Downbeat 201002

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DOWNBEAT
BUDDY GUY // ERIC BIBB // JOE HENRY // MYRON WALDEN
DownBeat.com
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02
FEBRUARY 2010
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February 2010
VOLUME 77 NUMBER 2
President Kevin Maher

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DB Inside
Departments
8 First Take
10 Chords & Discords
13 The Beat
16 European Scene
22 Caught
24 Players
Eric Revis
Erik Deutsch
Akira Sakata
Ben Perowsky
51
78
Reviews
Jazz On Campus
46
PAUL ELLEDGE
Myron Walden
82 Blindfold Test
George Duke
28 Buddy Guy
Recharged And Rebuilding | By Aaron Cohen
Buddy Guy can rock any clubespecially his ownwith his guitar, and he
speaks volumes offstage, too. The blues hero sat down with DownBeat to talk
about his plans for the coming year, what hes learned from his mentors and
how much he still loves gospel.
56 Bill Dixon
Features
34 Eric Bibb SPECIAL SECTION
Have Guitar, Will Journey
By Frank-John Hadley
68 Pro Session:
38 Joe Henry Steve Lehmans
Connoisseurs Blend Home Studio
61 Harris Eisenstadt By Lloyd Sachs
70 Pro Session:
42 Muddy Waters and Bluey Maunicks
Paul Butterfield Home Studio
Father And Son
By Don DeMicheal // August 7, 1969 72 Transcription
46 Myron Walden 74 Toolshed
Windows Wide Open
66 Linda Oh By Ted Panken
6 DOWNBEAT February 2010 Cover photography by Paul Natkin

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First Take by Aaron Cohen
Open-Ended Blues
Buddy
Guy:
PAUL NATKIN
Inclusive
elder
statesman
Each summer, I usually head out to Chicagos West Side for Wallaces
Catfish Corners weekend blues bashes. Typically, the music is a celebra
tion, and a mixed one at that. One time I saw the guitarist and singer per
form Howlin Wolfs Killing Floor as the bassist played a disco line
underneath them: Somehow it all worked. Then there was the anonymous
vocalist who nailed The Staple Singers Lets Do It Again. None of this
would be considered standard blues. I also like to take friends to Lees
Unleaded Blues on the citys South Side. Like Wallaces, this warm neigh
borhood spot also offers an expansive vision of the music mentioned in the
clubs name. Tyrone Davis, Al Green and Curtis Mayfields soul songs are
a bigger part of the bands set lists than Chicago blues standards.
Thats the way it should be.
This issue of DownBeat focuses on blues musicians who believe its
natural to draw on whatever they enjoyand deserve the same freedom
and attention given to their counterparts in jazz. Cover artist Buddy Guy
may be considered an elder statesman in this movement. Frank-John
Hadleys story on Eric Bibb on page 34 describes a younger musician
whos taken up this mandate. As Bibb said, A lot of musicians are more
eclectic than their publicity.
And yet theres a segment of the blues audience that doesnt seem to
see things that way. Even after the musics more-than-a-century of devel
opments, a contingent still expects to hear the same shuffles, and same
standards. Somehow, this demand is connected to a desire for authenticity,
though what that word means in terms of music is anybodys guess. As
Don DeMicheals classic 1969 interview with Muddy Waters and Paul
Butterfield on page 42 shows, these sorts of notions go back a ways.
Sociologist David Grazian even wrote a book about this subject, Blue
Chicago, which was published seven years ago and carries the subtitle:
The Search for Authenticity in Urban Blues Clubs.
Grazians focus was on the then-popular Checkerboard Lounge and
tourist-heavy clubs of the citys North Side. Those audienceslike the
self-appointed purists whom Guy deridesare largely white. The crowds
at Wallaces and Lees are mostly black. While its easy to point to some
irony in this situation, its also worth considering that fabricated authentic
ity and stifling set lists are an international phenomenon. The Chinese
government presents concocted ethnic folk songs (that have little to do
with what these ethnic groups perform for themselves) in shows for visit
ing dignitaries. Cuban singer Havana Carbo once told me that shell throw
up if she ever has to perform Besame Mucho anymore.
So it should be entirely up to blues musicians themselves to determine
what their own music sounds like and what they choose to interpret. And,
hopefully, someday, no musician in this city will feel compelled to shout,
Hey, hey, the blues is all right, while being compelled to play Sweet
Home Chicago yet again. DB
8 DOWNBEAT February 2010

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Chords & Discords
Dont Kill The Clubs

In reference to your Justice for Jazz Artists
article, I would like to add my observations
(The Beat, January). I joined the American
Federation of Musicians in 1958 to become a
professional jazz musician. I played all the
known and unknown jazz clubs and paid into
the union retirement fund. I was confronted
with the reality of the fund when I turned 70:
Unless you reach a certain amount to be vest
ed, you can kiss retirement goodbye.
I am fortunate to play at Smalls in New
York, and now the AFM is trying to shut that
down by imposing a financial burden on the
club owners. The unions misdirect their good
intentions. Just like they helped to kill the big
bands and kept bebop from being heard in
the 40s (due to its recording ban).
I only have one comment to make to all the
musicians who want to play our music: If you
are thinking about retirement rather than the
creative process of and love for jazz, you bet
One More DrummerLeader ter think about doing something else.
I enjoyed your article with Matt Wilson, Lewis Lennie Cuj
Nash and Jeff Tain Watts about jazz drum Arlington, Va.
mers leading their own groups (November
09). The discussion about their predecessors Clarification
in the jazz world was very interesting and Due to space limitations, DownBeat was
entertaining, not to mention informative. unable to include Slide Hamptons name as
However, I must admit some disappointment the arranger on Dexter Gordons recording of
that one of my favorite (and most successful, Red Top (Woodshed, December 09).
in my humble opinion) jazz drummers was not
mentioned. Shelley Manne led some amazing
groups, not to mention opening his own club.
His Live At The Blackhawk recordings are
considered some of the best live small group
jazz recordings ever made.
Mike Milner
Orilla, Ontario
DRivera Neckware
Could you please tell me how to get one of Al Di Meola
those clarinet ties that Paquito is wearing on
the cover of your December 09 issue? Corrections
John Barrett Guitarist Al Di Meola was accidentally left off
[email protected] the list of runners-up in the 74th Annual
DownBeat Readers Poll (December 09). Di
Meola received 184 votes in the Guitarist of
DRivera responds: A few years ago, the Year category, which puts him in fifth
looking for a Music Minus One recording place, right between Jim Hall (209 votes) and
of Igor Stravinskys Histoire Du Soldat, John Scofield (176).
I entered a music store on Broadway Jimi Durso was not properly credited for
called Colony Music. I didnt find what the Louis Armstrong King Of The Zulus solo
I was looking for, but instead, that clar transcription (Woodshed, October 09).
inet tie was hanging on the wall, like it Author Steven Browers name was mis
was waiting for me. Years later that tie spelled in the review of his book, Satchmo:
ended up on the cover of DownBeat, The Wonderful World and Art of Louis
hanging from my Cuban neck. So thats Armstrong (Reviews, December 09).
the Histoire Du Cravate. Its also sold DownBeat regrets the errors.
at wildaboutmusic.com
Have a chord or discord? E-mail us at [email protected].

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ADVERTISEMENT
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INSIDE THE BEAT
14 Riffs
16 European Scene
22 Caught
24 Players
1 2
3 4 5
6 7 8
FRAN KAUFMAN
WBGOs Stylish 30th Celebration

WBGO 88.3FM, the leading jazz radio station Blanding Jr. Television anchorman Lester Holt with the great Snooky Young. 5) Clarinet virtu-
for the greater New York City area, celebrated and WBGO DJ Gary Walker handled the emcee oso Paquito DRivera receives his Champion of
its 30th anniversary in style at the Frederick P. duties, and the evening swung with great music Jazz honor from WBGO DJ Awilda Rivera. 6)
Rose Hall in New York on Nov. 3, 2009. The and special presentations. 1) Stefon Harris The scat-sational Nikki Yanofsky does her best
show featured the Clayton-Hamilton Jazz rehearses for his version of Bags Groove. 2) Ella Fitzgerald tribute with John Clayton smiling
Orchestra, singers Ernie Andrews, Freddy Cole The Clayton-Hamilton Jazz Orchestra. 3) on. 7) WBGO DJ Michael Bourne, right, pre-
and 15-year-old Nikki Yanofsky, as well as Cephas Bowles, WBGO president, tells atten- sents a Champion of Jazz award to DownBeats
vibraphonist Stefon Harris and three members of dees about the stations new $1 million transmit- Kevin Maher and Frank Alkyer. 8) Ernie
the Lincoln Center Jazz Orchestras saxophone ter scheduled to be built in Manhattan. 4) Jon Andrews brings down the house with his rendi-
sectionSherman Irby, Ted Nash and Walter Faddis, left, shares a back-stage trumpet moment tion of Just A Lucky So And So.
February 2010 DOWNBEAT 13

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Riffs Saxophonist Wall Balances Jazz
Performance With Rabbinic Life
Greg Wall surprised himself when he developed After learning a series of complex arrangements,
an affinity for the music of the Hasidic Jewish the group made its debut. It was awful because
tradition in the mid-80s. By then, the saxophon we were doing musically interesting stuff, and
ist and clarinet player was in his early 30s, and all they wanted was oompah-oompah-oompah
had shown no prior interest in his faith or her to dance, Wall said. And basically we had to
itage outside of the occasional trip to a deli leave town on a rail.
catessen. The sound not only changed the course But Wall and London soon realized the
of Walls music, but also his life. groups drummer and pianist had composed
While performing at weddings in Brooklyns some compelling songs, and the drummer also
Williamsburg neighborhood, Wall discovered could sing. The group realized its true calling
the Hasidic community, a sect whose mystical not weddings or world music, but original pop
Brubeck Honored: Dave Brubeck traditions began during the 18th century in music with Hebrew lyrics. The group became
became a Kennedy Center Honoree on Poland. In 1999 Wall began studying informally known as Kolos, Hebrew for sounds or voic
Dec. 6, 2009. The award was given at a and later attended classes devoted to the Talmud, es, and found a niche among young people in
U.S. State Department dinner and a collection of writings documenting Jewish reli New Yorks Orthodox Jewish community.
included a reception at the White House. gious and civil law. In 2006 he became an
Greg Wall
Details: kennedy-center.org ordained rabbi after passing a 14-hour final
examination in Jerusalem. Since August, Wall
Harmonica School: Harmonica player/ has served as rabbi at a neighborhood synagogue
pianist Howard Levy has started offering on New Yorks Lower East Side.
classes online. The lessons are offered I didnt know anything about my reli
via video segments and are designed for gion, Wall said. And when I found out
students from beginner to advanced lev about Jewish music, it was the gate back to
JACK VARTOOGIAN/FRONTROWPHOTOS
els. Details: howardlevyharmonicaschool.com the Jewish religion.
Wall attributes the beginnings of his spiritual
Terry, Edwards Grammy: David quest to John Coltranes A Love Supreme, which
Honeyboy Edwards and Clark Terry he discovered in the late 70s while attending
will receive the Recording Academys New England Conservatory of Music. Coltrane
Special Merit Award for Lifetime opened a mind that had been closed, Wall said.
Achievement during Grammy week on When I registered that Coltrane was taking the
Jan. 30. Details: grammy.com ideas that were in Jewish prayers, among other
sources, that I had been turned off to because of In the meantime Wall and London learned a
USAs Jazz Fellows: Trumpeter Hanni the baggage associated with my Jewish upbring repertoire of Orthodox Jewish music and discov
bal Lokumbe and guitarist Lionel Loueke ing, I was forced to re-examine Judaism. ered a market for it during weddings in
received fellowship grants from the Wall, 50, grew up in Framingham, Mass., a Williamsburg.
United States Artists advocacy organiza Boston suburb. He graduated from New Friday and Saturday night were the big
tion on Dec. 14, 2009. The organizations England Conservatory in 1982 and moved the money nights for jazz, Wall said, and during
unrestricted grants are for $50,000. following year to northern New Jersey. By then, the nights when everyone was sitting at home
Details: unitedstatesartists.org Walls swing-era inspired group, the Bourbon we started [performing at weddings]. And we
Street Jass Band, had changed its name to the became, after a while, experts at Hasidic music.
Jacos Beginnings: A new two-disc box Hi-Tops and had a rising profile after receiving So we started Hasidic New Wave as a way to
set provides new insights into Jaco favorable reviews in The New York Times and [explore] this music that we liked.
Pastorius early development. The col New York Post. London speaks of the unique hybrid Wall
lection includes the bassists first home The saxophonist is known, particularly on has created by combining jazz with various
recordings, examples of early composi the East Coast, for Hasidic New Wave, a group Jewish music traditions.
tions, previously unreleased studio ses he leads with trumpeter Frank London. The The sound that he has on the saxophone is
sions and spoken testimonials from group formed in 1994 and has recorded several huge, London said. Part of my love of playing
friends and family members. albums for Knitting Factory Records. Walls with Greg is to fit the trumpet inside that sound
Details: jacotheearlyyears.com other groups include the Later Prophets, which of the big saxophone. Youre instantly the Jazz
feature original music inspired by the Old Messengers. Then when applying the knowl
RIP, Ldeke: Dutch reedist and Testaments Book of Ezekiel. edge of Jewish music with this knowledge of
DownBeat correspondent Jaap Ldeke Walls immersion in Jewish music began jazz and this sound, its all-embracing.
died of leukemia on Nov. 9, 2009, in his after London, Walls classmate at New England Wall expresses some concern about his
hometown of Nieuw Vennep, The Conservatory, answered a classified ad taken out image. He is not, by any means, a saxophone-
Netherlands. He was 74. Ldeke played by Yeshiva students around 1984 in The Village playing rabbi, or any other kind of novelty.
alto saxophone and flute in his own Voice. The students wanted to form a world Im not a rabbi who plays klezmer music;
quartet since the mid-50s. Along with music band; it turned out to be a Jewish wed Im a jazz musician whose life was trans
covering jazz in Holland and New York ding band, and London recruited Wall. The formed, Wall said. If I hadnt ended up play
for DownBeat and other publications, problem with all the Jewish wedding bands is ing for extra money in Williamsburg, Brooklyn,
he also hosted a music program on that the musicians really suck, Wall said. and meeting Hasidim and committed Orthodox
Dutch public radio since 1977. With this idea, the Yeshiva students recruited Jews, this never would have happened to me.
trained musicians and taught them the music. Eric Fine

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Jazzs roots in Europe are strong. This column looks at
EUROPEAN SCENE
By Peter Margasak
the musicians, labels, venues, institutions and events
moving the scene forward across the pond. For
questions, comments and news about European jazz,
e-mail [email protected].
Josele Crafts Personal JazzFlamenco Connections

Ever since guitarist Paco de Luca pushed Nio Josele
with Evans classic work.
the sounds of new flamenco toward jazz in Among the stunning solo pieces are fruit
the 70s, the genre has remained enchanting ful collaborations with American jazz artists
for many of Spains most accomplished and like bassist Marc Johnson, saxophonist Joe
adventurous flamenco musicians. In more Lovano and trumpeter Tom Harrell, yet
recent years pianists like Chano Dominguez Josele doesnt veer toward glib fusion. Hes
and Diego Amador have forged more explic managed to impart the same elusive quali
it fusions and links between the approaches. ties on his latest album, Espaola (Warner
Spanish guitarist Nio Josele (nee Juan Music Spain), which apart from a treatment
Jos Heredia) certainly belongs on that list. of McCoy Tyners title track, features all
WARNER MUSIC SPAIN
Although hes only in his mid-30s, hes originals.

already a veteran whos developed strong Im not trying to show that Im flamenco,
partnerships with singers like Enrique because I feel flamenco, he said. I dont
Morente and Diego El Cigala, but he consis know where I want to get when I compose. I
tently hungers for new ideas and tech let creativity flow as well as the musical
niques, whether its studying and employing sations. It was a real challenge for me. influences that Ive had over the years. I pre
serialism or accompanying pop singers like Indeed, it was Joseles Paz (Norte, fer not to put a label on what I compose, and
Alicia Keys or Elton John. Although hes 2006) that fully opened the door for the to let each person classify it according to
always listened to classical music and jazz, new sound. Most of the pieces were their own criteria.
he experienced a turning point early in the either written by or closely affiliated with Josele declines to predict where hes
last decade after meeting Gonzalez and Evans, and Josele ingeniously found going with the music, but hes positive about
Bebo Valds. ways to reinvent them, retaining their gor the benefits of working with jazz musicians.
They introduced me to some of the geous melodic introspection and digging Each day Im learning from their experience
greats of jazz, and one of them was Bill into the harmonies without forsaking the and the energy they bring to the stage, he
Evans, Josele said. Bebo played me some indelible sound of his flamenco founda said. Speaking of fellow flamenco artists
wonderful pieces by Evans that fascinated tion. While many excursions into jazz turf exploring jazz he said, We all want to take
me, and the idea for my CD Paz grew from taken by flamenco guitarists yield rather flamenco to a level where its not limited to a
there. Thats when I threw myself into learn antiseptic, technically overripe flourishes, minority. Just the opposite, in fact. We want
ing all about his way of playing and express Josele is different; he exhibits a sense of to open it to all kinds of people. Flamenco
ing himself, the structures and the improvi restraint and mood in perfect harmony has a lot to offer. DB

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Wynton Marsalis with Atlanta Symphony Orchestra

FRANK STEWART
Marsalis To Debut 7-Movement

Blues Symphony In Atlanta
Two years ago, Wynton Marsalis embarked on a new challenge: fuse
classical music with jazz, ragtime and gospel. The result is the seven-
movement Blues Symphony, a co-commission by the Atlanta and Boston
symphony orchestras. The composition, which was to have been pre
miered by the Atlanta Symphony Orchestra during the citys National
Black Arts Festival in July 2008, will be heard in full for the first time in
the city on Jan 14.
Marsalis previous classical compositions have been firmly rooted in
jazz playing styles. His first symphony, All Rise, and the oratorio Blood
On The Fields, for which he won the 1997 Pulitzer Prize for Music, fea
ture jazz artists and solo sections. Blues Symphony is his first long-form
work composed exclusively for orchestral musicians.
The thing that has always interested me is all of the strains of
Afro-American and the strains of American music, and how a sym
phonic orchestra could play inside the consciousness of those styles,
Marsalis said.
Composers from Stravinsky to Bernstein have written jazz into their
music, and many jazz band leaders have famously dabbled in classical set
tings. Blues Symphony stands out, Marsalis said, because these previous
attempts at blending the two genres have been halfhearted. Marsalis
music doesnt present jazz in a classical manner but rather mines decades
of traditional American music for fresh symphonic ideas. Blues Symphony
is intended to combine jazz and classical music as one, with strings laying
down walking bass lines and woodwinds navigating thorny, jazz-influ
enced passages.
While Marsalis has enjoyed success writing for jazz ensembles, Blues
Symphony has taught him that working through orchestrations and copy
ing symphonic parts is an entirely different compositional beast. He also
draws a firm distinction between a symphony and his Jazz at Lincoln
Center Orchestra.
When youre talking about 70-something instruments, its not like
dealing with 15, Marsalis said. Thats a lot of dots and dashes.
Jon Ross
Rava Clinches Austrian Award
Trumpeter Enrico Rava has won the European Jazz Prize in this years
Hans Koller Preis. The award, sponsored by the Austrian Federal
Ministry for Education, the City of Vienna and other arts organizations
in the country, includes 14,500 euros. Other winners include drummer
Wolfgang Reisinger, who was named musician of the year, and saxo
phonist Clemens Salesny, who was named newcomer of the year. The
disc C.O.D.E.featuring Max Nagl, Clayton Thomas, Ken
Vandermark and Reisingerwas named CD of the year.
The prizes will be awarded on March 27 and 28 at the Porgy &
Bess jazz club in Vienna. Aaron Cohen
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Photographer Williams Quietly Shattered Barriers
Hank Mobley, Thelonious

performing at Monk eating
Chicagos ice cream,
Preview Chicago, 1961
Lounge, 1956
TED WILLIAMS
Ted Williams, who shot pictures of more than 300 jazz icons
for DownBeat and other publications, died of kidney failure
in Los Angeles on Oct. 13, 2009. He was 84.
Williams began taking pictures of musicians in 1950, and
his library consists of more than 90,000 images. His coverage
of the 1958 Newport Jazz Festival ran over several pages in
the Aug. 7, 1958, issue of DownBeat. He also covered war,
sports and foreign culture for such publications as Time,
Newsweek, Playboy and Ebony.
In those days, you didnt have to go through publicists
and mangers, Williams once said of his early years in the
business. So if the guy that owned the club didnt throw you
out, youd just start shooting. Sometimes the musicians knew
me by sight, or I talked with them, and then some were kind
of like buddies. I was shooting in available light, so a lot of
times the artists didnt know I was shooting.
As one of the first African-American photographers to
attend Chicagos Institute of Design, Williams studied direct
ly from such lecturers as Ansel Adams and Dorthea Lange.
His other achievements include taking part in the exhibit
Images of Music: Classical Through Rock at New Yorks
LOU MODICA
Soho Triad Fine Arts Gallery. Prints of Williams work are Ted Williams
available at shopjazz.com. Aaron Cohen

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Caught Hiromi
Self-Affirmations,
Surprises Highlight
L.A.s Asian-American
Jazz Festival
Strictly speaking, what was billed as the First Annual
Asian-American Jazz Festival in Los Angeles, Oct.
30Nov. 1, 2009, wasnt actually the first, as an unrelated
effort took place in 1988. But impresario Paul Im strove to
make his the premiere event of its kind. Hong Kong-born
Im even hocked his alto saxophone to help finance this
spirited three-day event in Little Tokyo, which drew musi
cians from as far away as Korea. The unspoken dialectic
of the far-reaching booking policy opened the issue of
what exactly constitutes Asian-American jazz.
EARL GIBSON
Saturday at Cafe Metropol, Celia La sang selections
from the Great American Songbook, but her new chart on
James Taylors Fire And Rain was a pleasant surprise.
Tenor saxophonist Hitomi Oba proved a fluid improviser who can swing interpreter of Pompangan folk melodies and stops-out scat singer, and his
on material with many temperatures. Her stripped-down trio of bass, intensity was tangible on Footprints. Pianist Tateng Katindig, big-toned
drums and Nick DePinnas trombone made for unusual combinations as bassist Dominic Thiroux and the protean drummer Abe Lagrimas matched
well as unpredictable structures. David for intensity. They swung hard yet still touched the heart with tunes
Japan-born, classically trained pianist Matoko Honda was also full of like Abbey Lincolns Throw It Away.
surprises. Improvising on a fishermans folk song with a piece of glass Koreas Prelude trio had a few surprises as well. Front man saxophon
resting on the middle-register strings, she produced Kurt Weill-like har ist Richard Rho has a touch of standup comic, which offsets pianist Heean
monies. A koto augmented her rhythm section and dancer Midori Makino Kos attractive tunes. The pentatonic Breezin Up is like much of
supplied a visual element. Veteran drummer Bert Karl played somber Korean music, albeit swinging in six. Charmaine Clamore, another pas
mallets to plucked piano and koto strings in a spacey exchange. Makino sionate Filipina, took on Jon Hendricks lyrics to Horace Silvers swinging
reemerged in a black sheath dress to supply flamenco accents to a rolling Doodlin as well as the Lenny Welch version of Buddy Johnsons heart-
crescendo closer. pounding Since I Fell For You. Shes an exuberant performer, never
Pianist Bryan Wongs ensemble set used demanding time signatures more so than on her Tagalog words of jazz-a-pino matings. My Funny
like 13/8; his elliptical piano and the thoughtful use of space in his Brown Valentine was an added bit of ethnic affirmation.
arrangements would be at home on ECM. Yet Wong also likes to burn. Japanese piano phenom Hiromi, whose showmanship matches her vir
Kai Kurosawas electric bass foray on Eucalyptus was more than up to tuosity, closed the weekend. Supersonic stride, some outright pounding, a
the bright tempo. Minute Waltz variant, eclecticism gone wildall went into her kitchen-
Sundays action moved to the auditorium of the Japanese American sink set. Her musical mastery was never in question. Hiromis taste
National Museum. Gary Fukushimas variation on the post-Bill Evans though, isnt for everyone. Still, she received a long, standing ovation.
piano trio format revealed prodigious classical training and an elastic sense As to the definition of Asian-American jazz, the answer seemed to be
of time and dynamics. In contrast to the cerebral pianist, Filipino vocalist that its an evolving proposition, as personal and distinct as each band-
Mon David was full of passion. He moved between romantic balladeer, leader and soloist. Kirk Silsbee
Ann Arbors Edgefest Stays on Michigans Nerves
The annual rite of fall in Michigan music comes Riot Act, featuring Detroits Wendell Harrison
with Ann Arbors Edgefest. Celebrating 13 along with Oluyemi Thomas and Ann Arbors
years and running off the beaten tracks, the Piotr Michalowski sporting their respective
series that ran Oct. 1417, 2009, at the bass clarinets in a robust trio performance.
Kerrytown Concert House was no exception. Soon to follow were upwards of 15 more reed
Standouts like Roscoe Mitchell hooked up with players and, later, percussionist-in-residence
vocalist Thomas Buckner and keyboardist Han Bennink for a series of wild, impromptu
Stephen Rush, while Marty Ehrlich locked displays of musical and non-musical energy, all
horns with Ned Rothenberg, Michael Attias and of it encased with urgency and a fair amount of
Andrew Laster as well as performing with fanfare. At one point, Bennink took over for
Andrew Bishops Ballad Age band with Danny University of Michigan music professor Ed
Fisher-Lochhead and Sara Schoenbeck. Sarath and saxophonist Michael Moore to do
With a festival theme of Reeds of Change, his own conduction from the stool, plopped
M ANDREN
perhaps the climax to all this blowing and all Marty Ehrlich
down in front of his semi-circle of saxes, the
things sax came with the show Reeding: The chorus of sounds wailing and warming the

