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APRIL 2011
DownBeat Marsalis Family // Women In Jazz // Kurt Elling // Benny Green // Brass SchoolAPRIL 2011
APRIL 2011
Volume 78 – Number 4
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Á
4 DOWNBEAT APRIL 2011
APRIL 2011
On the Cover
24 Team Marsalis
All In The Family
By Jim Macnie
he Marsalis clan—patriarch Ellis

T
and his sons Branford, Wynton,
Delfeayo and Jason—were
named Jazz Masters this year
by the National Endowment
for the Arts. On the day of the
awards-presentation ceremony,
DownBeat grabbed the guys for
a roundtable discussion about
24
family dynamics and the way
jazz has impacted their lives.
Features
JIMMY KATZ
From left: Wynton, Jason, Ellis, Delfeayo and Branford Marsalis
30 Equal Time Cover photography by Jimmy Katz shot on location at Dizzy’s Club Coca-Cola, located in Frederick P. Rose Hall,
Women In Jazz Today Home of Jazz at Lincoln Center.
By John Ephland
36 Kurt Elling
Invitation To Epiphany
By Ken Micallef
40 Benny Green
Purified Focus
49 Marcus Shelby Orchestra 53 Lynne Arriale 54 Jeremy Pelt 59 AfroCubism
By Dan Ouellette
74 Musicians’ Gear Guide

reat Finds From The
G
NAMM Show 2011 Departments
BRASS SCHOOL
64 Master Class 8 First Take 18 Caught 72 Jazz On Campus
by Gordon Goodwin 10 Chords & 82 Blindfold Test
20 Players
66 Pro Session Discords Matthew Rybicki Fred Hersch
by Kirk Garrison
Patrick Cornelius
13 The Beat Ryuichi Sakamoto
68 Transcription Jen Shyu
15 European
70 Toolshed Scene 45 Reviews

First Take | By john mcdonough
International Sweethearts of Rhythm Collection, Archives Center, National

Museum of American History, Smithsonian Institution
International Sweethearts of Rhythm
Honoring Jazz’s
Historic Sweethearts
I
f this were the radio, the air would be ablaze with blast of a swing
band, circa 1945, in full battle mode on “Bugle Call Rag” or “Lady
Be Good.” You would surely be thinking vintage Count Basie, Benny
Goodman, or maybe one of great Harlem outfits like Lucky Millinder.
But, alas, you would have succumbed to my little trap: All that abandon
and grit was the work of an all-girl band—the International Sweethearts
of Rhythm. You’d be surprised, and at the same time reminded that the last
frontier of pre-judgment in jazz remains the most deeply rooted: gender.
For nearly a decade the 17 young ladies of the ISR crisscrossed the
country, often breaking attendance records set by the big name man-bands.
Its history is being honored this March by the Smithsonian Museum of
American History, whose Jazz Appreciation Month (JAM) is examining
the legacies of women in jazz.
Sadly, the Sweethearts’ surviving footprint in jazz history remains as
tiny as Snow White’s slipper: only five commercial records, a few Soundie
films and about a dozen broadcast performances (all gathered on a single
CD, Hot Licks). Back in the ’40s DownBeat was no help. In February 1938
this otherwise progressive magazine ran a story explaining “Why Women
Musicians Are Inferior.” It virtually ignored the ISR in its day, as it did fe-
male bands.
The ISR was organized in 1937 by Laurence Jones to raise money for
the Piney Woods Country Life School in Mississippi, which Jones had
founded in 1910 as a foster home and trade school for poor black children.
With the rise of a few popular all-girl white bands in the late ’30s, Jones de-
cided to organize his best female music students into a dance band. After a
couple of years of touring, it began to find its footing. By 1941 Piney Woods
was netting about $3,000 a month from its concerts.
But as the Sweethearts grew increasingly professional, the rank and file
grew restless. It wanted to see some of that money for itself. Tensions with
Piney Woods sharpened. Finally, in the late spring of 1941, the band revolt-
ed and literally escaped to Washington D.C. There it found a sponsor and,
more important, a noted musical director: Eddie Durham, who had come
up with the early Count Basie band. By September 1941 the Sweethearts
were playing to cheering crowds in Harlem. But the ISR’s success in per-
formance failed to translate into the usual parley of radio and record deals.
Several alumnae of the ISR are expected to appear March 29 at a JAM
launch event, an initiative of the Smithsonian Institute Museum of
American History. They include Willie May Wong, Johnnie Mae Rice
(both of the charter 1937 band), and Ros Cron (one of the first white
Sweethearts). Helen Jones, daughter of Lawrence Jones, is also expected
to attend.
DownBeat’s appreciation of women active in jazz today, as well as a
preview of JAM 2011, begins on page 30. DB

Chords & Discords 
Missing Moody James Moody

I know there must be dozens of James
Moody stories, but here’s mine. About 10
years ago I stopped by Moody’s house
to borrow some photos for a jazz drum
book I had been working on. Moody
greeted me with a bear hug, told me he
was practicing the flute. “My flute chops
are so bad, I have to start with the basics
again,” he explained. Oh yeah, I thought.
Before his wife Linda arrived to help me
with the photos, he tried like the most
enthusiastic waitress in the world to serve
me. He asked me if I drank coffee (I did,
he didn’t), so he literally tore the pantry
apart to find the drink. He gave me a
banana, and told me it was good for me.
I cannot remember Moody not smiling,
and I’m sure everyone else who knew
him felt the same. John McDonough’s
(February) article title is certainly appropri-
ate: “Moody: A Hard Man Not To Love.”
James Morton venues. Baltimore may not be the great jazz
Lakeside, Calif. city of yesteryear, but we’re still in there swinging.
Bob Jacobson
Marians: In The Now Baltimore
It’s amazing to read that Marians Jazzroom

in Bern, Switzerland, has been the spot to Hot Box Credibility
catch visiting American stars (“150 Great Jazz I have wondered about the selection of CDs for
Rooms,” February). More amazing would be The Hot Box reviews. While I am unclear how
to read that Marians has been for years and these individual discs are selected, I would like to
still is the leading jazz haunt in Switzerland, offer a new approach. This relates to those CDs
with Joey DeFrancesco, Steady Bob Margolin, receiving 5 or 4½ stars. Such CDs should auto-
Hiromi, Cyrus Chestnut, Warren Vaché and matically be included in The Hot Box extended
many others having played there recently, not commentaries. This would add to the depth
only for one concert, but for the whole week, of analysis of these undoubtably high quality
which means 10 acts from Tuesday to Saturday. and special performances. It would also further
Ulrich Roth add to the legitimacy of the Hot Box concept.
Bern, Switzerland
Brian Vincent
Wellington, New Zealand
Missing Cities
I was very disappointed that one of the most Real World Words
vibrant jazz communities with one of the fin- What’s this about letters to DownBeat say-
est jazz clubs was missing in the list of 150 ing they can’t stand the bad language
great jazz rooms. There have been very few (“Chords & Discords” January)? Words fail
venues that really capture the jazz ambiance me, and I want to give them a few choice
as does Jimmy Mak’s here in Portland, Ore. Anglo-Saxon phrases. Don’t worry—Down-
This club that repeatedly attracts many musi- Beat is not vulgar, it reflects life. You are not
cians who appear in your Critics and Readers becoming a porn baron. I just signed up
Polls was not mentioned. Jimmy Mak’s also for another year, despite the profanities.
regularly features the many great established Keith Cockett
musicians who call Portland their home and [email protected]
has been a great place for some of the finest

rising young musicians to hone their skills. Correction
Larry Fontes The photograph of Roberta Gambarini in
[email protected] the March issue Blindfold Test should have
been credited to Mark Sheldon.
Here in Baltimore we have three great jazz DownBeat regrets the error.
rooms: Caton Castle, An Die Musik (a concert
hall above a record store) and Jazzway 6004 (a Have a chord or discord?
house concert venue), along with plenty of other E-mail us at [email protected].
10 DOWNBEAT FEBRUARY 2011

News & Views From Around The Music World
The
Inside 
14 I Riffs
15 I European Scene
18 I Caught
20 I Players
Reorganized Lou Fischer and Mary Jo Papich (center) with members of the South
Africa Committed Artiists for Cultural Advancement Ensemble
and Revitalized
Jazz Education Network looks to
the future at New Orleans
conference
T he second annual Jazz Education Network (JEN) confer-
ence was held Jan. 5–8 at New Orleans’ Roosevelt Hotel.
Its organizers expressed optimism for its mission, while sepa-
rating themselves from the network’s predecessor.
In April of 2008, International Association for Jazz
Education (IAJE) board president Chuck Owen announced
erika goldring
that his organization, which had helmed the world’s largest
annual jazz conference for 40 years, was filing for bankrupt-
cy. Though his explanation of the group’s financial insolvency
was murky, Owen was clear in his determination that the jazz world would ger name sets and a nightly jam that lasted into the wee hours.
bounce back with a “rekindled … new vision for the future.” He named Although the format was analogous to that of IAJE’s conference mod-
two possible leaders, noting that board member Lou Fischer was “fielding el, the New Orleans event helped JEN establish itself as a new entity with
inquiries” about the possibility of a meeting to replace the canceled 2009 a rejuvenated focus on music education. In one panel discussion, Jazz at
conference, and that IAJE president-elect Mary Jo Papich was committed Lincoln Center presented an approach to teaching the history of democra-
to meeting the jazz community’s needs with a new organization. cy alongside the development of jazz in the United States. In another, saxo-
One month later, a steering committee met in Chicago to determine phonist Tia Fuller guided an audio tour of the history of female instrumen-
how to fill the void created by IAJE’s sudden dissolution. talists. Industry-oriented clinics tended to offer advice on music business
“We left with mission statement, a name, a set of bylaws and a plan,” for emerging artists. And a panel about the Smithsonian’s new jazz anthol-
Fischer said. “There would be a conference, a jazz camp, a magazine, and ogy, which could easily have been all about rights clearances and other la-
we’d start partnering with individuals around the world to bring the jazz bel concerns, zeroed in on the collection’s use in classrooms.
culture together globally.” Other conference events, such as daily open board meetings, highlight-
Armed with the mission of advancing music education, promoting per- ed the organization’s commitment to transparency.
formance and developing new audiences for jazz, JEN launched into ac- “Last year, we started last year having open board meetings because I
tion quickly under the leadership of co-founders Papich, who became the want people to believe in us and trust in us,” Papich said. “Once you join,
group’s first president, and Fischer, who was its second. About 1,100 peo- you have access to our financial records and minutes.” (Fischer noted that
ple attended JEN’s inaugural conference last May in St. Louis. The New both the St. Louis and New Orleans conferences “paid for themselves.”)
Orleans conference drew approximately 2,300 participants, despite com- JEN also staged its annual members meeting, which took place on Jan.
petition with APAP and Winter JazzFest, which ran during the same week 8, as an open session, inviting all conference-goers to attend. More of a pre-
in New York. sentation than a meeting, the “JENeral Session” featured the presentation
In some ways, JEN’s convention mirrored its predecessor, with an ex- of scholarships, a quick update about plans for the next conference (Jan.
hibit hall featuring many of the same companies and schools that had at- 4-12, 2012 in Louisville, Ky.), and an address from U.S. Representative
tended IAJE for years. The program was also familiar: activities were di- John Conyers (D-Michigan) about his legislation declaring jazz a national
vided into panel discussions about music education and jazz industry treasure. In his talk, Conyers also warned that the young jazz players in the
concerns, clinics and performances, while evenings were dedicated to big- room probably wouldn’t get rich or be eligible for health care through their
APRIL 2011 DOWNBEAT 13

chosen profession, saying this is part of why jazz filiated with the conference into public schools
Riffs  needs protecting. and other local venues. Community radio sta-
When he finished, New Orleans Mayor tion WWOZ also broadcast live each day from
Mitch Landrieu gave a surprise speech that took the conference.
Sarah Wilson Conyers’ point one step further. Music and other However, the short planning phase—both of
elements of Louisiana’s indigenous culture have JEN’s conferences took place in the space of seven
contributed $9.6 billion to the state’s economy, months—seemed to have been a stumbling block.
Landrieu said, “that’s why every school ought “They ultimately gave a lot of local people the
to have a core curriculum in art and music.” The opportunity to perform,” said local guitarist Reid
room burst into applause. “Music is not just about Wick, who is also Senior Project Manager for the
the front of the house. It’s about the back of the Recording Academy on the Gulf Coast. “But they
house, the musicians on the stage, the cultural only called a couple meetings of local folks. They
economy.” came to us saying, ‘We need your support in find-
A few local musicians complained that New ing volunteers.’ But I had people say they offered
Orleans music venues weren’t included in the to volunteer and never got a call.”
conference festivities, with the exception of Dave Wick also noted that the conference would
Liebman’s Snug Harbor set. But the decision to have benefitted from additional marketing, point-
keep the late-night shows inside the hotel meant ing out that “IAJE had state chapters so they
more students would be able to see them: as well could disseminate information through an estab-
Wilson Awarded: Trumpeter Sarah Wilson
has been awarded a Composers Collabora-
as New Orleans-based groups including Astral lished system,” unlike JEN, which did little in the
tive grant from the Wallace Alexander Ger- Project, the Dirty Dozen, Dr. Michael White and way of advance marketing in its host city.
bode Foundation and The William and Flora Donald Harrison Jr. Papich and Fischer both acknowledge that
Hewlett Foundation. The $75,000 grant will It was important to JEN’s planners that their there’s room for improvement.
fund her composing new music for Off The host city be well incorporated into the program “Now we’re in stage two of development,”
Walls, a premiere music production com- as well. says Fischer. “We want to hear ideas from our
bined with aerial dance at San Francisco’s “We wanted to have best representation in membership. JEN is not a group of 15 people that
De Young Museum in 2013. terms of jazz culture from New Orleans as we sit in a room and make guidelines. The member-
Details: sarahwilsonmusic.com could have,” Fischer said. “And we wanted it to ship speaks, we listen, consider it all and do what
represent the entire history of the music there, not we believe is the best we can with our resources.”
Piano Prize: The American Pianists As- just one element of it.” The group is currently focused on increasing
sociation will hold finals for its competition in To that end, the Jazz and Heritage Foundation its offerings for teachers and students at the ele-
Indianapolis during the city’s Jazz Discovery provided funding for the Don Vappie and Donald mentary school level, increase membership, de-
Week, April 10–17. The five finalists will be Harrison concerts and JEN collaborated with the velop its website and diversify the demographic
judged in concert in venues throughout the Thelonious Monk Institute to send musicians af- of its leadership. —Jennifer Odell
city, including the Indiana State Museum, the
Athenaeum and the Jazz Kitchen. Semi-
finals will take place over two sets on April
15 at The Jazz Kitchen, and the final round
will be judged on April 16 at The Athenaeum. Anthony Braxton’s
The winner will receive a $50,000 cash prize Tri-Centric Foundation
and a two-year career-assistance fellowship.
Details: americanpianists.org
Launches Website
Kneebody Launch: Trumpeter Shane End-
sley has released his disc, Then The Other,
on his band Kneebody’s newly established
W ith close to 300 items in his discography,
and extensive writings elucidating his
aesthetics and intentions, Anthony Braxton, now
label, Low Electrical Records. 65, does not lack documentation. Over the years,
Details: kneebody.com Braxton has, however, lacked a stable infrastruc-
ture by which to actualize his projects, and even
in the age of file-sharing, his recordings—issued
michael weintrob
Allison Residency: Bassist Ben Allison will

perform every Tuesday night this year at on several dozen American and European labels,
New York’s Kush. He will also release his some extant, some not—are scattered and often Anthony Braxton and Taylor Ho Bynum
10th album, Action-Refraction (Palmetto), out of print.

on April 12. Details: benallison.com After receiving a MacArthur Foundation ers can download two new recordings a month
Fellowship in 1993, Braxton—a professor of mu- on the New Braxton House label, purchase back
Chamber Grants: The New York-based sic at Wesleyan University—formed the not-for- catalog and get free “liberated bootlegs” of con-
organization Chamber Music America (CMA) profit Tri-Centric Foundation, through which, certs available online. In addition, TCF will be
has announced that it will award $285,000
among other things, he staged the opera Trillium an umbrella organization for the 60-member Tri-
in grants to 23 jazz artists, ensembles and
R and established a label, Braxton House, that is- Centric Orchestra.
presenters in the United States and France.
sued nine CDs. The entity went dormant around “We’d rather people investigate Anthony’s
Details: chamber-music.org
2000, when money ran out. work through the context of our website than just
Saturn Tales: DownBeat contributor In March, the Tri-Centric Foundation re- grab stuff on the fly,” said trumpeter Taylor Ho
John Corbett has co-edited Traveling The launched as a website (tricentricfoundation.org). Bynum, the Tri-Centric Foundation’s president.
Spaceways (WhiteWalls), a book of essays As before, its primary mission will be to produce “Anthony is at an age where he is aware of his
and artwork devoted to Sun Ra’s impact on Braxton’s most ambitious, least commercially vi- own mortality,” Bynum said. “He wants to get
visual culture. Details: press.uchicago.edu able large-scale project, but it will also serve as this work out there. I want to do anything I can to
digital sales and distribution platform: subscrib- help realize that.” —Ted Panken

European Scene | By Peter Margasak
Led Bib Challenges Mass Audience In British Media Spotlight

In the United States it’s a minor more confident, naturalistic outfit. me not being that confident. I’m
miracle when any sort of jazz “When we went into record able to take a backseat now, be-
heavier than Kenny G’s codpiece [our second album] Sizewell Tea cause I know that they’re going to
makes it onto prime time network we mapped out who was going to play great.”
television. Occasionally, as on the solo on this or that,” Holub said. The introduction to a tune like
annual Kennedy Center Honors, “It gave a more prescribed sound, “Hollow Ponds,” which features a
a deserving jazz legend like Dave and that’s not how we play the lovely, deeply woody upright bass
Brubeck or the late Benny Carter music live, where we just go with solo by Donin followed by a stately
gets feted, but the average viewer what happens. So that’s what we articulation of the pretty theme
would be staring at a lot of snow wanted to do with Sensible Shoes, by the saxophonists, clearly con-
before getting a glimpse of some to make it like a gig.” nects Led Bib to a progressive
contemporary iteration of jazz on But the band put so much post-bop foundation, but Holub
the boob tube. Meanwhile, in the pressure on themselves to repli- and his crew generally push the
United Kingdom the fiercely ad- cate that live energy that the mu- music much harder, with McLaren
venturous London quintet Led Bib sic rippled with an intensity even sticking to over-modulated Fender
got to strut its stuff for millions of greater and more relentless than Rhodes and the bassist laying
viewers in September of 2009 what Led Bib delivered on stage. down a distorted churn. That rock
on the BBC after its album Sen- “For this record we used a resi- component has seen the British
sible Shoes was nominated for the dential studio in Wales in the coun- jazz press have a field day with
country’s prestigious, high-profile tryside and we really tried to let go describing the band’s sound; post-
Mercury Prize—akin to a Grammy, Led Bib and just play, Holub said. jazz, punk-jazz, and death-jazz-
but with greater emphasis on art The new album was recorded cum-math-punk are just some of
rather than commerce. the U.K. for school—as a master’s and mixed by Head, a rock engi- the terms used to tag them. Holub
The band has just released its project at Middlesex University in neer best known for his work with understands that such efforts are
fifth and best album, Bring Your London. From the start the lineup P.J. Harvey, and while it is clearly intended to help parse the quin-
Own (released, like its predecessor, has also included bassist Liran Led Bib’s most charged, high- tet’s music for the average listener,
by the Maryland-based Cuneiform Donin, keyboardist Toby McLaren, octane effort yet, it also sounds but he simply prefers to call what
label), and while the visibility bump and alto saxophonists Pete Gro- like its loosest and most organic Led Bib plays jazz. “I think it prob-
provided by the Mercury nod may gan and Christ Williams. While the outing. ably frustrates musicians a bit be-
be over, the band is poised to build band’s earliest music was rather “We’ve developed a language cause you end up being pigeon-
on its new audience. The quintet fussy and constricted in its keen together,” Holub said. “On those holed and you have to talk about
was formed in 2003 by drummer desire to bring hard-rock energy to early records you can hear me what the music is called,” he said.
and composer Mark Holub—a raucous improvisation, the group’s really trying to push the band in a “Can’t we just play music and not
New Jersey native who moved to last few albums have witnessed a certain direction, which I think was worry about its name?” DB

Smithsonian Steps Up with John Edward Hasse (left), Richard Burgess, David Baker, Jose Antonio Bowen and Daniel Sheehy
New Jazz Anthology

F or those who enjoyed Martin Williams’ Smithsonian
Collection of Classic Jazz (1973), Smithsonian Folkways’
release of a new, definitive Jazz: The Smithsonian Anthology is
a call for celebration. A seven-year labor of love, involving key
figures in the arts and culture at the Smithsonian Institution, this
landmark six-disc box set contains 111 of jazz’s most historical-
ly significant cuts.
The set opens with Scott Joplin’s jaunt “Maple Leaf Rag”
(1899) and closes with Tomasz Stanko Quartet’s swinging
“Suspended Night Variation VIII” (2003), one of eight tracks
from non-United States musicians. The set also includes another
version of “Maple Leaf Rag” by revolutionaries Anthony Braxton
and Muhal Richard Abrams. The usual suspects are in there, too,
dawn de blaze
with Miles Davis, Duke Ellington and Louis Armstrong most
prominent.
“The earlier album was organized around specific recordings which Sheehy, who co-produced the set with Hasse and Richard James
Martin thought should be canonical,” said John Edward Hasse, curator of Burgess, points out that, despite the fact that it was the “gold standard”
American Music at the Smithsonian. “He ended up with eight tracks each for jazz education when the record label published it, The Smithsonian
by Armstrong, Ellington and Charlie Parker. We asked the question: What Collection of Recordings went out of business more than a decade ago and
100 or so recording artists should a listener be exposed to? The main result the SCCJ went out of print in 1999.
is that we limited most artists to one track. The earlier album pretty much More than 50 jazz educators and scholars chimed in on track sugges-
ended its survey in the early 1960s. We’ve extended the story into the 21st tions, with 35 writers contributing to the accompanying 200-page book. A
century.” five-member executive committee included Dan Morgenstern, David Baker,
“Given the importance of the Martin Williams set to educators and Alyn Shipton, Jose Antonio Bowen and Hasse. They distilled the track list
jazz aficionados alike along with the fact that nearly 40 years of jazz evolu- down to works “selected for their influence and iconic nature in jazz histo-
tion has taken place since it was first published, we knew it was time for the ry.” Hasse said, “One way of talking about the differences in content would
SCCJ to be redone,” said Dan Sheehy, director of the Smithsonian Center be to say, simply, we’ve made the selections considerably more inclusive and
for Folklife and Cultural Heritage. brought the coverage much more up-to-date.” —John Ephland

David Amram
Reaches For
Higher Level at
80th Birthday
J ust before his 80th birthday,
multi-instrumentalist David
Amram celebrated his musical
life with a gathering of his friends
and family Nov. 11 at Symphony
Space in New York at a birth-
day tribute, “David Amram: The
First 80 Years.”
“My hope,” Amram said, “is
that some kid will come to the
concert and say, ‘Hey, I want to
play jazz! My career counsel-
jack vartoogian/frontrowphotos
or tells me it’s hopeless, but that
old guy is having such a good
time, maybe jazz is good for your
health, good for your life!’ Jazz is
on a higher level. Jazz teaches you David Amram
spirituality, and hang-out-ology!”
Amram’s three children joined in, but the youngest spirits on the stage
were Amram and the great conguero Candido, who first played with
Amram alongside Charles Mingus in 1955. Candido, soon to be 90, and
timbalero Bobby Sanabria energized “En Memoria De Chano Pozo,” the
orchestral tribute Amram composed and first performed in Havana in 1977.
“David never stops,” said actor Keir Dullea in welcoming everyone to
the tribute. Mark Morganelli of Jazz Forum Arts produced the concert.
The Queens College Orchestra played Amram’s re-creations of Woody
Guthrie’s “This Land Is Your Land” as if they were musical interludes from
Guthrie’s travels across America, Mexico and the Caribbean.
“When he wrote the song, Woody’s daughter Nora told me, he lived
in New York, and he used to walk through all the neighborhoods,”
Amram said.
Amram has played jazz mostly on the French horn, especially since the
’50s with Mingus and Oscar Pettiford, Kenny Dorham and Dizzy Gillespie.
He also plays piano, guitar, a world of rhythm instruments, and he’s espe-
cially virtuosic on the pennywhistle, sometimes playing two at once, har-
monizing and wittily counterpointing himself. “I was playing French horn
and Latin percussion with Dizzy, and he liked the pennywhistle,” Amram
said. “Dizzy used to say, ‘Man, bring those whistles!’”
During the tribute, Pete Seegar and Arlo Guthrie appeared via video
salutes (Amram’s tribute benefitted Seegar’s Clearwater and the Guthrie
Foundation). Willie Nelson, also on the screen, thanked Amram for his
involvement with the Farm Aid concerts. Phil Meyers of the New York
Philharmonic, for whom Amram composed a “Blues For Monk,” sent
thanks on his French horn.
Each section of the concert also remembered Amram’s friends and col-
laborators. “In Memory Of Jack Kerouac” featured actor John Ventimiglia
reading the end of Kerouac’s On The Road, remembering the jazz and po-
etry sessions Amram played with Kerouac in the ’50s. “In Memory Of
Joseph Papp” featured a video Lawrence Kraman filmed of a recent per-
formance (at Louisiana State) of an opera Amram composed of William
Shakespeare’s Twelfth Night.
“Essentially I’m a composer,” Amram said. “I was so influenced by my
uncle. He took me to hear the Philadelphia Orchestra, and then he took me
to hear Duke Ellington. I’ve been playing jazz since I was 12, loving it, ap-
preciating it, never dreaming that I would come to New York as a 24-year-
old hayseed and play with Charles Mingus, and have my whole life opened
up when I met Thelonious Monk and Miles and Gil Evans. It’s not a ques-
tion of being eclectic. It’s having that open door that jazz gives you towards
creativity, respect for all music, respect for all people, and being able, for ev-
ery second of your life, to improvise.” —Michael Bourne

Caught 
Winter Jazzfest Proves New York Jazz

Scene’s Strength in Numbers
N ew York’s Winter Jazzfest requires a phys-
ical stamina rarely asked of jazz fans.
Drink minimums and hushed crowds give way
ing Nels Cline’s lurking guitar, looping
through feedback and fire, providing the
soundtrack to Norton Wisdom’s rapidly
to wrist bands and a sea of shoulders, each pair transforming backlit paintings. Organist
supporting a much-needed winter coat. For its John Medeski had a rock ’n’ roll-like fol-
seventh year, the festival presented 68 acts on lowing with various camera phones point-
five West Village stages (Le Poisson Rouge, ed his way throughout RedCred’s set
Kenny’s Castaways, Sullivan Hall, Zinc Bar and of wailing funk and klezmer soul-jazz.
Bitter End) to more than 4,000 attendees on Jan. Later in the evening the Jacob Fred Jazz
7 and 8. Odyssey brought its pointillistic bravado
Drummer Chico Hamilton, who was about to a diminished but enthusiastic crowd.
to turn 90, helped kick off the festival at Le The quartet made the most of the ven-
Poisson Rouge with a comparatively youth- ue’s sound system, turning on a dime
ful septet. Amid countless jokes about his age, while Chris Combs’ slide guitar and Jeff
Hamilton displayed an effortless mastery of his Harshbarger’s bowed bass-lines arrived in
kit, proving himself as relevant as the bandlead- thunderous waves.
ers one quarter his age. At the close of his set the Kenny’s Castaways hosted a couple of
crowd moved en masse across the street to wit- heavy tenor saxophones on its cluttered
ness Charles Gayle’s fiery saxophone at Kenny’s stage. Donny McCaslin’s quartet, aid-
Castaways, his big tone filling the kitschy ven- ed by Uri Caine’s raspy Rhodes, blazed
ue with squealing flights, while bassist Larry through a handful of breathless originals,
Roland and drummer Michael T.A. Thompson sheet music fluttering in their wake. A few
clattered with intensity alongside him. More sub- sets later powerhouse trio Athereal Bace hit the ful chops and effortless showmanship, while
dued in decor but no less in sound was Zinc Bar stage missing one of two drummers, but saxo- the Robert Glasper Experiment dealt in heavi-
which featured exquisite performances from phonist Abraham Burton and drummer Nasheet er grooves with the crowd sweating and sway-
Aaron Goldberg’s trio and Marcus Strickland’s Waits generated enough hurricane forces to rattle ing along.
quartet. the walls on their own. At the Bitter End, the American Midwest-
Saturday night expanded from three venues Sullivan Hall, the most remote of the venues, meets-Africa dance band Nomo crammed onto
to five—selling out by 9 p.m. Le Poisson Rouge was where everyone was discreetly partying, the tiny stage for a surging crowd, heating up the
had one of the more disparate booking sequenc- with DJs premiering unreleased recordings be- room with rapid-fire horn solos and polyrhyth-
es. Charlie Hunter played his seven-string gui- tween sets and nearly every other person in the mic dance beats while Noah Preminger’s saxo-
tar to a talkative crowd, laying down intertwined room carrying an instrument case. The tuned-in phone eloquently ushered in Sunday morning
blues riffs in his split-brained style. Following his crowd ran at capacity all night on sleepy Sullivan as Frank Kimbrough wrestled with the house’s
straightforward set was Stained Radiance featur- Street. Maurice Brown brought his power- wobbly tuned piano. —Sean O’Connell

The problem was somewhat resolved a week Beloved,” with angles that weren’t so much sharp
later with one consequence: Ribot decided to as complementary. Coupled with the explo-
forego a solo set. Not that the audience needed sive sound of the rhythm section (bassist Henry
a warmup to fully appreciate Sun Ship, his rel- Grimes and drummer Chad Taylor), the sonic
atively new, bracingly powerful Coltrane trib- character of pieces such as “Sun Ship,” “Amen”
ute quartet. Though it was possible to be roused and “Attaining” approached rock without co-
by the ensemble’s seamlessness without know- alescing into anything that resembled a straight
ing any details about the namesake Coltrane al- groove. One indication that it was jazz in clev-
bum, familiarity definitely added to the thrill, er disguise was the extensive solo space giv-
putting you in touch with how natural the band’s en to Taylor and Grimes, the latter of whom put
radicalism actually is. The most obvious differ- down the bass at one point to play chattery violin.
ence, the twin-guitar attack, meant that Ribot When Ribot called a blues by Gene Ammons to
and tag-teamer Mary Halvorson could litter the close the set, it was a marvel of pacing, guileless-
set opener, Coltrane’s meditative hymn “Dearly ness, showmanship. —K. Leander Williams

Caught 
Winter Jazzfest Proves New York Jazz Chico Hamilton
Scene’s Strength in Numbers

N ew York’s Winter Jazzfest requires a phys-
ical stamina rarely asked of jazz fans.
Drink minimums and hushed crowds give way
through feedback and fire, providing the
soundtrack to Norton Wisdom’s rapidly
transforming backlit paintings. Organist
to wrist bands and a sea of shoulders, each pair John Medeski had a rock ’n’ roll-like
supporting a much-needed winter coat. For its following with various camera phones
seventh year, the festival presented 68 acts on pointed his way throughout RedCred’s
five West Village stages (Le Poisson Rouge, set of wailing funk and klezmer soul-
Kenny’s Castaways, Sullivan Hall, Zinc Bar and jazz. Later in the evening the Jacob Fred
Bitter End) to more than 4,000 attendees on Jan. Jazz Odyssey brought its pointillistic
7 and 8. bravado to a diminished but enthusiastic
Drummer Chico Hamilton, who was about crowd. The quartet made the most of the
to turn 90, helped kick off the festival at Le venue’s sound system, turning on a dime
Poisson Rouge with a comparatively youth- while Chris Combs’ slide guitar and Jeff
ful septet. Amid countless jokes about his age, Harshbarger’s bowed bass-lines arrived
Hamilton displayed an effortless mastery of his in thunderous waves.
kit, proving himself as relevant as the bandlead- Kenny’s Castaways hosted a couple
ers one quarter his age. At the close of his set the of heavy tenor saxophones on its clut-
crowd moved en masse across the street to wit- tered stage. Donny McCaslin’s quar-
ness Charles Gayle’s fiery saxophone at Kenny’s tet, aided by Uri Caine’s raspy Rhodes,
Castaways, his big tone filling the kitschy ven- blazed through a handful of breathless
ue with squealing flights, while bassist Larry originals, sheet music fluttering in their
Roland and drummer Michael T.A. Thompson wake. A few sets later powerhouse trio
clattered with intensity alongside him. More sub- Athereal Bace hit the stage missing
dued in decor but no less in sound was Zinc Bar one of two drummers, but saxophon-
which featured exquisite performances from ist Abraham Burton and drummer Nasheet Waits the Robert Glasper Experiment dealt in heavi-
Aaron Goldberg’s trio and Marcus Strickland’s generated enough hurricane forces to rattle the er grooves with the crowd sweating and sway-
quartet. walls on their own. ing along.
Saturday night expanded from three venues to Sullivan Hall, the most remote of the venues, At the Bitter End, the American Midwest-
five—selling out by 9 p.m. Le Poisson Rouge was where everyone was discreetly partying, meets-Africa dance band Nomo crammed onto
had one of the more disparate booking sequenc- with DJs premiering unreleased recordings be- the tiny stage for a surging crowd, heating up the
es. Charlie Hunter played his seven-string gui- tween sets and nearly every other person in the room with rapid-fire horn solos and polyrhyth-
tar to a talkative crowd, laying down intertwined room carrying an instrument case. The tuned-in mic dance beats while Noah Preminger’s saxo-
blues riffs in his split-brained style. Following crowd ran at capacity all night on sleepy Sullivan phone eloquently ushered in Sunday morning
his straightforward set was Stained Radiance Street. Maurice Brown brought his power- as Frank Kimbrough wrestled with the house’s
featuring Nels Cline’s lurking guitar, looping ful chops and effortless showmanship, while wobbly tuned piano. —Sean O’Connell
Guitarist Marc Ribot Holds Court in Marc Ribot
Greenwich Village Residency

N ow that the digital-music marketplace has
been sliced and diced within an inch of its
own survival, musicians like Marc Ribot are a re-
would get to John Coltrane’s “Sun
Ship” and another intimate casu-
al from his recent solo disc Silent
minder that fragmentation isn’t the natural order Movies before sitting in with two
of things. This was apparent within the first 15 vibrant bands, one Peruvian (led
minutes of the solo-guitar set that kicked off his by cajon specialist/singer Cotito)
weekly January residency at New York’s all-pur- and the other New York-based
pose basement space Le Poisson Rouge. Colombians (La Cumbiamba eN-
Seated in a crouch that at times placed his eYé), that pushed his solos well into
left ear at odd angles with the fretboard, Ribot psychedelia. Were it not for the in-
allowed two strummed pastoral melodies to termittently audible sound bleed
twist and turn before giving the crowd a reason coming from a dance party in Le
to exhale: Thelonious Monk’s “Ask Me Now.” Poisson Rouge’s adjacent space (at
Each Wednesday evening he promised to riffle one point, Ribot stormed off the
through a different chapter of his multifaceted stage to complain about it), the en-
career, but his readings—fast, slow, transparent, tire evening might have approached
opaque—were clearly from the same book. He the sublime.

