Of The Cool revamp band, we were just put-
with something cool,” he recalls, “and I played my to 2008’s Miles From India project, he’s often
solos off of that. Lenny [White] was brilliant on been on speed-dial when producers are looking ting a DJ in it. … Then
it; sometimes he was a color man and sometimes for someone to sub for jazz’s superhero. clubs started to want to
he’d drop back and boost the beat.” This led to It’s a dynamic he’d love to eradicate. Roney
Roney’s hiring of DJ Logic, who interacted with has come to abhor the business end of the trib- know which band I was
the band by cutting material with turntables. At ute mentality, even though he loves “playing the going to bring. And one
the same time, keyboardist Geri Allen (Roney’s hell out of such a great songbook.” But in a world
ex-wife) brought synthesizers and electric piano where there aren’t enough jobs for his working
of the festivals didn’t
to the ensemble. The mix of sounds amended the band, it’s hard to refuse the lucrative offers that let me on. My manager
traditional temperament of the group. The trum- arrive. The gigs that celebrate icons and anniver- told me that they said,
peter says that audiences enjoyed the new spin, but saries pay a lot better than those his own band
some club managers had a hard time dealing with gets, says the trumpeter. Not shocking, right? ‘We think it’s ridiculous
the change. It’s the jazz heavyweights—Thelonious Monk, that Wallace is 46 but
“I got so much controversy. New York clubs, Dizzy Gillespie, John Coltrane—who have the
out West—I couldn’t play nowhere without com- most recognition and resonance. And at the top he’s trying to act like
ments. It was the same band, we were just putting of the list is Davis. It would be hard for any cur- he’s 26.’”
a DJ in it. After [some gigs] my manager said to rent bandleader to hold the kind of marketplace
me, ‘Well, they didn’t like the turntables.’ Then sway still claimed by the Dark Prince.
clubs started to want to know which band I was “I’m looking for the day when people stop
going to bring. And one of the festivals didn’t let with the tributes,” says Roney. “Want to salute pected. “Or maybe they could take over a club
me on. My manager told me that they said, ‘We Cannonball [Adderley]? Get someone who for 30 weeks a year,” he goes on, “playing some
think it’s ridiculous that Wallace is 46 but he’s comes out of Cannon and let them develop their repertory music—it’d be like a Broadway show
trying to act like he’s 26.’” new music. They call the artists the clones, but it’s or something. [Art] Blakey band in one club, Mc-
It’s not the first time that Roney has been [the bookers] that are the clones. Every year there Coy [Tyner] band in another club. I’m not look-
frustrated by the business. The support he re- are so many tributes to Miles, I’m sick of it. Ever ing forward to that, but it seems like that’s where
ceived from Miles Davis has positioned him as see Miles play a tribute to someone? C’mon, nev- things are headed.”
a stand-in for the icon whenever a tribute event er! If you really want to be in the spirit of Miles Roney cites the markets of Boston, New
is proposed. The fact that he already has overt Davis, call your festival the Miles Davis Festival York, Los Angeles and the Great Northwest as
echoes of Davis in his horn only bolsters this and let people play their own stuff.” being tough for getting positive responses. Gary
characterization. Naysayers have occasionally Seth Abramson, the artistic director for New Bannister, the artistic director of Seattle’s Jazz
deemed him a clone; but supporters are robust York’s Jazz Standard club, is an industry vet; he Alley club, wishes he could fill more seats with
in their opinion that regardless of how influential books jazz for his room 52 weeks a year. original tunes played in an acoustic setting by
Davis has been, Roney’s playing is individual, “Why do festivals and venues go that way? veteran bandleaders, but says it’s difficult. “Only
immediate and inventive. Because it works,” he says. “The term ‘necessary a few people come to watch serious jazz bands
“Wallace’s story is an Arthur Miller play,” evil’ is probably too extreme, but that’s what it anymore,” he says.
says Jeff Levenson, executive vice president of feels like. You have two groups: aficionados who He also knows the power of repertory en-
Half Note Records. “It’s about being utterly at- challenge themselves by checking out working sembles. “This may hit too close to home, but
tached to a father figure yet wanting your own bands, and the general public who largely follow I just went through the process of booking Geri
voice. The issue is how do you cultivate some- the brand names. ‘Oh look at this, a Miles Da- Allen,” Bannister says. “And I couldn’t book her
thing and then protect yourself from it when it be- vis tribute, let’s go!’ Guys like Miles and Monk with a trio, because I wasn’t confident she could
comes a Frankenstein monster? That dynamic is and Dizzy set the music’s benchmarks, so I un- sell enough tickets. But then they came to me
fundamental to artistic development: Some guys derstand why people want to revisit them. But I with a tribute to Eric Dolphy. It’s Oliver Lake,
were never able to break away—look at [alto try to not do [tributes] too often. Plus, any given Don Byron, Reggie Workman and Andrew Cy-
saxophonist] Frank Morgan.”  night I’m presenting an artist doing their own rille with Geri on piano, and I said, ‘I’ll buy that,
Francis Davis, who wrote the If Only For thing, they might just do an icon’s tune, anyway, sure.’ But I don’t think I could book Geri alone

44 DOWNBEAT JUNE 2010

under her own name. Each market is different,
and it just wouldn’t work. [Same with] Wallace.
He’s played here previously, and we got into a sit-
uation where, as a bandleader, he’d come, and we
couldn’t sell enough tickets. So last time around
we just had to say no.”
That’s a tough road, especially if you’re on
the artistic end of things. Bannister and Abramson
agree that unless you’re one of jazz’s true stars—
Joe Lovano or Chick Corea, for instance—you
can only work a club about once a year; any more
frequently and sales start to erode. They also
agree that an artist’s economic strength in one re-
gion might not translate to another region. Roney,
whose skills may be at their peak of late, has been
receiving kudos from critics. In a review of the
Miles From India show in Manhattan, the New
York Times’ Nate Chinen described his horn
work as teeming “with exacting purpose and un-
repressed enthusiasm.” Roney says he won’t al-
low his current predicament to make him doubt
his purpose or his value.
“I’m not going to apologize for being influ-
enced by Miles. Imagine if the man was alive
now, and he read me saying that I was apologiz-
ing for being influenced by him.” Roney slips
into a Milesian whisper: “‘Wallace … after all I
did for you, and you had to go and play me that
way?’ No, I’m not going to do that. I come out of
him, I’m proud of that—I’m just trying to take it
further. If they let me do what I do, we might be
able to give people new ideas.”
On a piece such as 2000’s “NeuBeings,”
Roney brokers a handful of freewheeling notions
(Francis Davis says he’d love to hear Wallace
make an avant-garde date). Certain swaths of the
piece are open for exploration, African chanting
samples bubble underneath the main action and
sideways funk makes peace with swinging pulse.
The churning rhythm of the new disc’s “Quad-
rant” also speaks to Roney’s experimental side.
“It’s my version of Lifetime playing with James
Brown,” he chuckles. “Tony would have a dif-
ferent syncopation than Clyde [Stubblefield],
you know? It’s a potpourri. It’s something Tony
wouldn’t have thought of, the kind of thing that
Herbie would do, but he’d have kept it simpler.
I’m influenced by my idols, but ultimately I’m
looking to create what I didn’t hear them do.”
Bob Belden, who produced the Miles From
India CD and has worked extensively on Sony/
Legacy’s Miles Davis reissue campaign, suggests
that with creative music, a judicious mix is more
potent than the orthodoxy of a genre or style. He
calls Roney an “edge-of-your-seat” musician.
“If you want pure bebop, there are many
trumpet players who can make your day,” Belden
wrote in an email. “If you want the unexpected
and progressive, then Wallace is your man. [He]
takes his music in a straight line: forward. He is
brave enough to work out musical issues on the
stage and in the studio.”
And Belden isn’t shocked that the trumpeter
SUBSCRIBE
leaves some people scratching their heads. At the
end of the day, he’s got one question for them:
877-904-JAZZ
“Ever try to catch a Ferrari on foot?”  DB

JUNE 2010 DOWNBEAT 45

 Michael Treni
Turnaround

New works for large

jazz ensemble featuring
Jerry Bergonzi, Vinnie Cutro,
Frank Elmo and the late
Gerry Neiwood.

“… in the league with Bill

Holman, Slide Hampton,
Jim McNeely & other top
arrangers.” —Owen Cordle

Available at:
www.bellproductionco.com

Curtis Brothers Quartet

WV 468092

Blood-Spirit-Land-
Water-Freedom
Bobby Kapp
Catherine Russell May In Paris ★★★★ —DownBeat
Inside This Heart of Mine
Roam the cobblestone streets 2009 Independent Music Award
Revered blues-jazz-R&B singer of old Paris. Listen as jazz nomination for Best Latin Jazz
Catherine Russell’s third album, singer, drum poet Bobby Kapp Album of the year from The
Inside This Heart Of Mine, accompanies you with the classic Latin Jazz Corner and others
showcases the ever-deepening American Songbook. Cushion internationally. Their music
interpretive wiles of her ripe, it with piano legend Bobby Few speaks for itself and never
honey-dipped alto, as she and the bass and bow of Harry lacks depth and emotion while
personifies the living heart and Swift. Have you noticed how still staying true to its roots.
proud history of the classic the weather changes?
songs that make up this set. You can find this album on
Not April, now May in Paris. their independent label:

Available at
www.cdbaby.com/bobbykapp
www.worldvillagemusic.com www.bobbykapp.com  www.truthrevolutionrecords.com

46 DOWNBEAT JUNE 2010

 Chris Jentsch

Here’s to Life
It’s Always You
gina renzi

“Her steel-lined warmth suggests

the musical astuteness of
Sheila Jordan blended with
Guitarist Chris Jentsch Goes Underground the salty panache of Anita
to Live Large on Retrospective Series O’Day.” —JazzTimes, 2009

T wo years ago, a homemade birthday pres-

ent guitarist Chris Jentsch gave to a friend
spawned an archival project that reaches back
Jentsch has a hard time generating popular
appeal for a big band full of lesser-known mu-
sicians that stays far afield of dance music. So,
Harlemwood Records

Available on our website or

to the early 1990s. The bandleader picked without grants, the guitarist wouldn’t be able to
at CDBaby, iTunes & Amazon.com
through a decade of unreleased performances bring his band together. Unless a huge shift in
for the gift, extracting 14 guitar solos—none of popularity is on the horizon, scheduling for the
www.lainiecooke.com
them longer than three-and-a-half minutes. It Jentsch Group Large is at the mercy of the grant
was Frank Zappa’s Shut Up ’N Play Yer Guitar process.
with a personal twist, and just like that, Strings “I’m always writing grants here and there for
In Motion became Volume One of the career- different ideas and different ensembles,” he said.
spanning Jentsch Underground series. “If something like that hits, we’ll get the band
Re-packaging history is an integral part of back together.”
Jentsch’s career, but digging through the archives In addition to culling tracks for the Under-
for inspiration is far from an exercise in nostal- ground project, Jentsch is busying himself with
gia. In 1999, Jentsch recorded Miami Suite, the Fractured Pop, his first small ensemble album
first entry in a trilogy wedded to the sounds of in a decade. The guitarist recorded 10 tracks for
urban environments. With the addition of Brook- the disc in September. The CD, which doesn’t
lyn Suite in 2005 and 2009’s Cycles Suite, which yet have a release date, draws material from the
were both released on Fleur De Son Classics, same compositional well that birthed his suites.
Jentsch created a series of long-form composi- The majority of the pieces date back to Jentsch’s
tions rooted in the small combo tunes he wrote earliest days as a working musician, tracks that
as a young musician. The guitarist transformed have never been heard in their original form. Grace Kelly
the original sparse arrangements by transcribing “I got diverted with the large ensemble proj- Mood Changes
live solos and orchestrating them into expansive ects,” he said, “and I never wound up releasing a
works for his 17-person Jentsch Group Large. CD for small group doing those songs.” Grace Kelly follows up her
Grants and other subsidies facilitate Jentsch’s Jentsch records live in the studio, but he likes ★★★★½ GRACEfulLEE CD
music. The New York State Council of the Arts to make subsequent trips to the booth to thicken with her fifth release!
commissioned Cycles Suite, and an award from things up using overdubs. He might replace snip-
the American Composers Forum enabled Jentsch pets of music to make them more crisp or add Youngest ever voted as an
to write and record Brooklyn Suite. Jentsch says acoustic and electric guitar parts to create richer Alto Saxophone Rising Star
grant writing is a complicated but necessary pro- textures. The Underground tunes, which have in the 2009 DownBeat
cess with a few drawbacks that tend to box music until now been part of his personal collection, 57th Annual Critics Poll.
into certain categories. range from a mastered studio sound to “a high-
“The winners tend to be educated in a certain quality bootleg vibe,” he said. Additional Jentsch Winner of 12 DownBeat Student
kind of way—you get this music that is created by Underground volumes include material written Music Awards 2006–’09.
educated people that might be different from more with his first band, Project X, and alternate live
earthy kinds of jazz,” Jentsch said. “Some people versions of his suites. Plans are to make the en- Awarded 2007, 2008 & 2010 ASCAP
smear grant music. Sometimes they feel like it’s tire series available at Jentsch’s Web site and as a Young Jazz Composers Awards.
needlessly eclectic or too combinatorial of classi- digital download through CD Baby. As he said,
cal and jazz. I can sense that some people feel that “Then I could look forward to a check from CD www.gracekellymusic.com
kind of music has an ugly sign around its neck.” Baby for $6 every year.”  —Jon Ross

JUNE 2010 DOWNBEAT 47

Unconventional Entrepreneurialism Eric Lewis

E ric Lewis has reasons for a calisthenic ap-

proach to the piano. He prefers to play
while standing. Which is physically exerting
Jones. All while hosting jam sessions until late
at night in New York clubs. But around 2005,
he left that entire circuit, partially out of frustra-
enough, but there’s also the added weight that tion about not landing a record deal of his own.
comes from a set of body armor. “I started reading a lot of psychology books,
“I just got two forearm guards in the mail neuroanatomy books because people called me
yesterday,” Lewis said while on tour in Califor- crazy,” Lewis said. “Started reading about what
nia. “It’s mostly medieval, and some contempo- Navy SEALS had to do. If they didn’t have their
rary Batman type stuff. I’m blending it in with chops correct, they’d get killed. So I wanted to
suit jackets.” be that intense.”
No question that this choice of onstage at- The result of that study is his self-released solo
tire would be classified as unconventional for a acoustic disc, ELEW Rockjazz Vol. 1 (elewrock
jazz musician, especially one with an impres- jazz.com). His versions of songs identified with
sive pedigree. But Lewis has a solid philosophy Nirvana, The Killers and the Rolling Stones came
and aesthetic underpinning the novel gear. about when he decided to change his image, but
“It’s just about entrepreneurialism,” Lewis he found musical connections, too.
said. “Sun Ra and those guys tried to get the- “It’s a different language but I could hear
atrical, and I’m just focusing it in to a martial correlations to what I was playing with Elvin,”
space. And it’s a statement about rigidity, classi- Lewis said. “Minors, major flat sixths. I could

alessandro albert
cism. We’ve never seen a black guy in King Ar- hear all these harmonic correlations that re-
thur’s court. Black people don’t have the same minded me of McCoy Tyner, especially when
connection to war heroes, let alone European I heard guitars playing fifths.”
wars of the 1300s. Wearing medieval armor and Perhaps the most unusual reinterpretation cy of vocals,” Lewis said. “After seeing the
mixing it in with my suits speaks to a fantasy on Rockjazz is Lynyrd Skynyrd’s “Sweet Home lyrics and reading the about the controversy, it
history, and just speaks to something in me.” Alabama,” which is identified with a white seg- works out. Because since I’m a black guy cov-
Lewis is now aggressively marketing such regationist vision of the South. Yet, like with ering that tune, it’s the same thing that Barack
personal concepts. In 1999, he won the Thelo- medieval armor, Lewis consciously absorbs it. Obama speaks to, where things are changing.
nious Monk International Jazz Piano Competi- “I was in a bar one time and heard it come Rather than being afraid to talk about some-
tion and logged considerable time working for on and it was groovin’ and beautiful in terms of thing, the best way to overcome something is to
Wynton Marsalis, Cassandra Wilson and Elvin that I-IV-V harmony and I could hear poignan- take control of it and own it.”  —Aaron Cohen

Mark Sherman
Live At The Bird’s Eye

Mark Sherman Quintet DVD

Live At Sweet Rhythm NYC
Bobby Kapp
Transit Mission DownBeat Critics Poll Paul Wertico’s Mid-East/
winner 2007–2009 Mid-West Alliance
“We play off the sound of the Impressions of a City
instruments, a curious experience, “Mark is one of the absolute  
without chord changes or preset best vibraphone players on ★★★★½
rhythmical structure. More an the planet today …” —Dick —John Ephland, DownBeat
open dialogue with the horn … Metcalf, IMPROVIJAZATION
an evolution of duets, much “musical narrative at its finest.”
more room to express life Paul Meyers —Matt Marshall, JazzInside NY
experience that might not come Paul Meyers Quartet Featuring
out in a conventional setting. A Frank Wess & World On A String “Haunting and memorable …
transmission in motion. A Transit an engaging musical experiment
Mission.” —Bobby Kapp “One of the most eloquent and one that is highly unique.”
jazz guitarists since Kenny —Brad Walseth, JazzChicago.net
Available at: Burrell …” —NY Times
www.cdbaby.com/ Available at
bobbykappnoahhoward www.markshermanmusic.com CDBaby and iTunes.
www.bobbykapp.com www.mileshighrecords.com www.chicagosessions.com

48 DOWNBEAT JUNE 2010

 Red Holloway  
Go Red Go!
Tom Gullion
There’s an upper echelon of tenor Carswell
sax players like Cannonball, Mozart Edition
Golson, Moody, Stitt, Griffin and, (Great Britain) Ltd. New release featuring drummers
of course, Red Holloway. When it Ernie Adams and Dane Richeson,
comes to juicy tonality, rhythmic Music Publishers since the 1950s bassists Mark Urness and Shawn
daring and a gloriously robust Sommer, keyboardists Tim
syntax, there’s still much to be Lounge Music Whalen and Vijay Tellis-Nayak,
learnt from a veteran like Holloway; trumpeter Dave Cooper.
now in his 80s, Red sounds Big Band
marvelously vigorous and utterly "One of the most consistently
consistent. Great blend of straight- Light Orchestral Music strong jazz records to come
ahead jazz, blues and ballads. out this year!" —Pico
and many more …
Available on iTunes and CDBaby.com

For deatils, please visit our website. Free PDF scores available at
www.delmark.com www.editionuk.co.uk www.tingjing.com/tg

Panos Vassilopoulos
The Acoustic Sessions

This DVD/CD marks a new course

Tyler Hornby in the series of DVDs created
A Road to Remember by drummer/producer Panos
Ron Brendle & Mike Holstein Vassilopoulos. Known for his
Rhizome Drummer and composer Tyler educational drumming DVDs
  Hornby’s A Road to Remember Ostinato and Polyrhythms and 
Adventurous music for two basses. fuses together the hues and A Step Further, Vassilopoulos
  emotions found in the mindset debuts The Acoustic Sessions
Available at CDBaby.com of movement, threaded together Trio and a unique compliation
by a sophisticated mix of groove, of Jazz standards.
swing, free and ECM jazz.
  The Acoustic Sessions Trio
Hear the album at Tyler’s new includes:
website: www.tylerhornby.com Costa Anadiotis – Piano
Alexandra Pashali – Vocals (guest)
PericlesTrivolis – Bass
Panos Vassilopoulos – Drums

www.ronbrendle.com www.chronographrecords.com www.acousticsessionsonline.com

JUNE 2010 DOWNBEAT 49

 Ernie Watts Quartet
FOUR Plus FOUR

“Making music on my own

terms gives me a sense of
freedom.” —Ernie Watts
Jim Pearce
That freedom is realized on I’m in the Twilight of a Liam Sillery
FOUR plus FOUR, new Watts Mediocre Career Phenomenology
material that features his U.S. and
European quartets. Watts inspires “Jim Pearce is in possession “An important voice
his friends to meld performances of a special type of “triple in 21st Century Jazz”
that adhere to his musical story. threat.” I don’t know if he —Scott Yanow
“Those classic Coltrane quartet can dance or act. What
recordings are at the heart of Pearce certainly can do is Liam Sillery–Trumpet
my music.” —Ernie Watts sing, play piano and write Matt Blostein–Alto Saxophone
great music.” —Jazz Jesse Stacken–Piano
Available: June 15, 2010 Improv Magazine Thomas Morgan–Bass
Flying Dolphin Records Vinnie Sperrazza–Drums
Burnside Distribution Available at Cdbaby,
and CDBaby iTunes & Amazon
 
www.erniewatts.com www.jimpearcemusic.com www.liamsillery.com

Sandro Dominelli
The Alvo Sessions

Mozart Records Award Winning drummer and Carl Fischer & Organic
New CD Releases composer Sandro Dominelli Groove Ensemble
releases his electric encounter Adverse Times
Sailing By: with New York guitarist Rez
The Ronald Binge Abbasi and bassist Chris Tarry.  “Carl firms his place in a
Collection Vol. 1 lineage of truly great trumpet
“There’s no doubt that Dominelli, players” —Billy Joel
The Peter Hope Collection Abbasi, and Tarry are individually
great musicians, but the symbiosis “Carl is one of the best jazz
For details, please visit our website. that I hear from this trio clearly trumpeters of today.”
comes out of ananalogous —Maynard Ferguson
companionship; the three flow as
one.” —Drummer Cafe, Nashville Available at iTunes and CDBaby.
Available for concerts/clinics.
Yamaha Artist.

www.editionuk.co.uk www.sandrodominelli.com www.fischmusic.com

50 DOWNBEAT JUNE 2010

 Masterpiece ★★★★★ Excellent ★★★★ Good ★★★ Fair ★★ Poor ★

Inside 
56 I Jazz
58 I Blues
63 I Beyond
65 I Historical
69 I Books
devin dehaven