02-27_FRONT.qxd 12/15/09 2:08 PM Page 23
enticed throng that stayed for this hourlong set of mayhem. The opposite Some of the latters alto solos during a nonet set (paying homage to fest
of mayhem came with the festivals closing act, Colorados Hamster favorite Joe McPhee through arrangements of his music by Ken
Theater, which amazed the Kerrytown audience with its integrated, high Vandermark) were superb, full of gusto yet betraying erudite detail.
ly stylized and innovative performances of truly theatrical and obtuse McPhee had a ball, celebrating his 70th birthday on the last night, but
music, written and scored but mainly polyphonically played by most of there were squarer, but no less hip, pegs in the Umbrella gig-board.
this sextet of drums, electric bass, accordion, keyboards/trombone and Brainiac pianist Guus Janssens trio with drummer brother Wim and local
saxes. All that was missing was a visual element to complete the impact bassist Anton Hatwich was a surprise. Though his music is quite premedi
of so much stately interplay. tated (first time Ive heard a count-off at an improv concert), Janssen per
Many other performers shared the collaborative spirit, especially formed flashes of jazz history (Teddy Wilson/Erroll Garner) among per
Human Activity. Led by guitarist Brad Shepik, the bands name comes sistent tinkering in the belly of the piano and afforded a welcome dose of
from a commissioned piece he wrote with the full title Human Activity Dutch wit among the darker hues of the prevailing Chicagoans. The samu
Sounding A Response To Climate Change. The music straddled the ter rai-like intensity of alto saxophonist Akira Sakata, who played fiercely
rain of free music with mostly more formal, mainstream sounds. with the enlightened teaming of Jeff Parker, Nate McBride and John
Trumpeter Ralph Alessis fiery trumpet soared above arranged lines by Herndon (as well as the United States debut of his regular trio), was also
multiple-keyboardist Gary Versace and Shepik on the slowly building salient in this years line-up.
Lima, while a piece like Blindspot played with time signatures, no The somberly melodic Head With Wingsdrummer Quin Kirchner,
tonal centers, the elastic forms allowing everyone to solo inside more bassist Jake Vinsel and reedists Charles Gorczynski and Elliot Bergman
recurring arrangements. Each song referred to one of the Earths conti was an impressive discovery, and drummer Mike Reeds People, Places &
nents, which was as close as the music got to being a kind of pedantic Things proved particularly atmospheric. Dressed in utilitarian jackets with
tome on the fate of the planet. John Ephland colored armbands to facilitate cueing with coordinated colored paddles,
Reeds posse adapted to Mitchells cameo appearance in the group with an
arrangement of AACM drummer Steve McCalls Ill Be Right Here
Junius Paul (left), Roscoe Mitchell and Dave Rempis
Waiting. Vibraphonist Jason Adasiewicz proved alternately luminous
and brilliantly decisive during this set and in an exchange with cellist Fred
Lonberg-Holm during one of Vandermarks McPhee settings.
Other highlights of this smartly curated programwhich was also held
in conjunction with the Cultural Centers European Jazz meets Chicago
evening on Nov. 5included the gamut of bass clarinet virtuosity from
Jason Stein, Hans Koch and Frank Gratowski, plus the Chicago debut of
resourceful Lithuanian saxist Liudas Mockunas. Michael Jackson
MICHAEL JACKSON
Chicagos Umbrella
Festival Keeps Free-Improv
Forays Compact
Chicagos fourth Umbrella Festival of Jazz and Improvised Music, Nov.
68, 2009, hosted a wealth of talent at Elastic, The Hideout and the
Hungry Brain. Sets were generally kept to 45 minutes and in some cases
only went half an hour. Despite enthusiastic receptions there were no
encores, which made for compact parcels of music.
At Elastic, Matthew Shipp concluded his solo improvisation a minute
shy of allocated set time without checking the watch strung half way up
his forearm. Shipp widely extrapolated from standards What Is This
Thing Called Love and Someday My Prince Will Come, his elbows
working like pistons, a mechanical extension of Elastics albino baby
grand, then shadow boxing, fingers skimming keys with the barest touch,
whispering spidery forms throughout the instruments range.
Last minute guest Roscoe Mitchell, filling in for Bobby Bradford (who
underwent minor surgery coincident with the festival), was fully embed
ded into the program, despite his late inclusion. Performing after Shipps
set, he joined young guns Dave Rempis on saxophones, drummer Frank
Rosaly and bassist Junius Paul, counterpointing ostinato riffs on soprano,
with Malachi Favors-like stoicism, as the explosive Rempis let off steam.

02-27_FRONT.qxd 12/15/09 2:09 PM Page 24
Players
Eric Revis ;
Visceral Empathy
On Charlie Parkers birthday at New Yorks
Jazz Gallery, bassist Eric Revis, recently back
from a summer primarily spent with Kurt
Rosenwinkels Standards trio, assembled a
new quartet. The group featured Ken
Vandermark, on tenor saxophone and bass
clarinet, Jason Moran on piano and drummer
Nasheet Waits. Five minutes into the first set,
after a section in which the group built from
gentle, abstract rubato to all-out blowing,
Waits played a rhythm-timbre event from
which Revis launched an arco solo. He
uncorked a lengthy declamation, chock-a
block with extended techniques, using his right
hand to thwack the strings with his bow while
plucking them with his left hand, then bowing
the areas above and below the bridge to sculpt
extravagant shapes and otherworldly timbres.
This set the template for an hour of collective
improvisation, in which Revis deployed his
huge tone to orchestrate shifting feels more than
to complement a linear flow.
I hope to develop that group and record it,
Revis said 10 weeks later over the phone from
Seville, Spain, midway through a month-long
tour of Europe with Branford Marsalis. He
noted that he first encountered Vandermark in
JACK VARTOOGIAN/FRONTROWPHOTOS
Milwaukee, Wis., during the spring while on
tour with Waits in a trio with outcat German
saxophonist Peter Brtzmann.
Ive seen a lot of situations where collective
improvising is like eight monkeys trying to fuck
a footballit doesnt work, he said. But its
beautiful to deal with people who are truly
empathetic. You can play silence, and they think, OK, at this point, this is Monks Shuffle Boil.
what it is. Not now its my turn, but this needs that. The challenge is Now 42, Revis traces his predisposition to function in scenes that do
to distill the content, to get to what it actually is. Do something to give it not customarily intersect to his formative years. Initially an electric bassist,
cohesive vibes within a limited amount of time, to whittle down to the he developed a visceral attraction to Brtzmann in his latter teens, when
bare essence. a colleague in a funk band introduced him to Last Exit, Brtzmanns
Revis had applied this esthetic to a diverse series of engagements plugged-in unit. I was always conscious of Sam Rivers remark that firm
throughout the past year, which concluded with a 10-day jaunt in Europe harmonic knowledge helps you freely improvise with much more depth,
last December with Joey Calderazzohis partner over the last decade Revis said. While attending the University of New Orleans from 1990 to
with Marsalisand Antonio Sanchez. Directly preceding Marsalis tour 1992, and then in Betty Carters employ from 1993 to 1995, he made a
was a West Coast run with Tar Babya collective unit with Waits, saxo concerted effort to develop myself along traditional lines.
phonists J.D. Allen and Stacy Dillard, and pianist Orrin Evansthat itself In New Orleans, we played in all these cafes and bars where there
directly followed a three-week followup with Rosenwinkel at various mid- was no time to deal with an amp, he said. That was indispensable in
west and northeast venues. developing a sound. [Banjoist-raconteur] Danny Barker had moved
Eric is an earthy, rootsy player, but also the amplitude of his harmonic back, and he talked about cats like Slow Drag Pavageau and Pops
sphere is very large, Rosenwinkel said. Hes very traditional, but also Foster who shook walls with their sounds. The idea of virtuosity in
extremely openI felt quite free playing with him. soundto have an identifiable sound, to make one note really mean
Inside-out qualities permeate Revis most recent release, Laughters somethingis lost today.
Necklace Of Tears (112005), on which his quintet performs a cohesive I find tremendous beauty in walking lines, he continued. Its not a
suite of 10 originals that reference numerous flavors (think Albert Ayler box at all. But that line is the road, though you can make all kinds of
with Gary Peacock circa 1964, the Paul Motian Trio, Thelonious Monk, moves within it. Playing with Peter or the group at the Gallery, thousands
the Andrew Hill and Eric Dolphy Blue Notes) of 60s speculative harmon of roads can be explored at all timesits raw and visceral, and the chal
ic and non-harmonic jazz. Revis transforms them into his own argot with lenge is to make instantaneous decisions that are logical, not random,
seasonings from classical music, hardcore funk, indie rock and hoedown when at any moment you may pass out just from sheer effort. I like that.
blues, and caps the recital with a raunchy romp through Thelonious Ted Panken

02-27_FRONT.qxd 12/15/09 2:12 PM Page 25
consider myself an expert, by any means, I enjoy experimenting with

counterpoint, interweaving lines and harmony.
Erik The keyboardist goes on to explain that the inclusion of bassoonist Sara
Schoenbeck and reedist Mike McGinnis played an indelible role in afford
Deutsch ; ing the music a decidedly chamber-music mystique. But Deutschs com
positional pen didnt just stop with them; it scripted notes for the rhythm
Visual Funk
section, too.
Drummers may notice that there are drum parts on my records, he
said. My records are sort of poppy from that angle.
Having played a crucial role in guitarist Charlie Hunters trio, Deutsch
argues that his experience with that group influenced the sound on Hush
Money. Deutsch claims that it was Hunter who helped him get his groove
back.
MICHAEL WEINTROB
Spending three years with Charlie Hunter was a rebirth, because I

had spent most of my 20s, focusing so much on the harmonic language,
especially lyricism, and definitely the technical aspect of the playing,
Deutsch said. When I look back at my musical history, I realize that I
The music on keyboardist Erik Deutschs Hush Money (Hammer & may have been a better groove player when I was younger; I was a
String) inhibits that rare realm where jazz, funk, pop and chamber music funkier piano player. With Charlie, I remember, Oh yeah, I used to be
coalesce. The bottom end on his compositions such as Black Flies, really good at that.
Dirty Osso Bucco and India Rubber struts with rugged funkiness Its no surprise that Deutsch also describes himself as a movie hound
while ballads such as Flytrap and Get Out While You Can evoke the who hung out in video stores while growing up in Washington, D.C.
diaphanous allure of film scores. When he attended University of Colorado, he complemented his music
One would think that Deutsch took notes from producer David studies with courses in film.
Axelrod, whose baroque r&b albums from the late 60s and early 70s When I was in college, I wrote a paper on sound design using David
provided source material for left-to-center hip-hop artists such as Madlib, J Lynchs movies, Deutsch said. It was about the mixture of score, sound-
Dilla and Ali Shaheed Muhammad. Still, Deutsch says that he knows track and sound effect in film and how all of that can be influential to a
Axelrod only by name, and not his music. viewer and create such an intense experience. I love to watch things like
Deutsch does admit, however, that there is a through-compositional Fellini movies, just getting into the visuals and how the music comple
vibe that permeates Hush Money. ments the visuals. My music is not so much about a person; its about an
I do like to write parts for people, Deutsch said. Although I dont image. John Murph
02-27_FRONT.qxd 12/15/09 2:12 PM Page 26
Players
Akira
Sakata ;
Free As A
Plankton
Sitting comfortably in a posh

coffeehouse in the bustling
Tokyo ward of Shinjuku, a
bubbly Akira Sakata proudly
shows the picture of a daphnia
he collected during a recent
tour of Hokkaido, Japans
northernmost main island,
with his Japanese drum-less
trio. Its not easy to travel
with a drum set, he said with a
chuckle. Theyre too heavy.
Instead hed rather carry
his microscope.
Alto saxophonist Sakatas
passion for both marine biolo
gy and jazz goes back to his
childhood near Hiroshima,
where he was born about six
months before the atomic
bomb was dropped. He first
got exposed to jazz tuning to
Voice of America and short
wave radio stations, but the
real epiphany occurred watch
ing movies.
The soundtracks of some
French Nouvelle Vague
movies had a dangerous feel
ing I was drawn to, he said.
Then, Bert Sterns Jazz On A
PAUL JACKSON
Summers Day made a power
ful impression on me. Ive
had an ambivalent and hard-
to-explain relationship with the United States. I love jazz and American energy and feed me new ideas, he said. Moreover, established musi
culture, but witnessing the horror of Hiroshima firsthand made it diffi cians are scared of me.
cult to embrace your country. The energy displayed on tape is still no indication of what Sakata can
Sakata is mostly known for his invaluable contributions as a member unleash on stage. This impression was confirmed at the Umbrella Music
of the free-jazz trio led by pianist Yosuke Yamashita from 197279. Festival in Chicago last November, his first appearance in the Windy
Most of the diverse work hes done since has not been available in the City. Whether with Chikamorachi or with an impromptu quartet featur
U.S., even when longtime friend Bill Laswell manned the controls. ing guitarist Jeff Parker, bass player Nate McBride and drummer Jeff
Nowadays, Sakata is enjoying a new lease on life after a 2002 brain Herndon, Sakata thrust himself into unfettered improvisations that
hemorrhage almost put an end to his career. would only subside when he switched to the clarinet. It also underlined
I lost my ability to play the saxophone and I had to start to learn the the saxophonists near-obsession with velocity.
instrument again as a beginner, he said. After three months I was back Speed is very important to me because this is the only way I can
on the scene, but to this day I am still having some difficulties with really express myself, Sakata said.
tonguing, among other things. This regained vigor can also be attributed to a new focus that now
In 2007, he almost turned down a gig with Peter Brtzmann, lest he makes music the subject of his undivided attention. Over the years, he
should not be able to contend with the colossal German saxophonist. But has written eight books inspired by what he calls his complicated child
listening to his latest recording Friendly Pants (Family Vineyard) one hood, penned three more about marine life, acted in films and plays,
would be hard-pressed to detect any hindrances. The album features made a documentary on water fleas, and in the 80s found himself to be
Chikamorachi, a group with Darin Gray on bass and Chris Corsano on the star of a Seiko watches commercial.
drums that he has been performing with at the instigation of maverick Im done with writing books and all those thingsI want to concen
producer Jim ORourke, who relocated to Tokyo a few years ago. trate on my music, Sakata said. Jazz died because of entropy, and I
Im very happy to play with young musicians because they give me need to fight entropy with all my body. Alain Drouot

02-27_FRONT.qxd 12/15/09 2:13 PM Page 27
Ben
Perowsky ;
Back Seat
Beats
BRIAN GELTNER
For a guy whose early drum heroes included Keith Moon, John Bonham
and Mitch Mitchell, Ben Perowsky had explaining to do. Granted, he did
go on to study players like Tony Williams and Elvin Jones, adding to his
distinctive approach on drums. Listening to Perowsky talk, however, one
might get the impression hes as much a producer and arranger as he is a
drummer.
Witness his latest two projects, Esopus Opus (Skirl) and Moodswing
Orchestra (El Destructo), albums that place his drums either in a fairly
supportive role or put them way back in the mix.
Esopus Opus, featuring reed player Chris Speed, bassist Drew Gress
and accordion/keyboardist Ted Reichman, is a hybrid of rock and jazz,
offering unique remakes of Jimi Hendrixs Manic Depression and
George Harrisons Within You Without You, along with some originals.
It is a hybrid in that we do covers of some stuff, Perowsky said. But
in terms of the way we are approaching it atmospherically, I am thinking
its a jazz project, whatever jazz is. Its always this ongoing battle of what
style and genre are we playing in. We are playing live together, theres
walking bass lines, harmony, solos over form, cymbals.
And its Perowskys focus on areas like harmony that suggest rhythm
and beats take a back seat. The origins of the Esopus Opus quartet start
with a trio Perowsky had in the 90s.
We were jumping off from a sax, bass and drums trio, Sonny Rollins
trio-type stuff with Elvin, he said. The quartet is an extension of the trio,
where we add harmony to the trio setting, write more with harmony in mind.
Speaking more as a bandleading producer/arranger, Perowsky added,
With the trio there was harmony, its just more implied, maybe a little
less defined, two lines with bass and sax. I wanted to hear more texture,
something supporting the melody. The accordion works out great. I didnt
want to have a piano player or guitar player with one hand tied behind
their back. Its easy for them to drastically change things. The accordion is
less dense, it cant lay down these orchestral-type chords. You could say
Im getting my feet wet in the harmony world.
Moodswing Orchestra is an album of produced sounds that reflects an
aversion for jazz in favor of ambience, mood.
These pieces are not vehicles for soloists, Perowsky said.
Moodswing is more of a group improv, trying to put the right thing in at
the right time. There is collage, and its not a jazz record in a traditional
setting; it is jazz because it was improvised, its not pop or a rock record,
but its not willy-nilly.
Moodswing is a collection of ambient-groove improvs that find
Perowsky doing a lot of cutting and pasting, adding sounds on top. For
example, Marcus Rojas tuba was recorded in a local church, while
Pamela Kurstins theremin and Steve Bernsteins trumpet were recorded
in their respective apartments. Perowsky gets into the act not only on
drums and bells but with a Pearl Syncussion Its an analog drum synthe
sizer, with a warm and fat sound triggered from a pad, he said.
As for Perowskys role as a drummer on Moodswing, Im hardly
playing at all, he said. There are no cymbals on that record. This stuff
doesnt need cymbals, it doesnt need a washy sound. John Ephland
28-49_FEATURES.qxd 12/15/09 1:06 PM Page 28
RECHARGED
&
REBUILDING
BUDDY GUY KEEPS THE BLUES EXPANSIVE
By Aaron Cohen // Photos by Paul Natkin
hile Chicago bundles up and
W hunkers down in the middle

of winter, January recharges
Buddy Guy. Every year, the blues hero
sets this month aside for a series of gigs
at his club, Buddy Guys Legends. These
performance nights are billed as intimate,
and they do bring him closer to audi
ences than his usual appearances at the
aters and outdoor pavilions. But Guy also
makes the venue seem larger than it is,
since he never believed that the usual
sort of performer/audience, stage/rest-of
the-room divisions actually exist.

This January, like Januaries past, Guys gui Buddy Guy: on a blues mission
tarvoluminous, distortedand his voice
disarmingly gentlewill envelope the club. As
band leader, hell direct his rhythm section and
the audience while playing a custom-made
Fender around the stage, at patrons tables and
booths, out on the ice-covered sidewalk and in
the washrooms (either one). As a demonstration
of physical improvisation, the moves are solidly
in the moment yet infused with episodes from
way back in the 73-year-old blues heros per
sonal history.
We used to have the battle of the guitars on
Sunday afternoons with the late great Magic
Sam, Otis Rush, Matt Murphy, Guy said, as he
sat warm and relaxed in his upstairs office at
Legends. The winner would win a bottle of
whiskey, and at that time I didnt even drink.
They would outplay me in all kinds of ways, but
every time they got ready for Buddy Guy, I had
to do something different to get some attention.
Two feet of snow on the ground and a 100
foot guitar cable in those pre-wireless years
helped Guy beat his friendly rivals. He recalled
telling someone to plug this cord and amplifi
er in, and bring my guitar to the car in the
snow. I came in the door playing solo and I had
snow up to the top of my boots. Whoever had
the whiskey said, Give it to him.
Guy hardly raised his voice as he related this
story, one of many that marked his path from
sharecropping in Lettsworth, La., to internation
al acclaim. That whiskey prize speaks loudly
enough: recalling a long-ago community of
musicians that hes determined to keep rebuild
ing; combining technology with showmanship
and, perhaps most importantly, Guys determi
nationwhich includes making the most from
24 inches of the cold white stuff.
Nowadays, Guys tenacity and spirited origi
nality have led to musical accolades along with
more palpable bounties, slightly more than 50 You can watch someone and see how they fles should be as recognized as his signature
years after he cut his first record (Sit And Cry work and run their business, singer Shemekia single-note feedback-driven guitar screams.
on Artistic). His 1993 memoirs (written with Copeland said eight days before marrying Live and on disc, hell cover Otis Redding and
Donald E. Wilcock), Damn Right Ive Got The Guys bassist, Orlando Wright. In blues you Marvin Gaye (including the latters Trouble
Blues: Buddy Guy And The Blues Roots Of have to be patient to wait for your time to come Man on Feels Like Rain in 1993). Over the
Rock-And-Roll, narrates the challenges that around. Buddys done thata lot of times peo years, Legends has hosted such singers as
shaped these scores. There was also his 2005 ple get frustrated and walk away, and thats Johnny Adams and Syl Johnson, both of whom
induction into the Rock and Roll Hall of Fame, what he told me not to do. felt more than comfortable in r&b. At the same
as that institution cited his ties to Muddy Waters For Guys new venture, that business plan time, Guy is also aware that there has always
and Howlin Wolf alongside his influence on includes jazz, which hell feature in early been a number of self-identified purists who
Jimi Hendrix and Eric Clapton. Three years evening sets on Sundays. Its a music that hes expect blues musicians to adhere to set bound
after that, Guy released what may be his most investigated for a long timegoing back to his aries. Soft-spoken, Guy clearly called out that
personal album, Skin Deep (Silvertone), which rendition of Bobby Timmons standard contingent, in part, for being far removed from
delves into his thoughts on race and not-so Moanin for Chess in the mid-60s. the culture that gave rise to the blues.
secret affinity for a deep groove. In a couple In Europe, George Benson and I would go Well, that came on us, Guy said about
months, hell hit the recording studio again. on the same stage, Guy said. Count Basie, being pegged as a blues, or anything, artist.
This spring, hell move his club in Chicagos Lionel Hamptonwed be on the same stage a [Before that] we didnt have anything written
South Loop a few blocks north to a building he lot of times. George would come by here and about us, we just had the word of mouth in this
purchased. The new Legends will be slightly wed jam. Jazz is being treated just like blues: circle we had back here. Then the British got it,
bigger than its present location, enough to fulfill We had a jazz radio station here and it went out. the whites started coming and the Rolling
Guys ongoing mission: keeping the meaning of So Im saying, Wait a minute, I got to throw Stones and Eric Clapton had to tell white
blues expansive and continually showing new something the other way if I can. America who we werethats when we started
generations how much there is to learn through That Guys musical vision remains far more getting questions and answers. Then they start
out a lifetime. comprehensive than rote 12- and 16-bar shuf ed Chicago blues. Then it got to the point it

was Chicago blues, Motown, Memphis. It was according to Trucks wife, singer Susan him, because I can sing real pretty and do
called West Side and South Side blues, and I Tedeschi, who also appears on Skin Deep and these little nuances where well get real quiet,
never saw that. I was playing the West Side as first performed onstage with Guy about a and then build it up and get real crazy.
much as the South Side. To get a job in one of dozen years ago (on a version of his friend This spring, Guy will return to the record
these blues clubs where they didnt know who Bill Withers Use Me). After she mentions ing studio with Hambridge. He intends to
you were, you had to do an audition, and they the singer-guitarist charisma that he gleaned focus on another avenue of the blues tradi
would ask you if you could play these top ten from Muddy Waters and B.B. King, Tedeschi tion, particularly the lesser-known songs of
songs on their jukeboxes. You had to play a adds that Guy can use all that to highlight her Jimmy Reed.
Fats Domino, Jimmy Reed, Guitar Slim, B.B. own leads. Some of the songs Jimmy played were
King, whoever had a hit record. If you didnt Hes very dynamic, gets real quiet, and his some of the first rhythm-type stuff I learned,
play them, you wouldnt get that gig for $2 a voice is so richits an extension of his guitar Guy said. There werent a lot of lead guitar
night. So I had to play Jackie Wilson, Eugene playing, Tedeschi said. I love singing with on his records. I had a horn player who called
Churchs Kansas City, Big Joe Turner. You
had to do all that. [You] couldnt be branded as
a blues player back then.
A lot of people danced when we played back
then, Guy continued. In the 60s they started
branding us as this or that. I still like to do
everything. Marvin Gaye did some great songs,
James Brown did some great songs. How could
you go to a blues club when James Brown was
coming out with Papas Got A Brand New
Bag? You had to do that. And then they started
taking that from us. I can go out and play my
gig right now and do a Marvin Gaye song and
theyd accept me. But then theyd say, OK,
now I want to hear blues.
Meanwhile, Guy surrounds himself with col
leagues who know that his art is multi-dimen
sional. His primary collaborator on Skin Deep,
drummer/producer Tom Hambridge, worked
with him in crafting the all-original material on
the album. Considering how the title track in
particular called for looking beyond such per
ceptions as race, the music itself had to show
more than one face, like adding in veteran r&b
bassist Willie Weeks. Hambridge said he
always recognized Guys inclinations.
Buddy Guy is a legend because he can
play anything, Hambridge said. Youre not
limited. Hes not even thinking in that zone.
Thats why he can jump onstage with Jeff
Beck, theyre playing fusion and he just plays
what he plays and it fits. He plays Buddy Guy
and it works.
Guitarist Derek Trucks, who also worked
on Skin Deep, adds that a big part of what
makes it all work is that in Guys earlier years
collaborating with Junior Wells on such
albums as Hoodoo Man Blues (Delmark), he
experienced how crucial a secondary guitar
role should be. Its as important as the sparse
staccato attack on Guys own 60s records for
Chess that inspired Hendrix and initially drove
Leonard Chess bonkers.
Back in the day, Buddy knew what part
was needed where, and it was so funky, so
rhythmic, Trucks said. Not flashy, not over
the top, you really have to listen to it. I dont
know anybody else who could, or would, put
those notes there. The Chess records had a
grime, a sophistication, but also this total gang
ster street element thats so profound and such a
wild combination.
But its not too wild to lack generosity,
it lump-de-lump music. And it was such a good rhythm. I tell people