The problem was somewhat resolved a week Beloved,” with angles that weren’t so much sharp
later with one consequence: Ribot decided to as complementary. Coupled with the explo-
forego a solo set. Not that the audience needed sive sound of the rhythm section (bassist Henry
a warmup to fully appreciate Sun Ship, his rel- Grimes and drummer Chad Taylor), the sonic
atively new, bracingly powerful Coltrane trib- character of pieces such as “Sun Ship,” “Amen”
ute quartet. Though it was possible to be roused and “Attaining” approached rock without co-
by the ensemble’s seamlessness without know- alescing into anything that resembled a straight
ing any details about the namesake Coltrane al- groove. One indication that it was jazz in clev-
bum, familiarity definitely added to the thrill, er disguise was the extensive solo space giv-
putting you in touch with how natural the band’s en to Taylor and Grimes, the latter of whom put
radicalism actually is. The most obvious differ- down the bass at one point to play chattery violin.
ence, the twin-guitar attack, meant that Ribot When Ribot called a blues by Gene Ammons to
and tag-teamer Mary Halvorson could litter the close the set, it was a marvel of pacing, guileless-
set opener, Coltrane’s meditative hymn “Dearly ness, showmanship. —K. Leander Williams
Lizz Wright Shows Lizz Wright
Beauty of Restraint
on Tour’s Opener
F our albums into her career as jazz vocalist,
Lizz Wright has moved from a talented—if
unsure—ingenue who dabbled in styles to a full-
fledged artist. Her recent Fellowship CD takes a
core ingredient, gospel singing, and brings it to the
forefront, both in the style and content of her new
songs. She emerges as a soloist who would have
earned a spot on some of the legendary “gospel
caravan” mega-shows of 50 years ago.
Wright opened an intensive two-month tour at
Hollywood’s Roxy on Jan. 26, and if there was any
earl gibson
doubt that night, she confirmed her status as the

foremost gospel-informed jazz singer of her gener-
ation. Her voice is sure and strong, with a compact Wright imparted a resolved calm. She pulled Neil
power that never strains into nonmusical sounds; Young’s “Old Man” from the deeper recesses of
this is a singer, not a screamer. She’s not an orna- her book, with Robin Macatangay’s resonant gui-
mental soloist in the way that Mahalia Jackson tar chords supplying bedrock. Steve Winwood’s
would suddenly soar to the vertical with spiraling churchy “In The Presence Of The Lord” was an
turns. Instead, Wright is more likely to project vo- affirming surprise. Two backup singers fortified
cal arcs that gain slowly in force and canopy the the funk chart of the Gladys Knight anthem “I’ve
room. Dressed in a long halter-top dress, she car- Got To Use My Imagination.” Drummer Rocky
ried the air of a rustic elegance—simple and di- Bryant demonstrated his solid dependability here
rect, yet full of meaningful portent. and throughout. Even on a secular tune like this,
If her fans expected a live reiteration of the Wright wasn’t far from the stained glass aura.
new album, Wright threw them a bit of a change. Perhaps the biggest surprise was the venerable
She worked with a rhythm section that weighted blues “Easy Rider.” Sung with intensity, she was
her accompaniment to the instrumental, as op- carried by Glenn Patcha’s simple but effective use
posed to vocal. Electric keyboards, guitar and of ascending keyboard figures. Actually, a strong
bass enlarged the funk arrangements of the tunes. cord of folksiness ran through the music that night.
Thankfully, neither Wright nor the band operat- Her own “Song For Mia” (used in The Secret Life
ed at self-defeating high volume. The funk beat of of Bees) underscored this. Wright recognizes the
Me’Shell N’Degeocello’s “Fellowship” was taken value of breathing space. A judiciously placed
at a dynamic level where discreetly added reverb hum, so resonant and loaded with implication,
could be discerned in her held notes. When the in- says more with less. When she did get fancy—on
struments subsided and her voice—dark and maher own “Stop”—the gentle arabesques sounded
jestic—rose above the ensemble, Wright’s potent completely natural. Running an hour-and-a-quar-
essence filled the room. ter, her “opening night” looked and sounded like
“I Remember, I Believe,” a Bernice Reagon/ midseason form. Audiences down the line must
Wright collaboration, was cast in the Sweet Honey have some spectacular performances coming
in the Rock vein. Sung without backing vocals, their way. —Kirk Silsbee

Players 
Matthew Rybicki
Creatively Supportive
W henever a musician breaks out on the scene, one ques-
tion inevitably rises to the surface: Why did you pick
that instrument to play? For bassist Matthew Rybicki, the
choice emerged almost by necessity. “Strangely enough,” he
recalls, “it was a passing decision to pick up the instrument as
friends in middle school were starting a band and they need-
ed a bassist.”
And that’s all it took. “Once I began playing and learning
more,” Rybicki adds, “I identified more and more with the role
of the instrument. I’ve always been attracted to the grounded,
root aspects of a given thing. And, while some may shy away
from the instrument’s primarily supportive role, I enjoy work-
ing to be an excellent accompanist. There’s something often
overlooked in the beauty and creativity necessary to be in the
background. I tend to focus on the offensive or defensive line-
men in football for example—no glory for them, but there’s a
certain kind of honor in doing the quiet, hard work of being
part of the team but not in the spotlight.”
And yet, the spotlight is where Rybicki finds himself, at
age 38, on the occasion of his self-released debut album,
Driven (CD Baby). Having worked with such established art-
ists as Wynton Marsalis, Terell Stafford and Nnenna Freelon,
Rybicki’s CD features a crack band of some of New York’s
finest straightahead players, including drummer Ulysses
Owens Jr., trumpeter Freddie Hendrix, saxist Ron Blake, pi-
anist Gerald Clayton and trombonist Michael Dease. And
with nine of his own originals, along with covers of the stan-
dards “Secret Love” and “Yellow Bird,” the leader had his
work cut out for him, directing not only his sextet, but—on
the more world-music-oriented tune “Nouakchott”—guest
singer Selloane Nkehla and percussionist Matthew Baranello as well. he says, referring to his studies at Berklee. “I don’t think that I would have
Owens played a special role on Driven. “Ulysses Owens and I met at been able to cope with the city without having the experience of the small-
Juilliard,” Rybicki remembers. “And soon after graduating we began a er, more manageable aspects of Berklee and Boston. Additionally, I came
deep musical connection. His actions as producer were also phenomenal, to jazz late in the game—when I began Berklee—so it was very helpful to
and his playing is unbelievable ... so that was a no-brainer. As for Ron, be in that learning environment as a novice.
Freddie and Gerald, they were all on a sort of fantasy list for me. Although “I hadn’t planned on making a move to New York after Berklee,” he
I knew them all to varying degrees, I wasn’t sure I’d be able to put them all adds, “but a variety of factors allowed me to do so. And it’s been 15 years
together for the project. I wanted them specifically for their all-around mu- now, so it really feels like home. Once I became interested in having a ca-
sicianship. It wasn’t just a session for them—they were interested in creat- reer in jazz, I knew that New York City would be the best place to pay
ing something at the highest level.” my dues.”
Dease was another Juilliard classmate of Rybicki’s. “Michael not only And, as part of that process of developing a career, Rybicki has had his
helped as session-producer,” says Rybicki, “but is such a monster player share of playing experiences. Recording credits include the CD Common
that I couldn’t imagine having him in the studio and not have him as part of Journey by trombonist Barry Cooper and trumpeter Kris Johnson, as well
the music directly. And Matt Baranello and I have been long-time friends as Love Walked In, the debut CD from vocalist Charenee Wade, a sec-
from when I first moved to New York City. He was in the world-music band ond-place winner in the Monk Competition. Gigs have included working
that I was with for five years and has an intimate and profound knowledge with Walter Blanding Jr. at Dizzy’s Club Coca-Cola in a band that features
of African and Afro-Cuban music. With the vibe on ‘Nouackchott,’ I felt Audrey Shakir (his mother, an accomplished visual artist), Marcus Printup,
he’d be perfect. Jack Glottman and Willie Jones. Rybicki notes that the recordings from
“And Sellone,” he goes on to say, “was a last-minute addition, thanks to that week will be made into a CD in the near future.
the hard work of Ulysses and Michael. They suggested vocals at the last As for Driven, the unamplified sound of his acoustic bass permeates
minute—I had not written a vocal part—and were able to bring her in. the balance of ballads, blues and irresistible swingers on such tunes as
Ironically, I’ve subbed in The Lion King on Broadway many times but it “Lisa’s Song,” “Lowcountry Boil” and “A Mean Lean,” respectively. The
wasn’t me who brought her in.” (She plays Rafiki in the show.) lyrical yet percussive Rybicki alludes to dance when talking about his mu-
Speaking of Rybicki and Broadway, it wasn’t long before the New York sic. “I just love having a feeling of bounce and groove with the music,” he
transplant found himself working in pit bands as well as at Radio City says. “So much of jazz has been about playing for dancers, and the dancers
Music Hall. But before he landed in the Big Apple in 1995, Rybicki, who have influenced the music in some ways, too. Even if an audience isn’t lit-
grew up in Cleveland, made an important stop along the way. “I think that erally dancing, I want to play in situations as often as possible that at least
going to Boston first was a great mid-point change before New York City,” make folks want to snap their fingers.” —John Ephland

Patrick
Cornelius
Up To The
Challenge
A s his latest release,

Fierce (Whirlwind
Recordings), gives notice,
Patrick Cornelius belongs
to a sharp crop of alto sax-
ophonists worth watching
for in New York—despite
the fact he’s been in the
jazz capital a decade now.
“The alto, perhaps more
than the tenor, seems to be
the saxophone of choice
amongst promising play-
ers at the moment in New
York,” reflects Cornelius
Rosie Reed Gold
from his home in Astoria.

He trots out a list of names
including Jaleel Shaw, Lars
Dietrich, Will Vinson, Logan Richardson, not to forget Miguel Zenón, who
impressed Cornelius in a Berklee big band. Cornelius respects Zenón’s ad-
vanced concepts of form and development and has bagged plaudits for his
own writing, including a succession of ASCAP Young Composer prizes
for tunes from his self-produced debut, Lucid Dream.
Dubbed the Chordless Group due to the absence of piano or guitar re-
sulting from gigs at Manhattan’s intimate The Bar Next Door, Cornelius’
trio initially explored standards in the protracted manner of Sonny Rollins
and Joe Henderson before he determined to assemble a book of originals.
The strong presence of London-based bassist Michael Janisch on
Fierce (Whirlwind is Janisch’s label) hints at traces of Dave Holland in
Cornelius’ writing, and he acknowledges the skillful counterpoint of sax
and trombone in the Holland quintet, a combination he uses on Fierce
alongside valve trombonist Nick Vayenas. Cornelius cut his first demo CD
at Berklee with Vayenas and met Mark Small, guest tenorist on the new re-
cord, in Boston too. “I wrote ‘First Dance’ with Mark in mind. His approach
is the perfect foil for mine. Where I am full-on and Cannonballesque, he
takes his time, with style and panache.”
Still mining small-group songform, Cornelius writes to set himself
challenges. Thusly “New Blues” is inspired by “All Blues” but in a less
familiar meter (the head juxtaposes 11/4 and 5/8). Using the fulcrum of
Janisch’s bold time and Jonathan Blake’s snappy modernity, Cornelius
takes a rangy and perkily rhythmic solo, packed with fluency and feeling.
More of the same inhabits “Two Seventy-Eight,” an aggressive homage to
the madness of the Brooklyn/Queens Expressway that he navigates several
times a week to make his day gig in a private school.
Cornelius’ next CD is a quintet outing for the Los Angeles-based Posi-
Tone label recorded last May, featuring pianist Gerald Clayton, bassist
Peter Slavov, guitarist Miles Okazaki and Berklee buddy Kendrick Scott
on drums. “It’s less playful, more introspective,” confesses Cornelius. The
mellower vibe of the quintet CD may be an offshoot of becoming a father
and his tendency to hear darker sounds and harmonies when writing for
piano. Attending Berklee straight out of high school followed by graduate
studies at the Manhattan School have leant his playing sheen and compo-
sure, but compositional smarts and a centered warmth in his attitude mark
him out. —Michael Jackson

Players 
Ryuichi Sakamoto
Dual Fascination
A n introduction to pianist/composer Ryuichi
Sakamoto will invariably mention the
many musical genres he has explored.
The diverse cast of musicians and artists with
whom he’s collaborated—a list that includes Tony
Williams, Alva Noto, Youssou N’Dour, Adrian
Belew and Caetano Veloso—will likely be
brought up, as well. But while the branches and
fruits of his career are indeed many, it’s perhaps
more instructive to drill down to his musical roots.
The 58-year old Tokyo native went from tak-
ing piano lessons at age three to studying compo-
sition for seven years beginning in fifth grade— moto’s ears were blown wide open upon gradu- sounds, new timbres—a new way of thinking
“very academically classical,” Sakamoto recalls. ating from high school. “At university, that was and a new way of making music.”
He also channeled his other musical interests in the first time I encountered synthesizers,” he The founts of indigenous music and emerg-
the unique ensemble he led in high school. “We says. “I entered in 1970, and at that time, it was ing music technology provided the twin inspira-
were a strange band,” he admits, on the eve of really rare to have these big synthesizers like tions that continue to fuel him.
the night of the penultimate show of his 2010 the Moog and ARP in the classroom. After earning an MFA in electronic and eth-
North American Playing the Piano tour. “We “But also, I became very passionate about nic music, he co-founded the techno-pop out-
only played free-jazz and bossa nova. No stan- ethnic music,” he continues. “So I had to study fit Yellow Magic Orchestra in 1978. In its five-
dard jazz.” ethnic music and also something very futuris- year existence, it became the Japanese equivalent
A disciple of Debussy and other Impres- tic at the time. That was synthesizers, because of The Beatles in terms of popularity and cul-
sionism-inspired composers of the era, Saka- it gave us an opportunity to make totally new tural impact, exporting their sound to England,
Europe and the United States.
Though the members fully harnessed the
music technology of the time—synthesizers, se-
quencers, drum machines—YMO (as it would
later get shortened to) was at heart a futuristic
piano trio fueled by three accomplished instru-
mentalists, with Sakamoto frequently playing
keyboards, Haruomi Hosono on bass guitar and
Yukihiro Takahashi atop the drum throne.
Sakamoto’s solo pursuits have progressed on
a similarly eclectic trajectory. From experimen-
tal rock, sophisticated dance pop and global pop
to acoustic Brazilian, contemporary classical and
electronic ambient, his canvas has ranged from
three-minute songs to feature film scores (in-
cluding The Last Emperor, for which he won an
Oscar and a Grammy).
His two most recent albums were packaged
by Decca for a North American double re-
lease and continue to build on his dual fasci-
nation with nature and technology. Playing The
Piano is an unaccompanied album in which he
re-examines songs, compositions and film score
themes from throughout his career. On Out of
Noise, his piano is at the roots of the pieces.
Collaborators such as guitarist Keigo Oyamada
(of Cornelius fame) and guitarist-laptop artist
Cristian Fennesz then placed textures atop the
source material. Arctic sounds he recorded while
he was in Greenland with the Cape Farewell
Project were also manipulated and incorporated.
“Like fishing, you never know when you can
get a good sound,” he says, of his chilly south-
ern expedition. “So you have to wait for many
hours.” —Yoshi Kato

Jen Shyu
Transcending
Technique
A decade ago, Jen Shyu,

an up-and-coming Bay
Area singer-pianist, started to
feel “a little lost.”
“I was a good imitator,”
Shyu recalled. “Even in college
when I sang with a jazz com-
bo, I was wearing dresses and
sequins. I latched onto Sarah
Vaughan, like, ‘OK, I’ll be a
jazz singer,’ without under-
standing the tradition at all.”
Born in Peoria, Ill., Shyu is
the first generation child of a
Taiwanese engineer and an
joaquin Farnos
ethnic Chinese mother from

East Timor. As a high-school-
er, she attained sufficient pia-
nistic prowess to work towards an international She unveiled her hybrid sound on the 2008
Bach competition, but scaled down her studies date Jade Tongue (Pi), with charts scored for her
after getting “distracted” by community musical voice and a sextet of ready-for-anything New
theater and jazz singing. She attended Stanford, York improvisers. Two August 2010 digi-releas-
spent much of a six-month stay at Oxford sing- es document Shyu’s interest in finding “ways to
ing professionally in several choirs and consid- approach the organic effect one sees in a ritu-
ered training for an opera career. al.” She sings much folkloric repertoire on Inner
Encouraged to look inward by saxophonist Chapters, a solo project, accompanying herself
Francis Wong, co-founder of San Francisco’s on piano, erhu and moon lute, a two-string guitar
Asian Improv label, Shyu incorporated Taiwan- from East Timor, eschewing “pretty singing” for
ese folk songs into her repertoire. “It became a more functional approach. “I’ve learned with
clear that the key was to be informed by your an- Steve that you don’t wait until you have it perfect;
cestry,” she said. “Francis suggested that to get you’ve got to be bold and let it go.”
inside these folk songs, it would be valuable to go She channels this attitude on Raging Waters,
to Taiwan and hang out.” While the notion mar- Red Sands, a multi-disciplinary opus on which
inated, Shyu recorded a CD, First Song, com- a mime-dancer and an ensemble signify on
prising 10 deconstructed standards and a sin- Shyu’s readings—in Portuguese, Tetum, English,
gle Taiwanese piece. On a New York visit a few Taiwanese, Mandarin and homegrown scat “in-
months later, drummer Dafnis Prieto—they’d formed by syllables from the indigenous mu-
met at the Stanford Jazz Workshop—invited her sic that fascinates me”—of poetry by Patrícia
to a Steve Coleman concert at Tonic. She gave Magalhães.
her CD to Coleman, then looking for vocalists “A lot of my scatting is influenced by having
for his Lucidarium project. Later, he remarked, to create a language to sing Steve’s horn lines,
“You have a nice voice, but do you want to sing because bah-daht-buh-dop is not going to cut it,”
standards the rest of your life?” Shyu said. “Though I’m experimenting with the
She took the leap in 2003, flying to Taiwan syllables, it sounds like a language. The lines blur
for the first of five fieldwork expeditions. She ex- when you go into these ancient songs.”
panded these investigations with 2008 and 2009 Shyu acknowledged that she’s also influ-
sojourns to Beijing and a long 2010 residence enced by the avant garde, “Bartok—things that
in her mother’s homeland. Most widely known are obscured, but beautiful; they all kind of swim
during this timeframe for her virtuosic voice- around,” she said. “I like to take people places,
as-instrument work in Coleman’s Five Elements and allow them to imagine their own worlds or
group, she gradually evolved a personal concep- meaning. I want to reach the stage where I’ve
tion, blending the indigenous songs of her blood- transcended to such a state of performance that
line, contemporary classical dissonances, mi- people are not complimenting my technique. It’s
crotonal pitches, complex rhythmic cycles and like I’m trying to shave away all the stuff, while
much improvisational ensemble space to frame using all that training to get the message across.”
her own fluid, resonant, spot-on contralto. —Ted Panken

Team Marsalis
All In The
Family
By Jim Macnie // Photography By Jimmy Katz
J
ason Marsalis looks serious as he fiddles with his drum sticks at Manhattan’s Ap-
ple Store. He’s sitting at his trap set, paces away from his dad, pianist Ellis, getting
ready to hit. But then again, Jason often looks serious. Perhaps the snap he brings
to his music demands it … or perhaps not. As the father and son start to ignite with
bassist Jason Stewart, the drummer begins to get his grin on. The spry way he de-
livers his swing pretty much demands a smile or two. Goading his dad’s glide over the keys,
he helps bring an elan to the room. The Marsalises have a way of quickly connecting.
But with five busy careers in play at once, the Marsalises don’t manage to connect all that
often. So this evening is somewhat special. During an informal set celebrating the iTunes arrival
of Ellis’ An Open Letter To Thelonious, the pianist’s other sons jump up and blow a bit as well.
Trombonist Delfeayo, saxophonist Branford and trumpeter Wynton arrive at the store one by
one, taking the stage in a casual way, and enjoying the heck out of standing shoulder to shoulder
while kicking around some standards. All of a sudden, those grins are everywhere.
The Marsalis family, from left: Wynton, Ellis, Branford, Delfeayo and Jason at Dizzy’s Club Coca-Cola, located in Frederick P. Rose Hall, Home of Jazz at Lincoln Center
MARSALIS FAMILY
The quintet did something similar in a much That’s what the second line celebrates. I remem- Wynton: When you play with someone as
more formal setting two summers ago at ber a friend of ours passed away, and I was talk- good as Branford, it’s different—it’s not just that
Washington D.C.’s Kennedy Center, a show that ing to one my classmates, and the expression we’re brothers. I was spoiled by playing with
was turned into Music Redeems, a live disc bene- they’d use was, “Yeah, man, he had a great send- him. We came to New York, and every gig I
fitting the nearly complete Ellis Marsalis Center off.” Like there was a kind of acceptance of the got on, I tried to get him on. “You gotta call my
for Music back in their home town of New idea that he was gone, and that was cool. brother, man. My brother can play.” I told Herbie
Orleans. That was a year-and-a-half ago, and the DownBeat: OK, let’s talk family. You guys [Hancock] and them, “What about my brother?
five musicians haven’t been in a performance to- don’t share the stage all that often. What’s the Get him on this gig.” Used to beg Woody Shaw:
gether since. This little Apple gathering, which chemistry when you get together to perform? “This is the cat, check my brother.”
found Delfeayo throwing down some exquisite Ellis: That’s kind of hard to describe. See, Branford: And they were like, “To hell
’bone lines, came about because they were all in we don’t do this enough for it to get to be routine with your brother.”
town to participate in the National Endowment by any means. But one important thing is that ev- DownBeat: Sounds like in the back of your
for the Arts’ Jazz Masters ceremony. Along with eryone has maintained a level of excellence on mind you knew that’s what your dad would’ve
Hubert Laws, Dave Liebman, Johnny Mandel their instrument, so everyone can stand on their wanted you to do: take care of family.
and Orrin Keepnews, the five Marsalises were own two feet. And me being the elder statesman, Wynton: Nah, he wasn’t like that. My dad-
receiving the prized designation and perform- I’m happy not being dragged along. dy’s not the type of person to force you to do stuff.
ing at a high-vis concert the following night at Branford: When I share the bandstand He did what he was doing. He was a man and you
Lincoln Center. You could call this a rehearsal of with Wynton, I can read his thoughts. But that’s were a boy—it was always clear. He wasn’t going
sorts. And, yes, it was worth it. They rather killed no surprise: We lived in the same room togeth- to live his life through you. Like, “You do your
with some high-flying polyphony when the big er for 19 years. Jason is 17 years younger than thing, I’m doing my thing, and good luck. If I can
night came and they smoked their way through me. And Delfeayo is five years younger. When help you, I will. If not, God bless you.”
Jason’s “At The House, In Da Pocket.” we were growing up, it was me and Wynton, and Ellis: No, I was never a stage-door dad. I’m
During this two-day stretch, all the award- Ellis and Delfeayo. Even though Ellis doesn’t not sure what conditions would have had to ex-
winners, especially Team Marsalis, were part of play an instrument, those two have chemistry isted for me to been a stage-door dad. If the mu-
panel discussions, photography sessions and in- together. Now that we’re older, we have a thing; sic we were trying to play had been in a popular
terview spots that examined the impact of their people who have brothers know this. Even when vein, say like Joe Jackson and the Jackson 5, and
careers. DownBeat thought it was a great time you can’t stand your brother, there’s a weird fam- money was involved, well, who knows?
to grab the guys, who span in age from Ellis’ 76 ily energy at work. Wynton and I have a bond. Wynton: Damn sure there was no money
to Jason’s 34, for a chat about family dynam- DownBeat: What about roughhousing? with us. There was less than money. We were
ics and the way jazz has impacted their lives. Branford: We had this one thing we did: cheap labor, the guys who carried the Fender
Convened in a meeting room adjacent to Dizzy’s playing football in the living room—me and Rhodes. Like, “OK, pick up this end, let’s move
Club Coca-Cola, the guys laughed and chatted. Wynton vs. Ellis and Defeayo, and Jason was this thing.”
Ultimately, it turned into a trip down memory the football, literally. We’d say “hike” and Jason Ellis: People used to ask all the time: Why
lane while managing to include a bit of contro- would move forward; we’d be blocking, pushing don’t y’all have a family band? I never wanted
versy, too. I began by addressing Ellis as “Master the furniture around. When my mom found out, no family band. And sometimes it sounded like,
Marsalis,” echoing a fawning audience member she was not very pleased. “Oh man, you’re jealous of them.” But that’s not
who made a mark at the panel discussion the day Ellis: Hahahahaha. what it was about.
before. Some brothers cracked up, some winced. Branford: And I think that those kind of DownBeat: Ellis, do you remember these
Dad had the final word, though. “It’s cool if you things actually aid in playing music. They have guys playing together?
call me that … as long as I don’t believe it.” nothing to do with music, but everything to do Ellis: I used to go to some of those gigs.
with music. Wynton: He sat in. It almost killed him.
DownBeat: You guys went to the funeral Wynton: Branford and I would play a lot of Branford: He’d just sit and laugh. It was at
service for Dr. Billy Taylor last night. Was it gigs together. It was the early ’70s when Earth, my high school. We were playing the Crusaders,
thought-provoking? Wind & Fire was coming out. We’d write out “Keep That Same Old Feeling.”
Wynton: I thought it was extremely soulful. the notes to their tunes in words like “F-sharp, Wynton: He came up and played it with us
The diversity of the people who showed up? G” instead of the notes themselves. And some- and we’d hit the bridge with all these chang-
Wow. He did a lot to unite people. I knew him, times our father would let us play with him on es on it, and we’d be bullshitting on the changes
but I didn’t have a real understanding of the ways the bandstand. They could play; we couldn’t. We and he’d be like, “Oh, no, no, that’s not the way
he touched people until I saw that community were sad, you know, but he encouraged us. We it goes. You gotta deal with these changes, baby,
come together. have as much dysfunction as any family, maybe a here it is …”
Branford: When you grow up in New bit more. The first time we all got together to play Everyone: Hahahahahaha!
Orleans, people talk about death all the time. [as adults], I was thinking, “Oh man, we’re gon- Wynton: Cats would say, “Yeah, man, your
Some of my boys used to go and hang out at the na have to deal with some things here,” but what daddy can play!”
St. Louis Cemeteries in the middle of the city, shocked me turned out to be the fact that it wasn’t DownBeat: Were you guys wincing, em-
and ponder why roaches used to sit on the sides like that at all. It went well. I think it was main- barrassed that he was in your space?
of the tombstones, you know? We’re not afraid ly from the respect we had for my father. We all Wynton: We were so happy to see him
of death. When people die in New Orleans, it’s know he had a time out there. He was struggling show up a gig. And the cats in our band were
like, “Say, you heard so-and-so died? You going to feed us and play this music. When we come happy. “Get him to play with us!” They loved it.
to funeral? Alright.” Bands playing, guys getting together, the amount of respect is overwhelming. Branford: That’s what I didn’t understand,
paid. When I moved up here, it was like death Branford: When I was in Wynton’s band, that strange thing I’d see on TV all the time, like,
was a taboo subject. But it doesn’t bother me. It’s we’d always be fighting over some stupidity. I re- “Jesus, dad, what are you doing here?” We didn’t
what it is, and it’s coming for all of us. member one day he was going to do push-ups or have that vibe with our parents. We were happy
Ellis: Plus, the culture I grew up with in New something and kick my butt. We’d fight during to see them.
Orleans has the tendency to reflect the Christian the day, but by the time of the gig, when the mu- Wynton: Plus, when he sat in, he made
concept of death: “rejoice when you die.” They sic would start, we’d turn to look at each other something clear.
believe the person has gone to a better place. and it would be gone. Branford: Yeah, “I can play, and y’all can’t.”