Jacky Terrasson an eighth-note tick, has a bit of a ioned swing on this album, too. ers so much territory and so many
Push Keith Jarrett feel and highlights Cole Porter’s “You’d Be So Nice tempos—including a slinky Latin
Concord Jazz 31640 right off the bat Terrasson’s gor- To Come Home To” showcases the interlude—it sounds more like an
★★★½ geous touch, clarity of line and delightfully unpredictable fission inventory than a treatment. And the
command of the keyboard. The of Terrasson’s improv, including speed—and I mean speed—of the

J
acky Terrasson douses his notori-
ously eruptive energy and shape-
shifting palette of pianistic tech-
gospel pulse reappears at a slower
tempo on the thoughtful ballad “My
Church,” featuring emotive piano
some sparkling two-handed uni-
sons and minor ninths. “Morning,”
with Jacques Schwartz-Bart’s soul-
aptly titled line “Beat Bop” is daz-
zling, but why include a coda of the
players’ exhausted groans of relief
niques with soul sauce on this often clusters and a beautiful bass solo by ful tenor saxophone, swings mid- when they’ve finished? It was fast.
thrilling but occasionally capricious Ben Williams. “Say Yeah” updates tempo with a bright outlook. We get it.
debut for Concord Jazz. Gospel, the churchy mood with a whispered Some of the other tracks left me This is a strong album, maybe
rock and afro-beat grooves—aided background vocal, acoustic guitar scratching my head. Terrasson’s not as consistent as others by Ter-
and abetted by percussionist Cyro and a scrambling piano solo. The af- merger of Michael Jackson’s “Beat rasson, but satisfying, nonetheless.
Baptista, harmonicat Gregoire Maret ro-tinged closer, “O Café, O Soleil,” It” and the classic ballad “Body And  —Paul de Barros
and Terrasson’s own synth flavor- reinforces the celebratory spirit, al- Soul”—a tribute to The Gloved One
ing—thread their way through the ternating between 4/4 and 5/4 in a that apparently erupted spontane- Push: Gaux Girl; Beat It/Body And Soul; Ruby
My Dear; Beat Bop; ’Round Midnight; Morn-
Parisian-bred pianist’s joyous, mer- happy, call-and-answer mode, com- ously on a gig the week Jackson ing; My Church; Say Yeah; You’d Be So Nice
To Come Home To; Carry Me Away; O Café, O
curial improvisations. plete with hand claps. But my favor- died—must have made sense in Soleil. (56:45)
Terrasson gives you the com- ite track on the album comes from the moment, but I don’t hear how
Personnel: Jacky Terrasson, piano, synthesiz-
ers, vocals (8, 11); Ben Williams, acoustic and
fortable feeling he can execute quite another church—that of The- it enhances the spirit of either song. electric bass (10); Jamire Williams, drums; Gre-
goire Maret, harmonica (3, 8); Jacques Schwartz-
whatever idea comes into his head. lonious Monk (“Ruby My Dear”). Terrasson’s free-associative ramble Bart, tenor saxophone (6); Matthew Stevens,
guitar (8), Cyro Baptista, percussion (8, 10, 11).
The catchy opener, embedded with There’s some good-old-fash- through “’Round Midnight” cov- Ordering info: concordjazz.com

JUNE 2010 DOWNBEAT 51

Michael Treni later in a more restless and anguished turn full of
Turnaround eager double-time splatters.
Bell Production Co. The most ubiquitous voice is tenor Jerry
★★★½ Bergonzi, another Berklee veteran who started
in the 1970s with Dave Brubeck. His work bris-
Michael Treni is a veteran trom- tles with the torment and turmoil of a man who
bonist who left almost no vinyl has a lot on his chest and wants to get it all said.
footprints in his youth, which He comes out of both Sonny Rollins and John
would have been the ’70s and Coltrane, two players who seldom lingered in
’80s, before deciding there must romantic reveries, and neither does Bergonzi.
be a better way to make a living “Tenor-Brio” is his dish, a funky vamp that lets
than music and leaving the jazz him chew up the scenery with gritty delight.
scene for the business world. One odd sidebar: I’m used to musicians ex-
In the last few years he’s re- plaining their work in terms of inner spiritual
emerged with a couple of fine quests, but not the spirit of Fox News. In a cu-
big band CDs of his own music, rious liner note, Treni laments the loss of “free
to redeem his University of Mi- market principles,” scorns “bailouts” and fore-
ami training and reclaim some sees Obama “managing every aspect of our
of the position that eluded him lives.” At least he doesn’t demand to see his birth
decades back. Turnaround is his third. Charlie” is a good medium-slow 12-bar frame- certificate. Coming as the country embraces a
This is an excellent big band by any stan- work in which the band is always at work to good 21st century health system, it’s a clinker in an
dard—a musicians’ band of the first order; yet, effect supporting the soloists. In terms of tradi- otherwise classy collection of notes. A compan-
from the listener’s viewpoint, not a strikingly tional big band swing, there’s the brisk and bright ion DVD covers the session and lets the musi-
distinctive one. The charts cover a range of con- “Bone Happy.” This one floats all five trombones cians reflect on the music.  —John McDonough
temporary musical bases. They are fresh, pre- in a procession of fine, well matched solo work.
cisely rendered, but familiar in a general sort of Treni leads the parade, while the supporting saxes Turnaround: Turnaround; Lady Mariko; Unity; Blues For Charlie;
way—from the self-important fanfare of “Lady make everyone sound well tended. The ensemble Tender Moments; Tenor-Brio; Bone Happy; Awhile. (72:17)
Personnel: Bill Ash, Kevin Bryan, Vinnie Cutro, Chris Persad (1, 2,
Mariko,” which sounds like the pompous over- writing is especially attractive. “Awhile” is a pen- 4–8), Mike Ponella (3, 8), trumpets, fluglehorn; Matt Bilyk, Philip
ture to a DeMille epic before settling into re- sive weave of flute and clarinets that evokes the
Jones, Dave Gibson (1, 2, 4–7), Bob Ferrel (1, 2, 4–7), Steven Aus-
tin (3, 8), Conrad Zulaf (3, 8), trombones; Sal Spicola, Roy Nicolosi,
strained soprano vehicle for Frank Elmo, to the passage of time with a recurring tick-tock motif. Craig Yaremko (1, 2, 4–7), Jerry Bergonzi (1, 2, 4–7), Frank Elmo (1,
2, 4–7), Gerry Niewood (3, 8), Larry Puentes (3, 8), Rich Reiter (3,
brief avant gardishness of “Tenor-Brio,” in which The late Gerry Niewood, to whom the album is 8), reeds; Charles Blenzig (1, 2, 4–7), piano; Takashi Otsuka, bass;
Ron Vincent, drums. Dave Belmont, Rick Dekovessey, Matthew
the band seems to be tuning up before sliding dedicated, is the main soloist on alto, first with Nicolosi, Roy Nicolosi, percussion (1, 2, 4–7); Faina Agranov, Ina
gracefully into a lightly funky groove. “Blues For scooping Johnny Hodges-like glissandos, then
Berkhin, Susan O’Connor, Jeffrey Szabo, strings (2).
Ordering info: bellproductionco.com

Dave Holland Octet tuation to Nelson’s searching solo on

Pathways “Shadow Dance” (which has a “Night
Dare2 004 In Tunisia” feel). Then they’re split and
★★★★ positioned at intersecting angles. Then
  they pick up a swing gait. Then they al-
Dave Holland gets lots of mileage low room for a couple of punchy solos by
out of recalibrating his core en- Antonio Hart and Chris Potter, which are
semble. Because his approach is then emboldened by the powers of po-
so focused, each shift from quin- lyphony. By the end, the 15-minute ride
tet to octet, or quartet to big band, feels cathartic.
sustains the bassist’s artistic es- The bite-sized melodic vamps that
sence while offering a refresh- drive much of this program are part of
ing spin on its particulars. This Holland’s standard operating procedure.
live date, recorded at New York’s At one point, a few albums ago, they
Birdland, finds him working with seemed like they’d become a tad tedious.
just enough instruments to pro- My ears were yearning for more fluid
vide both the whomp of a large melodies. But more and more, and espe-
ensemble and the agility of a trio. cially on Pathways, their role is obvious;
Whether it’s a strong slab of horns the band uses them as triggers. Each rep-
planting their collective flag on a melody, or starts “Wind Dance” is an apt  distillation of etition is a chance to bolster tension and broaden
vibraphonist Steve Nelson waxing contempla- such notions. A handful of horns twist their way options. Cagey stuff, to be sure, and because of
tive, Pathways reveals that Holland’s music is around each other, enjoying a moment of fluid the grace the group employs, the kind of music
all about the process of bend and flex. exchange. As various sections of the band are that underscores Holland’s rep as a master of
The bandleader is on record celebrating gradually absorbed into the process, the action subtlety who has no problem bulldozing a bit.
jazz’s conversational thrust. He wants the is compounded. By the time trumpeter Alex  —Jim Macnie
members of his groups to perpetually interact Sipiagin lights off for the territories, the back-  
with each other, and therefore  designs charts ground counterpoint is meaty, indeed.
Pathways: Pathways; How’s Never?; Sea Of Marmara; Ebb And
Flow; Blue Jean; Wind Dance; Shadow Dance. (75:28) 
that provide lots of cross-hatched lines. That When this tack is bumped into something Personnel: Dave Holland, bass; Chris Potter, tenor saxophone;
Antonio Hart, alto saxophone; Steve Nelson, vibraphone; Robin
kind of architectural zig-zag is what brings more expressionistic, its physical vigor is con- Eubanks, trombone; Nate Smith, drums; Gary Smulyan, baritone
sax; Alex Sipiagin, trumpet.
thrills to this date. The subtle fugue figure that sequential. A splay of horns adds some punc- Ordering info: daveholland.com

52 DOWNBEAT JUNE 2010

 Hot Box
The

CD 

Jacky Terrasson
Critics  John McDonough John Corbett Jim Macnie Paul de Barros

★★★ ★★★ ★★★ ★★★½

Push

Michael Treni ★★★½ ★★½ ★★★ ★★★

Turnaround

Dave Holland Octet ★★★★½ ★★★★ ★★★★ ★★★½

Pathways
Regina Carter
Reverse Thread
EI Entertainment
Regina Carter ★★★ ★★★ ★★★★ ★★★★
Reverse Thread
★★★
Critics’ Comments 
The notion of adapting African traditional mu-
sic for use in a jazz context is a time-honored
one, as a quick flip through the Randy Weston Jacky Terrasson, Push
and Don Cherry discographies will attest. Vio- Sharp playing as usual. But there’s some kind of continuity missing from the purposefully varied program.
linist Regina Carter trolled the archives of New As he switches from Maret’s harmonica to Schwarz-Bart’s tenor to that guitar during the gaudy up-tempo
York’s World Music Institute for material, cull- space romp, variety becomes its own enemy.  —Jim Macnie
ing a batch of folk music which she retooled Heavily invested in the vamp, light in sensibility, sometimes off down blind alleys (the “Beat It/Body
for Reverse Thread. And Soul” mash-up, the singing, the not-so-clever recast of “Ruby My Dear”), but elsewhere into
something good, Push wants to be a few too many different things at once.  —John Corbett
In the context of her recent recordings and
An impressive grab-bag of piano virtuosity from meditative to Latin to a high-balling fling through Cole
the PR hoopla surrounding her use of the Porter and a bow to Ramsey Lewis’ “In Crowd.” Terrasson’s gerrymanders on the standards are
Guarneri violin, this might be seen as a gutsy audacious. So is “Beat Bop,” a original bundle of nervous energy with a passing glimpse at Strayhorn’s
move, something meant to rough up a straight, “Rain Check.” Good Terrasson.  —John McDonough
classically derived vibe. Her choice of kora Michael Treni, Turnaround
player Yacouba Sissoko as special guest, too,
lends the proceedings an earthier air, and the Following the shaky conservative economics metaphor Treni spells out in his didactic notes, a free enterprise
system should reward innovative musical thinking. Precious little of that here. Bergonzi is relied upon (and
band—especially the fine bassist Chris Light- reliable) as soloist, and the band is disciplined and energized. The music is best in earthier moments, like the
cap—certainly adds to the grit. In some ways, fine “Blues For Charlie,” not so compelling when the TV/film soundtrack cliches mount.   —John Corbett
it recalls her work with the String Trio of New In a video doc that accompanies this CD, the camaraderie among the players—and their obvious
York, a passage in her biography that has al- respect for the leader of this date—really makes you want to reach out to Treni, an accomplished though
little-known big band writer who left a jazz career in the ’80s but clearly never stopped loving the music.
ways seemed a bit incongruous with subse- But apart from some exciting Jerry Bergonzi tenor sax moments and some tasty woodwind passages,
quent developments. the music feels more typical of a genre—clean, seamless, dramatic big band writing of the ’70s with film
There are beautiful moments on Reverse and television sizzle—than something particularly distinguished within that genre.  —Paul de Barros
Thread. The closing track, “Mwana Talit- No question it’s on the academic side, but that said, there’s a quaint feeling to some of these pieces. As
the band does its business, odd melodic turns intersect with the fetching (not flashy) solos. They bolster
ambula,” lays a simple, lullaby melody over the sprawling, mildly unfocused arrangements and give soloists, such as the ultra skilled Jerry Bergonzi,
high accordion tones that shimmer like violin plenty to say.  —Jim Macnie
harmonics, and “Un Aguinald Pa Regina” has
Dave Holland Octet, Pathways
an elegant nuevo tango feel, perfectly suited
to Carter’s precision and rhythmic acuity. On I like the straightforwardness and muscular density of the ensemble writing on this live set. Not a lot of fan-
“Artistiya,” Lightcap and drummer Alvester cy footwork but lots of meat on the bones. Bari man Gary Smulyan steals the show (with Steve Nelson’s
marimbas a strong second), but most of the admittedly high-energy soloing feels like notey attachments to
Garnett dig into a feisty groove, very Don the main message.  —Paul de Barros
Cherry, while Carter shows how lowdown and Outstanding mid-size orchestrations, full of percussive jousts and shifting blends, often over churning
hoedown she can go. If the record sounded rhythms. Think Ellington—particularly the Latin American Suite. Smulyan swings with a hearty grit. Hart
more consistently like this, it would be hard to exudes more sweat than muscle, but intensity by the giga-watt.  —John McDonough
beat. But the problem stems from the adapta- Inspired live set by this big-little band. Resourceful drummer Nate Smith continues to be most impressive,
tion of the material, which is instead subjected driving the immaculate arrangements, spurring exciting statements especially from Smulyan and Potter,
but also Hart (who doesn’t always thrill me). Must have been a hoot in person if it’s this hot on disc. 
to a pretty serious blandification. The texture  —John Corbett
and crunch of folk music doesn’t survive in
captivity too well, as is clearly evident on “Day Regina Carter, Reverse Thread
Dreaming On The Niger” and the fusion-tinted A mixture of frisky melodic motifs and more somber broodings that Carter builds into stately, often
“Full Time.”  —John Corbett appealing miniatures. But the folkish quality imposes a formality on much of the music. America’s finest
jazz violinist might look closer to home for inspiration.  —John McDonough
Reverse Thread: Hiwumbe Awumba; Full Time; N’Teri; Artistiya; A walk through Africa has helped Carter sound a bit more informal while still creating a wonderfully
Un Aguinald Pa Regina; Kothbiro (Intro); Kothbiro; Zeripiky; Day intricate songbook. When jump-started by pulse, the blend of accordion, bass and violin bring a sweet
Dreaming On The Niger; God Be With You; Kanou; Mwana Talit- cosmopolitan air to the folksy pieces, whether essaying joy or melancholy.  —Jim Macnie
ambula. (57:32)
Personnel: Regina Carter, violin; Yacouba Sissoko, kora; Adam These African settings suit Carter’s fiddling to a tee. The kora and accordion are rapturous reminders of the
Rogers, guitar; Will Holshouser, Gary Versace, accordion; Chris world/folk feel Don Cherry found with the great group Codona. More, please. And soon!  —Paul de Barros
Lightcap, Mamadou Ba, bass; Alvester Garnett, drums, percussion.
Ordering info: reginacarter.com

JUNE 2010 DOWNBEAT 53

 odd-metered jazz, rock, flamenco, the blues—
and scoring his conclusions for a strings- and
horns-saturated chamber orchestra that inter-
acts in real time with a two-drummer edition of
his working trio and saxophone soloist Joshua
Redman.
Both as soloist and composer, Mehldau
fulfills his stated imperative to “wrap the in-
struments around the voice ... keeping the indi-
vidual personality of the singer in the forefront
while still writing richly and imaginatively for
the orchestra”; in his own improvisations, cool
amid the elegiac maelstrom, he conjures an
unending stream of melody, in contrast to Red-
man’s inflamed, equally erudite responses to
Brad Mehldau the ensemble. Helping the leader keep every- Cindy Blackman
Highway Rider thing in focus is producer Jon Brion, reunited Another Lifetime
Nonesuch 518655 with Mehldau for the first time since Largo, Four Quarters 1820
★★★★½ the kaleidoscopic 2001 project on which Me- ★★★★
hldau began to incorporate an expanded tim-
There’s an imaginary screenplay—or perhaps bral palette into his musical production, and As part of a lifelong mission to honor the in-
imaginary opera—quality to Highway Rider, a major stepping stone in his ongoing search novations of drumming master Tony Williams,
a cohesive, cyclical suite of 15 Brad Mehl- for a cogent platform upon which to coalesce drummer/composer Cindy Blackman captures
dau compositions that, as Mehldau hints in polymath interests.  —Ted Panken the master’s fervor on Another Lifetime. If any-
his exhaustively expositional program notes, one is qualified to delve deep into Williams’
seem to be begging for a lyric. Taking a break Highway Rider: Disc 1—John Boy; Don’t Be Sad; At The Toll-
booth; Highway Rider; The Falcon Will Fly Again; Now You Must legacy, it is most certainly Blackman—she has
from the documentation of his trio and solo Climb Alone; Walking The Peak (41:17). Disc 2—We’ll Cross The
River Together; Capriccio; Sky Turning Grey (For Elliott Smith); Into
devoted her career (when not sensibly making
interests, Mehldau undertakes an ambitious The City; Old West; Come With Me; Always Departing; Always Re- cash with rocker Lenny Kravitz) to mastering
investigation into conceptual terrain that used everything but his aura on her many solo re-
turning (62:51).
Personnel: Brad Mehldau, piano, pump organ, Yamaha CS-80,
to be called “Third Stream,” weaving into his orchestral bells; Jeff Ballard: percussion, drums; Joshua Red-
man, soprano and tenor saxophone; Larry Grenadier: bass; Matt cordings and as a drummer for hire.
own argot a host of dialects—classical music, Chamberlain, drums; Dan Coleman, orchestra conductor; The
Fleurettes, vocals.
But Another Lifetime is altogether some-
contemporary pop orchestration, swinging and Ordering info: nonesuch.com thing different, a direct link to 1969, resur-
recting the manic intensity of Williams’ origi-
nal Emergency! lineup, which included John
McLaughlin, here amply reflected in the white
Tineke Postma hot fury of Mike Stern (his best guitar work
The Traveller in 30 years). Covering Emergency!’s “Vash-
Etcetera Now/KTD 6003 kar,” “Where” and “Beyond Games,” as well
★★★ as later Williams tracks, Blackman succeeds in
her goal that we never forget that he was one
On her 2007 release A Journey That Matters, of the greatest drummers to ever slam a set of
award-winning Dutch saxophonist Tineke yellow Gretsch.
Postma employed a broad scope of influences, Throughout, Stern’s roiling, ripping, fur-
instrumentation and composers to achieve nace-melting assaults match Blackman’s flam-
what was well received by critics for its fresh flipping, single stroke fulminating enuncia-
phrasing and soaring improvisations. tions, the pair ceaselessly measuring out doses
Her fourth studio album shows the same of sweat-filled, bruise-raising musical passion.
dexterity on alto and soprano saxophones, but Blackman’s “40 Years Of Innovation” is a slow-
through a more focused lens. Convening the burn blowout, guitarist Fionn O Lochlainn spin-
top-notch rhythm section of Geri Allen (piano, ning psychedelic webs. “Vashkar—The Alter-
Rhodes), Scott Colley (bass) and Terri Lyne Car- bum’s sole cover, “Adagio 13,” is a hauntingly nate Dimension Theory” offers a master class
rington (drums), Postma seems to recall her Man- pretty track, informed by the strings for which in Williams’ style; “Love Song,” a duet with Joe
hattan School of Music experience in The Trav- it was initially written (by Brazilian composer Lovano, recalls a lost Coltrane/Williams track
eller, which brims with the unmistakable sounds Heitor Villa-Lobos.) with a beautiful, almost telepathic mood and
of some of the New York’s most prolific players. While there’s no disputing the beauty, grace remarkable improvisation; “Wildlife” revisits
Against that backdrop, Postma’s voice is and skill at work in tracks like these, the listener Williams’ popular Believe It! period with Ver-
one of controlled emotion, where romantic may be more completely engaged when she non Reid amping up the distortion.
melodies are balanced by complex changes shows her teeth, amping up rhythms and skirt- If imitation is the sincerest form of flattery,
and an often conversational give-and-take with ing between time signatures on the cluster of Cindy Blackman is Williams’ reincarnated sis-
Colley and Allen. And her use of overdubs on faster-paced pieces near the album’s end, like ter from another lifetime.  —Ken Micallef
“Song For F” kicks off the album with a sound “Searching And Finding.”  —Jennifer Odell Another Lifetime: Vashkar; Where; Beyond Games; Vashkar Re-
that’s uniquely hers. prise; 40 Years Of Innovation; The Game Theory; Vashkar—The
As a whole, the album reaches for a soft
The Traveller: Song For F; The Eye Of The Mind; Crazy Stuff; The Alternate Dimension Theory; Love Song; And Heaven Welcomed A
Line; Adagio 13–Heitor Villa Lobos; Cabbonal; Motivation; Search- King; There Comes A Time; Wildlife. (55:28)
mood, with soprano vocals provided by Anne ing And Finding; YWC. (53:58)
Personnel: Tineke Postma , alto and soprano saxophone; Geri
Personnel: Cindy Blackman, drums, spoken word; Carlton Hol-
mes, synthesizer; Joe Lovano, tenor sax; Mike Stern, Fionn O Lo-
Chris in tight unison with Postma on three Allen, piano, Rhodes; Scott Colley, bass; Terri Lyne Carrington,
drums; Anne Chris, vocals (1, 5, 9).
chlainn, Vernon Reid, guitars; Benny Rietveld, Doug Carn, organ;
Carlos Santos, bass; Patrice Rushen, Rhodes, synthesizer.
tracks, including the lyrical opener. The al- Ordering info: etcetera-records.com Ordering info: cindyblackman.com