now, we cant play it like that. They were born with that.
In earlier conversations, Guy has said that hed also like to make a
gospel album and is considering adding a gospel song, or spiritual, to his
recording this spring. It doesnt take much of a stretch to trace how the
blues and gospel are historically intertwined, especially in the time and
place where Guy was growing up. His friend King began singing gospel
on a Mississippi town corner until he realized he got more coins when he
sang blues. For Guy, singing the religious songs would be a way of com
ing full circle, even though hes also aware of the musics universal role.
The spiritual groups didnt have instruments, Guy said. Youd hear
the Five Blind Boys and it was just five voices and their feet. Pilgrim
Travelers, I could go on and on. Brother Joe May, Mahalia Jacksonshe
finally got a keyboard player, but it was all just beautiful singing back
then. There was an old country church that my mother used to take me to.
They couldnt afford a piano; you just had to get together and make the
voices do like a big band where all the voices had a part. There was tenor,
baritone, alto and the lead singer. Thats how we learned voicing the
horns and thingsthat kind of singing made music what it is today.
Although Guy became aware of how those different voices corre
sponded to horn players roles later on, he says it took him a while to
learn how to best adjust his choices of key while playing lead.
I play mostly natural keys, but when you play with a lot of horns, you
get a better horn voice from flat keys. B.B. King, T-Bone Walker and
Albert King taught me that. I made a couple big band records at Chess, but
I didnt know all that then. Im in class every time I talk to B.B., anyway.
Guys signature derives from blending such lessons with his notion of
personal limitations. The resulting fragmented sound reverberates
throughout his solosfrom such mid-60s Chess gems as Stone Crazy
to his upper-register pyrotechnics on, and around, the stage at Legends
nowadays.
When enough audience gets between me and the band and I can
hardly hear what the band is doing, Ill play a crazy lick and Ill stop
like its on purpose, Guy said. But its not on purpose. Its where Im at
with the band, and you can hear I should be here, or should be there.
Because I dont read music, I play by ear and I got to hear what the band
is doing. Or, in the early days, a lot of us played by ourselves. A lot of the
great old blues playersSon House, Fred McDowell, Johnny Shines
played by themselves with a rhythm with their thumb and their finger
pick. So you have to keep your own rhythm, just had an acoustic guitar
player playing for the Saturday night fish fry. John Lee Hooker did that.
A lot of people couldnt play with him because you had to watch him
he didnt play four bars. He might play four, six, eight, 12 bars before he
made a change, and he came in wherever he wanted. So the way I learned
how to play was the same way. I didnt know Id have a drummer or bass
player keeping me in time. You had to keep that yourself, and you played
half time, full time, four bars or three bars.
Along with the upcoming recording, Guy will tour for the first few
months of the year with King. He declares theyre both healthy enough to
keep their living blues school up and running. Meanwhile, hes promot
ing pre-adolescent guitarist Quinn Sullivan: Guy said, I first met him at
8, and the way he can play guitar and sing the blues, you would think
hes 80. Hes aware of mortalityhaving lost his friend Koko Taylor
and his brother, guitarist Phil Guy, in recent years. But its also the mem
ory of his mentors that sustains him.
Every award I get, every one I have ever received should have gone to
the people I learned everything I know from, Guy said. Lightnin Slim
in Baton Rouge was the first one. I saw him for the first time when my dad
and I were sharecropping in Lettsworth. Every award I accept should have
gone to Big Joe Turner, Gatemouth Brown, Lightnin Hopkins. All those
people playing guitar just for a drink of whiskey and a good looking
woman. That was their pay. Every award I ever got should have went to
those people. And then if theres anything left, give it to me. DB
For audio selections from this interview with Buddy Guy go to downbeat.com
ERIC BIBB
HAVE
GUITAR,
WILL
By Frank-John Hadley
JOURNEY
F
or Eric Bibb, an unexpected encounter songs, its ragtime, its spirituals. All of those before adding, A lot of musicians are more
with a 1930s National Reso-Phonic steel- things are in the hopper. Hes an uncommonly eclectic than their publicity.
bodied guitar inspired him to record his good writer, with his songs covered by a stylisti As the son of noted folksinger Leon Bibb, he
strongest album to date. Not long ago, the con cally diverse bunch, including Maria Muldaur, grew up in the Greenwich Village folk scene of
stantly touring singer-songwriter was in England Saffire, Eric Burdon, Ruthie Foster, Wilson the early 60s among Pete Seeger, Odetta, Dave
when a stranger came up to him after a show Pickett and Ralph McTell. Older folk material Van Ronk and fresh-faced Bob Dylan. His
and asked if he was interested in playing a guitar has been the template, he asserted. Even uncle, a pianist and composer, belonged to
once owned by the late great country bluesman though I write my own newer material, a lot of it another crowd. I found John Lewis musical
Booker White. is closer to older forms. knowledge, his awareness of the classics in
I said, Wow, that sounds like a story! Bibb possesses a warmly expressive, unex blues, in big bands, in bebop, everything, to be
Bibb recalled. So I asked this wonderful man, citable voice and a fine sense of phrasing. He amazing and daunting, Bibb said. He was a
Howd you end up with this guitar? Well, in shines, too, as a guitarist with a quiet and confi teacher really, without having to say a word. His
the 60s he had befriended Booker and later dent approach. Im basically an acoustic player. demeanor commanded such great respect for the
sent Booker tapes of his early recordings from Fingerpicking is the technique where I begin music. Id go to his apartment and there would
the 30s that hed lost track of. Before he died from. Ive had some training earlier in classical be two grand pianos, a big Stein and a deluxe
[in 1977], Booker packed up his guitar and guitar, and thats helped give me an idea of how Baldwin. He was somebody to really admire.
shipped it to this fan as a way of thanking him versatile the guitar can be. As the complete In his late teens, choosing travel over finish
for all his support. Bibb was shown the guitar package, the 50-something musician has some ing college, Bibb received valuable blues train
at his hotel the next morning. In awe, Bibb cra thing of the versatility of storied 12-string gui ing in Paris from expatriated rock n roll pio
dled the strings and, like White had for tarist Leadbelly (who was proficient on blues, neer Mickey Baker. Mickey was a mentor for
decades, made the instrument ring like a bell. reels, field hollers, cowboy songs, etc.), the me as a guitar player. And I remember him sit
This all unfolded so naturally and easily that I blues-transcending charm of Mississippi John ting me in his parlor and then shoving me in a
took it as an assignment, he said. Bibb got Hurt and the modern sensibilities of Taj Mahal room with a tape player and Robert Johnsons
busy writing a song about that guitar and soon and Richie Havens. King Of The Delta Blues Singers cassette. I
entered the recording studio. The new release, Bibbs music has been difficult to slap with a came out and said, Mickey, tell me thats two
his homage to country blues titans, is titled labeltoo folk for some blues arbiters, too pop guitar players! and he said, No!
what else?Bookers Guitar. for certain members of the folk crowd, on and Bibb decided to start up his career elsewhere
The new Telarc release also affirms Bibbs on. Deep down, Bibb knows himself. I call in Europe, setting up camp in a place hed visit
musical identity. In a career that first got into myself a blues troubadour. Thats one short ed with his parents as a child. When I arrived in
gear in the mid-1990s, Bibb has enjoyed success description that I think is not inaccurate. Im Sweden in the early 70s, what I found was a
at the fluid, uncertain border between folk and very happy that Ive had the chance to have vibrant jazz scene and budding blues and world
blues. The foundation of my playing and my exposure on blues stages and at blues festivals music scenes. Stockholm was a meeting place, a
songwriting is a broad base of roots of American because it gives you a quick-fix home, and even magnet for musicians from all over the world.
music, Americana in the widest sense, he if its not descriptive in my case, at least it makes The Early Bird Records shop there provided him
explained on the phone from St. Thomas in the it possible to be included in the kind of context access to a trove of fantastic pre-war blues
West Indies. Its blues, its country, its work that makes some kind of sense. He paused discs, and he was able to dive into some
KEITH PERRY

obscure stuff and stay with it long enough to

become part of what I do in terms of singing and
writing.
The many ensuing years of touring and
record sessions saw Bibb getting deeper into the
music that he loves. With his matchless ease and
a poets sensitivity, he has made Bookers
Guitar the consummation of his affair of the
heart, accompanied only by the superb less-is
more harmonica player Grant Dermody. Even
though it seems like a simple project, Bibb
offered, it was in fact one of the most challeng
ing in that its taken a long time to get to a point
where I felt like I could deliver that kind of
music where I was recording almost exclusively
with the guitar and vocal in a way that I was sat
isfied with. Its been my model, the one-man
band blues songster, that whole iconic figure.
Ive always wanted to emulate my heroes, make
a whole lot of music on my own that I felt stood
up. And to write newer blues material that
harkens back to an older style, an earlier era, was
also something that I felt had to take time. I
couldnt have just jumped in on this project 20
or even 10 years ago and be pleased the way I
am with this album.
Bibb had the good fortune to meet country
blues royalty in person: Son House, Robert Pete
Williams, Big Joe Williams. And now, through
a guitar, Booker White, whose Vocalion 78s of
1940 arguably rival Robert Johnsons body of
work in artistry and poignancy. I felt my
strongest card was not one of blues curator who
could mimic the exact style guitar-wise of my
heroes; my contribution was something else.
Once I made peace with that fact, I just decided
to have fun. Fresh-sounding originals like
New House and Sunrise Blues carry his
delight but also an emotionally charged impera
tive. You know, these are stories about real
people, a lot of them based on wandering min
strel type of guys that I can strongly identify
with, a lot of it dealing with the frustration of
being boxed in by a society whose view was
oppression. Theres a rebelliousness in there.
Theres some anger in there that I think is appro
priate, that probably could never have easily
been part of my heroes artistic expression, so I
tried to give them a voice to that. But its basi
cally about people reaching spiritually for a bet
ter life in the real world. Its about a journey.
Bibb plays his compositions, plus the tradi
tional number Wayfaring Stranger and blues
evangelist Blind Willie Johnsons Nobodys
Fault But Mine, with an understanding of how
using the musical language of his progenitors
enriches his own journey. In my own soul-
delving, he said, Ive discovered a preacher in
me that has more to do with the background of
some of my heroes than my middle-class
upbringing in New York Citys cultured cir
clesand it surprised me and it surprised my
parents. But its a fact: Emotionally, theres a
part of me that identifies with a straight-ahead
Baptist preacher. Ive always felt that kind of
connection, so who knows what its about. DB

JOE
HENRY
CONNOISSEURS
BLEND
By Lloyd Sachs
LAUREN DUKOFF
J
oe Henry, who knows his wine, was wine setting seemed appropriate. A singer and and gripping solo, it was less of a shocker for
strolling around the Ciccone Vineyard and songwriter grounded in pop tradition, he creates fans who remembered Cherry (and bassist Cecil
Winery, a smallish operation run by his excitement through his deep involvement in McBee) playing on Henrys Astral Weeks-
father-in-law in northwest MichiganSuttons other genres. The one that brings out the musical inspired Shuffletown (1990). Henrys albums
Bay to be specific, a quiet upscale town on the connoisseur in him is jazz. His life changed at have since featured Don Byron, Bill Frisell, Marc
Lelanau Peninsula perched on Grand Traverse 15, he said, when a friend played him Ribot, Brian Blade, the Dirty Dozen Brass Band,
Bay. He was a long way from his home in Thelonious Monks Criss-Cross: I had never Anthony Wilson and Ron Miles. His latest effort,
southern California, but not so far from the heard anything like it. It was like seeing 8 1/2 [the Blood From Stars (Anti-), opens with a solo
northern Detroit area where he spent his high Fellini film]. I thought whatever this is, Im piano performance by Jason Moran, whom
school years and met his wife, Melanie going in. I wanted to be part of it. In due Henry recruited after being blown away by his
Ciccone (aka Madonnas sister). course, he dove into Miles Davis and Duke Monk tribute at New Yorks Town Hall (Ten
But even surrounded by grape vines, enjoy Ellington and Bill Evans, and Ornette Coleman, minutes into the show, I had already decided that,
ing the early afternoon afterglow of a glass of Don Cherry and John Coltrane, and became somehow, I had to incorporate him into what I
pinot noir, Henry had coffee on his mind. encyclopedic on the subject. was doing, he told a newspaper interviewer),
Prompted just a tad by a caffeinated correspon If Henry had done nothing but get Coleman and features rising saxophonist Levon Henry,
dent, he talked enthusiastically about his espres to play on his 2001 album Scar, his reputation in Joes 17-year-old son.
so machine back in South Pasadena, the shots he jazz would be secure. Coleman never plays on And then there are Henrys stalwart efforts
pulls for musicians in his basement recording other peoples records. But if some listeners were as a jazz and blues producer. He instigated and
studio and the San Rafael coffee outfit from surprised by the alto saxophonists appearance fashioned New Orleans r&b legend Allen
which he orders his beloved Jaguar blend. on the track Richard Pryor Addresses A Tearful Toussaints brilliant reinvention of himself on
That Henry was discussing espresso in a Nation, to which he contributed an exquisite The Bright Mississippi (2009). The 71-year-old

pianist had never before recorded an instru from jazz. Parkers Mood, one of the high obsessed with songs and heavily invested in
mental album, much less one of traditional lights of his largely acoustic 2007 album Bob Dylans constructed mythology.
jazz classics. Henry subsequently produced Civilians, is a dreamlike reverie of Charlie Years later, Henry connected the dots
The Way Of The World, a forthcoming album Parker. Loves You Madly, from Tiny Voices between Dylan, the artists who influenced
by singer and pianist Mose Allison that, with a (2004), acknowledges Ellington while plug him, and Monk. I respond to Monk the same
cast of players including guitarist Wilson, sax ging into New Orleans march music. Over way I respond to Woody Guthrie and
ophonist Walter Smith III, pedal steel wiz Her Shoulder, an instrumental ballad on the Leadbelly, he said. Hes like country blues,
Greg Leisz and Henrys brilliant rhythm sec new album on which Levon and Ribot duet completely alive and electric, not mannered or
tion of bassist David Piltch and drummer Jay against a backdrop of spooky electronics, is genteel. When he plays, its like hes taking a
Bellerose, promises to be unlike anything the decidedly Monkish. bite out of a piece of fruit.
81-year-old Allison has done. Its very raw, In describing his sons approach to the sax
T
said Bellerose. ophone as romantic and fractured simultane he 49-year-old Henry lives in South
Henry, whose non-jazz clients have ranged ously, Henry could be describing his own Pasadena with his family in a land
from Solomon Burke to Ani DiFranco to intellectually spiked songs, with their blend of mark Chalet-style house designed for
Harry Belafonte (with whom hes working on edgy immediacy and mystery. His earliest the widow of assassinated President James A.
an ambitious historical project), employs jazz influences included Ray Charles, Louis Garfield. Unlike most California houses, it has
artists on his own recordings not to spice Armstrong and Johnny Cash; listening to them a basement. Not only that, its basement,
things up with catchy solos, a la Phil Woods on the radio while growing up in Charlotte, which is taken up by the recording studio, has
on Steely Dans Doctor Wu. He looks to N.C., and Atlanta, he was carried away by the windows. Recording sessions usually take
them to expand his sound and enrich his songs, individual power of their voices and the stories place in a windowless environment. The light
which never turn more than a few degrees they told. By the time he was 13, he was coming through Henrys basement windows

feeds the bright, open, congenial atmosphere Henrys music, with its washes of emotion, elu classics Henry picked out for himor more
of his sessions. sive characters and atmospheric sound effects, to modern works including Ellington and
Joe dispels the old romantic myth of art his living in the shadow of Hollywood. I know Strayhorns Day Dream and Monks Bright
only coming through the suffering of 18-hour there is a vibe here unique to this city, and I relish Mississippi. Though Toussaint knew fellow
days locked in a basement until you turn into it, he said, describing his studio as a bit of a New Orleans native Nicolas Payton, whose
cream cheese, said guitarist Ribot, a core movie lot for me, a broad canvas on which I can father, Walter Payton, was the bassist on many
member of Henrys working group. Hes a real build and project. But from the time he was a of his projects, he hadnt played with him or the
gentleman. Even when everyone feels the ener kid, he said, I heard every song as a movie. His rest of the cast, including Ribot, Byron, Brad
gy of working with a major figure, theyre free formative experiences in the South, Detroit and Mehldau and Joshua Redman. But having
to propose things. New York, where he came of age as a singer- worked previously with Henry on the social
The trust Henry inspires in musicians was songwriter, left the deepest impressions on him. club-style album I Believe To My Soul (featuring
reflected in Ribots willingness to play cornet on The greatest advantage of living where he Mavis Staples, Ann Peebles, Billy Preston and
Blood From Stars. Since giving up the instru does, Henry said, is having resources at his dis Irma Thomas), the Katrina benefit album Our
ment as a kidbraces forced him to switch to posal that he couldnt afford in New York. Not New Orleans and The River In Reverse (which
guitarhe had played it professionally only that he isnt a man of modest means in his cozy teamed him with Elvis Costello), Toussaint hap
when his former boss Tom Waits had an imme studio. Like his mentor T Bone Burnett, who pily followed the producers lead.
diate need for an additional horn. I have about lent his stature to Shuffletown when A&M was There were all these voices telling Allen he
three minutes of chops, Ribot said with a laugh. hesitant to let Henry produce it, Henry likes shouldnt do the project, said Bellerose. But
But that was enough for him to enliven Henrys papery, floppy kick drums, the overtones of a Allen saw something in Joe and latched onto
The Man I Keep Hid with crackling trad boxy upright piano, the buzz of bass strings. him. He saw a great lover of music who con
school licks. Hes after a naturally ambient soundor, as he veyed that he was there to help him because he
It sounds like we sampled an old King put it, the sound of our collective humanitya respected him so much.
Oliver record and fucked with it, said Henry, singer breathing between lines, or Miles chair Normally, when someone considers me as a
grinning. To me, Marc sounds strangely disem squeaking on Some Day My Prince Will musical entity, they think of the New Orleans
bodied. Like a foreboding dream. I love it when Come when he leans back to begin his solo. thing in one way or another, said Toussaint.
someone with such an expansive musical mind The Bright Mississippi was recorded in New Joe heard something different and more sophis
picks up an instrument they dont play often. It York, but with no loss of freedom or fellowship. ticated. I trusted him dearly. The songs he chose
forces them to articulate deep thoughts in a more The musicians sat in a circle around the piano. were all wonderful songs. I played them without
primitive way. Toussaint had never played the Jelly Roll much thought. I know some of these songs are
Its easy to attribute the cinematic quality of Morton, Sidney Bechet and Louis Armstrong branded as jazz, but I didnt consider that I was

playing jazz. They were just wonderful songs.

Henry was determined not to approach The
Bright Mississippi as a genre exercise or nostal
gia trip. He made a point of not using a tradi
tional rhythm section, choosing the brilliantly
inventive, texture-minded Bellerose, who is not
a jazz drummer, over his old friend Brian
Blade, who as Wayne Shorters regular trap
man decidedly is. Belleroses ear-opening mod
ern strokes and his ability to stretch and suspend
rhythms feed the albums fascinating tension
between old and new, pop and jazz. Jay is like
a painter, said Henry. Hes completely and
unfailingly song-oriented.
T
o Henrys bewilderment, many writers
and promoters continue to tag him as an
alt-country artist, based on a relatively
brief period in the early 90s when he recorded
two albums with Minnesota alt-country
favorites the Jayhawks. Though Short Mans
Room (1992) is held in high esteem by some
fans, and Kindness Of The World (1993) was
an admirable attempt by Henry to tailor his
style to the Jayhawks, the partnership didnt
make for the most natural fit. With its dark
ambient sound and tricky narratives,
Trampoline (1996) returned Henry to what he
does best. He elevated his game on Fuse, an
intoxicating mix of 70s soul effects and jazz
swing, hip-hop drums and avant-rock textures.
Then came Scar, which yielded Henrys
one big hit via Madonnas transformation of
Stop into Dont Tell Me, and unexpectedly
brought Coleman into his life. The evening I
spent with Ornette in the studio and the after
noon before at his apartment talking and play
ing was life-changing for memusically, and
as a point of personal validation, Henry said.
He treated me like a peer, and I cant tell you
how important that was to me at that moment,
and continues to be. Beyond that, his playing
exceeded my expectation for what we might
achieve together. Its the most perfect blues he
plays on his solofractured, stately, wounded
and defiant. I felt that once he had played, I
could almost throw away the whole lyric, as if
so much scaffolding around a building.
Coleman, said Henry, was visibly moved by
the great respect he was shown when he
arrived to play on Richard Pryor Addresses A
Tearful Nation and the freedom he was given
to approach the tune however he liked. He
recorded many more takes of his solo than was
asked of him, determined to capture the special
quality of Henrys intimate, soulfully dusted
voice. Thats what drew him to the project.
Henry, for his part, has been moved by the
jazz communitys acceptance of him. I have
been shown amazing creative generosity all
told, and I cant begin to account for it, to be
honest, he said. I think it is mostly because I
approach them all with a fully realized idea of
what I believe they uniquely have to offer, and
with complete respect for their artistry. DB

Father And Son
An Interview with blues, Paul?

Butterfield: Ill tell you the truth, man. My
Butterfield: Yeah. That mostly came from
Chicago. Isnt that true, Muddy?
Muddy Waters and brother, my family used to play a lot of blues Waters: Yeah. Years agoId say back in 47
records. Old 78s. They used to listen to people or 8Little Walter, Jimmy Rodgers and
Paul Butterfield like Muddy, Gene Ammons, Charlie Parker. It myself, we would go around looking for bands
was more jazz than blues, but the feeling I got that were playing. We called ourselves the
By Don DeMicheal was from blues. So I got it early. There used to Headcutters, cause wed go in and if we got a
August 7, 1969 be WGES, and they used to play from 11 to 12 chance we were gonna burn em. Today, peo
oclock at night nothing but blues. And ples not like that. You just get up and play. Im
T
heres only one way for a young man to Nashville, Tenn., John R. used to play nothing not like that no more. Just play what you can
learn true blues: from older menblack but blues. We used to hear it when I was 10 play, and if the people like it, fine; if they dont,
men. This sort of teacher-student rela years old. My brother started buying blues sin try again next time. But today, Paul, we have
tionship is rather common today, or at least it gles when I was out playing baseball. I dont some peopleI wont call no namesthat still
has been since the blues gained such popularity know what turned me on, but I just liked that got that feeling: want to be the best. You cant
with the seemingly ever-fickle young white kind of music better than any other kind of be the best; you can just be a goodun.
audience. One of the most popular of the young music. I like lots of kinds of music. I like Roland Butterfield: Just be you.
blues men is Paul Butterfield. But Butterfield is Kirk, Stanley Turrentine, Gene Ammons, a Waters: And thats it. Whatever you do, try to
an old hand at the blues, having drunk from the whole lot of people. But that was the music that do it good.
deep well on Chicagos South Side several years really got me interested in playing. Butterfield: I played this place in California.
ago. This spring, he and guitarist Michael DeMicheal: Interested in playing harp? All these kids came down, and the only thing in
Bloomfield were reunited with two of their main Butterfield: Naw, I never thought about play their minds was to wipe me out. So I said go
teacherssinger/guitarist Muddy Waters and ing the harp. I just started playing the harp. I just ahead and play, and Ill play what I play.
pianist Otis Spann (Waters half-brother and enjoyed playing it. I didnt have no plan or say, Musicians are supposed to be loving each
longtime sideman). The reunion took place in Im gonna learn how to play the harp like so other
the Ter-Mar Recording Studio at Chess Records, and so or learn how to do this or that. I just Waters: Together.
and for three nights a rather remarkable record started playing it. I mess around with any instru Butterfield: and giving stuff to each other
ing session rolled from one artistic peak to ment I can get next to. It wasnt, I want to learn and making each other feel good. What Im talk
another. Following the last night, Butterfield, like Little Walter or Sonny Boy Williamson. I ing about is music, not just blues. Im ready to
Waters and, later, Spann discussed the session just wanted to learn how to play. do something that maybe somebodys not gonna
and the ways they learned the blues. What fol Waters: In music of this kind everybody got to dig at all, but if its music Im supposed to be
lows is an edited version of the conversation. be influenced by somebody. sharing it, learning about it. Thats the only way
Butterfield: I was influenced a lot by Little you can do it. One of the main reasons why I
DeMicheal: Paul, when was the first time you Walter, and when I got to play some more, by never really tried to play Little Walters solos or
sat in with Muddy? Sonny Boy, the second. Then a little after that I Sonny Boys or any other cats exactly the way
Butterfield: About 1957. started getting influenced by Gene Ammons, it was is that, in the first place, I couldnt.
DeMicheal: How old were you? Stanley Turrentine Waters: Paul, in this field today, if you pick up
Butterfield: About 18. The stuff I play now Waters: After youve mastered your instru a harmonica, you got to go through John Lee
my bands got horns and things, and we do a lot ment, you can go the way you want to go at that Williamson [Sonny Boy No. 1], Rice Miller
of different stuff, cause I got guys in my band particular time. When I began I was influenced [Sonny Boy No. 2] or Walter Jacobs [Little
who can really playbut they cant play that old by Son House and Robert Johnson. That doesnt Walter].
stuff. Its just a certain thing I came up in, that I mean you have to be exactly like them, cause Butterfield: Right.
learned, and what I was really listening toand when you get out there, you learn other peoples Waters: Because they set a pattern out here, and
I mean live; I aint talking about listening to work and you put more of your own material in theres nobody been born yet that can do too
recordswas Muddy. Muddy had a real good it and then youre on your own. much more stuff to go with it. So if you say I try
band then. And Little Walter used to come in Butterfield: There aint no musician in the to play like Son Housesure, Im glad of that
and sit in. whole world that isnt influenced by a whole lot cause Son was a great man. Robert Johnson
Waters: Magic Sam, Otis Rush all those boys of people. Theyre influenced by anybody they was one of the greatest theres ever been. So that
used to come and sit in. They all sat in because hear thats good. makes me feel proud, cause I got my pattern
Im not the kind of guy wholl hold the band Waters: Thats right. What makes me happy is from them. I cant go around it too far because I
stand for myself. Im not like a lot of the older to see how many kids been influenced by me. got to come back around to something in that
guys whove been in the business for a long Butterfield: There was a scene in Chicago, particular field. Between the three of us, Im
time, cause Im not jealous of nobodyyou Detroit, St. Louisthe Midwestwhere guys doing Muddy Waters, but because I use a slide, I
play what you play and Ill put you on my band would say, Im gonna get up there and burn this cant get away from the sound of those two peo
stand. cat. A lot of underneath stuff. ple cause they made it popular years and years
DeMicheal: How did you get turned on to the DeMicheal: Cutting contest. ago. This sound is 200 or 500 years standing.