DownBeat: When did you truly realize Parker. I said, “Damn, Branford finally learned on all them saying, “No, let’s not.”
that he was heavy? how to play that thing?” I came into the living Branford: If you start listening to Sidney
Branford: When I was 1 year old, 2 years old. room and it was Daddy. Bechet, they can’t say you’re stuck in the ’20s.
Wynton: We always knew he could play— Branford: Lots of kids would say, “Hey, my My outlook centers on what’s taking place now. I
that was never a question. He’d practice. Plus, dad’s a drag.” I’d say, “My dad’s kind of cool.” just use older music to make myself better.
when we started playing ourselves, and realized DownBeat: Ellis, you were known for try- Ellis: I remember being in Japan with
what it actually took, we really knew he could ing to play modern jazz in a world where trad Wynton one time and the interviewer asked,
play. Because you hear him and you could hear was king. “Why are you not in your son’s band?” I said,
yourself. No comparison, right? And he was cool Ellis: I remember a banjo player named “For me to play in Wynton’s band would put a
about it, so you’d had to be cool, too. Albert French, “Papa.” He played with the old date on what he’s doing. He needs to have peo-
Ellis: I think that a lot it had to do the phi- guys. His oldest son was around my age. I knew ple with him who have ideas that make it possi-
losophy of teaching that evolved over a period the family from when we lived in Gert Town. ble for growth. That wasn’t something I could do.
of time … We ran into each other occasionally, and once I It wasn’t whether I could play or not. It had to do
Wynton: This is before the teaching. I re- saw Papa French and he said, “You guys need to with the evolution of what takes place when peo-
member clearly. It was the ’60s, and I remem- come out and learn how to play this music. Some ple get together at a particular time and start to
ber a gig with the Xavier University band and of these old guys are passing on, and the young- play. I wasn’t a part of that scene. I was a part of
he played bass on the gig. The bass player didn’t er folks don’t know how to play it.” And I said, something that came before.
show and they called him up. I might have been 9 “Yeah, Papa French, you’re right.” But to myself DownBeat: You guys don’t play together
years old, and we were sitting in the audience be- I was saying, “I don’t want to play that crap.” I all that often. Do you ever surprise each other
cause [trumpeter John] Fernandez had some fine was about 40 years old before I really understood on the bandstand?
daughters, so we were always there. the connection between early jazz and what we Wynton: I know what Delfeayo’s playing
Branford: He sure did … were trying to do in a more modernistic vein. It sounds like. I know what Jason’s playing sounds
Wynton: And we’d be the only kids at the wasn’t really that far apart, but when I heard it at like. Everyone is going to play something you
concert. We said, “Damn, man, Daddy’s playing the time, well … let’s just say you want to deal don’t know on the bandstand. That’s part of the
bass!” I remember it like it was yesterday. with your peers. fun. But I know how they play.
Branford: Yesterday Cedar Walton told DownBeat: Artistically, you don’t want to Ellis: When you’re in a jazz situation you ac-
me: “The first time I met Ellis he was playing look over your shoulder. cess a common language. Of course, there are
bass and I was playing piano. It was in 1951.” He Wynton: You have to be of your time. You some people who aren’t interested in that. I re-
can play sax, too. might be the kid who says, “Let’s study some- member I said to Wynton [when he was growing
Wynton: I remember being in the bathroom thing [old],” but you’re still of your time, because up], “Man, you gotta learn how to play ‘I Can’t
one day and hearing a horn playing Charlie your relationship with others is going to be based Get Started.’” And he didn’t like that tune at all.

MARSALIS FAMILY
But that’s one trumpet players need to know. Last out. I grew up with combos and quintet records: ing how great it would be to actually capture
night at the Apple Store, we played common Clifford Brown Quintet, Miles Davis Quintet. the way I felt and transfer it to a recording. His
form tunes. The standard things, “Sweet Georgia But when I got into the Oscar Peterson Trio and tone was warm and his playing was smooth—it
Brown” and such. If people know them, there’s Ahmad Jamal Trio it was, “Oh, OK, this is how had an inviting quality. My first understanding
no problem. it works.” I figured out how to play behind him of production came from Branford, who taught
DownBeat: What about you, Jason? You and really do it right. After a while I knew his me how to create a feedback loop on Dad’s old
and your dad play together a lot. playing better, and knew how to communicate Tascam reel-to-reel. When transferring old re-
Jason: It was very different by the time I with him. cords to tape, he’d mix his voice over the music
came along. I lived in the house with him. He’d DownBeat: Delfeayo, you’ve produced re- first, introducing the songs and musicians, fade
use me on his gigs. I’ve enjoyed playing with cordings for your father, Branford and Wynton. the music out and then transfer the entire record.
him for years. But it took me a long time to un- What’s that like? That started me thinking about how the music
derstand how to play with him. It wasn’t until I Delfeayo: Well, as a kid I remember lying was presented. Later, Wynton challenged me to
started listening to trio records that I figured it under the piano while my dad played, think- use a $10 Radio Shack mic and $40 tape deck
to make his demo tapes sound like Maurice
André’s classical trumpet recordings. I started
experimenting in different rooms or outdoors,
with mic placement and distance, not know-
ing about large halls, recording studios, reverb
or high-end equipment. The great part about
working with Dad, Branford and Wynton is that
they allowed me to experiment. It didn’t always
yield the best results, but I learned what worked
and what didn’t in various situations.
DownBeat: Let’s talk NEA: Yesterday
Dave Liebman was emphatic about it being the
government’s job to support the arts. You guys
agree? Should funding for arts come right along
with defense and infrastructure? Should art be
supported by tax payers?
Ellis: I was on the panel when the first Jazz
Masters [grants] were introduced. At the time,
the government had given money to the NEA,
but our portion of the jazz grant was a total of
$276K to be divided by 50 states. So we had to
go to the meetings and bring the grants. The peo-
ple on the East Coast had developed a system, so
they got most of the money because there were
people in other parts of the country that didn’t
even know how to write a grant. I thought that
was ridiculous. We should have had millions of
dollars to spend.
DownBeat: A recent column by jazz jour-
nalist Nate Chinen commented on the wisdom
of including the entire Marsalis clan—all five
of you—in the Jazz Masters acknowledgement.
The crux of the query was whether the designa-
tion shouldn’t be exclusively for Ellis, a musician
who’s lived a long life as an artist and educator,
rather than his kids, whose impact likely hasn’t
been felt in its entirety yet.
Wynton: I didn’t even see that. But I agree
with it. I don’t know about Delfeayo [and Jason],
but me and Branford talked about it.
Branford: Yep, I agree with that.
Wynton: We didn’t really want to [go along
with it], but we didn’t want to seem ungracious.
Branford: If I was the NEA and I had an
opportunity to create a certain kind of “market
share” for lack a better term, I’d … Hey, I said
it in 2005: you get any of us to play a concert in
D.C. and, well, Wynton could conceivably sell
out the Kennedy Center. The rest of us could
not. You put all of us on the stage at one time?
Bam: Sold out. So it seems to me that if I was
living in D.C. and I went to that Marsalis fam-
ily concert last June, and I saw all those people

who went to it who normally wouldn’t go to a times. new] record, we fixed it. It’s in B-flat. But [it’s
jazz show, I might want to keep us all togeth- Branford: But, really: The amount of col- not as if] people play a lot of Monk now. When
er. I was in New Orleans and I met [Republican lective griping that goes on is funny to me. I Branford and Wynton were young, and I first
National Committee Chairman] Michael Steele didn’t ask for the award, just like I didn’t ask for told ’em about Monk, they went, “bharrrg-
at a hotel, and Michael Steele didn’t know who that record contract when they gave me one. And ghh.” They didn’t want to hear nothing about it.
I was from Adam. I said, “Hi, yeah, my name’s when a very successful jazz musician came up to I said, “That’s OK, we ain’t gonna argue about
Branford Marsalis.” And he said, “Oh yeah, me and said, “You don’t deserve that contract,” it. You’ll see.” A Monk tune that’s hard to crack
the musician.” And he had an aid who’s a true I said, “I know I don’t, but they gave it to me— is “Crepuscule With Nellie”—“Evidence,” too.
Republican with a blue suit and red tie, and he what was I supposed to say, ‘no’?” And after to- That’s not ordinary stuff. It was Jason’s idea to
said, “Yeah, man, you guys did that concert in night, we’ll have this NEA thing. do the Monk. Listen to what he’s doing on that
June. That was the greatest jazz concert I’ve Delfeayo: It reminds me of when Wynton CD, man.
ever been to in my life.” Now, if that concert has and Branford first came out and people were DownBeat: Let’s close by explaining the
that kind of impact on people who wouldn’t be upset at their success and said they hadn’t paid thrust of the Center.
caught dead near jazz, it makes perfect sense to their dues, and they’re just neo-classicalists Ellis: Branford and Harry Connick came to
use it as a way to build better awareness for the bringing jazz backwards, and blah blah blah. It New Orleans after Katrina and saw the devasta-
award, and from that angle it’s clearly succeed- just gets old. tion up close. They decided to do something to
ed. Because a whole bunch of people are talk- Branford: Yeah, it’s terrible, isn’t it? The help, and hatched a plan to make a musician’s
ing about the Jazz Masters awards who didn’t funny part is that he’s still here. community center. They raised the money, and
know it existed beforehand. Is it fair? No. But is Wynton: [puts on a faux haughty voice] decided they’d name it for me. As it stands, it’s
it reality? Yeah. Given that, we said, “Hey, OK, Ahem … As I was saying, “the good time has al- due to open this summer. It’s a community center
let’s do it.” The money goes to my dad, so the ready been had.” But, you know, there’s nothing with an emphasis on music. It’s necessary to have
only thing we get is the title. And like I asked wrong with talking about stuff like this. It’s a di- a cohesive artistic experience, and as Delfeayo
the NEA guy, “Since I’m not a master, when I alogue. Talk it up, man! can tell you, trying to find a venue to do some-
actually become a master, does that mean I get DownBeat: Ellis, your new iTunes record thing in is tough. Delfeayo worked with young
another $25 grand?” He basically said, “No.” is all about Monk. What’s the toughest thing kids, and he had the Uptown Music Theatre and
He turned the corner and said, “Yeah, I’m look- about getting Thelonious right? Uptown Jazz Orchestra. Trying to find a space
ing forward to seeing you …” [laughing] So I’m Ellis: At first it was intimidating; I avoided to consistently do the work is difficult. This cen-
actually getting screwed here. But it’s all good. him for a while. But as I got older and started ter will go a long way of solving that problem.
DownBeat: Don’t be tapping dad for the listening more, it became less so. When Miles It’s not a concert hall, it holds about 250. Theater,
loot, now. did “Straight No Chaser,” he had it in the wrong dance—lots of people can use it. We’re hoping it
Wynton: Oh, we’ve tapped him plenty of key. We all learned it wrong from that. On [the helps a community that really needs it.DB

Time On the Strength of Women in Jazz Today,
Gender Lines Are Finally Being Erased
By John Ephland
A
s this piece began to unfold, one question emerged: What is it about a story
on women in jazz that is both appealing and also repugnant? After all, the
face of the music has changed dramatically over the past generation. At
many if not most venues, it is no longer a novelty for women to make up
more than half of what a music fan witnesses on any given bandstand. And
that significant musical contributions keep coming from women of all ages and on every
instrument available should no longer be surprising. A look at the Critics and Readers Polls
in DownBeat also signifies that the macho thing in jazz is a dated and outworn notion.
Contemporary names like Carla Bley, Maria Schneider, Geri Claire Daly, Jane Bunnett, Karrin Allyson, Rebecca Martin and
Allen, Diana Krall and Cassandra Wilson have long since joined Regina Carter.
the ranks of masters such as Mary Lou Williams (see adjoining Which brings us full circle, so to speak. While a gender-free
story), Marian McPartland, Billie Holiday, Shirley Horn and Ella music is an indication that women have “arrived,” jazz may have
Fitzgerald. But they’ve also joined the ranks of those other guys we embraced this change more gradually than other musical genres.
always talk about. You know, people with names like Bird, Diz and Yet the spirit and heart of jazz have always required nothing less.
Duke. And, today, there are scores of other women who are mak- This new, more mature jazz confirms the music’s mandate that an
ing names for themselves, playing alongside and behind others as open and robust search for great music, regardless of the sex of
well as fronting their own bands and projects. Not included here that musician (and regardless of that musician’s country of origin),
(perhaps because of unavailability or recent previous coverage, let usually leads to foot-stomping, heart-rending and sometimes life-
alone space!) but also worthy of mention are such significant art- changing creative expression. Indeed, jazz is and always has been
ists as Renee Rosnes, Myra Melford, Allison Miller, Esperanza an international, deeply human language, where, more and more,
Spalding, Cindy Blackman, Jamie Baum, Terri Lyne Carrington, gender, nationality, sexual orientation or style take a back seat (if
Massimo Mantovani

KEN MICALLEF JACK VARTOOGIAN/FRONTROWPHOTOS
Lynne Arriale
Jane Ira Bloom
JACK VARTOOGIAN/FRONTROWPHOTOS MARK SHELDON
Ingrid Jensen
Nicole Mitchell
ADRIA LE BOEUF JOHN ABBOTT

Linda Oh
Rachel Z
Women in jazz
they’re on the bus at all). In the end, jazz remains 2011. On this, JAM’s 10th anniversary, the
the music of freedom. Smithsonian will (as its website notes) “examine
Nonetheless, the theme of “women in jazz” is the legacies of jazz women, and their advocates,
significant enough to garner the attention of who helped transform race, gender and social re-
one of the country’s leading cultural institu- lations in the U.S. in the quest to build a more just
tions. Washington’s Smithsonian Institution and equitable nation.”
has declared April as Jazz Appreciation Month Artists who contributed here perform in a
By John McDonough
I
n October 1978 Mary Lou Williams made a unique claim for
herself on Marian McPartland’s first Piano Jazz program.
She said that she was the only musician who had played
all eras of jazz. Others may have lived through them, she ad-
mitted. But only she had actually played them, from Pinetop
Smith and Fats Waller to Cecil Taylor.
But her point seemed less about longevity than open-
ness. Whether spoken with literal or allegorical intent, it was
more than enough that Williams had fully engaged her times,
responded to them, and embraced waves of change with a
welcoming curiosity.
This month Williams is both honoree and poster woman
for Jazz Appreciation Month at the Smithsonian American
History Museum, which this year is saluting distinguished
women in jazz history. The JAM poster, created by artist Keith
Henry Brown, is based on a photo of Williams at the keyboard,
circa 1940, and is available free from the Smithsonian web-
site [email protected]. Williams is also represented in two tracks on
JAZZ: The Smithsonian Anthology, the new six-CD survey of
jazz history.
Born Mary Elfrieda Scruggs in May 1910, she later took
the name of her stepfather, Burleigh, and finally became Mary This year’s Jazz Appreciation Month
Lou Williams with her marriage to saxophonist John Williams poster, created by artist Keith Henry
Brown, is based on a photo of Mary
in 1927. Like her marriage, life came early to her. After passing Lou Williams at the keyboard (circa
1940) and is available free from the
through a child prodigy period, she settled into life as a work- Smithsonian website [email protected].
ing musician and was a veteran at 20.
She soon found other strengths in herself. Williams made
her way to Kansas City in 1929 where she joined her husband in the Andy Kirk band. It would
be a provident partnership. Almost immediately she began creating an original book—nothing
unusual at first. But by the mid-’30s she had turned the clunky Kirk unit into a light, lithe and
supple swing band. Unfortunately, with the band out of the studios for more than five years,
this remarkable growth spurt went unrecorded. All we know is that the band ended 1930 as a
somewhat stiff period unit and re-emerged in 1936 as a sleek zephyr of an orchestra.
What her fellow musicians recognized, however, did not translate into a popular public
profile. Her name never surfaced in the Readers’ Polls, perhaps because she never cultivated
such favor. She left Kirk in 1942 (in part because the band had become too commercial),
worked with Duke Ellington briefly, then composed and recorded her magnum opus, The
Zodiac Suite. She also turned her attention to bebop.
The arc of her range can be traced in three recordings of one of her earliest compositions
taken at roughly 10-year intervals. Listen to “Mary’s Idea”—first, the rather primordial Bruns-
wick version of 1930, then the elegant 1938 treatment for Decca, and finally the bebop edition
seasoned with unexpected dissonances by Benny Goodman’s 1948 septet with Williams,
Red Rodney and Wardell Gray. Each is totally at home in its time.
Williams also collected her share of honors, including a Grammy nomination for a 1971
performance with Dizzy Gillespie and Bobby Hackett, a combination that attested to her open
embrace of all jazz eras and styles. Norman Granz brought her into his family of Pablo artists
where she recorded with Cecil Taylor. She also performed at the White House in 1978.
By the time of her death in 1981, she had lived long enough to look back on the breadth
of her experience with the eye of a scholar, historian and teacher—and still a musician with
things to say. DB

Mark sheldon
Women in jazz
variety of styles, reflect a range of instruments effusive when recounting a recent and relevant hearsals and musical discussions. Nor did the
played and have been leaders in their own right. musical event that served to illustrate her main musicians or the audience when they mobbed me
They include Jane Ira Bloom, Lynne Arriale, points about women, jazz and where she fits in afterwards to thank me for my contribution and
Nicole Mitchell, Rachel Z, Linda Oh and, serv- all this. Jensen—whose latest CD is the quin- for matching the sound and musicality of their
ing as inspiration for the emerging theme of this tet Nordic Connect’s Spirals (ArtistShare) by homeland hero, but from the jazz side of things.”
story, Ingrid Jensen. Incidentally, when I asked the band she co-leads with sister/reed play- A recent posting on her Facebook page came
each of them for current and upcoming news, I er Christine—seems justly proud when she re- from fellow musician Dwayne Burno, who wrote
realized there wouldn’t be room to give much counts: “I just played at the Stockholm Concert to Jensen, “Happy birthday, Ingrid ... my friend
more than a hint at how active each of them are. House with Hakan Hardenberger, one of the over these last 22 years. I’ve listened to you de-
Given trumpeter Jensen’s influential take on greatest classical trumpet players in the world. velop into a bitch of a musician. I remember that
the subject, it seemed fitting that we begin with “I was playing at almost six months preg- quartet tour of ’96 when I learned how much
her. Despite being somewhat dismayed at the nant,” says Jensen proudly, “and he never men- stronger and more solid you are as a trumpet-
original idea for the story, she was more than tioned it once in the context of all of our reer and musician than the vast majority of highly
touted male trumpeters.”
Soprano saxophonist Jane Ira Bloom’s inno-
vative playing has yielded some unconvention-
al results. Among the highlights thus far in her
career, she mentions “the experience surround-
ing being commissioned by NASA and hav-
ing an asteroid named 6083Janeirabloom, al-
beit with a somewhat eccentric orbit.” Bloom,
whose latest CD is Wingwalker (Outline), adds,
“Another highlight is being the namesake of the
first Bloom Festival in Brooklyn, featuring cut-
ting-edge women, new music artists and having
the pioneering work that I’ve done held as a mod-
el for young women leaders.”
Bloom has worked most often with men (in-
cluding current band members bassist Mark
Helias and drummer Bobby Previte), but notes
that in recent years she added keyboardist Dawn
Clement to her group. Perhaps indirectly com-
menting on Clement, Bloom says, “The thing
that heartens me the most about watching young
women entering the jazz world today is how
comfortable they are with themselves, their abili-
ty and who they are as women. They just seem at
ease with themselves and their status in the music
world. That’s the way it should be.”
Flautist/composer Nicole Mitchell, 2010
Artist in Residence for the Chicago Jazz Festival,
wonders how much has changed for women in
jazz. “Once,” she recalls, “I was at a soundcheck
with a big band I was playing with, and the lead-
er told me point blank that we weren’t going to
play my piece at the concert. I silently thought
to myself that we had rehearsed my piece along
with everyone else’s, and I was the only woman
in the band. I thought about Mary Lou Williams
and wondered what her challenges were in her
time, and I thought about the fact that this was
the 21st century. So when we sat down to start
the performance, I looked the leader dead in the
eye and smiled, and said, ‘You’re gonna play my
song.’ And he did.” Mitchell will be premiering
her first work for orchestra in June at Columbia
University’s Miller Theater in New York City
with the American Composers Orchestra. She re-
mains active with, among others, her Indigo Trio,
Black Earth Strings, Truth or Dare, Anthony
Braxton and the AACM.
Pianist/composer/arranger Lynne Arriale re-
cently performed two Jazz Meets the Symphony
concerts in Johannesburg and Durban for the
Jazz Foundation of South Africa. The 20-year
veteran, whose recent CDs include the quartet

albums Convergence and Nuance: The Bennett in my trio projects, mostly due to their support- figures in jazz. In the online blogging commu-
Studio Sessions (both on Motema, a label co- ive nature and grounded bass style. Nicki Parrott, nity, however, the press seems much more open
founded by two women), is optimistic about the Maeve Royce, Tracy Wormworth all have a spe- and fair-minded.”
current state of jazz and women. “I never think cial groove.” While she seems to have transcended the
about gender in relation to jazz unless I am asked Her optimism is somewhat muted when she whole notion of gender, she still remembers that,
about it,” says Arriale. “I’m not even sure that it’s considers age and the media. “I feel that the crit- yes, even as they are jazz musicians first and
a topic of conversation among jazz listeners. It ics and older generations of men have trouble see- foremost, men and women are different in cer-
seems to be more of an issue from the business ing women musicians as major important figures tain respects. Putting a vibrant spin on the sub-
side of the industry. Talent is not monopolized in jazz. The elite jazz press—the most important ject, Rachel Z suggests, “It’s very important for
by gender or race, nor has great music ever been major publications such as DownBeat and the women in jazz to have a sense of humor and not
defined by such narrow or shortsighted metrics. New York Times—often make it clear in their lose their sense of deep feminine power. Keep
The feedback I get from audiences is that they reviews of women’s projects that they don’t take the sexy in jazz! The yin and yang can be very
are thrilled to see more women jazz musicians women seriously at all as innovative or important powerful in a band.” DB
attracting so much media attention and filling
large venues.
“That being said,” she adds, “there are still
so many highly gifted women players who have
yet to get the recognition they deserve. It is my
hope that they stay the course, maintain their fo-
cus on the music and their own personal growth
as performers.”
Bassist Linda Oh is like most women in jazz
who see things “evening out” when it comes to
perceiving women not as novelties but as es-
sential members of the musical community.
Noticing a change in herself, she points out, “I
used to be very pro-‘Women in Jazz’—I even
had an all-female big-band in my hometown—
and now I’m just pro-‘People in Jazz.’” And Oh
makes a strong point when she says, “Musically,
if one were to listen to a recording, it would be
impossible to identify a male instrumentalist
from a female instrumentalist.”
Oh’s well-received Entry CD is being fol-
lowed up with a quartet recording due out lat-
er this year. In addition, along with backing such
artists as Kenny Barron, Oh also heads up the
Sirius String Quartet.
When asked about her experiences with gen-
der discrimination and if that might have been
a roadblock to a career in jazz, Oh states, “It’s
definitely something I think all females in jazz
have had to deal with, though it’s never given me
reason to doubt my career in jazz. Last month I
was at Michiko Studios for a rehearsal, carrying
my bass, and a sax player asked me, ‘So, are you
a singer?’ We may get the occasional ‘Can she
really play?’ But being female does have its ad-
vantages at times—maybe being female is more
marketable and allows us to stick out some-
what.” Almost as an aside, she adds, “Though,
when I look around there are so many amazing
female musicians, you can’t get away with just
being female and maybe looking good.”
Keyboardist Rachel Z has made a name for
herself backing up such artists as Wayne Shorter
in his Highlife band as well being a key mem-
ber of Mike Mainieri’s Steps Ahead and play-
ing with, among others, Peter Gabriel. And,
with her Trio of Oz band with drummer Omar
Hakim and bassist Solomon Dorsey, Z remains
busy touring the new CD of the same name. As
for women in jazz, she sees the gender issue in
more expansive terms. “Women players are gen-
erally seen as just as smoking as the guys,” she
said. “Lately, I have used many females on bass
Mike Figgis

Kurt Elling
Invitation
To Epiphany
By Ken Micallef
O
n his latest recording, The Gate (Concord Jazz), of what constitutes the idea of “a jazz singer”
in today’s genre-fragmented, non-jazz-friend-
perennial DownBeat poll winner and recent Gram- ly world. The Gate recalls Joni Mitchell’s Court
And Spark, another album of seamless, effort-
my Award winner Kurt Elling invites the listener on less, beautiful genre bending. The Gate also
challenges preconceived notions of jazz instru-
a journey. That’s standard patter for any artist in- mentation, of possibilities with pop material, and
finally, it explores vocal areas that few, if any
tent on capturing, holding and increasing an audi- “jazz” singers, have dared to imagine, much less
achieve.
ence, but from Elling the invitation is altogether something different. “On the inside it feels like a natural progres-
sion,” Elling says. “I can hear its roots in past
Something meaningful. When Elling sings, you hear the weight of ex- records, things that we were trying to do on a
smaller scale. We’ve certainly experimented
perience, the weight of his life, behind every syllable. Sure, he swings. with our share of compositions from pop mu-
sic, and from other genres, so that’s nothing new.
But this intellectual, who studied religious philosophy at University of Every once in a while I’ve done multi-tracking
of the voice. So I can’t point to an ingredient that
Chicago’s School of Divinity, who cut his chops at the city’s famous we haven’t at least tried out before. It was a mat-
ter of finding the right people, the right team, the
Green Mill, who can speak as eloquently about the Kol Nidre, Ki- right energies coming together in the right way
with enough confidence and enough maturity,
erkegaard and Nietzsche as he can about Duke Ellington, is that rare both musical and human, to produce something
that is as coherent and as far reaching as I hope
being in U.S. culture: a thinking man’s artist who bows to the visceral this recording is.”
Produced by Don Was, The Gate features
and hails to the spiritual. Elling’s longtime collaborator and pianist,
Laurence Hobgood, with guitarist John McLean,
“The Gate [implies] a threshold,” Elling says still passing through thresholds with every step. drummer Terreon Gully and bassist John
from Manhattan. “I think about the gateless And of the course, The Gate means the jazz Patitucci. Their freedom and belief in the music
gate that you see in Japan, the beautiful Shinto thing—swings like a gate. The Gate represents can be heard on every track. For the first time,
Shrine gates. It’s a Zen tradition of meditation. a passage into another thing, and every time we Elling dives into obvious pop material from
They remind people that you pass through any make a record there’s a new passage and a new Stevie Wonder (“Golden Lady”), Joe Jackson
moment of the day between the scared and the step into some new direction. I hope that we’re (“Steppin’ Out”), The Beatles (“Norwegian
profane, between one consciousness and anoth- ascending.” Wood”) and Earth Wind & Fire (“After The
er, between power and powerlessness. All these Elling has made bold records before, but The Love Is Gone”). Miles Davis’ “Blue In Green”
different aspects that are in seeming opposition, Gate, which tempers pop songs with a jazz ap- and Herbie Hancock’s “Come Running To Me”
but are just one step away from each other at any proach and jazz material with an otherworldly also get the treatment. But there is no dividing
moment. The next corner you turn, the next pot- approach, is a daring album, a life-affirming re- line between pop and jazz, between a standard
hole you step into are all tied together but you’re cording, a work that challenges the very notion treatment and one that defies expectation and

