Professional Documents
Culture Documents
DB1502
DB1502
MIKE STERN & ERIC JOHNSON | RUDRESH MAHANTHAPPA | DELFEAYO MARSALIS | JAZZ VENUE GUIDE | RECORDING SCHOOL
FEBRUARY 2015
DOWNBEAT.COM
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FEBRUARY 2015
FEBRUARY 2015
VOLUME 82 / NUMBER 2
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CONTRIBUTORS
Senior Contributors:
Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough
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Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South
Africa: Don Albert.
FEBRUARY 2015
On the Cover
22
106
Eric Johnson
Six-String Summit
BY DAN OUELLETTE
Guitarist Lionel Loueke performs with the ensemble Our Point of View at the Monterey Jazz Festival on Sept. 20.
Cover photo of Eric Johnson and Mike Stern shot by Jimmy and Dena Katz at Webster Hall in New York City on Nov. 9
28 Jon Batiste/Chad
Smith/Bill Laswell
32 Rudresh Mahanthappa
Moving the Eye
BY BILL BEUTTLER
36 Delfeayo Marsalis
Humanity & Humility
BY JENNIFER ODELL
81
Recording School
82 Don Was
Beginners State of Mind
BY KEN MICALLEF
6 DOWNBEAT FEBRUARY 2015
64 Sam Newsome
66 Nicholas Payton
73 Takase/Schlippenbach
86 Terri Lyne
Departments
Carrington
8 First Take
59 Reviews
BY JEREMY LOUCAS
90 Master Class
BY BEN RUBIN
13 The Beat
102 Jazz On
Campus
92 Transcription
Regina Carter Violin Solo
96 T
oolshed
18 Players
David Hazeltine
Sharel Cassity
Allan Harris
Spanish Harlem Orchestra
First Take
BY BOBBY REED
Birds Legacy
DOWNBEAT ARCHIVES
Chords
Discords
Seeing Stars
Joshua Breakstone
MICHAEL G. STEWART
Seeking Joy
Supporting Mobley
Corrections
The
News
Inside
14 / Berlin Jazz Fest
15 / A Great Night
in Harlem gala
16 / Levin Brothers
This years Monk Competition finalists with President Clinton on Nov. 9, from left:
Billy Buss (2nd place), Adam OFarrill (3rd place) and 1st-place winner Marquis Hill.
17 / Dominican
Republic Jazz
Fest
Caught
Riffs
Jamie Cullum
MCVIRN ETIENNE
relationship with the young blind pianist Justin Kauflinspoke briefly about
Terry and the film. The films message was furthered along by the films
co-producer Quincy Jones, who spoke from his front-row seat. During the
course of that mentorship, Jones reported, Clark had both legs amputated
with diabetes, and his spirit is higher than ever.
The series of brief speeches and performances continued with introductions from, among others, Questlove and JFA Vice Chairman Wendy
Oxenhorn (who strutted her stuff later on harmonica during a spirited blues jam with
singer-guitarist Susan
Tedeschi and others).
There was also a tribute to Earth, Wind and
Maupin (left), Eddie Henderson, Julian
Fire. Questlove spoke Benny
Priester, Herbie Hancock, Buster Williams and
Billy
Hart
at the Apollo Theater on Oct. 24.
on behalf of the ailing
Maurice White before
joining singers Chaka Khan and Angelique Kidjo, keyboardist Paul Shaffer
and members of EWF (including bassist Verdine White) for two of their
hits, Thats The Way Of The World and Shining Star. Other tributes were
given to the late singers Little Jimmy Scott and Babi Floyd.
Hancock later performed in the evenings most high-profile event: the
first reunion since the early 70s of the Mwandishi band, featuring Williams,
reed player Benny Maupin, trombonist Julian Priester, trumpeter Eddie
Henderson and drummer Billy Hart. The bands performance of Hancocks
delicate and tuneful Toys, a pre-Mwandishi piece written for horns
with a substantial arrangement, was interesting. Similarly, for Hancocks
Chameleon, former Head Hunter Maupin joined a band that also included
the evenings musical director, drummer Steve Jordan.
The JFA slogan is Saving jazz and bluesone musician at a time.
Information about its mission is posted at jazzfoundation.org. John Ephland
ENID FARBER FOTO
DION OGUST
What
do
you
hope
listeners
take away from Levin Brothers?
Caught
FELIX CORONA
Players
DAVID
HAZELTINE
JOHN ABBOTT
Echoes of Walton
into an elaborate version of one chord. The collections airtight harmonies have a Cedar-like particularity throughout.
In the end, what Hazeltine has capturedand
what Farnsworth pointed to as a strength the pianists shareis a set of values that put a premium
on clarity and sense of direction.
They both definitely have a plan,
Farnsworth said.
Hazeltine noted that, before a set, Walton
could routinely be found huddled in a corner, jotting down lists of tunes. He knew when he hit
that bandstand exactly what he was going to play,
beginning to end, Hazeltine said. He said a side
of music that a lot of young musicians forget is
that its for the audience. Its the presentation that
should be honored.
Sightings of Hazeltine at work reveal a similarly scrupulous figure. Whether hes been playing uptown at Smoke, downtown at Smalls or
five flights above Columbus Circle at Dizzys, the
transparency with which the music is organized
and executed has kept the crowds coming back.
All of which, he said, comes directly from
Waltons example.
You actually write an arrangement thats
going to be understood by the people, Hazeltine
explained. And you present the melody, hand it to
them on a platter, then put the frosting on the top
by improvising on it.
Hazeltine laughed at how such old-school precepts are in such short supply that they
suddenly seem fresh.
Its almost as if you have to do something
completely different in order to do something new
or move things along, he said. I think thats fine
for some people, but I dont think its the answer to
newness.
Phillip Lutz
Players
SHAREL
CASSITY
Alto Magic
ADAM MCCULLOUGH
Players
ALLAN HARRIS
You Do It All
Players
ing those famous vibraphone runson a keyboard). In 1997, Paul Simon asked Hernndez to
become musical director for his Broadway show,
The Capeman; Hernndez also helped produce
Simons album of songs from the show. Simon
returned the favor in 2007 by serving as executive
producer for the bands album United We Swing,
on which he sings a blistering rendition of his 1980
hit Late In The Evening.
Trombonist-arranger Doug Beavers, who has
been with SHO since 2010 and mixed its latest
album, says, Oscar is a joy to play with. He gets
musicians of the absolutely highest level. Hes from
the South Bronx and a very passionate guy, so if
there is something amiss, he will let you know.
After releasing the groups previous album on
Concord, Hernndez opted to self-produce and
distribute its latest self-titled album on ArtistShare,
the fan-funding website. The new album features nine new songs and three covers, including the bands first Great American Songbook
standard, You And The Night And The Music,
featuring guest appearances by Chick Corea
and Joe Lovano.
Here you are, you win a Grammy and everybody assumes you are on easy street, he says. But
todays record business doesnt work that way anymore. To be honest, the money that they offered
was so low that I refused to accept itId rather
find a way to do it myself and own the product. We
do things at a high caliber; we use the best studio,
and I pay the musicians well. Ultimately, when I
walk away from the studio, the one criterion that I
have is that I must absolutely love the music. And
thats the case here.
Midway through the groups high-energy
Tribeca set, Hernndez introduced Esperame
En El Cielo, a languorous ballad sung lovingly in
three-part harmony by vocalists Ray De La Paz,
Marco Bermudez and Carlos Cascante. The sentimental lyrics translate as Wait for me in heaven,
my love, if you get there first.
This is part of our music thats not heard anymore, Hernndez says, but it used to be playing out of every window. Its still lovely, in
any language.
Allen Morrison
FEBRUARY 2015 DOWNBEAT 21
Six-String
SUMMIT
JAZZMAN MIKE STERN AND ROCKER
ERIC JOHNSON FIND COMMON GROUND
SIX-STRING SUMMIT
guys
SIX-STRING SUMMIT
You end Eclectic with the Jimi Hendrix tune Red House. Why that tune
and not another?
Chad Smith
STEVEN SUSSMAN
Jon Batiste
Bill Laswell
By Bill Milkowski
EXPLORING
THE PROCESS
PETER GANNUSHKIN
Laswell is a prolific
bassist and producer.
Spiritual Base
It was 20 years ago that Bill Laswell released
The Trance Of Seven Colors on his Axiom label.
This profoundly deep and remarkably authentic
world music recording from Morocco paired tenor
sax great and free-jazz icon Pharoah Sanders
with master Gnawa singer Maleem Mahmoud
Ghania and a whole crew of Gnawa musicians
on guembri (a traditional low-tuned, threestring instrument), handclaps, chanting and
various percussion. Sanders sounded particularly
inspired in the setting, which was essentially
derived from a trance music healing ceremony,
and the resulting disc was one for the ages.
Now Laswell wants to return to Morocco
with Sanders, who recently turned 74. Were
looking to do a project with the Master Musicians
of Joujouka, says Laswell, who performed with
the group in Italy last fall. The potential is there.
Phoaroahs still strong, but he needs to move
to the spiritual base and not this jazz business.
Thats kind of what Im pushing for. I want to
take Pharoah directly right back to the source.
Prior to Sanders 1994 collaboration with
Ghania, Laswell had traveled to Marrakesh
on several occasions to seek out the master
singer. I would go to the marketplace and
ask around, and they were all like, No, no, no
you dont want to work with those people,
theyre evil. They do sacrifices and stuff. I finally
found him in Essaouira. We arranged for him
and his three brothers Abdellah, Boubker and
Moktar to come and record with Pharoah.
And I remember one day hearing Pharoah
rehearsing in his room and said to him, Thats a
really nice phrase youre playing. What is that?
And he said, Well, I learned this in Arkansas from
Seminole Indians. Later on I heard this Gnawan
band with Mahmoud warming up, and I swear
they were playing that same riff! And I asked, How
do you guys know this phrase? And they said,
Oh, this is 3,000 years old. So thats the universal
groove right there.
Bill Milkowski
Says Batiste, For me, it was an amazing experience because rarely do I ever record these days
with the organ and the Fender Rhodes, clavinet
and different keyboard sounds. In my band Stay
Human, Im usually on piano. So it was not only
stretching outside of my comfort zoneit was
putting me on instruments that I dont usually
play these days, or playing in a way that you dont
usually hear me do on recordings.
So, step by step, I put it together, says
Laswell. This was all planned; its not random.
It was a process from the beginning. Thats where
the name of the album comes from. Because Jay
kept saying, What are we going to do? How are we
going to finish this? And Id tell him, This stuff
takes time. Its a process.
At some point, as the idea of a film score was
scrapped, Laswell began laboring in his studio for
another two-and-a-half months after the initial
tracks were recorded, shaping the music with his
edits while enhancing it. He brought in Wu-Tang
Clan rapper Killah Priest and Jamaican dancehall
singer Garrison Hawk for Turn On The Light/
Ascent and TV On The Radios vocalist Tunde
Adebimpe on the heavy-grooving Drop Away.
Laswell also had Toshinori Kondo blow Milesinspired wah-wah trumpet lines on the hard-hitting Haunted and Peter Apfelbaum add soprano sax lines on top of the rolling pulse of The
Drift. What emerged was another fully realized
Laswell production. Says Smith, It was amazing
what it transformed into. And I kept asking Bill,
Hows it going? And hed say, Its good, man. Its
a process.
The Moroccan flavor of the grooves throughout The Process was something different for
Smith, whose powerhouse punk-funk drumming
has fueled such Red Hot Chili Peppers albums as
Mothers Milk (1989), Californication (1999) and
Stadium Arcadium (2006). I really tried to tap
into my inner Ginger Baker with the toms, Smith
says. All that tribaly stuff was really challenging
for me, and it was really fun to do. And leave it to
Bill to come up with those sounds. I dont know
how he did it, but he got a huge drum sound and I
love it. And the way that he put it together, it made
it sound like a worked-out part, where a lot of the
musical sections change with the drum patterns
that change. So, at times it sounds sort of drumled, which I think is cool. Leave it to Bill to build a
whole song off of a drum break. Hes that guy who
will look around and come up with something
creative every time.
Bill is kind of an enigma, Smith continues.
Hes like the Great Oz behind the curtain. I wanted to come down and hang for a mix, and he didnt
really say no to me, but he kind of evaded the question and then said, I want you to hear it when its
in more of an advanced stage. He was open to
suggestions, but he definitely has his own mysterious way of doing things in the studio. Hes quite
a legend. It was a pleasure and an honor to work
with him, and it led to other things. I guess he
liked my playing because he had me play on a couple of things from this Gnawa record thats coming out soon. And he wants to play some more.
Unfortunately, I moved back to California. Im not
in New York anymore. But I think well do something again in the future.
Rudresh
BY BILL BEUTTLER
MAHANTHAPPA
MOVING THE EYE
Photo by Michael Jackson
Rudresh Mahanthappa in front of a portrait of Charlie Parker at Chicagos Jazz Showcase in 2011
Right. George Wein had asked me about playing Newport. He said, What do you think about
Mahanthappa at the
2010 Montreal Jazz Festival
MICHAEL JACKSON
a very good, intuitive relationship. I mean, we havent done a lotwe played Newport, rehearsed a
bunch, we did the recording sessionbut hes a
good foil in a similar way that Dizzy was to Bird.