54 DOWNBEAT JUNE 2010

Nels Cline Singers The live disc’s eight songs (four from pre-
Initiate vious releases), recorded last fall at Café du
Cryptogramophone 143 Nord in San Francisco, also reflect that irre-
★★★★½ pressible eclecticism that’s a hallmark of this
trio. What’s amazing about it, though, is how
Coming or going, this double disc treat from the three are able to almost recreate the same
the Nels Cline Singers combines live and stu- vibe that exists with the studio music, as if
dio music that typically goes in many direc- the studio were just an extra player. Certainly,
tions, with no straight lines in sight. Part of the the sound quality is a “live” sound, and the
charm of guitarist Cline is his eclecticism, his energy is greater because you know people
love of all things musical. And Initiate propels are there listening and hearing them play,
that charm even further. With stalwart band- whether it’s the slowly climatic, methodical
mates bassist Devin Hoff and drummer Scott “Forge” we’re hearing, the jazzy free frolic
Amendola, Cline and his “singers” now have of “Fly Fly” or the return to a missed pass-
four albums under their collective belt. guitarist, the inventive creature, economical ing figure (Joe Zawinul) with a reverential,
For starters, we have disc one, a studio date and very expressive in various ways. definitive cover of “Boogie Woogie Waltz”
that combines a brush with electronica before The serious, balls-to-the-wall rock side of (echoing the studio disc’s “Mercy”). Still, the
dovetailing into some funky jamming, “Into the Singers can be heard on “Red Line To greater energy translates into a cozier, more
It” becoming “Floored” and featuring a simple Greenland,” where engineer Ron Saint flexes personal exchange, more jazzy without the
yet serious bass line and backbeat covered with his producer muscles, giving us an aural treat studio props. Like the album’s artwork of the
Cline’s pretty ugly wah-wahisms and deli- from left to right, where everyone is heard to “world’s largest machine,” the Large Hadron
ciously dirty six-string screeching. “Divining” great affect over this nine-minute extravaganza Collider’s proton-smasher, Initiate runs the
is just that, a cool, reflective walk, starting with that blows hot then cool. The studio material risk of a meltdown, but somehow manages
Amendola’s wind-chimey percussion, a burly reflects the band’s musical diversity over 13 to generate the kind of energy that just might
Hoff and an unpredictable Cline playing par- tracks that range from the folksy, dreamy charm keep adventurous music lovers on the edge of
allel lines en route to a serene, improvisatory of “Grow Closer” to the avant oddness of the their stools.  —John Ephland
jaunt worthy of early, lyrical Mahavishnu mi- aptly titled “Scissor Saw.” (Organist David
nus the exactitude. That’s before they head out Witham adds a surprise, otherworldly touch to
Initiate: Disc 1—Into It; Floored; Divining; You Noticed; Red Line To
Greenland; Mercy (Supplication); Grow Closer; Scissor/Saw; b86
for ardent, gently scorched rock territory, ex- the percussive waltz “King Queen,” augment- (Inkblot Nebula); King Queen; Zingiber; Mercy (Procession); Into
It (You Turn). (63:58) Disc 2—Forge; Fly Fly; Raze; And Now The
tending this modal piece for all its worth. “Di- ing Cline’s Santana-esque burn, which has a Queen; Blues, Too; Thurston Country; Sunken Song; Boogie Woo-
gie Waltz. (71:28)
vining” is a great visit to hear Cline the varied dicey delicacy.) Ordering info: crypto.tv

56 DOWNBEAT JUNE 2010

Jazz | By james hale

Organ Kicks Reuben Wilson:

Quicksilver surrealist

Guitarist Chris Vitarello is as

much the star of Project A
(Anzic 6101; 58:41 ★★★★) as
co-headliners Joel Frahm and
Bruce Katz. Vitarello’s stinging
tone highlights bluesy piec-
es like “It Ain’t Fair,” and his
shivery slide electrifies a New
Orleans-styled “What A Friend
We Have In Jesus.” The song
selection (particularly “Spirit In
The Dark” and “Rock Steady”),
gospel-influenced organ and
horn section on three numbers
all set the dials on the time ma-
daphne wilson

chine for the late ’60s, with the

band sounding like it’s laying its
claim to back Aretha Franklin at
the Fillmore West. In addition to his Ham- well in a sterile listening experience. That
mond and Wurlitzer keyboards, Katz also said, Jim Alfredson III is a remarkable or-
contributes some rolling piano to “Maybe ganist who seamlessly synthesizes several
I’m A Fool.” generations of keyboard influences.
Ordering info: anzicrecords.com Ordering info: organissimo.org
Matthew Kaminski prefers a dark, Dedicated to veteran Memphis drum-
throaty tone from his B3, and Taking My mer Tony Reedus, guitarist Dave Stryker’s
Time (Chicken Coup 7014; 75:04 ★★★) One For Reedus (SteepleChase 31679;
is full of richly phrased vamps and hard- 59:28 ★★★½) covers expansive ground—
swinging accompaniment from three differ- ranging from Wayne Shorter’s hypnotic
ent drummers. Kaminski moves easily from “Nefertiti” to Gilbert O’Sullivan’s mawkish
the deep funk of Richard “Groove” Holmes’ ballad “Alone Again (Naturally).” Stepping
“Sweatin’” to a Latin-tinged version of Brian into Reedus’ shoes after five years is a chal-
Wilson’s “Caroline, No,” but his strength lies lenge, but Steve Williams comes out swing-
in generating momentum on tunes like Lou ing, building a fire under Woody Shaw’s
Donaldson’s “Hot Dog” and his own “Flip “Zoltan” and dancing behind organist Jared
The Lid.” While the support he gets from Gold’s romp on “Make Somebody Happy.”
his three trios and saxophonist E.J. Hughes Ordering info: steeplechase.dk
is solid, his bandmates remain relatively Like Jimmy Smith, organist Reuben
anonymous. Wilson approaches his instrument like it’s
Ordering info: chickencouprecords.com merely a means to an end. From a quicksil-
Joe Farnsworth’s crisp drumming sets ver “Scrapple From The Apple” to a slightly
the mood for a set of sophisticated swing surreal “Streets Of Laredo,” Wilson con-
that is heavily influenced by organ giant stantly finds interesting ways to express
Charles Earland. Earland was a source of himself on Azure Te (18th & Vine 1059;
inspiration for both keyboardist Mike Le- 63:41 ★★★★). Saxophonist Kenny Gar-
Donne and saxophonist Eric Alexander, and rett is equally creative in several key guest
The Groover (Savant 2100; 61:56 ★★★★) appearances, including sly Charlie Parker-
features the kind of genre-hopping heat that meets-Johnny Cash quotes on “Laredo.”
was his specialty. LeDonne is more linear Ordering info: 18thandvinejazz.com
than many of his organ-playing peers, and At the core of the organ trio’s popularity
he never loses sight of the goal of stirring is the yin and yang of bright-toned guitar
listeners. and sternum-moving power of the B3, and
Ordering info: jazzdepot.com Grant Green Jr. and Reuben Wilson are per-
Recorded live on their home turf in fect foils on The Godfathers Of Groove:
Michigan, Organissimo’s fourth recording, 3 (18th & Vine 1061; 63:20 ★★★½). It
Alive & Kickin’! (Big O 2414; 76:17 ★★★), doesn’t hurt to have the estimable Bernard
demonstrates the trio’s stylistic breadth. Purdie providing perfect counterpoint on
But their ability to span early Jimmy Smith drums. A skittery player who recalls Cornell
groove to British prog rock to jam band elas- Dupree more than his father, Green also de-
ticity also reveals an inability to edit them- livers husky vocals on two overworked pop
selves. While these gigs were likely memo- standards, but the instrumentals justifiably
rable to see live, extended workouts like the dominate.  DB
18-minute “Pumpkin Pie” don’t translate Ordering info: 18thandvinejazz.com
 Blues | By frank-john hadley

alligator records
John Ellis & Double-Wide
Puppet Mischief The Holmes Brothers: Soulfully intertwined
ObliqSound 26
★★★★ ½
Right and Restless Voices
John Ellis’ sophomore album with Double- The Holmes Brothers: Feed My Soul (Al- Gary Lucas & Dean Bowman: Chase
Wide sets the pace for a hilarious, lyrical ligator 4933; 49:43 ★★★) Sure as night The Devil (Knitting Factory 1100; 44:08
ride with “Okra & Tomatoes,” whose almost follows day, Sherman and Wendell Holmes ★★★★) The curious duo of New York-based
tongue-in-cheek rhythm calls to mind the sput- (now cancer-free) and Popsy Dixon still em- singer Bowman and ex-Captain Beefheart
tering of a motor on an old, rickety carousel. brace the same musical vision of intertwined guitarist Lucas outpours energy and sincer-
In fact, the track is an engine for what fol- r&b, blues, soul, gospel and ’50s rock that ity in empathic meetings that inscrutably
lows: a series of highly narrative original com- has guided them since the band started in integrate conventional blues with abstract
positions that conjure up images of carnival 1980. On an album produced by camp fol- expression on a dozen faith-based songs,
grounds and seem to tell the stories of the off- lower Joan Osborne, the natural grace of including Reverend Gary Davis spirituals and
beat characters who inhabit them. Holmes’ music keeps such a high level that 18th century mystic-poet William Blake’s “Je-
The vibe flows from creepy (“Carousel”) it’s OK to overlook the wear ’n’ tear in Sher- rusalem.” Anyone unfamiliar with Bowman
to pensive (“Dewey Dah”) to triumphant man’s and Wendell’s lead singing. Three-part may be cowed at first by his great big voice,
(“This Too Shall Pass”), as the band patiently harmonies, as always, fill the air as heavenly but by all means hang in there.
builds and creatively deconstructs melodic blessings. But for a pure gospel song, they Ordering info: knittingfactory.com

ideas against the backdrop of a steady groove. could have done better than their songwrit- Nick Moss: Privileged (Blue Bella
And when Ellis shows his New Orleans ing manager’s “Take Me Away.” 1014; 61:31 ★★★) At risk of irritating blues
right-wingers, Moss makes a convincing case
roots on tracks like “Fauxfessor,” the band’s Ordering info: alligator.com
Peter Karp & Sue Foley: He Said, She for the rightness of his decision to swerve
full-time Northerners have no trouble step-
Said (Blind Pig 5132; 50:03 ★★★) Not the from the conventional blues of his first seven
ping up to the balance of soulfulness—
“genius” and “future of the blues” some albums into the blues-rock realm introduced
which Gregoire Maret seems to bleed—and magazines claim for him, Karp is a journey- by young Brits and Americans years ago.
a smart-alecky silliness that’s demanded by man who teams here with veteran blues per- On originals, rock songs and makeovers of
Ellis’ compositions. former Foley for friendly roots music better Chicago blues standards, he sings with con-
Meanwhile, performances by the swamp- suited for coffeehouses than barrooms. In fidence and heats up his guitar with enough
based backbone of Double-Wide border on band settings, the pair’s vocals, guitars and imagination to transcend mimicry of influenc-
rhapsodic. Brian Coogan’s nimble Hammond songs on road life reflect a wry acceptance, ers Jimi Hendrix, Eric Clapton, Duane Allman.
work shifts personae like gears, playing the more or less, of what’s come their way. Add- “Bolognious Funk” carries on as a blameless
part of the eerie amusement ride one min- ing harmonica and horns, Karp’s “Mm Hmm” guitar bloodbath. Tired song choice: Cream’s
ute and underscoring Ellis’ emotional tenor makes a particularly good impression. “Politician.”
the next, as Matt Perrine’s sousaphone holds Ordering info: blindpigrecords.com Ordering info: bluebellarecords.com
down a dexterous bottom line. Catfish Kray Blues Band: Splash (Cir- Delta Moon: Hell Bound Train (Red
Ultimately, each artist handles his own cle 504; 55:39 ★★★) Active in Denver the Parlor 015; 39:49 ★★★) This Atlanta-based
part with such individuality that you can al- past three decades, Albert Collins-inspired roots rock band, a past winner of the Inter-
most see the characters develop within the guitarist Kray stretches the blues genre past national Blues Challenge, has several things
changes, like the superhero represented by Ja- the usual array of associations by employ- going for it. The slide guitars of Tom Gray and
son Marsalis’ staggeringly mathematic drum- ing jazz-trained singer Jesse Garland and Mark Johnson impressively slash or wend
and-clap sequence on “Heroes de Accion.” capable horn soloists. Related to Wizard through textural thickets of rhythm. Gray’s a
Of Oz’s Dorothy and Liza Minnelli, Garland top-grade songwriter, spinning memorable
As in any good narrative, the lighthearted
projects her built-in siren in gender-assert- melodies and lyrics about restlessness and
moments here are finally played out by their
ing songs borrowed from Shemekia Cope- loneliness that he sings with shadowy vivid-
more dramatic counterpoints.
land and Lavay Smith. Kray’s most potent ness. Beyond all their bluesy insinuations,
 —Jennifer Odell lines come on his slow eight-minute slam at Delta Moon shows an unaffected, honest ap-
Puppet Mischief: Okra & Tomatoes; Fauxfessor; Dewey Dah; the boss, “Quittin’ Time Blues.” There, too, preciation of the blues canon when hitting all
Puppet Mischief; Carousel; Dublinland Carousel; Chorale; He- he effectively masks his singing as a strep- the right notes of the Fred McDowell master-
roes De Accion; This Too Shall Pass. (61:45)
Personnel: John Ellis, saxophone, bass clarinet; Matt Perrine, throated rasp. work “You Got To Move.”  DB
sousaphone; Jason Marsalis, drums; Brian Coogan, Organ; Gre-
goire Maret, harmonica; Alan Ferber, trombone. Ordering info: catfishkrayband.com Ordering info: redparlor.com
Ordering info: obliqsound.com

58 DOWNBEAT JUNE 2010

Absolute Ensemble horns (and banjo) on the dervish-like “The
Absolute Zawinul Peasant,” the heartfelt, wistful electronics with
Sunnyside 1257 slowly emerging orchestra with “Ballad For
★★★★★ Two Musicians”—these are indications of the
variety of moods and settings that can be heard
For fans of the late Joe Zawinul’s on this disc. There are the familiar world-music
late-period music, Absolute Zawi- rhythmic counterpoints, Zawinul’s vocoder/
nul will surely satisfy. Over eight wordless vocals, the blends that come from us-
tracks, it brims with the same kind ing both strings and synthesizers.
of energy that typified the key- Think of Absolute Zawinul, the group’s
boardist/composer/bandleader’s fourth release, as the broad pallete for Joe Za-
effervescent style as he came to winul’s music at the end of his life (his asked-
embrace so-called world music id- for legacy), a fleshing out what was always
ioms more and more. Perhaps the there, it seemed, on a grand scale, intimated
reason why the Absolute Ensem- from the beginning every time he took to dab-
ble’s Absolute Zawinul sounds so bling with this keyboard, and then that key-
much like its inspiration is because board, and then yet another. Note: In addition
he played a major role in this, his to the music here, there’s an 11-minute docu-
last studio recording. just with the Ensemble but with members of Za- mentary available on the making of the album.
A tribute album, Absolute Zawinul is per- winul’s last Syndicate band.  —John Ephland
formed by Estonian-born conductor Kristjan The music is incredibly varied, evoking mu- Absolute Zawinul: Bimoya; Sultan, Great Empire; Peace; Good
Järvi’s aggregate, born in 1993 New York and sical stories from the titles alone but obviously Day; The Peasant; Ballad For Two Musicians; Ice Pick Willy. (59:52)
Personnel: Kristjan Järvi, conductor; Joe Zawinul, composer, key-
known for its highly eclectic approaches to all more from the songs’ various incarnations. Ar- boards, vocoder; Gene Pritsker, arranger; Vesselin Gellev, Neela
things musical. The idea for the project was ranged by Gene Pritsker with his notation of
de Fonseka, Eddie Venegas, Gregor Huebner, violin; Edmundo
Ramirez, viola; Michael Block, cello; Mat Fieldes, acoustic and elec-
hatched in 2004 when Järvi met Zawinul; they melodies and Zawinul improvisations, these tric bass; Jay Elfenbein, acoustic and electric bass; Hayley Melitta
Reid, flute, piccolo; Keve Wilson, oboe, English Horn; Michiyo
ended up performing together as well. The de- songs come across as lively classical music, Suzuki, clarinet, saxophone; Marianne Gythfeldt, clarinet; Martin
Kuuskmann, bassoon; Damian Primis, contrabassoon; Charles
sign was to focus on the man and his music as reflecting everything from the composer’s Porter, trumpet; Ann Ellsworth, horn; Michael Seltzer, trombone;
they both existed then, not a greatest hits recre- vivid, colorful imagination and musical world.
Damien Bassman, drums, percussion; Pablo Rieppi, percussion;
John Ostrowski, percussion; Matt Herskowitz, piano, keyboard;
ation stretching back to his Weather Report days “Bimoya”’s joyful bounce, the mysterious al- Gene Pritsker, electric guitar; Sabine Kabongo, vocals; Allegre
Correa, guitar, vocals; Aziz Sahmaoui, percussion, vocals, gumbri;
and beyond. Indeed, Zawinul had more than a lusions with “Great Empire,” the soft lines of Jorge Bezerra, percussion; Paco Sery, drums, percussion, kalimba;
Linley Marthe, electric bass.
hand in its creation, a creation performed not “Peace,” the mesmerizing counter lines with Ordering info: sunnysiderecords.com

60 DOWNBEAT JUNE 2010

Michael Musillami Trio Frank Kimbrough
Old Tea Rumors
Playscape 091009 Palmetto 2141
★★★★ ★★★½
Guitarist Michael Musillami, bass- Made on the fly when Frank Kim-
ist Joe Fonda and drummer George brough was offered four hours
Schuller have long been one of in a New York studio—the next
the most tightly knit trios. But on day—and the pianist was able to
Old Tea, they attain a new level round up two of his favorite ac-
of closeness. Recorded following companists, Rumors has the free
the suicide of the leader’s son, the album personifies support system. and easy quality you might expect. But even with little time to prepare,
Drawing positive emotion and bounding energy from each other at a Kimbrough, bassist Masa Kamaguchi and drummer Jeff Hirshfield draw
difficult time, the musicians sidestep sentimentality to deliver a moving from the songs an affecting lived-in quality—the hallmark of musicians
and sometimes overpowering celebration of “a beautiful, brilliant kid.” who trust as well as know each other on a deep level.
Musillami is one of the most accessible thinking-man’s guitarists. A master at making penetrating statements with small, informal ges-
Whether he’s waxing lyrical with his richly resonant sound and sculpted tures, Kimbrough is in a characteristically reflective state. “TMI,” a
lines or charging into the open field with springing and vaulting rhyth- loosely improvised piece that moves surely but unpredictably towards
mic patterns, there is a soulful immediacy to his playing. His mind’s its destination, as if guided by a liberated GPS, is dappled with a bluesi-
eye is as good as his ear: Named after a special Chinese oolong he and ness passed down by Ornette Coleman through Paul Bley. “Sure As
his son enjoyed, the title song unfolds like an aural slide show—scenes We’re Here” processes one of those bright, ’60s-defining postbop melo-
from a life—in proceeding from plucky opening through meditative dies of Andrew Hill’s, while “For Andrew” honors that legend in sparer,
passage to scrappy exchanges between Musillami and Fonda. devout terms. On the lyrically straightahead “Hope,” kissed by Hirsh-
The entirety of Old Tea plays like an extended suite, maintaining its field’s whispery playing, the trio recalls the interactive finery of Bill
momentum through regular shifts in pacing and tone. It’s a testament Evans’ legendary threesome.
to the nearly hourlong album’s consummate sense of flow that when it Mostly, though, Rumors finds Kimbrough being Kimbrough. With
concludes with the spiritually assuring “Three Hundred Plus,” featuring Kamaguchi’s resonant, hard-edged sound and Hirshfield’s agile at-
Fonda on flute, you may be surprised it’s over.  —Lloyd Sachs tack, the trio leaves a bold imprint even when the name of the game is
Old Tea: Introduction; Old Tea; Shiner At Rocky’s; The Binary Smirk (drum interlude); ’King Alok; Kitch-
underplay.  —Lloyd Sachs
en Tribute (collective interlude); Evy-Boy; A True Original; Jameson #30 (bass interlude); Umbrella Top ...
That’s How I Roll; Three Hundred Plus. (54:32) Rumors: Six; TMI; Hope; Rumors; Sure As We’re Here; Forsythia; Over; For Andrew. (53:35)
Personnel: Michael Musillami, guitar; Joe Fonda, bass, flute; George Schuller, drums. Personnel: Frank Kimbrough, piano; Masa Kamaguchi, double bass; Jeff Hirshfield, drums.
Ordering info: playscape-recordings.com Ordering info: palmetto-records.com