Christian Lantry
kurt elling
brilliantly, passionately soars into the future. Kurt loves Don. Don loves Kurt. And love from strength to strength. Elling’s spine-tin-
Elling and Hobgood dissect, rearrange and ex- conquers all. gling, modulating harmony extensions on
pand on the material in unheard-of ways, wheth- “I was driving to the studio one day, listen- “Come Running To Me,” the luxurious hip-
er it’s Elling’s mind-meld harmonies undulating ing to KJazz,” Was recalls from his home in ness of “Steppin’ Out,” the stillness of “Matte
over daring rhythms in “Norwegian Wood” and Los Angeles. “They played that Sondheim Kudasai.” “Come Running To Me,” originally a
“Blue In Green,” the simple yet essentially spiri- song from Flirting With Twilight, ‘Not While funky ’70s track, is re-imagined into a medita-
tual version of King Crimson’s “Matte Kudasai,” I’m Around.’ I was awed by Kurt’s phrasing. tion. “Norwegian Wood” floats, then flies, Elling
or the odd-metered funk flow of “Golden Lady” How he infused every syllable with meaning, layering scats, harmonies and digging deep over
(whose 7/4 pulse was initially met with derision and how he cut to the essence of the song. But Gully’s storming sticking, the song giving way to
by Elling’s record label). The Gate sounds pre- he did it unlike anyone else has done. I work McLean’s foray into psychedelic darkness. It’s
meditated, but it was in large part developed in with singers all the time, and that is the ideal, to the kind of fusion that celebrates music as life-
the fission of nightly performance, on the road. find someone who brings truth to every line and giver, sustaining the original while extending
Elling displays an “aw shucks” attitude towards not fall back on technique or chops or ephem- its wingspan. “Blue In Green” is a shock. Think
praise, but The Gate is an achievement of the era. There’s no flotsam and jetsam with Kurt, he Doug and Jean Carn’s 1972 version (Spirit Of
highest order, and alters the jazz landscape for doesn’t waste anything.” The New Land, Black Jazz) shorn of its soothing
those with ears to hear. Ask Elling to explain, “Couple that with the cats we had in the splendor and infused with hallucinogen-worthy
and he’ll pass the ball. To producer Don Was, room,” Elling continues. “Patitucci, his level of dread. Hobgood is magical here, painting an in-
who has worked with everyone from The Rolling command and his confidence, Terreon is kill- tro ostinato as Elling coaxes the melody, the band
Stones to Bob Dylan to Lucinda Williams. ing, and McLean we knew from the Green Mill soaring like Bass Desires of old, Gully flying,
“Don Was brought love into the room,” days. I invited those guys specifically because Patitucci plucking, Elling multi-tracking lyrics
Elling says. “Love and respect and no-bullshit we’d made personal connections on the road. about “A Love Supreme,” then taking it out, way
support for anything I wanted to try. Don loves They were enthusiastic about the hit. When we out, the group catching his fire and improvising
music, and he goes all the way with that love. got into the studio, I said, ‘I don’t know where with shades of electronic music delays, weeping
He’d sit there with headphones listening to a I want this to go, here’s the song, here’s a set guitar tones and possible levitation.
fourth pass of a percussion track with the same of emotions and I don’t know what we should “That was not something we had a lot of pre-
smile on his face as he would listen to the final do.’ In the case of ‘Matte Kudasai’ in particu- meditation about,” Elling explains. “We’d used
mix of any of the cuts. He’s in love with the pro- lar. I brought these musicians in because I need- ‘Blue And Green’ as a third set alternate at the
cess and the musicians. It was the big brother, fa- ed them to help me invent something. I had to Green Mill when we were too creatively tired
ther, collaborator you’ve always wanted to have bring my A-plus game.” to think of anything complicated but we still
in the studio. It was a real shot in the arm for Recorded at New York’s Sear Sound, with wanted to play something of quality. It’s good
everybody.” overdubs at LA’s The Village, The Gate goes for stretching out, and it’s a cool space to get

into. Laurence invented that piano ostinato. He vest the work to get beyond the facade, to get to “There is a transcendent intention behind
thought, ‘Let’s stretch the melody this far.’ That’s the real work, to burrow in? It’s hard. There’s no the singing,” Elling says. “I grew up with music
all the direction we had in mind. And all the di- part of this that’s easy. The sacrifices you have to being tied to the consciousness of moving peo-
rection we gave the cats. We thought we were go- make to master your instrument, to master your- ple to a higher plane of experience. Of ecstasy
ing to do a fade after my little area of soloing, but self, to really listen to the material, to pay homage if possible, of healing, of feeling better and be-
with digital you can just keep stuff running. That to the past not with just lip service but through the ing reminded of the humane possibilities. Music
whole secondary section where the rhythm sec- engagement of the essential innovative act. It’s a should move people to higher planes of con-
tion explodes into a volcanic moment—that was real challenge.” sciousness. And help them forget their troubles.
just an organic thing that happened in the stu- Elling points to a handful of vocalists who One of the definitions of happiness is a feeling of
dio. They were all feeling it and listening. The are stepping out—Sheila Jordan, Nancy King, losing your self-consciousness. You’re here now.
vocal harmonies, I took a week off and listened Kate McGarry, Becca Stevens, Theo Bleckmann, You fall in love with music because you get in
to it and figured them out, then Laurence and I Jo Lawry and JD Walter—and who perhaps share the swing of it and you forget everything but the
harmonized the solo section in the studio. We his goal to reach musical nirvana. present moment. That means you’re happy.”DB
don’t even have a chart on that, it’s just Laurence
listening and Patitucci extending the idea in re-
sponse to what I came up with as a solo. We tried
to enhance the music with surprises and with
epiphanies of possibility.”
Don Was concurs regarding “Blue In
Green,” and Elling approaching the sublime.
“As it was going down, I knew something
was happening there that had never been cap-
tured before, that I had never heard before,” Was
says. “It hit another plateau. That’s the first take.
I don’t think it will alienate old fans; it’s not in-
accessible. It’s pleasing to the ear. But if you stop
to examine what’s going on there, they’ve really
upped the ante on the definition of jazz singing.
The relationship between Kurt and Laurence, it
breaks down previous definitions of the vocalist-
arranger relationship. It reminds me Mick and
Keith in the Stones. Usually the guitarist plays
in the holes, but they’re often playing the melo-
dy together, though they don’t phrase in the same
place. Same with Kurt and Laurence, their roles
are interwoven.”
With the assurance of a Grammy win for
2009’s Dedicated To You CD behind them (“It
humbles and touches me,” the formerly soul-
patched singer confides, “but I can’t say it’s got-
ten me any specific gigs”), Elling and Hobgood
can continue with the business of making mu-
sic—a business that is in dire straits. With the
crush of the marketplace jazz feels the pinch, its
vocalists especially. Too many play it safe, cover-
ing the standard repertoire, cutting less than top-
notch tracks and ultimately robbing the music of
its future. Elling can “overflow the boundaries”
as he puts it, but lesser vocalists without his skill,
much less his vision, bring everyone down.
“How many truly great jazz singers have
there ever been?” he asks. “And how many peo-
ple do we have playing at jazz? They’re using
the touchstone of jazz and the material to play
an identity game that doesn’t have much to do
with the basic premise of jazz, which is innova-
tion and improvisation and risk-taking. They just
don’t have the concepts of the forward-thinking,
always grasping, potentially pitfall-filled nature
of jazz music. So the concept isn’t there in many
cases, and yet there’s this sort of cultural cache
about this faint echo of what it means to be a jazz
singer: wearing the clothes, singing in a club of
a certain size with a certain kind of microphone,
there’s a lot of playing at jazz. That clutters the
space. How many people are really willing to in-

By Dan Ouellette
Benny Purified
Green Focus
K
eyboard velocity knocks ’em dead. Pyrotechnics on the ivories wakes the crowd up.
It, in turn, roars in applause when the speed display is complete, and the set settles
down momentarily, poised for more fast-zone action. The “wow” factor is repeated
over and over and over again, but at some point it devolves into vapidity. Technique
over substance. Dazzle over glow. Gluttony over sustenance. Listeners are stuffed
instead of satiated. They walk away from such a spectacle with a vacancy inside—
as if the pianist has zapped their energy instead of revitalized the spirit.
To be fast or not to be? And what lies beneath that blur? Throughout hisbands. It was a dream come true. Reflecting back on those experiences, he
career, that’s been a concern for Benny Green, who can play in the high- says, “I have been to the mountaintop. I was privileged to learn from the
tempo lane with the best of them but manages to curb the excesses, main- masters, and I’m always aware of how much more work I still have to do.”
taining a subtlety of swing. The secret ingredient is the soul that he pours Today Green has returned to the West Coast, a couple of houses away
into the clusters of notes he delivers. “The truth of the matter is that I know
from where his mother still lives. Green’s grand piano, which he first
for sure certain things I can play, in a general sense, that will get attention,”
bought in California, has been with him for all his bi-coastal stops, in-
says Green, an unassuming, even shy artist who exudes extreme passion for cluding a two-and-a-half-year sojourn in Portland, Ore., after he left New
the music. “I can do all sorts of flashy things. But I’m always trying to re-York and before he moved back to Berkeley early in 2009. On the eve of
sist the tendency to get a reaction just for the sake of getting a reaction. It’s
the release of his new Source album—his first leader project since 2004’s
a challenge to the ego.” Bluebird, a duo disc with Russell Malone—being “home” conjures memo-
In years past, there were times when he enjoyed that attention. But for ries of the early gravitational pull of jazz.
Green—who’s not only releasing his first leader project in seven years, For Green, who gigged with local jazz vocal hero Faye Carroll, Eddie
Source on JLP Records, but also reuniting with rhythm mates bassist Peter Henderson and in a big band led by Chuck Israels, many of his most mem-
Washington and drummer Kenny Washington—it’s all about the music, orable listening experiences as a teenager took place across the bay at San
not the cheers. “Music that speaks to me deeply needs to be spoken from Francisco’s vital jazz outpost, Keystone Korner. While acoustic jazz at the
a place where you have nothing to prove,” he says. “If you’re looking for time was near its nadir in popularity, Green caught Horace Silver, Cedar
applause, you run the risk of having a performance that’s obvious, cheap.” Walton, McCoy Tyner, Woody Shaw, Joe Henderson, Bobby Hutcherson
With the new album, an elegant, refined and spirited collection of swing-
and Freddie Hubbard, who had the youthful Billy Childs on piano, in the
ing tunes by the likes of Sonny Clark, Donald Byrd, Bud Powell and Horace warm confines of 750 Vallejo St. But by far the biggest revelation Green ex-
Silver, Green is pleased that his pianism serves the songs he plays. “When I perienced was seeing Art Blakey’s Jazz Messengers, with James Williams
listen to the playback, I can hear my self-restraint, which I’m happy about,”on the piano. “I knew Art’s Blue Note records and had a feel for his groups,”
he says. “Younger players know me as a pianist who can play double octaves Green says. “But seeing him was so magical, so powerful that I knew I
fast. But I like to be known as someone who can really swing.” wanted to be a part of that band. I was 16 or 17 at the time, but I began vi-
He’ll get no argument from Kenny Washington. “When I first heard sualizing playing with him.”
Benny in the early ’90s when he came to New York, he knocked me out,” Green was impressed by the acoustic piano playing of younger musi-
the drummer recalls. “Most of the pianists then were coming out of Herbie cians on the scene, including Williams and Childs and soon after Mulgrew
[Hancock] and McCoy [Tyner] and Chick [Corea]. But here was Benny Miller, who were not succumbing to the temptation of plugging in with a
into Bud Powell, Elmo Hope, Herbie Nichols and Sonny Clark. And to- synth. Green notes, “Billy especially was a huge inspiration to me, as a kind
day, a lot of the music young pianists play, well, it’s not people-friendly. of musical role model—a young guy who was playing hip and fully inside
You can’t snap your fingers to it. It doesn’t have that feeling that Benny puts
of the concept of Freddie’s band.”
into his music. Over the last 20 years, he’s continued to grow musically. He Green knew then that his destiny was set: “It became abundantly clear
was great when he moved to New York; now he’s a million times better.” to me that it was time to move to New York and get to where all this fire
was coming from.”
L ife has come full-circle for Green. Born in New York and raised in While still a teenager, Green set off to seek out Blakey, catching him
Berkeley, Calif., the pianist fully came of age back in his birthplace, playing at the Jazz Forum at Bleecker and Broadway. In New York the
where he moved when he was 19. In his 24 years there, he worked under the drummer had a brand-new group, including Terence Blanchard, Donald
tutelage of Betty Carter, Art Blakey and Ray Brown, as well as led his own Harrison and Johnny O’Neal on piano. Green sneaked a Walkman into

benny green
the club, recorded the set and went to sleep listening to the music on head- already made a commitment to Carter. “If I burned a bridge with Betty, my
phones. “The next day, I practiced the music all day long,” he says. “It was name would have been mud in New York,” Green recalls.
my mantra. It gave me a sense of purpose.” As it turned out, Blakey asked again four years later, Carter gave her
Green soon became friends with O’Neal, who introduced him to blessing and Green continued to pursue his dream of being a Jazz
Blakey. “Art looked me up and down and asked me how long I had been in Messenger. “I wouldn’t have had a chance to be a Messenger if not for my
town,” Green says. “I told him, six weeks; he told me, you need more time. time with Betty, playing every tempo in every key and performing a lot of
So I set out to practice a lot.” concerts without a lot of sleep,” he says.
In early ’83, Green sat in with Blakey at the Blue Note on the tune “Ms. Even so, when Green joined Blakey’s band he knew that “the sound
B.C.” He knew the form and the changes, channeled the playing of Kenny was so powerful, that I’d immediately have to swim or sink. The groove
Kirkland and Mulgrew Miller, and made an impression on the bandlead- was so deep that if you weren’t in the pocket, you’d get completely sub-
er. “Keep doing what you’re doing,” he said. “I’m going to need you some merged. It was fantastic. Art put the fire under all of us. But he also had a
day.” Green practiced more than ever. great dynamic range. It wasn’t all intense and loud. He was fond of saying,
But before his time with Blakey could become a reality, Betty Carter ‘I want you to play so soft that you can hear a rat piss on cotton.’” Soon af-
scouted him when he was accompanying a vocalist at a club in Long Island. ter, Green became the pianist in Freddie Hubbard’s quintet, and a few years
Everyone was whispering that Carter was in the audience; nevertheless, later in 1992, he took the place of Gene Harris in the Ray Brown Trio. He
Green was surprised when she tapped him on the shoulder during inter- toured and recorded with the bassist until 1997. Meanwhile in 1993 Oscar
mission. “I like the way you play,” she said. “I’m having auditions for a new Peterson singled Green out as the first recipient of Toronto’s Glen Gould
pianist this week and I’d like you to come.” International Protégé Prize.
Again, Green did his homework, buying the LP The Audience With During his sideman duties with Blakey, Green launched his own career
Betty Carter, recorded live at the Great American Music Hall in San as leader with two albums for Criss Cross (Prelude in 1988, which included
Francisco with John Hicks on piano and Kenny Washington on drums. “I Peter Washington, and In This Direction in 1989), and then was signed in
listened to the special musical communication between John and Betty,” 1990 by Blue Note—a run that yielded seven albums in a decade and fea-
Green says. “You could hear it. There was powerful chemistry. So I set out tured a long-standing rhythm relationship with Christian McBride.
to do my best to emulate that, to interpret how he played with her. Betty told Based on his newfound friendship with Peterson, the pair recorded
me, ‘You sound like you’re having fun.’ She hired me. At my first rehears- Oscar & Benny in 1997 for Telarc. That opened the door for Green to re-
al, she called a ballad and told me to play it thinking about the last time I cord for the label after he left Blue Note. In 2000 he recorded the trio date
made love. I had the look of a deer in headlights. She then said, ‘Just use Naturally (enlisting, as he had done on his final Blue Note date, These Are
your imagination.’” Soulful Days, McBride and Russell Malone) and in 2001 Green’s Blues,
Green joined Betty’s band in April 1983 when he just turned 20 and his first and only solo date. Rather than return to the trio setting after that,
played with her for the next four years until April 1987. Ironically before his he connected with Malone for a pair of Telarc duo recordings, Jazz At The
first gig with Carter, he was called by Blakey to fill in for O’Neal for a gig Bistro (2003) and Bluebird (2004).
in New York. After he played, he was offered the piano chair. But he had In 1995, Green’s trio was on a double bill in Canada with Diana Krall’s

trio, in which Malone played. “Benny had this portable keyboard that he
kept in his room,” says Malone. “During the daytime we talked about the
music, then we played together. It felt right.”
After playing in Green’s trio, Malone was eager to “investigate the fu-
ture,” as he calls their connection as a duo. He and Green developed a song-
book, and they debuted publicly at the North Sea Jazz Festival in 2001. The
gig lasted five years. “Benny’s very passionate about jazz,” Malone says.
“He knows the history and tons of songs.” As for his trademark speed,
Malone scoffs. “There’s way too much emphasis on this. He plays fast pas-
sages, but he swings it into a pocket. He’s also a great ballad player and
knows how to accompany a singer.”
Remarkably, after Green’s second duo album with Malone, he disap-
peared from the recording world. He continued to perform international-
ly and teach workshops. The stint in the ’90s with the late bassist Brown
was “musically the best thing that ever happened to me,” Green says. But
he adds, “Career-wise, it might not have been the best thing for me. To
promoters it was as if I had taken a step down from being a trio leader.
Professionally I think I might have lost some of the momentum I had go-
ing for myself.”
Added to that was the frenetic New York City environment. Green be-
gan to think about relocating, as long as a decade ago. “New York is jazz
heaven,” he says. “Living there was so powerful—the clubs, the museums.
It’s all love. But after living there for so long and dealing with all the push-
ing and shoving, life there got harder, not easier. I wanted to be more re-
laxed and make every note count. I needed to purify my focus as I was
striving to make music become more precious, more dear to me.”
The genesis of Green’s return to the studio as a leader was a 2009 side-
man gig in Japan for Japanese guitarist Satoshi Inoue with Peter Washington
and Kenny Washington. The quartet played several dates, and then at the
end of the tour, Green and the rhythm section did some shows as a trio. The
chemistry was strong.
“I told Benny that he had to keep this trio together,” says Kenny, who
has history with Green (they played together on saxophonist Ralph Moore’s
1985 debut, Round Trip on Reservoir, as well as on Moore’s next two al-
bums for Landmark, Images and Furthermore, along with Tommy). “On
our first rehearsal as a trio in Japan, Benny suggested we play Coleman
Hawkins’ ‘Bean And The Boys.’ I knew right then and there at the first note
that this would work.”
Green concurred and linked up with his old friend bassist John Lee,
who founded his own label, Jazz Legacy Productions, in 2007. Green was
enthusiastic at the prospect of returning to the recording scene with Lee as
producer. As it turned out, he says, “This is the very first record I’ve made
as a leader where the producer did not dictate who I played with or what
style I should play.”
As for the 10 songs on Source, Green largely sticks to the music of yes-
teryear, yet steers clear of the standards, opting instead to savor the music
that doesn’t get heard all that often. “When I was hanging out with Peter
and Kenny, I kept a notebook,” Green says. “They mentioned so many re-
cords that I had never heard about. Or they’d remind me of songs I hadn’t
heard in a long time, like Kenny suggesting that we try ‘Born To Be Blue.’
So I listened to it on Tommy Flanagan’s Moodsville album and Grant
Green’s Born To Be Blue album with Sonny Clark and Ike Quebec. As I
thought about the music we could play, I realized that I wanted to focus on
songs that come from the source of jazz—compositions by Clark, Kenny
Drew, Bud Powell, Horace Silver.”
While Source includes two slow-tempo numbers, the bulk of the album
features the trio swinging with spirited bebop gusto—including a speedy
romp through Donald Byrd’s “Little T,” a drum-charged spin through Powell’s
“Tempus Fugit” and a blues-steeped sway into Duke Pearson’s “Chant.”
As for Green deciding to not include any originals, he says, “I love to
feel like I’m getting closer to what artists like Monk and Bud Powell and
Kenny Drew got. I want to embrace the music that I love. I don’t have any
pretense of becoming an innovator. Some are called. John Coltrane didn’t
try to innovate. He did so because he had to. If I tried to innovate, it would
just be me trying to prove something. I love jazz. I’ll never master or perfect
it, but I’ll continue to explore.” DB

Masterpiece ★★★★★ Excellent ★★★★ Good ★★★ Fair ★★ Poor ★
Inside 
48 I Jazz
50 I Blues
52 I Beyond
60 I Historical
62 I Books
Ambrose Akinmusire
When The Heart
Emerges Glistening
Blue Note 70620
★★★★
H appy day, it’s another entry in

the great-time-for-trumpets
column. Ambrose Akinmusire’s
forceful outing is as noteworthy for
the strength of the overall concept
as for the individual accomplish-
ments of its leader, head-turning
as they are. With folks like Steve
Coleman and co-producer Jason
Moran playing a guiding role, no
wonder there’s a more perspica-
cious mindset at play.
Let’s start with Akinmusire’s
playing, just to get that on the record.
He’s pretty spectacular and not at all
shy—muscular, driving, with a for-
ward sound, pliant phrasing and a
penchant for intervallic leaps. He’s
nimble, but hard, and especially flu-
id in the lower register. On airier
tunes he can get breathy, but refus-
es to lose focus. With Moran setting
up harmonic fields on Rhodes, on
“Henya” trumpet melds with Walter
Smith III’s tenor saxophone, anoth-
er lovely young feature of the band;
the two horns intertwine alone at
song’s end, landing on a dissonant
interval, which they drone out. On
the tender but compelling “With
Love” or the lone standard, “What’s
clay patrick mcbride
New,” Akinmusire’s tone grows

more singing, though he kicks off
“The Walls Of Lechuguilla” with
startlingly original gutteral sounds
with vocalizations, leading puff- expected—and the spirits of an- shot and killed by a policeman in restless than blowing sessions, but
ingly into an accelerando, a truck other generation of Blue Note in- 2009, with Justin Brown’s hard-hit- is still firmly rooted in the grand
engine turning over. When the novators from Andrew Hill to ting drumming as lone accompani- tradition. —John Corbett
tempo and/or temperature rises, Sam Rivers are clearly welcomed ment. Juxtapose this with “Ayneh When The Heart Emerges Glistening: Con-
Akinmusire is right there, urging at Akinmusire’s table, but the mu- (Cora),” on which the trumpeter fessions To My Unborn Daughter; Jaya; Henya
Bass Intro; Henya; Far But Few Between;
the emotional “Confessions To My sic and the band vibe are wonder- plays celeste in a duet with Gerald With Love; Regret (No More); Anyeh (Cora);
My Name Is Oscar; The Walls Of Lechuguilla;
Unborn Daughter” from expository fully original and current. On “My Clayton’s sensitive piano. Clearly What’s New; Tear Stained Suicide Manifesto;
Anyeh (Campbell). (53:43)
to explosive. Name Is Oscar,” Akinmusire re- something very special and per- Personnel: Akinmusire, trumpet (1, 2, 4–7,
There are faint M-Base touch- cites a simple text based on the sonal is at work here, a vision of 10–13), celeste (8), voice (9); Walter Smith III,
tenor sax; Gerald Clayton, piano; Jason Moran,
es here and there—a zig-zagging story of Oscar Grant, a young jazz that’s bigger than camps, Brown, drums.
Rhodes (4, 12); Harish Raghavan, bass; Justin
line pivoting around longer than African-American man who was broader and more intellectually Ordering info: bluenote.com

Charles Lloyd al Spanish “La Llorona (The Weeping Woman).”
Quartet Lloyd’s alto saxophone sound—an added at-
Mirror traction here—is unusual, the lower register
ECM 2176 sounding like something you might hear com-
★★★★ ing through a hollow tusk, the upper, plaintive-
ly Ornette Coleman-ish. He’s warm and chip-
C harles Lloyd has been re-

cycling the same five or
six John Coltrane licks for
per on the pretty “Desolation Sound” but often
merely decorative as a soloist, tracing the lines
of his tunes but not really transforming them.
four decades now, yet some- By contrast, Moran works his way to the edge
how he always comes out say- of the harmony on “Mirror,” rises up to crunchy
ing something personal, origi- declarations on “Desolation” and clangs big,
nal and moving. How does he splayed chords on “La Llorona.” Rogers is viv-
do it? Conviction, certainly, id on “Water” and dances gracefully with Lloyd
and an apparent total immer- on the rippling, floating “Being And Becoming.”
sion in whatever he’s playing, Harland pulls a masterful range of sounds from
whether it’s Thelonious Monk his kit, mixing and matching with a great feel-
or the Beach Boys, so that, ing for texture as well as setting up a pulse while
true to the ideal of selflessness keeping things wide open and suspended.
he paraphrases from the Bhagavad Gita at the tradiction between sacred and secular love —but, The quartet goes straight to the heart of the
end of this album, his presence somehow re- on contrary, celebrates and exalts both as perhaps two Monk tunes—the brown study of “Monk’s
cedes to a sort of evanescent absence. A whis- manifestations of the same devotion. How else Mood” and heart-on-sleeve vulnerability of
per that shouts. It doesn’t hurt that he has amaz- to explain an album that moves seamlessly from “Ruby, My Dear”—but I found myself hungry
ing sidemen. Jason Moran, Reuben Rogers and the sentimental musings of “I Fall In Love Too for more, on both. Still, whatever its shortcom-
Eric Harland step forward here with assertive- Easily” to a syncopated “Go Down Moses” with ings, Mirror draws the listener into an immedi-
ness and equal presence, even when they’re just a consonant, singing resolution? Or that embrac- ate, palpable world of feeling and meaning.
setting up a tangled groove. es both Brian Wilson’s lament for lost innocence, —Paul de Barros
The quartet’s first album, Rabo De Nube, “Caroline, No,” and the traditional spiritual “The Mirror: I Fall in Love Too Easily; Go Down Moses; Desolation
was a hard act to follow, but the group is up to the Water Is Wide”—in the finger-popping pocket— Sound; La Llorona; Caroline, No; Monk’s Mood; Mirror; Ruby, My
Dear; The Water Is Wide; Lift Every Voice And Sing; Being And
challenge. The program is a poignant mix of ten- complete with a hilarious allusion to “Bye Bye Personnel:Road
Becoming, To Dakshineswar With Sangeeta; Tagi. (72:58)
Charles Lloyd, alto saxophone, tenor saxophone,
der romances and transcendent spirituals, which Blackbird”? It’s a nice ride, with Big Feelings voice; Jason Moran, piano; Reuben Rogers, bass; Eric Harland,
drums.
suggests that, like the Sufis, Lloyd finds no con- flowing everywhere, especially on the tradition- Ordering info: ecmrecords.com
The Cookers against one another in a hard-swinging run

Cast The First Stone through “The Chief.” Each is such a match as
Plus Loin Music 4536 they skip along scanning the changes, the con-
★★★½ trast gap is slim, although Harper has a bit more
bark in his sound.
I n their second CD in about a

year The Cookers begin and
end at a boil but largely simmer
The title track begins with a brief ensemble
punctuation, then a strained, almost grinding
howl from Harper, as if suddenly jarred from
in between, a crock pot of smart- some inertia. He sounds disoriented, as if grab-
ly seasoned but slower cooking bing for some point of reference. After a few
preparations of earlier recipes. bars, it’s clear we’re into something of a New
Inspired by the 1965 Freddie Thing tirade in which brutal passion momen-
Hubbard-Lee Morgan album tarily displaces ordered content. It’s a famil-
The Night Of The Cookers, this iar strategy: a sequence of shouts mingled with
is a septet steeped in the hard twisted clusters of rock-hard notes that gush,
bop of the ’60s as it made ten- soar, dive and swarm. After about a minute
tative approaches to the avant some ensemble lines stabilize matters briefly
garde without actually consum- before Harper returns, blowing every note at fe-
mating an engagement. To the ver pitch.
extent that its heart is in the music of that peri- and Henderson, who are the backbone of The The music then mellows out as it explores a
od, it is retro. On the other hand, that spirit has Cookers, have been making music on and off series of more lyrical but never sedate piec-
never departed the scene, so it’s also thoroughly together for more than 20 years. Both first ap- es, sensitively orchestrated to frame the solo-
contemporary. Despite the veteran talent, this is peared in that transitional period of the ear- ists. Henderson’s command refuses to show the
no preservation hall unit. It works with the peri- ly ’70s. Harper emerged in the first post-John years, while Craig Handy’s younger but thor-
od, never re-works it. Coltrane decade and carries the characteristic oughly seasoned alto provides welcome ballast
Musical director David Weiss has created a marks in his hard sound and thrashing passion. to the tenors. —John McDonough
lively playground for renewing old partnerships. Henderson came up about the same time when Cast The First Stone: Cast The First Stone; Peacemaker; Look-
Billy Harper, Eddie Henderson, George Cables, Miles was off in fusion land and Woody Shaw
ing For The Light; The Seventh Day; Croquet Ballet; Think Of Me;
The Chief. (61:21)
Cecil McBee and Billy Hart all have long his- was the talk of the town. Tenor Azar Lawrence, Personnel: Craig Handy (1–5), alto saxophone; Billy Harper,
Azar Lawrence (3, 4, 6, 7), tenor saxophone; Eddie Henderson,
tories with each other, as well as with most of who guests on four tracks, worked with McCoy Davis Weiss, trumpet; George Cables, piano; Cecil McBee,
bass; Billy Hart, drums.
the major leading players of the period. Harper Tyner in the early ’70s. The two tenors go up Ordering info: plusloin.net

Hot Box
The
CD Critics 
Ambrose Akinmusire
John McDonough John Corbett Jim Macnie Paul de Barros
When The Heart Emerges ★★★ ★★★★ ★★★½ ★★★★

Glistening
Charles Lloyd Quartet ★★★★ ★★★★½ ★★★★ ★★★★

Mirrors
Jim Hall & Joey Baron The Cookers ★★★½ ★★★½ ★★★½ ★★★
Cast The First Stone
Conversations
ArtistShare 0111
Jim Hall & Joey Baron
★★★½ Conversations
★★½ ★★★½ ★★★½ ★★★
G hostly strums, soft feints, weighty whis-

pers—they’re all floating through this ex-
quisite duet by guitarist Jim Hall and drummer
Critics’ Comments 
Ambrose Akinmusire, When The Heart Emerges Glistening

Joey Baron. The pair has shared many stages
during the last two decades, and here, as usu- If you listen through the hype that accompanies this artist’s arrival on a big label, you’ll hear a skilled if not
al, they make hay in the rather stark atmosphere singular player with a penchant for stroking a rich, low, patient purr from his horn. His wilder flings seem more
that’s become the 80-year-old string icon’s home
muscle than design, while the lyrical sometimes borders solemnity. “What’s New” catches the warm center of
his talent. —John McDonough
turf. But few of Hall’s previous outings are this The tone of the tunes positions this as a serious date. The New York trumpet newcomer and his acclaimed
arid. Conversations is all about micro maneuvers producer are looking for the impact a big dollop of thoughtfulness can have. And it’s here. The ballads glisten
that spotlight the power of silence. From a splash with romance, the rave-ups put passion in the center of their squalls. Great first step. —Jim Macnie
cymbal to a clutch of strings gently flicked, the Akinmusire and crew play with the kind of bristling conviction, passion and energy I associate with Art Blakey,
program is built on a parade of subtleties. though stylistically they’re more abstract. The big-toned, muscular trumpeter has a great conversation with
himself on “Confessions,” darting from low to high and Gerald Clayton’s gliding stride on “What’s New” is a
It may begin with “Bag’s Groove” and nice surprise. —Paul de Barros
place “St. Thomas” near its conclusion, but es-
saying standards isn’t what this disc is about. Charles Lloyd Quartet, Mirrors
“Pollock” is a spray of sound that blends Hall Finding the hidden alto in his tenor, Lloyd wafts with a cool and diaphanous grace over some mixed ballads,
curlicues and Baron clanks. “Monet” is simi- a few spirituals and one nearly comatose drone of poetry at the end. But the standards and especially Monk
lar, albeit with gentler edge. These approach- draw Moran out nicely, and Lloyd’s dusty-dry sound is an amalgam of romance and stoicism. Mostly, very
good music. —John McDonough
es have more in common with those famed
Derek Bailey and Andrea Centazzo hook-ups
The repositioning of Lloyd from slightly outside centrality to a place of such regality has been fascinating to
watch, in part because his most recent slate of records so firmly justifies it. Wonderful program, from Beach
than the sumptuousness of Hall’s duos with Boys to spirituals; the band continues to be splendid, especially Moran, who has entered a Midas-like phase.
Bill Evans or Ron Carter. —John Corbett
Respect for open territory has always been Each of his recent ECM discs takes the notion of silvery beauty to another level—on his best days, Lloyd may
part of the guitarist’s agenda, but he’s never ded-
well be our most eloquent tenor saxophonist. The interplay of his ensemble is keen, no doubt. But throughout
this program I can’t take my ear off of his bittersweet horn lines. —Jim Macnie
icated this much time to free-range action. The
title cut finds him at his most mercurial and in- The Cookers, Cast The First Stone
ventive, stitching discrete phrases with the help Beefy music from mid-sized band spotlighting hardcore mainstream statesmen. No giant surprises, very ’70s,
of Baron’s cymbals. Here, juxtaposition is treat- but Billy Harper always delivers and Azar Lawrence takes some keening tenor solos. The way he tucks in, I
ed as a game strategy; one cluster of notes might bet you could bounce a quarter off Billy Hart’s bedsheets. —John Corbett
suggest decorum, a follow-up phrase might be Sometimes just hearing the ardor a band brings to the table is enough to generate a goose bump or two.
created to serve the interests of contrast. Without overlooking the smarts of the music itself, that’s the case here. From Billy Harper’s zeal to Billy Hart’s
finesse, the collective vehemence is palpable throughout. —Jim Macnie
Baron is an ideal duet partner for Hall. His
opening of “Safari” sets a deep mood that the gui-
“Playing hard and meaning it” is the watchword of trumpeter/arranger David Weiss, who continues his hom-
age to ’70s blowers with a great ear for underplayed tunes from the era. But with the exception of “Croquet,”
tarist stretches further. On the same track a sin- Weiss’ arrangements have so little air between the parts, I found myself waiting for the crowd to disperse so I
gle tom-tom thud leads to the trap set becoming a could hear soloists like Eddie Henderson and Billy Harper. —Paul de Barros
battery of hand percussion—diversity of textures Jim Hall & Joey Baron, Conversations
is another of the program’s strengths. By the time
the duo settles into the expanse of “Travelogue,” More small talk than conversation. Hall and Baron engage tentatively, often in fragments. A caressed chord, the
it becomes clear that Conversations is a testa-
rustle of a cymbal or tom-tom in search of a subject. Baron is open and laconic; Hall, probing, unexpected, but
inconclusive and fleeting. “St. Thomas” is charming. But overall too little thematic binding. —John McDonough
ment to rapport that celebrates the profound im- Two aces of economy, making more out of less. Where they expand, so does the fascination—take “Trav-
pact of pith and the rich possibilities of explora- elogue” or the beautiful “bonus” track “Time.” One observes the back and forth of great musical repartee.
tion. —Jim Macnie Some short cuts (seven under two minutes) feel more like starts than miniatures, and we’re left wondering
where they would have gone had they lingered. —John Corbett
Conversations: Bag’s Groove; Reinhardt; Pollock; Conversa-
tions; Ballad Painting; What If?; In Repose; Uncle Ed; Safari; Hall and Baron are two of my favorite players of all time, but this unusual excursion is a bit oblique—not to say
Monet; Travelogue; At Sea; St. Thomas; Pocketful Of Change; precious and refined—for my taste. Though when the pair does make contact in ever so subtle and surprising
Time. (49:58) moments, as they do on “Pollock,” “Safari” and “St. Thomas,” it’s sweet, to be sure. —Paul de Barros
Personnel: Jim Hall, guitar; Joey Baron, drums.
Ordering info: artistshare.com