JIMMY KATZ
The Moutin
Connection
DELFEAYO MARSALIS
KEITH MAJOR
es stronger work.
I wanted to play ballads with [my father], but
I wanted to do something different. Im putting
[my album] up against Branfords record. Im putting it up against Wyntons record. And Im like, I
gotta make sure my record is better than theirs,
he says with a chuckle.
Hes referring to 1990s Standard Time, Vol. 3:
The Resonance Of Romance, which Ellis recorded
with Wynton, and 1996s Loved Ones, which Ellis
recorded with Branford. When discussing the origins of those projects, the patriarch gracefully
sidesteps the issue of sibling rivalry.
Each session was a unique experience, Ellis
says, speaking from his home in New Orleans.
Wynton called me real early about making some
suggestions of ballads.
He says he took Wynton to 46th Street in New
York, where they bought the sheet music for the
ballads Ellis had recommended. Then they hit the
studio and made the album.
Loved Ones was done primarily at my
behest, Ellis said. I had a six-record contract
with Columbia, and I decided that I was going
to do a solo recording. But I just could hear
Branford playing on these pieces. So I just called
him. I said, Hey, man, come do this CD with me.
And the recording with Delfeayo was really
the only recording that I have ever done with him.
I knew it was going to be done correctly and be
kind of wide open. What I mean is, if there were
suggestions to be made, there was no hesitancy.
In Delfeayos mind, the thing that distinguishes his album from his brothers is not just the
music but the overall presentationa combination of successes in concept, writing, production,
performance and composition that, for various
reasons, he may not have achieved simultaneously in the past. During his twenties, Delfeayos studio skills and his contribution to the elimination
of the practice of running the bass direct into
the console vaulted him to the forefront of jazz
production. He admits that Branfords willingness to give him a chance as a producer and liner-notes writer at such an early age helped kick off
his career in those areas. But he vehemently denies
that being a Marsalis has given him an advantage,
business-wise, other than teaching him to prepare
well for arguing any given position.
For his latest project, Delfeayo added creative
writing to the social commentary that has often
shaped his approach to liner notes. In addition to
Sesame Street, short-story riffs on three songs
about lost love are included in the new albums
package. In the process of creating characters who
face mortality, mistreatment and hidden passion,
his Autumn Leaves, Shes Funny That Way
and The Secret Love Affair stories all lend their
eponymous songs an extra layer of the humanity
their author seeks to spotlight.
When asked about Delfeayos talents as a
prose writer, Ellis points out that his son wears
many hats, then ticks off recent performances by the Uptown Music Theater group and mentions the childrens book that Delfeayo wrote,
No Cell Phone Day. Ellis explains that he always
encouraged his sonsBranford, 54, Wynton, 53,
Delfeayo, 49, and Jason, 37to find their own
individual voices and talents.
S 2015 INTERNATIONAL
JAZZ VENUE
KUUMBWA JAZZ CENTER
CELEBRATES 40 YEARS
OF CREATIVITY
GUIDE
UNITED STATES
EAST
MASSACHUSETS
Chianti Tuscan Restaurant
& Jazz Lounge
Lilypad
6 Depot Square
Montclair, NJ
(973) 744-2600
trumpetsjazz.com
NEW YORK
55 Bar
55 Christopher St.
New York, NY
(212) 929-9883
55bar.com
Birdland
Blue Note
FORTUNA SUNG
29 Cornelia St.
New York, NY
(219) 989-9319
corneliastreetcafe.com
Regattabar
24 Main St.
Madison, NJ
(973) 822-2899
shanghaijazz.com
1 Bennett St.
Cambridge, MA
(617) 661-5000
regattabarjazz.com
NEW JERSEY
Shanghai Jazz
Fat Cat
75 Christopher St.
New York, NY
(212) 675-6056
fatcatmusic.org
Iridium
1650 Broadway
New York, NY
(212) 582-2121
theiridium.com
Jazz Standard
Le Poisson Rouge
Mezzrow
ShapeShifter Lab
18 Whitwell Place
New York, NY
(646) 820-9452
shapeshifterlab.com
Smalls
Smoke
5 Main St.
Delaware Water Gap, PA
(570) 424-2000
deerheadinn.com
EEMCG Jazz
2751 Broadway
New York, NY
(212) 864-6662
smokejazz.com
WASHINGTON, D.C.
PETER SYLVESTER
The Stone
Blues Alley
Located in an 18th-century
house in the heart of
Georgetown, this venue hosts
smooth and straightahead jazz
musicians. Roy Ayers is booked
for Feb. 58.
Bohemian Caverns
PENNSYLVANIA
Chris Jazz Caf
BIRDLAND
CONTINUES TO SOAR
JACK VARTOOGIAN/FRONTROWPHOTOS
SOUTH
FLORIDA
Bradfordville Blues Club
Preservation Hall
LOUISIANA
d.b.a
Spotted Cat
EESnug Harbor
626 Frenchmen St.
New Orleans, LA
(504) 949-0696
snugjazz.com
HOWARD LAMBERT
heidisjazzclub.com
GEORGIA
Churchill Grounds
Velvet Note
The Maison
groundzerobluesclub.com
SOUTH CAROLINA
TENNESSEE
The Dizzy Bird Lounge
EEThree Muses
TEXAS
Cezanne
Tipitinas
MISSISSIPPI
119 Underground
Elephant Room
MIDWEST
ILLINOIS
Andys Jazz Club
11 E. Hubbard St.
Chicago, IL
(312) 642-6805
andysjazzclub.com
B.L.U.E.S.
memorabilia autographed by
B.B. King, Carlos Santana and
Eric Clapton. Guy performs
there during an annual January
residency.
Constellation
Jazz Showcase
Kingston Mines
SPACE
INDIANA
Chatterbox Jazz Club
MICHIGAN
Bakers Keyboard Lounge
Cliff Bells
MISSOURI
97 Kercheval Ave.
Gross Pointe, MI
(313) 882-5299
dirtydogjazz.com
MINNESOTA
OHIO
Nighttown
WISCONSIN
Jazz Estate
ARIZONA
The Nash
NORTHERN CALIFORNIA
Bach Dancing &
Dynamite Society
EEKuumbwa
Jazz Center
320 Cedar St.
Santa Cruz, CA
Jimmy Maks in
Portland, Oregon
(831) 427-2227
kuumbwajazz.org
Savanna Jazz
EELobero Theatre
33 E. Canon Perdido St.
Santa Barbara, CA
(805) 963-0761
lobero.com
EEYoshis Oakland
510 Embarcadero West
Oakland, CA
(510) 238-9200
yoshis.com/oakland
2147 Broadway
Oakland, CA
(510) 496-4180
soundroom.org
SOUTHERN CALIFORNIA
The Baked Potato
Blue Whale
WEST
Upstairs at Vitellos
4349 Tujunga Ave.
Studio City, CA
(818) 769-0905
vitellosjazz.com
vibratogrilljazz.com
Trumpeter Herb Alpert owns
this modern, trendy-looking
restaurant and club that features
performances by artists like the
Tom Peterson Quartet, the Pat
Senatore Trio and vocalist Freda
Payne.
COLORADO
Dazzle
NEW MEXICO
EEOutpost
210 Yale SE
Albuquerque, NM
(505) 268-0044
outpostspace.org
PATRICK PRICE
Dazzle in Denver
a number of educational
programs and helps put on
the annual New Mexico Jazz
Festival in July.
OREGON
Jimmy Maks
WASHINGTON
Boxleys
student ensembles on
Mondays and Wednesdays.
Regional and national artists
play on the weekends,
with Tuesdays reserved for
locals.
Egans Ballard
Jam House
ballardjamhouse.com
This venue opens its
doors during the daytime
to workshops and combo
rehearsals. At night,
jam sessions, student
showcases and local acts
take the stage.
Tulas
R.R. JONES
INTERNATIONAL
ARGENTINA
Notorious
Thelonious Club
AUSTRALIA
505
Bennetts Lane
25 Bennetts Lane
Melbourne, Victoria
61 3 9663 2856
bennettslane.com
AUSTRIA
Blue Tomato
Wurmsergasse 21
Vienna
43 1 985 5960
bluetomato.cc
Jazzit
Elisabethstrae 11
Salzburg
43 662 883264
jazzit.at
Jazzland
Franz Josefs-Kai 29
Vienna
43 1 533 2575
jazzland.at
Stockwerk Jazz
Jakominiplatz 18
Graz
43 676 31 59 551
stockwerkjazz.mur.at
BRAZIL
Bourbon Street Music Club
MATTHEW VENABLES
505 in Sydney
The Maze
jazzrio.com
Miranda
CANADA
LAstral
EEYardbird Suite
(855) 790-1245
sallelastral.com
CHINA
The Cotton Club
Fringe Dairy
KAV LAI
COSTA RICA
Jazz Cafe
Carretera Interamericana,
San Pedro
Next to Banco Popular at San
Pedro of Montes de Oca
206 2253 8933
jazzcafecostarica.com
CZECH REPUBLIC
AghaRTA Jazz Centrum
Zelezna 16
Prague
420 222 211 275
agharta.cz
Janackovo Nabrezi 2
Prague
420 774 058 838
jazzdock.cz
DENMARK
Copenhagen Jazzhouse
Jazzhus Montmartre
St. Regnegade 19A
Copenhagen
45 70 263 267
jazzhusmontmartre.dk
90 Lots Road
London
44 0 20 7352 5953
606club.co.uk
Cafe OTO
18 - 22 Ashwin St.
Dalston
London
cafeoto.co.uk
Jazz Cafe
5 Parkway
London
0207 485 6834
mamacolive.com/
thejazzcafe
London
020 7439 0747
ronniescotts.co.uk
The Vortex
11 Gillett Square
London
vortexjazz.co.uk
020 7254 4097
FINLAND
Juttutupa
Sstpankinranta 6
Helsinki
358 20 7424240
juttutupa.com
Storyville
Museokatu 8
Helsinki
358 50 363 2664
storyville.fi
FRANCE
Duc Des Lombards
Le Caveau de la Huchette
5 Rue de la Huchette
Paris
4326 6505
caveaudelahuchette.fr
New Morning
Sunset-Sunside
GERMANY
A-Trane
1 Bleibtreustrae St.
Stadtgarten
Venloer Strae 40
Kln
49 0221 952994 0
stadtgarten.de
EEUnterfahrt
10625 Berlin
49 030 313 25 50
a-trane.de
Aufsturz
Oranienburger Strae 67
Berlin
49 30 2804 74 07
aufsturz.de
Eberhard performs
here frequently.
B-Flat
Rosenthaler Ste. 13
10119 Berlin
49 30 2833 123
b-flat-berlin.de
Quasimodo
Kantstrae 12A
Berlin
49 30 318 045 60
quasimodo.de
Einsteinstrae 42
81675 Mnchen
49 0 89 448 27 94
unterfahrt.de
GREECE
Half Note Jazz Club
Trivonianou 17
Athens 116 36
30 21 0921 3310
halfnote.gr/eng
HUNGARY
Budapest Jazz Club
ISRAEL
Shablul Jazz
Airport Hangar 13
Tel Aviv
3 546 1891
shabluljazz.com
ITALY
Alexanderplatz
Via Ostia, 9
Rome
06 39721867
alexanderplatzjazzclub.com
According to the owner, he
helped bring jazz to Rome when
this club opened in 1984 on the
site of a run-down winery.
Founded in 1994, this jazz club pairs highquality salami, prosciutto and mortadella
with superb jazz programming. The venue
hosts Italian jazz artists and the occasional
international musician.
JAPAN
Alfie Jazz House
6-2-35 Roppongi
Hama Roppongi Bldg. 5F
Tokyo
81 3 3479 2037
homepage1.nifty.com/live/alfie
6-13-9 Minamiaoyama
Tokyo
81 3 5466 3348
bodyandsoul.co.jp
Jz Brat
26-1 Sakuragaokach
Shibuya
Tokyo
81 03 5728 0168
jzbrat.com
MEXICO
Zinco Jazz Club
Mexico City
52 55 5512 3369
zincojazz.com
THE NETHERLANDS
Bimhuis
Piet Heinkade 3
Amsterdam
31 20 788 2150
bimhuis.com
NORWAY
PORTUGAL
RUSSIA
SCOTLAND
The Jazz Bar
1A Chambers Street
Edinburgh
44 0 131 220 4298
thejazzbar.co.uk
41 31 3096 111
mariansjazzroom.ch
THAILAND
Saxophone Pub
TURKEY
Nardis Jazz Club
SOUTH AFRICA
Straight No Chaser
79 Buitenkant St.
Cape Town
27 76 679 2697
straightnochaserclub.wordpress.com
SPAIN
Cafe Central
SWEDEN
Fasching
Kungsgatan 63
Stockholm
46 8 20 00 66
fasching.se
Brunnsgatan 21
Stockholm
46 8 10 03 22
glennmillercafe.com
SWITZERLAND
Marians Jazz Room
Engestrasse 54
Bern
Masterpiece
Excellent
Good
Fair
Poor
Inside
64 / Jazz
68 / Blues
72 / Beyond
76 / Historical
JUSTIN CAMERER
78 / Books
Room
HHHH
This record has the kind of reset button feeling
that Bill Frisell hit when he gave up the volume
pedal. At once Room is totally Nels Cline and also
very un-Cline. This is a good thing, in the sense
that it shows Wilcos devilish guitarist shedding a
skin, growing and building on his past. The wunderkind Julian Lage, at 26, is a formidable sparring partner on these 10 super-intimate duets.