62 DOWNBEAT JUNE 2010

Beyond | By Peter Margasak

Vintage African Franco: Liquid

guitar genius

Hypnotists
Central and West African musicians have
long harbored deep affinity for the music of
Cuba, which took so much of its rhythmic
DNA from Africa in the first place. Africa
Boogaloo: The Latinization Of West Africa
(Honest Jon’s 41; 55:22 ★★★★) looks at
numerous manifestations of that musical love
from the ’60s and ’70s. There are examples
from leading lights like Senegal’s Orchestra
Baobab, whose mix of Mande tradition and
clave grooves left no doubt about its inspira-
tion, and Congo’s Franco & OK Jazz, which
helped pioneer the popular and important
synthesis known as soukous. Some cuts traf-
fic blatantly in Caribbean sounds, like the title
stern’s music

track from Le Grand Kalle and Manu Dibango,

while others are more integrated.
Ordering info: honestjons.com
Vintage Baobab recordings have been re- latu Astatke, the first Ethiopian musician to
surfacing steadily for years, and the excellent study in the West and to wed jazz elements
La Belle Epoque (Syllart 361; 73:18/76:09 with traditional sounds of Addis Ababa. The
★★★★) delivers two more superb vintage earliest material here was cut in New York
sessions. The first disc was cut live in 1971 with musicians from Puerto Rico, revealing a
at the club Baobab called its home as they heavy Caribbean influence, but after returning
were starting to hit their stride—expanding home from the U.S. in 1969, Astatke dug into
their Cuban-inspired sounds to include a native sounds, developing distinctive penta-
greater array of African influences, from the tonic funk (popularized in the Ethiopiques CD
Congolese flavors in Barthelemy Attisso’s in- series). He teamed up with producer Ahma
ventive guitar work to the Mande elements Eshete, and together they cut dozens of clas-
in the saxophone playing of Issa Cissokho. sic records behind an array of singers and
Yet the great Adoulaye M’boup’s transcen- making their own instrumental discs.
dent vocals steal the show. The second disc, Ordering info: strut-records.com
cut six years later, captures the group at its With the fourth stellar reissue of Benin’s
peak, surviving M’boup’s death three years mighty Orchestre Poly-Rythmo de Cotonou,
earlier, and coming back with an even stron- Echos Hypnotiques (Analog Africa 66;
ger attack. 78:25 ★★★★), the band’s sublime stylis-
Ordering info: sternsmusic.com tic range is practically sui generis. The first
No country in Africa did more with Cu- of those records focused on their interest
ban influences than the Congo, and brilliant in Cuban sounds, while this latest gem—15
bandleader and guitarist Franco Luambo Ma- tracks cut for the Albarika Store label be-
kiadi oversaw and contributed to countless tween 1969–’79—brings the funk in a serious
changes in Congolese Rumba between the way. Providing much of the deep propulsion
’50s and his death in 1989. Francophonic are local vodoun grooves and some of the
Vol. 2 (Sterns 3046-47; 78:04/70:20 ★★★★) most searing, psychedelic electric guitar in
isn’t flawless, as some of Franco’s later re- West African history. As with all of the label’s
cordings veered toward formula and chintzy releases, the packaging is first-rate with ex-
electronics, but this is still another essential tensive liner notes and rare photos.
portrait of his mighty Le TPOK Jazz. Liquid Ordering info: analogafrica.blogspot.com
guitars cascaded over shimmery grooves, Ghana Special: Modern Highlife, Afro-
with full-blooded horn sections thickening Sounds & Ghanaian Blues 1968-’81 (Sound-
some of the tracks, recorded between 1980– way 16; 68:58/74:20 ★★★★★) serves up
’88. Even toward the end of his life Franco a killer complement to this essential label’s
remained a prolific, skilled composer and a Ghanaian funk compilations, exhuming a
startlingly original and resourceful guitarist— sprawling variety of rhythmically tensile styles
on these extended tracks he gets to impro- with a harder edge. Afrobeat, rock, blues, Afro-
vise at length. Cuban and calypso are palpable, but the real
Ordering info: sternsmusic.com pleasure is the luxurious range—Ghana was
New York–Addis–London: The Story one of Africa’s first democracies and there’s an
Of Ethio Jazz 1965-1975 (Strut 051; 76:56 indelible sense of pride, freedom and discov-
★★★★) surveys the greatest accomplish- ery bubbling through these joyous tracks.  DB
ments of vibist, composer and arranger Mu- Ordering info: soundwayrecords.com

JUNE 2010 DOWNBEAT 63

 Giuseppi Logan Quintet
Giuseppi Logan Quintet
Tompkins Square 2325
★★★
Eight years ago, bassist Henry Grimes re-
emerged from decades of oblivion and now he’s
active eminence grise on the free-jazz scene.
Following in his footsteps is saxophonist Gi-
useppi Logan, missing in action for nearly four
decades. He cut two bracing albums for ESP-
Disk in the mid-’60s—his debut also introduced
the world to heavy talents like drummer Milford
Graves and pianist Don Pullen—and other than
a few sideman dates with Patty Waters and Ro-
swell Rudd, his recording career ceased in 1966; the comeback shot you’d expect from such a
he continued to perform in New York over the maverick, and as he nears 75 Logan has some
next half-decade, but then he virtually vanished. problems with intonation. But there’s a hearten-
Logan was rediscovered while busking for ing tenderness and warmth to his playing—as if
change in Tompkins Square Park—which the opportunity to make music again has filled
makes this perfect label to release his come- him with emotion—that’s impossible to deny,
back—in 2008, and while his reappearance and although the group was assembled specifi-
hasn’t yet been as fruitful as Grimes’ return, he is cally for the date, there’s a strong sense of em-
playing again, and he’s just released his first re- pathy across the board. The album closes with a
cord in 45 years. He’s joined here by old cohorts strange vocal piece called “Love Me Tonight,”
Dave Burrell and Warren Smith, along with a where Logan’s beaten-down voice evokes a
couple of younger disciples. The album mixes mixture of vulnerability and pathos, but there’s
some new originals with a handful of standards, something inspiring about his decision to lay it
and the arrangements, which swing elegantly, all out, warts and all.  —Peter Margasak
definitely push the music toward a brisk freebop
sound, in contrast to the more metrically radical
Giuseppi Logan Quintet: Steppin’; Around; Modes; Over The
Rainbow; Bop Dues; Blue Moon; Freddie Freeloader; Love Me
sound of his earlier work. Tonight. (44:51)
Personnel: Giuseppi Logan, saxophone, piano (6, 8); Dave Burrell,
The opener, “Steppin’,” is clearly an hom- piano; Francois Grillot, bass; Matt Lavelle, trumpet, bass clarinet;
Warren Smith, drums.
age to Coltrane’s “Giant Steps”; not exactly Ordering info: tompkinssquare.com

Pablo Ménendez opus “Homenaje A Afro

& Mezcla Cuba,” complements Sán-
I’ll See You chez nicely with a slightly
In Cuba more melodic style, and
Zoho 201001 flautist Magela Herrera
★★ shows her ability to build
a solo on three cuts. Mé-
Guitarist Pablo Ménendez nendez’s solo on “’Round
calls his band Mezcla, Midnight” perfectly fits
which in Spanish means the tune’s context, and
mixture, and that’s pre- percussionist Octavio Ro-
cisely what he delivers on driguez shines during the
I’ll See You In Cuba. But unfortunately this mix- percussion break on “Homenaje.” I’ll See You
ture often fails to blend, resulting in an album In Cuba sometimes ventures into smooth Latin
that’s more a collage than a cohesive whole. fusion territory (such as on “El Médico” and
The album runs the gamut from Irving Berlin “Chucho’s Blues”)—not my bag, though some
to Thelonious Monk to driving Cuban fusion jazz listeners will surely enjoy the album. Ménendez
that’s reminiscent of Irakere. It starts strong with and Mezcla’s members are great musicians and
“Big Brecker,” a feature for Orlando Sánchez’s play well throughout; I just don’t understand or
frantic tenor soloing over boiling percussion. Had agree with some of their musical choices. 
the record continued in this vein it would have  —Chris Robinson
killed, but it changes directions often. Berlin’s
“I’ll See You In C.U.B.A.” is sung in a caba-
I’ll See You In Cuba: Big Brecker; ¿Quién Tiene Ritmo?; El Médico
De Los Pianos (For Benjamin Treuhaft); I’ll See You In C.U.B.A.; Chi-
ret style and sticks out. The short vocals on “El coy’s Blues; Oslo; Chucho’s Blues; ’Round Midnight; Homenaje A
Afro Cuba; Chicoy’s ‘Son.’ (63:18)
Médico De Los Pianos” and “’Round Midnight” Personnel: Pablo Ménendez, guitar, vocals; Magela Herrera, flute,
vocals, piano (1, 4, 8); Octavio Rodriguez, percussion; Máyquel
are unexpected and seem superfluous. González, trumpet, flugelhorn; Orlando Sánchez, tenor saxophone,
The album’s strongest parts are the solos.
piano (1, 5, 6, 7); Néstor Rodriguez, tenor saxophone (3, 9); Ruy
Adrián López-Nussa, drums (1, 3, 6); Oliver Valdés, drums (5, 7); Re-
Sánchez adds his energetic, raw and edgy tenor nier Mendoza, drums (4, 8, 9); Ernesto Hermida, bass (1, 2, 3, 5, 7);
José Hermida, bass (4, 6, 8, 9); Alejandro Vargas, piano (9); José Luis
to the four pieces he wrote. Trumpeter Máyquel Pacheco, piano (7); Roberto Garciá, flugelhorn (9); Samuel Formeli,
timbales (2); Julio Noroña, guiro (2); “Las Elas,” vocals (2, 3, 8).
González, who wrote the 11-minute episodic Ordering info: zohomusic.com

64 DOWNBEAT JUNE 2010

Historical | By John mcdonough

A Deep Gaze Bing Crosby: Sparse and lively

At Bing’s Wink
Mosaic Records, which has never
been shy about serving the under-
served artist, takes its mission to
a new level in The Bing Crosby
CBS Radio Recordings (1954-56)
(Mosaic MD7-245; 57:09/56:38/
53:48/65:08/56:54/58:39/61:55
★★★★). Coming from a company
known for its commitment to jazz,
this may seem like an anomaly. But
Mosaic’s instincts were correct.
This is perhaps the purest and least
adulterated glimpse in decades
into the workings of an instinctive
but often subtle jazz singer.
Most of the material will be
new to the issued Crosby discog-
raphy. Between Nov. 22, 1954,
and Dec. 28, 1956, Crosby ad-
downbeat archives

opted an unusually modest, al-

most spartan, radio format for a
star of his stature: no audience,
no orchestra, no guest stars. It
was just 15 minutes of songs and patter, all but ironic—Cole’s tendency to sweeten the
pre-recorded and accompanied only by pia- mix by overdubbing light organ backgrounds
nist Buddy Cole and his trio. The inspiration into his otherwise tidy piano accompaniments.
may have been the hugely successful five- At 51, Crosby’s extraordinary baritone rolls
LP box set issued by Decca in the summer over the livelier tempos with a blithe grace. His
of 1954—Bing: A Musical Autobiography—in way of letting a note arch or dip from the natu-
which Crosby revisited about 50 of his early ral, bending it sharp or flat, is the subtle work
hits using only the Cole group for support of a pure musician who merely happened to
and providing a cozy, anecdotal commentary be a singer.
along the way. The result was a warm, unusu- It’s an instinct that cuts two ways. On bal-
ally relaxed, fireside intimacy—perfect for ra- lads like “I’ve Got A Crush On You” or “I Can’t
dio and precisely the feel Crosby achieved in Get Started,” Crosby delivers letter-perfect
this series. readings, but never inhabits the sense of emo-
Beginning in November 1954 he began tional rejection the lyrics proscribe. Frank Sina-
stockpiling tunes that could be edited into tra could do those songs and make you be-
the programs. Every couple of months he’d lieve he was singing about himself. But Crosby
bank another dozen or so until after 15 ses- was too whimsical a performer to let his life be
sions he accumulated the 160 songs in this mirrored in a torch song. On the other hand, on
collection. About 12 tunes from the CBS li- lighter material such as “Honeysuckle Rose”
brary were skimmed off for a Decca LP in or “Avalon” where words count differently,
1957. Thirty years later, 74 of the songs were he grabs a note and slides the pitch playfully
issued in England, but sweetened with echo from one side to the other in the way a jazz
and overdubbed orchestrations. Mosaic of- musician would manipulate intonation. Or on a
fers the complete library with its original sim- simple blues like “I Almost Lost My Mind,” he
plicity intact. walks through it all with one long, witty wink.
With so much to record in such a limited The treat in hearing Crosby in such a simple
time, a format took hold: vocal chorus, a split context is that there is nothing to filter or inhibit
instrumental interlude, and back to Crosby. the ease and soft curves of his phrasing.
Some bear the light footprint of an arrange- For a singer who was still at the top of
ment; others seem little more than head his game in the ’50s, it’s curious that Cros-
sketches, though the percussion hijinks on by never really found a consistent footing in
“You’re Driving Me Crazy” and “Chinatown” the LP era. The music here would probably
are pure kitsch. The pace was fast, efficient have been too laid-back to compete with the
and, according to Gary Giddins’ notes, stood groundbreaking Sinatra–Nelson Riddle pro-
still for almost no second takes. That Crosby ductions on Capitol. But now, this body of
could knock off as many a 17 titles in one ses- work does Crosby no less honor that Sina-
sion makes him something akin to an Art Tatum tra’s masterworks do him.  DB
among vocalists. The only sour note is slight Ordering info: mosaicrecords.com

JUNE 2010 DOWNBEAT 65

 Nikki Yanofsky way musicals, and on a sultry,
Nikki then zippy “I Got Rhythm,”
Decca B0014138 she turns in impressive scat-
★★★★ ting, including some speedy
lines in unison with the sax
Hype is a funny thing. section. A bluesy groove an-
Even when an artist sweeps chors Yanofsky’s soulful belt-
away listeners with endless ing on “God Bless The Child,”
accolades and the attendant which references the Blood,
publicity, the undertow can Sweat & Tears version, and a
be dangerous, as some peo- bright take on “On The Sunny
ple automatically flee from Side Of The Street” is book-
any such approaching tidal wave. ended with the muscular riff from Led Zeppe-
It would be a mistake to react that way to lin’s “Fool In The Rain.”
precocious Montreal singer Nikki Yanofsky, There are several bids for pop chart success
who already has a gold-selling live CD/DVD, here, including the chugging, r&b-tinted, silky
Juno nominations, and performances at the Van- smooth “Cool My Heels” and pretty acoustic
couver 2010 Olympics and major festivals on ballad “For Another Day,” both co-written by
her resume. Why? Because Yanofsky, 16, for Yanofsky with Harris and Ron Sexsmith. But
her debut studio disc demonstrates that she’s the even money is on a brilliant jazz career. Who
the real thing, the anti-American Idol—a bona- needs a crossover hit?  —Philip Booth
fide young jazz vocalist with serious technical
chops, powerful pipes, dead-on pitch, range that
Nikki: Take The “A” Train; Never Make It On Time; I Got Rhythm;
For Another Day; God Bless The Child; Cool My Heels; You’ll Have
lets her traverse as many octaves as she wants, To Swing It (Mr. Paganini); Bienvenue Dans Ma Vie; First Lady; On
The Sunny Side Of The Street/Fool In The Rain; Grey Skies; Try Try
real musicality, and a genuine feel for scat sing- Try; Over The Rainbow. (46:32)
Personnel: Nikki Yanofsky, vocals; Larry Goldings, Henry Hey,
ing informed by her love for Ella Fitzgerald. John Sadowy, Paul Shrofel, piano; Goldings, Hey, Shrofel, Robert
Nikki, produced by pop heavy-hitters Phil
Goldfarb, organ; Goldings, glockenspiel; Andy Dacoulis, Jesse
Harris, Jim Oblon, Richard White, guitar; Rob Fahie, Zev Katz,
Ramone (Ray Charles, Frank Sinatra) and Jesse Tim Luntzel, bass; Richard Irwin, Geoffrey Lang, Shawn Pelton,
drums;  Mauro Refosco, percussion, marimba; Jocelyn Couture,
Harris (Norah Jones), has the singer joined by Ron DiLauro, Michael Leonhart, trumpet; Leonhart, flugelhorn;
Serge Arsenault, Clark Gayton, Dave Grott, trombone; Gayton,
a high-energy big band for a varied set includ- tuba, euphonium; Pat Vetter, alto saxophone; Vetter, Richard Be-
ing several smartly recalibrated standards. For a
audet, Chris Cheek, tenor saxophone; Cheek, Jean Frechette,
baritone saxophone; Frechette, bass clarinet; Nathalie Bonin, first
punchy version of “Take The ‘A’ Train,” she in- violin; Valerie Belzile, second violin; Veronique Potvin, viola; Dave
Eggar, Christine Giguere, cello.
corporates new lyrics referencing recent Broad- Ordering info: deccarecords-us.com

Amanda Carr ranger Richard Lowell—a veteran

and the Kenny of Stan Kenton, Buddy Rich and
Hadley Big Band Bob Freedman, who created set-
Common Thread tings for Diane Reeves and Lena
OMS 1226 Horne—to frame Carr’s voice.
★★★½ Cute Freedman horn lines dry-
ly respond to Carr’s reading of
This Boston-area big band “They All Laughed.” Carr’s cau-
is staffed with fine play- tionary savvy makes “I Could
ers and classy arrangers. Have Told You” effecting and
Adi Yeshaya’s chart sets plausible; she rarely breaks loose,
up the opener with a latin preferring the insouciant storytell-
feel, breaking to hard swinging bass when the ing of a Peggy Lee, though the personal tragedy
vocal enters, ending with a nicely paced ri- touched on in the liner notes suggests undercur-
tard. Hadley is a no-nonsense big band drum- rents to “The End Of A Love Affair.” The band
mer (with a predilection for mallets a la Vernel are superbly professional, with a nice feature for
Fournier); Carr is an understated singer who re- trombonist Jeff Galindo and altoist Marc Phaneuf
minds somewhat of Julie London with the clear on “Broadway,” buoyant bop backdrops on “Just
diction of Annie Ross, without being as sultry or You, Just Me” and juicy old-school tenor solos
as bombastic, either. from Arnie Krakowsky.  —Michael Jackson
The songs are cherry-picked by someone
with perspective. Although Carr confesses no Common Thread: It’s A Big Wide Wonderful World; They All
initial desire to sing standards—“It would be
Laughed; Something Wonderful Happens In Summer; Don’tcha
Go ’Way Mad; Time On My Hands; Broadway; I Understand;
like driving my parents’ station wagon”—her There’s A Small Hotel; Just You, Just Me; I Could Have Told You;
The Song Is Ended; I Waited For You; How Am I To Know; No
singer mother got her hooked after asking her to Moon At All; The End Of The Love Affair. (65:53)
Personnel: Kenny Hadley, drums; John Wilkins, guitar; Bronek
sub on a big band gig 16 years ago. Subsequent- Suchanek, bass; Dave Chapman, soprano sax, alto sax, clarinet;
ly, Carr has worked with the repertory bands of
Mark Pinto, alto sax, flute, clarinet (1, 3, 4, 5, 8–14); Marc Phaneuf,
alto sax, flute, clarinet (2, 6, 7, 15); Jerry Vejmola, tenor sax, flute,
Artie Shaw, Harry James and Glenn Miller, and clarinet; Arnie Krakowsky, tenor sax, clarinet; Ken Reid, baritone
sax, bass clarinet; Jeff Galindo, Jon Garniss, George Murphy, Tim
this is her fifth self-release. Hadley, who revived Kelly, trombones; Rick Hammett, Lin Biviano, Scott DeOgburn, Pat
Stout, trumpets and flugelhorns; Amanda Carr, vocals.
his big band especially for this date, hired ar- Ordering info: originalmusic.com

66 DOWNBEAT JUNE 2010

Brad Dutz Quartet ensemble disc, he trades epigrams, joculari-
Whimsical ties, flurries, thrusts and parries in his largely
Excursion Boats improvised duets with reed omnivore Vinny
(Self-release) Golia. These are miniatures, and motifs seem
★★★½ to emerge from the instrumentation. Golia hits
some held multiphonics while Dutz tinkers on
Brad Dutz & bowls and variable-pitch drums on “Korea.”
Vinny Golia The bagpipe drone of “Rumors” turns the lead
Duets over to the hand drums. The glass marimba
8 Winds 022 shimmer and the bass sax rumble of Dutz’s
★★★½ “Vamps” delightfully suggest things other-
worldly. If Esquivel, Moondog and Partch had
Dutz is known as a first-call Dutz in their respective bands, 20th Century
mallet- and hand-percussionist outsider composition might have been even
in the Los Angeles recording more intriguing.  —Kirk Silsbee
studios, and for his work in
Gordon Goodwin’s swinging Whimsical Excursion Boats: Blatant Disregard For Lamb And
Pork; Kakogawa I Blakiston Owl; Kakogawa II Macaque; Datang
Big Phat Band. He’s also an Makes One Third Of The World’s Socks; Kakogawa 5 Kappa; Kak-
ogawa Spidercrab; Tribute To Masakasu Yoshizawa; Kakogawa 3
idiosyncratic composer of long Lantern Shark; Kakogawa 7 Serow; Intricacy Of Prairie Life; Kak-
standing who utilizes obscure
ogawa 8 Loggerhead Turtle; Kakogawa 9 Hondo Stoat; Kakogawa
6 Chimera; Whimsical Excursion Boats. (66:10)
instruments and unconven- Personnel: Jim Sullivan, clarinets; Paul Sherman, oboe, English
horn; Rachee Arnold, cello; Brad Dutz, xylo-marimba, slate ma-
tional resonant objects in his work. His mu- very specific and contrapuntal; he apportions rimba, vibes.
Ordering info: braddutz.com
sic is quirky, witty, well considered, intimate the various instrumental lines and parts so that
and dynamic. While comparisons with Harry they interconnect, yet there always seems to
Duets: Nine Eight In Hungary; Cap Wearer From Scotland; Tenors
In Korea; Swimming Risk In China; Rumors Of Confirmation; Indig-
Partch will be inevitable, Dutz displays lyri- be wiggle room within the piece. Dutz knows enous Coriander; Vamps And Interruptions; Sordidly Sustained;
Sofia To The Black Sea; Quackery; Swing’in Sam Tribute; Save
cism and—in some places—an almost clas- how to use silence to his advantage. Paul Sher- The Scrap Metal Organ; The Vocalist Failed To Appear; Something
About Fish. (68:38)
sical regard for form and order. Harmonic re- man’s oboe typically traces the melodic con- Personnel: Brad Dutz, vibes, glass marimba, steel drum, bongos,
sourcefulness and compositional sweep show tour of a given number, yet follow the “sec-
timbale, jungle snare, tar, hadjira, canbourine, waterphone, bowed
crotales, tuned gongs, cajon, berimbau, Korean squeeze drum,
that Dutz is a lot more than just a pot-banger. ondary” parts with your ear and you’ll see how bones, cymbals, shakers, spinners, whistles, pandeiro, riq, music
boxes, Rawclife clay bowls, tarine; Vinny Golia, tenor and bass sax-
The quartet album is a fine example of an thorough of a writer Dutz is. ophones, saxello, contrabass clarinet, Turkish ney and kaval, flutes,
Chinese sheng, Mediterranean bagpipes, djuragaida, shakuhachi.
improvising chamber group. Dutz’s writing is If Dutz subordinates his solo profile in the Ordering info: braddutz.com