Jazz | By John Ephland
Smalls’ Omer Avital
Big Noise
Small is beautiful. Smalls, that
is; Smalls the Manhattan club
of choice for many a jazz mu-
sician and fan. This selection
from pianist/producer Spike
Wilner’s Live At Smalls series
is a sampling of performances
that reflect the excitement and
diversity of talent that courses
through this Greenwich Village
haunt.
Lovely and easy on the ears,
Wilner’s Solo Piano (Small-
sLive 0016; 58:26 ★★★★)
travels through 13 familiar tunes
with one original. Not a stylist
per se (his book on Willie “The Lion” Smith is a heard), a contrast emerges. It becomes obvi-
clue), Wilner still has the capacity, patience and ous that the pacing in this set and unity of this
technique to breathe new energy into a series band—with equally strong playing from Avis-
of chestnuts, from a delectable “Poor Butter- hai Cohen on trumpet, pianist Jason Lindner
fly” to hearty yet composed renditions of clas- and tenorist Joel Frahm—reflects the kind of
sics by James P. Johnson, Smith and Scott top-tier programming a certain jazz club is ca-
Joplin, including Joplin’s “Elite Syncopations.” pable of staging.
The magic Wilner conveys comes through his Ben Wolfe Quintet (SmallsLive 0015;
subtlety and ability to transform material that’s 61:12 ★★★½) keeps the pressure on from the
set in stone into fresh musical excursions, his git-go, swinging hard and fast with “Block 11.”
“Bodhisattva Blues” also showing his way with One starts to get the impression that Smalls
another time-tested style. is home, more often than not, to high-octane
Ari Hoenig’s Punk Bop (SmallsLive 0013; musical experiences when, all of a sudden,
73:14 ★★★★) is an altogether different take on “Block 11” suddenly downshifts. “For The
jazz. The drummer steers his quintet through Great Sonny Clark” follows with a typical trib-
six originals that typically play with meter, mel- ute to the late hard-bop pianist, with mellow
ody and rhythm, the arrangements intricate, charts and a lanky swing. With the tempered,
engaging, giving a sense of this band’s cohe- mainstream feel of “Telescope” the listener
sion. “Birdless” opens with uptempo swing starts to get a sense that this band, like the
alternating with some double-time and waltz others, has strength at every position. This all-
figures, setting the stage for even more adven- Wolfe program, generally more easygoing, is
turous “punk bop” (e.g., the use of electronics). right down the middle.
Jonathan Kreisberg plays all over his guitar on The Jimmy Greene Quartet (SmallsLive
another involved, robust and at times quiet 0012; 62:47 ★★★★) disc starts out channeling
number with “Rapscallion Castle.” Pianist Ti- the John Coltrane quartet with all its combus-
gran Hamasyan works selectively, forcefully, tible intent. With saxophonist Greene blasting
his more chordal style complementing Kreis- off with pianist Xavier Davis, bassist Ugonna
berg’s, with altoist Will Vinson equally up to the Okegwo and drummer Gregory Hutchinson,
task of executing Hoenig’s at times topsy-turvy the band blows through five Greene origi-
arrangements. While the themes may not be nals and Thelonious Monk’s “Ugly Beauty.”
memorable, the way this band stretches out The aptly titled “Sense Of Urgency” tears the
can make for fun, unpredictable listening. head off the music as the opener, its uptempo
The quiet and relative repose of Wilner’s gait, stop-and-mostly-start arrangement the
outing becomes an even more distant memory perfect vehicle for all onboard, Hutchinson’s
with Omer Avital Quintet (SmallsLive 0014; solo, in particular, a seamless, musical and ex-
71:04 ★★★★). Avital’s eight originals can be plosive part of everything. The pause comes
turbo-charged with more exacting arrange- with the Thelonious Monk ballad, played true
ments, featuring fiery solos all around and to form, patiently, lyrically, Greene’s sweet so-
exceptional blasts of rhythmic urgency from prano recalling another great, the former Monk
drummer Johnathan Blake. When the dust colleague Steve Lacy. The heat returns with
does settle, as with Avital’s eloquent bass Greene’s uptempo, quasi-rock/Latin “Soul
playing on “D-Bass” and the more meditative Music,” a tune that reflects his more compo-
gospel-inspired closer that still manages to serly side, with less blowing and more dancing
heat up “(Just Some) Small Time Shit” (echoes all around through a tighter arrangement. DB
of the chanting side of Charles Mingus are Ordering info: smallslive.com

Moon Hotel Marcus Shelby
Lounge Project Orchestra
Into The Ojalá Soul Of The Movement:
Montoonage Music Meditations On Dr.
★★ Martin Luther King Jr.
Porto Franco 024
J ournalists who venture

into the field of making
★★★★
records have about as solid of
a track record as movie stars
who chase the same pursuit.
T hrough spirituals, original com-
positions and bluesy arrange-
ments of an era's anthems, bassist Marcus Shelby weaves a narrative of
Tom Moon served as the chief hope into a musical retelling of the civil rights movement. He delivers a
music critic for the Philadelphia Inquirer for nearly two decades and au- masterpiece that balances the exalted glory of church music with swing’s
thored 1000 Recordings To Hear Before You Die. An insightful scribe, proclivity for fun without compromising the equally required somber tone.
Moon, who graduated from the University of Miami’s School of Music, In the haunting narrative, “Emmett Till,” a sleepy, meandering piano
stumbled upon the concept behind Into The Ojalá while visiting upscale and softly bristling bass suggest the carefree expectations that the child and
accommodations. It’s easy to surmise that saxophonist Moon reveled in his mother may have had for his fatal trip to Mississippi. Slowly, a horn
their homogeneous smoothness, languid calmness, and balanced neutral- theme shrouds the piano’s innocence with foreboding waves of darkness.
ity. Aside from a cover of the gospel spiritual “Rock Of Ages,” the lush al- Meanwhile, the up-tempo “Black Cab” is pure pride and joy, as Shelby’s or-
bum wants for energy, soul and color. Occasional bursts of liveliness—the chestra celebrates the drivers who helped sustain the Montgomery bus boy-
heel-clicking pulse of “What You Had When You Knew You Believed,” cott. Faye Carol and Kenny Washington’s soul-shattering performances on
funky kick and brief interplay on “Rumi We’re Losing,” tempo detour mid- “Take My Hand Precious Lord” may be the consummate embodiment of
way through “Seed The Future”—stave off the tendency to ignore what’s music as a beacon of hope born out of pain. —Jennifer Odell
transpiring. Hints of bossa nova rhythms and Spanish-influenced forays Soul Of The Movement: There is a Balm in Gilead; Amen; Emmett Till (Bobo); Black Cab; Fables
aren’t enough to salvage a sleepy listen that unfolds as harmless back- of Faubus; We Shall Overcome; Trouble on the Bus (Freedom Rides); Birmingham (Project C); Go
Tell It On The Mountain; We’re A Winner; Memphis (I am a Man); Take My Hand Precious Lord.
ground fare. —Bob Gendron (74:53)
Personnel: Gabe Eaton, alto sax; Marcus Stephens, alto sax; Sheldon Brown, clarinet/tenor sax;
Into The Ojalá: What You Had When You Knew You Believed; Powerful Tonic; See The Future; Evan Francis, tenor sax/flute; Fil Lorenz, baritone sax; Joel Behrman, trombone; Rob Ewing, trom-
Scaffolding; How To Dismantle; Rock Of Ages; Thank The Eyes; Ronnie Waltz; Strength Found In bone; Mike Rinta, trombone; Louis Fasman, trumpet; Scott Englebright, trumpet; Mike Olmos,
Treetops; Ojalá In The Kingdom Of Longshots; Rumi We’re Losing. (50:10) trumpet; Darren Johnston, trumpet; Mark Wright, trumpet; Adam Shulman, piano; Sista Kee, piano;
Personnel: Tom Moon, tenor saxophone; Kevin Hanson, acoustic and electric guitars; Mike Frank, Matt Clark, B3 organ; Jeff Marrs, drums/percussion/vocal; Faye Carol, Jeanine Anderson, Kenny
acoustic piano and Rhodes; Jim Stager, acoustic and electric bass; Erik Johnson, drums; Behn Washington, vocals; Marcus Shelby, acoustic bass, conductor; Howard Wiley, soprano sax (11),
Gillece, vibraphone; Josh Robinson, percussion. tenor sax (10, 12).
Ordering info: intotheojala.com Ordering info: portofrancorecords.com

Blues | By frank-john hadley
Nationwide Roy Gaines
Rediscoveries
Roy Gaines: Tuxedo Blues
(Black Gold 001237; 65:15
★★★½) In a happier world,
septuagenarian guitarist Roy
Gaines, who’s accompanied
everyone from Roy Milton and
Ray Charles to Quincy Jones
and Stevie Wonder, wouldn’t
have had to spend his life
savings making this career-
capping album with a swing-
ing Count Basie-like big band
of Los Angeles musicians (Joe
Sample on piano). But be glad
he did. His fairly strong singing,
more highbrow than down-
home, has some of the liftoff
of Jimmy Rushing and Big Joe
Turner, while his guitar usually
possesses the cool, calm lucid-
ity of a winning style indebted
in part to Wes Montgomery and
T-Bone Walker. The 12-song
program is split evenly between
original compositions—none
better than “Outside Lookin’
In,” arranged with panache by
the estimable jazzman Leslie Drayton—and Ordering info: kirstenthien.com
loaners such as finger-snapping “Route 66.” James Kinds: Love You From The Top
Ordering info: roygaines.com (Delmark 811; 61:21 ★★★) James Kinds, a
Charles “Big Daddy” Stallings: Blues rising star on the 1970s Chicago scene but
Party (Tai Jeria 3867; 79:57 ★★★) Charles little heard from since, finally gets his day in the
Stallings, in a Maryland studio, configures his sun with a release on a well-respected label.
third release as a backcountry North Carolina The plaintive wail of his high singing voice is
“good time,” complete with verbal exhorta- something like Jimmy Johnson’s, and his gui-
tions and IDs of the members of his cracker- tar work and songwriting point to Magic Sam.
jack band. He sings from the gut and plays Original songs, four of which have guest Ed-
passable guitar as he personalizes straight die Shaw adding his spirited saxophone, are
or jazzy blues, James Brown funk and Latin loaded with the usual complaints about com-
dance music. This middle-aged raconteur only plicated relationships. Kinds, who plays Iowa
falters when he lecherously addresses sexual- clubs these days, is the real thing.
ity (“Horny Bee” and silly “Old Folks,” no nec- Ordering info: delmark.com
tar in either place). Wayne And Wildroot: One Hell Of A Ride
Ordering info: bigdaddystallings.com (Reconciled 1000-7; 40:21 ★★★½) Soul-
Kirsten Thien: Delicious (Screen Door blues singer Bobby Wayne has never enjoyed
0002; 56:44 ★★★) In New York, Kirsten even a sliver of the national attention he’s de-
Thien’s stock in trade is modern blues infused served since the 1960s (soul fans in England
with soul and rock. She’s a lithe, composed and Japan adore him). On this rip-roaring al-
vocalist, inclined to use her attractive voice to bum, he falls in with guitarist Jimmy Wildroot
elevate rather than plumb lyrics in songs she’s Dolan and a cortege of Pittsburgh-based musi-
written about sensual love. There’s a layer of cians, including the four-piece Midnight Horns.
honesty about the redhead’s music, even Wayne brings gravitas to the ballad “One Way
when she forces the emotion in “I Ain’t Su- Ticket” and drives the lickety-split romp “Sat-
perstitious” and other places. Boldly dropping urday Night.” Wildroot’s slide guitar flays off
her band, she comes up trumps singing and the skin of your ears when listening to “Gold
strumming acoustic guitar with ace Memphis Standard.” Wildroot does all the songwriting,
harmonica player Billy Gibson on Ida Cox’s take a bow, and trumpeter Danny Donohoe
“Wild Women Don’t Have The Blues.” Band provides the tight, colorful horn arrangements.
performances “Please Drive” and “Love That’s These guys share DNA with Sweet Pea Atkin-
Made To Share” profit from solos by the great son & Was (Not Was). DB
guitarist Hubert Sumlin. Ordering info: reconciledrecords.com

Ralph Bowen Sonic Liberation Front
Power Play Sonic Liberation Front
Posi-Tone 8073 Meets Sunny Murray
★★★ High Two 027
★★★
S axophonist Ralph Bowen’s
Power Play is a solid and
straightahead album that juxta- L egendary free-jazz drummer
Sunny Murray’s first encounter
poses fearless up-tempo play- with percussionist Kevin Diehl is the
ing with pensive introspection. stuff of pure chance. Murray dialed
Bowen, who has chops galore, dis- another musician whose phone num-
plays his mastery of tenor, alto and ber was one digit different from Diehl’s, got the right wrong number, and
soprano throughout. On tenor, which he plays on all but three cuts, he’s syn- they’ve been talking—and playing together—ever since. Diehl is now the
thesized stylistic elements of several past masters, including John Coltrane leader of Sonic Liberation Front, a Philadelphia-based ensemble of shift-
and Michael Brecker. His focused and pure tenor sound is unique, although ing size and composition that combines outward-bound jazz with Afro-
his ballad approach comes close to Coltrane’s on “My One And Only Cuban percussion. Murray joined them for a spell in 2002, and the popu-
Love,” the date’s only non-Bowen composition. Bowen displays a virtuosi- larity of bootlegged concert recordings from his sojourn led them to try a
ty, especially on the up-tempo “Two-Line Pass,” that’s similar to Brecker’s. studio recording six years later. Either they waited too long or this is just
Bowen shifts stylistic gears when pulling out the alto on “Drumheller hard stuff to bottle, because this CD represents neither party at its best.
Valley,” as he takes a more measured and bluesy route. On “Jessica” and “A Murray often melts into the ensemble drumming, which is neither as tight
Solar Romance” his soprano tone, as well as his note choices and phrasing, nor as compelling as it is on SLF’s last album, Ashé A Go Go. It falls to
occasionally closely resemble those of Branford Marsalis. Diehl to engage directly with the horns and bass, whose keening impro-
Although the album almost entirely focuses on Bowen, his bandmates visations seem to coexist with the drum choir as often as they mesh with
impress as well. Pianist Orrin Evans bends notes like Wynton Kelly and it. Sometimes this works; on “Knowledge Of The Sun,” cornetist Todd
his impressionistic solos on “Bella Firenze” and “Jessica” give nods to Bill Margasak and saxophonist Terry Lawson’s mournful unisons seem to drift
Evans. Bassist Kenny Davis walks up and down the entire range of his in- over the slowly undulating percussive figures like a rain cloud over an ar-
strument, his rhythmically varied playing on “Walleye Jigging” is inven- boreal canopy. —Bill Meyer
tive, and he uses plenty of space on his solo on “Jessica,” letting his pretty Sonic Liberation Front Meets Sunny Murray: Init; Knowledge Of The Sun; Meaningless Kisses;
tone ring. —Chris Robinson Cosa De Grupo; Ochun Libre; Some Other Times; Nomingo; Under The Wave Of Kanagawa. (69:46)
Personnel: Sunny Murray, drums; Kevin Diehl, drums, percussion, bata; Chuck Joseph, bata, iya,
conga; Terry Lawson, tenor saxophone; Okomfo Adwoa Tacheampong, bata (1–5); Shawn Hen-
Power Play: K.D.’s Blues; Drumheller Valley; Two-Line Pass; My One And Only Love; The Good nessy, bata (1–5); Matt Engle, bass (1–5); Todd Margasak, cornet (1–5); Nichola Rivera, itolele,
Shepherd; Bella Firenze; Jessica; Walleye Jigging; A Solar Romance. (54:52) conga (6–8); Joey Toledo, okonkolo, percussion (6–8); Adam Jenkins, alto saxophone (6–8); Kim-
Personnel: Ralph Bowen, saxophones; Orrin Evans, piano; Kenny Davis, bass; Donald Edwards, drums. bal Brown, trumpet (6–8); Fahir Kendall, bass (6–8).
Ordering info: posi-tone.com Ordering info: hightwo.com

Beyond | By Frank-John Hadley
Serious Soul
Bliss comes to serious fans of
soul music with the colossal Syl
Johnson boxed set Complete
Mythology (Numero Group
032; 48:02/ 51:10/68:38/53:20
★★★★). Four CDs and six
LPs, plus a 52-page book in-
sert, honor a first figure of the
second level of leading soul
singers in the 1960s and early
1970s. Initially issued on Fed-
eral, Twinight and other labels,
81 tracks have Johnson in all
Gerald Cleaver Uncle June
his glory. (His Hi sides aren’t Be It As I See It
Fresh Sound New Talent 375
included, no great loss.) Lis-
teners unfamiliar with John- ★★★★
son—still performing at age
74 and proud-as-a-peacock of
the attention paid him by rap
samplers—may think his high
O n his third album as a leader, drummer
Gerald Cleaver looks inward, reflecting on
the struggles and victories of his family’s part in
tenor is shrill and narrow, but if the Great Migration from Mississippi to Detroit.
you spend time with his songs, The leader eschews any narrative structure, peri-
he’ll likely win you over with od pieces, or forced symbolism, instead reveling
displays of honest depth and in diverse but masterful flexibility. The scram-
equal-part mixtures of sensual- ble of moods and styles mirrors the scrappy re-
ity and redemption. sourcefulness and improvisational wit demand-
Mississippi-born Johnson ed by the jarring changes of northern migration.
doesn’t care to be categorized Cleaver doesn’t merely employ his vast fam-
a bluesman, preferring an asso- Syl Johnson
ily of musical collaborators, but he also brings
ciation with soul, yet there’s no
in his father, John Cleaver, for the terse recita-
denying the ability he shows playing blues gui- Alabama experiences successful, failed or
tion on the flinty, rock-driven “To Love,” while
tar with a diabolical edginess on his early-’60s mixed romantic regeneration, always mindful
his wife, Jean Carla Rodea, delivers the abstract
records. After all, he was a denizen of Chicago of a certain border of discipline never to cross
blues joints, working with Junior Wells, Magic (unlike Johnson or Otis Redding). Sledge even
words behind “He Said.” The centerpiece of the
Sam, other aces. Over time Johnson’s full-tilt draws sincere feeling from schmaltzy lyrics be- album is “Fence & Post (For Mom & Dad),” a
and mid-tempo music follows the stylistic tra- longing to the occasional lame country tune. five-part suite that veers from chamber-like se-
jectory of r&b morphing into soul. He’s right on Sometimes Sledge’s backup singers leave renity to post-Sun Ra space-outs (with Craig
the money emoting dance hits “C’mon Sock their mooring in church music for an insipid Taborn expertly serving up Saturn-style synthe-
It To Me” and “Dresses Too Short” or amplify- pop drift, but that’s just a minor distraction. sizer squiggles) to a Duke Ellington-worthy tone
ing black pride social concerns on the caustic, The Atlantic Recordings is manna from heaven poem to grooves percolating into chaos to a tem-
funky 1970 LP Is It Because I’m Black. “We for soul music enthusiasts, and a lodestone for po-shifting post-bop fantasia. The influence of
Do It Together” and other delicious songs find novitiates wanting more than his chart hits. the AACM—gleaned directly from his long as-
Johnson’s quavering vocals buttressed by Ordering info: rhinohandmade.com sociation with the reedist and composer Roscoe
plush strings-horns-chorines arrangements The welcome appearance of the Tammi Mitchell—along with Sun Ra hangs heavy over
compliments of soul giant Donny Hathaway; Terrell collection Come On And See Me (Hip- the proceedings, but Cleaver filters them through
it’s Windy City soul-music on a par with the O Select 80014792; 72:47/64:55 ★★★★) his own gauzy sensibility, accenting dissonance
best offerings out of Kenny Gamble and Leon sheds light on her long-shadowed singing with a judicious silkiness. The recording cap-
Huff’s Philadelphia. career before partnering with Marvin Gaye tures a deep ensemble effort, but there are as-
Ordering info: numerogroup.com for sky-high chart success in the late 1960s. tonishing solos from reedists Tony Malaby and
Slow melodic ballads weren’t to Johnson’s Not unctuous like Diana Ross or overwrought Andrew Bishop, violist Mat Maneri and Taborn.
liking, but they were central to Percy Sledge’s like Martha Reeves, the young Philadelphian
Cleaver has established his bona fides as a top
artistic sensibility. The gospel-trained singer, defines the possibilities of romantic love with
jazz drummer; now it’s time to recognize his
whose tenor was richer than Johnson’s, gets a precocious strength within mostly delightful
skills as a conceptualist, composer and leader.
the red carpet rolled out for him with an ele- songs written and performed by the Motown
gant, clothbound four-CD and 48-page book varsity teams. The appropriately named 1969
—Peter Margasak
set, The Atlantic Recordings (Rhino 526138; solo LP Irresistible is here, along with pre-Mo- Be It As I See It: To Love; Charles Street Sunrise; Fence & Post
76:37/79:45/75:03/79:06 ★★★★). Foremost town releases on Wand and James Brown’s (For Mom & Dad): Alluvia, The Lights, Lee/Mae, Statues/UmbRa,
Ruby Ritchie/Well; He Said; Gremmy; Charles Street Quotid-
to his 1966-’73 stay with Atlantic was his Try Me label. Among 21 enjoyable rarities are ian; 22 Minutes (The Wedding Song); From A Life Of The Same
first record, “When A Man Loves A Woman,” Terrell’s only known concert tapes. Her beauty Name. (54:01)
Personnel: Jean Carla Rodea, voice (4, 7); Gerald Cleaver,
the blockbuster ballad that Peter Guralnick left the world too early, from a brain tumor, at drums, percussion, voice; Andrew Bishop, flute, soprano and
bass clarinets, soprano and tenor saxophones; Tony Malaby,
called “the quintessential soul sound.” On 104 age 24 in 1970. DB soprano and tenor saxophones; Drew Gress, bass; Mat Maneri,
tracks, the former gospel choir member from Ordering info: hip-oselect.com viola; John Cleaver, voice (1); Craig Taborn, piano, keyboards;
Andy Taub, banjo (7); Ryan Macstalker, guitar (1, 4).
Ordering info: freshsoundrecords.com

Lynne Arriale
Convergence
Motema 54
★★★★
O ne of the many things one anticipates with

every new Lynne Arriale release is a mix
of original compositions with delightfully un-
expected covers. So it is with Convergence,
though, as with her other albums, there is much
more than song selection to commend it. There
is, first of all, her superb choice of musicians.
Bassist Omer Avital and drummer Anthony
Pinciotti share an exhilarating communication
and a clear understanding of Arriale’s vision. and major thirds suggesting a Middle Eastern
Luther Hughes and the Their interactions invest each track with a pow- modality on the title song as well as her rework-
Cannonball-Coltrane Project erful and dynamic momentum, even—perhaps ing of the Rolling Stones’ “Paint It Black.”
Things Are Getting Better especially—on the slower tempos. It takes real And that takes us to the covers. Arriale offers
Primrose Lane Music 014 musicianship to make spacious ballads bristle a lovely arrangement of “Here Comes The Sun,”
★★½ with energy while maintaining a reflective char- whose airy texture and minimal input from the
acter, as they demonstrate repeatedly. trio does conjure a sunrise in the misty dawn;
A going concern for nearly a decade, Luther

Hughes and the Cannonball-Coltrane
Project is past the point of tribute ensemble sta-
A number of tracks feature Bill McHenry on
tenor. While he blows authoritatively and plays
the pivotal role in the car-crash, dissonant climax
Sting’s “Sister Moon,” with a dreamy I-V verse
that suggests a slightly bluesier Bill Evans;
Blondie’s “Call Me,” with McHenry joining
tus. Formed in 2002 after Hughes drew inspi- of the title cut, the most illuminating moments in on a loose, underplayed saunter; and Trent
ration from listening to 1959’s The Cannonball come when the trio is on its own, focusing not Reznor’s “Something I Can Never Have,” on
Adderley Quintet In Chicago—the only set on on backing the soloist but on creating as equal which the drone function is assigned, cleverly, to
which Adderley and John Coltrane appear to- partners. Several of these 11 performances burn, McHenry, who repeats the fifth of the I chord as
gether outside of the pair’s efforts with Miles though except for “Convergence” they too are the group lays out the tune.
Davis—the quintet is now recording as many played at a restrained volume. The feel is intro- Arriale’s “The Simple Things,” ends the al-
original compositions as it does interpretations. spective and intimate, with plenty of space that bum with a hush, its triadic voicings and folk-like
Things Are Getting Better divides its atten- allows details and nuances to speak eloquently. theme making the case that playing minimally
tion between preexisting classics like “Softly This is clear throughout the Arriale compo- but listening to what’s going on around you is of-
As In a Morning Sunrise” and homage-paying, sition “Dance Of The Rain.” A North African ten the key to artistry. —Robert L. Doerschuk
original pieces such as the aptly coined “Trane oud states the theme. Whoever is playing it sets a
And Wayne” and “McCoy.” The group prefers richly exotic mood, amplified by Pinciotti’s hand
Convergence: Elements; Here And Now; Here Comes The Sun;
Sister Moon; Call Me; Dance Of The Rain; For Peace; Paint It
a straight-up approach, ignoring both the later- drums and Arriale’s solo, which extemporizes Black; Something I Can Never Have; Convergence; The Simple
Things. (51:50)
period avant-garde experimentation pursued by a beautifully conceived melody. A similar feel Personnel: Lynne Arriale, piano; Bill McHenry, tenor sax; Omar
Avital, bass; Anthony Pinciotti, drums.
Coltrane as well as the funkier shadings concoct- guides her on other tracks, with flatted-seconds Ordering info: motema.com
ed by Adderley. Performances are consistent and
solid, and each instrumentalist knows his respec-
tive place, seldom stepping out for anything more
than a brief solo. And that’s part of the problem.
In spite of the spot-on melodies and tradi-
tional bop takes, a majority of the 12-track record
comes across as excessively safe and smooth.
Bassist Hughes and his mates click when the two
saxophones harmonize, aim skyward and scrape
stardust off the ceiling (“McCoy,” “Jive Samba”).
Brimming with life and big, bacon-fat grooves,
the persuasive title track romps and even ex-
hales hints of gospel hallelujahs. Yet such ener-
getic, freewheeling moments are too rare. Pianist
Ed Czach provides an array of strolling right-
hand runs that should serve as cues to turn up
the heat, but his colleagues opt to keep it cool.
A few samba touches and rhythmic swells pre-
vent the mellowest material from doubling as
live background fare one could encounter in a
Nordstrom’s department store. —Bob Gendron
Things Are Getting Better: Jive Samba; Glo In The Dark; Mc-
Coy; Primrose Star; Softly As In A Morning Sunrise; Sunset At
Hermosa; Blue Daniel; Samba Para Um Dia Chuvoso; Trane And
Wayne; Things Are Getting Better; Green Bananas; Take The
Coltrane. (71:05)
Personnel: Luther Hughes, bass; Glenn Cashman, tenor saxo-
phone; Bruce Babad, alto saxophone; Ed Czach, piano; Paul
Kreibich, drums, percussion.
Ordering info: cannonballcoltraneproject.com