Most notable here is the unadorned sound.
Whether played on acoustic or electric, these conversational pieces are all about the box, the inte-
Midwest pastoralism.
Across the relaxed and expansive program,
the drawing-room duets touch on these and
other moods. The acoustic Whispers From Eve
has translucence, gauze curtains rustling in a
breezy window. Towards the more mathematical side of the spectrum, Odd End, also unamplified, is a sort of counting game that unfurls
at the finish line. The longest track, Freesia/
The Bond, is episodic and narrative, moving
through different musical spaces, all of them
gently optimistic.
John Corbett
Room: Abstract 12; Racy; The Scent Of Light; Whispers From
Eve; Blues, Too; Odd End; Amenette; Freesia/The Bond; Waxman;
Calder. (56:33)
Personnel: Nels Cline, Julian Lage, guitars.
Ordering Info: mackavenue.com
FEBRUARY 2015 DOWNBEAT 59
James Farm
City Folk
NONESUCH 545186
HHH
James Farm deals in pop jazzor thats the party
line at least. In their music, the head-solo-head
design of freewheeling improv is subbed out for
something more contained: verse-chorus-verse
dynamics with judiciously scripted areas of
extrapolation.
Both bassist Matt Penman and saxophonist
Joshua Redman have talked about the primacy
of song in the bands work, and on their striking second album, a genuflection to melody rivals
the respect received by another key component:
architecture. How much so? When I first put
it on, without looking at the credits, I thought
they were starting City Folk with an update of
Squeezes Tempted.
This 10-track program is the product of four
singular composers with an agreed-upon
approach. The tunes arent beholden to a jazz past
that boasts the traditional rules of bop, fusion or
free. Rather, this is modern instrumental music
that leaves room for jazz-centric solos. Each piece
is a discrete world, bent on establishing a palpable mood that might be deemed theatrical.
Indeed, the term cinematic has been applied to
such stuff ever since pianist Aaron Parks dropped
2008s likeminded Invisible Cinema (Parks and
drummer Eric Harland round out the James
Farm quartet). Like Kneebody before them, James
Farm is all about remaking jazz structures to
suit its own catholic interests and meet a wider
audiences needs.
Whats most impressive here is the ensembles
agility when it comes to having distinct sections
of each piece flow into one another. Harlands
North Star seems like a dreamy paean to the cosmos. But by the time Redmans blowing an extravagant solo and the band is crushing it in a crescendo, youre scratching your head: How, exactly did
they get here? Even if a couple of the pieces seem
a tad contrived, the playing is so eloquent that one
cant help but feel a momentous ensemble is truly
coming into its own.
Jim Macnie
City Folk: Two Steps; Unknown; North Star; Mr. E; Farms; Otherwise; Jurys Out; Aspirin; City Folk; What Remains. (63:56)
Personnel: Joshua Redman, tenor, soprano saxophone; Aaron
Parks, piano; Matt Penman, bass; Eric Harland, drums.
Ordering info: nonesuch.com
Sonic Halo
HHH
Its been a treat to watch gifted 36-year-old Dutch
saxophonist Tineke Postma mature over the past
decade, and this collaboration with one of her
mentors, Greg Osby, reflects another intriguing
phase in her development. The quintet here functions as a highly integrated ensemble, with Postma
and Osby entwining soprano and alto saxophone
lines around each other like vines climbing a wall.
Its not always the easiest environment to flow
with, unsettled and unresolved as it is. As with
some other Osby projects, it sometimes feels as if
the process itself is the subject rather than a means
to an end.
That might be why the gentler, more lyrical
tracksPostmas Sea Skies and Melo and
Osbys Where Im Fromfeel more inviting
than the more aggressive ones. Like the picture
evoked by its title, Sea Skies, with its broken four
time feel, feels panoramic but also slightly melancholy and gray. Matt Mitchells twinkling, afterhours piano, which begins Where Im From,
gives way to full-on romance and a rich bass solo
by Linda Oh. The whole band is swept into the
hypnotic current of Melo, with Mitchell and
Oh chatting animatedly and Postmas piping alto
curling through the thicket.
Though Osby and Postma sound quite different, particularly on altohe, keening and skipping; she, warmer, with a softer edgeit is not
60 DOWNBEAT FEBRUARY 2015
Michael Mantler
HH1/2
Revolutionaries may get nostalgic, but never sentimental. On The Jazz Composers Orchestra
Update, Michael Mantler revisits material he
composed nearly 50 years ago, when free-jazz was
the hipness litmus test of the moment. His purpose was to contextualize the free-for-alls of The
New Thing into an orchestral setting, and the
result was a double LP set in which Cecil Taylor,
Pharoah Sanders, Don Cherry and others served
as soloists in a series of numbered but unnamed
communications.
The unapologetic mayhem of the JCOs original twofer was typical of the Dada-esque jazz scene
that sent millions of would-be fans fleeing into the
simpler sanctuaries of rock. At the same time, it
galvanized a tiny sect of loyalists who stood by its
most untamed impulses and inspired a large-ensemble genre that Carla Bley, Charlie Haden and
others would further explore.
The overall character of Mantlers new album
is ponderous and perhaps a bit self-important.
The orchestra is the main voice here, not the soloists. Accordingly, the music triggers certain emotional cues weve acquired at the movies. Update
One, for instance, quick-cuts from a vague mood
of apprehension to a frenzied intersection of crisscrossing lines. Update Nine begins in a pastoral
mood, then evolves into more hazardous shapes.
Update Six is largely a stentorian framework for
David Helbocks rhapsodic piano that rises into a
maelstrom of energy.
Despite moments of effective mood and texture, however, the pummeling sound and fury
wears thin.
John McDonough
The Jazz Composers Orchestra Update: Update One;
Update Eight; Update Nine; Update Eleven; Update Five; Update
Six; Update Ten; Update Twelve Pt. 1; Update Twelve Pt. 2; Update
Twelve Pt. 3. (54:54)
Personnel: Christoph Cech, conductor; Michael Mantler, Aneel
Soomary, Martin Ohrwalder, trumpet; Christoph Walder, Hans
Peter Manser, French horn; Peter Nickel, Florian Heigl, trombone;
Alex Rindberger, tuba; Manfred Balasch, Clemens Salesny, Wolfgang Pusching, Fabian Rucker, Harry Sokal, Chris Kronreif, Florian
Fennes, reeds; David Helbock, piano; Bjarne Roup, guitar; Peter
Herbert, Tibor Kvesdi, Manuel Mayr, bass; Lukas Knfler, drums;
radio.string.quartet.vienna: Bernie Mallinger, Igmar Jenner, violin;
Cynthia Laio, viola; Asja Valcic, cello.
Ordering info: ecmrecords.com
The
Critics
John McDonough
John Corbett
Jim Macnie
Paul de Barros
HHHH
James Farm
City Folk
HHH
Michael Mantler
The Jazz Composers Orchestra Update
HH1/2
Critics Comments
Michael Blake
Tiddy Boom
SUNNYSIDE 1396
HHHH1/2
title track: a roller coaster of slithery asides, roaring exclamations and raucous squawks, all delivered with authority and wit. On Hawks Last
Rumba, he rolls the slow, sultry, grainy sound of
his horn around like good whiskey on the tongue.
The risk with high-concept projects like this is
that not every player will be equally engaged, or
that the idea of dipping into the deep past will
come off sounding stale or ironic. Those dangers are never realized here. This is a quartet that
sounds like it is operating with one mind; witness the boppish unison head and tight drumsbass hookup on Coastline or the way that
Kimbroughs rollicking piano break on Letters
In Disguise gives way seamlessly to Blakes tenor
solo. On A Good Day For Pres, Rudy Royston
hints at a second-line rhythm in his rolls, but
the focus remains on a stunningly gorgeous duet
between Blake and Allison, and the beauty of the
saxophonists tone. In places like the gospel-inflected The Ambassadors and the aptly titled
Boogaloop, the years fall away, and it is clear that
this is music unbound in timeas fresh-sounding
today as it might have been in the 50s.
The frugal consumer might flinch at the sub50-minute timing of Tiddy Boom, but with a package that sounds this perfectly executed, that seems
banal.
James Hale
Tiddy Boom: Skinny Dip; Tiddy Boom; Hawks Last Rumba;
Boogaloop; Coastline; Letters In Disguise; A Good Day For Pres; The
Ambassadors. (47:03)
Personnel: Michael Blake, tenor saxophone; Frank Kimbrough,
piano; Ben Allison, bass; Rudy Royston, drums.
Ordering info: sunnysiderecords.com
HHHH
Forty years ago, Fred Frith turned the guitar
world on its collective ear with his 1974 landmark,
Guitar Solos. A generation of six-string skronkers,
including Nels Cline, Elliott Sharp and Marc
Ribot, were profoundly affected by that improvising manifesto. Nearly 70 albums later, the iconoclastic guitarist is still at it, creating otherworldly sounds with his table-top guitar approach and
a remarkably fertile imagination. On this adventurous outing, Frith goes head-to-head for the
first time with avant-garde saxophonist John
Butcher. The 10 distinctive tracks they cut in a single stretch in 2009 were done live in the studio and
appear here in the order they were created.
Of course, some wont recognize this as music
at all. There are no songs, but rather sonic episodes
that cover a vast range of dynamics, from harsh
squalls and overtones (The Unforgettable Line)
to some surprisingly delicate moments (Turning
Away In Time) to the purely ambient (Be Again,
Be Again). For sheer over-the-top skronking, go
no further than The Welts, The Squeaks, The
Belts, The Shrieks. To see just how fast Friths
mind works, listen to his rapid-fire flood of ideas
on Butterflies Of Vertigo.
Regarding Friths fabled unorthodox vocabulary, its hard to understand just what he is doing
to produce these otherwordly tones and textures
from track to track. His trademark extended tech62 DOWNBEAT FEBRUARY 2015
niques (brushing and smacking the strings vigorously with his hand or a whisk broom) combine
with Butchers percussive slap-tonguing on the
soprano saxophone to create a frenetic dialogue
on the 13-minute Colour Of An Eye Half Seen.
Jim Hall and Lee Konitz it aint. But these two kindred spirits do share a similar sense of exploration
and discovery that is strictly in the moment, just
as those jazz giants do. Even if it is musically on a
different planet.
Bill Milkowski
The Natural Order: That Unforgettable Line; Delirium Perhaps;
Dance First, Think Later; Faults Of His Feet; Colour Of An Eye Half
Seen; Turning Away In Time; The Welts, The Squeaks, The Belts,
The Shrieks; Butterflies Of Vertigo; Be Again, Be Again; Accommodating The Mess. (54:57)
Personnel: Fred Frith, guitar; John Butcher, saxophones.
Ordering info: northernspyrecords.com
Dann Zinn
Shangri La
Z MUSIC 103
HHHH
Shangri La features a bassless trio consisting of
tenor, guitar and drums. While one may at first
think of the Paul Motian Trio with Joe Lovano
and Bill Frisell, the music of Dann Zinns group
sometimes sounds closer to that of world-music
group Oregon, although played with more fire.
The versatility of guitarist Chris Robinson,
who sounds equally at home getting an acoustic folk sound as he does sounding rockish, is a
key to the groups success. Also quite significant
is the sensitivity of drummer Peter Erskine, who
often plays quietly in a supportive role yet gives
the group a strong forward momentum when it is
needed.
Dann Zinn is generally the lead voice, displaying a large tone on tenor. He contributed eight of
the 11 selections on Shangri La, also interpreting themes by Brahms, Puccini and Green Day.
Daydreams could be considered folk music
except for the fairly free improvising during the
solos. On Voodoo, Zinn plays octave jumps
effortlessly, and his free-form flights are more
rhythmic and accessible than one might expect.
The loose ballad Shangri La precedes an intense
tradeoff by his electrified tenor and Robinsons
passionate guitar on Wanderlust.
The statements by guitar and tenor on Rain
are often out of tempo but never run short of
ideas. After a brief flute interlude, Zinn uplifts
Green Days Good Riddance, turning it into
a folkish piece that one could imagine Charles
Lloyd exploring. The Bullfighter is catchy, fits its
title well and could be adopted by other musicians.
Lyrical ballad treatments of themes by Brahms
and Puccini (the latter has some fiery interplay by
tenor and guitar) sandwich an exciting jam on the
catchy and funky Tic Tac Toe.
All in all, Shangri La is a continually intriguing set of adventurous music that is often surprisingly melodic.