JUNE 2010 DOWNBEAT 67

Bassekou Kouyate plucked lute that’s one of the on the famous Seattle indie rock label Sub
and Ngoni Ba true predecessors of the banjo. Pop. Although a number of high-profile guests
I Speak Fula He’s spent most of his career make cameos—Diabaté, Vieux Farka Toure
Next Ambiance/Sub Pop 72001 as a valued sideman, most no- and Kassy Mady Diabate among them—Ngoni
★★★★½ tably with kora player Toumani Ba thrives on its own, delivering a rich, kalei-
Diabaté, but when he formed doscopic sound despite its limited instrumental
Mali’s Bassekou Kouyate his own project he rejected or- palette, nailing both high-octane dance grooves
makes going against the thodoxy with a lineup led by and cascading, meditative fare. 
grain seem like a piece of four different-sized and pitched  —Peter Margasak
cake, but he’s been doing it ngonis, rounded out by calabash I Speak Fula: I Speak Fula; Jamana Be Diya; Musow (For Our
since he was teenager, working as a musician at percussion. Women); Torin Torin; Bambugu Blues; Amy; Saro; Ladon; Tineni;
the storied music club in Bamako’s rail station. His excellent second album I Speak Fula
Falani; Moustapha. (56:17)
Personnel: Bassekou Kouyate, ngoni solo, ngoniba; Amy Sacko,
He’s a master of the ngoni, a brittle-sounding confounds expectations again by turning up lead vocals, chorus; Omar Barou Kouyate, medium ngoni; Foussey-
ni Kouyate, ngoniba; Moussa Bah, ngoni bass; Alou Coulibaly
calabash, chorus; Moussa Sissoko yabara, tamani; Kasse Mady
Diabaté, vocals (2); Vieux Farka Toure, electric guitar (5, 7); Toumani
Diabaté, kora (2, 9); Harouna Samake, kamalengoni (3, 4); Zoumana
Tereta, lead vocal, soku (6); Andra Kouyate, chorus, lead vocals (5);
Mah Soumano, chorus ; Baba Sissoko, dunun (7); Baba Diabaté,
dunun (3); Jelimusoba, mpolon (11); Dramane Ze Konate, vocals,
mpolon (bonus track).
Ordering info: subpop.com

Dawn of Midi
First
Accretions ALP 48
★★★
With a pianist (Ami-
no Belyamani), a bass
player (Aakaash Israni) and a drummer (Qasim
Naqvi) hailing from Morocco, India and Paki-
stan, respectively, Dawn of Midi creates expec-
tations. But one would be hard-pressed to find
obvious influences from the musical language
of those three countries on the trio’s intriguing
debut. Western music definitely informs their
rather uncompromising and abstact music. It
should be added that First has little to do with
a proper jazz piano trio. The only concession
made to this format is having the piano assum-
ing the lead role. It would even be more accurate
to say that the piano really acts as a pivot and
highly contributes to the band’s cohesiveness.
As both a percussive and string instrument it
becomes the natural relay between the bass and
the drums.
If the trio can be more easily associated with
improvised music or contemporary classi-
cal than with jazz, its approach is quite ascetic
and disciplined, and the mood is melancholy
and pensive. Of course, there are moments of
drama and tension-building usually introduced
by a repetitious and insistent riff played by Be-
lyamani. At all times there is momentum, and
Naqvi’s backdrop dominated by clangor, rat-
tling and metallic sounds proves that the status
quo is not on the group’s agenda. Israni com-
pletes the picture with irregular lines or accents
conveyed with a sturdy and woody tone. De-
spite the melodic snippets that come and go, the
trio moves organically with a constant focus on
shaping the sound—a sound that is alternately
crystalline and opaque. —Alain Drouot

First: Phases In Blue; Laura Lee; Civilization Of Mud And Amber;

The Floor; Tale Of Two Worlds; One; Hindu Pedagogy; Annex; No
Abhor; In Between. (52:40)
Personnel: Amino Belyamani, piano; Aakaash Israni, bass; Qasim
Naqvi, percussion.
Ordering info: accretions.com

68 DOWNBEAT JUNE 2010

 Books | By JOhn murph

Nina Simone: Brilliance and rage

downbeat archives

New Light on Nina Simone’s Dark Legacy

It’s been almost two decades since the re- Hughes—the more her rage and self-righ-
lease of I Put A Spell On You, Nina Simone’s teousness consumed her art to the point of
autobiographical collaboration with Stephen personal and professional sabotage.
Cleary. And it’s been seven years since her Before she became the world-renowned
death from cancer. Still, her music and per- Nina Simone, she was an aspiring young
sona continue to fascinate, as evident by the musician from Tryon, N.C., named Eunice
recent release of CD boxed sets and perfor- Waymon, who harbored high aspirations to
mance DVDs. Nadine Cohodas’ new biog- become a classical pianist, but was shut
raphy, Princess Noire (Pantheon), offers down by the establishment, possibly be-
yet another mesmerizing entry to Simone’s cause of racism. When watered those seeds
everlasting legacy as the author explores became a self-determination that quickly
the demons and drama that fuel divahood. flowered into arrogance and megalomania.
Through interviews with family members, Cohodas’ portrayal of Simone, at times,
friends and other bandmates, the author comes off as un-empathic. Nevertheless, it
gathers a wealth of information to portray also delivers a stern cautionary tale toward
Simone at her most majestic and malevo- the end with regards to prolonged untreated
lent. She also draws upon rare personal mental illness and artistry in black America.
interviews, photographs and letters to give Still, Simone had a worthy discogra-
the reader a bird’s-eye view into Simone’s phy to somewhat justify her bizarre antics
fascinating, if sometimes frightening, world.      in the name of “genius,” a sizable one that
During the ’60s and ’70s, it was often will remind music lovers of her undisputed
Simone’s petulant demeanor that char- talents. Cohodas makes a noble attempt at
acterized her performances—sometimes focusing on the music, but the book gets
upstaging her brilliance as a pianist, singer lopsided as it tilts too much into the melo-
and songwriter even though she was turn- drama. And even during those parts, Co-
ing out soon-to-be classics such as “Mis- hodas gives the details but seems reluctant
sissipppi Goddam” and “To Be Young, Gift- herself to dig deeper to discover the source
ed And Black.” Clearly, she was enraged of those demons.
at the Birmingham, Ala., church bombing For fans of Simone, this book might
and the assassination of civil rights’ leader leave a bitter taste, because Cohodas’ por-
Medgar Evers. The more she delved into trayal of her isn’t gentle. Nevertheless, it’s
the civil rights movement of the ’60s—in- provocative enough to make one want to
spired in part by her friendship with Lorraine revisit Simone’s crucial music of the ’60s
Hansberry, James Baldwin, Stokely Carmi- and ’70s.  DB
chael (whom she married) and Langston Ordering info: randomhouse.com

JUNE 2010 DOWNBEAT 69

 33 rd Annual

Where to Study Jazz 2011

This Year’s
Big Winners &
Outstanding
Performances
PLUS
Bart Marantz
Enters Jazz
Education
Hall of Fame
PAGE 96

Jazz Education
Achievement
Awards
PAGE 98

Jazz Arrangement winner

Andrea Calderwood
33rd annual student music awards

Jon Beshay Sextet

Jazz Soloist High School Outstanding Performances

Dominic Sbrega, acoustic bass

Junior High School Winners Deering High School
Gil Peltola
Daryl Johns, bass Portland, ME
The Elizabeth Morrow School
Bronwen Eastwood David Zaks, piano
Englewood, NJ High Tech High School
Scott Killian
Julian Lee, alto saxophone North Bergen, NJ
Glenfield Middle School
Jonathan Ward Tree Palmedo, trumpet
Montclair, NJ Oregon Episcopal School
Derek Sims
Portland, OR
Junior High School Outstanding Performances
Nick Hetko, piano
Quban Hall, alto saxophone Cambridge Central School
Pershing Middle School Tammy Silvernell
Richard Smith Cambridge, NY
Houston, TX
Jared Mulcahy, bass
Jade Elliott, alto saxophone Skaneateles High School
Los Cerritos Middle School Angelo Candela
David Blake Skaneateles, NY
Thousand Oaks, CA

Performing Arts High School Winners

High School Winners
Elijah Shiffer, alto saxophone
Ben Lusher, piano Pre-College Manhattan School of Music
The Masters School Felipe Salles
Nancy Theeman New York, NY
Dobbs Ferry, NY
Andrew Freedman, piano
Kevin Sun, tenor saxophone Los Angeles County High School
Montgomery High School for the Arts
Adam Warshafsky Dan Castro
Skillman, NJ Los Angeles, CA

72 DOWNBEAT JUNE 2010

33rd annual student music awards

Performing Arts High School Bob Schneider Colorado David Bijoy

Outstanding Performances
Rochester, NY Dana Landry Champagne,
Greeley, CO trumpet
Thomas Dover, Florida State University
trombone Undergraduate College Jose Valentino Ruiz, flute William Peterson
Outstanding Performances
New World School of the Arts University of South Florida Tallahassee, FL
Jim Gasior Dr. Kim McCormick
Miami, FL Gabriel Condon, guitar Tampa, FL
Eastman School Of Music
Antonio Madruga, piano Bob Schneider
New World School of the Arts Rochester, NY
Jazz Group
Graduate College
Outstanding Performances
Jim Gasior
Miami, FL Greg Johnson,
tenor saxophone Troy Roberts,
Gilbert Paz, trumpet University of Northern tenor saxophone Junior High School Winner
New World School of the Arts Colorado University of Miami
Peter W. Brewer Dana Landry Gary Keller The Brandon
Miami, FL Greeley, CO Coral Gables, FL Porter Quartet
Memorial Park
Eric Bowman, trombone Adam Hutcheson, Middle School
Undergraduate College Winners Western Michigan alto saxophone Donna Sevcovic
University University of North Texas Fort Wayne, IN
Adam Frank, tenor & Dr. Scott Cowan Brad Leali
soprano saxophones Kalamazoo, MI Denton, TX
Elmhurst College High School Winner
Doug Beach Pascal Le Boeuf,
Elmhurst, IL Graduate College Winners piano Spaghett!
Manhattan School of Music Rio Americano High School
Graham Keir, guitar Ben Haugland, piano Justin DiCioccio Josh Murray
Eastman School of Music University of Northern New York, NY Sacramento, CA

74 DOWNBEAT JUNE 2010

 Adam Frank

High School Outstanding Performance

Advanced One
Ann Arbor Community High School
Jack Wagner
Ann Arbor, MI

Performing Arts High School Winner

Manasia Improv Ensemble

Pre-College Manhattan
School of Music
Jeremy Manasia
New York, NY

Performing Arts High School

Outstanding Performances

Advanced High School Workshop

The Jazzschool
Michael Zilber
Berkeley, CA

Jazz Quartet
Booker T. Washington HSPVA
Bart Marantz
Dallas, TX

Undergraduate College Winners

The Jon Beshay Sextet

Michigan State University
Diego Rivera
East Lansing, MI

Fantasy V
Brubeck Institute
Dr. Joe Gilman
Stockton, CA

JUNE 2010 DOWNBEAT 75

33rd annual student music awards

Elmhurst College Jazz Band

Graduate College Winners High School Outstanding
Performances

Unstablemates
University of North Texas Jazz Ensemble
Stefan Karlsson Decatur MacArthur
Denton, TX High School
Jim Culbertson
The Vanguard Combo Decatur, IL
University of Northern
Colorado Jazz Band I
Jim White Folsom High School
Greeley, CO Curtis Gaesser
Folsom, CA

Large Jazz
Performing Arts High School Winner

Ensemble John Zimny Jazz Ensemble

Crescent Super Band
Crescent Jazz Institute
Folsom, CA Folsom Middle School Caleb Chapman
Junior High School Winners John Zimny Orem, UT
Folsom, CA
Stanley Jazz Junior High School
Outstanding Performances
Messengers Performing Arts High School
Outstanding Performances
Stanley Middle School High School Winner
Bob Athayde Jazz Band “A”
Lafayette, CA Lindero Canyon Jazz Band “A” Studio Band “A”
Middle School Buchanan High School The Jazzschool
Jazz Ensemble Matthew McKagan Paul Lucckesi Keith Johnson
Sutter Middle School Agoura Hills, CA Clovis, CA Berkeley, CA  Page 80

76 DOWNBEAT JUNE 2010

33rd annual student music awards

33rd annual student music awards i Jazz Soloist Winners

To Each His Own

The winners of this year’s Jazz Soloist award Ben Haugland
have one thing in common: making their mu-
sic their own. When asked for influences,
common answers were Bill Evans, John Col-
trane and Kenny Garrett. But when it comes
down to it, these inspirations are just that—in-
spirations—for these young musicians to play
to their own beats.
University of Northern Colorado doc-
toral student Ben Haugland said that while
he has been influenced by many different
artists, including Wynton Kelly and Chick
Corea, he never tries to sound like anyone
else at the piano.
“I’m not trying to emulate anyone in par-
ticular,” Haugland said. “When you gather
ideas from so many different sources and
apply your own experiences, personality
and creativity, there’s no way your going to
sound just like another artist.”
For high school senior Elijah Shiffer, an
alto sax player at Pre-College Manhattan
School of Music, jazz provides a window to
his inner self. When Shiffer solos, he uses
different melodic shapes, rhythms and dy- Graham Keir
namics to create “an image of a place or
occurrence.”
“I attended David Liebman’s Summer
Jazz Workshop for two years, where I learned
about the different possibilities of chromatic
melodies and harmonies,” Shiffer said. “I see
chromaticism as a technique to help convey
more subtle and specific expressions than
could be created using tonal harmony. I use
music as a tool for expressing my innermost
feelings and ideas, and all these techniques
help to expand my ability to express myself.”
Shiffer, who aspires to be a professional mu- Kevin Sun
sician and composer, applies these same
techniques when composing for ensembles
and big bands.
Kevin Sun plays tenor sax in both the
Wind Ensemble and Jazz Ensemble at Mont-
gomery High School in Skillman, N.J. He, too,
aspires to be an expressive improviser.
“I always try to create a sense of a sto-
ry-like arc in my solos—a gradual develop-
ment and elaboration upon thematic material
that also evolves as a response to what the
rhythm section is playing,” Sun said. “To that
end, I have been studying a system of hexa-
tonic scales developed by my teacher, Felipe
Salles, to increase my flexibility in hearing
more angular lines and melodic phrases that
incorporate wider intervals and more interest-
ing dissonances than those found in typical
bebop and post-bop phrasing.”
Andrew Freedman, a senior at the Los
Angeles High School for the Arts, is making
his piano solos his own by working on achiev-

78 DOWNBEAT JUNE 2010

ing motivic development.
“I am really sticking to an idea and devel-
oping that idea,” Freedman said. “I also want
to shed playing over the bar line. Bill Evans
made that one of his major goals in his play-
ing: to feel comfortable playing anywhere in a
bar and ending anywhere in a bar.”
Graham Keir, a senior at Eastman School
of Music in Rochester, N.Y., says he wants his
solos to be “the most gratifying experience
for the listener.” The guitarist aims to build
and climax his compositions in a way that the
listeners can anticipate without losing the ele-
ment of surprise.
Keir has also been focusing on develop-
ing a more dissonant harmonic vocabulary.
“I am now trying to incorporate more ‘out’
harmonic vocabulary by studying improvis-
ers like Lennie Tristano in order to add ten-
sion and release that will propel the solos
forward and add interest,” Keir said. “The
most important thing for me, however, has
been time, feel and inflections. I want the lis-
tener to easily understand everything that I
am trying to do.”
Elmhurst (Ill.) College senior Adam Frank
has been focusing on utilizing different tonali-
ties when soloing on saxophone.
“Lately, I’ve been working on understand-
ing the different tonalities within a specific
tune, whether they are major, melodic minor,
or harmonic minor,” Frank said. “This is help-
ing a lot to develop my ear and kind of gets
me away from concentrating too hard on hit-
ting every single chord change. My goal is to
be more melodic.”
Improvisation is possibly the most effec-
tive way to create a unique voice in music.
Benjamin Lusher, a senior at The Master’s
School in Dobbs Ferry, N.Y., finds that it helps
him connect to his audience.
“My main goal as a musician and as an
improviser is to be completely in the mo-
ment,” Lusher said. “I feel that striving to be
totally spontaneous and to be truly improvis-
ing makes the music more fun, more interest-
ing and more emotionally connected both to
myself and the listeners.”
Flutist Jose Valentino Ruiz, currently pur-
suing a master’s degree in classical music at
University of South Florida, is curious about
how the great historical composers were in-
spired to try new things and why certain com-
positions have become more significant over
time. “As I learn this, I can apply it in an impro-
visatory setting,” Ruiz said. “In my solos, I try
to embrace people, so that they simultane-
ously hear the tradition of the past, the ideas
of the present and maybe a novel impression
for the future.”  —Katie Kailus

JUNE 2010 DOWNBEAT 79

33rd annual student music awards

Pre-College Big Band Graduate College Winners Vocal

Pre-College Manhattan
School of Music Two O’Clock Jazz
Jeremy Manasia
New York, NY
Lab Band
University of
Soloist
North Texas
Jay Saunders Junior High School Winner
Undergraduate College Winner Denton, TX
Claire Dickson
Jazz Ensemble Frost Concert Home school
University of Jazz Band Ben Lusher Michael McLaughlin
Wisconsin-Eau Claire University of Miami Medford, MA
Robert Baca Dante Luciani
Eau Claire, WI Coral Gables, FL
High School Winner

Undergraduate College Graduate College Outstanding Ben Lusher

Outstanding Performances Performances
The Masters School
Nancy Theeman
Jazz Band Studio Jazz Band Dobbs Ferry, NY
Elmhurst College University of Miami
Doug Beach Stephen Guerra
Elmhurst, IL Coral Gables, FL High School Outstanding
Performance

Jazz Band I Jazz Ensemble I

Texas A&M University of Nevada Courtney Parkin
University-Kingsville Las Vegas King’s High School
Paul Hageman David Loeb Wayne Pumphrey
Kingsville, TX Las Vegas, NV Jazzmeia Horn Seattle, WA
Performing Arts High Kate Skinner
School Winner
University of Northern Colorado
Dana Landry
Camille Avery Greeley, CO
Artswest School
Jeff Baker Timothy Buchholz
Eagle, ID University of Miami
Larry Lapin
Coral Gables, FL
Undergraduate College Winner

Jazzmeia Horn
New School for Jazz &
Contemporary Music
Daniel Greenblatt
New York, NY
Vocal
Jazz Group
Undergraduate College
Outstanding Performances Junior High School Winner

Celebration
Bethany Bredehoft
King’s Junior High School
Elmhurst College
Doug Beach Darla Pumphrey
Elmhurst, IL Seattle, WA

Melissa Fulkerson
Junior High School
California State University
Outstanding Performances
Julia Dollison
Sacramento, CA
Vocal Jazz
Tatiana Mayfield Memorial Park
University of North Texas Middle School
Rosana Eckert Jana Root
Denton, TX Fort Wayne, IN

Katheren Geisick
California State High School Winner
University-Long Beach
Christine Guter Kaleidoscope Vocal
Long Beach, CA Jazz Ensemble
Kirkwood High School
Olivia Flanigan David Cannon
University of Illinois at Kirkwood, MO
Urbana-Champaign
Chip McNeill
Urbana, IL High School Outstanding
Performances

Graduate College Winner

Room 107
Valley Christian High School
Ann Pedersen
David Hook
California State
San Jose, GA
University-Long Beach
Christine Guter
Long Beach, CA
Midnight Voices
Rochelle Township
High School
Graduate College Outstanding Cory F. Jones
Performances Rochelle, IL

Aubrey Johnson Jazz Choir I

New England Conservatory Folsom High School
Ken Schaphorst Curtin Gaesser
Boston, MA Folsom, CA
33rd annual student music awards

Graduate College
Outstanding Performance

Pacific Standard Time

California State
University Long Beach
Christine Guter
Long Beach, CA

Classical
Soloist
High School Winner

Jesse M. E. Simons, viola

Jose Valentino Ruiz
Davis Senior High School
Angelo Moreno
Performing Arts High School Winner Davis, CA

Vocal Jazz Ensemble

Hamilton High School Performing Arts High School Winner
Academy of Music
John Hamilton Rachel Brown, bassoon
Los Angeles, CA Booker T. Washington
HSPVA
Luis Martinez
Performing Arts High School Dallas, TX
Outstanding Performances

Vocal Jazz Collective Undergraduate College Winner

Artswest School
Jeff Baker Isaac Washam,
Eagle, ID trombone
Oklahoma State University
Paul Compton
Undergraduate College Winner Stillwater, OK

Vocal Jazz Ensemble

American River College Graduate College Winner
Arthur Lapierre
Sacramento, CA Jose Valentino Ruiz, flute
University of South Florida
Kim McCormick
Undergraduate College Tampa, FL
Outstanding Performances

Singcopation
Mt. San Antonio College Classical Group
Bruce Rogers
Walnut, CA
Junior High School Winner
Jazzmin
Belmont University Advanced JH Orchestra
Kathryn Paradise Davidian Holmes Junior High
Nashville, TN Angelo Moreno
Davis, CA

Graduate College Winner

High School Winner
Afro Blue
Howard University Honors Wind Ensemble
Connaitre Miller North Allegheny Senior
Washington, DC High School

82 DOWNBEAT JUNE 2010

 Todd R. Stefan High School Outstanding
Performance
Wexford, PA

Jon Perkins, guitar

Performing Arts High Ransom Everglades
School Winner
Lauree Aschen Clark
Miami, FL
String Orchestra
Booker T. Washington
HSPVA Performing Arts High School Winner
David Large
Dallas, TX Luke Marantz, keyboard
Booker T. Washington
HSPVA
Undergraduate College Winner Kent Ellingson
Dallas, TX
Trombone Quartet
Oklahoma State University
Paul Compton Performing Arts High School
Outstanding Performance
Stillwater, OK

Asher Kurtz, guitar

Graduate College Winner Booker T. Washington
HSPVA
Symphony Orchestra Kent Ellingson
University of Northern Dallas, TX
Colorado
Russell Guyver
Greeley, CO Undergraduate College Winner

Ryan Andrews, drums

Western Michigan
Blues/Pop/ University

Rock Soloist Keith Hall

Kalamazoo, MI

High School Winner

Undergraduate College
Outstanding Performances
Gene Knific, piano
Portage Northern
High School Steven Limpert,
Tom Knific trumpet
Portage, MI Arizona State University
Michael Kocour
Tempe, AZ

Galen Bostian-Kentes,
vocals
Western Michigan University
Stephen Zegree
Kalamazoo, MI

Randy Gist,
alto & tenor saxophone
Western Michigan University
Stephen Zegree
Kalamazoo, MI

Graduate College Winner

Brent Birckhead,
alto saxophone
Howard University
Fred Irby III
Randy Gist
Washington, DC  Page 86

JUNE 2010 DOWNBEAT 83

33rd annual student music awards

33rd annual student music awards i Jazz group Winners

Spaghett!