Diego Urcola Quartet Endangered Blood
Appreciation Endangered Blood
CamJazz 5041 Skirl 015
★★★ ★★★★
F luid and full-bodied, trumpet-

er Diego Urcola maintains con-
stant momentum throughout the nine
I n the latest band to feature reed-
ist Chris Speed and drummer Jim
Black, long-time cohorts going back
originals included on this collection. to their youth in Seattle, their yin-yang
Regardless of the tempo—which rang- relationship has never sounded more
es from the balladic crawl of “Deep,” a natural. They’ve worked together in countless contexts over the decades
piece inspired by Miles Davis and Astor Piazzolla, to the bravura bow to and they seem wired despite the stark aesthetic differences on the surface.
Freddie Hubbard on “The Natural”—Urcola remains in control. Their seemingly oppositional approaches make sense. Speed and fellow
If, in boxing terms, Davis saw himself as Johnny Bratton—a lithe boxer reedist, the criminally underrated Oscar Noriega, use a variety to gambits
with a stealthy style—Urcola is more of a light-footed dancer with a kill- to shape the latter’s elegant, serpentine melodies; sometimes they weave
er punch. He never stops moving, and never telegraphs when the next ag- in buoyant counterpoint, sometimes they serve up rough unison passages,
gressive rip or upper-register run will land. Even on the relatively mellow and sometimes they blow fleet inverse patterns of the other; there is effec-
“Guachos” he unleashes some impressive high sustains, and on “Woody tive prodding of one another and pre-written ostinato prompts during im-
’n Diz” his rippling high notes are muscular and focused. On the loping provised sections.
“Senhor Wayne” he switches to valve trombone for a more burnished Few drummers enjoy disrupting their own flow—or creating that illu-
sound, and he closes with a restrained tribute to John Coltrane. sion—more than Black, who’s always tempered the winding legato con-
As a composer, Urcola stretches himself in paying homage to 11 of his structions of Speed in joint projects with brilliant chaos. Bassist Trevor
heroes, and fills out his quartet’s sound on “Super Mario Forever” and Dunn doesn’t need to knot things up further, but his thick, muscular tone
“Guachos” by doubling his trumpet in key spots. Still, Appreciation would presents a delicious contrast to the lithe horn lines. All of the tunes are
benefit from more variety in its arrangements; too often, the bass and pia- Speed originals—save for a wonderfully chunky take on Thelonious
no solos follow Urcola’s opening statement with predictable timing. Only Monk’s “Epistrophy”—and they stand as his most melodically generous,
those trumpet fireworks surprise. —James Hale accessible and warm batch of compositions he’s yet to produce.
Appreciation: The Natural; El Brujo; Milonga para Paquito; Super Mario Forever; Guachos; Deep; —Peter Margasak
Senhor Wayne; Woody ’n Diz; Camila. (54:33)
Personnel: Diego Urcola, trumpet, flugelhorn, valve trombone; Luis Perdomo, piano, Fender Endangered Blood: Plunge; Rare; Epistrophy; Elvin Lisbon; K; Tacos At Oscars; Iris; Uri Bird;
Rhodes; Hans Glawischnig, bass; Eric McPherson, drums; Yosvany Terry, chekere (1, 8). Valya; Andrew’s Ditty Variation One. (51:03)
Ordering info: camjazz.com Personnel: Jim Black, drums; Trevor Dunn; bass; Oscar Noriega, alto saxophone and bass clari-
net; Chris Speed, tenor saxophone.
Ordering info: skirlrecords.com
Jeremy Pelt
The Talented Mr. Pelt
High Note 7216
★★★★
J eremy Pelt’s The Talented Mr. Pelt

is a sly and nuanced record that
took quite a few listens before I started
to dig it. It appears on the surface to be
a fairly straightforward post-hard-bop
record, but there’s a ton of complexi-
ty in the composition’s forms, their changes and the group’s approach to
time. Pelt wrote five of the progressive album’s eight compositions, which
depart from the melodic and harmonic structures of the tried-and-true 32
and 12-bar forms. The quintet shows how naturally an 11-bar form that
includes a bar of 7/4 can lay on “Only.”
Drummer Gerald Cleaver takes a loose approach to the time keeper’s
role, in that tempos, meter, and portions of form are eligible for tinker-
ing. This is especially the case on “Paradise Lost,” which takes some ef-
fort to identify as a waltz. Cleaver is a master of color, strategically switch-
ing cymbals and drums and is hyper-sensitive to the soloist as well, by way
of his perfectly placed kicks and countermelodies. His work with Allen,
whose dry tone and smoothly surging lines recall Wayne Shorter, on the
disc’s closer “David And Goliath” demonstrates this perfectly. Pelt is fire-
brand and sensitive balladeer: his muted work on “All My Thoughts Are Of
You” and open flugelhorn on Blossom Dearie’s “In Love Again” are quite
poignant, as are pianist Danny Grissett’s solos. Bassist Dwayne Burno
holds everything together, no matter how complicated things get.
—Chris Robinson
The Talented Mr. Pelt: Pandora’s Box; All My Thoughts Are Of You; Paradise Lost; When The Time
Is Right; Pulse; In Love Again; Only; David And Goliath. (52:31)
Personnel: Jeremy Pelt, trumpet, flugelhorn; JD Allen, tenor saxophone; Danny Grissett, piano;
Dwayne Burno, bass; Gerald Cleaver, drums.
Ordering info: jazzdepot.com

Oliver Lake
Organ Quartet
Plan
Passin’ Thru 41226
★★★★½
Gene Lake
Here And Now
Passin’ Thru 41227
★★
T he proverbial “cut” associated with groove certainly presents itself on

several occasions on Plan, but Oliver Lake doesn’t simply lay in the
cut. Instead, he skids across it and skulks underneath it.
The veteran alto saxophonist advances the suspense from his previous
2008 organ quartet disc, Makin’ It. Lake comes out explosively from the
opening title track, on which he employs his acerbic tone and sidewind-
ing phrases in union with trumpeter Freddie Hendrix before blasting off
into a vigorous improvisation. Adding to the restive energy is Jonnathan
Blake’s propulsive drumming and Jared Gold’s squawking, almost pianis-
tic approach to the Hammond B3. When the quartet explores a groove as
on the bluesy “Backup” or the Latin-tinged “After Touch,” the rhythmic
and harmonic foundation shifts unexpectedly and the front-line horns soar.
Lake’s son Gene Lake also has a gift for goading a groove with extraor-
dinary flair. Unfortunately on Here And Now, Lake’s distinctive drumming
gets lost in a gloss of over-production. Decidedly more r&b and pop than
jazz, the disc features professional playing, but the material is weak. The
electric keyboards on such tunes as “Get Away,” “The Dance” and the ti-
tle track forge a dated mid-’80s sound, heard on George Duke’s Elektra al-
bums—but without Duke’s pop craftsmanship. —John Murph
Plan: Plan; Backup; Ta, Ta, Ta; After Touch; In This; Spring-ing; 2 Parts Air; Dance Two. (48:30)
Personnel: Oliver Lake, alto saxophone; Freddie Hendrix; trumpet; Jared Gold; Hammond B3
organ; Johnathan Blake, drums.
Here and Now: Get Away; MM; Spiritual Walkers; The Dance; RedZone; Here and Now; A Warm
Place; Remember When; Heaven On Earth; Libra; Over And Over; Here Comes The Sun. (64:31)
Personnel: Gene Lake, drums; David Sanborn, alto saxophone (9); David Gilmore, rhythm guitar
(2), guitar (3); David Fiuczynski, guitar solo (5); guitar (10); Marcus Strickland, tenor saxophone (2,
12); Gregoire Maret, harmonica (6, 9); Nat Janoff, acoustic guitar (4); Freedom Bremmer, vocals
(1); Mitchell Wright, guitar (1); Scott Brown, keyboard solo (2); Alex Han, alto saxophone (2), alto
saxophone solo (5); Steve Jenkins, lead bass (2), electric bass (melody) (5); Vadim Zilbershtein,
guitar (3); Federico Gonzalez Pena, piano (7); Ricky Peterson, organ (9); Nicky Moroch, rhythm
guitar (9); guitar (13); James Genus, bass (12).
Ordering info: passinthru.org
Weasel Walter/Mary
Halvorson/Peter Evans
Electric Fruit
Thirsty Ear 57196
★★★★
T he eclectic drummer Weasel

Walter might have hit the jackpot
when his path crossed guitarist Mary
Halvorson and trumpeter Peter Evans.
Despite having different backgrounds
and styles, the three musicians share a vision on this excellent effort.
Their tight partnership means that none of the musicians is assigned to
a specific role; each can take the lead or make a suggestion that will spur
a creative surge. This also explains why there is no sign of self-indulgence
and no solo in a traditional sense. Nods to minimalism and fearless free-
jazz, are used as transitional devices to introduce new chapters in their
improvisations. Halvorson alternates jagged or angular lines with distort-
ed notes and chords; Evans draws from an impressive array of extended
techniques; and Walter keeps things moving with his bustling activity.
Together, their greatest strength is their ability to combine all those ele-
ments into a cohesive and meaningful amalgam that is neither purely vis-
ceral nor cerebral and progresses organically. —Alain Drouot
Electric Fruit: Mangosteen 3000 A.D.; The Stench of Cyber-Durian; The Pseudo Carp Walks
Among Us; Scuppernong Malfunction; Yantok Salak Kapok; Metallic Dragon Fruit. (54:41)
Personnel: Mary Halvorson, guitar; Peter Evans, trumpet; Weasel Walter, drums.
Ordering info: thirstyear.com

Matthew Rybicki Eli Degibri
Driven Israeli Song
Self Release Anzic Records 3002
★★★ ★★★★
B assist Matthew Rybicki, a pe-

rennial sideman, went the DIY
route for his debut. Rybicki solicit-
I t’s rare that the notoriety of each side-
man on a record outshines the bona
fides of their leader—but that’s the sit-
ed donations for recording costs on uation on Eli Degibri’s fifth recording.
Kickstarter.com, a social media plat- The Israel-born saxophonist welcomes
form that connects donors with personal causes. He achieved his monetary two of his mentors—bassist Ron Carter and drummer Al Foster—to the
plateau, and has presented a solid 11-track package. band along with pianist Brad Mehldau. It’s an intimidating group of heavy-
The recording’s homemade fundraising aesthetic is nowhere to be weights, but Degibri is the star here, leading the group through originals,
found on Driven, which features developed, mature tunes and is a solid in- standards and three pieces by the rhythm section. Though the members of
troduction to Rybicki’s playing and compositional style. He has a knack for the band shine during their individual solos, the musicians are deferential
instantly singable melodies. “The Slow Stride” is a smooth groove, moving to Degibri’s spirited tenor and soprano playing.
along at an easy pace, led by Freddie Hendrix’s trumpet. “Seventh Sun” im- Degibri finds a way to perform each of tunes from his sidemen as if
mediately forces the band out of the previous tune, establishing an almost- they were written with him in mind. On Carter’s “Third Plane,” Degibri
manic swing from the start. As a bassist, Rybicki is at home in the pock- finds the heart of the fun, playful song, keeping the disjunct leaps intact
et and is content to lean back and let the music progress at its own pace. It but molding the tune into a saxophone feature. Degibri handles the mel-
helps that his tunes are in capable hands. Pianist Gerald Clayton provides ody with skill, exhibiting a range that sounds equally full in all registers.
the glue to hold these pieces together, and Ron Blake excels on soprano and “Unrequited,” Mehldau’s offering, is given a more heartbreaking reading
tenor saxophones. Rybicki can even incorporate world music into his own than the original, its bubbly piano accompaniment slowed down to an in-
voice, as on the closer, “Nouakchoott.” What starts as a bass vamp con- trospective lament. On soprano, Degibri affects a longing, pleading tone be-
structed of harmonics gives way to an indigenous chant courtesy of vocalist fore picking up the pace and delivering an angry tirade of notes.
Selloane Nkehla. It’s a beast of a tune that eventually leaves Nkehla’s voice Degibri and Mehldau take on the sparse titular track, which closes the
behind in favor of well-constructed solos, but ultimately arrives back at the album. After a slowly unfurling a capella intro, Degibri moves into the gor-
start. —Jon Ross geous melody supported by Mehldau’s slow chordal accompaniment.
Driven: The Slow Stride; Seventh Sun; A Mean Lean; Yellow Bird; Lisa’s Song; Big Money and the —Jon Ross
Left Side; Someday I May Be Far Away; Driven; Lowcountry Boil; Secret Love; Nouakchott. (67:05)
Personnel: Matthew Rybicki, bass; Ron Blake, saxophones; Freddie Hendrix, trumpet and flugel- Israeli Song: Unrequited; Mr. R.C.; Judy The Dog; Jealous Eyes; Manic Depressive; Bebop; Liora;
horn; Michael Dease, trombone; Gerald Clayton, piano; Ulysses Owens, Jr., drums; Matthew Ba- Look What You Do to Me; Third Plane; Somewhere Over the Rainbow; Israeli Song. (56:52)
ranello, percussion; Selloane Nkehla, vocals. Personnel: Eli Degibri, saxophones; Brad Mehldau, piano; Ron Carter, bass; Al Foster, drums.
Ordering info: matthewrybickimusic.com Ordering info: anzicrecords.com

semble. The music veers from the contemporary of him. The joyous “Optimism” with its West
straightahead idiom, but Hurst excels at leap- African influenced melody and Hurst’s fluid
ing into the electric fusion better than many of electric bass playing is yearning for other musi-
his contemporaries. He underscores it all with cians to explore. —John Murph
socio-political overtones by inserting overlap-
ping pre-recorded dialogue of President Barack
Unrehurst, Vol. 2: I Love You; Truth Revealed w/Intro; Bob’s 5/4
Tune; Monk’s Dream; Bob’s Blues. (53:37)
Obama and former President George W. Bush on Personnel: Robert Hurst, acoustic bass; Chris Dave, drums;
Robert Glasper, piano.
the restive “Unintellectual Property,” which also Bob Ya Head: Obama Victory Dance; Optimism; X Static;
Comes You Comes Love (Intro); Comes You Comes Love; Forty
features sonic bombs dropping onto of Hurst’s Four; Da, Da, Da, Dah; Munyungo In Da Jungle (Intro); Munyun-
burbling electric bass improvisation. Hurst gets
go In Da Jungle; Oral Roberto; Alice and John; Unintellectual
Property; When Drums Stop. (46:24)
the same compelling results mixing pre-record- Personnel: Robert Hurst, acoustic and electric bass; Marcus
Belgrave, trumpet; Scott Kinsey, keyboards, Darryl “Munyungo”
ed dialogue and music on the hypnotic yet brisk Jackson, percussion; Sy Smith, vocals; Vincent Bowens, tenor
saxophone; Karriem Riggins, drums.
“X Static.” Political ambitions don’t get the best Ordering info: roberthurst.com
Robert Hurst
Unrehurst,
Volume 2
Bebob Records 11113
★★★★½
Robert Hurst
Bob Ya Head
Bebob Records 11132
★★★★½
S urpassing three decades now, Robert Hurst

has been a go-to bassist for many outstand-
ing straightahead recordings. But as a leader, his
discography is shamefully small. Two recent
discs prove that Hurst needs more opportunities.
Unrehurst, Volume 2 picks up where its
2002 predecessor left off with Hurst lending
his vigorous bass playing to a trio setting with
Robert Glasper. Whereas Volume 1 featured
Glasper’s former drummer Damion Reid, this
new record features Glasper’s Chris Dave.
While the group dynamics are undoubtedly
Glasper-esque, especially in how the pianist
hammers a repetitive figure then builds a delight-
ful solo or how he slyly quotes hip-hop and deep
house songs into the mix, Hurst gets his voice in
clearly and forcefully—as on the adventurous
deconstruction of Cole Porter’s “I Love You,” on
which he and Dave drive Glasper’s crisp impro-
visations with shifting rhythmic passages. They
give “Monk’s Dream” a funky 21st century jazz
makeover with hip-hop snaps and breaks with-
out neglecting mid-’50s swing.
Hurst plays wonderfully throughout, some-
times showcasing his stout bass lines with me-
lodically cogent solos and thrusting accompa-
niments. He also shines as a composer with the
intriguing “Bob’s 5/4 Tune,” which finds him
dropping skulking bass lines underneath Dave’s
hyper-kinetic beats and Glasper’s graceful mel-
ody. Unaccompanied at the beginning of his
“Bob’s Blues,” he displays his mastery as build-
ing rich solos, brimming with both melodic and
rhythmic ingenuity, before Glasper and Dave en-
ter the fray with a groove reminiscent of Duke
Ellington’s “C Jam Blues.”
Bob Ya Head is a studio date that features
Hurst more on electric bass with a larger en-

Bill O’Connell
Rhapsody In Blue
Challenge Records 73302
★★★
F or years, Bill O’Connell has staked out his

territory right on the line between jazz and
salsa. But this flexibility comes with a price in
that his identity is perhaps less familiar than that
of some of his peers who adhere more to a single
genre or school.
This impression grows throughout Rhapsody
In Blue. He’s got a terrific band here; its mem-
bers deliver consistently solid solos and play the
written lines in tight sync. His sure hand as an
arranger is evident on the covers in particular. Clazz Ensemble
Much of the original material, though, is more is put into switching between Latin and swing Adventures
functional than substantive, pieced together from sections on “Bye Bye Blackbird”; O’Connell’s Clazz Music 001
turnarounds, quick rhythmic transitions and ventures outside the changes, Curtis’ inventive ★★★
open stretches. shifts in and out of walking and playing counter-
The differences in classic and self-written
material become hard to ignore. The best exam-
ple presents itself in the title cut: O’Connell lays
figures seem to draw from the Keith Jarrett/Gary
Peacock playbook.
There’s one impressive original tune as well;
As the band’s name suggests, the Clazz
Ensemble aims to bridge the classical and
jazz worlds. The idea has been a longtime ob-
out the Gershwin opening motif in a laid-back its title, “Monk’s Cha-cha,” sums up the game session and considering the renewal that big
Latin feel, which then picks up into a more ag- plan, more or less transplanting a head simi- bands have enjoyed in recent years, this Dutch
gressive presentation. The band articulates that lar to “Well You Needn’t” onto a medium-tem- project does not exactly stand out or break any
motif together, in straight eighth-notes for two po samba. O’Connell takes the idea into his solo new ground, which does not mean that it should
bars and then breaks it up with a salsa groove on too, with some licks that spice up quick-spin- be dismissed.
the last two and into the solos. It’s a genuinely ning triplets with Thelonious Monkish flat-fives. At their best, the compositions are quirky as
fresh take on the tune, especially when the B sec- Little else is as compositionally arresting, how- well as mysterious and include colorful voic-
tion hits with the magnificent closing theme of ever, leaving us with the lesson that when one is ings and shadings. The band also applies the
“Rhapsody,” this time played over a swirling 6/8 raised on the standards, that’s often where one necessary rigor to negotiate tricky arrange-
backdrop. plays with the kind of inventiveness and expres- ments with flying colors. The only exception to
Other covers aren’t as ambitiously set but are sion that’s hard to conjure in simple blowing sec- well-defined structure is “Slijkstraat,” a compo-
nonetheless played with sensitivity to the famil- tions. —Robert L. Doerschuk sition penned by Michael Moore, the most rec-
iar content. “It Never Entered My Mind” sounds ognizable name in the personnel and an artist
more or less jammed out top to bottom, but Steve In Blue; It Never Entered My Mind; J-Man; Off-Center; Two who has earned a solid reputation as a member
Rhapsody in Blue: Monk’s Cha-cha; Pocket Change; Rhapsody
Slagle’s plangent soprano sax caresses the mel- Personnel: Bill O’Connell, piano; Steve Slagle, saxophones; of Clusone 3 and the ICP Orchestra, among oth-
Worlds; Log-a-rhythm; Rose Hill; Bye Bye Blackbird. (60:03)
ody at the top and O’Connell follows with an Conrad Herwig, trombone; Dave Samuels, vibraphone; Luques er outfits.
Curtis, bass; Richie Flores, percussion; Steve Berrios, drums.
equally expressive chorus. A little more thought Ordering info: challenge.nl Those soloists have other opportunities to
shine. Moore’s thoughtful clarinet and strident
alto bring additional power to the opener and
Matt Bauder familiar forms as launching points closer, respectively, which happen to be the
Day In Pictures for contemporary explorations. most engaging pieces. Nils van Haften’s bari-
Clean Feed 210 “Cleopatra’s Mood” opens the tone sax is used most effectively on the uproar-
★★★★½ record with a sumptuous rhythm ious “Pimpin’” which can be described as a
that reconciles the groove con- soundtrack to half-sung/half-spoken dialogues
M att Bauder is a New

York-based asso-
ciate of Anthony Braxton
cepts of Horace Silver and Mulatu that would have the FCC up in arms.
Astatke and horn charts that a man Unfortunately, towards the middle of the
of a certain age would be happy to program, the Clazz Ensemble experiences a
and Rob Mazurek who play for his father. But after taking lapse in inspiration while trying to bring some
has a gift for isolating a gorgeous, idiomatic solos, Bauder diversity. The ballad “Eyes To Wonder” teeters
musical language, master- and Wooley weave ribbons of in- on the verge of maudlin and the hodgepodge
ing it and then introducing a personalizing twist. creasingly grainy sound around each other’s of styles that populate “Blue Angels” does not
He’s done it to doo-wop and the Beach Boys with figures. Bauder runs his signal through a music seem to elicit much conviction from the band
his combo White Blue Yellow And Clouds, to stand full of delay units, while Wooley is fully members. Despite its flaws, Adventures has
minimalist process music in a duo with bassist conversant in the radical techniques that have enough material with staying power to make it
Jason Ajemian and electro-acoustic improvisa- transformed trumpeting in the past decade. But a valid addition to the Dutch jazz landscape.
tion with the trio Memorize The Sky. His quin- neither seems to want to defy their source mate- —Alain Drouot
tet Day In Pictures zeros in on the modern jazz rial. They want to bring it into their time, intact Adventures: Bill’s Big Hat; Donkerblauw In Rok; Pimpin’; Eyes To Won-
of a half-century past, with an instrumental line- but renewed. —Bill Meyer der; Blue Angels; Slijkstraat; Shit Happens; Clazz System. (72:28)
Personnel: Michael Moore, alto sax and clarinet; Dick de Graaf,
up and compositions that echo classic efforts tenor and soprano sax; Arno Bornkamp, tenor, alto and soprano
from the Prestige, Columbia and Blue Note cata- Melody; Reborn Not Gone; Bill And Maza; Two Lucks; Willough- de Laat, trumpet and flugelhorn; Frank Anepool, trumpet and
Day In Pictures: Cleopatra’s Mood; Parks After Dark; January sax; Nils van Haften, baritone sax and bass clarinet; Martijn
logs with nary a whiff of condescension or dab- Personnel: Matt Bauder, clarinet and tenor saxophone; Nate flugelhorn;
by. (54:37) Gerard Kleijn, trumpet and flugelhorn; Ilja Reijngoud,
trombone; Koen Kaptijn, trombone; Kris Goessens, piano; Paul
bling. But rather than merely recreate the music ble bass; Tomas Fujiwara, drums.
Wolley, trumpet; Angelica Sanchez, piano; Jason Ajemian, dou- Berner, double bass and electric bass; Joost Kesselaar, drums;
Bas Wiegers, repetitor.
of some golden age, Bauder and company use its Ordering info: cleanfeed-records.com Ordering info: clazzensemble.nl

AfroCubism
AfroCubism
World Circuit/Nonesuch 525993
★★★★½
I n 1997, Nick Gold produced an enduring

Cuban masterpiece with Buena Vista Social
Club. That wasn’t his original intent. The plan
initially was to bring Malian musicians to Cuba
for a trans-Atlantic session highlighting the mu-
sical ties connecting the two nations. Travel
problems nixed the project then, but now Gold
realizes his initial plan on AfroCubism.
The great Cuban guajiro Eliades Ochoa and
his band Grupo Patria are united with some of
Mali’s greatest players, and their sounds blend
with hardly a hiccup. Toumani Diabaté’s kora
wraps warmly around Ochoa’s rural Cuban gui-
tar, and the powerful griot singer Kasse Mady
Diabaté (no relation to Toumani or Lassana)
complements Ochoa’s bellow with melismatic
fluency.
The opening mission statement, an instru-
mental version of Toumani Diabaté’s “Mali
Cuba,” sets the scene by casting Malian in-
strumentation in a decidedly Cuban context,
but from there, the album is a swirl of rhythms
and textures from both countries. Djelimady
Tounkara’s brilliantly phrased, crystal-toned
lead guitar provides an electric foil to the oth-
erwise acoustic arrangements and is a constant
highlight. On “Nima Diyala,” his rhythmic inter-
play with Lassana Diabaté’s hyperspeed balafon
provides some of the album’s most breathtaking
moments.
That the popular music of post-War Mali
draws heavily on Cuban forms to begin with is
surely a factor in the ease of this marriage. More
important, though, is how giving the musicians
are with each other, focusing on interplay rather
than showcases for their virtuosity.
—Joe Tangari
AfroCubism: Mali Cuba; Al Vaivén De Mi Carreta; Karamo; Dje-
limady Rumba; La Culebra; Jarabi; Eliades Tumbao 27; Dakan;
Nima Diyala; A La Luna Yo Me Voy; Mariama; Para Los Pinares
Se Va Montoro; Benséma; Guantanamera. (58:42)
Personnel: Eliades Ochoa, guitar, vocals; Kasse Made Diabaté,
vocals; Lassana Diabaté, balafon; Toumani Diabaté, kora;
Bassekou Kouyate, ngoni, ngoni ba; Djilemady Tounkara, elec-
tric guitar; José Ángel Martinez, double bass; Jorge Maturell,
congas, bongos, cowbell; Baba Sissoko, talking drum; Eglis
Ochoa, maracas, guiro, chorus vocals; Fatoumata Diawara,
chorus vocals; Osnel Odit, chorus vocals, acoustic guitar; Luis
Bargaza, chorus vocals; Jesús Bello Diaz, chorus vocals; Virgilio
Valdes, chorus vocals, maracas; Alain A. Dragoni, trumpet; Len-
nis Lara, trumpet; Gabriel Fonseca, violin.
Ordering info: nonesuch.com

Historical | By John McDonough
Teddy Wilson’s Teddy Wilson
Smooth Mastery
In the late 1930s Teddy Wilson was
the most influential jazz pianist alive,
spawning so many imitators his
touch and style seemed to become
as generic as Scotch Tape. In some
ways he became lost in the magni-
tude of his impact, remembered to-
day more as an adjunct player in the
theater and legend of Billie Holiday
than as a singular pianist.
Wilson came out of Fats Waller
and Earl Hines to become the perfect
Ernestine Anderson
transitional figure into early modern Nightlife
HighNote 7213
jazz piano. Maybe more important,
the smooth, orderly flow of his solos ★★★½
suggested both refinement and virtu-
osity. Unlike Art Tatum, whose tech-
nique defied the known physics of
the keyboard and insulated him from
F or this collection, the veteran singer
Ernestine Anderson was recorded on three
successive yearly visits to Dizzy’s Club Coca-
downbeat archives
imitators for a generation, Wilson of- Cola, 2008–’10. To call her a casual performer is
fered a model that many were eager to indulge in gross understatement. She’s as com-
and able to master. fortable and cocksure with her material and play-
Teddy Wilson: Solo, Big Band ers as a rabbit in a briar patch. Anderson might
(Storyville 108 8607; 78:19/77:09/72:12/77:46/ wonderful sextets, two of which are heard in not give much thought to interpreting lyrics, and
64:06/69:24/67:55/67:32 ★★★★) is an un- non-commercial transcription sessions. One she might slur a few words these days, but does
orthodox but interesting career retrospective. has Edmond Hall, whose growling, Websterish she ever have a lot of fun. Just when you think
Its eight CDs and one DVD cover nearly 50 clarinet conveyed an almost indecent passion she’ll let intonation, fidelity to songs or slop-
years, but are silent on his defining partner- next to Wilson’s methodical poise—the cool py phrasing get too far out of hand, she’ll pull a
ships, Benny Goodman and Holiday. Without center of the heat. Small band swing gets no
string of blues stanzas out the air on a brisk tem-
access to those Columbia and Victor masters better than this. The other with Charlie Shav-
po and it’s clear she’s quite in control.
(easily available elsewhere), this leaves a big ers, Red Norvo and guitarist Remo Palmieri
The ballads—“Since I Fell For You” and
hole. So producer Anders Stefansen took an is closer in spirit to the Goodman sextet, with
alternate route, gathering much fresh mate- Shavers’ exactitude in the clarinetist’s role.
“Only Trust Your Heart”—are sung for rhyth-
rial from Wilson broadcasts, transcriptions Wilson’s repertoire is by now a procession mic content and phrasing possibilities rather than
and other sources. This is the way Wilson may of swing era staples, some homages to the dramatic content. The latter is turned into a play-
have preferred: Part of him resented being Goodman days (“China Boy”), others (“Lady ful bossa. The former is a loose-as-a-goose slow
thought of as a co-star in the careers of others. Be Good,” “I Got Rhythm”) the basis of the blues, replete with improvised lyrics, cracked-
The collection begins with Wilson’s 1939 new bebop, which he would never embrace. voice yodels and exuberant barroom preaching
big band, represented in a sparkling “America The ’50s sessions include several armed by both Anderson and the great tenor saxophon-
Dances” broadcast from that August. Edger forces radio programs in which the Wilson Trio ist Houston Person. Their interplay on “Fell,” an-
Sampson and Buster Harding gave Wilson a (with Jo Jones) host such guests as Coleman other tantalizingly slow “All Blues” and a pop-
smart, swinging, but not especially distinctive Hawkins, Dizzy Gillespie, J.J. Johnson and ping “Goin’ To Chicago” amount to a textbook
book modeled on the work they were also others. The performances are controlled but of singer/saxophonist blues interplay. The mutu-
doing for Chick Webb and Count Basie. But meaty, proving that Wilson often profits from al prodding, commentary, rhythmic assurance
Wilson’s solos are sleek, trim, horn-like flights, stimulation. Occasional new tunes (“Love,” and lyrical invention used to be coin-of-the-jazz
linked by gliding, Tatumesque arpeggios. And “Strollin’”) tend to be an odd mix of lounge realm but are now a treasured rarity.
the reed section has Ben Webster, whose keyboard and unexpected abandon. There are some instrumental personnel vari-
muscular tenor enriches five of the nine pieces. Taken in quantity, Wilson’s trios isolate him ations here, but the important constants are pi-
This period also yielded definitive solo in a comfortably constricted format. By the last anist Lafayette Harris Jr. and Person. Harris
transcriptions for Keystone, which comple- three CDs, which focus on 1979–’83, the touch
could have been better miked, which is a pity be-
ment the commercial sessions done for Co- and technique remain intact. Wilson never be-
cause he’s a thoughtful accompanist who clear-
lumbia. Wilson’s solo style leans toward a came a captive of decline, only of a basic rule
ly is there to enhance Anderson and the music.
more filled-out and formal approach. The lilt- of physics: all motion is relative. By standing
ing octaves and chords can grow a bit staid, still, he moved backwards. Much respected
On “Love Being Here,” Anderson tosses off an
and the two-to-four chorus routine (depending and honored, the orderly virtuosity no longer aside: “Tryin’ to get my party thang together
on tempo) becomes formulaic. But whatever offered surprises and was increasingly char- here.” Did she ever. —Kirk Silsbee
the tempos, there is an intimate civility to his acterized by critics as “cocktail” piano. But
touch that generates a serene relaxation, a audiences interested in bearing witness to the Nightlife: I Love Being Here With You; Since I Fell For You; All Blues;
Goin’ To Chicago Blues; Nightlife; Only Trust Your Heart; Falling In
lower temperature, and none of the impulsive most influential pianist of the swing era were Love With Love; Never Make Your Move Too Soon. (50:27)
Personnel: Ernestine Anderson, vocals; Houston Person, tenor
iconoclasm of Earl Hines, his main antecedent. never disappointed. DB saxophone; Lafayette Harris Jr., piano; Chip Jackson, bass
In the ’40s Wilson worked with some Ordering info: storyvillerecords.com (4–7); Lonnie Plaxico, bass (1–3, 8); Willie Jones III, drums (3);
Jerome Jennings, drums.
Ordering info: jazzdepot.com

bers as well as members here, it bears no resem- tar lines. —John Ephland
blance to the “Riff”s from the NDR session, but NDR Jazz Workshop: CD: Part I: Fanfare; All White; Link 1/Link
instead tips us off to a side of the “legacy” that Stamp’s Gibbon Album; Chloe And The Pirates; Gesolreut; E.P.V.;
2; 37½; Link 3; Riff; Part II: Down The Road; Link 3a; Stanley
was (and is) more free-form, atmospheric. This Link 4; Stumble; One Across; Riff II. (78:45) DVD: Part I: Fanfare;
All White; Link 1/Link 2; 37½; Link 3; Riff; Part II: Down The Road;
dreamy-turned-Pink Floyd-ish beginning soon Link 3a; Stanley Stamp’s Gibbon Album; Chloe And The Pirates;
Gesolreut; E.P.V.; Link 4; Stumble; One Across; Riff II. (104:59)
gives way to a more conventional fusion sound Personnel: Roy Babbington, bass guitar; Karl Jenkins, oboe,
with “Grapehound,” the pattern esthetic return- piano; John Marshall, drums; Mike Ratledge, electric keyboards,
soprano sax, tenor sax, baritone sax, recorder, electric piano,
ing with Etheridge’s guitar driving the song. The organ; Gary Boyle, guitar (7–16, 7–16 and 18 on DVD); Art The-
men, soprano sax, tenor sax (7–16, 7–16 and 18 on DVD); Hugh
slower “The Nodder” plods along, despite some Orderingbass,
Hopper, tapeloops.
info: cuneiformrecords.com
fiery playing from Travis inside the incessant, re- Live Adventures: Has Riff II; Grapehound; The Nodder; In The
peated note patterns, while “In The Back Room” Back Room; Song Of Aeolus; The Relegation Of Pluto/Transit;
Gesolfcut; Facelift; The Last Day. (58:10)
sounds like the most dated cut here, another Roy Babbington,
Personnel: John Etheridge, guitar; Theo Travis, tenor sax, flute;
bass guitar; John Marshall, drums.
plodding beat a bit funky with sleepy horn/gui- Ordering info: moonjune.com
Soft Machine
NDR Jazz Workshop
Cuneiform 305/306
★★★★½
Soft Machine Legacy
Live Adventures
Moonjune 36
★★★
N DR Jazz Workshop is a treat because not

only do we get to hear Soft Machine live
but there’s a DVD of the show from a May 1973
television broadcast. This is the first time the pro-
gram has been released since it originally aired
on German television. A treasure trove for Soft
Machine fans, NDR Jazz Workshop stands in
somewhat marked contrast to Soft Machine
Legacy’s Live Adventures, recorded in 2009
and featuring two former members of the famed
1970s British rock-jazz assemblage.
For those unfamiliar with Soft Machine,
NDR Jazz Workshop gives a good view into their
sound. The slinky 5/4 “Down The Road” and
the subtly frenetic “Stumble” offer two contrast-
ing approaches to their unique takes on arrange-
ments and improvisation, one more trance-like,
the other more aggressive and fanciful, bassist
Roy Babbington and drummer John Marshall
setting the rhythmic paces. “Riff” and “Riff
II,” on the other hand, sound more like early
Weather Report, a la I Sing The Body Electric
or Sweetnighter, Mike Ratledge’s keyboard work
piercing and definitive. Added bonuses: select-
ed cuts with guest artists Gary Boyle on guitar,
saxist Art Themen and former member Hugh
Hopper on bass and tapeloops, along with the
only known live recording of Hopper’s “1983”
as well as an encore combined improv-and-re-
prise of “Stumble.” The NDR Jazz Workshop
DVD gives us a superb look at the band and how
they put their music together across the television
stage, the filming gradual as opposed to jerky,
with pristine visual clarity and excellent sound.
NDR mates Babbington and Marshall are
back on Legacy, now joined by Theo Travis on
tenor sax and flute and John Etheridge on guitar
for two live shows from Austria and Germany.
While “Has Riff II” was written by earlier mem-