DOWNBEAT ARCHIVES
Muddy Waters (left) and Paul Butterfield
DeMicheal: Im curious to find out if the learn nothing, but hed let me come up. Marshall Chess.
ing process was similar for the two of you. When DeMicheal: When I first met you and Mike Chess: Michael was at my house, and he said
you went into playing blues, Muddy, how did Bloomfield in 1962 or so, you were both living hed like to do a record with Muddy and Paul.
you go about learning? on Chicagos South Side The title, Fathers And Sons, was his idea.
Waters: I was first blowing harmonica, like Butterfield: Naw, Michael never lived on the Waters: Is that the name of it? Thats a very
Paul here. I had a young boy by the name of South Side. Michael was in rock n roll bands good title, cause I am the daddy, and all these
Scott Bowhandle playing guitar, and he learned when he was 16, 17 years old. He was from a kids are my sons. I feel there are so many kids
me the little he knowed. One night we went to whole different area, the North Side. I never tracing in my tracks that Im the father out here.
one of these Saturday night fish frys, and Son even worked out of the North Side until I started DeMicheal: How do you think the session
House was there playing. I was using the bottle working at Big Johns. Michael really got inter went?
neck because most of the Delta people used this ested in blues like Muddy and those cats, after Waters: I think it was one of the greatest ses
bottleneck-style thing. When I heard Son House, hed been playing in rock n roll show bands. sions we did since Little Walters time and
I should have broke my bottleneck because this I never practiced the harp in my life. Never. I Jimmy Rodgers. We was close to the old
other cat hadnt learned me nothing. Son House would just blow in it. I was blowing some lousy sound.
played this place for about four weeks in a row, stuff. Just blowing it, drinking wine, getting high Butterfield: I tell you, man, I think some good
and I was there every night, closer to him than I and enjoying myself. Nick Gravenites was the things came out of this.
am to your microphone. You couldnt get me first cat to take me down to see you, Muddy, DeMicheal: When was the last time you two
out of that corner, listening to him, what hes about 1957. We were more interested in getting played together?
doing. Years later, down around 1937, I was high, dancing and having ourselves some good Waters: In California. I was playing in a club
very good then, but I hadnt been exposed to the times than anything else. I never sat down and out there, and Paul was off this particular time,
publicI heard this Robert Johnson come out, tried to figure out what hes doing with this stuff. and he came in and sat in with us. It was a beau
and he got his teaching from Son House. He had I just played it. Muddy knows that I used to tiful night, but it was nothing like the session. At
a different thing. Where wed play it slow, come down to him and play some nothing stuff the session, we was right down to it.
Robert Johnson had it up-tempo. The young but nobody ever said, Well, man, youre not DeMicheal: You did mostly old things?
idea of it, yknow what I mean? I didnt know playing too well. Waters: We did a lot of the things over we did
Johnson much; I saw him one time in Friars Waters: But you always had this particular with Little Walter and Jimmy Rodgers and
Point, Miss. I knew Son House very, very good. thing, this something that everybody dont have, [Edward] Elgin on drums. We tried to get ready
DeMicheal: Paul, was your experience similar, this thing youre born with, this touch. Cause for that particular thing, as close as possible. Its
only 2030 years later? you used to sing a little song and have the joint about as close as Ive been to it since I first
Butterfield: The people I most listened to were going pretty good. As soon as youd walk in, Id recorded it.
Muddy, Spann, people who were around say, Youre on next, man. Butterfield: Duck Dunn, the bass player, came
Robert Nighthawk was playing, and Wolf was DeMicheal: Now after all these years, you two in from Memphis. I came in from New York.
playing, and Magic Sam like, Magic Sam is finally have made a record together. Michael came in from San Francisco. Muddy
pretty close to my age, and Otis Rush isbut I Waters: It sure was an enjoyable time for me. came up from Texas. Now, I dont have any
listened to anybody I could listen to. I used to go DeMicheal: How did the record come about? time off, none, but it was an honor for me to get
out and play with Muddy when I couldnt play Waters: The idea came from my grandson, together with Muddy and have a good time and

play some music. black-and-white bullshit. I want to hear some Waters: If youre trying, youre trying.
Waters: One thing, I hope its not the last time stuff about human beings. If you want to write Butterfield: Sincere . . .
we get together. an article, man, and getting back into that sepa Waters: And thats the way it is. Theyve come
Butterfield: Duck Dunn had never played this ration bit, then forget about me. Dont even to me thousands of times: Do you think a white
kind of music, really. And most of the cats mention my name, cause I dont want to have boy can play the blues? I tell them they can
havent been playing this type of music for a anything to do with it. play the blues better than me, but theyll never
long while. It really made me feel good to get DeMicheal: This is a conversation, isnt it? be able to sing them as good as me. Im just
back and really be playing some stuff on the Butterfield: Im trying to tell you telling the truth about it. White boy can run a
harp that was what I came from, the thing that DeMicheal: Im answering your question right ring around me playing the blues.
really turned me on to be playing in the first there. Youre both sitting here talking, right? Butterfield: Nobody can run a ring around
place. Now Im playing different things, differ Butterfield: Thats just the way I feel about it, nobody.
ent changes. It made me feel so good to be play yknow? I feel people are trying in this country Waters: It comes down to I play my way, my
ing something that wasnt just, Well, well get right now, theyre trying to get together, and style. Thats it.
together and do this recording. Weve been theres going to be some heavy shit going down. Butterfield: Music has got to do with love,
enjoying ourselves. Really felt good. A lot of Theres some bad stuff with the black people human beings digging each other. Thats the
it had to do with Muddys singing. Muddy and theres some bad stuff with the white peo only way you can play music; you cant play
might not be a young cat anymore, but hes ple. A lot of separation; theres a lot of under music with somebody you hate. Every writer
doing it. He still gets an awful good feeling for standing thats got to come down. But Im just who ever writes something on the blues writes
me for playing. Hes the main cat; were playing talking about what were talking aboutmusic, some jive. Every article Ive ever seen on the
with Muddy. Its his feeling, and the way hes human beings. I love Muddy the way I love my blues is from such a narrow viewpoint that it
doing the stuff is making us feel really good. father, my brother. And hes no black cat or never gets down to what the music is, never gets
Feeling is 99 percent of it. If youre not feeling white cat or anything; hes just a human being, down to the feeling thats going down. Maybe I
the music, how can you expect the other cats man. The cat plays some music I respect, and I shouldnt even be talking about it, but Im dis
who are playing to really feel it? You doing an dig playing with him. These papers come out gusted with all this separation stuff.
article or what? and say this is black over here and white over [Spann enters.]
DeMicheal: Im gathering material for some there, I dont want nothing to do with it. Im DeMicheal: Otis, how do you feel about the
articles. proud of being a human being and where Im at. session?
Butterfield: This may be jive, man, so tell me Waters: I think about the white group the way I Spann: I feel the same way my brother feels
if Im wrong. If you write an article I hope you think about the black group: if youre good, about it. It was a beautiful session.
write something about human beings, cause I youre good. Waters: I think it was one of the closest ses
love Muddy, and Im tired of hearing about this Butterfield: Right. sions that we had since Little Walter and Jimmy

28-49_FEATURES.qxd 12/17/09 11:24 AM Page 45
Rodgers time and your time, Otis. Cause we DeMicheal: Otis, you were saying in the old people.
did those numbers over again and everybody days you and Paul used to get together. Whatd Waters: You can look in your cyclopedia and
tried to get close to em. It wasnt just playing or you do? history books, but you never finish that music.
just blowing. Butterfield: Drink wine. Play and get high. You can hear somebody playing and make one
Spann: It did remind me of old times. I had Thats when you were living in that basement. particular thing and you say I dig that. Then you
more feeling in the session than Ive had in a DeMicheal: Does the same sort of thing still say Im going home and get my old guitar and
long time. Its a funny thing, the people say the go on, guys hanging around wanting to learn gonna see can I lick this note. If you miss it,
white kids cant play blues, but thats wrong. the blues? then you go back tomorrow night. I used to say
Waters: Ill say this: We got to bring a boy Waters: Sure, I could have a hotel room full at to Son House, Would you play so and so and
child into the world who can sing the blues like a all times. so? Cause I was trying to get that touch on
black man. Specially my age, that came up Butterfield: Im learning from people right that thing he did. Bukka White got a thing I
through this scene that one day I eat, the next now. I hear stuff Ill be learning for the rest of been trying to learn for five years, and I aint
day I dont. Aint got them kind of blues today. my life. And I bet Muddys listening to some learnt it yet. DB
The colored aint. The black people aint got it
today. Eat every day. Eat good. If you dont give
it to em, they take it. I was afraid of taking
something, afraid of going to jail, but the black
man aint scared to go to jail no more. Thats
why I say he cant have the blues I had 35 or 40
years ago.
DeMicheal: Otis, what do you think of the title
of the album, Fathers And Sons?
Spann: Let me be the son.
Waters: A lot of people want to know how Otis
got to play the blues so good. They never
knowed this particular thing: He used to come to
my house and park in front of the door with a
bottle of whisky, and Id sit there and teach this
man, tell him exactly what to do.
Spann: Thats the truth. Ride around, be day-
break before we got home. Sit there talking.
Waters: Telling him what to with the piano
when I was singing the blues.
Spann: I dont believe therell be another musi-
cian, up to date, that can follow my brother
Muddy singing, because hes a late singer. If
you dont wait for him, hes not there. He sings
behind the beat.
Waters: This is the wonderful thing about the
white kids that played on this session, they got
that understanding.
Spann: They lay right there and did it. Paul
came up on us, and I used to teach Paul. He got
it. He knows. He used to be like me. When
Muddy taught me, I didnt think nothing about
no timing. Pat my feet faster than I play.
Waters: Watch his feet, you will not play
nothing.
Spann: Thats the truth.
Butterfield: The first record we put out
Butterfields Blues Bandeverything was fast
as a mother, man. Just pushing everything. We
werent ready to wait for anything, just go.
Remember that thing we did for Chess, Muddy?
Walkin Blues? The same thing.
Waters: Taking all the feeling out of it.
Butterfield: Yeah, making it real fast. We
couldnt help it, I was so energetic.
Waters: I want you to know one thing, he did
one blues tonight that was a real killer, man, that
blues we did with all the relaxing, take your time
and do it. Mean Disposition. Its a stone killer.
It may not sell five records, but, me, Id buy as
much as 10 myself, and I aint bought a record
in years. But what you cats were putting in
behind me just cant be beat.

MYRON WALDEN
Windows
Wide Open
By Ted Panken
G
iven the daunting financial challenges even the highest-profile realized that I needed another voice to embrace this different feeling that I
jazzfolk face, it was refreshing to note last summer that alto saxo was hearing.
phonist Myron Walden, a hardcore practitioner if there ever was Taking up the tenor and soprano opened up different windows for me
one, was deploying the services of Shore Fire Media, a pricey New York even when playing alto. Id schooled my alto sound listening to tenor play
public relations firm, to spread the word about his latest projects. ers, not necessarily to play their language, but to get that sonic presence
Over his previous two decades in the music business, Waldena to play a note and have it sit, as opposed to being like a laser. But playing
widely respected musicians musician with a keening, instantly recogniz tenor made me realize exactly what it is to do that. I had to let go of the
able voice on his main axe as well as bass clarinethad operated decided alto for a while and immerse myself only on tenor, so as not to sound like
ly below the radar. Now 37, he incubated his ideas during the 90s at an alto player playing tenorthe way my air was moving and my aural
Smalls, where he became a keystone sideman with such contemporaries as perception of the sound.
Brian Blade, Kurt Rosenwinkel, Jason Lindner and Omer Avital, and The Demi Sound releases, which showcase three previously undocu
developed his own take on the vocabulary and syntax of the more conso mented groups, offer an exhaustive exposition of the feeling to which
nant jazz of the decade that immediately preceded his birth. He document Walden referred. Countrified features an organ trio of the same name dedi
ed his investigations on four small-label CDs consisting almost entirely of cated to, as Walden puts it, Southern-fried soul meets a little blues and
his original pieces, on which he improvised with a concept that triangulat rock n roll. Harmonically fortified quiet storm is the mood on In This
ed elements from the languages of Charlie Parker and John Coltrane into World and What We Share, recorded during sessions in 2006 and 2007.
his own inflamed argot while never losing sight of melodic imperatives. The leader milks each note to its fullest, framing his tenor and soprano sax
Now, a series of e-mails from Shore Fire (whose clients include Bruce and bass clarinet with introspective textures conjured by guitarist Mike
Springsteen, Ry Cooder, Levon Helm and Tom Jones) spelled out Moreno, David Bryant on Rhodes, Yasushi Nakamura on bass and
Waldens forthcoming agenda. After a sabbatical that he devoted to rais Kendrick Scott on drums. For three tracks, the rhythm section comprises
ing his game on the tenor and soprano saxophones and composing pieces keyboardist Jon Cowherd and Chris Thomas, his colleagues in Blades
suitable for those instruments, Walden would release four albums of origi Fellowship Band, along with Blade, whose praise-singing esthetic is a key
nal material over the next six months on his new imprint label, Demi template for the sound palette contained therein.
Sound. To preview them, he would undertake five Wednesday concerts in The music stems from something other than the technical aspect,
September at Manhattans Jazz Gallery, featuring a different band each Walden said of these three projects and the unrecorded group Stanley, his
night and donating all of the proceeds to the non-profit venue. homage to the expansively masculine tonal personality of soul tenor icon
I wanted to present a scope of who Myron Walden is, Walden said in Stanley Turrentine. In Countrified, I tell the band, I can care less about
mid-October over a late breakfast at the Upper West Side restaurant playing a hip chord. If we play this same F7 for the whole gig, Im happy
Sarabeths, around the corner from his apartment. By way of describing but only if that F7 makes me want to tap my foot, snap my fingers and clap
how his musical likes and sensibilities had evolved over the decade, he my hands. If you dont get me to do that, youre wasting my time.
touched on his two prior recordings, Higher Ground and This Way (Fresh With [the ensemble] In This World, its more about melody; its not
Sound), both pianoless, postbop recitals on which Walden and front-line necessarily about dancingat least not standing up. Its about how I can
tenor saxophone mates Marcus Strickland and Jimmy Greene, respective express myself in a way that doesnt throw away 20 years of studying har
ly, blow with fierce lucidity and intuitive interplay on complexly superim mony and chords, but also get closer to everyday communication. Some
posed harmonic sequences over crisply detailed rhythmic structures from of the compositions are interpretations of songs that I first played with
E.J. Strickland. Fellowship. In fact, the first time I rehearsed with the Fellowship Band, I
I had an awakening after those records, Walden said. I was dating thought, What the hell am I going to play on this? I couldnt find a domi
my wife, and I wanted to record some music that Id composed since we nant seventh chord to save my life. The chords moved in a peaceful way;
met that expressed my emotions for her. Then it dawned on me that I have sometimes the chord would stay the same but the bass note moved, and if
a knack for composing melodies that touch people. Also, I had written you werent listening that close you almost wouldnt have noticed. It gives
some music for a quintet on which I played alto, but it didnt feel right. I this relaxed sensation.
PAUL ELLEDGE

Walden also plays tenor on Momentumand its companion release,

MomentumLiveon which a strong quintet comprising Darren Barrett
on trumpet, David Bryant on Rhodes, Yasushi Nakamura on bass and
Kendrick Scott on drums (Eden Ladin plays acoustic piano and John
Davis plays drums on the location date) explores the abstract language of
the Wayne Shorter edition of the Miles Davis Quintet circa 19641970.
He presented this formation on his third Jazz Gallery concert; on the final
two, he moved back to alto, stretching out with the Higher Ground quartet
and with Apex, an open-form trio with bassist Dwayne Burno and drum
mer Eric McPherson that played Wednesday nights at Smalls for several
years during the 90s.
He opened the latter event with a tune that made reference to a rehar
monized Woody n You in the themehe broke up some lines in a
Klactoveesedstene manner, crammed bursts of notes into others, inter
polated quotes from Hot House and other bebop signposts, transitioned
between four on the floor and freebop time feels, all the while following
the harmonic track with authority. After concluding a ballad that began
with a big rubato statement and then proceeded over a gentle calypsonian
groove, he took a minute to reflect on the occasion.
Ive known Dwayne and Eric the longest of anyone in those groups,
Walden said, noting that they had met 20 years ago, when he was attend
ing Manhattans LaGuardia High School of Music and Art with a peer
group that included, in addition to McPherson, such present-day luminar
ies as Abraham Burton, Walter Blanding, Lindner and bebop guitarist
William Ash. Ash heard Walden, then in 10th grade, practicing Charlie
Parker tunes, and brought him to Augies, then an Upper West Side haunt
for New Yorks finest young boppers, to hear Birdologist Jesse Davis.
It floored me; I didnt think anyone walking could play alto that way,
Walden elaborated in our conversation a fortnight later. Every Friday and
Saturday for the next two years, I was standing at the little bannister that
separated the bar from the seating area. Eric and Burno started playing
with Jesse, and the way they played together had me in awe. They didnt
need a continuous boom-boom-boom-boom, ting, ting-a-ding, ting for the
time to be felt. That shaped my vision. I want the hi-hat to be an indepen
dent melodic voice, to sing, to vary its pronunciations. The drummer has
to master the song and shape it. The bassist has to utilize double-stops and
off-beats. You need to understand all the pieces of the puzzle.
F
rom the very beginning of his musical journey, Walden had relied
on himself to launch his own puzzle-solving process. Born in
Miami, hes the first working musician in his family, which moved
north to the Bronx in 1984, the year crack cocaine first hit the Fort Apache
streets. One day he heard his uncle, the elder of the household, respond
ing to the Charlie Parker location recording One Night In Washington.
When my uncle spoke, everyone listened, Walden recalled. But
when Bird played, he shut up. He cosigned, Go ahead, Bird. I hear you!
Wait a minute. He dont listen to anybody. But hes listening to Bird? I
want to do that.
From that moment on, chasing the Bird became Waldens primary pur
suit. Soon after, he found a way to actualize this aspiration when he over
heard his middle school music appreciation teacher talking about what to
do with a cache of instruments the school had recently received. Im from
Florida, so my mannerisms were respectable, and teachers knew I was
serious, so I could talk to them, he said. I asked if they had any alto sax
ophones. She said, Why? Because I want to play one. What do you
know about the alto saxophone? Thats what Charlie Parker played, and
I want to play like Charlie Parker.
Walden paused, imitating the teachers shocked expression. She let
me take the schools alto saxophone. A saxophone player in our building
gave me an instruction book. I studied it like my life depended on it. In
some ways, it did, just because of the ever-present hardships in my neigh
borhood. I taught myself from scratchit showed how to put on the reed
and the mouthpiece, the fingering, how to blow, how to hold your
embouchure. I got good pretty quickly. By ninth grade I could play
Gavotte, which I performed at my audition. After I played, the teachers
asked, How long have you been playing? About a year. How did you

learn to play? Im self-taught. They were like, Oh, my God. I said, No, forget this. I want to play my music.
I think more than my playing, what got me in was my potential, my Still, it took more than a decade for Walden to allow his musical pro
will, my determination. If you have a choice between a kid who had no duction to encompass as broad an emotional and sonic range as he pre
teacher but was able to acquire this amount of skill and a kid who was bet sented last September.
ter than me but was taking lessons I would have made the same choice. I was doing mainstream jazz or classic jazz for so long that it was a
Walden took full advantage of his opportunity, and in 1993, while challenge to do something else wholeheartedly, he said. I owe a lot to
attending Manhattan School of Music, he placed his name into the wider my wife, who encouraged me to realize and embrace and allow myself to
conversation with a first place in a Charlie Parker competition held under be who I am. He also credited his motivation to break the chains and
the auspices of Lincoln Center, earning a guest appearance with Wynton open this window to myself to his cumulative experience with such musi
Marsalis and the Lincoln Center Jazz Orchestra. I never tried to sound cians as Blade, Rosenwinkel and Dave Douglas. They are extremely ver
like Charlie Parker, but you could hear the language or the feeling, he satile, but really live whatever they do. Its codified, researched, well-felt.
said. When I listened to Bird, it was less about digesting and synthesizing Thats what I tried to do at the Gallery.
his sound than picking up the flow, the shape of his lines, trying to under My impetus was that these are the things that inspire me to playits
stand how he constructed them. Even though I learned his tunes, I always what I love, what I want to hear, what Im happy doing. But these efforts
played my originals. are also with hopes of having a booking agent book me into festivals with
After graduation, Walden faced the dilemma of making a living play more than one band.
ing even if I wasnt good enough. He took a job at a food court and quit In addition to the moral support, Waldens marriagehis spouse of
the second day. A position at Tower Records lasted less than a week. I two years is the CEO of a major healthcare corporationhas given him
was expending so much energy helping other people, Id get home at 5:30 sufficient economic stability to invest in the development of his career and
or 6 and be too tired to practice, he said. I made an exclusive commit be more selective in his activity.
ment to music. He found occasional gigs for a band whose personnel It does afford me the distance to pick and choose, he acknowledged.
included, at various points, Mark Turner, whose extended registral range But Ive learned that this can be a good thing as well as a curse. When
he emulated, as well as Barrett, Ryan Kisor and Luis Perdomo. The you dont have to take gigs, and you say, No, I dont want to do that,
venues included Smalls, which had opened that spring. theyre not paying me enough, you can begin to move away from what
I realized that there was a scene there, and I should make my presence the music needs to thrive and flourish. Thats something that I experi
known, he said. Eventually I got to know other people, and one thing enced. I told my wife, I have to have the mindset that I have nothing. Its
led to another. At first I tried four horns, then three horns, then a quintet difficult to be hungry when youre well-fed. But you need to be hungry
for which I hired people like Eddie Henderson, Kevin Hays, Stephen enough to go out to the jam sessions, or get together with some cats and
Scott, Greg Hutchinson and Eric Harland. By the time I got my regular just play. When a call comes, youve got to be ready. And the only way to
night, it was the trio with Dwayne and Eric. We got a small following, and be ready is to be on the gun. Yeah, you can enjoy life, but youve got to
we played my music. For a short period, I played a few standards, but then put in the time. DB

50-67_REVIEWS.EE.qxd 12/15/09 2:28 PM Page 50
50-67_REVIEWS.qxd 12/15/09 4:16 PM Page 51
INSIDE REVIEWS
55 Jazz
57 Blues
59 Beyond
62 Historical
67 Books
Masterpiece AAAAA Excellent AAAA Good AAA Fair AA Poor A
Dee Dee Bridgewater

Eleanora Fagan (19151959):
To Billie With Love From Dee Dee
EMARCY B0013945
AAA1/2
Fifty years ago, Billie Holiday took her leave of this

world. Today there are millions whove never heard
a Holiday record but who still recognize the brand,
the idea, the symbol and what it meansjazzs Judy
Garland, Americas Edith Piaf and so on. Her life was a collec
tion of cursesgender, drugs, class, race, all colliding within an intuitive
artistry that is difficult today to separate from her difficult life.
There is nothing intuitive about Dee Dee Bridgewaters present contribution
to the long shelf of Holiday tributes that have accumulated over the years.
Twelve years after her homage to the sunlit Ella Fitzgerald, she turns here to the
dark side, as it were. Having inhabited Holiday as a character in a much-praised
one-woman show 20 years back, she comes armed with abundant credibility
here. According to Dan Ouellettes notes, she was drawn deeply into
Holidays sound by the shows end. But here she stands her ground, asserts
herself and imposes on some of the material an often caricatured phrasing,
almost as if to make a joke of the object of her love letter.
Consider Fine And Mellow, one of the few blues Holiday made. Dee
Dee shouts and growls hes the lowest man with an unnecessary pseudo
passion that sounds seriously artificial. A few bars later she assumes a total
ly different kind of excess as she sings stripes are really yellow in a
whiny, cackling whimper that makes a contrived mockery of the word yel
low and then mellow. Holiday was content to take her lyrics at a far
more natural emotional volume. Even in her later years, when some believe
she became a self-parody, she never came near the gross excesses
Bridgewater indulges in here.
There are many Bridgewaters, however. None may be subtle, but some
show more restraint when it comes to putting surplus spin on a syllable. A
Foggy Day and Good Morning Heartache are relatively restrained and the bet
ter for it, even if she does occasionally squeeze the lyric just a bit too much; and All
Of Me gives her plenty of opportunity to throw around her remarkable instrumental
virtuosity without jumping any passing sharks. Her dazzling scat pickup from James
Carters soprano solo sounds spontaneously bold, and tells us at the outset that
Bridgewater has no intent of doing an imitation of Holidays vocal methods. The
interaction between the singer and Carter is frequently tight, intense and close.
Carters clarinet has more acid than sugar on Heartache. Bridgewater
opens up Miss Brown To You into a good swinger. The choice of material spans
the Holiday career but is otherwise fairly standard for a Lady Day tributethe usual
Lover Man, Dont Explain, God Bless The Child and an intimate and somber
Strange Fruit. But I give extra credit for her going back to Mothers Son-In-Law,
Holidays first recorded tune from 1933 and one rarely performed these days, even in
Billies name. Bridgewater turns it into a coy little gem, mainly as a duet with bassist
Christian McBride. John McDonough
Eleanora Fagan (19151959): To Billie With Love From Dee Dee: Lady Sings The Blues; All Of Me; Good
Morning Heartache; Lover Man; Youve Changed; Miss Brown To You; Dont Explain; Fine And Mellow; Mothers
Son-In-Law; God Bless The Child; A Foggy Day; Strange Fruit. (52:04)
MARK HIGASHINO
Personnel: Dee Dee Bridgewater, vocals; James Carter, reeds; Edsel Gomez, piano; Christian McBride, bass;
Lewis Nash, drums.
Ordering info: deedeebridgewater.com

Keith Jarrett self, then says, Lets see, as if to say, what can
Testament: Paris/London I follow that with? A jaunty, bluesy swing feel
ECM 2130/31/32
emerges, and while it goes nowhere as an impro
AAAA visation, the audienceas alwaysrewards it
with rousing applause.
Solo concerts by Keith Jarrett, like The London concert starts off dark but
those of Sonny Rollins, present impro moves quickly to a spirited, nicely developed
visation as an epic, heroic act, suggest gambol followed by a grace-noted waltz that is
ing a species of idealism that seems to vintage Jarrettpure songthen an astonish
have all but vanished from our world. ing, two-handed excursion that skitters up and
In that sense, they are especially wel down the keyboard so fast you would swear it
come. That said, one also wishes had been played by two guys. Ditto for sections
(heresy of heresies!) that Jarrett (and of the delightful Part Nine, which riffs on a
ECM) were more selective in their bebop figure, its two lines gradually overlap
recorded representations of these con ping. Part Six offers another gorgeous waltz,
certsin this case, one in Paris and a hymn like, with perfect pillows of harmony for
very long, not as consistent one in London The song types will be familiar to fans the melody to lay its head on. Eleven suggests a
three CDs, in all. Because the truth is that while from introspective explorations to throbbing Bill Evans ballad mood, yearning and soaring at
Jarrett often ascends to majestic heights of cre vampsthough there is a lot more dense, multi- once. The real and earnest passion of this piece
ative imagination, he can also be downright tonal abstraction than usual. The mood, in Paris stands in contrast to Part Eight, which feels
pedestrian. No amount of moaning and sighing particularly, is morose and tinged with regret, a decidedly sentimental, even maudlin. Several of
can transform an utterly plain and predictable feeling occasioned, Jarrett explains in his notes, the cuts in London get started OK but dont real
melodyone that would elicit a shrug, were it by the recent breakup of his marriage. Slow, ly go anywhere, though sometimes just the
played by anyone else (or under different cir sostenuto melodies rise up from the twisted har moodas with the bagpipe-ish drone of Part
cumstances)into something brilliant. monies, shimmering with nakedly exposed emo Tenis satisfying enough.
But its nevertheless a great pleasure to hear tion. In the Paris concert, I especially responded Jarrett acknowledges in his notes how diffi
Jarrett come back to this format. He is clearly to the swimming flurries and ragged tremolos of cult it is to create, in the moment, music of last
enjoying himself as much as the audience adores Part Three, the skittering abstraction and stacca ing value and brand new. Its not always clear
him, and his playing is never less than technical to bursts of Part Four, the thematic tenacity and here that he achieves that. But often enough.
ly brilliant, in some places absolutely stunning. inner voices of Part Five, and the mind-boggling Paul de Barros
No matter what he plays, Jarrett manages to con speed and accuracy of Jarretts two-handed
vey a sense of intention so compelling its diffi unisons on Part Eight. Testament: Paris, Parts IVIII; London, Parts IXII. (2:42:18)
Personnel: Keith Jarrett, piano.
cult not to be caught up in its comforting After Part Five, Jarrett, seeming to have
momentum. played himself into good cheer, chuckles to him Ordering info: ecmrecords.com
Jon Gordon Hes always been an in their decorum.