Small Group Interplay

Working as a group can be challenging at semble,” Rivera said. “All the members have
times, but the winners in this year’s Jazz Group/ taken my jazz musicianship course. I have
Combo category meld well together and con- heard these students take concepts covered
sequently have turned out some sophisticated, from lessons, classes and other ensembles
tasteful music. Winning ensemble members and incorporate them into their ensemble.
claim to have learned the value of teamwork, Their advancing knowledge of jazz is reflected
whether it is in the practice studio or on stage. in their compositions, arrangements, improvi-
Jonathan Beshay is the leader and tenor sations and overall group sound.”
saxophonist for his hard-bop group, The Jon Fantasy V, a quintet out of The Brubeck In-
Beshay Sextet. “Everyone in this group has stitute at the University of the Pacific in Stock-
contributed in some way or another, whether ton, Calif., has had a similar experience.
by writing originals or arrangements, by offer- “As the year went on, each of the mem-
ing ideas during rehearsals or helping book bers continued to write more and more mu-
the band for a gig,” he said. Such camaraderie sic, so our group sound and improvisational
has helped members of this Michigan State approach developed accordingly,” said Chad
University-based sextet grow as musicians. Lefkowitz-Brown, tenor and alto sax player for
“During the time that we have been to- the group, which plays an extensive amount
gether, my own arranging skills have improved of original compositions and has performed at
greatly,” Beshay noted. “Having a group such the Detroit Jazz Festival. “Because we have
as this is a great opportunity to get immediate the opportunity to rehearse and play together
feedback on compositions and arrangements. every day, we’ve become incredibly comfort-
The group members have also contributed able playing as a group, and we are able to
their own originals and arrangements. As we create some really wonderful music together,”
have played together, the group have become Lefkowitz-Brown said.
much looser and relaxed. Group members Fantasy V director Joe Gilman has seen
have taken much more initiative on the band- an improvement in the group’s composition
stand since we first started playing together.” skills, one aspect that he says he has worked
The group’s faculty director, Diego Rivera, on with the group and seen them develop in.
agrees that the members, most of whom are “The students come into the Brubeck Fel-
junior undergrads, have learned and grown lowship playing at an advanced level already,
during their time as a band. especially for their age group,” Gilman said.
“This group has shown tremendous prog- “Some of them have experience with com-
ress as individuals as well as a collective en- position, but others are new to that process.

84 DOWNBEAT JUNE 2010

 Thank
Manasia Improv Ensemble
You!
DownBeat would like to
thank the following people
in helping to make the
33rd Annual Student
The Vanguard Combo Music Awards a success.

Adjudicators
I have found that the best strategy for this
group is to expose them to music and con-
Jim Anderson
cepts outside of their normal reference.”
The Vanguard Combo, a sextet out of the
David Baker
University of Northern Colorado, performs
original compositions and arrangements
JENNIFER BARNES
penned by the group members. Writing and Bob Belden
arranging for sextet can be tough, but the
members have found ways to make it work. JANICE BORLA
“The group’s conception of time, rhythm
and style has developed through intensive lis- Orbert Davis
tening and study of the great masters of the
music,” said James White, the group’s direc- David Demsey
tor. “Rehearsal time is spent exploring student
compositions and arrangements, working on Bunky Green
group interplay, playing in odd meters and
strengthening our overall sense of groove.” Les Hooper
Marty Kenney, bassist for The Vanguard
Combo, agrees. Kevin Mahogany
“We’ve picked up on a lot of each oth-
er’s musical personalities, and we’ve started
Miles Osland
to develop into a very interactive group,”
Kenney said. “As far as I’m concerned, I’m
James warrick
just trying to hold down some steady time
with the bass.”
David Weiss
Grad student Chris Smith, drummer
for The Vanguard Combo, said he feels the
Phil Wilson
chemistry between the players and their
ambitious attitude towards the group make
it something rare for an academic ensemble.
33 rd Annual
“Everyone is a good person and a great
musician, which makes for a very exciting
Since 1934
creative experience.”  —Katie Kailus

JUNE 2010 DOWNBEAT 85

33rd annual student music awards

Graduate College Performing Arts High School Fatbook

Outstanding Performance Outstanding Performance

Ulrich Ellison, guitar Voodoo Orchestra

University of Texas at Austin Crescent Jazz Institute
John Fremegen Caleb Chapman
Austin, TX Orem, UT

Undergraduate College Winners

Blues/Pop/ Fatbook
Rock Group Lawrence University
Fred Sturm
Appleton, WI
High School Winner Frost Salsa Orchestra

R&B Ensemble Compendium

Kent Denver School Western Michigan University
Stephen Holley Stephen Zegree
Englewood, CO Kalamazoo, MI

Performing Arts High School Winner Undergraduate College

Outstanding Performance

MIDI Ensemble
Booker T. Washington Ryan Andrews Group
HSPVA Western Michigan University
Kent Ellingson Keith Hall
Dallas, TX Kalamazoo, MI

86 DOWNBEAT JUNE 2010

Graduate College Winner Performing Arts High School Winner

Funk/Fusion Latin American

Ensemble Enemble
University of Miami Booker T. Washington HSPVA
Whit Sidener Duilio A. Dobrin & Ramon
Coral Gables, FL “Conga” Rodriguez
Dallas, TX

Graduate College
Outstanding Performance Undergraduate College Winner

Bridget & Luke Mas Que Nada

University of Miami Western Michigan University
Gary Lindsay Keith Hall
Coral Gables, FL Kalamazoo, MI

Graduate College Winners

Frost Salsa Orchestra

Latin Group University Of Miami
Alberto De La Reguera
Coral Gables, FL
High School Winner
Afro Cuban Jazz
Latin Connection Duo Ensemble
Canyon Crest Academy Manhattan School of Music
Amy Villanova Bobby Sanabria
San Diego, CA New York, NY  Page 90

JUNE 2010 DOWNBEAT 87

33rd annual student music awards

33rd annual student music awards i Vocal Jazz Soloist Winners

Recruit
Students!
Inspiration Strikes
When Jazzmeia Horn listens to Camille Avery
a song, she doesn’t want to just
jam to a good tune, she wants to
be emotionally moved.
“When [John Coltrane] swings,
it feels so good,” Horn said. “It’s
like the feeling you get when a cer-
tain spot on your back itches that
you can’t reach and someone is
kind enough to scratch it for you.
Or the feeling you get after com-
ing home to rest after a long day.
Sometimes you just have to cry.
Trane does that to me.”
Like many aspiring vocal-
33 rd Annual ists, Horn, a freshman at the New
School for Jazz and Contempo-
rary Music in New York, incorpo-
rates the techniques of her jazz
influences into her singing style.
“The vocalist who inspires
me the most is Sarah Vaughan,”
Horn said. “Listening to her sing
Where to Study Jazz 2011 opens my mind up to brighter
ideas, even if I’ve listened to the
tune more than a thousand times.
Each time is something new and
begins a cycle of ideas that feed off of each California State University Long Beach
other. I even try to emulate her style and tone grad student Ann Pedersen frequently looked
with practicing and find myself naturally emu- to Ella Fitzgerald when she was younger for
lating her on stage.” vocal inspiration. Since then, she has wid-
Advertise in Horn performs in the New School’s ened her horizons.
Blues Ensemble, R&B Ensemble and one of “I learn the best from listening,” Pedersen
DownBeat’s the Vocal Rhythm Sections. She has been said. “Maybe when I was younger I took the
working on storytelling in her solos and has Ella route, but now I feel like my sound is a
2011 looked to Coltrane and his narraitve abilities melting pot of everyone I have ever had the
as a role model. pleasure of listening to or singing with.”
Jazz Education “One of the most important things that Pedersen has also found inspiration from
I try to accomplish while soloing is to tell a artists who are outside the realm of jazz.
Guide story,” Horn said. “The way I’m feeling at the “Artists I have been listening to lately for
time is what I try to get across to the listener.” inspiration aren’t from the jazz idiom, but cer-
Horn said she sometimes turns away tainly pack a punch and provide a wonderful
OCTOBER 2010 from vocal role models and looks to horn listening and learning experience,” Pedersen
players for improvisational inspiration. “I like said. “I found a great deal of inspiration from
Closing JULY 23 to listen to Charlie Parker, John Coltrane, the soundtrack of the film A Mighty Wind. The
Miles Davis, Branford Marsalis, Cannonball music was so well written and well performed,
Adderley, Wycliffe Gordon and Louis Arm- while still not taking itself too seriously. I am
strong,” she said. also a fan of Sondre Lerche, The Gabe Dixon
Benjamin Lusher also finds inspiration Band and, of course, the Beatles.”
among some of jazz’s most classic voices. Camille Avery, a senior at ArtsWest School
“I have been heavily influenced by Ella in Eagle, Idaho, also finds inspiration in artists
Fitzgerald, Sarah Vaughan and Frank Sina- outside of the jazz world.
tra,” said Lusher, a senior at The Masters “Camille’s influences are many, and she
School in Dobbs Ferry, N.Y. “I have also been enjoys everyone from Billie Holiday, Ella
call U.S. toll free at influenced by Mel Tormé, for the sheer beauty Fitzgerald, Carmen McRae, Nancy King and
of his voice, Carmen McRae, for her amazing Dee Dee Bridgewater to more contemporary
800-959-5299 phrasing and Bobby McFerrin for his absolute artists like Joni Mitchell and Eva Cassidy,”
630-941-2030 control of his voice and astonishing improvi- said Jeff Baker, director of vocal music at
sational ability.” ArtsWest.  —Katie Kailus

88 DOWNBEAT JUNE 2010

33rd annual student music awards

High School Winner

Benjamin Rosenblum,
“Not Yet”
Trinity School
Jim Cifelli
New York, NY

High School Outstanding

Performances

John Guari
Chase Morrin,
“Angular Raga”
Canyon Crest Academy
Extended Amy Villanova

Composition San Diego, CA

Zach Giberson,
High School Winner “The Ladder”
Rio Americano High School
Chase Morrin, Josh Murray
“Sea Of Herbs” Sacramento, CA
Canyon Crest Academy
Amy Villanova
San Diego, CA Performing Arts High School Winner

Jimmy McBride,
Performing Arts High School Winner “Galactic Journey”
Greater Hartford
Colin McDaniel, Academy of the Arts
“Skewed Reflection” Kristopher Allen
The Jazzschool Hartford, CT
Michael Zilber
Berkley, CA
Performing Arts High School
Outstanding Performances

Undergraduate College Winner

David Leon,
Andrew Linn, “Seven Something”
“Out Of His Element” New World School of the Arts
University of Kansas Jim Gasior
Dan Gailey Miami, FL
Lawrence, KS
Matt Dwonszyk,
“Nothing Special”
Graduate College Winner Greater Hartford
Academy of the Arts
John Guari, “November” Kristopher Allen
University of North Texas Hartford, CT
Steve Wiest
Denton, TX
Undergraduate College Winner

Cameron Hicks, “Antics”

Original Song California Institute of the Arts
Paul Novros
Valencia, CA
Junior High School Winner

Daryl Johns, Undergraduate College

Outstanding Performances
“Toys For Roy”
The Elizabeth
Morrow School Karl Schwonik,
Bronwen Eastwood “Gwynne”
Englewood, NJ McGill University

90 DOWNBEAT JUNE 2010

 Remi Bolduc Josh Murray
Montreal, QC, Canada Sacramento, CA

Nick Frenay, David Zaks,

“Leland’s Bounce” “Windows”
Brubeck Institute High Tech High School
Joe Gilman Scott Killian
Stockton, CA North. Bergen, NJ

Adam Bravo,
“Psychosomatose” Performing Arts High
School Winner
University of Southern California
Alan Pasqua
Los Angeles, CA Matt Dwonszyk,
“In Walked Bud”
Steve Brickman, Greater Hartford
“Mystical Substance” Academy of the Arts
University of Miami Kristopher Allen
Gary Keller Hartford, CT
Coral Gables, FL

Graduate College Winners

Joel Nagel,
“Almost Just About”
University of Northern
Colorado
Dana Landry
Greeley, CO

Michael Thomas, Kate Janzen

“Refract”
New England Conservatory
Ken Schaphorst Undergraduate College Winners
Boston, MA
Andrew Rowan,
“The Longest Night”
Graduate College Outstanding University of Oregon
Performances
Steve Owen
Eugene, OR
Ben Haugland, “Lift”
University of Northern Jeremy Lappitt,
Colorado “Um Segundo”
Dana Landry Arizona State University
Greeley, CO Michael Kocour
Tempe, AZ
Luke Moellman,
“Misguided Kate Janzen,
Melancholia” “So In Love”
University Of Miami Sacramento State University
Gary Lindsay Kerry Marsh
Coral Gables, FL Sacramento, CA

Alex Stephens, “In The

Glow Of The Moon”
California State
Jazz University-Long Beach

Arrangement Christine Guter

Long Beach, CA

High School Winners Emily Scoresby,

“Where Is Love?”
Zach Giberson, “A University of North Texas
Call For All Demons” Rosana Eckert
Rio Americano High School Denton, TX  Page 94
33rd annual student music awards

33rd annual student music awards i blues/pop/rock Soloist Winners

Gene Knific Luke Marantz

Student Professionals
The Blues/Pop/Rock Soloist winners in this Howard University Jazztet and the Howard
year’s Student Music Awards have shown Orchestra.
that they are more than just student musi- Gene Knific, a senior at Portage North-
cians. With resumes that include regular ern High School in Portage, Mich., plays
gigs, multiple awards and concerts at pres- regular piano jobs around his hometown. “I
tigious venues, these young instrumentalists have the opportunity to gig relatively regu-
are well on their way to becoming seasoned larly with either my own groups or others,”
professionals. Knific said. “The venue I play at most regu-
Take drummer Ryan Andrews, a Western larly is called the Union Cabaret and Grill in
Michigan University senior who has already Kalamazoo, Mich.”
played Carnegie Hall and Lincoln Center, Besides being a working musician,
and who has been invited by professor Ste- Knific is also a decorated one, having won a
ven Zegree to accompany the World Youth number of accolades. “Gene has won three
Choir in Hong Kong and Sweden. Andrews DownBeat Student Music Awards and best
has played in the Western Michigan Univer- performance at several collegiate-based high
sity Drum Choir and the vocal jazz group school festivals,” said Tom Knific, music pro-
Gold Company, with whom he has performed fessor at Western Michigan University. “He
in New York and Toronto. “I’ve also had the has also won a number of substantial awards
opportunity to be able to work with artists and grants for study.”
like Fred Hersch, Stefon Harris, Billy Childs, Keyboardist Luke Marantz, a senior at
Jamey Haddad and Billy Drewes in work- Booker T. Washington High School for the
shops, performances and recording situa- Performing and Visual Arts in Dallas, has his
tions,” he said. hands full as well. While juggling school and
Howard University graduate student homework, he balances his music career,
Brent Birckhead is no stranger to the gigging which includes performing in two ensembles
world. The saxophonist’s Web site calendar is and playing regular gigs at local clubs and
filled with upcoming shows. music halls.
“I perform three to four times a week in “I have done and continue to play back-
several bands, playing with a variety of mu- ground music at restaurants, homes and oth-
sicians,” Birckhead said. Along with gigging er spaces,” Marantz said. “I am very thank-
regularly, Birckhead plays in six school en- ful for all of the opportunities I have had, as I
sembles where he gets the opportunity to have found that it is on gigs playing with older

Subscribe solo, including the Howard University Jazz

Ensemble, Howard University Concert Band,
and younger musicians alike that I tend to
learn the most about both music and about
877-904-JAZZ Saxophone Ensemble, Flutes of Howard, the business.”  —Katie Kailus

92 DOWNBEAT JUNE 2010

33rd annual student music awards

Andrea Graduate College Winners Gerd Hermann Ortler, Adam Gang &
Calderwood
“Like A Virgin” Josh Catalano
Sean Nelson, University of Music Air Academy High School
“Beautiful Love” & Performing Arts Stoney Black
University Of North Texas Edward Partyka USAF Academy, CO
Paris Rutherford & Akira Sato Gruz, Austria
Denton, TX
Timothy Buchholz, Performing Arts High School Winner
Max Maples, “Señor Blues”
“Oh Shenandoah” University Of Miami Christoph R.
Indiana University Larry Lapin Andersson
Thomas Walsh Coral Gables, FL NOCCA
Bloomington, IN Steve Reynolds
Derrick I. Koelsch, Curt Sydnor, “Spirit New Orleans, LA
“Begotten Dreams” Andrey Ankudinov, Ditties Of No Tone”
California State “Body And Soul” Indiana University
University-Sacramento S.U.N.Y. Purchase Luke Gillespie Performing Arts High School
Outstanding Performance
Kerry Marsh Saul Spangenberg Bloomington, IN
Sacramento, CA Purchase, NY
Joshua Huval
Galen Bostian-Kentes, Andrea Calderwood, NOCCA
“I Believe” “Last Call” Engineered Steve Reynolds
Western Michigan University
Stephen Zegree
California State
University Long Beach
Live Recording New Orleans, LA

Kalamazoo, MI Christine Guter

Long Beach, CA High School Winners Undergraduate College Winner
Javier Jelani Nero,
“Bemsha Swing” Jorge I. Currea, “Afro Blue” Justin Hubler Sean P. Jones
The Juilliard School University of Northern Colorado Neuqua Valley High School University of North Texas
Carl Allen Erik Applegate Jonathan Lauff Mike Steinel
New York, NY Greeley, CO Naperville, IL Denton, TX  Page 100

94 DOWNBEAT JUNE 2010

33rd annual student music awards

33rd annual student music awards i jazz education hall of fame

Bart
Marantz
Since Bart Marantz began working as a teach-
er and Director of Jazz Studies at the Booker
T. Washington High School for the Perform-
ing and Visual Arts (BTWHSPVA) in Dallas
in 1986, the school has won 214 DownBeat
Student Music Awards—remarkable for such
a modestly sized program, one that this year
included a total of 225 music students.
Under Marantz’s direction, BTWHSPVA’s
jazz studies program has produced 15 al-
bums, and 10 graduates have been signed
to major labels as leaders (including trum-
peter Roy Hargrove, vocalist Erykah Badu,
drummer Aaron Comess and pianist/vocalist
Norah Jones). To enhance their educational
experience, Marantz has taken his student
ensembles to numerous jazz festivals and led
them in high-profile performances across the
country.
“With a small program, we have done
amazing things,” said Marantz, who at 60 Selected Trumpet Master Classes.
enters DownBeat’s Jazz Education Hall of There is no end in sight for Marantz’s ca-
Fame with much of his career still ahead of reer as a jazz educator. “I’m not done yet—
him. “It has nothing to do with the teachers. I’ve got a lot to do,” he said, revealing an
It’s the commitment from these young artists admiration for educators who remain active
that spurs us on to raise funds and get them well into their eighties. “I see myself staying
on national stages where they are checked at Booker T. Washington HSPVA for a while,
out by top panels and then are recruited to and then looking to become more involved as
music conservatories and very special op- a full-time contributor to either the Monk Insti-
portunities for college. That’s where the tute or the Brubeck Institute.”
‘draft’ takes place.” Two of Marantz’s DB-winning students
In addition to occasionally traveling out- include his sons—saxophonist Matt (currently
side Dallas as a Selmer trumpet clinician, Ma- studying at the Thelonious Monk Institute
rantz spends considerable time as a faculty of Jazz) and keyboardist Luke (who attends
member for the Dave Brubeck Jazz Institute’s New England Conservatory of Music)—both
Summer Jazz Colony. of whom attended BTWHSPVA. A devout
“I love to travel a lot,” he said. “It refresh- family man who describes his wife, Sara, as
es me. I’m around other colleagues, or, in the “an incredible supporter” in his life, Marantz
case of last weekend, NEA Jazz Masters and places a high value on his relationships with
Grammy winners like David Baker and Bob others in the jazz community who are com-
Mintzer,” he said. “It’s inspiring, and there’s a mited to sustaining the music.
lot of energy that I bring back into the class- “To be honored by DownBeat is the ul-
room with me from those experiences.” timtate,” said Marantz, noting that he bought
Marantz is more than generous with his his first issue of the magazine in 1964 at age
teaching chops. He has gone as far as Russia 14. “It’s more than an honor; it’s a dream that
and Africa to share his experience and expertise came true. On the other hand, I’m a coach.
with overseas educators and students who lack Coaches have ideas, and they can present
the resources available in the United States. their ideas to young artists, but it’s the artist
Marantz has also been a contributing au- who runs with the message. I’m riding the
thor to several texts, including the recently re- wings of all the kids who come through here.
leased Jazz Ensemble Companion (Rowman They won these 214 DB awards. I might have
& Littlefield Education) and Teaching Jazz: A pushed a button to record them or had them
Course Of Study, and he has written numer- perform at IAJE to a standing ovation, but