Scott Yanow
Groove Or Die
WHIRLWIND 4656
HHH
The electric bassist who was a key
component in Herbie Hancocks
funk-fusion band from the mid-70s
(Head Hunters, Thrust and ManChild) is back with a trio outing
that blends his ongoing love for the
funk and infinite capacity to groove
with his cartoonish sense of humor
and gospel-tinged vocals. Accompanied by keyboardist Xantone Blacq and
drummer Tony Match, Jackson does indeed groove in his own inimitable
fashion while offering nimble, funky bass solos. And Blacq does his best
Hancock impersonation on Fender Rhodes and clavinet throughout while
offering some sparkle on talkbox along the way. But certain tunes here, like
Groove, Everything and Die, rarely make it out of the monotonous
one-chord zone.
Highlights include the driving instrumentals Slick It and Die,
the African-flavored percussion jam Nuru and a recreation of Jacksons
Headhunters-ish opus Tiptoe Through The Ghetto. Keyboardist Blacq, a
standout talent here, also reveals a polished Stevie Wonder-ish vocal quality
on his showcase number, What Youre Talkin Bout. Jacksons vocal skills
on the r&b numbers Pain and Midnight Is A Lonely Heart are not nearly as accomplished as Blacqs, but they contain elements of earthiness and
urgency. Funky, yes, but this project couldve used a few more chords and
fewer vocal numbers.
Bill Milkowski
Groove Or Die: Groove; Everything; Pain; Slick It; Nuru; What Youre Talkin Bout; Midnight Is A Lonely
Heart; Tiptoe Through The Ghetto; People Cry; Die. (41:37)
Personnel: Paul Jackson, electric bass, vocals; Xantone Blacq, keyboards, vocals, percussion; Tony
Match, drums, percussion.
Ordering info: whirlwindrecordings.com
Musette Explosion
Introducing Musette
Explosion
AVIARY 1001
HHH1/2
It has taken a while for jazz musicians
to delve into early 20th century French
musette. Classic swing waltzes, not to
mention the romance associated with
the likes of dith Piaf, have been waiting for a project like this. As accordionist Will Holshouser writes in the
liner notes, this group does not restructure the repertoires foundation; they
handle it all in their own way.
Musette Explosion includes the inventive tuba player Marcus Rojas,
whose instrument is usually not a part of a traditional French caf group. On
the standard Swing Valse, Rojas tuba lines offer an intriguing countermelody to Holshousers lead. Holshouser also tweaks the idiom through his compositions, which convey the feel of Stphane Grappelli, but free up the typical musette song structure. The ominous minor-key Grey Eyes Is Glass, a
Holshouser original, is built around modern jazz chord changes. Guitarist/
banjo player Matt Munisteris single-note lines sometimes echo Brandon
Seabrook: Hear how he bends the strings on Chanson Pop. But he brings
his own devices to the groups rendition of La Sorcire, where a lever makes
his banjo sound somewhat like an Arabic oud.
Unnecessary sound effects are included on a couple of intro spots, but
these brief moments dont distract too much from a group that has respectfully reclaimed 1930s Paris for the 21st century.
Aaron Cohen
Introducing Musette Explosion: A Recurring Dream; Swing 39; La Sorcire; Chanson Pop; Swing
Valse; Automne; Lincomprise; Automne; Grey Eyes Is Glass; La Folle; Douce Joie. (55:18)
Personnel: Will Holshouser, accordion; Matt Munisteri, guitar, banjo; Marcus Rojas, tuba.
Ordering info: willholshouser.com
Jazz /
BY GEOFFREY HIMES
Standard Definition
Sam Newsome
HHHH1/2
CARSTEN FLECK
Spokfrevo Orquestra
Ninho De Vespa
MOTEMA 164
HHHH
Rooted on the streets of northeastern
Brazil, frevo encompasses both the
music of the carnival and the dances
that accompany it. Intense, brass-oriented music, frevo de-emphasized
individual contributions until being
formalized by saxophonist Inaldo
Cavalcante de Albuquerqueknown
simply as Spokin the mid-90s. His
Spokfrevo Orquestra takes a typical big band approach, putting new material in the hands of as many as 22 musicians. From the opening Onze De
Abril, which features an ebullient clarinet solo by guest Paulo Sergio Santos,
the pace remains zanily fast. The rapid tempo of solos by other guests like
accordionist Beto Hortis and Hamilton de Holanda on mandolin illustrates
just how far this music has moved from anonymous street party fare. Most
impressive of all are drummers Adelson and Augusto Silva, who mix a feathery touch with superb articulation. Spok himself maintains a relatively low
profile, contributing just one composition and soloing only four times. That
stated, his Moraes Frevo is a showcase for his supple alto work and prowess as an arranger.
James Hale
Ninho De Vespa: Onze De Abril; Comicho; Spokiando; Capibarizando; Pisando Em Brasa; Quatro
Cantos; Ninho De Vespa; O Que Nelson Gostou; T Achando Que T Devagar?; De Baixo Do Frevo;
Pipocando; Cara De Carranca; Moraes Frevo. (57:20)
Personnel: Spok, soprano, alto, baritone saxophone; Carlos Clber, alto saxophone; Gilberto Pontes,
Rafael Santos, tenor saxophone; Cesar Michiles, flute (11); Paulo Sergio Santos, clarinet (1); Enok Chagas,
Augusto Frana, Flvio Sanatana, Erico Verssimo, Fabinho Costa (1, 7), Jailson Silva (1, 7), Master Z
Maria (8), Pto, trumpet; Eici Ramos, Marcone Tulio, Adonis Garcia, Thomas De Lima, Flvio Souza (1, 7),
Nilsinho Amarante, trombone; Jovino Santos Neto, Fender Rhodes (2); Adelson Viana, Fender Rhodes
(3); Tiago Albuquerque, Fender Rhodes (12); Nelson Ayres, electric piano (6); Beto Hortis, accordion (4);
Renato Bandeira, Luciano Magno (5), guitar; Hamilton de Holanda, mandolin (9); Hlio Silva, Brulio
Arajo (10), bass; Adelson Silva, drums; Augusto Silva, drums, percussion; Ded Simpatia, percussion;
Dori Caymmi, vocals (7).
Ordering info: motema.com
Mark Elf
Returns 2014
JEN BAY 0012
HHHH
The albums title is a reference to the
reliably swinging bop-based guitarist returning to the scene after being
rocked by Hurricane Sandy, which
devastated his home in 2012. It also
marks the return of the stellar rhythm
section of pianist David Hazeltine,
bassist Peter Washington and drummer Lewis Nash in their third go-round with Elf. Together they hit an easy
accord on Elfs A Little Diddy, which is based on the chord changes to Duke
Jordans Jordu, and the brushes ballad It Was So Beautiful, a tune popularized by singer Billy Eckstine from his lush rendition on his 1958 album,
Imagination. Elf reveals a touch of Pat Martinos influence on his jauntily
swinging, medium-tempo shuffle blues Jackys Jaunt, then breaks out his
baritone guitar for a very different voice on Low Blow and the uptempo
burner The Bottom Line, sounding not unlike Wes Montgomery on Tune
Up and Sandu from 1964s Movin Wes. And speaking of Wes, Elf delivers some excellent chord melody playing on a hip arrangement of the Rogers
and Hammerstein tune People Will Say Were In Love from the Broadway
musical Oklahoma. He concludes the program with the gorgeous and reflective ode The Sandy Effect, named for the storm that washed away his career
before he was able to make this triumphant return. Veterans Washington
and Nash are totally locked in together throughout.
Bill Milkowski
Returns 2014: A Little Diddy; It Was So Beautiful; Jackys Jaunt; Time On My Hands; Michellies Mambo; Low Blow; Titallating; The Bottom Line; People Will Say Were In Love; The Sandy Effect. (54:44)
Personnel: Mark Elf, guitar; David Hazeltine, piano; Peter Washington, bass; Lewis Nash, drums; Steve
Kroon, percussion (3).
Ordering info: jenbayjazz.com; markelfguitarconservatory.com
Michael ONeill/
Kenny Washington
New Beginnings
JAZZMO RECORDS 003
HHHH
Tenor saxophonist Michael ONeill
and vocalist Kenny Washington
have a deep collaborative history.
New Beginnings, their first recording
together since 2007, has the sound of
a smooth-running machine.
From the first track, A Night In Tunisia, the disc exudes a feeling of
longtime friends congregating to run through some tunes. The notes are
familiar, and so is the setting, but ONeill and Washingtonalong with their
superlative backing alternatively led by pianists Geoffrey Keezer and John R.
Burr, and rounded out by trumpeter Erik Jekabsonfit so well together that
the tunes sound fresh and alive.
On Tunisia, Washingtons light, breezy scat, filled with ornamentation,
fits snuggly against ONeills solo turn. Keezer brings one of his own solo
tunes to the sessionthe dense, plodding Creation Of The Universe
to serve as a break to the uptempo atmosphere. The beautiful piece hits the
pause button, letting everyone catch their collective breath, while also leading seamlessly into a soaring interpretation of It Aint Necessarily So.
Washington unveils introspective, fragile vocals on a slow-groove version of Fly Me To The Moon. The Surrey With The Fringe On Top is also
given an interesting ballad treatment. While the album shines brilliantly
during these uptempo numbers, it would feel less vibrant and complete without the depth of the slower tunes.
Jon Ross
New Beginnings: A Night In Tunisia; On Green Dolphin Street; Stella By Starlight; Creation Of The
Universe; It Aint Necessarily So; Fly Me To The Moon; All The Things You Are; Oh What A Beautiful
Morning; The Surrey With The Fringe On Top; Dinah; Nomali. (65:50)
Personnel: Kenny Washington, vocals; Michael ONeill, tenor and soprano saxophone, clarinet; Erik
Jekabson, trumpet, flugelhorn; Geoffrey Keezer (18), John R. Burr (911), piano; Dan Feiszli, bass; Alan
Hall, drums; Christian Pepin, congas (3).
Ordering info: mosax.com
FEBRUARY 2015 DOWNBEAT 65
Nicholas Payton
Numbers
PAYTONE OO3
HHH
For lovers of the groove, the deep box sets of Miles
Davis explorations into electronic instrumentation between 1969 and 1973 offered a wealth of
alternate tracks of live studio jamminglong,
unedited takes of sumptuous funk rhythms. If you
dug those base tracks as much as the original, edited releases with Davis and others soloing over his
rhythm section, then Nicholas Paytons Numbers
is for you. The grooves never stop, and there are
few solos to interrupt the flow. If, however, you are
looking for ripe, ripping trumpet from Payton,
you need to go elsewhere; he picks his horn up
only once.
Brian Charette
Good Tipper
PR 8128
HHH
Youre stuck in a motel lounge listening to an
organ trio play The Zombies 1968 psychedelic hit Time Of The Season. Then they
peel off those dotted rhythms for Jimmy
Webbs Wichita Lineman. Cuando
Cuando Cuando is in there, and so is the
druggy swoon of John Barrys theme from
the Bond flick You Only Live Twice. It seems
like a gag, but the music on this album is no
joke. Though some of the selections need
to be taken with a grain of camp, organist Charette is delivering the goods without
irony.
This is Charettes eighth album as a leader, after making his bones in bands with Lou
Donaldson and Houston Person. The title track
opener puts you on notice: medium-fast swing
with a ringing ride cymbal from drummer Jordan
Young and Charette spinning out fresh, knotty phrases that develop in leaps, ebullient and clich-free. That relaxed intensity is a hallmark of
the album. Guitarist Avi Rothbards Another
Quarter hints at Cissy Strut funk, but he and
Charette take bona fide jazz solos over the groove.
As for camp, Mark Ferbers fully committed
syncopated rim hits redeem Cuando Cuando
Cuando, and the players are so carried away by
66 DOWNBEAT FEBRUARY 2015
Antoine Fafard
Ad Perpetuum
UNICORN 5092
HHH1/2
Gabriel Espinosa/
Hendrik Meurkens
ZOHO 201410
Worker
HHH1/2
Blues /
BY FRANK-JOHN HADLEY
Dayna Stephens
Peace
SUNNYSIDE 1399
HHHH
Dedicated to the memory of Horace Silver, Charlie
Haden and Dwayne Burno, saxophonist Dayna
Stephens Peace is 11 songs of rhapsodies that
turn out to be chestnuts in the jazz catalog as well.
Played many different ways by many different jazz
musicians over the years, in Stephens hands these
tunes play almost like an extended medley. Even
the pop classic associated with Tony Bennett, I
Left My Heart In San Francisco, is given an even
more melancholic treatment, the songs already
wistful tone heightened by the bands subdued
swing and Stephens languorous, crooning baritone saxophone.
As far as the band goes, theres strength at all
positions. A youngish, classic rhythm section if
there ever was one, pianist Brad Mehldau, guitarist Julian Lage, bassist Larry Grenadier and drummer Eric Harland all play it straight, with almost
no flash. Take Lage and Mehldaus solos on Jobims
Zingaro, where both players respective sounds
are compact and modest overall. Harlands drumming is also tasteful, almost self-effacing, yet with
just the right amount of percussiveness. That
seems to be the game plan as the focus tilts to
Stephens, a talent who combines different strains
of the saxophone legacy. Unlike most saxophonists, however, he offers the listener a sampling of
tenor, baritone and soprano. More than anything
else, this has the overall effect of making this listener pay more attention to the program.