Evolution evocative craftsman; Gordon and Charlap have worked alone
ARTIST SHARE 0101 early studies with Phil together previously; their 2001 Contrasts illus
AAA1/2 Woods seem to have trates their rapport. The two pieces they share on
nurtured his blend of Evolution are named after the saxophonists
Appreciating Jon pretty and provocative. sons. Like Weather Reports Blackthorn Rose
Gordons playing Proof: There are plenty or Lacy/Waldrons Smada, they bring an elan
has always been of moments on this disc to what are essentially ruminative performances.
easy. The saxophon that find him staunchly The buoyancy comes from within, and both
ist won the 1996 moving the music for- pieces gleam with the playful energy the pair
Thelonious Monk ward while still holding generates.
Competition because out a bouquet of roses. Ultimately, Evolution centers on that kind of
of his architectural That unique blend is spark. The writing isnt the most distinctive
lines, imaginative there at the start. After a youve ever heard, but the groups coordination
flow and cheery pithy prelude, Gordon supports the rich arrangements with true sensi
ardor. All of those elements have matured since lets his alto set the mood of the simmering tivity. And at the heart of that dynamic, Gordon
that time, and these days a new attributerest nonet-plus-strings title piece by blowing a swirl leads the waysometimes wistful and often
less experimentationhelps define his music. of ideas into the air. Its trajectory is keenly coor wily. Jim Macnie
Evolution reads like a suite, placing Gordon dinated with drummer Mark Ferbers prancing
Evolution: Prelude (Grace); Evolution; Shane; Currents; Bloom;
in the center of a shifting string of ensembles. As and pushinga tack that guides all of One For Liam; Contemplation; Veil; Individuation. (63:48)
each of the nine pieces presents itself, the bosss Evolutions large ensemble tracks. Currents, Personnel: Jon Gordon, alto saxophone, soprano saxophone (2,
duties change a bit. Sometimes hes the lead an album centerpiece, is built on a staircase 3, 4), piano (1); Bill Charlap, piano (3, 6); Sara Caswell, Andie
Springer, violins (1, 2, 7); Jody Redhage, cello (1, 2, 7); Dave Smith,
voice of a brass and reeds nonet. Sometimes theme, and it picks up momentum as the various trumpet (2, 4, 5, 8, 9); John Ellis, tenor saxophone (2, 4, 5, 8, 9);
hes involved in a duet with Bill Charlap. soloists step forward. Trombonist Alan Ferber Doug Yates, bass clarinet, (2, 4, 5, 8, 9); Alan Ferber, trombone
Sometimes he bolsters fully composed minia proves how impressive a measured approach (2, 4, 5, 8, 9); Nate Radley, guitar (2, 4, 5, 8, 9); Sean Wayland,
piano (2, 4, 5, 8, 9); Mark Clohesy, bass (2, 4, 5, 8, 9); Mark Ferber,
tures performed by a string trio. If theres a can be. Guitarist Nate Radley and bassist Matt drums (2, 4, 5, 8, 9); Rogerio Boccato, percussion (2, 4, 5, 8, 9).
through line that connects the program, its the Clohesy take equally thoughtful turns, issuing
vivid lyricism that spouts from Gordons horn. statements both pithy and precise. Their value is Ordering info: jongordon.artistshare.com

The HOT Box

CDs CRITIC S John
McDonough
John
Corbett
Jim
Macnie
Paul
de Barros

Dee Dee Bridgewater
Eleanora Fagan (19151959) AAA1/2 AAA1/2 AAA1/2 AA
Keith Jarrett
Testament: Paris/London AAAA1/2 AAAA AAAA AAAA
Jon Gordon
Evolution AA1/2 AAA AAA1/2 AAA
Matthew Shipp
4D AAA AAA AAA1/2 AAA
Matthew Shipp
4D
THIRSTY EAR 57192.2
Critics Comments
AAA
Matthew Shipp, 4D
Never having been too enthusiastic about pianist A churning solo showcase of percussive inflation and spidery, corkscrew switchbacks. Its ethereal
Matthew Shipp, I must admit that Im enjoying (Teleportation), smothering (Frere Jacques) and static (Stairs teeter-totters endlessly between two
him a bit more these days. Might have been the chords), as Shipp eschews form but not coherence, visiting the real world interpretating several standards.
Stream of consciousness improvisation. John McDonough
sheer volume of his output, the false cadence of
his broken retirement at age 38 (shades of Jay- Mathematical projections suggest there is 90 percent more matter and energy in the universe than we per
ceive, and Shipp, per his song titles, seems to be operating in that realm of dark matter. When hes decon
Z, Prince, or any professional prizefighter), or structing bebop or ringing the whole piano with gigantic, abstract clumps and thumps, skitters and dribbles,
the avalanche of hype that he received 20 years Im right there with him. But his rumbling sabotage of familiar tunes loses me entirely. Paul de Barros
ago, but his music often didnt seem as interest
From Frere Jacques to Autumn Leaves the program helps illustrate the pianists geniality. But nothing
ing as what surrounded it. could thwart the singular nature of his keyboard technique, and the real take-away from this recital is the
Im still not absolutely convinced, but there rigorous design sense that Shipp applies to this blend of standards and originals. Novel and memorable.
are things here to enjoy. Shipps new solo studio Jim Macnie
release stays mostly in the middle emotional Jon Gordon, Evolution
range, never creating much dramatic arc but
Masterfully woven, especially the strings and the blends of wordless vocal and reeds, this moody, mysteri
investigating each tracks idea rather exhaustive ous, introspective music really soars when Gordons golden soprano or alto dances with Bill Charlaps piano
ly. Somehow, he manages to maintain tension or Alan Ferbers trombone. But, overall, the album feels a little overthought and academic. Paul de Barros
without resorting to traditional devices. Shipp
doesnt seem particularly interested in dynamic Shane is a graceful, quietly plaintive thematic muse on soprano. One For Liam finds Gordon in lithe and
agile form on tenor. Both are duets with Charlap, and probably Gordons best work in a program of orches
variation, and theres a sameness to the touch on trations that are lovely, well crafted but not especially penetrating or memorable. A good but minor pastiche
each piece. Even on more stately cuts, like his of moods. John McDonough
reading of the hymn What A Friend We Have
A nicely varied program with mixed results, all very jazz conservatory in feeling. Lovely sweeping alto solos
In Jesus, hes got a plodding energy, though he and serious strings, ambitious arrangements that dont always roll along featuring some color choices that
manhandles the main theme from Autumn are alternately inventive and untoward (unison soprano sax and voice, for instance). John Corbett
Leaves somewhat less than he did with the
Dee Dee Bridgewater, Eleanora Fagan (19151959): To Billie With Love From Dee Dee
David S. Ware Quartet. Not so the final track, a
brutal mauling of Greensleeves, done in the If her singing was even a tad more flamboyant, it might be too much. But from her goading Christian
McBride on Mothers Son-In-Law to almost every iota of scatting she attempts, its a sweet balance of
same pulverizing manner that Ware and compa chops and mood. Vivid, vivid stuff. Jim Macnie
ny liked in the 90s.
This variety of ultra-dramatic, theatrical jazz tribute is prone not to work, particularly on record. But having
Shipps own compositions and improvisa embodied this material for such a long time, Bridgewater completely owns it, in part because she doesnt go
tions continue a line of inquiry that involves for an impersonation, instead approaching Lady Days songbook in her own over-the-top, Sarah Vaughan
modest amounts of counterpoint, darkly disso ish way. Thrills and chills from McBride, Carter, et al., as expected. John Corbett
nant passages, brief repetitive ideas (listen to Bridgewater did well by Ella, but this bold, theatrical re-imagining of Lady Day is overcooked and over the
him unpack one of these on Equilibrium), top. Whats up with the hyper-inflected words, wide vibrato and melodramatic delivery? Sounds more like
thunderous shades of McCoy Tyner and a Dinah Washington or Della Reese than Billie. Paul de Barros
healthy avoidance of his earlier habit of ham Keith Jarrett, Testament: Paris/London
mering on the sustain pedal. Its not a record that
Music like this probably couldnt be made except by someone with messianic self-confidence, which leads
jumps out of the speakers, but 4Ds highlights Jarrett to present every romantic arpeggio with a monumental sense of import. Perhaps this multi-disc set
certainly repay close attention. John Corbett is particularly noteworthy, out of his many multi-record releases, not only for the personal narrative that
accompanies it, but for the startling directness and earthy quality of the raucous third CD. John Corbett
4D: 4D; The Crack In The Pianos Egg; Equilibrium;
It seems a bit at odds to use the words focus and range in a 51-word review, but here, as the maestro
Teleportation; Dark Matter; Stairs; Jazz Paradox; Blue Web In
sustains the breadth of his sprawling solo vernacular, he also tightens up the design of the pieces them
Space; What Is This Thing Called Love?; Autumn Leaves;
selves. It generates pith and power, and reveals some mind-boggling intricacies. Jim Macnie
Sequence And Variation; Frere Jacques; Prelude To A Kiss;
What A Friend We Have In Jesus; Primal Harmonic;

Immersed in the rituals and deportment of classical keyboard, Jarrett meditates on its imperial vocabulary
Greensleeves. (59:57)
much as Sid Caesar riffed on Shakespeare in mock-Elizabethan flights of double talk. Caesar was brilliantly
Personnel: Matthew Shipp, piano.
funny, and Jarrett is often brilliantly inventive. His notes also reveal a talented autobiographer. Stay in touch
Ordering info: thirstyear.com with that caterer. John McDonough

Steve Lantner contrasted starkly against

Quartet the long, jittery fifth
Given: Live In movement that culmi
Mnster
HATOLOGY 663
nates in an overly long
drum solo. Chase switch
AAA
es to baritone for the
Pianist Steve Lantner closing movement, pro
first came to notice viding additional contrast
playing microtonal between his breathy alto
music with his men voice and the harsh,
tor Joe Maneri and metallic tone he favors
Maneris son Mat, on the larger horn.
but for the past four Lantner is a most gener
years his quartet has pursued more open-ended ous leader, allowing himself only a few
music. His only direction to his bandmulti moments alone in the spotlight, but he fills the Jack Cortner Big Band
reedist Allan Chase, bassist Joe Morris and harmonic space powerfully behind Chase.
Sound Check
drummer Luther Grayis to play within a pre The dynamic range covered in this perfor JAZZEDMEDIA 1046
determined intervallic structure. The resulting mance is wide, and the flow of the improvisation AAAA1/2
47-minute journey dips and soars, gallops follows an interesting path. The band is less dis
headlong and twists back on itself. tinctive when at full throttle, losing some of its Prior to arranger/composer Jack Cortners recent
The piece gives Chase the opportunity to personality beneath the rush of notes of the first, Fast Track album, few jazz listeners knew his
explore extensively on soprano, alto and bari third and sixth movements, but there is enough name. The Oberlin graduate went into
tone saxes. His interlude on alto during the variation during this three-quarter hour show Broadway show work in the 1960s but often
fourth movement represents the highlight of the that the overall impression is of a band that lis wrote for bands. That albums critical reception
performance, as he and Lantner evolve a slow, tens hard and thinks fast. James Hale affirmed his facility and instincts. With this wor
wistful theme for three minutes. Coming on the thy follow-up, he proves that the approbation
heels of a taut, expressive solo by Morris Given: Live In Mnster: Parts 16. (47:30)
was no fluke.
Personnel: Steve Lantner, piano; Allan Chase, alto, baritone and
including some near-flamenco fingerwork that soprano saxophone; Joe Morris, bass; Luther Gray, drums.
As a jazz orchestrator, theres nothing partic
reflects his background as a guitaristthis gives ularly innovative about Cortner. Thats not a
the suite a powerful emotional center, which is Ordering info: hathut.com
pejorative observation. In absence of sonic
clouds, free-for-all collective improvs, tricky
time signatures or gimmicks, Cortner writes
In The Country Andreas Mjs (the Jaga melodically for the horn sections in ways that
Whiteout Jazzist member who plays intersect gracefully and resolve beautifully. His
RUNE GRAMMOFON 2086 guitar, vibraphone and style might be placed somewhere between J.J.
AAA marimba over the course of Johnsons brass-happy charts and Gary McFar
the entire album) changes lands rolling swing.
When In The Country the complexion of the mate Trumpet ace Marvin Stamm is the featured
released its stunning rial. Bassist Roger Arntzen soloist on this program of mostly standards.
debut album This and drummer Pl Hausken Hes a steely marvel on bright tempos, maintain
Was The Pace Of My provide an unwavering ing a burnished tone regardless of register and
Heartbeat back in rhythmic platform, playing caroming off the band on swingers like Strike
2005, they were cele with an unflinching simplic Up The Band. Stamms stentorian solos con
brated for being the ity that almost sounds more trast nicely with Jon Gordons loosey-goosey
first jazz act on the difficult than if theyd opted alto on Cantaloupe Island.
eclectic and daring for ever-shifting grooves. Cortners own Sound Check channels
Norwegian record Qvenild is clearly a pop Basie, right down to Jay Berliners Freddie
label Rune Grammofon. But since then this adherent, singing in a deeply personal, unpol Greene rhythm guitar. The swirling brass and
piano trio led by Morten Qvenild has progres ished whisper on Mother. There are some reeds on Yesterdays is a masterful display of
sively blurred genre distinctions with its music, heavily improvised passages, such as the gor craft. Cortner cant quite lift Juan Tizols
shaping the contemplative, quietly lyric com geous, fragmented exposition that emerges Caravan out of the warhorse column but
positions of its leader in ways that give no play suddenly from the stately grace of Doves Cinema Paradiso Love Theme (a nice choice)
to idiomatic expression. On its third album, Dance, but a couple of Qvenilds solos are touches emotionally with feathery textures.
Whiteout, you can hear jazz language at taken a synthesizer that reeks of 80s nostalgia Kirk Silsbee
workespecially in the way Qvenild spreads and has a spoiling effect. Still, this is another Sound Check: Strike Up the Band; Speak Low; Sometime Ago;
notes with the patience and sense of space bold step by In The Country toward a sound Cantaloupe Island; Sound Check; Yesterdays; Caravan; Cinema
associated with Paul Bley or Keith Jarrettbut thats both instinctual and beautiful, stylistic Paradiso Love Theme; La Mode; You And The Night And The
Music; Its All Right With Me. (59:20)
these melodic vignettes certainly dont sound orthodoxy be damned. Peter Margasak Personnel: Marvin Stamm, Bob Millikan, Frank Greene, Dave
like jazz. Gale, Tony Kadleck, Danny Cahn, Bud Burridge, trumpets; Jim
The seven meditative pieces here unfold Whiteout: From the Shore; Kungen; Doves Dance; Ursa Major;
Pugh, Keith OQuinn, Tony Studd, Birch Johnson, trombones;
Dead Water; W.A.R.M.; Mother. (73:56)
Paul Faulise, bass trombone; Lawrence Feldman, Jerry
very slowly, each pretty phrase transmuting in Personnel: Morten Qvenild, grand piano, synthesizers, Fender
Dodgion, Jon Gordon, alto saxophones; Dave Tofani, Dennis
minimalistic increments. Sometimes the Rhodes, vocals; Roger Arntzen, double-bass, vocals; Pl
Anderson, Bob Malach, tenor saxophones; Kenny Berger, bari
pianists lines are altered by just a note or two Hausken: drums, Dynacord Percuter, percussion, vocals;
tone saxophone; Jeff Mironov, Jay Berliner, guitar; Bill Mays,
Andreas Mjs: guitars, vibraphone, programming, percussion.
piano; Jay Anderson, bass; John Riley, drums.
with each cycle, and sometimes the comple
mentary harmony delivered by guest musician Ordering info: runegrammofon.com Ordering info: jazzedmedia.com

JAZZ by Dan Ouellette
Birli Lagrne:
Djangomania Reinhardt
transmission
In celebration of the 100th birthday anniver
sary of Django Reinhardt on Jan. 23,
Dreyfus Jazz has served up a bounty of
Gypsy-jazz-oriented discs by the most
renowned guitarists upholding the tradition
as well as a 29-year-old Roma who has
done his six-string homework.
Various Artists: Generation Django
(Dreyfus Jazz 369432; 51:38, 53:43) AAAA1/2
In this excellent compilation, Dreyfus Jazz
offers 27 tracks on two CDs that run the
DREYFUS JAZZ
gamut from the most respected Reinhardt
musician scholars (including Birli Lagrne
and Dorado Schmitt) to the upstarts who
turn a corner on hot swing. There are guitar Argentinian Luis Salinas is a fine guitarist
duos, trios, quintets (a blazing take on Les at center stage in this two-CD live concert,
Yeux Noirs, led by Lagrne) and even a but his accompaniment suffers, especially
rousing 12-guitar romp into Minor Swing. with the omnipresent too-smooth key
Revelations include guitarist Adrien Moig, board sheen. While he favors the mellow,
who gives a country steel guitar flavor to romantic course, Salinas also gallops on
Dinette, accordionist Marcel Loeffler, who the buoyant Para Troilo Y Salgn and
goes it solo on Montagne Ste Genevive, delivers fire-in-the belly guitar runs on the
and gritty-voiced vocalist/guitarist Latin-jazz-influenced original La
Sanseverino on La Cigale Et La Fourmi. Salsalinas. The concert ends with the
Less impressive is Reinhardts late son midtempo Candombe, then catches fire
Babik on a smooth original recorded in in the tempo-sped Candombe Bis.
1988. Django Reinhardt himself and Rocky Gresset: Rocky Gresset (Dreyfus
Stphane Grappelli appear on the finale, Jazz 369422; 50:08) AAA1/2 In his debut CD
Blues For Django And Stphane. that owes a debt of gratitude to Reinhardt
Birli Lagrne: Gipsy Trio (Dreyfus Jazz as well as Wes Montgomery and George
369272; 46:58) AAAA The guitarist most Benson, Rocky Gresset makes an auspi
widely considered to be the virtuosic cious showing. While the song selection
authority on all things Reinhardt, Lagrne feels dated at times, Gresset takes a hot zip
plays the maestros music traditionally and through Cole Porters Just One Of Those
also turns left with a modern tilt, stretching Things, goes smooth-toned on Wes
beyond the hot swing songbook. His deliv Montgomerys Jingles and pays tribute
ery is muscular in some pockets, delicate in to his Roma hero with a torrid swing
others. On this very good trio album (with through his Webster. Especially impres
Django expert Hono Winterstein on rhythm sive is Gressets fine rendering of Michel
guitar), Lagrne swings George Harrisons Petruccianis Looking Up. Violinist Costel
Something, flames through Tiger Rag Nitescu contributes to the Django-
and pays homage to producer/label owner Stphane vibe.
Francis Dreyfus on the impassioned Sir Sylvain Luc: Standards (Dreyfus Jazz
F.D. One of the best tracks is Lightouse 369462; 42:04/51:14) AAA1/2 In the most
Blues where Lagrnes guitar lines waft un-Djangoesque offering of the lot,
above Diego Imberts bowed-bass growl. Reinhardt specialist Sylvain Luc delivers a
Dorado Schmitt: Family (Dreyfus Jazz sumptuous, modern-sounding, 24-song,
369442; 52:23) AAAA Even though guitarist two-CD collection of contemporary and
Dorado Schmitt, a well-regarded Django dis classic standards. The spotlight is on Luc
ciple, leads the way, what makes this family throughout as he uses his plectrum to
affair swing with special gusto is accordion sketch single-note renditions of a range of
ist Marcel Loefflers contributions. There is a material, including a hushed Laura, pep
sprinkling of Reinhardt covers, but the origi pery Berimbau, serrated-edged Shout,
nals carry the day, including the ebullient playful Satin Doll and dreamy The Lady
Bleu Citron. Top-drawer Schmitt composi Wants To Know. Luc ends the show with
tions include the lively Davids Swing and an unusual doubleheader of the gently bal
the gracefully swaying Miro Django. ladic Yesterday followed by a short take
Luis Salinas: En Vivo En El Rosedal of Giant Steps at bop speed. DB
(Dreyfus Jazz 369352; 44:50, 70:34) AAA Ordering info: dreyfusrecords.com

Bill Dixon Bynum, Graham Haynes, Steven

Tapestries For Haynes and Rob Mazurek mostly
Small Orchestra wield cornets throughout the pro
FIREHOUSE 12 04-03-008 ceedings, their connection to
AAAAA Dixon is palpable, and their fideli
ty to the parameters of a given
Tapestries For Small composition and Dixons timbre-
Orchestra is the most driven lexicon yields an ensemble
persuasive, compre sound that is anything but brass
hensive case for Bill heavy in a traditional sense.
Dixons iconic status Additionally, Mazurek and
since November 1981 Graham Haynes electronics
(Soul Note) and perhaps even his 1966 land comingle with Dixons to create additional lay
mark orchestra album, Intents And Purposes ers to the music without saturating the subtle
(RCA). The case in chief is presented by Dixon shades established by the acoustic instruments.
himself, who gives an incisive prcis of his The riveting color palettes are equally dependent
esthetic during the course of the 30-minute on the engaging contributions of cellist Glynis Poncho Sanchez
DVD documentary that accompanies the col Lomon, bass and contrabass clarinetist Michel
Psychedelic Blues
lections two CDs. The most illuminating, Cte, bassist Ken Filiano and percussionist CONCORD PICANTE 31526
koan-like clip from the footage shot at the Warren Smith. Filiano and Smith also fuel the AAA
three-day recording session is his insistence collections more robust passages almost incon
that musicians must fully know what they are spicuously; they focus on moving the ensemble Renowned conguero, percussionist and band-
abstracting to successfully realize the music. rather than red-lining the intensity. leader Poncho Sanchez does more than keep
Though they tend to last longer than 10 min With Intents And Purposes decades out of hope (and tradition) alive; hes practically a
utes, the eight performances are based on small print and Dixons substantial Soul Note catalog one-man Latin wrecking crew.
amounts of composed material honed over hitting a nadir, availability-wise, Tapestries Sanchezs 26-plus recordings uphold the
hours of rehearsal, a process in which Dixon For Small Orchestra may well become the fevered Latin traditions of Mongo Santamaria
blends the roles of teacher, conductor and com definitive Bill Dixon recording for a new wave and Joe Cuba while extending the genre with
poser. The ensembles in the master takes exude of listeners. Bill Shoemaker modern arrangements, vibrant performances
specificity of color, texture and dynamics, Tapestries For Small Orchestra: Disc One: Motorcycle 66: and a contemporary Latin approach. Sanchezs
which propel the pieces as much as explicit use Reflections & Ruminations; Slivers: Sand Dance For Sophia; earlier records, particularly Papa Gato and
of harmony and rhythm. Dixons empathetic, Phrygian II; Adagio: Slow Mauve Scribblings (56:37). Disc Two: Chile Con Soul, reveled in pungent grooves,
Allusions I; Tapestries; Durations Of Permanence; Innocenenza
dedicated nonet then builds improvised spaces (52:13). DVD: Bill Dixon: Going To The Center (30:57). exposing a new generation to the beauty of
to his exacting standards; though it occasional Personnel: Bill Dixon, trumpet, electronics; Taylor Ho Bynum, hard-charging Latin soul. But recently, a busi
ly spikes in intensity, the music generally cornet, flugelhorn, bass trumpet, piccolo trumpet; Graham ness-as-usual approach dominated Sanchezs
Haynes, cornet, flugelhorn, electronics; Stephen Haynes, trum
remains compelling through sustained nuanced pet, cornet, flugelhorn; Rob Mazurek, cornet, electronics; Glynis
prolific output.
interplay and delicately negotiated tensions. Lomon, violincello; Michel Ct, contrabass clarinet, bass clar Psychedelic Blues is billed as a return to his
This collection is also the best document to inet; Ken Filiano, bass, electronics; Warren Smith, vibraphone, former fiery style, honoring Sanchezs tradi
marimba, drums, tympani, gongs.
date of the impact Dixon has had on subsequent tional Latin jazz roots, claims the press
generations of trumpeters. Though Taylor Ho Ordering info: firehouse12.com
release. And after two initial tracks of pop
blandness (Cantaloupe Island, Crisis), this
is indeed the case. Theres a degree of grit, spit
Mark Buselli the material. That said, theres and fire that was sorely lacking on recent
featuring the hardly anything particularly albums, as if this time the band came to play,
Buselli-Wallarab interesting that stands out. As not just craft slick tunes for radio exposure.
Jazz Orchestra exemplary, elegant and clean Avoiding obvious pop covers, Sanchez and his
An Old Soul as the music is, it sounds long-time band crank mambos, montunos and
OWL 00130 remarkably antiseptic and easi mozambiques in the music of John Coltrane,
AA1/2 ly slips into the background. John Hicks and Horace Silver, along with
John Murph Sanchez originals. And while the studio envi
Indeed old is the opera ronment can never replicate the feel of a live
An Old Soul: My Shining Hour; 135 B.
tive word on this posh big Chiswick; If You Never Come To Me; Latin club performance, Psychedelic Blues
band outing that finds trumpeter, arranger and Angel Eyes; An Old Soul; Chelsea Bridge; Open Up Your Heart; comes close. The band exercises restraint
conductor Mark Buselli combing through some If I Should Lose You; Artificial Bebop; Fables Of Faunus; When throughout, but the real buzz is in the details:
I Fall in Love. (63:27)
nice jazz chestnuts such as My Shining Personnel: Mark Buselli, arranger, conductor, trumpet, flugel
subtly percolating rhythms, intense arrange
Hour, Chelsea Bridge and If I Should Lose horn; Tom Meyer, Mike Stricklin, Rob Dixon, Hed Boyd, saxo ments, powerful soloing and the ever-present
You, as well as some nostalgic originals such phones/woodwinds; Joey Tartell, Derrick Gardner, Mike prodding of Sanchezs two-fisted attack.
Hackett, trumpets, flugelhorns; Celeste Holler, horn; Brent
as Tom Molters Artificial Bebop and three Wallarab, Loy Hetrick, Jason Miller, Richard Dole, trombones;
Ken Micallef
originals: 135 B. Chiswick, An Old Soul Luke Gillespie, piano; Sandy Williams, guitar; Jack Helsley, Psychedelic Soul: Cantaloupe Island; Crisis; Psychedelic Blues;
and Open Up Your Heart. acoustic, electric bass; Bryson Kern, drums; Kelleen Strutz, Willie Bobo Medley; Grand Central; Slowly But Surely; Silvers
vocals; Man Rizner, David Brooks, Debbie Rodin, Kara Day- Serenade; The One Ways; Delifonse; Con Sabor Latino. (50:20)
The arrangements are pleasant, as are the
Spurlock, Lisa Brooks, Linda Yu-Picard, Chim Mi Kim, Mary Personnel: Poncho Sanchez, congas, percussion, lead vocals;
solos and the overall execution. But the overly Kothman, violins; Amy Brandfonbrener, Kathy Hershbeger, vio David Torres, piano, Hammond; Javier Vergara, tenor; Ron Blake,
erudite posture of the material leaves you las; Marje Hanna, Nancy Smith, celli; Joe Everett, double bass; trumpet, flugelhorn; Francisco A. Torres, trombone; Tony Banda,
wanting some rhythmic roughage. Theres Deno Sanders, drums; Kevin Kaiser, percussion. bass; George Ortiz, timbales; Joey De Leon bongos, percussion.
nothing particularly bad or off-putting about Ordering info: owlstudios.com Ordering info: ponchosanchez.com