Subscribe ous articles for periodicals serving the music

education community. In 1989 he was select-
they presented the product. It’s beyond an
honor and very special, but it’s all about them.
877-904-JAZZ ed as one of 15 artists to be part of the book It is the culmination of a career.” —Ed Enright

96 DOWNBEAT JUNE 2010

33rd annual student music awards

33rd annual student music awards i jazz education achievement awards

ble is to demand perfection and set- will remember forever. During the
Bob Lark tle on excellence,” Lark said. “When weeklong trip, students get the op-
Bob Lark makes no bones about playing any music, there should be a portunity to perform in concerts and
his teaching style. clear foreground and a clear back- participate in workshops and jam
“It’s almost like that of a par- ground. [Students] need to figure out sessions with local students while
ent—one arm around the child, the their individual parts and how their traveling from town to town.
other pushing them in the back,” sections relate to that.” “As a participant on two of
Lark said. “You want to be warm, And what is Lark’s number-one those tours, I can say that they
understanding and nurturing, but rule when teaching? “Play to make were two of the most rewarding ex-
at the same time you want to push each other sound good,” Lark said. periences of my life,” wrote Jason
them and not just coddle them.” “That may mean that we play softer Yeager, a former student of Sini-
As the Director of Jazz Studies dynamically to make sure the lead crope’s, in a testamonial regarding
at DePaul University in Chicago, voice comes forward; that may his teacher. “For the first time, I was
Lark teaches trumpet as well as mean we play stronger dynamically given the opportunity to play music
courses in jazz pedagogy and di- ten to any and everything,” Lark said. to better support someone. It could in a foreign country and experience
rects the DePaul Jazz Ensemble “I especially like the Thad Jones– mean a number of things, but it’s the
and the Phil Woods Ensemble. Mel Lewis Orchestra, though." number-one rule.”  —Katie Kailus
While under his direction, the De- An Ohio State grad, Lark re-
Paul Jazz Ensemble has received ceived both his Masters of Music
numerous DownBeat Student Mu- Education and Doctorate of Musi- Bob Sinicrope
sic awards and has recorded al- cal Arts in Performance degrees at Roughly every two years, Bob Sini-
bums with such jazz artists as Phil the University of North Texas. Along crope takes his jazz students from
Woods, Slide Hampton, Clark Terry, with teaching, he gigs regularly and Milton (Mass.) Academy college
Louie Bellson, Bob Brookmeyer, has released five CDs. prepatory to South Africa on the
Tom Harrell, Frank Wess, Jim Mc- Lark, 51, expects nothing short spring break trip of their lives. It may
Neely and Bobby Shew. of excellence from his students. “My not be Cancun or Myrtle Beach, but
“I encourage my students to lis- theory when instructing my ensem- the experience is something they

98 DOWNBEAT JUNE 2010

what touring and playing concerts bo rehearsal,” Sinicrope said. “We as a musician, teaching seems to fit
nearly every day is like.” don’t audition for our groups, and him best. “Whether I’m coaching an
Sinicrope, 60, has been tak- we try to offer opportunities for any- ensemble, teaching a class, or work-
ing his jazz students abroad since one interested in learning about jazz ing individually with a student, we
1991, and the trips are made pos- to participate.” —Katie Kailus talk a lot about making music with
sible thanks to his efforts and dedi- passion and emotion,” Sturm said.
cation. Sinicrope starts organizing “I don’t want to play, write, or teach
fundraising a year in advance to en- Fred Sturm without a fire in my belly, and I try to
sure that the trip is affordable for all Fred Sturm does it all—teaches, inspire my students to do the same.”
students who are eligible to attend. conducts, composes and arrang- Sturm, 59, also strives to pro-
He arranges the itinerary, books the es. As the Director of Jazz and mote “ownership” among students
concerts, reserves the hotels and Improvisational Music at Lawrence in trying to get them to engage as
makes arrangements for transpor- University in Appleton, Wis., Sturm tablished in our history.” an integral part of the group when
tation on his own—all while teach- thinks of art as “the intersection of Sturm recently welcomed vo- performing. “I strive for a joyful,
ing full-time and performing. craft and creativity.” calist Bobby McFerrin to the Law- upbeat, rapidly paced, disciplined
As the founder of the Milton “That intersection presents a rence campus to perform a suite of and mutually respectful rehearsal
Academy Jazz Program in 1974, constant balancing act for me as a 19 pieces called Migrations, which environment,” Sturm said. “No
Sinicrope is a one-man jazz de- jazz teacher,” Sturm said. “A disci- Sturm wrote three years ago. stars, no drones—or, better yet, all
partment instructing all of the plined and respectful assimilation His compositions and arrange- stars, all drones. I love the process
jazz programs. His students have of craft, language and vocabulary ments have been performed by and continual discovery of taking a
performed at prestigious venues, can’t overshadow the pursuit of a jazz ensembles, symphony orches- work from the first rehearsal to con-
including the White House and na- student’s individual creative voice tras, wind ensembles and cham- cert fruition, and I do the bulk of my
tional jazz education conferences. and vice-versa. I want to help my ber groups worldwide, and have pedagogical work on the front end
Sinicrope says his teaching students discover who they are as featured artists such as Wynton of that process. By the time we get
style is to keep things informal and young jazz performers, composers Marsalis, Bob Brookmeyer, Gary to the performance, I’m the least
give everyone a chance. “I try to and teachers, but I can’t let them Burton, Clark Terry and Phil Woods. important person on the stage.” 
keep my classes similar to a com- lose sight of the great traditions es- Among all the hats Sturm wears  —Katie Kailus
33rd annual student music awards

Undergraduate College Outstanding Performance Graduate College

Outstanding Performance

Juan Lopez
University of Texas at Austin Gabe Slotnick & Jongsu Lee
Mark Sarisky Peabody Conservatory/
Austin, TX Johns Hopkins
Scott Metcalfe
Baltimore, MD
Graduate College Winner

Luke Moellman
University Of Miami Engineered
Gary Lindsay
Coral Gables, FL
Justin Hubler Studio
Recording
Performing Arts High School Winner

Tiger Darrow
Booker T. Washington HSPVA
Luis Martinez
Dallas, TX

Performing Arts High School

Outstanding Performance

Joshua Huval
NOCCA
Steve Reynolds
New Orleans, LA

Undergraduate College Winner

Drew Sowell
University of Denver
Mike Schulze
Denver, CO

Undergraduate College
Outstanding Performance

Chris Beeble
University of Denver
Mike Schulze
Denver, CO

Graduate College Winner

Luke Moellman
University Of Miami
Gary Lindsay
Coral Gables, FL

Graduate College
Outstanding Performance

Jose Valentino Ruiz

University of South Florida
Kim McCormick
Tampa, FL

100 DOWNBEAT JUNE 2010

Judging Criteria
Performance Criteria
1) Overall sound
2) Presence or authority
3) Proper interpretation of idiom
4) Improvisation or creativity
5) Technique
6) Intonation
7) Phrasing
8) Dynamics
9) Accurate rhythm/time
10) Material

Engineering Criteria
1) P
 erspective: balance of channels;
amount and type of reverb; blend (do all
sounds seem to have been performed
at the same time and place? do solos
seem natural or do they stick out?).
2) L
 evels: tape saturation or other
overload, undermodulation resulting
in excessive hiss, consistency of
levels, left/right balance, etc.
3) T
 ransparency and apparent
transient response.
4) S
 pecial effects: are they appropriate?
do they add or detract?
5) Extraneous noises, clicks, hum,
etc. (for a non-live performance,
any non-musical sound).
6) Professional etiquette: labeling of
box for tape speed and format,
labeling of cuts, leadering.

Awards & Prizes

DB Award Plaque is awarded
to the music department of each
winning high school and college.
DB Award Certificate is awarded
to each individual winner and
director of winning ensembles.

Judges
Jim Anderson: Recording engineer and
producer; Chair of the Clive Davis Department
of Recorded Music at New York University.
David Baker: Professor of Music and Chairman
of the Jazz Department, Indiana U., Bloomington;
author/composer/arranger/multi-instrumentalist.
Jennifer Barnes: Vocalist, touring clinician,
director of college vocal jazz ensembles.
Bob Belden: Saxophonist,
composer, bandleader and producer
of new albums and reissues.
Janice Borla: Vocalist; Director of Vocal Jazz at
North Central College; vocal jazz camp founder.
Orbert Davis: Trumpeter/clinician; professor
at University of Illinois, Chicago.
David Demsey: Saxophonist; William Paterson
University Coordinator of Jazz Studies.
Bunky Green: Alto saxophonist; Director of
Jazz Studies at the University of North Florida.
Les Hooper: Composer/arranger for films, TV,
commercials, orchestras and records; clinician.
Kevin Mahogany: Vocalist, record label owner
and educator.
Miles Osland: Saxophonist; University
of Kentucky Director of Jazz Studies.
James Warrick: Clinician; former Director
of Jazz Studies at New Trier High School.
David Weiss: Trumpeter, leader of the New
Jazz Composers Octet, winner of Chamber
Music America composition grant.
Phil Wilson: Trombonist; member
of Berklee College faculty.

JUNE 2010 DOWNBEAT 101

 Toolshed 

Yamaha YAS-875EXW
Alto Saxophone
Pretty Lady Can Sing
Yamaha’s YAS-875EXW, featuring vivid
white and gold lacquering, is the coolest pro-
fessional alto saxophone to come along in quite
some time. Released at NAMM, the Custom
EX white alto is the second in a series of limited
edition horns created for Yamaha’s 50th anni-
versary (the first being the Black Phoenix).
Tonal quality and good looks go hand-in-
hand on the YAS-875EXW, which features
tasteful, distinctive hand engraving on the
bell. White lacquer covers both the outside and
inside the horn, resulting in a dark, complex
sound that resonates with exceptional warmth.
The YAS-875EXW responds and proj-
ects like a vintage professional alto,
thanks its wide open bore, drawn Realist SoundClip
tone holes and custom handmade Upright Pickup Solution
G1 neck. Designed for stylistic
flexibility, this alto is a serious When David Gage and Ned Steinberger introduced their origi-
instrument that will definitely nal Realist bass transducer, it rapidly became the choice among
appeal to professional classical upright bassists who appreciated the pickup’s natural acoustic
and jazz players alike. tone. Now the two have teamed up once again to deliver the
In addition to its tonal depth and SoundClip, a great-sounding transducer that uses a clamp de-
power, the YAS-875EXW is built for sign to attach to any bass in seconds.
precision and speed. The model I play- No doubt, the original Realist is a great pickup. It consists
tested featured a low, well balanced key of a thin piezo element housed in a copper shell, which is
action that was tight and consistent up and placed under the foot of the bridge on the bass side. The trans-
down the instrument. I felt a sense of exact- ducer amplifies the vibrations of instrument’s bridge and wood
ness as I played each note, which helped me top, resulting in a very natural sound. The ultra thin design also
play uptempo passages with improved accu- means that its installation has almost no impact on the bass’s
racy; the perfect positioning of each key made original acoustic sound.
a better bopper out of me and even boosted my Gage and Steinberger felt there was a need for a new pick-
confidence while improvising. up that was removable and did not require permanent mount-
The white alto plays so well in tune, it might ing. “A non-invasive system that can be quickly switched
take some getting used to. Seriously, old habits die between instruments is something that bassists have been re-
hard, and players like me who are used to compensating for pitch on sweet questing for years,” said Sam Finlay, Realist sales and market-
old saxes might take a while to adjust. With the YAS-875EXW, the intona- ing director. “We also wanted to provide a consistent amplifi-
tion-conscious saxophonist won’t have to try so hard. cation system for professional musicians who often rent basses
You won’t have to put extra effort into making the horn’s lowest notes when traveling.”
sound good, either. Low B-flat, B, C and C-sharp spoke and sustained with The new pickup’s design is a C-clamp milled out of solid
ease, and they transitioned with none of the drastic changes in tone (honk- brass and manufactured entirely in the USA. Installation is ex-
ing) usually associated with that range of the sax. Right- and left-hand key tremely simple, requiring only a quick tightening of a thumb-
rollers for those notes felt great under the fingers. screw to attach it to the bass side of the instrument’s bridge. An
Other enhancements on the YAS-875EXW include an accentuated bend input jack for a quarter-inch cable is built into the housing along
in the low B-flat key, a new neck receiver, an improved ball-joint octave with a volume knob. The use of a variable weight system allows
mechanism and larger, flatter key pearls. Under the white lacquer, it has a the user to actually alter the overall mass of the clamp, which af-
French bass neck, body and one-piece bell, and the keys are fashioned from fects the acoustic tone of the bass, an ingenious way to fine-tune
yellow brass. The sax features blue steel needle springs, waterproof leather the color of the amplified sound.
and wool felt pads with pastic tone boosters, an adjustable plastic thumb I was able to install the SoundClip in seconds, and it sounded
hook and an auxiliary high F-sharp key. great. It took a little experimentation to zero in on the best loca-
The YAS-875EXW joins two other saxes already in the Custom EX se- tion for the clamp, which for my bass was just above the thumb-
ries, the silver YAS-875EXS and the black lacquered YAS-875EXB. If you wheel on the bridge. I was amazed at how effective the adjustable
want a high-end alto that you can use every day, take one for a ride before weights are as an EQ for achieving the perfect sound. With its
before they all get scooped up. As my sax section buddy Bruce Gibson said innovative design, true portability and superior tone, there is noth-
to me after an on-the-gig trial run: This pretty lady can sing.  —Ed Enright ing not to love about the Realist SoundClip.  —Keith Baumann
Ordering information: yamaha.com Ordering info: realistacoustic.com

102 DOWNBEAT JUNE 2010

 DV-CHI Tenor
Sax Mouthpiece
Windy City
Timbres
Jody Espina of JodyJazz contin-
ues to advance his DV line of
metal sax mouthpieces, which
feature the company’s patent-
ed “seconday window” right
above the bore. Now, JodyJazz
introduces the DVChicago
(DV-CHI) mouthpiece for ten-
or saxophone, a silver-plated
model that combines proper-
ties of the company’s DV and
DV-NY series and adds new
design modifications that in-
crease your ability to manipu-
late tone.
Named for the rough-and-
Pang Cymbal tumble tone favored by some
of Chicago’s toughest jazz and
blues tenormen, the DV-CHI
has a unique baffle/chamber
Dream Dark Matter, Pang Cymbals design that produces a robust,
well-rounded sound that’s
New Sonic Colors darker than the JodyJazz DV
The raw and powerful Dark Matter ride cymbals and the new Pang china but considerably brighter than
cymbals expand the sonic palette of hand-made product lines available from the DV-NY. Whether playing
Dream. second tenor in a big band or
The Dark Matter Energy rides feature a “burned” finish, giving them a blowing rowdy New Orleans-
raw, blackened look that is visually striking (unfortunately, it can come off style r&b solos, you can push
on your hands). They are created from a proprietary process where the cym- the DV-CHI hard without hav-
bals are fired more than once during their birth cycle; the extreme stresses ing to worry about its limitations.
and heat from this process create a cymbal that is so dramatically changed When I play-tested the DV-CHI,
on a molecular level that it takes months of aging to mature. The surface it gave me the same power I’ve
features various types of hand-hammering and medium-tight lathing; the experienced with the regular DV
bell is unlathed. in the past, but with a broader
Ultra-precise stick definition and a very dry, dark sound are strong points tonal spectrum. I found that at
with the Dark Matter cymbal. The bell is loud and cutting, piercing through any given point in a performance, I
any amplification you can throw at it. For as dry and heavy as they are, the had more choices available to me. The effortless response of the
cymbals are surprisingly crashable, producing a loud, long sustain. The Dark DV-CHI allowed me to save my chops while making the horn
Matter rides are available in 20-inch and 22-inch sizes. sound especially solid and robust on the low end.
The Pang line offers a wide array of colors. Sizes available include 16-, The DV-CHI blows so freely, JodyJazz recommends using
18-, 20- and 22-inch diameters, plus a 10-inch splash. Designed to blend a slightly harder reed than normal to compensate. “In my opin-
elements of a traditional china type with that of a vintage-style swish, the ion, it’s the efficiency of vibration that makes them so free-
Pangs feature abundant hand hammering and a medium-tight lathing pat- blowing,” Espina said. “That’s achieved by a combination of
tern. A reverse bell makes them easier to play as a crash with the flange side thin side and tip rails, and the baffle and facing curve combina-
down. The fast and responsive Pang Splash produces a trashy, sharp, pitch- tion. The overall design elements work in harmony to let the
bending sound that reminded me of a Peking opera gong. The 20-inch Pang reed really vibrate.” Espina also suggested trying a slightly
is more versatile. It is extremely dark, trashy, loud and complex when used more open tip than you’re used to. The DV-CHI is available in
as a crash. Flange side up, you can ride on it, but control is required. It can the following sizes: 7 (.101), 7* (.108) and 8 (.116).
easily overwhelm in a low-volume situation. As part of an introductory promotion, the DV-CHI tenor
Dream has branched out from the norm with these new cymbals. Dark mouthpiece currently comes with one of JodyJazz’s new Ring
Matter rides are better suited for high-volume situations, but they still offer ligatures. The Ring fits all DV series mouthpieces and is avail-
some complexity of sound. The Pang Splash is truly unique—I’ve never able in blackened brass, silver-plated brass and gold-plated
heard anything quite like it—and the 20-inch Pang offers a nice combination brass versions. In a few months, the company will begin ship-
of an effects crash with ride capabilities.  —Ryan Bennett ping its entire DV line with a Rico H ligature.  —Ed Enright
Ordering info: dreamcymbals.com Ordering info: jodyjazz.com

JUNE 2010 DOWNBEAT 103

 Toolshed | Gear Box

{1} Ribbons in The Sky {4} Extra Kick

Cloud Mics’ JRS-34 series of rib- Heil Sound has intro-
bon microphones combines the duced the PR 48
attributes of vintage and modern large diaphragm dy-
technologies for vocalists and namic microphone
instrumentalists. The active for kick drum. The
JRS-34 requires phantom power mic features a 1.5-
and has an output level compat- inch diameter ele-
ible with virtually any modern ment and is mounted
preamp. It features a black, non- in a vulcanized double
reflective powder coat finish and {4} shock mount, which offers
{1}
is accented with a silver logo. The isolation within a cast met-
passive JRS-34-P, which is grey al housing. A low-pass filter
with nickel screens sets the –3 dB hinge points
and a silver logo, at 30 Hz and 8 kHz with a +10 dB
requires a high-gain peak from 50–80 Hz. The response
preamp with more rolls off at 8 kHz, which helps con-
than 60dB of gain. trol unwanted top-end noise inside
A special edition the drum while keeping frequencies critical
chrome model, {3} to kick drum harmonics created when
the JRS-34-SPE, is {2} beaters meet drum heads.
offered with either ac- More info: heilsound.com
tive or passive circuitry. All
models are fully RoHS compliant
with the exception of the chrome; users {5} Stepped-Up Stomp
can expect output performance gains of 20 Zoom offers a variety of new features
dB with active circuitry. Each mic comes with on its G2Nu and G2.1Nu, which in-
a handcrafted wooden box for proper storage corporate the tone and functionality
and safe transport. of the company’s G2 guitar effects
More info: cloudmicrophones.com pedals with recent engineering in-
novations. Both pedals feature 100
preset guitar sounds. Twenty types
{2} Herculean Strength of guitar amps and stomp boxes
The Hercules MSB001 combo bag by KMC offer finely tuned sonic qualities,
Music protects and transports heavy mic, including gain settings and har-
speaker and guitar stands. Made from monic character. The pedals can
industrial-grade nylon, the MSB001 features also operate as audio interfaces,
heavy-duty zipper pulls, shoulder straps and letting users record directly to a
handles designed for comfort and ease. computer via built-in USB ports.
More info: kmcmusic.com {5} More info: samsontech.com

{3} Keyboard Voicings {6} Portable

The VP-7 vocal processor from Production App
Roland creates vocal effects with a Akai Professional has introduced
variety of PCM-based vocal sounds or the iPK25 keyboard controller and the
with Roland’s Vocal Designer technology. SynthStation Studio production app,
For keyboardists who want vocal back- both for iPhone and iPod Touch. The
ing tracks without singing into a mic, the two products work together to trans-
compact VP-7 creates four human voice form handheld devices into portable
sounds: female choir, boys choir, Gregorian production studios for mobile music
choirs and jazz scat. Keyboardists who creation. The app gives musicians the
sing can easily blend the VP-7’s sounds power to create and save sequences
with their own voice. The VP-7 sets up and complete songs using built-in Akai
quickly on top of keyboards, and its simple synthesizer sounds and drum kits;
interface features quick-access buttons the 25-key, velocity-sensitive iPK25
and knobs to control effects like ambience controller features a built-in dock for the
and mute function. iPhone or iPod Touch.
{6}
More info: roland.com More info: akaipro.com

104 DOWNBEAT JUNE 2010

 Woodshed | Master Class
By MIles osland

Jazz Phrasing For Key- And Button-Pushers

H ave you ever heard the old adage: “It’s not
what you play, but how you play it”? Well,
the what you play while you are improvising is
Example 1: “Basic” Jazz Articulation

choosing the right notes, licks, patterns, etc. But

the how you play is the soul, emotion, and most
importantly playing with correct style, which
comes down to phrasing and articulation. I’ve Example 2: “Turnaround” Jazz Articulation
discovered that a majority of articulation patterns
can be broken down into four categories. These
patterns I like to call the “Basic,” “Turnaround,”
“Cannonball” and “Coltrane.” They are espe-
cially relevant for saxophonists and trumpeters
(the “key- and button-pushers” who have to align Example 3: “Cannonball” Jazz Articulation
their fingers with the tongue), but the concepts
can be applied to any instrument.
In phrasing jazz eighth notes, it’s actually the
articulation in combination with the jazz feel
that really makes a line swing. In cells of eighth
notes, a line is usually being phrased/articulated Example 4: “Coltrane” Jazz Articulation
by twos or threes. Example 1 is the Basic jazz
articulation: phrasing in cells of twos by tonguing
upbeats and slurring into downbeats. When using
this articulation pattern, make sure the note that
you slur into does not get cut off by the tongue
coming back up too early to articulate the next Example 5
upbeat. If this occurs, your phrasing will sound
“ricky-tick.” Jazz eighth note phrasing is a legato
articulation. Movement from one note to the next
must match up perfectly with the application of a
legato tongue on notes that are to be articulated.
Example 2 is what I call the Turnaround jazz
articulation. Here you tongue downbeats and
slur into upbeats (turned around from the Basic
jazz articulation). The Turnaround articulation
is shape-oriented and usually applied when the
upbeats are lower in pitch than the surrounding
downbeats. When the Turnaround articulation is
applied to this particular shape, it gives the up-
beats a bit of a ghosted note effect. This effect
occurs because you are articulating (accenting)
Example 6

downbeats that are higher in pitch than the sur-

rounding upbeats.
Example 3 is the Cannonball jazz articulation,
phrasing in cells of threes. With this pattern, you
have two notes that are tongued consecutively
(downbeat/upbeat of beats 1 and/or 3). To make
this pattern sound smooth, you have to make sure
that the downbeats you tongue are tenuto and at-
tached to the upbeats that you articulate.
Example 4, the Coltrane articulation, is an- notes must become. At fast bebop tempos (quarter terns to cells of 16th notes. The 16th notes can be
other phrasing cell by threes. It’s a lot like the note equaling 200–300+), eighth notes are basical- thought of as fast/straight eighth notes and articu-
Cannonball pattern, but displaced by two eighth ly played straight, and it’s the phrasing/articulation lated as such. Look at Example 6. This is an ex-
notes. Much like the Turnaround jazz articulation, that makes them sound in the correct style. cerpt from a funky straight-eighth-note solo. Once
the Coltrane pattern is usually applied when a Look at Example 5. This is an excerpt from a again, the articulation of every note can be justified
certain shape occurs in the line. Like the Cannon- fast bebop solo. You can see that every four-note by one of the four articulation patterns.  DB
ball pattern, you have two notes that are tongued cell can be analyzed with either the Basic (B),
consecutively (downbeat/upbeat of beats 2 and/ Turnaround (TA), Cannonball (CB) or Coltrane Miles Osland is currently Director of Jazz Studies
or 4). Make sure your articulations are smooth. (CT) articulation patterns. and Professor of Saxophone at the University of
Kentucky. He travels the globe as a Selmer (Paris)
As tempo increases, the straighter your eighth You can also apply the four articulation pat- Performing Artist and endorses Rico reeds.