Theres a lot of music here, not all of it serene
or moody. Dave Brubecks The Duke and the
standard Moonglow are both played as mediumtempo swingers. Body And Soul, a duo with
Grenadier played at a lugubrious pace, is furthered along by Stephens expressive featherings
on baritone. Consider this version the epitome of
Peace, the groups lilt a showcase of how to let the
song play the band.
John Ephland
Peace: Peace; I Left My Heart In San Francisco; Zingaro; The Good
Life; The Duke; Brothers; Deborahs Theme; Oblivion; Body And
Soul; Two For The Road; Moonglow. (56:57)
Pesonnel: Dayna Stephens, baritone, tenor and soprano saxophone; Brad Mehldau, piano; Julian Lage, guitar; Larry Grenadier,
bass; Eric Harland, drums.
Ordering info: sunnysiderecords.com
Collina/Cervetto/Peillon/Bosso
Michel On Air
ITI 201407
HHHH
This ad hoc groups tribute to French pianist
Michel Petrucciani is a pleasure from the start.
Anything but musty, this is far more than a legacy for Petrucciani, a prodigy who died in 1999 of
pneumonia after years of battling a degenerative
bone disease. Petrucciani was only 36, but, judging by the sophistication of his work, an old continental soul.
Bracketed by the robust, selectively pyrotechnic trumpet of Fabrizio Bosso and the resonant
bass of Marc Peillon, the group also features
eclectic pianist Alessandro Collina and drummer
Rodolfo Cervetto, a master of brush and rim shot.
Like the 1950s sides Miles Davis recorded for
Prestige, Michel On Air ennobles interplay and
empathy. These veterans of European jazz play
brightly, powering through the pun-rich Little
Peace In C For You, beguilingly reviving bossa
nova on Guadeloupe and updating Take
The A Train with a fiery Bosso solo, thrilling
Cervetto brushwork and stop-on-a-dime bass
from Peillon. Other than Billy Strayhorns A
Train and a comforting take on Duke Ellingtons
In A Sentimental Mood, all the tracks are by
Petrucciani, who is said to have embarked on his
too-brief career after seeing the Duke in a television performance.
Petruccianis tunes span the sensual
Brazilian Like, the jaunty Chloe Meets
Gershwin, the alluring Its A Dance and the
smoky Thirteenth. These songs have bones and
depth. While all are accessible, theyre also rich
in interesting interplay, as in the heated exchange
between Bosso and Collina on Thirteenth and
the textural complexity of Play Me, a barn burner featuring Bossos dramatic, spare deployment
of doubling and delay.
Michel On Air is uplifting indeed; this is
expert, thoughtfully sequenced jazz at its most
buoyant.
Carlo Wolff
Michel On Air: Cantabile; Little Peace In C For You; Guadeloupe;
Hidden Joy; Chloe Meets Gershwin; Play Me; Thirteenth; Take The
A Train; Its A Dance; Brazilian Like; In A Sentimental Mood; I Wrote
You A Song. (57:43)
Personnel: Fabrizio Bosso, trumpet; Rodolfo Cervetto, drums;
Alessandro Collina, piano; Marc Peillon, bass.
Ordering info: warrantmusic.org
FEBRUARY 2015 DOWNBEAT 69
Diego Piera
Strange Ways
DOUBLE MOON 71141
HHH1/2
Melissa Stylianou
No Regrets
ANZIC 0046
HHH1/2
Tony Allen
Film Of Life
JAZZ VILLAGE 570032
HHHH
The 10th album from Nigerian Afrobeat drummer Tony Allen opens with an incantation to listen to my music, followed by the 74-year-old pioneer name-checking the recordings hes made
since leaving Fela Kutis side in the mid-70s. As
Allen sing-speaks a stream of album titles like No
Discrimination, Progress and No Accommodation
For Lagos over layers of sunny horn lines and syncopated rhythms, he builds a bridge from his past
to his present, creating a sonic vision of a career
defined by groundbreaking music and political
outspokenness.
From there, Allen and his large group of
cohortsincluding Damon Albarn (Blur, the
Gorillaz)launch into an hourlong survey of
thick textures, big beats and gut-rattling bass
lines. Elements of darkness and mysticism are
scattered throughout much of the album as well,
as on the single Go Back, Albarns somber,
orchestral riff on loss. The foreboding yet funky
Boat Journey features a warning against the
dangers of leaving the misery of one place for a
potential double misery in the next. The blissfully quirky Tigers Skip seesaws between shimmering melodica lines and minor-key excursions
that lend a vibe of volatility to the whole tune. A
kinetic and funky ostinato powers Ire Omo, and
the highlife vibe of tracks like Koko Dance persistently lifts things skyward.
Singing on the final cut, Tony Wood, Allen
and Kuku unspool waves of vibrato over a shuffled
groove and a sinuous sax solo. As the singers riff
eerily on the phrase film of life, the album circles back to the place it beganwith a meditation
on Allens pioneering creative output.
Jennifer Odell
Film Of Life: Moving On; Boat Journey; Tigers Skip; Ewa; Afro
KungFu Beat; Koko Dance; Go Back; Ire Omo; African Man; Tony
Wood. (54:07)
Personnel: Tony Allen, drums, congas, vocals; Ayo Adunni and
Nefretiti, vocals (8); Damon Albarn, vocals, keyboards (7), melodica
(3); Cesar Anot, bass; Indy Dibongue, rhythm guitar, ukulele;
Fixi, synths, keyboards (3, 6, 10); Kuku, vocals (10); Ludovic Bruni,
guitars, vibes; Vincent Taurelle, synths, keyboards; Vincent Taeger,
percussion, vibes, marimba; Yann Jankielewicz, baritone saxophone; Nicolas Giraud, trumpet; Antoine Giraud, trombone; Laurent
Bardainne, tenor saxophone.
Ordering info: jazzvillagemusic.com
Erta Ale
PNL 025
HHHH
It is hard to believe that this three-disc set is
Norwegian drummer Paal Nilssen-Loves first
recording as a leader. He has previously done solo
works and been part of countless duos, trios and
other collectives, but he never got an opportunity to write music for a band. To form the 11-piece
Large Unit, the drummer did not recruit the usual
suspects but a representative bunch drawn from
the next generation of Norwegian improvisers as
well as Swedish trombone player Mats leklint.
The material gathered on Erta Ale, the name
of an Ethiopian volcano, will not surprise those
familiar with Nilssen-Loves universe. Tunes
based on simple but addictive riffs, textural explorations and collective blasts alternate on this
sprawling collection. It would be easy to describe
the performances as chaotic ramblings. But this
would be unfair and deceptive, since actual planning takes place. And how otherwise could the
cohesion and sway displayed by the ensemble on
Fendika be explained?
One could question the decision to feature so
much music on a bands debut recording. (The
LP version contains even more tracks.) There was
probably no other option to take the full measure of Nilssen-Loves concepts and understand
the inner workings of the ensemble. For instance,
Birdbox was conceived to put a pre-determined
soloist in charge of taking the lead. On three separate occasions, alto saxophonist Klaus Ellerhusen
Holm, bass player Christian Meaas Svendsen and
drummer Andreas Wildhagen each gets a chance
to elicit the participation of other band members
and shape a bleak and stark soundscape.
The four versions of Round About Nothing
illustrate how the ensemble has to follow directions but remains free to choose among several alternatives, which can result in musicians
building or adding to an already laid-out foundation or disrupting what is taking place to head in
other directions. This process is also noticeable on
Culius, where at various points one feels that two
bands are competing against each other. Indeed,
the inclusion of two bona fide working trios within the group allows him to break the music down
into several smaller units as well as to focus on his
bandleader duties.
Beyond /
BY JIM MACNIE
Bob Dylan
Side Up
EAR UP 0405
HHH
Russ Johnson
HHHH
Has the trend wherein 21st century jazz musicians
cover iconic albums by 20th Century jazz musicians reached its apex? Mostly Other People Do
the Killings note-for-note takedown of Miles
Davis 1959 album Kind Of Blue smacked of an
overly intellectual approach common among
some of todays jazz musicians. We love Kind
Of Blue for its ephemeral beauty, the magic surrounding the notes that werent played.
Then we have trumpeter Russ Johnsons version of Eric Dolphys quintessential work Out To
Lunch!which included memorable performances from vibraphonist Bobby Hutcherson, trumpeter Freddie Hubbard, bassist Richard Davis
and drummer Tony Williams. Johnson, a recent
Midwest transplant who spent 23 years as a member of New York Citys jazz community, has seven
recordings as a leader under his belt, and much of
the reward in his latest program lies in his ability
to elicit searing improvisations from his compatriots. Surely, pianist Myra Melford, saxophonist
Roy Nathanson, bassist Brad Jones and drummer
George Schuller have loved (and memorized) this
music; their assembled wisdom results in performances that are sweetly, stoutly transparent to the
generous spirit of Dolphys source material.
Each track on Still Out To Lunch! states Out To
Lunch!s evocative melodies, then its all about
extrapolation. Each musicians improvisations
capture the essence of Dolphys opus, but in music
located firmly in the here-and-now. And its
that transparency, coupled to joyful expressiveness and Out To Lunch!s open paletteindeed,
the albums requirement for playful improvisationthat makes Still Out To Lunch! such a treat.
Throughout the albums eight tracks (including two never-before-recorded Dolphy pieces),
Johnsons quintet performs with a sense of lan
that serves history and memory, while also making Dolphys timeless 1964 masterpiece fresh.
Danger of encrusting the old masters works in
hallowed halls remains a threat, but Still Out To
Lunch! is a roaring success.
Ken Micallef
Aki Takase/Alexander
von Schlippenbach
HHHH1/2
Commensurate with his importance, there arent
enough tributes to alto saxophonist/flutist/bass
clarinetist Dolphy, who died in Berlin in 1964 at
age 36. Dolphy himself recorded live in the city
in 62 and waxed Last Date with Han Bennink
shortly before his demise, around the time Charles
Mingus, with prophetic irony, titled a blues So
Long, Eric when Dolphy departed his group.
Less known is that vibraphonist Karl Berger invited Dolphy to play at the Tangent club the night
Dolphy succumbed to diabetic coma.
The colossal collective talent of this 12-piece
band was captured live by Kulturradio vom
Rundfunk Berlin Brandenberg in June 2014. Cover
art and a third of the selections reference Dolphys
sole Blue Note leader date, Out To Lunch!, which
Still Out To Lunch!: Hat And Beard; Something Sweet; Something Tender; Out To Lunch; Intake; Gazzelloni; Little Blue Devil;
Straight Up And Down; Song For The Rams Horn. (57:22)
Personnel: Russ Johnson, trumpet; Roy Nathanson, alto, soprano
saxophone; Myra Melford, piano; Brad Jones, bass; George
Schuller, drums.
Ordering info: allegro-music.com
FEBRUARY 2015 DOWNBEAT 73
Houston Person
HHH
At the age of 80, Houston Person has
almost as many records under his
own name as years on earth. The prolific tenor saxophonist rattled off this
newest release in a single day last summer. His mission on this release is to
deliver the melody of 10 tunes of varying levels of recognition with respect
and charm. Person never fails on those fronts. He hums through chestnuts
like My Funny Valentine and They All Laughed with the assuredness
of a man who knows the tunes inside and out. His solos are graceful and
in constant homage to the melody. Person is joined by a quartet of tasteful veterans that could perform these mostly medium-tempo tunes in their
sleep. Vibraphonist Steve Nelson provides a warm pad for Person to float on,
while pianist Lafayette Harris supplies tasteful soul and bossa grooves. Lewis
Nashs cymbals ring with a bottomless shimmer, their vibrancy and tone sustained from beginning to end.
Sean J. OConnell
The Melody Lingers On: My Funny Valentine; Gone Again; Youre Nearer; Mintons; Bewitched;
Only Trust Your Heart; They All Laughed; Try A Little Tenderness; The Song Is Ended; You Cant Lose
With The Blues. (57:23)
Personnel: Houston Person, tenor saxophone; Steve Nelson, vibraphone; Lafayette Harris, piano; Ray
Drummond, bass; Lewis Nash, drums.
Ordering info: jazzdepot.com
What I Heard
PASSIN THRU 41232
HHH1/2
Theres something curiously Spartan
and workmanlike about this third
organ group release from inimitable
alto saxophonist Oliver Lake. Organist
Jared Gold has a blocky sense of
abstract sonic architecture reflective
of Larry Young, and the regulated hum of his bass lines pervades this session.
The absence of guitar, as well as the skeletal simpatico of Gold and drummer Chris Beck, renders the horns quite vulnerable, and lends Lakes compositions (originally intended to work with spoken word) a craggy intrigue.
Golds right hand gets busy on the title track but its a much different kind of
bombast compared to the Jimmy Smith school. He provides a spongy springboard for coruscating forays from the leader. Trumpeter Freddie Hendrix
has some of Freddie Hubbards claxon approach, and the horns end What I
Heard in abrupt unison. Palma is more contrapuntal upfront, then horns
and organ nicely match. Lake could be a trifle hotter in the mix; he sounds
somewhat distant. Cyan is quixotic, hot and cool blue, with hues that are
distributed with bold pointillism and expressionistic daubs.