BLUES by Frank-John Hadley
Samba Toure: Saharan exuberance

Going Global
Blues physicist Albert Einstein postulated
that the most beautiful thing we can experi
ence is the mysterious. It is the source of all
true art and science. True enough for the
mystery in these recent releases.
Doug Cox & Salil Bhatt: Slide To Freedom
2 (NorthernBlues 0053; 51:00) AAAA1/2 This
exceptional second album, a paragon of
consistency from start to end, continues to
explore two adventurous musicians fascina
tion with overlapping lap-style slide guitar
instrumentation. Ramkumar Mishras tabla
with Canadian bluesman Coxs Resophonic
PHILLIPE SAN MIGUEL

guitar and Indian classical musician Bhatts
veena-lute unite in the creation of a sound of
originality and wonder. Note the tension in
the clash of blues timing and Carnatic tabla
rhythms. Forgiving? With his engaging naturalness, vocals in the richly cadenced Sognhai and
Ordering info: northernblues.com Youre The Difference satisfies as his Bambara languages. The mood is exuber
Boo Boo Davis: Aint Gotta Dime (Black & salute to a loved one. ant, sensuous and charitable, with grooves
Tan 034; 65:40) AAA Five albums into a Ordering info: electrofi.com shaped by his electric guitar, the spry, urgent
Chicago blues partnership with Dutch gui Sugar Blue: Threshold (Beeble Music 802; bass of Oumar Barou Dialto and the other
tarist Jan Mittendorp and three with drum 71:27) AAA Usually on tour in Europe, members of his Fondo band. Tamani,
mer John Gerritse, Davis continues to sing Sugars long been a harmonica player of named for the talking drums featured, and a
and to wail his harmonica with the urgent effortless fluidity and lyricism (though sub dozen more tunes (most written by Toure)
expressive qualities of a man who grew up ject to bouts of overplaying). He rests a good make sure connections to the blues. The
in the harsh, poor Delta of the 1940s. On one amount of the appeal of his latest album on adornment of phrases and intonations make
or two helter-skelter takes in the Utrecht stu his singing. Frankly, his ambition exceeds this fascinating music his own.
dio, the trio lashes out with ferocious, his vocal abilities, but the man offers real dis Ordering info: worldmusic.net
stomping raunchiness that culminates with plays of feeling. An eclectic writer, Sugar Geoff Achison: One Ticket, One Ride
Theres A Roach Crawlin (Down My veers from a New Orleans Christmas num (Jupiter 2 Records 340.2; 59:05) AAA1/ 2
Back). ber (Noel News) to social-commentary Achison, back home in Australia after two
Ordering info: booboodavis.com funk (Stop The War) to a light, jazzy years in Atlanta, has the skill and the smarts
Abaji: Origine Orients (Absilone 001; homage to James Cotton (Cotton Tree) to keep his blues-rock and funk well apart
53:59) AAA1/2 The main interest of Origine to with hot covers of Junior Wells Messin from the overindulgent, garden variety sort.
open-minded listeners lies in virtuosic one- With The Kid and Elvis Presley-identified He shows himself to be a resourceful vocal
man-band Abajis presentation of a singular Trouble. ist, contorting his tone to sound like no one
trans-Mediterranean blues. According to Ordering info: sugar-blue.com else, and as a guitarist he has technique and
the Lebanon-born musicians album notes, Tinariwen: Imidiwan-Companions (World self-discipline. His melodic writing is as
this alchemical meld of Armenian, Syrian, Village 468096; 62:37) AAAA After record assured as his vocals and musicianship, with
Greek, Turkish, Franco-Lebanese and ing three globally acclaimed albums in a clever lyrics on finding ones way in a mad
African-American musical elements address Malian or European studio, singer-guitarist cap world.
es emotional states of grace and beauty. His Ibrahim Ag Alhabib and his fellow Berber Ordering info: geoffachison.com
limber voice, ranging from ridiculous Tiny nomads recorded their new album literally in Mahsa Vahdat & Mighty Sam McClain:
Tim-high to bottom-of-cistern low, is heard the great Saharan desert, connecting their Scent Of Reunion (Kirkelig Kulturveksted 351;
in five languages. deep-grooving blues in unexplainable ways 55:11) AAAA Singers McClain and Vahdat
Ordering info: abaji.net to the arid, desolate beauty of their sur have formed a peculiar but winning alliance
Harrison Kennedy: One Dog Barkin roundings. Lyrics sung in Tamashek (English with this Norwegian album of love duets
(Electro-Fi 3414; 54:11) AAA1/2 About four translations provided) lay bare pained across civilizations. McClains long been one
decades after his moment of pop-r&b star human emotion with a hard-hitting vitality. of our leading soul bluesmen and his emo
dom with the Chairmen of the Board, Bonus disc: an interesting 30-minute film tional authority is irrefutable; he has the rare
Kennedy has settled into a polished but not directed by Jessy Nottola. ability to squeeze every ounce of his being
too polished style all his own. His voice is Ordering info: tinariwen.com into a line of a song, even when Norwegian
one part gospel ecstasy and two parts blues Samba Toure: Songhai Blues: Homage To poet Erik Hillestads romantic lyrics are mush.
grit, with shadings and twists galore. The Ali Farka Toure (Riverboat 1054; 67:25) As a foil to McClains deep, bluesy resonance,
false soprano he slips into for Cry For AAAA A protg of the late regal bluesman Iranian Vahdats beautiful Farsi singing of
Mother Africa and other original songs is Ali Farka Toure, Samba Toure creates hyp words from poet Mohammad Ebrahim Jafari
plenty effective, and so is his soul-baring cry notic evocations of the Sahara and town life holds a childlike purity. DB
over romance gone wrong in What About on original songs that feature his alluring Ordering info: kkv.no

Joe Morris engagement with Taylors ideas

Colorfield about structure and process; and
ESP 4056
the acrid blue tinge to Morris
AAAA guitar playing at the beginning
of Purple Distant is a virtual
Now halfway through homage to Lyons.
his 50s, Joe Morris is One must dig deeper to
utterly secure in his locate the musics analogous
decisions as a com relationship to painting. While
poser, improviser, the first thing that hits you about
bandleader, bassist a Rothko canvas is the immensi
and guitarist. But one ty and totality that the shape and
wonders if his encounter with Anthony Braxton color exert, what stands out about Colorfields
on Four Improvisations (Duo) 2007 (Clean music is the detailed construction of Morris
Feed) caused him to rethink his philosophy about intricate single-note figures and Lantners dis Justin Vasquez
self-documentation. Since its release he has cursive elaborations. This record asks more of Triptych
appeared as a leader or equal collaborator on six the listener than Morris comparatively stream TRIPTYCH WORKS
records, each featuring a different combo operat lined quartet recordings on Hatology and Aum AAA
ing within a distinct set of esthetic parameters. Fidelity. But just as youll only perceive a paint
The titular school of painting, as well as ings subtle variations of tone and hue after With most self-released debut solo projects,
Cecil Taylors work in the 60s and 70s with extended contemplation, the closer you listen, theres no doubt left about the personality of the
alto saxophonist Jimmy Lyons and drummers the more Colorfields music deepens, expands star player. Its the name of the game. But, as
Sunny Murray or Andrew Cyrille, inform and ultimately envelops you. Bill Meyer time runs down on a hard-charging version of
Colorfield. The latter influence is easy to spot. Colorfield: Transparent; Silver Sun; Purple Distant; Bell Orange
Stella By Starlight, listeners may still find

Luther Grays playing here is all about surge and Curves. (50:05)
themselves wondering if they really know saxo
pulse; Lantners incremental development of Personnel: Joe Morris, guitar; Steve Lantner, piano; Luther
phonist Justin Vasquez. Sure, youll have a bet
tiny motifs into dense but carefully defined Gray, drums.
ter sense of harmonica wizard Grgoire Maret
blocks of auditory information reflects a deep Ordering info: espdisk.com who gets the lions share of the playing time on
three of the eight piecesand a deeper apprecia
tion for the solid, buoyant work of pianist Aaron
Tom Varner Varner is nagged by unre Parks, but just who is Vasquez?
Heaven And Hell solved questions. As a composer, the 26-year-old Texan seems
OMNITONE 12210 For all its darkness, to be a devotee of Pat Metheny. He shows a real
AAAA Heaven And Hell unfolds knack for turning out Methenyesque tunes that
with the easygoing, open gain a sense of forward momentum from their
Its usually a good idea clarity that is a hallmark of harmonic structure and rhythmic thrust. Both
to avoid programmatic his music, striking a reward Fieldsone of Marets featuresand End
interpretations of music. ing balance between bold Of The Day (Maret again) are jaunty tunes that
The ear of the beholder modern jazz harmonies and beg to be played loud on the open highway.
can be made of tin in austere modern classical As an instrumentalist, Vasquez seems like a
detecting intended mean voicings. Connected by different beast. While his clear alto tone is an
ings, assuming there are brief pensive interludes, the excellent vehicle for the airy melody lines of his
any. But when a work is longer individual composi compositions, he has a rougher side, too. On
as powerfully rooted in a cultural and political tions unfold deliberately. But theres no lack of One & Only, which stands apart for its darker,
moment as Heaven And Hell, French hornist peak moments, as witness the lively solos over tougher approach, Vasquez sounds more like
Tom Varners extended piece for tentet, its Phil Sparks limber walking bass on Queen Oliver Lake than David Sanborn, stretching his
difficult not to assume the images you see in Tai by the brilliant East Coast trumpeter Russ solo into freer territory and shrieking through the
your minds eye and the emotions you feel are Johnson, the Konitzian altoist Mark Taylor and climax. On the title track, he has things both
ones the artist is seeing and feeling as well. the virtuosic Varner. ways, doubling Gretchen Parlatos sweet, word
Heaven And Hell was largely inspired by More than ever, Varners warmly expansive less vocals against his horn and Adam Rogers
9/11. Varner witnessed the attacks and their but tough-edged playing rescues the French guitar in the first movement, and then switching
aftermath as a New Yorker. Now based in horn from the miscellaneous instrument cate to a more aggressive stance as the tune keeps
Seattle, where he and a predominately local gory. The voice of conscience on Heaven And spiraling upward as if on a mountain road.
cast recorded the album (his first in eight Hell, he also bestows its greatest pleasures. There is plenty to savor here, and no doubt
years), he is still coming to terms with the Lloyd Sachs ing that Vasquez can find interesting ways of
tragedy. A mournful uncertainty defines the showcasing his star guests, but it will take at
opening Overview, with its constrained Heaven And Hell: Prelude; Overview; A Moment; The Daily
least one more recording to get the full measure
Dance; Bells; The Trilling Clouds; Three Thoughts; Queen Tai;
melody and irregular ensemble patterns. As the Fields; Birds And Thirds; Low Resolution; Waltz For The Proud
of the leader. James Hale
music builds to the operatic, Greek chorus-like Tired Worriers; Searchlight; Structure Down; Postlude: Nine
effects and eerie descending tones of Structure Years Later. (70:02)

Triptych: Triptych; Nimbus; Invitation; Fields; One And Only;
Personnel: Tom Varner, French horn; Russ Johnson, trumpet;
Red. Green. Blue; End Of The Day; Stella By Starlight. (53:15)
Down, it draws hope from happier events in Chris Stover, trombone; Jesse Canterbury, clarinet; Saul Cline,
Personnel: Justin Vasquez, alto, soprano saxophone; Aaron
Varners life, notably the adoption of his soprano saxophone; Hans Teuber, soprano saxophone; Mark
Parks, piano; Adam Rogers, acoustic, electric guitar; Orlando Le
Vietnamese son and starting a new life in Taylor, alto saxophone; Eric Barber, tenor saxophone; Jim DeJoie,
Fleming, bass; Clarence Penn, drums; Grgoire Maret, har
baritone saxophone; Phil Sparks, bass; Byron Vannoy, drums.
monica; Gretchen Parlato, voice.
Seattle. But making stirring use of grouped and
clustered horns and sparing use of drums, Ordering info: omnitone.com Ordering info: justinvasquez.com

BEYOND by John Ephland
Neil Young:
Harvest For Stirring
tranformations
Young Fanatics
Theres got to be a metaphor for all
the spinning turntables and reel-to
reels that make up lots of the visual
elements to Neil Young: Archives
Vol. 1 (1963-1972) (Reprise 2-511912)
AAAA. This collection moves from
Youngs high school years as leader
of The Squires on through his
Buffalo Springfield, early Crazy Horse
and Crosby, Stills, Nash & Young
days to his influential late 60s/early
WARNER BROTHERS
70s solo output, including After The
Gold Rush and Harvest. The DVD
and Blu-Ray editions include Youngs
controversial Journey Through The
Past movie, until now unavailable since its (1969-1970), straddles Everybody Knows
1973 theatrical release. The box set This Is Nowhere and Crazy Horse with After
reviewed here is the 10-disc DVD version, The Gold Rush and Crosby, Stills, Nash &
containing 128 tracks with nearly 60 previ Young, balancing powerful songs of sad
ously unreleased cuts. Nine of the 10 are ness and loneliness with upbeat, stirring
multi-media discs with 20 special feature melodies and lush harmonies.
videos, film clips and trailers, and 55 audio Disc 5 (43:26), Neil Young & Crazy Horse:
interview tracks. Theres also a 236-page Live At The Fillmore East 1970 , offers
book and a digital download card to access another shade of Young, this time the rock
all the songs. Neilheads will love it; but for er in front of a large crowd. The songs are
others it may be overkill. familiar ones with one new one (Come On
Early Years are disc 0 (yes, thats how its Baby Lets Go Downtown), played with
classified) 1963-1965 (48:15) and disc 1 intensity in a fairly straightforward fashion,
1966-1968 (61:28). Musically, Young goes Young jamming away, Crazy Horse as
from surfer dude to folk-rock hippie, the backup singers a faint reflection of CSN&Y.
early rock instrumentals and teenie bopper Disc 6 (57:42), Topanga 3 (1970), is one
love songs giving way to more substantial strong song after another. Essentially After
material. Its the transition from a wannabe The Gold Rush, the singing is powerful, the
to an artist in the making, Young emerging songwriting memorable: Only Love Can
with his first significant collaborators in Break Your Heart, Ohio, Southern
Buffalo Springfield, his singing voice matur Man, with CS&N as well. Disc 7 (67:37),
ing toward that now-famous falsetto. Its Live At Massey Hall 1971, is a jewel, a cre
amusing to hear a bit of the instrumental ative film of Young with his guitars and
surf vibe reemerge with the swinging rock piano as he travels through a subdued set
er Kahuna Sunset, and notable how of his new and now older songs, laced with
Young started including other musicians home movies.
and instrumentsEnglish horn, harpsi Disc 8 (53:16), North Country (1971
chordwith lyrics more complex in nature. 1972), goes into Harvest territory, starting
By disc 2 (70:43), Topanga 1 (1968-1969), out with a live solo version of Heart Of
Youngs music retains a primitive quality. Gold before heading into one of Youngs
Cowgirl In The Sand is another example best albums, the perfect combination of
of this basic, unadorned rock n roll quality country music with rock. Disc 9 (79:46) is
complete with more rough-hewn electric- that meandering, interesting Journey
guitar jamming. Its during these years that Through The Past. Footage includes live
Young breaks out as an individual artist, Buffalo Springfield and CSN&Y, the mak
with his band Crazy Horse and featuring ing of Harvest with political thematic ele
stronger material, his trademark whine com ments interspersed. Bundled in the box is
ing into its own. Disc 3 (55:53), Live At The a bonus double CD/DVD, Sugar Mountain
Riverboat 1969, gives an inside look at (70:00), another solo show recorded at
Young the club player, as he reprises songs Canterbury House in Ann Arbor, Mich., in
written for band albums as a solo artist with 1968. DB
plenty of banter. Disc 4 (51:20), Topanga 2 Ordering info: neilyoungarchives.com

John Chattanooga Choo-Choo.

Hammond Fit and able at 75, nine years older
Rough & Tough than Hammond, Mayall weaves a
CHESKY 346
fabric of uneasiness around most of
AAAA Tough; the bulk of the songs concern
John the fight to locate hope in a dark, dark
Mayall world. His pinched tenor of a singing
Tough voice, long criticized by some, imparts
EAGLE 201632 poignancy to serviceable originals and
AAA material from writers throughout blues-
rock America (Gary Nicholson in
No stopping these tough blues guys. Almost a Nashville, Dave Fields in New York, New
half century since their first recordings, Englander Jeff Pitchell, Oregons Curtis
Smokey Hormel
Hammond and Mayall keep on making albums Salgado, Jersey Shore native Walter Trout) and
Smokeys Secret Family
at a steady clip; these days their spouses, Marla from the remote blues outpost Australia (Peter AFRO SAMBAS 005
and Maggie respectively, are credited as produc Harper, Andrew Winton). The white-haired AAA1/2
ers. On his 57th outing, Mayall appears with his leader of the Bluesbreakers, whose numerous
touring band. For his 35th album, and fourth pupils down the years include Eric Clapton, Like Marc Ribot, Smokey Hormel provided
solo, Hammond performs in an empty New Mick Fleetwood and Jack Bruce, defines his killing moments on guitar as a sideman for Tom
York City church. style in the revealingly titled That Good Old Waits. And like Ribot, whose Los Cubanos
Hammonds specialty is an acoustic solo set Rockin Blues. Though Mayalls current band Postizos performs songs by the late Cuban com
ting; here Marla picked out a program heavy on receives passing grades, its just not as blues poser and bandleader Arsenio Rodriguez,
diamond-hard Chicago blues songs. The success smart and strong as the previous edition with Hormel has a serious interest in ethnic roots
of renditions of classics linked to Muddy guitarist Buddy Whittington and drummer Joe music. Smokeys Secret Family, named after a
Waters, Howlin Wolf, Little Walter, Bo Yuele. Not that any criticism at all will slow the wide-ranging group of musicians that has per
Diddley, Tampa Red and Buddy Guyas well man down, mind you. Frank-John Hadley formed in New York for nearly a decade, delves
as two originals and a version of friend Tom into pre-high life, pre-Soukos, pre-funk African
Rough & Tough: My Mind Is Ramblin; Still A Fool; Up The
Waits Get Behind The Mulelies in his Line; My Time After Awhile; Got To Find My Baby; Shes music of the late 50s and early 60s. Treated to
strong personality as a storyteller, his emotional Tough; Chattanooga Choo Choo; Statesboro Blues; I Can Tell; a disarming homemade sound, the music is
authority and his musicianship. Benefiting from Get Behind The Mule; No Place To Go; Slick Crown Vic; Come equal parts sweetness and distortion, with
To Find Out; It Hurts Me Too; I Cant Be Satisfied. (58:33)
the Chesky labels pristine sound reproduction, Personnel: John Hammond, steel, 6- and 12-string guitars, har Hormels melodic, rapid-fire guitar lines driving
Hammond uncovers the breaches of romantic monica, vocals. the action.
love and the allure of the open highway without Ordering info: chesky.com The sweetness, when fed by the leaders
coming off as an oldies act. Hes a tried-and-true Tough: Nothing To Do With Love; Just What Youre Looking tangy high notes and Doug Weiselmans clar
individualist aware of the mythic power of 12 For; Playing With A Losing Hand; An Eye For An Eye; How Far inet, can be irresistible. But like Ribot, Hormel,
bar music; his singing and playing of guitar and Down; Train To My Heart; Slow Train To Nowhere; Numbers who plays a mess of instruments here, has too
harmonica pose insights wiser and more Down: That Good Old Rockin Blues; Tough Times Ahead; The
Sum Of Something. (54:49)
active an imagination to rest on any musicologi
nuanced than hes displayed before on tape. Personnel: John Mayall, piano, organ, harmonica, 6- and 12 cal laurels. Striving to bring fresh textures to the
Probably no one interprets Wolf with such string guitars, vocals; Rocky Athas, guitar; Greg Rzab, bass gui mambo and cha-cha as well as related Brazilian
intense desolation: No Place To Go. As an tar; Tom Canning, piano, organ, backing vocals; Jay Davenport, forms, he springs offbeat voicings involving bot
drums; Maggie Mayall, backing vocals.
interlude from his serious blues, Hammond has tleneck guitar, pocket theremin, harmonica and
fun visiting the Swing era past with a version of Ordering info: eaglerockent.com tuba. Acaua, by the Brazilian cowboy singer
Luiz Gonzaga, boasts a bold episodic arrange
ment that moves from lyrical acoustic opening
Anat Cohen she chooses (as on Sweet Geor to dark horns blowing over rumbling foundation
ClarinetworkLive At gia Brown and After Youve to full throttle blues-rock guitar. On Mokonzi
The Village Vanguard Gone), or she can take her sweet Ya Mboka, the blend of guitar and Weisel
ANZIC 1203 time casting long, bent notes across mans baritone saxophone is potent.
AAAA several bars (St. James Infirmary, The cast includes Clark Gayton on trombone
Body And Soul). and tuba, Brazilian percussionists Gilmar
Clarinetist Anat Cohen, a ClarinetworkLive At The Gomes and Mauro Refosco and, on an original
rising star on a notoriously Village Vanguard proves a formi ballad that begins tenderly before going happily
difficult instrument, con dable followup to last years studio off the tracks, guitarist Vinicius Cantuaria.
tinues to impress on her album Notes From The Village. Lloyd Sachs
latest CD, a live outing recorded with an all-star For a live recording, the clarinet has a great pres
Smokeys Secret Family: Cheri Akimi Ngai; Banaketwe;
rhythm section last summer at New Yorks ence here in relation to the other instruments in Louise Marie Wa Motema; So Solidao; Acaua; Fiesta Folkloric;
Village Vanguard. Inspired by the centennial of the mixevidence of Cohens never-compro El Rhythmo Novelty; Mokonzi Ya Mboka; Likambo Ya Ngana.
Benny Goodman, one of the biggest clarinet mised, ever-resonant air column. Ed Enright (31:40)
Personnel: Smokey Hormel, guitars, bass, high 12-string, per

stars of all, Cohen and band play a lively set of cussion, harmonica, fiddle, pocket theremin, bass anklung,
old-time standards with chops and feeling. ClarinetworkLive At The Village Vanguard: Sweet Georgia
vocals; Mauro Refosco, percussion, vibes, xylophone, vocals;
Brown; Lullaby Of The Leaves; Band Announcement; St. James
Never short on bluesiness and grit, Cohen Infirmary; After Youve Gone; St. Louis Blues; Body And Soul;
Gilmar Gomes, percussion, vocals; Doug Weiselman, saxo

phone, clarinet, mandolin, guitar, vocals; Clark Gayton, tuba and
clearly knows how to wail, and she has never What A Little Moonlight Can Do. (69:31)
trombone; Jorge Continentino, flute; Jon Birdsong, cornet;
sounded more nuanced than in the company of Personnel: Anat Cohen, clarinet; Benny Green, piano; Peter
Vinicius Cantuaria, guitar.
Washington, bass; Lewis Nash, drums.
pianist Benny Green, bassist Peter Washington

and drummer Lewis Nash. She can burn when Ordering info: anzicrecords.com Ordering info: smokeyhormel.com