Books | By eric fine
Trumpeter Sandke
Challenges Jazz
Narrative
In a single anecdote, Randall Sandke sums up
the stupidity of stereotyping musicians on the
basis of skin color. “There is a well-known story
concerning an untalented black drummer who
sat in with Roy Eldridge’s group,” Sandke
writes in Where The Dark And The Light
Folks Meet (The Scarecrow Press). “After
one painful tune, the trumpeter called a break
Mike Pride’s From
and said to his musicians (most of whom were
Bacteria To Boys
white): ‘We all got rhythm? Bullshit!’” Betweenwhile
Aum Fidelity 065
History bears the mark of the folks who
chronicle it, and jazz is no different. The first ★★★★
part of Sandke’s book ascribes an activist
agenda to the white critics covering jazz in the
1930s. Writing for the American Communist
Party newspaper, The Daily Worker, left-wing
A lternating between melodicism, some
infectious lyricism and rambunctious
stretches of off-kilter jazz and free expres-
magazines like The Nation, and also Down- sions, drummer Mike Pride’s From Bacteria
Beat, these critics purposely traced the origins To Boys Betweenwhile keeps you guessing.
of jazz to Africa. They did so as a means to From Bacteria To Boys recalls experiments
counterbalance centuries of racism that had writes, neither had studied music. Thus, jazz with early free-jazz a la Cecil Taylor and Paul
exiled black America to society’s margins. continued to be portrayed as rhythmic music Bley circa 1960. There’s even a sense of Charles
Subtitled Race and the Mythology, Poli- of African heritage, rather than harmonically Mingus’ churning swing here and there, like
tics, and Business of Jazz, the book challeng- advanced African-American music. The crit- someone trying to punch their way out of a pa-
es the born-in-Africa jazz storyline. Sandke ics who highlighted its African roots frequent- per bag, but doing it rhythmically. But these guys
is white; he’s also an accomplished trumpet ly singled out white musicians for their alleged are trying for something new and relevant. The
player who appears on dozens of recordings. failure to grasp the nuances of rhythm. “If we most present soloist is pianist Alexis Marcelo,
If he has a chip on his shoulder, it’s not ap- accept the common stereotype,” Sandke
whose playing can be all over the place and all
parent. The book is less about black music writes, “it’s hard to explain why Duke Ellington
over the music. His rhythmic sense can be en-
and black musicians than their dubious pub- and Count Basie hired so many white drum-
gaging, very listenable as with the sometimes
lic profiles that Sandke attributes to scholars mers,” including Louie Bellson, Buddy Rich
and media critics. and Ed Shaughnessy.
scattered but fetching swinging blues “Rose.”
While some aspects of jazz reflect indig- The book is hardly one-sided. It chronicles And his lyrical sense of beauty is on full display
enous African drumbeats, Sandke writes that the long history of discrimination black musi- with the opener, a quiet trio number with a way-
its rapid evolution was the result of harmonic cians experienced, a practice extending from ward theme titled “Kancamagus.” We first hear
and melodic developments that looked be- infamous bookings in the Jim Crow South to altoist Darius Jones and a more pronounced
yond the scope of African music. These in- recording studios in major cities. It explores the Pride on drums with “Reese Witherspoon.”
cluded the growing sophistication of the sometimes-exploitive business relationships Starting slow, the piece builds into a rock-ish
American popular song in the first half of the between white managers and celebrated 20th jaunt with jangly chords from Marcelo and
20th century, and the use of advanced chord century musicians, notably Irving Mills and El- some pauses with Peter Bitenc’s bass interlude
substitutions in mid-1940s bebop and modal lington and also Joe Glaser and Armstrong. before a return.
scales beginning in the late 1950s. But there are times when the narrative Unison lines weave their threads throughout,
Critics like John Hammond and Leonard drifts too far from its thesis or is overwhelmed at times sounding almost like a jumble, but usu-
Feather deserve credit for their attempts to by the volume of data it attempts to distill. His ally resulting in a release of swinging harmony
demystify an emerging art form. But except criticism directed toward Wynton Marsalis is and/or backbeat-driven r&b. “Bole: The Mouth
for Feather, a pianist and composer, these excessive. Marsalis’ high-profile position with Of What?” is like their kitchen sink of elements
folks knew as much about chord progres- Jazz at Lincoln Center has zero impact on the and “It Doesn’t Stop” is not something you’d
sions as they did about, say, paleontology. pressing issues facing not just jazz, but the en- want to play when you first get out of rush-hour
Their perspective on jazz was often static. tire industry: illegal Internet file sharing; the dra-
traffic, the song’s repeated, insistent lines sug-
Many dismissed the work of Louis Armstrong matic decline in CD sales and live bookings.
gesting there’s a skip or two or three on your CD.
in the late 1920s and Duke Ellington in the Sandke argues that jazz’s history of re-
But then there’s quiet and a gentle caress before
mid-1930s for incorporating mainstream in- ceiving inspiration and support from people of
fluences that appealed to white listeners. all backgrounds remains intact, noting the in-
things pick up again with another expressive solo
The most glaring oversight on the part of creasing numbers of jazz musicians and stu- from Pride ending the song. Not that it’s all fre-
20th century critics, Sandke writes, was to dents from overseas. In the wake of this on- neticism. “Emo Hope” is playful, perhaps the
exaggerate the significance of rhythm. Dur- going diversity, Sandke would like to see one one you’re likely to hum after things have fin-
ing the civil rights era, this myth found new aspect change. “For the future of the arts,” he ished. —John Ephland
voices to carry it forth in prominent black writ- writes, “I can only hope that racial debates Betweenwhile: Kancamagus; Reese Witherspoon; Rose; It
Doesn’t Stop; Emo Hope; Bole: The Mouth Of What?; Inbetween-
ers such as Amiri Baraka and Albert Murray. take a backseat to aesthetic concerns.” DB while; Surcharge; 12 Lines For Build; Kancamagus. (58:27)
Much like their white predecessors, Sandke Ordering info: scarecrowpress.com Personnel: Darius Jones, alto sax; Alexis Marcelo, piano; Peter
Bitenc, bass; Mike Pride, drums.
Ordering info: aumfidelity.com

Sellers retains a high level of tonal control in including multiphonic meddlings with “Monk’s
all registers and throughout multiphonic for- Dream.” —Michael Jackson
ays. Sellers’ sense of humor embraces the sur-
real, but is also dryly ironic as in the narrative
What the..?: Dakin Hall Blues; Apparent Sincerity; Piece For
Foil Laden Trombone And Water Jug; Squeaky Pedal Timpani
“Apparent Sincerity,” during which he postu- Improv #2; Monk’s Dream; E Blues With Kazoo Mute; Improv
With Didgeridoo In Bell #2; Skinny Widow Stomp; Chilled
lates unfathomable feminine thought process- Green-Charles Bukowski; Water Music; Improv I; Tension/Re-
lease; Sans Tuning Slide; Improv With Didgeridoo In Bell #1;
es with parenthetic trombonism. “Squeaky Squeaky Pedal Timpani Improv #1; Overdub Didgeridoo; Early
Pedal Timpani Improv #3,” one of 17 tracks not
Evening Algebra-Charles Simic; Improv 2 From Second Ses-
sion; Overdub Microtone Triads; Squeaky Pedal Timpani Im-
overdubbed, must have been hilarious to wit- prov #3; Improv II-Caveman Reverb; Stompin’ At The Savoy.
(40:33)
ness, Sellers simultaneously blowing trombone, Personnel: Joey Sellers, trombone, water jug, timpani, water
bowl, poetry and didgeridoo.
eliciting cartoonish effects from kettle drum. Ordering info: circumventionmusic.com
“Tension/Release” could be more specific in its 2009: 900; Dusk; Jacket Weather; #3 (Cleo); Awomblyin’; 11AM
musical illustrations and the first didgeridoo-in- Verti Marte; Full English; The Elliptical Blues; Before And After;
The Lateness Of The Hour; Round Two. (63:64)
bell improv seems a bit pointless. There are still Personnel: Jeb Bishop, trombone; Jason Roebke, bass; Frank
Rosaly, drums.
plenty of marvelous moments, even jazzy ones, Ordering info: jebbishop.com
Joey Sellers Solo Trombone

What The…?
Circumvention 083
★★★★
Jeb Bishop Trio
2009
Better Animal Recordings
★★★★
T hey claim the trombone cleaves closest to

the human voice, and these two bone expo-
nents demonstrate the truth of this with brilliant
use of mutes and multiphonics.
Jeb Bishop is the most versatile, forthright
and musical of trombonists. 2009 suggests an
arbitrary meeting but proceedings betray clear
compositional strategies. Jason Roebke’s nervy
skip and Frank Rosaly’s clacking snare set up
“900” before Bishop’s blowsy entry. Bishop
daubs rich, deliberate globs before smearing
more wildly, giving way to remarkable poly-
rhythmic display from Rosaly, a Shiva at the kit.
Bishop’s Teflon tone is most evident on the bruis-
ing closer “Round Two” but more intriguing is
his masterful mute-work. An unconscious hint
of “Stella By Starlight” drifts through the Duke
Ellingtonian calm of “#3 (Cleo)” and Bishop re-
veals the rhapsodic propensities of cupping the
bell and altering embouchure.
The stalking, unpredictable “Awomblyin”
deploys cup mute like a ventriloquist, suggest-
ing another horn in the room. Tumbling, elastic
bass from Roebke precedes a tight-yet-false end-
ing heralding ambidexterity at the drumset be-
fore further thematic material. “Full English” is
hilarious, with Bishop’s ducklike diner chatter-
ing about nothing as he nibbles fried bread and
black pudding. The quacking theme ends abrupt-
ly as several tracks here, spilling into a swing-
ing blues.
With no side musicians to appease, new
depths of candidness are possible in solo re-
cordings, or what Joey Sellers refers to as his
ideas about small form composition. Sellers
sounds like a seasoned lone performer but ap-
parently this experiment, “a whimsical romp
through a mid-life crisis” resulted from a can-
celled studio date for the Algonquin Quartet.

BRASS SCHOOL Woodshed | MASTER CLASS
by gordon goodwin
Arranging For Big Band Brass Section

A trumpet is not a saxophone. I must have heard that dozens of times Example 4
as a young writer when I would test the limits of trumpeters’ range,
endurance and technical prowess. Come to think of it, I still hear that, or
Example 4 (Bars 225,
226): These are the last two
bars of the chart, and the most
variations of it, because I do like to push the limits a bit in my writing. powerful trumpet voicings
And while I think that being musically adventurous is generally a good in the song. In the last note
thing, it is always good to know the challenges these musicians face as the lower three trumpets are
they strive to make music out of a bunch of brass tubes. dropped down an inversion,
I like to know my players, who I am writing for and what their which keeps the 2nd trumpet from being too high, but also gives a nice
strengths and weakness are. If you are lucky enough to have Wayne piece of aural real estate for the high A (in the 1st trumpet) to ring out.
Bergeron and Andy Martin as the lead players in your brass section, as I
do, you will find yourself with a fair amount of latitude. But short of that,
here are a few comments. (Music examples are in concert pitch). Trombone Examples
Example 5
Trumpet Examples
Trumpet playing is a physical endeavor, so be kind. They are not a
string section, so don’t treat ’em that way. Pick your spots and when the
trumpets do come in, their impact will be even more effective.
Here are a few examples of trumpet section passages, in this case Example 5 (Bars 28–30): The trombone section is voiced in closed po-
taken from “That’s How We Roll,” the title track from the latest Big sition in bars 29 and 30. You can see that the bass trombone starts out play-
Phat Band CD on Telarc, published by Alfred Publishing. ing with the acoustic bass in bar 28 and joins the section in bar 29 filling
out the chords on an inner part.
Example 1
Example 6
Example 1 (Bars 41–43): All four trumpets are in a prime unison in Example 6 (Bars 91–93): Other times the bass trombone plays the
their middle register, a strong sound. They split into harmony for the roots, especially when you want more weight to the ensemble sound.
last note, and you can see a half step in the voicing, which works well
and gives a little grind in the E7 (#9, #5) chord. Example 7
Example 2
Example 7 (Bars 194–197): The trombones are voiced in a higher po-

sition during the shout chorus, which gives the ensemble a bright, mobile
Example 2 (Bars 194–197): This is the shout chorus of the chart, sound. The bass trombone here is not playing roots, but the all-important
and the trumpets are in a high powerful register, with the 4th trum- 7th in the chord.
pet doubling the 1st an octave lower. This doubling gives the melody a
strong presence. In bar 197 the trumpets are in a tight, closed position, Example 8 Example 8 (Bars 188–
which is good for faster, more mobile passages. Also note that the 189): The trombones are in
trumpets are playing the upper partials of the chords in bar 194, beat octaves here, with the bass
2.5 (the #9, 13th particularly), which give the voicing a rich character. trombone on his own in the
lower register. The bass trom-
Example 3 Example 3 (Bar 220): bone, with its big sound, can
Note how the 1st trumpet easily balance against the oth-
lays out until the punch at Example 9 er three trombones in the up-
the end of the bar. This per register.
gives him a chance to set
for the higher note, and Example 9 (Bars 225–
the other three trumpets 226): In the last two power-
lend plenty of strength to fully voiced chords, you can
the unison line. see a large gap between the

3rd and 4th trombones. (Although in this case the baritone sax fills in space Example 11
in that register.) As the final note in the chart, the bass trombone on the low
root gives the chord the power it needs. The rest of the section fills out on
important chord tones, the 5th (the melody in this case) the #9 and the b7th.
Since this chart was written in an energetic shuffle feel, there are no
real examples of more sustained and subtle brass writing. To take a quick
look at that style, here is an example from another song, “Everlasting,” from
That’s How We Roll.
Example 10
Example 11 (Bars 65–69): This is a colorful-sounding ensemble pas-

sage, with three flugelhorns, a trumpet with harmon mute and open trom-
bones. The root is also doubled by a bass clarinet.
Of course, looking at music is one thing, and hearing it is an entirely
different thing. To hear what these examples sound like, we are offering a
free download of this track! Just go to http://t.opsp.in/PJPy for your free
Example 10 (Bars 43–46): Check out the counterpoint between three download of “That’s How We Roll.” Listen to the track as you look at each
flugelhorns and three trombones in bucket mutes in the Bb9 chord (bar 45), example and strive to hear the nuance in the voicings. Decide what you
and note the half-step interval in the trombone section (the G and Ab). This like (also what you don’t), and you will start to develop your own style and
adds a bit of mystery to the effect of the chord. sound in your brass writing. Good luck! DB
composer/arranger Gordon Goodwin leads Gordon Goodwin’s Big Phat Band. Alfred Music Publishing recently added The Music Of Gordon Goodwin book/CD
and The Music Of Gordon Goodwin For Rhythm Section book/CD to its Jazz Play-Along series.

BRASS SCHOOL Woodshed | PRO SESSION
by kirk garrison
Trumpet Players & Kirk Garrison
Solid Fundamentals
The First Steps To Avoid Fatigue,
Increase Range & Improve Sound
“M y chops are shot” is a frequent statement uttered by
many trumpet players. This problem is most pervasive
among younger musicians who are still in an early phase of em-
bouchure development. Teachers and professional players have
various methods of dealing with this problem.
The art of playing the trumpet with the highest level of physi-
cal efficiency is elusive. Watching our most highly trained pro-
fessional athletes is a terrific example of how to accomplish chal-
lenging physical tasks while appearing completely relaxed. In
order to prevent premature fatigue, the first issue we must address
is to examine how much energy is being wasted because of undue
tension. Solid attention to fundamentals must be observed 100
percent of the time you are playing. Wynton Marsalis is a superb
example of efficient and proper trumpet playing. Simply watching
a video of him speaks volumes.
Proper hand position and posture when holding the trumpet
seems like it should be the simplest task in the world. However,
seeing hundreds of young trumpeters in clinics, festivals and my
own studio, I have found this not to be true. There are few slight
variations that are acceptable.
The left hand is primarily used to support the weight of the
horn and to manipulate the first and third valve slides. Put your
thumb in the saddle on the first valve, and place either two or three
fingers above and one or two beneath the third valve slide (three
up and one down, or two up and two down). Your left arm should
be at approximately 45 degrees. It is very important that the left
hand is positioned so the angle of the trumpet doesn’t cause you
to create an awkward angle to blow into the mouthpiece. If the an-
gle of the horn is too high, the tendency is to dig into the upper lip,
which causes problems with vibration.
The right hand is not used to support the weight of the trum-
pet. Improper position of the right hand creates a litany of problems. Rest Improper tuning of your instrument can be another cause of premature
your thumb in a gentle, relaxed position between the first and second valves fatigue. How often has a student come to a lesson with their tuning slide
just beneath the lead pipe. Your arm should be at approximately a 45-de- far enough out to move the pitch down at least one half step, or too far in?
gree angle with the fingers slightly curved and the fingertips—not the If so, the student has become a victim of the tuning slide game. The cause
knuckle—resting directly on top of the valves. The hook or ring on the top is looking at the tuner while playing your tuning note. No matter how ugly
of the lead pipe is to place your pinky finger in to help hold the horn when the sound gets, the student tries to stop the needle at zero without moving
changing mutes, turning pages and occasionally using the plunger mute. the tuning slide. By tuning without moving the slide to the correct position,
Otherwise, it should generally not be used. It is not an octave key. Placing virtually every note you play will be a physical battle with intonation that
your pinky there creates difficulty in manipulation of the valves, especial- you cannot win.
ly the third valve. It also causes the player to use too much pressure and dig The proper way to tune is to first achieve a clear, comfortable, open
in to the upper lip. In doing so, vibration becomes difficult because the up- sound. Using an F concert, take a relaxed full breath and play at an easy
per lip gets trapped. There are players who do put their pinky in the hook volume. Do not look at the tuner. Instead, listen to your sound. Don’t wor-
or ring and are highly successful. However, they do not generally use the ry about pitch yet, just try for as pretty sound as you can make while feel-
device to put more pressure on their chops. ing comfortable. Once you have achieved a good, relaxed sound, look at the
Whether standing or sitting, proper posture is a must. A full-length tuner. The first reading you see is where the horn plays. Adjust your slide
mirror is an excellent tool of self examination. To achieve a comfortable, and try again without looking. Again, after the pretty sound is achieved,
relaxed posture, set the instrument aside. Sit or stand up straight and dan- take a look and see where you are. Once the horn is played where it should
gle your arms loosely. Take several deep breaths and exhale slowly. Pick up be, you are no longer fighting every note and will achieve greater endur-
your instrument, take a deep breath and play an F concert at a nice easy vol- ance, range and a more beautiful sound. DB
ume. It should feel like you are letting the air from your body pass through
the trumpet and into the room. Arms are at about a 45 degree angle. If you Jazz trumpeter Kirk Garrison is an active musician, composer/arranger
were to draw a line from elbow to elbow, you’d have a nice equilateral tri- and clinician residing in the Chicago area. He is an adjunct professor
angle. The only tension on your body is where your lips buzz and the firm- at DePaul and Concordia Universities and is sponsored by Denis Wick
Mouthpieces and Mutes/Dansr USA. For clinician information please
ness of your abdomen. Arms and shoulders are relaxed, legs are not tense. email: [email protected].

BRASS SCHOOL Woodshed | solo
by jimi durso
Bob Stewart
HYOU VIELZ
Bob Stewart’s Tuba Solo

On ‘Surinam’
Y ou don’t hear tuba in jazz much these
days, and when it does appear it’s usually
in a supportive role. On his 1988 JMT album
lines. The eighth notes of the measure are di-
vided into 3-3-2, with attacks occurring on the
one, “and” of two and four. You can see this pat-
First Line (reissued on Winter & Winter) Bob tern recur throughout his solo.
Stewart gives his tuba a more diverse role, as One of the main variations of this idea that
well as some solo spots, including a 62-bar solo Stewart employs is emphasizing offbeats. He
on “Surinam.” alludes to this in measure 8, where after play-
This song is a calypso, felt in cut time (in ing the downbeat, Stewart plays solely upbeats
“2”). Everyone but the drummer drops out as for the remainder of the bar. He develops this
Stewart’s solo commences. Stewart keeps the motif further in the string of measures from 16
danceability of the groove in his solo by bas- through 21, where Stewart plays the majority of
ing all his ideas off of the same rhythms he had his notes on upbeats, with the few strong beats
been using for some of his earlier supportive he plays generally landing on the one, though in

measures 18 and 21 he doesn’t even hit the one, great bass line. Notice also how Stewart has
creating a heavy syncopation. expanded the range of his lines here, jump-
Another variation is displacing the 3-3-2 ing over an octave in the beginning of each
rhythm a quarter note and starting it on the measure.
second beat (playing on two, “and” of three After this intense section, Stewart returns
and one). Stewart incorporates this in mea- to the original isorhythm, with some variation,
sures 10, 47 and 51. It’s a clever variation, until measure 55, where he revisits playing just
as now instead of the first note being on the the root of the V chord toward the middle of
downbeat, it’s the last note that lands on the the measure, breaking the form as he did back
one, making the rhythm resolve quite strongly. in bars 23 through 29. Both of these sections
At bar 32 Stewart is still playing off the end with Stewart walking down the scale from
original motif, but now fills in some of the the V back to the I. In the earlier instance,
eighth notes to make it busier (and funkier). Stewart used this to signal the guitar to enter.
The accents are still on the one, “and” of two Now it’s used to let the band know his solo is
and four, but the added eighths (on two, “and” drawing to an end. DB
of three and “and” of four) fill some space
and provide more of a push. In fact this sec- Jimi Durso is a guitarist and bassist in the New York
tion, through measure 46, would also make a area. He can be reached at jimidurso.com.

BRASS SCHOOL Toolshed 
Cannonball
Lynx Trumpet
Beyond The Stratosphere
T he Cannonball Lynx profes-
sional trumpet is a lightweight,
easy responding, free-blowing horn
horn I played was beauti-
fully detailed, engraved
and topped off with distinc-
that packs a powerful punch. tive stone valve-button tops.
As you pull the Lynx out of the The new brace design, light-
case, your eyes are first drawn to weight one-piece bell and medium-
the sleek and futuristic-looking large bore all combine to deliver a
braces that join the lead pipe to the huge sound from a great-respond- led me to believe that the sound bell flare, which contributes to the
bell. The special shape of the brace ing, open-blowing horn. I couldn’t might spread as I gave it more air intonation, ring, resonance and
and the limited contact points to believe the big, brilliant sound from and extended the range. I was cer- projection.
the horn are designed to be superi- the first few notes I played on the tainly mistaken and I could not be- Cannonball is certainly earning
or to the traditional “S” bracing by horn. I was amazed at its respon- lieve how the horn retained its full, the growing numbers of profes-
promoting freer vibration through- siveness and the smooth, even feel- centered sound and focused projec- sional artists that are endorsing its
out the range of the horn. The lead ing it provided from top to bottom. tion. This horn will certainly take horns. The Lynx is a fine example
pipe is fitted with a custom heavy The intonation and slotting of notes as much as you can give it. of a product from a budding instru-
wall receiver. This receiver helps on the horn was excellent with- I was very impressed with the ment manufacturer that has its pri-
to deliver a focused tone and is out causing the horn to feel rigid. I sound from the Lynx, and I could orities in order. They seem to un-
very sturdy to ensure an optimum was just as comfortable producing easily picture myself using the horn derstand the importance of looking
fit of the mouthpiece with little or the nuanced playing required for a in any of the jazz/pop scenarios that back and respecting the hand-craft-
no change over time. The valves jazz solo as I was playing the lead I perform in. The trumpet designed tradition of instrument produc-
on the horn feel great. The monel trumpet lines from some of my fa- ers at Cannonball credit this char- tion while also looking forward by
piston valves are hand-lapped and vorite big band charts. I was most acteristic ring and resonance to challenging and modifying some
then machine-lapped and are kept blown away by how much punch the special annealing process that of those traditions in order to create
together with their specific casing the horn was capable of providing is applied several times to each of horns that offer a different sound
from the beginning of the manu- when I really leaned into it. The ini- their trumpets. The horn’s unique and yet feel great. —Mike Pavlik
facturing process. The silver-plated tial extreme brilliance of the horn sizzle comes from the angle of the Ordering info: cannonballmusic.com
Yamaha Xeno Trumpet, Z Series Trombone

High-Class Pro Brass
Y amaha is celebrating the 20th
anniversary of its Xeno line
with the American debut of the
limited edition YTR-8335RS20TH
professional trumpet. The new
Xeno trumpet features a reverse
tuning slide, yellow brass bell and
silver-plated finish for an opti-
mal level of resistance with a free- ing smooth pitch transition without with jazz trombonists Andy Martin bility of the slide and enhance slide
blowing feel. Gold-plated finger overblowing. Yamaha’s corrosion- and Al Kay, the YSL-897Z features action. Hand-lapped slides ensure
buttons, top valve caps along with a resistant monel pistons enhance two interchangeable leadpipes, giv- a strong seal between the slide
gold-plated 16C4 Yamaha mouth- the valve action and long-term ing players the flexibility to cover parts. Another distinct feature is a
piece provide this trumpet with an precise fit. Hand-lapping pistons different styles and offering a range counterweight balancer located at
elegant appearance. Additionally, and slides ensure a perfect fit and of tonal colors. With its compact, the back of the instrument.
the accompanying TRC-20TH seal between the pistons and cas- well-centered tone and quick re- “The YSL-8972 records beau-
double trumpet case offers a clas- ing or slide parts. Such a fit helps sponse, the trombone is suitable for tifully and has a great projection
sic look. to achieve smooth airflow and vel- all types of performance situations. for solos,” said Roger Eaton, di-
Suitable for any performing vety action while improving the The new trombone has the same rector of marketing for Yamaha’s
situation, including the concert response and intonation of the small double bore as the 697Z and Band and Orchestral Division. “It
hall, recording studio or intimate instrument. features an art deco design with lots is truly an exciting new voice for
jazz club, the 20th anniversa- Yamaha has also released the of visual aesthetics. jazz and commercial trombonists.”
ry Xeno trumpet provides just the YSL-897Z tenor trombone, which Long-lasting nickel-silver tu- —Bruce Gibson
right amount of resistance, allow- replaces the YSL-697Z. Designed bular braces contribute to the sta- Ordering info: yamaha.com