Lakes structures are fascinatingly fragmentary, elements positioned in
surprising waysRoot fades out on a totally unpredictable pecky figure
and he has always commanded one of the most uniquely signature sounds,
ruggedly obtuse yet somehow disarming. Golds all-enveloping Hammond
B-3 dominates but Lakes themes challenge all expectation. Lucky One, for
example, is elision in the round; the time is diced under solos. Hendrix is
fiery, Lake resolutely scribbly. Beck gets excited, then we are suddenly done.
This is unlike any organ quartet youll hear, a vivid sketchbook of color and
sound, no easy hooks, no compromise. Lake signs off, not with fanfare but
with the humble Thank Youa flute, muted trumpet and organ incantation over Becks American Indian beats.
Jon Ross
What I Heard: 6 & 3; What I Heard; Palma; Cyan; Root; Human Voice; Lucky One; Etc.; Thank You.
(59:91)
Personnel: Oliver Lake, alto saxophone/flute; Jared Gold, Hammond B-3 organ; Freddie Hendrix,
trumpet; Chris Beck, drums.
Ordering info: passinthru.org; oliverlake.net
74 DOWNBEAT FEBRUARY 2015
Destination: Void
MORE IS MORE 141
HH1/2
Destination: Void: Twelve (For Evan Parker); For Gary Rydstrom And Ben Burtt; Make It So;
Tresillo. (68:45)
Personnel: Peter Evans, trumpet, piccolo trumpet; Sam Pluta, live electronics; Ron Stabinsky, piano,
prepared piano; Tom Blancarte, bass; Jim Black, drums, percussion.
Ordering info: moreismorerecords.com
Johannes Enders
Mellowtonin
ENJA/YELLOWBIRD 7748
HHH1/2
German
saxophonist
Johannes
Enders is a relative unknown on
these shores, despite having more
than a dozen recordings behind
him. Mellowtonin features his regular quartet, which includes Jean-Paul
Brodbeck on piano, Milan Nikolic on
bass and Billy Hart on drums. The latter plays a pivotal role in the group,
acting as a pace regulator and signaling shifts. In addition to Hart, Enders
has found in Brodbeck and Nikolic two musicians who are committed to
his ideas.
As a composer, the saxophonist has a knack for writing solid and memorable compositions, although none of them bears a singular stamp. While
his faster pieces are sunny, his ballads, imbued with winning moodieness, impress most. For the most part, Enders music makes up in appeal
for what it lacks in originality. As a result, Mellowtonin is likely to be
remembered as a well-conceived and attractive program rather than
a major statement.
Alain Drouot
Mellowtonin: Expressionist; Circle Birds; Tomorrow Its Tomorrow; Mellowtonin; Chomutov; Son Of
The Sun; Empty Tree; Anima; Circle Birds Reprise. (47:50)
Personnel: Johannes Enders, tenor saxophone; Jean-Paul Brodbeck, piano; Milan Nikolic, bass; Billy
Hart, drums.
Ordering info: jazzrecords.com/enja
Rex Richardson/
Steve Wilson
SUMMIT 641
PLAYSCAPE 012614
Blue Shift
HHH1/2
BY TED PANKEN
Dial Tones
Charlie Parker
Historical /
HHH1/2
For a musical study of Bill Evans, baritone saxophonist Jim Norton didnt simply go for a greatest
hits collection. Instead, he chose tunes that form
a complete picture of the pianist, culling his collection from less-heard sources and transferring
these small-ensemble recordings into big band
charts.
The noted San Francisco-based sideman
assembled some of the best Bay Area musicians
for the tribute, players who excel at ensemble
work. Each musician is a strong player in his or
her own right, and they turn in capable, energetic solos, but the instrumentalists excel as a unit.
Nortons arrangements serve his source material
well; he magnifies the intimacy and the exactness
of Evans trio tunes without losing musical focus.
To drive home the concept of Time
Remembered, Norton kicks off the disc with
Fudgesickle Built For Four, a tune recorded
during Evans Riverside years that appeared on
Loose Blues, released after his death. Norton takes
the maddeningly tricky tune, consisting of thorny
interlocking melodic lines presented in a quasi
fugue, and deconstructs it. With a loping bass solo
at the beginning and the slow addition of harmonic voices, each part sings out. Norton avoids what
could easily turn into musical mush.
Fudgesickle returns in a reprise role toward
the end of the CD, bookending the album with
Evans compositional intensity. Norton closes the
disc, however, with 34 Skidoo from 1962s How
My Heart Sings!, capturing the uptempo bounciness of the original, even with a vastly expanded
cast of characters.
Jon Ross
Time Remembered: Fudgesickle Built For Four; Time Remembered; Journey To Recife; Five; NYCs No Lark; Interplay; Walkin Up;
Very Early; Bills Hit Tune; Peris Scope; Twelve Tone Tune; Laurie;
Comrade Conrad; Fudgesickle Built For Four; 34 Skidoo. (62:34)
Personnel: Tim Devine, soprano and alto saxophones, flutes;
Kristen Strom, tenor saxophone, flutes; Charlie McCarthy, tenor
saxophone, clarinets; Jim Norton, baritone saxophone, bass flute,
clarinets, bassoon; Louis Fasman, John L. Worley Jr., trumpets,
flugelhorn; Cathleen Torres, French horn; Joel Behrman, Jeff
Cressman, trombones; Scott Sorkin, guitar; John Shifflett, bass;
Jason Lewis, drums.
Ordering info: origin-records.com
Akua Dixon
Akua Dixon
AKUAS MUSIC
HHH1/2
Outhead
HHH
It is rare to encounter a vocal part that inspires a
double-take. But Outhead has managed to elicit
some on its new albumthrough a whole bunch
of sexual euphemisms. Of course, pruriency is in
the ear of the beholder, but it might be good to skip
a few tracks if the listener looks anything like the
toddler on the cover.
Alto/tenor saxophonist Alex Weiss leads this
tight quartet. Bellowing below him is baritone
saxophonist Charlie Gurke. While the twin saxophone ensemble is the focus of this album, it is
the guests who make it meaty, exotic and even a
little bit dirty. An uncredited appearance by guitarist Peter Galub heaps a pile of grungy goodness
onto The Chairman. Bassist Rob Woodcock
drops a lumbering bass line over drummer
Dillon Westbrooks restrained kit while the saxophones help to turn the tune into an instrumental that would be a good fit for 1980s Tom Waits.
The band reclines nicely into its troubadour-punk
vibes but also digs into straight, wailing swing.
Trotsky and Glass Houses And Gift Horses
are both churning, freewheeling explorations.
Gurke wrote the former while Weiss penned the
latter. Their similar sensibilities are on constant
display as the two interact seamlessly and with
deep understanding. The record loses its PG rating with some guest vocal spots. A Made Truth,
written by Westbrook, discourages the listener from any absentminded listening. Vocalist
Sarah Horacek matter-of-factly strolls through
Westbrooks poem of throbbing and pumping
that ostensibly has to do with a well. When vocalist Eunjin Park returns at the end of the tune with
the same poem in accented English, things get a
little more confusing. Despite all the engorged
lyrics, maybe they really are just talking
about a well?
Sean J. OConnell
Send This Sound To The King: Ode To John Denver Or How
I Learned To Stop Worrying About Death; The Chairman; The
Palimpsest; Glass Houses And Gift Horses; A Made Truth; Trotsky;
Uncle Ho. (43:19)
Personnel: Alex Weiss, alto and tenor saxophone, vocals;
Charlie Gurke, baritone saxophone; Rob Woodcock, bass; Dillon
Westbrook, drums; Sarah Horacek, Jen Zebulon, Eunjin Park, Kristin
Sharkey, vocals (5, 7); Peter Galub, guitar (2), vocals (7).
Ordering info: alexweissmusic.com
FEBRUARY 2015 DOWNBEAT 77
Books /
BY AARON COHEN
HHH1/2
RECORDING SCHOOL
s GUIDE TO LEARNING JAZZ
THE ARTIST
AS PRODUCER
82
86
DON WAS
TERRI LYNE CARRINGTON
90
92
96
BEN RUBIN
MASTER CLASS
REGINA CARTER SOLO
TOOLSHED
GABI PORTER
Don Was
RECORDING SCHOOL
Beginners
STATE OF MIND
A
By Ken Micallef
Blue Notes soul-tinged 1950s/60s catalog is the Blue Note Records 75th
Anniversary Vinyl Initiative, a vinyl-reissue campaign delivering five
albums per month and consisting of classic and impossible-to-find titles.
Long before Was took the Blue Note crown, he was regarded as one of
the savviest record producers and bass players in show business. From
his early success with 1981s Was (Not Was) to hundreds of high-octane
production jobs, Was mellow demeanor makes musicians feel as comfortable as his trademark moccasins.
Every great brand keeps their classics, then they bring in new
designers to create fresh ideas, and that is what Don is doing, says vocalist Jos James, who is currently working on his third Blue Note release
with Was producing. Don is really curating not just albums but the artists. He signed me to create, and hes really let me be extremely free in my
direction; he lets things come from an artistic place. Blue Note has really gone back to its origins: supporting the voices of the artists, first and
foremost.
As Blue Notes 75th anniversary celebration rolls on, Was continues
to sign jazz singers, jazz drummers, jazz trumpeters and jazz saxophonists. Hes starting to resemble two other great talent scouts: Alfred Lion
and Francis Wolff.
DownBeat: Regarding the producers role in the studio, what is your philosophy on getting the
best sound in a session and also getting the best out of the artist?
Don Was: Its not that mysterious. You want to create an environment where people feel comfortable and
confident taking chances. And where self-consciousness is held to a minimum for the artist. You want them
to feel safe to push the threshold, and to risk falling off a cliff.
How do you get the artist to trust you?
Just being relaxed. Whats the worst-case scenario? Another take? Neurosurgeons dont get another take! [laughs] You have to contextualize it. Thats the worst thing that can happenyou do it again.
I suppose being a musician helps. I know what its like to not be able to shake self-consciousness.
And I know how exhilarating it is to get completely outside of yourself and be totally present in the
music. That is where the good stuff happens.
How do help musicians become calm so they can create their best work?
I actually dont know anyone whos not nervous about it. Youre going into the unknown.
You should be nervous. You dont know what youre going to get. If you know what you going
to get before you do it, its probably not going to be very good, especially in improvisational
music. You start over every day. You have to learn to get to a beginners state of mind, wipe
the slate clean and just go. Jazz musicians are a little more used to doing that. They work
in a noisy club with people talking and drinks being served and cellphones. But they get
to that place with great regularity. There used to be this brainwave reader. It would show
when you were going from Alpha to Delta, and eventually you learned [how to get
there] by listening to the sound being emitted by the device. It would tell you when you
were entering a deeper state of consciousness. People who meditate know how to do
that. And people who play improvisational music with regularity know how to do
that. Its probably easier for jazz guys. But that doesnt make it any less of a marvel.
FEBRUARY 2015 DOWNBEAT 83
RECORDING SCHOOL
The latest recording you produced for Blue
Note was Yesterday I Had The Blues, a
Jos James album of Billie Holiday songs
scheduled for release in early 2015.
JANETTE BECKMAN
RECORDING SCHOOL
CAPTURING
THE VISION
By Jeremy Loucas | Photo by Michael Goldman
erri Lyne Carrington has contributed a lot more to jazz and popular music than her laudable and substantial work behind the
drum kit. Over the course of her professional career, which
began in the 1980s after attending Berklee College of Music,
she has evolved into an artist of many skills who fills multiple roles within the music industry. Carrington is held in particularly
high regard as a producer of her own albums as well as studio recordings
by other artists. She was voted top Rising StarProducer in DownBeats
2014 Critics Poll.
Carrington, 49, is a natural producerone whose keen ears, wealth of
experience and instinct for finding the magical element in any arrangement have helped her to capture the creative visions of her collaborators. Her production work on jazz projects has been noteworthy, including singer Dianne Reeves CDs That Day (Blue Note, 1997) and Beautiful
Life (Concord, 2014) as well as albums by the Doky Brothers, Nguyn L,
Esperanza Spalding and an upcoming release by Grgoire Maret. In the
Yes, there are many great drummer producers: Narada Michael Walden, Phil Collins, Lenny
White, Max Roach, Don Henley. And, of course,
bass players: Marcus Miller, Larry Klein, Stanley
Clarke, John Patitucci, Randy Jackson the list
goes on. Its a rhythm section thing. Bass and
drums have to be right, and it all builds upon that.
When you first start working on a song,
how do you envision the arrangement?
world of pop and r&b, Carrington has applied her insight and expertise to
recordings by Stig Rossen, Nona Hendryx and Teena Marie, among others.
In the studio, Carrington has proven to be especially effective working
with vocalists. Her self-produced 2011 recording The Mosaic Project
(Concord Jazz)which featured singers Dee Dee Bridgewater, Cassandra
Wilson, Hendryx, Reeves and Spalding along with some of the most prominent female jazz artists of the last few decadeswon a Grammy Award for
Best Jazz Vocal Album. She was also the first woman to win a Grammy for
Best Jazz Instrumental Album for her 2013 Concord release, Money Jungle:
Provocative In Blue.