Harris away at the pieces indelible riff. There are also a

Eisenstadt couple of superb Hemphill tunes never commer
Canada Day cially recorded before (on Slices Of Light you
CLEAN FEED 157
can practically hear his tart tone echoing the
AAAA more full-blooded tone of Ehrlichs alto sax), and
Marty Ehrlich the leaders own pithy originals reveal a strong
Rites Quartet Hemphill influence. He composed the opening
Things Have Rites Rhythm around the hypnotic cello part,
Got to Change filling in the melody once the imperturbable
CLEAN FEED 150 groove was established. But the albums high
AAAA water mark is the gorgeous ballad Some Kind
Of Prayer, an elaborate, episodic meditation that
Although native Canadian drummer Harris Bauder braiding their improvised lines as if they delivers an almost through-composed complexity
Eisenstadt named this superb quintet Canada shared a brain. Across the whole album, during its first half, and wonderfully sensitive,
Day because they happened to form on that holi Dingman shapes elusive chords and shimmering lyric passages by Ehrlich and trumpeter James
day, it mightve been more accurate if hed cho lines that revel in atmospheric ambiguity, color Zollar during the second half, all of it stoked
sen a classic Blue Note title from the 60s for the ing and accenting the action without exerting beautifully by Friedlanders pizz. A real gem.
ensemble. As he told writer Clifford Allen, the heavy force. Opsvik is the rock, playing elegant Peter Margasak
bands a love letter to the 60s Miles quintet fil lines with precision and warmth, while the
Canada Day: Dont Gild The Lilly; Halifax; After An Outdoor
tered through 60s Blue Note records, and drummer clings tightly to the pulse despite lots Bath; And When To Come Back; Keep Casting Rods;
theres no missing the spirit of that labels most of acceleration and deceleration. Kategeeper; Ups And Downs; Every Day Is Canada Day. (56:21)
adventurous work rippling through the In addition to having artists produce their own Personnel: Nate Wooley, trumpet; Matt Bauder, tenor saxo
phone; Chris Dingman; Eivind Opsvik, bass; Harris Eisenstadt,
admirably loose themes the drummer has com sessions, the Portuguese label Clean Feed is also drums, composer.
posed here. proactive about arranging others when musicians
Ordering info: cleanfeed-records.com
The bandleader is smart enough to allow the are near Lisbon. The new record by the Marty
strong personalities of his combo to breathe. In Ehrlich Rites Quartet was cut on a stopover on Things Have Got To Change: Rites Rhythms; Dung; Some
fact, the entire grouptrumpeter Nate Wooley, the way back from a music festival off the coast. Kind Of Prayer; On The One; Slices Of Light; Song For
tenor saxophonist Matt Bauder, bassist Eivind This dazzling group is steeped heavily in the Tomorrow; From Strength To Strength; Dogon A.D. (54:38)
Personnel: Marty Ehrlich, alto saxophone; James Zollar, trum
Opsvik and the up-and-coming vibist Christ music of the leaders one-time Black Artists pet; Erik Friedlander, cello; Pheeroan akLaff, drums, percussion.
Dingmanare unapologetic vanguardists who Group cohort Julius Hemphilltheyre both Ordering info: cleanfeed-records.com
just happen to have a strong grasp of post-bop from St. Louis. Ehrlich is a long-standing mem
fundamentals. On the elegant yet lurching After ber of Hempills sax sextethe currently leads
An Outdoor Bath, Wooley does an impressive the groupand he also played with the alto sax
balancing act between his mastery of unpitched, ophonists crucial foil, cellist Abdul Wadud.
breathy squalls and high-velocity freebop flur Things Have Got To Change is something of an
ries, while on Ups And Downs Bauder fol informal Hemphill homage, including a punish
lows suit, with post-Ben Webster plushness and ing take on the classic Dogon A.D., with
polyphonic tiptoeing. Every Day Is Canada drummer Pheeroan akLaff pounding out the 11
Day is especially good, with Wooley and beat cycle and cellist Erik Friedlander sawing

HISTORICAL
One Artist, One Label: A Motherload Of Miles
All told, its as much a business

Miles Davis: This Is It?
story as a music story. The
repackaging of the complete
Miles Davis Columbia catalog
seemed inevitable. After all
those years of recombined reis
sues, newly discovered materi
al, all that keeping-the-flame
alive-for-posterity business.
And why not? What could be
more fun, sexy, full of possibili
ties, not to mention culturally
responsible than to make sure
each and every album was
available under one roof, where
one had total and immediate
access to what many inside and
outside the Sony entertainment
empire consider some of the
SONY/LEGACY
greatest music ever made? As
the banker Mr. Dawes quipped
in the movie Mary Poppins: It
fires the imagination! jackets, replicating original artwork, accord life cycle, the two shows feature a fair
Timed to coincide with significant anniver ing to press materials. The colorful graphics amount of overlap (the newer tunes
saries for Davis creme de la cremeKind Of on the box are loaded with those very album- Agitation, Footprints, Gingerbread
Blue, Sketches Of Spain, In A Silent Way and cover images, creating a striking impact. In Boy), along with equally magical takes on I
Bitches Brewthe release of Miles Davis: addition, theres a first-time full rendering of Fall In Love Too Easily, Walkin and
The Complete Columbia Album Collection Davis notable 1970 Isle Of Wight concert. Round Midnight. With deft camera work,
(Columbia/Legacy 88697524922) is now a And the original album release of the critical this revelatory black and white footage cap
reality. At $365 a pop (an Amazon exclusive), ly acclaimed 1965 Chicago club date Live At tures a band that was both on a tear and
this box brings the perhaps unprecedented Plugged Nickelnow with full unedited ver incredibly interactive, intuitive and explosive.
legacy of a labels flagship artist to a fitting sionsis included (but not, unfortunately, as It was music played at lightning speed with
close. (Or does it?) part of the now-out-of-print eight-CD set great expression: In the end 11 songs playing
The Complete Columbia Album Collection released in 1995). Along with the Plugged like one, a 75-minute quintet sonata.
is also cultural history that goes way beyond Nickel and Isle Of Wight restorations, of A piece like this wouldnt be complete if
an artist and a label. Its a story with particu course, there are rare or previously unre some words were not shared on behalf of
lars: a trumpeter living in mid-century leased bonus tracks to, in this case, the those studious members of the jazz commu
America who takes the music world by storm albums In Paris Festival International De Jazz nity overlooked by this collection. Certain fig
from his outpost at the core of an increasing May 1949, Quiet Nights and We Want Miles, ures would be well-known to DownBeat
ly fringe-like music, helping to maintain its for a total of seven more tracks. Apart from readers. They include Ralph J. Gleason,
vitality, its relevance to everything that has the rest of the Plugged Nickel material whose exhaustive liner notes graced (in
anything to do with Americas ever-changing because they dont qualify as Miles Davis duplicate) the sluggish, dormant, albeit
musical landscape. And yes, it is about the albumswhats not here is music Davis somewhat grooving Friday And Saturday
label that signed him through a series of for recorded for the label that got bandied about Night In Person At The Blackhawk albums
tuitous events in 1955, thus beginning on a over the years, including his significant con from 1961, not to mention his hep notes for
larger stage the saga of an American artist tributions to Legrand Jazz (by Michel Bitches Brew (1969), his Beat-like poetry from
who, for the next 35 years, would challenge Legrand, also released on Philips, 1958), The Sorcerer (1967) and E.S.P. (1965). Get
and change the musical firmament for gener lengthy pieces written by J.J. Johnson and your magnifying glass out for this set if you
ations to come. (The three-month art exhibit John Lewis (Jazz Suite For Brass and want to know what Gleason, one of our most
We Want Miles: Jazz Face To Face With Its Three Little Feelings, 1956) and an album interesting, if not most important, music writ
Legend, which opened in Paris this past with soundtrack music (no longer owned by ers during the middle of the century, had to
October, extended that reach of the artist, the label) to the French film Lift To The say about Davis at the beginning as well as
who died in 1991.) Scaffold (titled Jazz Track, 1957). the end of that tumultuous decade. As with
Its a nifty package. Quite compact, consid What jumps out is the tantalizing concert others, Gleasons liner notes are reprinted,
ering its 70 CDs worth of music (more than footage from the DVD. Its Davis best band but in CD-sized lettering as part of the boxs
52 albums)along with a first-time-ever DVD with Herbie Hancock, Wayne Shorter, Ron LP-oriented design. Nat Hentoffs notes to
of live music and an informative, beefy (250 Carter and Tony Williamsrecorded in Sketches Of Spain are equally thorough and
pages) bookleteach album packaged in Germany and Sweden in the fall of 1967. Davis himself penned the liners for Jack
Japanese style mini-LP CD and double-CD Catching them toward the end of the bands Johnson. At one point, Davis may have taken

by John Ephland
Various Artists
Coming Together
INARHYME 1002
issue with notes to his albums (think On AAAA

The Corner), but his music was clearly inter The American Music Project
twined with what was said about it, and On The Bright Side
those words became key portals for many a INARHYME 1001
music lover. Then there are the musician/ AAA1/2
writer types the label once employed to
expound on Davis impact. They include col Two releases, same label, both titles designed
laborator/genius types like Bill Evans for to address the larger world of music in an
Kind Of Blue, Ron Carter (his notes to the attempt to reach the everyday listener in a
reissue of My Funny Valentine are a perfect way that is artistic yet accessible.
complement), Bennie Maupin, Dave Pianist/educator Keith Javors has created
Liebman, Bob Belden, Gary Bartz, Bobby Inarhyme Records to showcase a variety of
Previte, Eddie Henderson, Chick Corea and jazz-based music styles, Coming Together
Jack DeJohnette. If we are to take The and On The Bright Side offering two distinct
Complete Columbia Album Collection seri examples.
ously and completely, we have to see it as a Coming Together is a strong, heartfelt
cultural statement for the ages, considering series of performances served up in remem
the music and the mans magnitude brance to the albums primary composer, the
through the well-written word, augmenting late young Brendan Romaneck, whose pen
the music. Impractical as it may seem, how contributed eight of the 11 songs here. A 24
else could one pay homage without refer year-old saxophonist who was just getting
ence to these mighty efforts in the service of started, Romaneck was on the verge of
the Prince of Darkness? recording this music himself. Instead, we
Most DownBeat readers are quite familiar have personnel in two different bands who
with what Davis created with, among oth had some connection to him, playing primari
ers, Gil Evans, John Coltrane, Philly Joe ly straightahead music that does indeed
Jones, Sam Rivers (Miles In Tokyo!), Joe reflect Romanecks talent as a composer. Along funk, soul and rock to drive it. Javors is back on
Zawinul, Kenny Garrett and John Scofield, with three standards, a Chris Potter-led band board here, offering more tasty piano, along with
from the May 1949 Paris Festival recordings splits the date with a Steve Wilson-led band, the snappy drumming from Alex Brooks, with
(when Davis was not signed to the label on rhythm section of Javors, drummer John Davis bassist Dave Zeigner staying close, vocalist
an album released in 1977) to Davis last and bassist Delbert Felix providing solid sup Curtis Isom and altoist Dane Bays (along with
Columbia date, the orchestrally produced port, trumpeter/flugelhornist Terell Stafford per Priest a major composer presence) filling out the
Aura (1985), an album loaded up with vari forming in tandem with Wilson on four cuts. sounds. Its all original music, apart from John
ous European musicians, including old Both Potter and Wilson, playing soprano/tenor Coltranes Lonnies Lament (with lyrics
flame/guitarist John McLaughlin. There is and soprano/alto, respectively, steer the music, added by Everett and pressure-cooker playing
no star rating for this set because the vast Potter kicking things off with a spirited trio ren from Bays), On The Bright Side a blend of
majority of this music has been reviewed dition of the classic My Shining Hour, our pic preacher and encourager. Kudos to them all for
multiple times. This release is really more ture of Davis and Felix firmly established from making a forthright effort to bring in many
about a story, a man and his music, for the git-go. aspects of the African American musical vibe,
one label and how that music was put Coming Together is a nice balance between connecting the dots between post-bop and rap
together, namely in a package. the urgent and/or funky and the reflective, (with nods to Miles Davis, John Coltrane, Billie
These words are difficult to write with the Romanecks Dream Behind The Winter, Holiday, Stevie Wonder and Tupac Shakur). On
average music listener in mind, given the Full Moon and Minion good examples of The Bright Side attempts to say it all (the force
access this writer had to Davis and his tunefulness and instrumental expression in a ful rocker Call It What You Want a grand
music over the years. I mean, who gives a more balladic, composerly context, Roma summation), melding attitude, a serious back-
hoot if Hentoff isnt on board, and we get necks playful 3 Steps Ahead Of The Spider, beat and a hopeful message (an alternative to
other, new scribes Frederic Goaty and the soulful rocker Youll Never Know, the the mindless rage of much modern rap music)
Franck Bergerot to, respectively, rehash swinging title track (great solo by Davis) and across all nine tracks. John Ephland
Davis life and write clipped, if insightful, the whirlwind closing blues 11-02 alternately Coming Together: My Shining Hour; Dream Behind The
informative album notes? Maybe more than dishing up some inspired sweat. Lacking dis Winter; Full Moon; 3 Steps Ahead Of The Spider; Nancy With
a few. It seems to come down to the periph tinction at times, Romanecks writing and the The Laughing Face; Youll Never Know; Coming Together; The
erals in collections like these, where the bands playing (Javors work is an anchor) still Vibe; Minion; Killing Me Softly With His Song; 11-02. (66:54)
Personnel: Chris Potter, soprano, tenor saxophone (16); Steve
music almost becomes a given and the way are very listenable, leaving one to ponder what Wilson, soprano, alto saxophone (711); Terell Stafford, trumpet,
the music is surrounded becomes the story. might have been. flugelhorn (79, 11); Keith Javors, piano (211); Delbert Felix, bass
As mentioned, theres some new stuff here, The American Music Project is more ambi (14, 69, 11); John Davis, drums (14, 69, 11).
but its really about the end of an era and a tious, making overtures between rap and jazz On The Bright Side: Welcome; On The Bright Side; Path Of
final product. All told, Legacy is to be com and bits and drabs in between. The recorded mix Most Resistance; By The Way; Forever More; Call It What You
What; My Past Is Here To Stay; Lonnies Lament; On The Bright
mended for putting out what is an impres is a bit off, with rapper/poet Dejuan D Priest Side (Reprise). (39:50)
sive box, flexing its archival muscles to Everett too up in it, as if to put his lyrics almost Personnel: Dejuan D Priest Everett, rap, poetry; Curtis Isom,
show it has the goods. DB in your face. And while the overture is toward vocals; Dane Bays, alto saxophone; Keith Javors, piano; Dave
Ziegner, bass; Alex Brooks, drums.
Ordering info: legacyrecordings.com, amazon.com multiple forms of popular music, the gist is pret
ty much straightahead jazz with hefty portions of Ordering info: inarhymerecords.com

Anthony movie music (Theme

Wilson Trio From Chinatown) and
Jack Of Hearts Duke Ellington (Zweet
GROOVE NOTE 1046
Zursday). The music is
AAA perfectly polite and pro
fessionally acquitted,
Put three top flight and the choice of materi
players in a room, al is spot on. Drummer
drop some grits n Jim Keltner is especially
gravy charts on the creative on Theme
stands, count it off From Chinatown and
and youve got a Harajuku, dropping
killer jazz trio, right? combustibly magical
Not so fast. Guitarist rhythms with a clever
Anthony Wilson is combination of ingenuity
best known for accompanying Diana Krall, but and humor. The man is endlessly surprising,
hes also recorded a handful of exceptional solo creating an original textural palette. But too
The Kevin Brady Trio
outings, including a recent duo release with much of Jack Of Hearts is simply asleep at the
Zeitgeist
Brazilian guitarist Chico Pinheiro, Nova. Jack wheel, lacking fire or true grease. Sure, no one FRESH SOUND 005
Of Hearts moves in the opposite direction, should be chained to yesteryears notion of AA1/2
grooving on drowsy organ trio jazz performed what constitutes an organ trio, but isnt hot
by low-key heavy hitters. So low-key in fact, jazz universal? Ken Micallef Over the years, the commendable efforts of the
you wonder if someones nodded off and hit the label Fresh Sound New Talent have provided
Jack Of Hearts: Mezcal; Jack Of Hearts; Hawkeyes; Carnegie
power switch on his way to the floor. Blues; Theme From Chinatown; Vida Perdida Acabou; Orange some exposure to young musicians who, if
Wilson runs his Larry Goldings-enabled Crate Art; Harajuku; Zweet Zursday; Homecoming. (58:40) deserving, are yet to define their musical
organ trio through blues bumps (Mezcal), 3 Personnel: Anthony Wilson, guitar; Larry Goldings, organ; Jeff vision. Zeitgeists dispersed influences and
a.m. mystery jazz (Jack Of Hearts), John Hamilton, Jim Keltner, drums. inconsistencies are a case in point.
Scofield-inspired scrunch (Hawkeyes), Ordering info: groovenote.com Although Irish drummer Kevin Brady can
not be accused of bringing Bill Carrothers with
the unique purpose of gaining credibilitythe
two seem to have developed a solid working
Yaron Herman Trio
relationshipthe pianist provides most of the
Muse
SUNNYSIDE 1215
material and the recording definitely bears his
AAA /2 1 mark and displays his most lyrical and roman
tic side. The most memorable aspects of the
According to pianist Yaron Herman, first part of the program are Bradys overly
Muses compositions share a connection busy playing on his Out Of The Blue and
with travel. Indeed, with this new album he Carrothers Russian folk song quotes on his
embarks on a journey that encompasses own That Russian Thing. At midpoint, with
many destinations without sacrificing the the delightfully zany Waltz Macabre charac
unity of sound. As an Israeli based in Paris terized by the pianists rhythmic imagination
and backed by New Yorkers (Matt Brewer and the drummers circus rolls, the proceeding
on bass and Gerald Cleaver on drums), take a turn for the better. The title track is a col
international influences are aplenty, but dis lective effort that suggests that the trio is even
tances havent prevented those three men more at ease without the constraints of fixed
from maturing as a band and morphing into parameters.
an exceptionally tight unit in which theyre As a drummer and a leader, Brady avoids
all closely attuned to each others gestures and of tunes by two Israeli songwriters to pay trib the common mistake of indulging himself and
moves. ute to his roots and offer unfamiliar music well only takes one short solo. The wild card in this
Herman is an accomplished and versatile worth investigating. trio, however, is bass player Dave Redmond,
musician who knows when and where his The program is bookended by two pieces whos a sensitive musician and understands
weapons will be most effective. His touch is featuring a string quartet that highlight a classi how to move the music forward without getting
alternately delicate and muscular. On a power cal bend and bring yet another dimension, but in the way, especially while dealing with
ful piece such as Vertigo, he displays his out fail altogether to leave a strong impression. Carrothers personal harmonic approach.
standing technical abilities that can translate Despite this reservation, based on Hermans In the future, if Brady could curb his some
into, well, vertiginous lines. Herman has also a achievements and the material included on times exuberant enthusiasminterestingly
penchant for pop tunes, and he is arguably one Muse, it is clear that Herman deserves at least enough, he never does it on slower numbers
of the most successful musicians in recent as much credit and exposure as some of his fel and build on the strengths of Zeitgeist, he might
memory at blending pop and jazz sensibilities. low countrymen whose work has been much be worth keeping an eye on. Alain Drouot
This is noticeable not only in the cover of touted in recent years. Alain Drouot
Zeitgeist: Out Of The Blue; That Russian Thing; Home Row;
Bjorks Isobel, but also on his own
Muse: Muse; Con Alma; Vertigo; Lamidbar; Perpetua; Isobel; Big Mouth; Waltz Macabre; Zeitgeist; Church Of The Open Air;
Perpetua or on Brewers contributions Joya; Lu Yehi; Twins; And The Rain; Rina Ball. (57:05) In The Wheelhouse; Black Nile; Gitchee Gumee. (55:43)
(Joya, And The Rain), which attests to the Personnel: Yaron Herman, piano; Matt Brewer, bass; Gerald Personnel: Kevin Brady, drums; Bill Carrothers, piano; Dave
Redmond, bass.
bassists knack for finding hooky and humma Cleaver, drums.
ble melodies. Finally, Herman tackles a couple Ordering info: sunnysiderecords.com Ordering info: freshsoundrecords.com

George Colligan Kozlovs moment in the spotlight at the top and

Come Together sustaining through his interplay with Edwards,
SUNNYSIDE 1226
which makes those hiccupping riffs speed
AAA smoothly by.
As is often the case, different insights emerge
Come Together fits as a title for Colligans in the covers. When familiar music is interpret
second trio release on Sunnyside. This com ed, this allows performers to play off of listener
bination of Colligan, Russian-born bassist expectations. This can be a creative opportunity
Boris Kozlov and New Orleans drummer or a joke, hip or snide. On the title cut, the group
Donald Edwards operates smoothly and follows both paths, with a snaky groove that
spiritedly, with everyone coming together not draws pretty directly from the seminal Beatles
just in arranged passages but in the nuances version but elaborated with bitonalities and teas
of their freer interactions. ing twitches in tempo, dragging at times to a
Colligan is the centerpiece. In his writing dead stop, that entertain while also pulling the
as well as his improvising, he bases what he neat trick of enhancing the familiar character of
does on thick harmonies that knot at times the material while using it to leap into the
into prickly dissonances. There isnt much albums most inspired explorations. But theres
deviation beyond the formula of chords in the All but two of these tracks are Colligan origi a third option to playing covers, which is more
left hand and lines with some elaboration in the nals, most of them crafted along well-established or less to wing it. This is the least illuminating
right. This serves Colligan well on up tunes, on concepts of structure: intro, head, solos in sec strategy, so when Colligan et al. follow it on
which his emphatic attack can compensate for a tions spiced variably with written turnarounds, The Shadow Of Your Smile the impression is
tendency toward rhythmic predictability. On bal out. Not surprisingly, Colligan blows confident confirmed of a trio thats well on its way but
lads, though, a slightly wooden quality can sur ly through his own material; his lines on likely has most of its journey still ahead of it.
facenot so much in rubato passages but more Venom weave through the further implica Robert L. Doerschuk
so where the tempo locks in. This is apparent tions of the changes and play effectively against
Come Together: Come Together; Venom; Have No Fear; So
especially on Open Your Heart, where his a five-chord syncopated lick that pops up irregu Sad I Had To Laugh; Reaction; The Shadow Of Your Smile; Lift;
chords fall almost invariably on the first and larlyon the eighth bar after the start of his Open Your Heart; To The Wall; Uncharted Territory. (69:05)
third beats except where doubled to quarter- solo, then nine bars in, then seven-and-a-half Personnel: George Colligan, piano; Boris Kozlov, bass; Donald
Edwards, drums.
notes or slipping briefly into triplets to track a and so on. Solid as it is, more interesting things
surge in dynamics or the articulation of a motif. happen in the background, starting with Ordering info: sunnysiderecords.com

Andrew Rathbun leanings while still adher-

Where We Are Now ing to the organic logic of
STEEPLECHASE 31665
the piece.
AAA1/2 Rathbun infuses an
appealing narrative quali
Saxist/composer Rathbun ty to his solos that is
has successfully explored a often lacking in such
wide variety of concepts well-structured music. He
and contexts in his previ is especially effective on
ous work, delving into soprano, where his crisp
poetry, politics and unusual tonal clarity allows him
instrumental configurations to articulate deceptively
with uniformly intriguing challenging lines with
results. The Toronto native, now based in passionate precision.
Brooklyn, delivers what is arguably his most Rathbun is joined by frequent collaborators
straightahead effort with Where We Are Now, pianist George Colligan and guitarist Nate Linda Oh Trio
his ninth recording as a leader, and it serves as Radley, and both consistently distinguish them
Entry
a more easily accessible showcase of his ever- selves with impressive solos. But it is the pres LINDA OH MUSIC
evolving talents. ence of veteran drummer Billy Hart and his AAAA
Rathbuns approach on Where We Are Now empathic coordination with bassist Johannes
is intelligent without being intellectual, a prime Weidenmuller that imbues Rathbuns composi Linda Oh, a Chinese-Malaysian bassist raised
example being the four-part suite dedicated to tions with a body and soul to more fully realize in Australia and now based in New York, has
his son that opens the album. The composition their potential. Michael Point delivered a stunning debut here, demonstrating
has solid stand-alone sections that combine for ferocious power and a deep sense of compo
a sweeping overview and all the advanced har Where We Are Now: Son Suite I; Son Suite II; Son Suite III;
sure. She aimed to make a dark-sounding
Son Suite IV; Film Under Glass; A Stern; Wheel; Lament; No
monic creations it offers sound inherently Longer. (64:56)

record and she has succeeded marvelously,
developed in service of the music. In similar Personnel: Andrew Rathbun, tenor and soprano saxophone;
crafting a warm, woody sound that favors her
fashion Rathbuns evocative one-man saxo Nate Radley, guitar; George Colligan, piano; Johannes
instruments bottom range (with chunky lines
Weidenmuller, bass; Billy Hart, drums.
phone choir on the closing Son Suite IV pro and fat chords), and enlisting the superb young
vides a subtle reminder of his experimental Ordering info: steeplechase.dk
trumpeter Ambrose Akinmusire to explore the
same tonal area of his instrument. Although
shes got clear technical skills, this is not a
Yellowjackets shows an accord thats built on flashy record, and unlike many musicians mak
New Morning: The trust and longstanding musical ing their first statement she doesnt try to show
Paris Concert communication. The video pro- off everything in her arsenal. Oh builds her
HEADS UP DVD 7167
duction certainly has its charms: sturdy, attractive melodies by playing thick
AA the constant glee in Ferrantes vamps that recall the steely force of bassists
smile, the strong, silent-type like Dave Holland and Fred Hopkins. The
One of the prevailing demeanor of bassist Jimmy drummer Obed Calvaire reinforces her assured
arguments jazz has over Haslip, Baylors face cringing sense of groove, economically inserting tightly
MTV-era pop is that during some of his heated funk coiled, explosive accents that prod and cajole.
because there is so much patterns. On the intro to Numero Uno, Akinmusire
musical sophistication But thats hardly enough to overdubs multiple lines to create a brassy fan
and improvisational keep viewers glued to the fare, but elsewhere the trio puts its faith in the
wonderment, it doesnt screen. None of the members, simplicity and clarity of its potent attack. The
need glitzy production to for better or worse, hams it up arrangements spread the action around, fram
get its artistic message or like Jaco Pastorious did during ing solos in constantly shifting ways, so that
merit across. In turn, a Weather Reports halcyon while trumpet is the obvious frontline voice,
commercial DVD of a contemporary jazz band years, and none of the musicians engages in Ohs gamboling lines are equally grippingas
certainly should deliver something that hooks any hilarious banter with the audience mem are her compact, beautifully constructed solos.
you in visually and retains your attention. bers. From a visual standpoint, only diehard Gunners fiercely juggles a fast-moving,
For all the intimate multi-camera work that fans or music students looking to watch tech cycling motif with a slightly chaotic, zigzag
provides a birds-eye view of Marcus Baylors nique from exceptional musicians will find this ging melody, and even on a ballad like A
intricate drum patterns or keyboardist Russell remotely engaging. And in this multi-tasking, Year From Now theres no missing the raw
Ferrantes deliberate fingering, for all of the ADD world, even they might find themselves muscle of an ever-shimmering, pensive line.
richness of the color and the framing of the becoming fidgety about 15 minutes into it. Oh even makes an unlikely cover of Soul To
stage and audience, and for all of the top-notch John Murph Squeeze by the Red Hot Chili Peppers sound
fusion that the Yellowjackets playthis DVD like part of the arresting sound. Heres some
is a bore. New Morning: The Paris Concert: Aha; Capetown; Bop Boy;
one to watch. Peter Margasak
Prayer For Peace; Cross Current; Dewey; With These Hands;
Its certainly no fault of the band. The Freedomland; Even Song; Downtown; Healing Waters; Evening
Entry: Morning Sunset; Patterns; Numero Uno; Fourth Limb;
Yellowjackets are simply doing their thing, News. (98:00)