Jupiter 516L Pocket Trumpet
Well-Crafted Mobility
I n the past, my impressions of,
and experiences with, horns of
this nature usually bordered on hu-
in an overhead luggage compart-
ment. That has to be not only a con-
sideration, but a real motivation to
I then pro-
ceeded to the
area that always
morous and often ended with the ri- start taking the quality production seems to be the down-
diculous. Every one that I ever tried of the pocket trumpet more serious- fall of all “novelty” or
was a mere shadow of the instru- ly than in the past—which brings low-end trumpets: the
ment it was trying to emulate. But in me to the real point of this review. dreaded upper register. I can
this day and age of portability and When I put this horn up to my always tell when a horn is not
mobility, a pocket trumpet, if well chops and played the first note, I was going to respond up there. The high
crafted, can serve a very useful pur- expecting an airy, un-centered type E-flat and E are always going to be (also available in silver and black
pose, especially in a marching band of response. I had heard of Jupiter a little airy and take a lot more ef- lacquer finishes). It uses a standard
or with a jazz or pop ensemble that horns before but had never played a fort to play. While not being a horn trumpet mouthpiece and carries an
travels frequently. standard trumpet of theirs, let alone that I would choose to play four MSRP of $985.
For marching, a pocket trumpet their pocket trumpet. What I felt and hours of lead trumpet in a big band The Jupiter 516L pocket trum-
offers a much lighter and well–bal- heard surprised me. The notes in the on, the upper register was surpris- pet seems to be a fairly well put-to-
anced alternative to the standard staff were very well centered and the ingly more responsive than I ever gether horn. It plays evenly and the
B-flat trumpet. It just feels bet- pitch seemed fairly solid. Playing imagined it would be. The notes intonation on this particular horn
ter to march with and play simul- scales up and down the horn in the from high C to F-sharp were very felt very nice. I would recommend
taneously. It’s also a less expen- staff seemed effortless, and the horn clear and responsive. When getting this horn, especially as I said before,
sive instrument to replace in the responded well as I increased the up to the G, I found the sound start- for a great alternative to standard
rough-and-tumble world of execut- speed of the scales. All the notes ed to spread a little. It still had some trumpets on the marching band
ing formations on a football field. spoke well, and it had a nice warm sizzle to it, but not like the F and field. It gives a player the feel of an
Another benefit of the pocket trum- and tightly slotted feel to it. I then F-sharp. It could have just been my old-time cornet but with the projec-
pet is for the commercial band dou- wanted to see how the overtone se- impression, but it just seemed like tion and response of a trumpet.
bler—for that rhythm section play- ries slotted with some slurs from the I had to work harder than I should —Mike Cichowicz
er who needs a decent horn for a low C just below the staff to the high have to in order to get it to jump out Ordering info: jupitermusic.com
few tunes during the evening and C above the staff. I proceeded to play of the end of the horn.
needs something that plays well and each harmonic series chromatically The Jupiter 516L is an updated
doesn’t take up a lot of room on the from low C to middle G. Each note version of the company’s 416 pock- Mike Cichowicz is a former lead
trumpeter with Tower of Power and
bus. And lastly, there is the travel- in the series spoke well, even in the et trumpet. It features a .460-inch Rod Stewart. A Chicago-based artist,
ing musician. You won’t ever have upper partials, indicating to me a bore, a 4.8-inch bell, stainless steel he currently performs with several
working bands, including Tributo-
a problem stowing a pocket trumpet horn with nice, tight compression. pistons and lacquered brass finish saurus.
Denis Wick Fiber Mute

Pro Quality At Student Prices
D ansr has introduced the Fiber
Mute, an entry-level straight
mute from Denis Wick Products
with a sealed wooden bottom with
no visible seams, the design took
several years to perfect, accord-
a zip-style re-sealable display bag
with no staples, and they ship with
a registration card for parents to fill
with a professional-quality sound. ing to Michael Skinner, president out to help keep them involved with
“There has only been a small of Dansr. “The design is all Denis’ the Wick product line as the student
amount of student-level straight concept,” Skinner said. “Denis is all progresses.
mutes available in the industry for about good quality. He’s a real stick- “As far as the straight mute
a very long time, and there’s not ler for what has to go into a mute to sound is concerned, this is happen-
much quality out there,” said trum- make it do what it’s supposed to do. ing,” Garrison said, noting how well
peter Kirk Garrison, a Denis Wick It’s not how quiet can the trumpet they hold up to student abuse. “I like
artist. “So we had the idea to intro- play, it’s how beautiful the trumpet its slightly darker sound. And it’s in
duce a entry-level straight mute at can sound at that level.” tune. They took a little extra time
a good price. It’s lightweight but The trumpet model Fiber Mute when they designed the corks, so
real durable, and if you compare retails for $15.99, and the trombone they’re contoured to fit around the
it to one of our expensive profes- model is priced at $20.99—compa- end of the mute and won’t chip or
sional mutes, there’s not that much rable to the street price of other stu- fall off during the first week of use.”
difference.” dent straight mutes on the market. —Ed Enright
Made from a high-quality fiber The black-colored mutes come in Ordering info: dansr.com

Jazz On Campus  School Notes 
Audrey Morrison and students
Dave Holland
Holland Week: Dave Holland will begin

hosting an annual weeklong residency at
the University of Miami’s Frost School of
Music beginning in the fall. The residency will
include master classes and workshops with
mike canale
students focusing on improvisation, compo-
sition and performance. It will culminate in a
concert featuring Holland’s music performed
Chicago-Area Classical Academy by two student jazz groups from the school.
Makes Time For Jazz Classes Details: music.miami.edu
A bout 80 years ago in the northern Chicago

suburb of Winnetka, Ill., David Dushkin
started a classical music school in a farmhouse. He
Adams and trumpeter Art Davis, as well as
Morrison, who plays trombone. Marcus Roberts
also performed at the school last fall as a guest
TCU In Cuba: The Texas Christian Uni-
versity Jazz Ensemble, directed by Curt
Wilson, traveled to Cuban in December to
held on to the belief that training in the art should artist. While teaching music theory also cuts play at the Havana International Jazz Festi-
be at a low cost, and not elitist, as that school be- across different forms of music, the method of val. Along with performing at the event, the
came the Music Institute of Chicago. Currently, teaching jazz takes some adjustment. group rehearsed with members of Cuba’s
about 5,000 students across the Chicago area National Band and met with students at
“I’m a proponent of teaching jazz as an oral
Havana’s Conservatorio Municipal de
take courses at different institute locations. Last tradition,” Morrison said. “Some of our students
Musica. Details: tcu.edu
September, it expanded its programming further have been surprised that they’re learning without
through offering jazz education. written music—playing by ear, listening to tunes Mediterranean Emphasis: Javier Limón
“As time went on, there was a reckoning that from recordings. Understanding that groove is has been appointed as a visiting professor
jazz is not only a cultural treasure for the United the heart and soul of music. We get students sing- at Berklee College of Music in Boston during
States, but embedded in what we call classi- ing, do the scat syllables, which they’re shy to do 2011–’12. Limón will concentrate his efforts
cal music,” said school president Mark George. at first. They start learning vocabulary through on teaching Mediterranean music and other
“From the early stages of George Gershwin all time feel, learning musical phrases, riffs, scales, styles rooted in the cultures of the Mediter-
the way through modern composers who pick arpeggios within that time feel.” ranean rim. Details: berklee.edu
and choose. To be a pro musician today means George adds that when students attend the
you have to be fluent in many genres.” Music Institute, they can use the lessons to sup- Bad Plus @ Duke: Duke Performances
So far, about 50 students are enrolled in the port their playing in their school ensembles. has commissioned The Bad Plus to create
Music Institute’s jazz courses, though George “This is the place where students can come a reappraisal and rearrangement of Igor
said that he expects the program to grow quick- in and we can incubate them,” George said. Stravinksy’s Rite Of Spring. The trio will per-
ly because of the school’s reputation and its on- “And make them into young musicians with form the piece on March 26 at the Durham,
going outreach efforts. Along with its tradition- confidence.” N.C., university’s Reynolds Theater. The
al base in the suburbs, the institute is partnering Along with providing that training, the Bad Plus has also been working with Duke
with schools and churches in Chicago’s South Music Institute jazz program’s ensembles per- graduate student composers and has en-
and West Side neighborhoods. Audrey Morrison, form at their own school buildings and at differ- gaged in artists-in-residence activities both
director of jazz studies at the Music Institute, has on campus and in the community. The trio’s
ent community centers throughout Chicago and
engagement with Duke graduate com-
been particularly active in this effort. the suburbs. The school also has plans to start a
position students centers on the group’s
“Integration of different cultures into the weeklong jazz camp in the summer.
reading, performing and critiquing students’
Music Institute is the future of the school,” “When we were growing up, we had garage original work. Details: duke.edu
Morrison said. “The school has been predomi- bands,” Morrison said. “This is sort of like the
nantly Caucasian and Asian. With jazz, blues and new garage band. We’re pulling students togeth- Haynes in Jersey: The Roy Haynes Foun-
Latin music, I see that complexion changing.” er from different areas who wouldn’t be play- tain of Youth Band will perform at William
Jazz is taught at the institute in much of the ing together. It’s a wonderful way for students to Paterson University’s Jazz Room series at its
same way as its classical program: small, some- learn about developing audiences for their music, Wayne, N.J., campus on March 26.
times one-on-one, lessons with a prominent and for a community to be served through their Details: wpunj.edu
teacher. The faculty includes percussionist Ernie music.” —Aaron Cohen

Musicians’ Gear Guide
Best of The NAMM Show 2011
T
he NAMM Show brings together the entire musical instruments industry for four days of product showcases,
business-to-business marketing, inventory ordering and plenty of joyful noise every winter. This year’s event,
held Jan. 13–16 at the Anaheim Convention Center, saw the release of thousands of new instruments and audio
equipment—some of which shows promise to become essential gear for players at all levels.
BAND AND ORCHESTRA

{1}
Sax Jubilee
Selmer Paris launched its Jubi-
lee line of Series II and Series III
saxophones in celebration of the
company’s 125th anniversary. Also {2}
new from Selmer was the Leblanc
Bliss line of student upgrade clari-
nets. More info: conn-selmer.com {6}
{1} Top Brass
Schilke is now shipping its high-end
1040 FL flugelhorn, which was
shown only as a prototype last
year. The company’s new ST30
small-bore tenor trombone offers {5}
pros lots of tonal options by provid-
ing a choice of different bell and
slide materials, in addition to three
interchangeable lead pipes.
More info: schilkemusic.com
{2} Bravo, Bravo

P. Mauriat showed its Le Bravo 200
saxophone, an intermediate horn
designed for hobbyists who want
professional features but don’t want
to spend a ridiculous amount of
money. More info: pmauriatmusic.com
{4}
Keilwerth’s Back
Buffet Crampon has brought the {3}
Keilwerth brand back to the U.S.
pro saxophone market, with a lot of
attention being paid to its Vintage
series. More info: buffetcrampon.fr
Goin’ Pro
Antigua turned heads with its
Pro-One series of alto and tenor Sax Line Complete {4} Sax Setup marks—with the dynamics im-
saxophones, which feature superior Eastman Music added soprano In addition to the long-awaited proved. The pieces were developed
design and a minimum of bling. and baritone models to its line of Vandoren V16 mouthpiece for bari- through a collaboration between
More info: antiguawinds.com professional saxophones, available tone saxophone, Dansr announced RS Berkeley, Drake Mouthpieces
in black nickel and gold lacquer. the availability of Vandoren V12 and Beverly Getz, Stan’s daughter.
{3} Horn Sections More info: eastmanmusiccompany.com reeds for tenor saxophone as well More info: drakemouthpieces.com
Yamaha rolled out three new pro as the Denis Wick Fiber Mute, a
horn lines: the Custom Z soprano Reeds On Reserve student straight mute with a profes- {6} Midnight Blues
saxophone, the Xeno 20th-anniver- Rico had a new offering with its sional sound. More info: dansr.com Hohner has introduced the Blue
sary trumpet and the 897Z tenor Reserve Classic alto saxophone Midnight harmonica, named
trombone. Each spent a long time reeds, which have been winning {5} Getz Piece Blueprint after a blues instrumental by Little
in the development stage as the over top classical saxophonist in The Stan Getz Legend series tenor Walter Jacobs. Available in seven
company consulted with top artists large numbers with their dense cut saxophone mouthpiece is an exact keys, the 10-hole diatonic harp
for input on their design. and overall consistency from reed replication of the mouthpiece features a Chicago-style tun-
More info: yamaha.com to reed. More info: ricoreeds.com Getz played—including the teeth ing. More info: hohnerusa.com

PRO AUDIO
{1} Computer Mics
Think of the Meteor from Samson
as your all-purpose computer mic.
Made for Skype, iChat, voice-
recognition software and record-
ing, the Meteor has a fold-back {3}
tripod-leg design for ideal desktop
positioning. With no drivers, it
{1}
operates straight out of the box and
is compatible with most computer-
based digital audio software. {2}
More info: samsontech.com
A handheld quality condenser mic

for iDevices, the iRig Mic from IK
Multimedia is suitable for most
every application—singers, com-
posers on the move, instruments,
live gigs and field recording. It
features a unidirectional electret-
condenser microphone capsule, {5}
three-level gain switch and rugged
metal body. More info: ikmultimedia.com
{2} CAD’s technologically ad-
vanced line of multipurpose USB
microphones grew with the U9
MiniMic. The U9 plugs directly into
computers with a headphone out
for playback monitoring. It features
an omnidirectional condenser cap-
sule that swivels 180 degrees for {6}
convenient positioning and an LED
to indicate when the mic is active.
More info: cadaudio.com
{3} Analog Workhorse

The Workhorse from Radial is an
analog recording interface that
serves as a plug-and-play platform
for eight 500 series modules, with
the addition of a built-in mixer. Us-
ers can mix and match pre-amps,
EQs and compressors to create
ultra-customized channel strips.
More info: radialeng.com
{4}
{4} Well-Connected
The ultimate MIDI interface, iCon-
{7}
nectMIDI from iConnectivity offers
plug-and-play capability between
any MIDI controller device and
iDevice, including iPad, iPhone solo acoustic coffeehouse and club depending on the city. consoles and controllers.
and iPod touch. The unit also performers. The instrument channel More info: shure.com More info: avid.com
takes advantage of multiple new has a three-band EQ, reverb, dual-
CoreMIDI music apps that let users function chorus and phase switch {6} Cloud 9 {7} Handheld High-Def
play, record and jam. It has two for fighting feedback. Avid’s new Pro Tools Version 9 Zoom’s new Q3HD combines
mini USB ports, two in and two More info: fishman.com offers users the choice of work- the company’s audio recording
out MIDI DIN ports, and a USB ing with Avid audio interfaces, technology with 1080p HD video.
host port. More info: iconnectivity.com {5} Clear Channels third-party audio interfaces or no The handheld unit uses the same
With PGX, Shure unveiled its first hardware at all when using the microphone capsules as Zoom’s
Portable P.A. digital wireless microphone system. built-in audio capabilities of a Mac H4n recorder, configured in a
Fishman continued to reinvent the It combines 24-bit, 96kHz digital or PC. New support for the Avid 120-degree X/Y pattern. Setting
portable P.A. concept with its Loud- audio with extended battery life Eucon open Ethernet protocol en- audio levels is easy using the on-
box Mini. Weighing 20 pounds, the and the 900 MHz band. This keeps ables musicians to expand control board level meters and mic gain
unit offers up to 60 watts of sound users from having to deal with TV surface options to include Avid’s switch with auto gain control.
and lists for $459.95—suitable for channel allocations that change Artist series and Pro series audio More info: zoom.co.jp

Musicians’ gear guide / Best of the Namm Show 2011
GUITARS
{1} Vintage Blues
Fender’s G-DEC 3 Thirty practice
amp is now available in three genre-
specific FSR (factory special run)
versions tailor-made for blues, metal
and country guitarists. The G-DEC
3 Thirty Blues is a vintage-style amp
that features a classic Fender look,
blonde vinyl covering and chrome
corners evoking an early 1960s feel.
{3}
Onboard CD-quality backing track
{1}
loops by dozens of top musicians
give a special nod to the blues,
with other tracks in various vintage {6}
jazz, r&b and soul styles and 100
tone presets appropriate to these
styles. Fender is celebrating the
60th anniversary of its Telecaster {4}
and Precision Bass with two col-
lectible models. More info: fender.com
{5}
{2} Salute to 35
To commemorate its 35th anniver-
sary, Seymour Duncan rolled out
its limited-edition 35th Anniversary
JB/Jazz pickups. The pickups will
be available only during 2011 and
are built with long legs, butyrate
bobbins and single-conductor
cable, which was used in the early
production of the JB/Jazz pickups.
The company also unveiled the
Liberator, a solderless pickup- {2}
change system for guitar and
bass. More info: seymourduncan.com
{3} Versatile Vibes

D’Addario launched its Zyex Bass
Strings. The strings are configured
from a synthetic material and are
versatile for all sorts of musical
are based around the shape, look frequency response ranging from Back To Amps
styles from classical to modern to
and tone on Collins’ signature Infin- 37Hz–16kHz. More info: aguilaramp.com DigiTech is back in the amp
jazz. The Zyex strings offer a warm,
rich tone. More info: daddario.com ity model. They feature a solid alder business. To celebrate the occa-
body splashed with either orange or {4} Tone Library sion, the company rolled out the
Let it Slide black stars on top of a high polish Ernie Ball’s Game Changer earns TH-150 two-channel guitar amp
Never lose your slide again with finish. More info: warwickbasses.com its name by giving guitarists access head and matching 4 by 12
Planet Waves’ new D-Slyde. The to a library of tones through a true cabinet with an all-tube pre-amp
handmade glass guitar slide features Safe & Sound analog pickup switching system. It and power amp section.
an adhesive backing so it can attach Gator Cases debuted its deluxe electronically rewires a guitar or bass More info: digitech.com
to the back of a guitar’s headstock, wood cases. The GW-JAG model instantly, combining any order of
a mic stand or an amp. MSRP: is specially designed to fit the pickup coils in series, parallel, and in {6} Computer
$14.99. More info: planetwaves.com Jaguar, Jagmaster and Jazzmaster or out of phase—without digitizing or Connectivity
style guitars. The cases feature modeling the audio signal. The GuitarLink Plus from Alesis
Jazz Bodies rugged plywood construction, More info: gamechanger.music-man.com makes recording easy, connecting
Ibanez broadened its Artcore guitar plush-lined foam padding interior guitars and other line-level audio
series with two hollow bodies and a padded carrying handle. {5} The Santana Touch sources directly into a computer.
featuring all-maple bodies, CH-M More info: gatorcases.com PRS celebrated the artistry of The GuitarLink Plus’ internal
mini humbuckers and Sure Grip III Carlos Santana with its SE series. analog-to-digital conversion boasts
control knobs. More info: ibanez.com Power-Packed This model is the first SE to feature studio-quality 16-bit, 44.1-kHz
Aguilar’s new SL 112 bass cabinet the same silhouette as Santana’s digital audio. Once the guitar
Bootsy’s Bass weighs less than 25 pounds but U.S.-made guitar models. It has a and computer are hooked up,
Show your inner Bootsy with War- packs a powerful punch. The maple top with flame maple veneer the included Native Instruments
wick’s latest signatures, the Bootsy cabinet features a phenolic tweeter and a mahogany back. Guitar Rig LE software processes
Collins Artist Series. These basses with variable level control and a More info: prsguitars.com the signal. More info: alesis.com

Musicians’ gear guide / Best of the Namm Show 2011
DRUMS
{1} Sweet Rides {2}
Paiste’s Twenty Masters is a
ride collection with versatile pro
{5}
applications. The seven models
and 11 sizes are deeply rooted
in vintage jazz, reimagining the
dark and smoky tones of the ’50s
and ’60s. More info: paiste.com {4}
{2} Zildjian Gen16 AE Cymbal
The debut of Zildjian subsidiary
Gen16 marks the birth of the
acoustic-electric cymbal. Unlike
electronic sample triggering de-
vices, the Gen16 A.E. is a genuine
cymbal with natural feel and
responsiveness, amplified by
a dual microphone and DSP
engine. More info: zildjian.com
{1}
{3} Big Band Sticks
Peter Erskine strengthens his
Vic Firth signature line, mar- {3}
rying the shaft dimensions of
crossover-friendly hickory 5A’s
with the power and projection
of 5B’s. More info: vicfirth.com player’s back-and-forth or circular hogany shells, 30-degree bearing its standout live performance kit
wrist action. More info: lpmusic.com edges and 18-inch bass drum studio-side. Reference Pure sticks
{4} Shake, Rattle & Roll of Gretsch’s Catalina Club Jazz to Pearl’s tried-and-true recipe
A primitive-looking piece of {5} Classic Jazz Kit kit dose up bebop-reminiscent of task-specific birch, maple and
musical geometry, the LP Qube Small-gig pros have always roundness suitable for intimate African mahogany, as well as a
is the Swiss army knife of pocket found solace in Gretsch’s go-to venues. More info: kamanmusic.com triad of bearing edges, but flavors
percussion. Thanks to the LP jazz setup. Now they can do so the tone using thinner plies and
Qube’s internal baffle design, flaunting a brand-new finish: the Reference Pure a more resonant 1.6-mm flange,
the multidirectional shaker emits lustrous-yet-subtle Galaxy Black Pearl’s recent low-mass approach die-cast reminiscent fat tone
numerous effects based on the Sparkle. The four-piece ma- on the Reference range brings hoop. More info: pearldrum.com
PRINT {3} {2} {1}
{1} Jazz Expansion

Alfred’s ever-expanding Jazz Play-
Along series now includes great
jazz standards, books for rhythm
section instruments and easy-
level books. The CD or mp3 disc
included with each book contains
professional-quality tracks to dem-
onstrate the melodies, interpretation
and sample solos provided for each
song. In addition, Alfred partnered
with the Billy Strayhorn and Duke
Ellington estates to release an
arrangement of Tchaikovsky’s Book and The Real Dixieland Book as 48 Studies For Alto Saxophone up to create beautiful harmonies
Nutcracker Suite. More info: alfred.com among them. More info: halleonard.com In Eb. More info: carlfischer.com that are valuable for comping, chord
melodies and chordal jazz improvi-
{2} Keepin’ It Real {3} Classics With 3-Part Harmony sations. Sher’s Essential Grooves
Hal Leonard expanded its now- Accompaniment Sher Music has released Three- For Writing, Performing And Produc-
legal Real Book series to include Carl Fischer now includes a piano Note Voicings And Beyond, a new ing Contemporary Music packs
The Real Book Volume IV (also accompaniment CD of tracks in guitar title by Randy Vincent. The everything players need to know
available in play-along version) as mp3 format with its Repertoire Clas- book develops a unique “dynamic” about contemporary styles into a
well as several new titles—The Real sics series of classic instrumental concept of harmony, where three reference source of audio, scores
Blues Book, The Real Bluegrass solos and other familiar titles, such independently moving lines team and text. More info: shermusic.com

PIANO/KEYBOARD
{1}
{2}
{3}
{1} Keyboard Advances grand piano cabinet. At the tors, it measures only 17-inch-
Nord has introduced the Stage heart of the V-Piano Grand is es wide. As a bonus feature, a
2 series keyboard. The synth its piano modeling technology, new Tuning Scale editor allows
section includes an arpeg- which meticulously recreates players to mess around with
giator and the Nord sample the complex interactions of the alternate scales and tunings.
playback functionality. The components inside an acoustic Other features include modular
piano section features string piano. More info: rolandus.com synth style patching with
resonance, dynamic pedal Moogerfooger effects proces-
noise and a user-replaceable {2} Substantial Sounds sors. More info: moogmusic.com
memory twice the size of Nord The Casio WK-7500 keyboard
Stage EX, compatible with the puts a substantial army of Baby B-3
sound at players’ fingertips. Ever since Jimmy Smith’s
free Nord v5 Piano Library.
The 76-key instrument comes House Party days, the sound of
The organ section features the
loaded with 800 tones that the Hammond B-3 organ has
tonewheel and transistor organ
range from vintage pianos to a signified downhome good time
modeling of the C2 Organ
Chinese erhu. More info: casio.com jazz. But trying to actually find,
together with a newly devel-
pay for and transport a vintage
oped rotary speaker model.
{3} Flagship Keyboard B-3 instrument has not been
More info: nordkeyboards.com
Korg’s new flagship keyboard, so much fun. The company’s
Kronos, features a whopping new Mini-B has recaptured
Grand Slam nine sound engines—pianos, the tone and feel of this classic
With the Roland V-Piano organs, synths and more. instrument. The 61-note organ
Grand, keyboard players can More info: korg.com comes with a Vase III sound
choose from authentic vintage
generator that creates 96 digital
piano sounds to futuristic van- Moog In A Pocket tone wheels. At 320 pounds,
guard piano model presets—or With the new Slim Phatty, to- it’s not quite as heavy as the
they can create their own day’s mobile generation has an vintage B-3 and also comes
custom-designed piano library. easier time taking Moog syn- with a 300-watt Leslie 971 se
The flagship V-Piano Grand thesizer sounds on the road.
Subscribe
speaker (at 139 pounds).
combines Roland’s advanced While it descends from the
V-Piano technology with a classic Minimoog Model D and
multi-channel sound system
in a stylish, polished ebony
includes the patented Moog
Ladder Filter and two oscilla-
Reporting by Hilary Brown,
Aaron Cohen, Ed Enright, Katie
Kailus and Zach Phillips.
877-904-JAZZ
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PHONE by Wolfe Taninbaum, creator of the Otto
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tel. (954) 561-7804, e-mail: [email protected]
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Blindfold Test | By dan ouellette
Fred Hersch
I n his first appearance at the Monterey Jazz Festival last September, pia-
nist Fred Hersch played with his trio as well as sat down in front of a live
audience in Dizzy’s Den on a Saturday afternoon to be blindfolded.
Horace Silver
“Mexican Hip Dance” (Horace Silver Retrospective, Blue Note, 1999, rec’d 1966)
Silver, piano; Tyrone Washington, tenor saxophone; Woody Shaw, trumpet; Larry
Ridley, bass; Roger Humphrey, drums.
I can’t identify who this is, but I have a few observations. It’s the pianist’s
date because the pianist has more choruses than anyone else. The tune has
the same changes as Coltrane’s “Afro Blue,” and it’s recorded in a kind of
head-in and head-out, Blue Note-styled date that probably took place in an
afternoon. It sounds like everyone is playing in their own world. It didn’t
feel like the ensemble was going anywhere, and the pianist couldn’t get
anything going. His left hand was completely clunky, just stabbing dotted
STUART BRININ
quarter notes while he was using his right hand to do something different.
But when he tried to do some interesting things with his right hand, he’d
break off. So the tune never took flight. The soloists were not very impres-
sive. It was all jazzy jazz that was OK—nothing special. If it is a Blue Note Vijay Iyer
side with those easy chord changes and style of arrangement, I’d guess it “Black & Tan Fantasy” (Solo, ACT Music & Vision, 2010) Iyer, piano
could have been Horace Silver. It was? I’m sorry I dissed Horace, but it just You’re making this difficult for me. As a pianist, I’m very sensitive to how
wasn’t that good. It certainly wasn’t like when he played with his A-band people orchestrate the piano. In the first section, it was thick and dramatic,
that had Joe Henderson or Freddie Hubbard. And I wish Horace could have then at the bridge it got really thin, then settled into a B-flat blues. The left
put his left hand on his lap or done something different with it. hand is holding down the fort, while the right hand is playing “out.” This
piece might have benefited more by varying the left-hand pattern. And, af-
Jason Moran ter a while, the quality of the improvisation seemed to break down. Overall,
“Blue Blocks” (Ten, Blue Note, 2010) Moran, piano; Tarus Mateen, bass; Nasheet this didn’t strike me as particularly special. I’ll make a guess: Marcus
Waits, drums. Roberts. No? It’s Vijay Iyer? I see that now. But I enjoy his music most
I’m hearing a heavy gospelly feel. It’s an interesting composition, but I when he’s playing with Rudresh Mahanthappa.
don’t think the pianist negotiated the tune particularly well. There are a lot
of odd lengths of harmony. It’s not 4/4 or 2/4. There are a lot of meters go- Andrew Hill
ing on. And I don’t think the rhythm section is quite sure about what to do. “Flight #19” (Point Of Departure, Blue Note, 1964) Hill, piano; Eric Dolphy, bass
The bass player is all over the place, which can work, but it didn’t for me. It clarinet; Joe Henderson, tenor sax; Kenny Dorham, trumpet; Richard Davis,
ended with a bang and not a lot of finesse. I felt the tune was elusive, and I bass; Tony Williams, drums.
think it would be more effective to hear the head and a separate set of chord This is Andrew Hill from his old Blue Note days. It could be from Point
changes to play on and paraphrase the harmonies—and not have to jump Of Departure and has Eric Dolphy on bass clarinet. Andrew has a singu-
through hoops of a bar of 4, a bar of 3 and such fast harmonic rhythm like lar way of playing as well as assembling music. Ironically, the trio mem-
three changes in a bar. I just don’t think they pulled it off. It just got loud- bers that I’m playing with tomorrow night here—bassist John Hébert and
er and didn’t tell me a clear story. What I liked the most was that descend- drummer Eric McPherson—were Andrew Hill’s last rhythm section.
ing piano part that opened and closed the tune. It’s Jason Moran? Wow! Andrew’s music is so elusive and has a sense of mystery. I like that qual-
Jason is a close personal friend and colleague. He’s going to be annoyed at ity. It’s very unpredictable. He was very much himself. He did his thing
me, but I still have to say that this piece didn’t work for me. I have a great and let the chips fall.
deal of respect for Jason as a pianist and composer, as well as a conceptu-
alist. He’s a big thinker. He’s a very interesting artist, and sometimes these Bill Evans
kinds of artists take chances and pull it off—but for me this track wasn’t “Midnight Mood” (Bill Evans Alone, Verve, rec’d 1968)
so successful. This is Bill Evans. I know the tune. I’ve heard it before. Is it from Bill Evans
Alone? I never met him, but I did hear him play a number of times in New
Art Tatum York. As a solo player, he’s so careful. It feels like a lot is worked out ahead
“Just One Of Those Things” (The Best Of Art Tatum: The Complete Pablo Group of time. With his trio, he played loose. This sounds stiff, polished, but love-
Masterpieces, Pablo, 1991, rec’d 1956) Tatum, piano; Red Callender, bass; Jo ly. But there’s not a whole lot of danger in there. I wished he would have
Jones, drums. pushed his solo playing further. I don’t rank him up there with great solo pi-
That’s Cole Porter. The pianist is definitely a pre-bop player who is using ano players. I think he was good, but not awesome. I knew it was Bill from
his left hand. At first I thought Teddy Wilson, but he plays with a different the first few bars with the voicing of his chords and the tune choice: a waltz.
energy and sound. So as a wild card, I’d say Art Tatum in a trio setting even There’s also a certain way that he played the lines with a buoyancy to his
though I’ve never heard him playing with a trio. You can hear the way he time feel that’s unmistakable. DB
plays chords and the tendency to go to the full left hand. This tune is con-
sistent with his sound, but all that I’ve heard of Tatum is his solo work. It is The “Blindfold Test” is a listening test that challenges the featured art-
Tatum? Well, I think it works well, but I still appreciate him as a solo pia- ist to discuss and identify the music and musicians who performed on
selected recordings. The artist is then asked to rate each tune using
nist. He’s got unbelievable command. He never flubs. a 5-star system. No information is given to the artist prior to the test.

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