Carrington was in the process of recording tracks for The Mosaic
Project Part 2which will feature Valerie Simpson, Natalie Cole, Oleta
Adams, Lalah Hathaway, Lizz Wright, Chante Moore, Paula Cole and
Jaguar Wright, as well as several prominent female musicianswhen she
sat for the following DownBeat interview with Jeremy Loucas, an esteemed
studio engineer with whom she has worked extensively.
Absolutely. For instance, on the CD Im currently working onThe Mosaic Project Part 2
Natalie Cole sang Come Sunday, and originally
there were two songs I had in mind to offer her, but
in the end I thought the Come Sunday lyric was
better for her. She had said she loved that song, so
for sure I thought about the lyric along with the
singer. And on part one of The Mosaic Project
[2011], Dianne Reeves sang Echo, which was a
lyric that she could really sink her teeth into. It is
something I consider along with the groove and
melody and other aspects of a song.
When I produced Diannes CD Beautiful Life,
I really had to think about that even more so
because she has to be able to put a read on the
lyric, as she says. Sometimes when we were writing, we had to write a lyric a few times until she
felt like she could really sing it. Same for myself:
I sing better when its my own lyric. I dont sing
that often and dont have a big range or extremely
strong voice, so it is all in the interpretation, which
makes the lyric crucial for me as well. And at this
point in my life, I dont even want to listen to songs
on the radio unless it is a lyric I can relate to.
FEBRUARY 2015 DOWNBEAT 87
RECORDING SCHOOL
Tell me about your pre-production process.
work with. I actually prefer not to play on a production unless it is my own CD, of course. But if I
just feel like I know what is needed, then I will step in.
As a producer, how do you envision the
overall sound esthetic of an album? In
todays productions, sometimes references
are used, but how do you achieve an album
that has its own unique sound?
Yeah, in a way. There is freedom to experiment for sure, but its not the same as when playing. When playing live, you have to play what is
appropriate for a song, which creates boundaries.
Same thing with producing. You have to figure out
how far you can go and still have it sound good, or
how raw chemistry and energy balance with polished production and come together to make a
nice presentation.
How do you envision the evolution of jazz?
Where do you find room to innovative
and keep it fresh from a production
standpoint?
RECORDING SCHOOL
Woodshed
Producing Live
Jazz Albums
MASTER CLASS
BY BEN RUBIN
drink, you settle into a comfortable chair, perfectly centered between two speakers. You close your
eyes as the music starts to play: trumpet and tenor
saxophone, or solo guitar, or a piano trio, and
youre transportedmaybe to a basement club in
Manhattans West Village. You wish youd made
it out for the show. Tim Ries and Chris Potter.
Tom Harrell and David Berkman. Maybe Johnny
ONeal. You hear glasses clink, the cash register
ring, rapturous applause following solos. This is
what it is to listen to a live jazz record.
When I produce such records, I not only want
you to feel like youre sitting in the third row
but to experience the show as the real thing
plus. This is my mission. Over the past five
years, Ive produced and mixed more than 30
albums for the SmallsLive label associated with
the enduring Smalls Jazz Club on West Tenth
Street in Manhattan, founded by Mitch Borden
and now operated by Spike Wilner. Having
come to producing from the business side of the
microphone (Ive been a professional bassist for 20
years), Im well suited to coax and capture onto a
record the excitement of sitting in the audience at
Smalls.
As a musician, I can empathize with the
anticipation and anxieties associated with
preparing to make a record. As an engineer, I
know how to preserve the ephemeral sounds
of vibrating air. As a producer with experience
on both sides of the glass, I can bridge the gap
between the record-ee and the record-er to
ensure that everyones focus remains on making
great music. With a vision of the sound in my head
before a single note plays, I guide the recording
from tracking through mixing and mastering to
a finished product that can transport a listener
sitting in Bogota, Berlin or Brooklyn to the
audience of a jazz club.
Im often asked what exactly a producer on a
jazz record actually does. Its a valid question.
When people today think of music production,
generally pop producers come to mindpeople
like George Martin, Phil Spector, Timbaland and
Dr. Luke who have a big hand in song selection,
instrumentation and sounds, songwriting, as
well as the recording process. Not so in jazz.
At SmallsLive, my job is to understand and
implement the vision of the artist, and of Spike,
the label operator, by attaining the best possible
recording of the best possible performance. Spike
curates the artists for the label like a collector
selects artwork, the musician picks the songs
and hires the band, and then my job is to make
each recording happen. Our goal is to create an
authentic document of a night at Smalls while
also crafting a larger-than-life experience. We
90 DOWNBEAT FEBRUARY 2015
JESSICA DULONG
RECORDING SCHOOL
Woodshed
SOLO
BY JIMI DURSO
Regina Carter
RECORDING SCHOOL
Building Expertise
in Sound Recording
VIRTUALLY ANYONE WHO HAS WORKED IN
a recording studiowhether as a musician, engineer or producercan benefit from the information and wisdom dispensed in Alan Parsons
Art & Science of Sound Recording: The Book (Hal
Leonard Publishing), which is a complete rewrite
and reappraisal of the popular video series of the
same name. With ample space to provide more
technical background info, more detailed diagrams and more in-depth discussion on each of
the 24 topics coveredfrom A Brief History of
Recording to Dealing with Disastersthe 272page hardcover book takes Parsons approach to
sound recording to a new level.
Parsons knowledge of engineering and studio
production is vast. His recording career began in
the late 1960s, when he worked as an assistant
engineer on sessions by the Beatles. He went on
to become one of the most sought-after producer/engineers of the 70s and 80s, scoring number-one hits with multiple rock and pop artists.
Parsons also enjoyed multiplatinum success with
his own Alan Parsons Project, which he formed
in 1976, and today he continues to work as both
recording artist and producer. He not only knows
RECORDING SCHOOL
Toolshed
the unit. A sturdy foot-operated toggle controls the output of the receiver, which is capable of two operating modes. The System 10 has
two TRS balanced quarter-inch outputs, and
the toggle can be set to either mute or unmute
the signal on output channel A while still sending to output channel B (which is perfect when
connecting a tuner to the B channel)
or set to switch between the A and
B outputs for routing your signal to
different sources such as switching
between amps.
The ATW-1501 System 10 Digital
Guitar Stompbox Wireless System
performs great and consistently transmits a crystal-clear, interference-free,
reliable signal. It is a strong product not
only in terms of its rugged construction
but also because of its advanced wireless
technology. Its a solid solution that is available for a street price of $349.95.
Keith Baumann
Ordering info: audio-technica.com
vid released the latest version of the flagship recording program Pro
Tools this past year, and now that it has had time to settle in, we take
a look at the standard bearer for the recording industry in its most
recent incarnation.
Version 11 of Pro Tools is a radically different
beast than the upgrades that have happened up
to this point. Avid has completely rebuilt the
underlying code. This can be both a blessing
and a curseApple users will be well acquainted with thisas performance and usability
gains mean that legacy hardware and software
will no longer be supported, or in many cases
usable at all.
The benefits of Pro Tools 11 are pretty
spectacular. The rewriting of the code has
enabled Avid to finally move into full 64-bit
operation. This performance increase is nothing short of astounding, and really changes the
game for Pro Tools users. It allows Pro Tools to
fully access large amounts of RAM that were
previously unavailable and take full advantage
of todays ubiquitous 64-bit operating system
architecture. Opening projects that would routinely pin the CPU meter in 10 are now using
fractions of the CPU in 11. This is due to several system level upgrades in addition to the
64-bit architecture.
Pro Tools 11 now features a much smarter
fast and efficient tool. There are dozens of other smaller usability fixes here as well, but this update is not your typical handful
of new features, a couple of plug-ins and an interface redesign.
Current Pro Tools HD users will have to come to grips with
the fact that their HD Accel and original HD cards will no longer be supportedyou need to upgrade to HDX or HD Native
hardware to run version 11. This can be an extremely costly
proposition, so youll have to weigh the performance and functionality increases against cost. For any large studio operation,
this is going to be a foregone conclusionthe upside is just too
good to pass. For the smaller studio, it will be a harder choice.
You can, of course, still run Pro Tools 11 (non-HD) with
non-Avid hardware, but this comes at a price. There are limitations on simultaneous track recording, as well as no input monitoring and a number of other features that are HD only. None
of these are deal-breakers for many people, but for users who
need HD features, your options have been narrowed. In the previous versions of Pro Tools since it allowed use of third-party
hardware, there was an option to buy the Complete Production
Toolkit and unlock the full HD functionality. However, Avid
has decided to cut this option with the release of 11. This means
that your barrier to entry for an HD system has been raised by a
couple thousand dollars, as there is no way to purchase the Pro
Tools HD software unbundled from a hardware purchase. You
can upgrade from your current PT 10 and CPTK to PT11 HD
for $599, however, and maintain full HD functionality without
the need to buy new hardware.
Another point of difficulty for upgraders will be the discontinuation of TDM and RTAS plug-ins. Pro Tools 11 will run
only AAX plug-ins, and only in 64-bit. This is a necessary
step to allow for the huge performance gains seen in the program, and because of it Pro Tools can finally do offline bouncing. At last, you can quickly dump off a mix and not have to go
out to lunch while your session bounces to disk! At this point,
most plug-in manufacturers have made the upgrades available, and all the major players are represented. Avid gives you
a ProTools 10 license along with 11 so you can run both on the
same machine and maintain your projects that require older
plug-ins.
ProTools 11 really is a brand new program. For many
recording professionals, there is no other platform, though they
have had many complaints. With version 11, Avid shows that
it has been listening, and the company has delivered on every
level. If you are thinking of switching over from another DAW,
there is a 30-day free trial (iLok 2 required), and it is well worth
trying it out.
Chris Neville
Ordering info: avid.com
he VX5 from Audix is a high-quality condenser microphone thats capable of reproducing studio-quality
sound but built to handle the rigors of live
performance.
With numerous studio condenser
microphones in its line, Audix was well
aware of the challenges of using these
sensitive devices for stage applications.
Prone to feedback and susceptible to distortion at higher sound levels, condenser
mics can be impractical in many live situations, and most engineers feel that these
negative issues outweigh their tonal benefits. Realizing that there are many artists
performing today who demand high-quality sound on stage, Audix designed the VX5
to bridge the gap between stage and studio by
addressing the major problems associated with
using condenser mics in a live venue.
The VX5 utilizes a standard handheld form factor, allowing it to be comfortably held by a vocalist or
mounted on a standard microphone stand. The body
is made of die-cast zinc and is sturdy enough to handle
abuses of the road. The VX5 features a 14mm gold vapor
diaphragm and an acoustically ported steel mesh grill
with a multi-stage pop filter. A supercardioid polar
pattern helps the VX5 isolate the mics input signal from unwanted stage noise, and there is a 10
dB pad switch and a bass roll-off filter on board.
The mic is designed to handle extremely high
sound pressure levels (SPLs) without distortion,
capable of more than 140dB with an extremely strong resistance to feedback. The frequency
response is 40Hz16.5kHz, and it requires 1852
volts of phantom power to operate, which allows
it to be used with many acoustic amps.
Audix targets the VX5 mainly at vocalists, but
the company also recommends it for use on acoustic instruments, percussion, brass and woodwinds.
I found that the mic was definitely best suited for
vocals, producing a detailed reproduction of the voice.
I loved the VX5 on male vocals, but it was a bit harsh
on female voices (probably due to its flat frequency
response, which doesnt color the sound and can result
in a lack of warmth in certain applications). A little EQ
helped in this situation. The mic was extremely quiet
with minimal proximity effect, and I found it to be
consistent and forgiving in terms of its placement. On
acoustic guitar, the VX5 did a decent job, and its resistance to feedback and tight polar pattern were pluses in
this context. Overall, the VX5 delivered on its promise
of studio quality sound for the stage. Although it may
not replace your high-end studio condensers, it is vastly superior to the majority of dynamic microphones
offered for live applications.
The VX5 is just as durable physically as it is sonically. It lives up to its claim of achieving new standards in handheld vocal condenser performance. At an
MSRP of $290, it is well worth it for such a high level of
performance.
Keith Baumann
RECORDING SCHOOL
Toolshed
PreSonus
AudioBox iTwo
Tascam DA-3000
Ultra-High-Quality Master
Recorder/Player/Converter
or live sound rig. Its high-quality converters should make most setups sound
noticeably better, and with digital mixing boards becoming more common,
a unit like this makes sense as the bridge between a digital console and the
crossovers and amps that are feeding a live sound situation. Reversing the
signal flow, it makes a great A/D converter where it is the last step in your
studio signal chain as it converts the analog signal coming out of your mic
(or instrument) preamp into the digital 0s and 1s that your DAW can understand. For those needing to stay in the digital domain, you can send a digital
signal straight into the unit to make digital masters in PCM or DSD formats.
As far as connections go, there are many to choose from on the back of
the DA-3000. For analog, it has stereo balanced XLR ins and outs and stereo unbalanced RCA ins and outs. For digital, it has S/PDIF, AES/EBU and
S/PDIF 3 for DSD. It also has word clock via BNC.