106 DOWNBEAT JUNE 2010

 Woodshed | By jimi durso

Cuong Vu

Cuong Vu’s Trumpet Solo On ‘Chitter Chatter’

T hough mainly known for his work with Pat
Metheny, trumpeter Cuong Vu has also
put out a number of albums as a leader. From
There are similar occurrences in measures 21 (F
and D# leading to E), 25 (E  and C# before the
D on beat 3) and across the bar line to 43 (F to
2005’s It’s Mostly Residual, “Chitter Chatter” is D# to E). He uses the same motif but with the
one of Vu’s originals. It opens with a rubato, at- scale tone a half step away, like G# (A) to F#
mospheric improvisation, and Vu starts soloing to G in measures 20 and 37, and D to B to C in
when it breaks into a groove. measure 53.
The groove is a fast 5/4 romp, more of a There are other, more rock-oriented motifs
rock ’n’ roll groove than jazz, with straight that recur and help to tie his solo together. The
eighth notes and an eight-bar diatonic chord repetitive A to G riff introduced in measure 6
progression (all the chords exist within the G reappears in measure 23 and then again in
major scale). Vu’s soloing is a schizophrenic extended form toward the end of his solo, in
blend of rock and jazz. There are strings of sca- measures 58 and 59. Another is the melodic ap-
lar lines that run up and down G major, some- proach to the emphasized E on the C chord and
times with a seeming lack of concern for the un- then descending down to the A on the D chord,
derlying harmony, juxtaposed with some heavy as in measures 18 and 19, where it appears in
chromaticism. its simplest form. The idea is developed in mea-
There is intelligence to Vu’s madness. He sures 34 and 35, and again in measures 62 and
tends to put the longer chromatic lines in the 63, where it heralds the close of his solo on the
later parts of phrases, usually in the third or long D vamp, which also ends the song.
fourth measure of a four-bar phrase, as in bars One last thing worth mentioning is how
16, 20 and 21, 25 and 41. Measure 47 is the one freely Vu navigates the 5/4 time signature. The
instance where Vu puts a long chromatic line in odd meter doesn’t prevent him from phrasing
the second measure. over bar lines or using syncopations. Observe
And the chromaticism itself isn’t random. the licks of offbeat accents in measures 29 and
Vu generally uses non-scale tones to get to scale 39–40. Also look at how he so often plays not
tones, either as passing tones (E# in 16 and 47, just over the bar line, but over the beginnings of
D# in 26, E  in 47, B in 50, C# in 61), neighbor phrases, as in measures 10, 14, 22, 26, 30, 42,
notes (F in 16, 25, 47 and 69, C# in 27, F and 46, 58 and 62. His phrasing is so free, and the
D# in 41), or approach notes (D# in 12 and 21, rhythm section so solid, one could miss the fact
F in measure 37). A quite effective use is when that it’s not 4/4.  DB
Vu approaches a scale tone with the chromatic 
notes on either side of it, like the E  and C# Jimi Durso is a guitarist and bassist in the New York
before the D on the downbeat of measure 17. area. He can be reached at jimidurso.com.

108 DOWNBEAT JUNE 2010

JUNE 2010 DOWNBEAT 109
 Jazz On Campus  School Notes 

universität fÜr musik

Moran Joins NEC: Pianist Jason Moran
Bob Brookmeyer (left) with Universität Für Musik jazz orchestra
has joined the faculty at Boston’s New
England Conservatory of Music. He will
begin teaching in the fall.
University at Austria’s Edge Moves Details: necmusic.edu

to Mainstream of Jazz Education Taylor Lessons: Guitarist Martin Taylor

T rombonist Ed Partyka sees the new face

of jazz education not in New York or
Chicago, but in a medium-sized city near the
“The smallest German town will have one or two
symphonies and an opera company.”
European jazz might be a bit unknown to
has teamed up with ArtistWorks to
launch the online Martin Taylor Guitar
Academy. The site will provide Taylor’s
borders of Slovenia and Hungary. Partyka is stateside high school graduates hoping to pur- courses via high-definition interactive
chair of the jazz department at Universität für sue music studies in college. A bias rooted in the video. Details: martintaylorguitar.com
Musik und Darstellende Kunst Graz in Aus- notion that only U.S.-based artists can properly
tria, where 100 students from 20 countries are play this art form is turning some high-schoolers Down Under Win: The New Zealand
pursuing four-year jazz performance degrees. away from educational opportunities abroad, School of Music’s big band has won its
These musicians are taking advantage of class- Partyka said. country’s Jazz Tui award for the disc
es taught by professional recording artists and, “A lot of the European musicians have a Run For Cover. Rodger Fox directs the
with Vienna and other major cities a short drive hard time getting established in the States,” he ensemble. Details: nzsm.ac.nz
away, abundant performance opportunities. said. “I’m sure there is also a certain amount of
And the tuition is cheap. prejudice from Americans thinking, ‘Well, what Ellington Premiere: The University of
Around 60 percent of the school’s popula- can a European school teach me about jazz?’” Texas Jazz Orchestra and Huston–Til-
lotson University Concert Choir in Austin
tion comes from outside the country, but the Dena DeRose, one of five American profes-
has released Queenie Pie, a recording of
trombonist, a Chicago native who moved to sors in the program, is teaching 17 private vo-
their premiere performance of the Duke
Europe after college in 1990, would like to see calists this semester. Course material instills a
Ellington opera. Carmen Bradford is the
more involvement from the United States. He’s firm knowledge of historical jazz with a healthy featured guest and Robert DeSimone
betting that quality instruction and the low en- dose of the modern jazz lexicon. When she’s not directed the ensemble.
rollment cost will trump any Yankee fears about teaching, DeRose spends some of her time giv- Details: music.uctexas.edu
classes taught in German. ing master classes at other European performing
“Most of the European countries believe arts institutions, schools that, she said, are not as New Ruffles: Students at Berklee College
that a student or any citizen has the right to edu- comprehensive in the history of the music. of Music in Boston have released Birds Of
cation,” he said. “The astronomical tuitions that Studying in Graz carries with it a little cul- A Feather on the school’s label, Jazz Rev-
you see in America do not exist here because ture shock. In addition to the foreign language, elation Records. The disc includes original
they’re all state universities.” U.S. college students find that their European compositions from Berklee’s 11 student
To supplement the work of the 10 professors counterparts are a little older, starting school in bandleaders and is the label’s seventh
and numerous staff, school officials welcome their early twenties instead of at 18. There also release. Details: berklee.edu
musicians like Fred Hersch, Toshiko Akiyo- is a stereotype that European students are less
shi and John Hollenbeck for a few weeks each motivated than their American counterparts, but Percussion Summer: The Los Angeles
year to coach ensembles, teach lessons and give professors are working to dispel that notion. Music Academy in Pasadena, Calif., will
concerts. Bob Brookmeyer, who knows Partyka “That’s how it used to be here,” DeRose host a drummers’ workshop for students
through the New Art Orchestra, spent a month said. “We’ve overhauled the curriculum and re- ages 14 and up on June 28–July 2. In-
last year working with young musicians in Graz. structors include Peter Erskine and Alex
ally fine-tuned it. In the last five years, it’s had
Acuña. Details: lamusicacademy.edu
He also helped record the recent Klangdebuts this steady rising momentum into being a really
36 CD that highlights two of the school’s en- hardcore jazz school.”
Litchfield Lineup: Drummer Matt Wilson
sembles. While in Austria, Brookmeyer noted Brookmeyer thinks the next big jazz hub will has been named artist-in-residence for
the students’ work ethic and their ability to take be in Europe and that budding artists from over- this summer’s Litchfield, Ct., Jazz Camp.
advantage of rich musical surroundings. seas have as many opportunities as stateside play- Guitarist Pat Martino and trombonist
“It goes without saying that there’s a long ar- ers. While European schools still rely on Ameri- Delfeayo Marsalis will also hold work-
tistic history and acceptance of jazz [in Europe]. can professors for some musical knowledge, he shops at the camp, which runs July 11–
The radio station is one of the main employers said, this school is a step toward bringing a new Aug. 6. Details: litchfieldjazzcamp.com
of composers and musicians,” Brookmeyer said. level of recognition to European jazz.—Jon Ross

110 DOWNBEAT JUNE 2010

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112 DOWNBEAT JUNE 2010

 DB Buyers Guide 
Abstract Logix {abstractlogix.com} 10 Motéma Records {motema.com} 55
Advance Music {advancemusic.net} 72 Mozart Edition {edition.co.uk} 49, 50
All Parts {allparts.com} 109 New England Conservatory {newenglandconservatory.edu} 73
Allegro Music {allegro-music.com} 32 New Jersey City University {njcu.edu/mdt} 74
ArtistWorks {artistworks.com} 82, 91 New Orleans Musicians Clinic {neworleansmusiciansclinic.org} 45
Bari Mouthpieces {bariwoodwind.com} 36 New School {newschool.edu/jazz31} 89
Beechler Mouthpieces {beechler.com} 45 Oklahoma State University {music.okstate.edu} 101
Bell Production Company {bellproductionco.com} 46 Oleg Products {olegproducts.com} 60
Berklee College of Music {berklee.edu} 70 On Board Research {tuners.com} 99
Bobby Kapp Music {bobbykapp.com} 46, 48 Ottawa Jazz Festival {ottawajazzfestival.com} 57
Brubeck Institute {brubeckinstitute.org} 81 Owl Studios {owlstudios.com} 64
California State University­—Long Beach {csulb.edu} 95 P. Mauriat Saxophones {pmauriatmusic.com} 15
Charlie Boy Records {sandysasso.com} 8 Panos Vassilopoulos Music {acousticsessionsonline.com} 49
Chicago Sessions {chicagosessions.com} 48 Pazz Productions {gracekellymusic.com} 47
Chronograph Records {chronographrecords.com} 49 Phil Wilson Music {philwilsonmusic.com} 100
Columbia College Chicago {colum.edu/music} 4 Princeton University {princeton.edu} 98
Concord Records {concordmusicgroup.com} 37, 41 Resonance Records {resonancerecords.org} 56
Czech-Ease Acoustic Road Bass {czech-ease.com} 8 Rico Reeds {ricoreeds.com} 7
DC Jazz Festival {dcjazz.org} 12 Rochester Jazz Festival {rochesterjazz.com} 33
Delmark Records {delmark.com} 49 Saint Louis Music Centre {jazzscool.it} 25
Detroit Jazz Festival {detroitjazzfest.com} 19 Sam Ash {samash.com} 108
Dream Cymbals {dreamcymbals.com} 21, 31 Samson {soundmakesthemovie.com} 105
Eastman School of Music {esm.rochester.edu} 100 Sandro Dominelli Productions {sandrodominelli.com} 50
Elkhart Jazz Festival {downtownelkhart.org} 62 Sonaré Winds {sonarewinds.com} 79
Elmhurst College {elmhurst.edu} 94 Studio Bypass {studiobypass.com} 79
Essential Sound Products {essentialsound.com} 30 Sunnyside Records {sunnysiderecords.com} 63, 65, 69
Fisch Music {fischmusic.com} 50 Superscope Technologies {superscopetechnologies.com} 45
Flying Dolphin Records {erniewatts.com} 50 Swann Galleries {swanngalleries.com} 41
Galloping Cow Music {gallopingcowmusic.com} 66 Telluride Jazz Celebration {telluridejazz.com} 61
Gretsch {gretschdrums.com} 116 Texas A & M University—Kingsville {tamuk.edu/music} 80
Hal Leonard {musicdispatch.com} 107 Theo Wanne Mouthpieces {theowanne.com} 40
Hamilton Stands {hamiltonstands.com} 37 Tolito Musiques {skullstrings.com} 109
Howard University {howard.edu} 76 Tom Gullion Music {tingjing.com} 49
In + Out Records {inandout-records.com} 24 Tritone Music {tritonejazz.com} 62
Inarhyme Records {inarhymerecords.com} 67 Truth Revolution Records {curtisbrothersmusic.com} 46
Jamey Aebersold {jazzbooks.com} 9 Universal Music Group—Decca {deccalabelgroup.com} 5, 59
Janice Borla Music {janiceborla.com} 94 Universal Music Group—Verve {vervemusicgroup.com} 23
Jazz Cruises, LLC {thejazzcruise.com} 2 University of Chicago Press {press.uchicago.edu} 62
Jazzschool {jazzschool.com} 87 University of Kansas {music.ku.edu} 86
Jim Pearce Music {jimpearcemusic.com} 50 University of Miami—Frost School of Music {music.miami.edu} 77
Jody Jazz Mouthpieces {jodyjazz.com} 17 University of Michigan {music.umich.edu} 90
Julliard School {julliard.edu/jazz} 83 University of Nevada—Las Vegas {music.unlv.edu} 84
Korg {korg.com} 11 University of North Carolina—Greensboro {jazz.uncg.edu} 78
LA Sax {lasax.com} 29 University of North Texas {jazz.unt.edu} 96
Lainie Cooke Music {lainiecooke.com} 47 University of Northern Colorado {uncjazz.com} 93
Les Hooper Music {leshooper.com} 78 University of the Arts {uarts.edu} 75
Liam Sillery Music {liamsillery.com} 50 University of the Pacific Library {library.pacifid.edu/ha/brubeck} 75
Lisa Hilton Music {lisahiltonmusic.com} 60 Vandoren {vandojazzusa.com} 3
Litchfield Jazz Festival {litchfieldjazzfest.com} 68 Virginia Commonwealth University {vcu.edu} 101
LoNote Records {ronbrendle.com} 49 Western Michigan University {wmujazz.com} 97
Manhattan School of Music {msmnyc.edu} 92 William Paterson University {wpunj.edu} 87
Miles High Records {mileshighrecords.com} 48 World Village Music {worldvillagemusic.com} 46
Miles Osland Music {milesosland.com} 101 Yamaha {yamaha.com} 115

JUNE 2010 DOWNBEAT 113

 Blindfold Test | By ted panken

Stanley Clarke
A fter focusing on television and film scoring for much of the last
decade, bassist Stanley Clarke has re-entered the fray with the re-
constituted Return to Forever, the electric bass trio SMV (with Marcus
Miller and Victor Wooten) on Thunder, his own Jazz In The Garden
with Hiromi and Lenny White and the new The Stanley Clarke Band
Featuring Hiromi With Ruslan & Roland Bruner Jr. (Heads Up). He
also recently sat for his first Blindfold Test since the 1970s.

Christian McBride
“The Wizard Of Montara” (from Vertical Vision, Warner Bros., 2003) McBride,
acoustic and electric bass; Ron Blake, tenor saxophone; Geoffrey Keezer, pia-
no, keyboards; Terreon Gully, drums; Daniel Sadownick, percussion.
The composition was good, and the bass player was swinging. The
drummer sounded young—could have swung a little more. But there

jos knaepen
was no lack of enthusiasm. Was that a bow solo in the middle or an
electric bass? I wasn’t sure whether it was something processed—it was
nice. Also, there was something that I’d say sounded almost like a ring Lee” is a tune he used to do, but then I thought not—a little too much
modulator, which is unusual for straightahead music—that was refresh- percussion. I liked the arrangement. The bass player was excellent. It
ing. Different. It was spirited. When I listen to straightahead music, the takes a lot of command to play that head. But on the solo, I wasn’t sure
most important thing is that it swings, and this was a good 3½ stars. whether he was playing on the same tune or not. 3½ stars.

Ben Wolfe Miroslav Vitous

“Jackie Mac” (from No Strangers Here, MaxJazz 2008) Wolfe, bass; Marcus “Surfing With Michel” (from Remembering Weather Report, ECM, 2009) Vitous,
Strickland, tenor saxophone; Jesse Mills, Cyrus Beroukhim, violin; Kenji Bunch, bass; Michel Portal, bass clarinet.
viola; Wolfram Koessel, cello; Luis Perdomo, piano; Greg Hutchinson, drums. It reminded me of a melody that Wayne Shorter would write. At first I
I liked it. These guys sound like they’ve swung a lot in their lives— thought it was Bennie Maupin, but then I didn’t. I liked the combination
they don’t sound young to me. But then, who knows? I liked the string of bass clarinet and the bass. I thought they did a great job of taking that
attempt there; always like it when I can hear something refreshing in four-note—or maybe it was eight or nine notes—motif and spinning it
swing music. A cool composition. I liked the whole tone aspect. The around and doing something with it. Their objectives were clear. At first
bass player played some beautiful notes. 3½ stars. I thought it was Miroslav, but then, it didn’t sound like his bass. 4 stars.
That was Miroslav? He changed his bass.
John Patitucci
“Messaien’s Gumbo” (from Remembrance, Concord, 2009) Patitucci, six-string Ari Roland
electric bass; Joe Lovano, tenor saxophone; Brian Blade, drums. “Damonesco” (from New Music, Smalls Records, 2009) Roland, bass; Chris
The bassist was playing the six-string bass really nice. When it went Byars, alto saxophone; Sacha Perry, piano; Keith Balla, drums.
into the real upper register I thought it was John Patitucci. Everyone Bebop. I loved it. The tune sounded like a composite of a lot of different
seemed comfortable with that way of swinging. The drummer was ex- things. I can tell by the sound that it was recorded recently. Sometimes
cellent. I liked that there was a lot of space in the tune, that it was based the engineers haven’t done their research on the way the drums should
off a melodic bassline. Matter of fact, I still hear that bassline ringing in sound in bebop. The snare almost sounded like a drum machine snare.
my head. Very creative. 3½ stars. I liked the fours, and everybody played them, including the bass player,
which usually doesn’t happen. The saxophone player was excellent—
Manuel Valera the first couple of notes, I thought he was Lee Konitz. Then I wondered
“I Fall In Love Too Easily” (from Currents, MaxJazz, 2009) Valera, piano; James if Eddie Gomez was on bass, but the bowing didn’t sound like Eddie.
Genus, bass; Ernesto Simpson, drums. It sounded like he used a German bow. You could tell that he had it to-
I love the tune, and their arrangement. The bass player was excellent— gether. These guys are diehards, because everything is exactly like those
you could tell he’s studied well. They all had great command of their old records. It’s in a box, there are things you do, and if you do these
instruments, and played very lyrical. That’s jazz to me. Even though other things, it’s not bebop. That’s a helluva discipline. 4 stars.
these guys have a lot of technique, a lot of knowledge in the chords and
harmonically, they’re patient players. That’s hard to do during record- Ron Carter
ings. 4½ stars. “Stardust” (from Stardust, Blue Note, 2001) Carter, bass; Sir Roland Hanna, piano.
That’s Ron Carter. 5 stars. Ron is an innovator, the most important bass
Alain Pérez player of the last 50 years. Probably 99.9 percent of the bassists out here
“Donna Lee (Doña Líos)” (from En El Aire, Ayva, 2005) Pérez, bass, vocals, djem- today play stuff from Ron. As this solo bore out, Ron is a great storytell-
be; Iván Lewis, piano; Kiki Ferrer, drums; Pepe Espinosa, congas; Carlos Sarduy, er. It’s brilliant. Who was the piano player? Roland Hanna? Killing. DB
trumpet; Román Filiu, alto saxophone; Inoidel Gonzales, tenor saxophone.
At first I thought it was Victor Bailey, because he likes to play the heads The “Blindfold Test” is a listening test that challenges the featured art-
on those kind of tunes, but on the bass solo I knew it wasn’t Victor. Then ist to discuss and identify the music and musicians who performed on
selected recordings. The artist is then asked to rate each tune using
I thought it might be a tribute record to Jaco [Pastorius], since “Donna a 5-star system. No information is given to the artist prior to the test.

114 DOWNBEAT JUNE 2010