I was somewhat disappointed to find that the DA-3000 did not have
ADAT lightpipe as one of the options. With prosumer-type digital connections, I have always found ADAT lightpipe to be easier to set up and configure
than S/PDIF. As I was testing out my digital setup options, I struggled with
getting my hardware and the unit to talk via S/PDIF. The troubleshooting
information available in the manual wasnt spelled out clearly enough to help
me solve the problem in an efficient and confident manner. I recommend that
Tascam put some easily accessible how-to videos (or photos) on its website or
in the manual. It would go a long way toward attracting on-the-fence home
studio owners who are looking for their next level of gear.
Overall, the DA-3000 is a great product at a great price. I would like to see
Tascam get these units into as many studios as possible.
Matt Kern
Ordering info: tascam.com
RECORDING SCHOOL
Toolshed
GEAR BOX
2-Mode Condenser
MXL Microphones CR20
Vocal Condenser Mic has a
tube emulation switch that
provides a tube sound on
demand and then easily
switches back to solid-state.
The CR20 has a flat, natural
frequency response with
a smooth top, making it
suitable for a range of genres
and voices. In tube mode, it
has a touch more warmth and
character, but in both cases
it captures vocals with detail
and clarity thanks to its 22mm
capsule and gold-sputtered,
6-micron diaphragm.
More info: mxlmics.com
Active Monitoring
Genelecs 8351 three-way Smart
Active Monitor was developed
in response to the need for increasing audio-quality demands
in near-field recording and mix
environments. It is capable of delivering 110dB at 1 meter through
a combination of Genelec-designed Class D amplifiers for the
bass (150-watt) and midrange
(120-watt) drivers, while a discrete
(90-watt) Class A/B amplifier applies power to the tweeter. The 8351
has a system frequency response
of 35Hz to 40kHz +/3dB (38Hz to
21kHz +/1dB) with low distortion.
More info: genelecusa.com
Pint-Sized Interface
Rolands Mobile UA is an
ultra-compact USB audio
interface that incorporates
newly developed S1LKi sound
technology. Featuring up to
four channels of DSD and PCM
audio playback in a small,
bus-powered device, the Mobile
UA delivers audio quality and
low-latency operation for onthe-go music production or live
performance.
More info: rolandus.com
In the
Mix
Blue Microphones
Mo-Fi headphones feature
built-in audiophile amplifiers
matched to high-powered precision drivers for
use with studio gear, laptops, tablets, phones
and other devices. Mo-Fi offers the performance of custom-tuned high-end studio
monitors so players and engineers can judge
whats really going on in their mix.
More info: bluemicrophones.com
School Notes
Jazz On Campus
jimmy Heath
HALI MCGRATH
FEBRUARY
2015,
THE
NONPROFIT
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Japanese import CDs & LPs: Venus,
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RARE JAZZ LP AUCTIONS
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WEBSITES
J O E SA X
Woodwinds
www.joesax.com
(800) 876-8771
(607) 865-8088
SERIOUS CD STORAGE
Save space by replacing bulky
jewel boxes with the Jewelsleeve.
Call for a free sample at 1-800-8633312 or visit www.jewelsleeve.com
RPC SAXOPHONE MOUTHPIECES
Old School handcrafted mouthpieces.
Love for the sound of the saxophone and
helping my customers is my passion.
Contact: Ron Coelho; 360-887-3807
www.saxmpc.com
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DB Buyers Guide
ACT Music..................................................... 27
Harmonia Mundi...........................................21
actmusic.com
harmoniamundi.com
porgy.at
All Parts........................................................ 92
Resonance Records....................................... 63
allparts.com
harvjazz.com
americanjazzmuseum.com
hcp.pt
Antigua Winds..............................................40
antiguapro-one.com
butmanclub.ru
Audix............................................................ 85
ILK Music...................................................... 75
audixusa.com
ilkmusic.com
Auricle Records..............................................19
ITI Music....................................................... 27
sharpnine.com
gerryhemingway.com
warrantmusic.org
Skidmore College.......................................... 27
Jazz Cruises................................................... 11
skidmore.edu
bariwoodwind.com
thejazzcruise.com
Snug Harbor..................................................51
snugjazz.com
bethesdabluesjazz.com/
jazzednet.org
JJ Babbitt Co................................................ 57
bluenote.com
jjbabbitt.com
Cannonball Music........................................... 9
JodyJazz Mouthpieces................................. 39
cannonballmusic.com
jodyjazz.com
colum.edu/music
sagarodrigolima.com
outpostspace.org
Three Muses................................................. 53
concordmusicgroup.com
katiethiroux.com
3musesnola.com
Conn Selmer................................................. 99
Kawai............................................................ 79
Unterfahrt.................................................... 53
conn-selmer.com
kawaius.com
unterfahrt.de
jazzbeat.com
kuumbwajazz.org
dakotacooks.com
lobero.com/giving/foundation
Denis Wick.................................................... 25
Love Productions.......................................... 73
deniswick.com
allanharris.com
DW Drums......................................................15
nasjonaljazzscene.no
dwdrums.com
margiebakervocalist.com
Eastman Strings.............................................. 2
MCG Jazz...................................................... 46
viking-instrument.net
eastmanmusiccompany.com
mcgjazz.org
ECM Records..................................................31
wpunj.edu
ecmrecords.com
michaelblumguitar.com
Music Dispatch............................................... 5
elmhurst.edu/jazzfestival
musicdispatch.com
Finale............................................................ 77
finalemusic.com
njpac.org
Garritan........................................................ 94
P. Mauriat Saxophones................................107
garritan.com
pmauriatmusic.com
yoshis.com
George Ls..................................................... 69
Pirouet Records.............................................61
Zoom............................................................. 89
georgelsstore.com
pirouet.com
zoom-na.com
resonancerecords.org
Sabian ......................................................... 101
sabian.com/en
Sam Ash........................................................ 93
samash.com
Sunnyside Records....................................... 10
sunnysiderecords.com
The Jazz Corner.............................................51
thejazzcorner.com
Vandoren........................................................ 3
wearevandoren.com
Vic Firth........................................................ 95
vicfirth.com
Yamaha.......................................................103
usa.yamaha.com
Yardbird Suite.............................................. 55
yardbirdsuite.com
Yoshis.......................................................... 55
BY DAN OUELLETTE
MONTEREY JAZZ FESTIVAL/CRAIG LOVELL
Blindfold Test
Lionel Loueke
ionel Loueke was a busy man at the 2014 Monterey Jazz Festival. On
opening night, he played the Arena main stage supporting Herbie
Hancock in a quartet setting (Hancock calls him a musical painter). The next day, shortly after he took his second DownBeat Blindfold Test
before a live audience at Dizzys Den, the Benin-born, New York-based guitarist played in the Blue Note Records 75th Anniversary Band: Our Point
Of View, with Ambrose Akinmusire, Marcus Strickland, Derrick Hodge,
Kendrick Scott and Robert Glasper, who produced Louekes latest album for
the label, Heritage.
Woah! But I have no idea who this is. Maybe Johnny Smith or Barney Kessel?
I know the tune, but I dont know the head. But I can hear the Charlie Parker
changes. I love this tune and the way the changes are played. The guitarist
is very fluent in bebop vocabulary. I dont know who the tenor saxophonist
is, either. [after] I never heard Kenny Burrell in that style of playing. To me,
Kenny Burrell is more bluesy and not playing with bebop vocabulary.
George Benson
Body Talk (Body Talk, CTI/Sony Music, 2011, recd 1973) Benson, Earl Klugh, guitar;
Frank Foster, tenor saxophone; Jon Faddis, John Gatchell, Waymon Reed, trumpet;
Gerald Chamberlain, Dick Griffin, trombone; Harold Mabern, electric piano; Ron Carter,
bass; Gary King, electric bass; Jack DeJohnette, drums; Mobutu, percussion.
George Benson. He has such a clean, perfect technique in the way he plays the
roots of a chord and the fifths together. Hes one-of-a-kind. I dont know
this tune. George is one of my favorite guitar players. I started playing jazz
because of him. A friend of my brother was living in Paris and he came home
to Benin with an LPWeekend In L.A. [1977]. My parents had a record player and I had a cassette player. I had to wait until my parents went to church
on Sunday so I could use the record player. They went to church at night and
I went in the morning. I held my cassette player close to the speakers and
cranked it up. I recorded it and listened [closely to] it because I wanted to
play like him. But he was going way too fast. So I let my cassette players batteries get worn out to slow the tunes down so that I could get the notes right.
Kurt Rosenwinkel
Mr. Hope (Star Of Jupiter, Wommusic, 2012) Rosenwinkel, guitar; Aaron Parks, piano;
Eric Revis, bass; Justin Faulkner, drums.
This has to be Kurt Rosenwinkel. Kurt has a very strong guitar personality
that comes through his sound. I dont know this piece, but I love it. It swings
so hard. I also like the melody. I can still hear it now, and thats important.
Kurt takes the guitar to another level, harmonically and melodically speaking. The fact that he plays the piano helps him to take his guitar playing to a
new level, even though these lines could have easily been played by a saxophonist or pianist. Hes another one-of-a-kind player who is bringing something new to the table. Weve never played together, but we have met many
times at festivals and did some hanging.
Its Ali Farka Tour. I could hear him from the sound of his guitar, but there
are also two ngonis so I wasnt sure. But when he started singing, I knew it
was him and then his guitar playing became more clear to me. I like how he
makes his guitar sound like hes playing a kora. I heard a little bit of him when
I was growing up, but I tended to hear more of the other Malian players. The
first time I heard him I thought he sounded like John Lee Hooker, but in a different language. Its the blues, the African type of blues.
Ralph Towner
The Prowler (Anthem, ECM, 2001) Towner, classical guitar.
Woooo! I think its a Brazilian guitar player with that style and the nylon106 DOWNBEAT FEBRUARY 2015
string guitar. This might be Egberto Gismonti. Its not? Well, I love it. Its a
beautiful composition. Its always good to hear the solo nylon-string guitar.
This player is playing the harmony and melody so well together. [after] Im
only a little familiar with his music. But I do like his nylon-string playing. It
gives the music a warmer sound. I still play the nylon-string guitar, and I play
with my fingers so I can get a little closer to the instrument. I play with my
fingers on the electric for the same reason. The nylon string is where I came
from. I studied classical guitar in Los Angeles for six months or so to develop my right-hand technique. But my teacher kept telling me the position I
should be in and to sit straight. That wasnt for me, but I did learn a lot. I want
to get in touch with a teacher in New York for classical lessons but not with
the physical technique.
Jim Campilongo
Awful Pretty, Pretty Awful (Orange, Blue Hen, 2009) Campilongo, guitar; Stephan
Crump, bass; Tony Mason, drums.
Beautiful. I like this, but I have no idea who this is. Its definitely someone
influenced by Django. Thats as far as I can get. I may know this person, but
I cant remember his name. Hes still alive. I feel like Ive heard this before. It
brings me back to Europelike an old French or Italian song. It really does
feel like its coming from Django, but it is happening now.
Django Reinhardt
Dream Of You (The Essential Django Reinhardt, RCA/Sony, 2011, recd 1950) Reinhardt, guitar; others unknown.
I like this a lot. If this isnt Django, then I have no idea. It could be someone
trying to sound just like himwith all those short notes and clearly his language. It is him? I just wasnt sure if this was the original or somebody who
was doing a good copy. I love Django because of the way he was so melodic
but at the same time so virtuosic.
Bill Frisell
Amarillo Barbados (This Land, Elektra Nonesuch, 1994) Frisell, guitar; Don Byron, clarinet, bass clarinet; Billy Drewes, alto saxophone; Curtis Fowlkes, trombone; Kermit
Driscoll, bass; Joey Baron, drums.
Its Bill Frisell. Hes another guitarist who has a strong personality, especially
with those long, legato notes. The sound behind each note is so strong that
its hard not to recognize him. Hes another one-of-a-kind. I dont know this
song, but Im hearing a lot of instruments zigzagging with everyone improvising in a beautiful way.
Diblo
Super K (Super Soukous, Shanachie, 1989) Diblo Dibala, electric guitar, maracas, vocals; Kazidona, acoustic guitar; Ronald Rubinel, synthesizer; Remy Salomon, bass; Mack
Macaire, drums, maracas, percussion; Aurelius Mabele, percussion, vocals; Kanda Bongo Man, Kichar Kilesa, Mav Cacharel, Jean Baron, Victoire, backing vocals.
Whoa! Oh, man, I know this song so well, but I cant remember the guitarists
name. I remember the title: Super K, and its Aurelius Mabele singing. I
grew up in Benin playing this song in a band. We played music from the
Congo and Zaire. I learned so much from this guy. Whats his name? Its
Diblo Dibala. He was from Zaire and he played the [Afro-pop] style from
there as well as the Congo and even rumba. Hes also a big jazz fan. I can hear
the jazz influence with the progressions and the unbelievable improvisation.
I love Diblo, whos living in Paris now. This song brings me back to those days
when we used to play and people danced all the time.
DB
The Blindfold Test is a listening test that challenges the featured artist to discuss and identify
the music and musicians who performed on selected recordings. The artist is then asked to rate
each tune using a 5-star system. No information is given to the artist prior to the test.