Gunners; A Year From Now; Before The Music; 201; Soul To
delivering poignant post-Weather Report Personnel: Russell Ferrante, piano and keyboards; Marcus
Squeeze. (45:55)
Baylor, drums; Jimmy Haslip, bass, Bob Mintzer, tenor saxo Personnel: Linda Oh, bass; Ambrose Akinmusire, trumpet;
fusion that reconciles funk, South African jazz, phone and EWI.
Obed Calvaire, drums.
bebop and electric fusion. The empathy the

group displays, despite the various lineups, Ordering info: headsup.com Ordering info: lindaohmusic.com

BOOKS by James Porter

Holdsworth/
Pasqua/
Haslip/ King
Wackerman
Blues For Tony
MOONJUNE 029
Records
AAAA Kept It Raw
The cover of Jon Hartley
For anyone won Foxs King Of The Queen
dering what gui City (University of Illinois
tarist Allan Holds Press) is a photo of James
worths been up to Brown in concert, tie loos
lately, look no fur ened, hunched over the mic
ther than Blues For and probably about to get
Tony, recorded in 2007 in front of a live audience. Along with key down on bended knee for
boardist Alan Pasqua, this tribute is to a former boss, the late drummer his Please Please Please
Tony Williams. Joining them are two others more than up to the chal finale. Its a justifiable
lenge of playing cohesive electric jazz: bassist Jimmy Haslip and image for this narrative
drummer Chad Wackerman. For Holdsworth fans, Blues For Tony is about King Records as
like red meat, 10 of the 11 cuts across this double disc loaded with gui Brown is likely the one artist
tar playing. For fans of the original band, both Holdsworth and that modern-day music fans will identify with the company, even
Pasquas instruments hearken back to the sounds they once created though there were other stars on the label before him. It has also
with Williams. been erroneously reported that Brown owned the King label; in
Three songs jump out, essentially remakes of tunes originally reality, Brown only owned his own masters. For most of its 30
heard on Williams very fine Believe It (from 1975, under the band year existence, King was overseen by Syd Nathan, a white cigar-
name The New Tony Williams Lifetime). First off, we hear a fairly chomping businessman from Cincinnati.
straight take on Holdsworths sunny Fred, Wackerman holding The firm issued all sorts of records, and even had one toe in
down the fort with lots of fills reminiscent of Williams later, more the jazz world with its Bethlehem label (whose biggest success
heavy-handed style of fusion drumming, the guitarists trademark was Nina Simone). But, it was the r&b and country fields that
tone and attack shining through. Haslip takes Tony Newtons bass established the King legacy. Besides Brown, this Ohio label gifted
role and runs with it, another indication that the Yellowjackets the r&b scene with Hank Ballard and the Midnighters, Bill
bassist is not only nimble-fingered but very conversant in what Doggett, The Five Royales, Wynonie Harris, Freddy King and
approximates a recreation of mid-70s fusion with a 21st century scores of others: Country and bluegrass legends like the Stanley
spin. The other two songs, Pasquas Protocosmos and Newtons Brothers, Hawkshaw Hawkins, Cowboy Copas and Moon
Red Alert, are similarly revisited with close connections to their Mullican were also a major part of the King dynasty. Fox does a
original performances, Proto a rolling waltz that threatens to take fine, irreverent job of telling the King story in detail, talking with
its sweet melody lines and turn them into a rockin raveup only to various players in the story and occasionally trawling the vaults
stay playful, Red Alert likewise a tuneful, playful romp. for archival quotes, including quite a few from Nathan himself.
The rest of the program is a mix of Holdsworth and Pasqua While Nathan can be seen, in retrospect, as a patron saint of
musicthe exceptions being Wackermans lyrical The Fifth and roots music, the truth remains that he was still a bottom-line busi
the swinging funk (with gentle coda) of It Must Be Jazz, penned nessman. He had the foresight to record c&w and r&b in its
by all four members of this band. Pasquas moody, mysterious rawest, most regional state, but then again, the 50s was a time
crawling waltz San Michele recalls a kind of slow-motion when raw regionalism (as audiences define it now) actually made
Mahavishnu Orchestra vibe with a forum for an expressive the national charts. To that end, Nathan wasnt above cashing in
Wackerman to solo over the music, while Pasquas reflective To when he could (when Chubby Checker had a massive hit with
Jaki, George And Thad is essentially a solo-piano piece showcas The Twist, Nathan reissued Hank Ballards original with an
ing his roots in mainstream jazz (referring to Jaki Byard, George overdubbed sax, just like Checkers version). Fox paints a portrait
Russell and Thad Jones). The title track is a lively, alternately jazzy of Nathan as a hardscrabble businessman, but he still has his
and rock-oriented medium-tempo blues, featuring Wackermans faults, such as initially refusing Brown, who, of course, went on to
best solo, both musical and aggressive in execution. revolutionize the music world and keep King Records afloat. It
Blues For Tony, while not an out-and-out jamband hoedown, is should be noted that after 1965, Brown remained nearly its only
a friendly reminder of that period in the drummer/composer/band hit maker until his defection to Polydor in 1971. In essence, King
leaders life when his version of jazz-rock had dropped its rough was a one-artist label during that era (which Nathan didnt sur
edges, taking on the relatively smoother contours of what is often vivehe died in 1968).
heard as todays more earnest and very much alive fusion music. Fox covers this era well, but he could have also talked about
Indeed, Blues For Tony is also about four musicians who have put the companys last years, under different ownership, until its
their stamp on a music thats stood the test of time, and the scowl collapse in 1973 (there is no mention of the Manhattans, who
ing of purist jazz critics. John Ephland rode out the post-Brown period with a few hits before jumping
to CBS and becoming even more popular). This omission is a
Blues For Tony: Disc One: Blues For Tony; The Fifth; It Must Be Jazz; Fred; Guitar Intro; Pud
very small slice of the pie. Otherwise, this is an excellent biogra
Wud. Disc Two: Looking Glass; To Jaki, George And Thad; San Michele; Protocosmos; Red
Alert. (52:20/38:06)
phy of an independent label that became a major player in the
Personnel: Allan Holdsworth, guitar; Alan Pasqua, keyboards; Jimmy Haslip, bass guitar;
record game. DB
Chad Wackerman, drums.
Ordering info: press.uillinois.edu
Ordering info: moonjune.com

68-79_SHED.qxd 12/15/09 1:01 PM Page 68
PRO SESSION
Woodshed by Ken Micallef
Steve Lehman
KEN MICALLEF
Recording On The Verge:
Steve Lehmans Home Studio
Alto saxophonist Steve Lehman is the kind of phone with Max/MSP and SPEAR, Lehman
compositional whiz kid who gives high IQ a seems on the verge of something new in
good name. Speaking from Columbia more ways than one.
Universitys Computer Music Center (CMC), Max/MSP is a computer programming
where he is in the schools Doctoral Program language based on a graphic environment
in Music Composition, Lehman discusses instead of code, Lehman said. You have
such advanced concepts as spectral harmony terms like objects and operators and small
and compound meters like the rest of us play interconnected boxes called patches. You can
The Real Book. Lehmans ambitious eighth build an array of connected patches that gives
album, Travail, Transformation And Flow (Pi), you control over what youre doing. The
was recorded live at Systems 2 in Brooklyn, microphone symbol, for example, is a stock
but its constantly fluctuating meters and com Max object, an A-to-D converter. The mic is
plex arrangements recall the sample, splice getting information and sending it to another
and print processes found in electronic music object called Fiddle, which parses out a bunch
and the French avant garde. of raw information: the frequency, the incom
Lehmans tightly knit, highly improvisation ing pitch, frequency of attack (measured in
al music is the result of his study of spectral milliseconds), and it notes every time theres a
music with Columbias Tristan Murail (and his loud sound. This patch layout would be for
earlier work with Jackie McLean and Anthony one mic basically recording my saxophone.
Braxton), but his use of Cycling 74s Max/MSP Other screens in Max show my performance
and SPEAR software also contributes to the layout.
building blocks of his music. As seen in a This heady language explains Maxs work
video of Lehmans solo concert at New Yorks ing processes, which are depicted onscreen
The Stone (found at stevelehman.com), as an intricate flowchart. Max measures prac
where the 30-year-old blows over laptop-gen tically every variable of Lehmans horn output,
erated rhythms strikingly similar to those and at the same time, can create complemen
found on his albums, his software is as impor tary, seemingly random rhythms.
tant as his hardware. Max/MSP is a perfect platform for doing
Unlike Digidesign Pro Tools or Apples interactive stuff, Lehman added. If you want
Logic Audio, which are typically used solely a program that has any kind of demonstrative
as recording/sequencing platforms, Max/MSP intelligence and doesnt repeat itself and can
and SPEAR allow the composer to explore react to incoming information, Max is ideal. Its
the computer language of actually creating flow chart represents something between a
music. Using two Apple PowerBook G4s, key composition and an environment.
board controllers (Korg MicroKONTROL, Lehman acknowledged that Max/MSP may
Korg MicroKORG), foot controller (Behringer not be for everyone. Learning its onscreen
FCB 1010), DPA 4061 omnidirectional minia languagerepresented by such names as R
ture condenser microphone, M-Audio Attack, R Duration, Random Drum Density, No
MobilePre USB, his Selmer Mark VI alto and Drum, Yes Drum, Boucle Bass Drum, all of
Super Action 80 Series II sopranino saxo which control certain variablesrequires

68-79_SHED.qxd 12/15/09 1:01 PM Page 69
more self application than simpler programs

like Pro Tools, but the rewards are apparently
greater as well.
Max requires a learning curve, Lehman
admitted. It has great tutorials. But you
cant open the box and start making music. If
you want to do electronic music that can
actually react to information from acoustic
instrumentsyou cant do that in Logic or
Ableton Live.
SPEAR (Sinusoidal Partial Editing Analysis
and Resynthesis) is an even more eclectic
platform (see klingbeil.com).
You can dump audio files into SPEAR and
it will perform sinusoidal analysis: It will
break up the sound, isolate each partial and
overtone and represent it as a sinewave, he
said, using a sample of saxophonist Evan
Parker as a demonstration. You can change
the pitch, volume, speed, isolate the over
tones and do different things with them in
SPEAR. I would either integrate this into a
composition or improvise over it. Or I might
manipulate it in real time via the G4 through
my different controllers.
Though Lehmans home studio is minimal
by conventional standardsits more a com
positional tool than a standard home studio
each part of his setup plays a distinct role.
Max/MSP and SPEAR handle computer-dri
ven duties, while Lehmans horns and foot
controllers require more direct input.
The foot controller mostly sends MIDI data
to Max and Ableton Live, Lehman explained.
So if I want the virtual drummer in Max to
start playing, the foot control triggers that, or
it can change the timbre. Each of the 10 ped
als controls 10 different banks. Bank zero
might let me loop everything, another bank
might control the virtual soloist, the chordal
instruments, predefined compositions, sub
compositions for different ways to create
spectral chords; another bank is to record
myself for playback. Max is great when youre
playing solo; I describe it as a musical envi
ronment I can move through in real time.
With music this intricate, a good demo
comes in handy. And while Lehmans musi
cians (drummer Tyshawn Sorey, bassist Drew
Guess, tenor player Mark Shim, trombonist
Tim Albright, trumpeter Jonathan Finlayson,
vibraphonist Chris Dingman and tuba player
Jose Davila) work from charts in the studio,
Lehman also gives them laptop demos to aid
in the learning process.
Sometimes I will give MIDI realizations or
sequenced versions of the pieces to the
musicians just so they can hear how the dif
ferent parts line up. If there is something par
ticularly complex rhythmically, the very pre
cise computer execution of those rhythms
can be really helpful. And I use it as a soloist
to practice getting comfortable and to inter
nalize unusual forms and unusual metric
changes. Having a sequenced realization is
almost essential. DB

68-79_SHED.qxd 12/15/09 2:56 PM Page 70
PRO SESSION
Woodshed by Ken Micallef
Anywhere,
Anytime, Anyplace:
Bluey Maunicks
Home Studio
In this modern era, when the
power of a laptop outfitted with
Digidesign Pro Tools and a few
software plug-ins can dwarf an
older hardware-based studio, its
easy to record anywhere, any
time, anyplace.
We were touring Germany,
Incognitos Jean-Paul (aka
Bluey) Maunick recalled,
when we spotted a small studio
in this sleepy town. Known for
their soulful funk/fusion epics,
including the latest, Tales From
The Beach, Incognito frequently
records live on the roador any
where they can power up an
Apple MacBook Pro.
Wed already done the beer
drinking, Maunick continues.
We were ready to do some
thing. I saw this sign saying
JOE LASHERAS
Recording Studio on a little
house. So we went in and put Bluey Maunick
this idea down that I had in my
head. They didnt have a drum set, so we pro Incognito across town or across the globe.
grammed the click, and the bass player and I Tales From The Beach was recorded and
recorded this track with guitar and bass. Then produced in Italy, London, Germany, and
we laid some vocals on top, and it ended up mixed in Indonesia, Maunick explained. I
being the title track of the album, Tales From record now on my journeys. This setup con
The Beach. And we left it in that format, just stitutes my mixing and home studio rig. We
added horns the next day because the studio move around with it. We might find a nice
had another free day. It was a proper studio villa in the hills in Italy and we move it all in
with Pro Tools. there and record an album. That is how we
Incognitos approach epitomizes a growing began Tales From The Beach.
trend wherein old world gear comfortably And while Maunicks setup also includes
coexists with new world software-based newer pieces from AKG, Sennheiser, Apogee
skills. As young musicians discover the tube and Manley, there is no doubting where his
warmth, tape compression and general loyalties lieand their ultimate influence on
humanity of 70s hardware construction, their his music.
productions have often taken on greater slam, With computers you have great software
appeal and ear-friendly sweetness. Maunick that can really emulate the classic analog
has understood this for years. Back in gear, Maunick said. But Ive found that
London, he maintains a professional Pro when you are in a hands-on situation and you
Tools HD Accel HD2 based setup, augmented can actually feel something, you can twist a
by such vintage analog pieces as a Neve 8078 knob or push a fader and it responds, it is
console, 3M M79 2-inch 16-track tape very hard for digital gear to speak to you.
machine, EMT 240 plate reverb, Drawmer Youve got to search for it. We record a lot of
1960 stereo compressor/limiter, Urei 1176LN our stuff live, and doing that you just want to
compressors, Telefunken R-F-T AK47, M16 push a fader or crank up the valve on your
MkII and Neumann U47 and M269c micro guitar amp. We like to have stuff that is
phones and an ancient Crybaby Wah-Wah hands-on. And we can tell the difference
pedal for his Fender Stratocaster. The system because Incognito has been around for 30
is entirely mobile, ready to accompany years. We began our recording career with

68-79_SHED.qxd 12/15/09 1:02 PM Page 71
lovely valve equipment and tape. We can tell

the difference, and it does matter.
The new generation doesnt know the
difference, he continued. And their ears
dont even [hear it]; they find it quite shock
ing that you would want something that
sounds more dull than bright. It may be
duller, but it breathes. So it speaks to us in a
different way.
Tales From The Beach is a study in record
ing contrasts. Maunick used every approach
possible, including live stage performances,
off-the-cuff tracks recorded in Germany, hotel
demos and studio jamseven combining
files from the various band members
MacBook home setups.
On When The Sun Comes Down,
Maunick explained, I recorded the original
idea on the tour bus. The drums and bass
were programmed by Richard Bull. Those two
elements maintained their heavily pro
grammed identity. The keyboards, too. Then
we overdubbed the vocals and horns in the
studio, and I repeated my original guitar riff.
On the opposite tip, a song like N.O.T. was
recorded entirely live with all of us in the main
room, even the brass. We cut some takes and
that was it, all live. Even the lead vocal is live;
it went down in the booth with background
vocals cut afterward.
Incognitos trademark funk/dance/fusion
fills Tales From The Beach, their 18th album.
The group has always maintained a delicate
balance between dance floor grooves and
Maunicks clever, jazz-based chordal
approach, such albums as 1992s Tribes Vibes
+ Scribes (including international hit Colibri)
and 2004s Adventures In Black Sunshine
earning them a worldwide audience.
Incognitos productions have been studied at
Berklee College of Music; their sassy horn
charts and soulful vocals recall everyone from
r&b heroes to jazz funk favorites. Incognito is
truly an everyman band.
I discovered [John] Coltrane and [Charlie]
Parker though jazz/funk, the dance music of
the time, Maunick said. Roy Ayers, Donald
Byrd, Earth, Wind & Fire, the Mizell Brothers,
David Axelrod, Lalo Shifirins Enter The
Dragon, all those soundtracks with a lot of
experimentationit all influenced us.
Although he leads a band that maintains a
sharp technological edge, Maunick is surpris
ingly ignorant of basic consumer technology.
He doesnt own a cell phone. He runs his Strat
and Gibson 335 guitars through an ancient,
1960s-era Selmer tube amp. He often plays
guitar in his bare feet.
The band calls me the analog man living
in the digital world, he laughed. I dont
even have a mobile phone. But I am the
glue, I know what everything does. The
band needs a free spirit, somebody who
isnt caught up with the gear, someone who
doesnt need to stare at the computer
screen. DB

68-79_SHED.qxd 12/15/09 2:57 PM Page 72
SOLO
Woodshed by Jimi Durso
Thelonious
Monks
Iconoclastic
Piano Solo
On Bags
Groove
FRANCIS WOLFF/MOSAIC IMAGES

Recorded Dec. 24, 1954, for the album of the playing roots and fifths in his left hand, instead
same name, pianist Thelonious Monks solos on of playing other tones that would define the
both takes of Bags Groove are shining exam chord and thicken the harmony, as many other
ples of his idiosyncrasies. Presented here are the jazz pianists would.
first four choruses from Monks solo on the first Rhythmically, Monk bases many of his ideas
take. The track was written by vibraphonist Milt off of quarter-note triplets. Whats fascinating is
Jackson, and is also a great example of just what how rarely he starts them on the 1 and 3, as they
Monk could do with a simple F blues. are most often played (measure 43 being the
First, look at the way Monk constructs his only example). We see the quarter-note triplet
solo, each chorus going further than the previ idea extended over the bar line in measures
ous. He starts with a very simple two-note idea 2021 and 3233, and leading to the fourth and
(the fifth and root, like the melody from Duke third beats in measures 33 and 34. After this
Ellingtons C Jam Blues), waiting until the Monk pushes the idea further, playing what are
eighth and ninth measures to add two additional basically quarter-note triplets starting on upbeats
notes. The second chorus has more activity, in measures 34 (over the bar line into 35),
both rhythmically and melodically. The third 3940, 4041, 44 and 46. These licks have been
chorus starts with even more rhythmic activity, written as variations of eighth-note triplets for
with the introduction of 16th-note rhythms, not easier reading.
yet explored in this solo. Also there are denser There are also some dissonances that are
chord voicings in the final two measures. This characteristically Monk. He starts with the G
leads into the fourth chorus, which is entirely introduced in measure 8 and reappearing in 10.
block chords. After this Monk brings the energy As the 9 of the F7 and the 5 of the C7, this tone
back down by returning to single-note lines akin has its place in jazz, but after all the roots and
to his second chorus for his next chorus (not fifths in the previous measures this tone is like a
printed). blast of cold water. But even more out is the
Now lets look at some specific aspects of E-natural first played in measure 19. As the
Monks approach. His left hand is used very major seventh, this note has no place in a blues,
sparsely, and not at all in the second chorus. Its especially on the I chord. But Monk keeps
as if he was saving this texture for the climax in returning to it. We hear it again in measures 23,
the fourth chorus, where it joins his right hand. 26, 27, 29 and 30 (where it is the #11 on the
The voicings in his left hand are not very dense, B7), as well as in the chord section in bars
just one or two notes. He also has no problem 3538, and in measure 46, where it finally

68-79_SHED.qxd 12/15/09 1:02 PM Page 73
shows up as the major third of the V chord, as if voice with notes a sixth below. Its the same
this was what Monk has been leading to for the idea with the notes played together rather than
past 27 measures. Its also interesting how the one at a time. Up through bar 39, its interesting
E-natural becomes an interior voice in measures that he resolves his melodies to sixths that are
37 and 38, creating a counterpoint to the half- variations of an F chord (third and root in bar
step melody above. 36, fifth and third in 3739), and the chromatic
Another Monkism is his use of sixths. He chord one-half step down Monk plays leading to
plays a string of them melodically in measures these imply E major chords. So by this point
1822, traveling up and down scales in sixths. Monk is not just playing the individual E note
(The melody to Monks composition Misteri that is so dissonant, hes implying an E chord,
oso is based on this same technique.) It pro which is even more out. DB
vides a country-like effect, similar to yodeling.
Later, starting in bar 36, Monk plays sixths har Jimi Durso is a guitarist and bassist in the New
York area. He can be reached at jimidurso.com.
monically in his right hand, harmonizing the top
68-79_SHED.qxd 12/15/09 4:46 PM Page 74
Toolshed
Zoom Q3 Recorder:
From Your Pocket to YouTube
Building on the success of its hand-held digi but definitely not great. As with all digital
tal recorders, Zoom has introduced the Q3 video, low light recordings are particularly
Handy Video Recorder, which combines problematic, and with no on-board video set
video recording with high-quality stereo tings or adjustments, what you see is what
audio. With a compact design, point-and you get.
shoot simplicity and USB connectivity, the Q3 The strength of the Q3 is in its audio quali
could be a very handy tool for musicians who ty. It uses the same XY pattern stereo con
want to record anything from live perfor denser microphones found in the H4n. The
mances and rehearsals to interviews and Q3 can record sound at various quality set
master classes. tings from compressed MP3 up to full 24-bit
The Q3 is Zooms first video recorder and a at 96kHz in audio-only mode and 24-bit/48kHz
logical next step for the company, which in in video mode. Downloading your video and
2007 gained a strong foothold in the portable audio to a computer is a snap using the built-
digital recorder market with the introduction in USB connector and bundled HandyShare
of the H2 and later the H4 and H4n products. software, which provides basic editing and
The first thing that you notice about the Q3 even direct uploading of your files to the web.
Handy Recorder is its simplicity, fitting com The Q3 comes with a 2 GB SD card for up
fortably in your hand with just a few basic to one hour of video recording time; it will
buttons. After installing the two AA batteries accept up to 32 GB SDHC cards for 16 hours
and powering up, a simple touch of the of movie making.
record button was all it took to make my Despite its average picture quality, the
first video. The on-board 2.4-inch color LCD is Zoom Q3 is a solid choice for those looking
very sharp and quite effective for monitoring for a professional audio recorder with the
or playback, and the Q3s four-way naviga added benefits of video capture.
tion pad provides zoom and volume func Keith Baumann
tions. The Zoom records video at 640 x 480
dpi and the quality of the video is acceptable, Ordering info: samsontech.com
Blue Chip: Slick Pick, Great Grip
Guitar players are always searching for ways and even animal horn. Its interesting that allowing for faster and more precise playing.
to improve tone and increase their technical one of the biggest breakthroughs in pick tech Goins worked for two years to refine his
ability on the instrument. nology actually came from a machinist picks. I wanted to raise the bar for pick
The folks at Blue Chip who was not even in the business. I design, he said. Everything is precision-
Picks may have a had been machining this composite machined with CNC equipment to extremely
product that can material for 10 years that costs tight tolerances and then hand-beveled and
help with both, $4,800 for a 10x10 square, polished. Blue Chip offers picks in several
offering a line of said Matthew Goins, Blue Chip shapes and thicknesses, the newest design
handmade picks president. One day I noticed an being a jazz model shaped much like the
that produce employee shaping a tor Dunlop Jazz 3 pick. Goins also offers a
amazingly clear toise pick in the thumbpick.
tone and glide shop and a dis I was quite impressed with the picks per
across the strings cussion led to formance and found that they did indeed
with effortless ease. the idea of allow me to play faster lines with less effort.
The search for the forming a pick Although quite slick on the strings, the com
perfect pick has been an from the com posite material is very easy to grip with no
ongoing saga for many years posite. Goins slippage at all. In addition, the Blue Chips pro
among musicians. Picks made took his prototype duce no pick noise and are incredibly durable
from tortoise shell were highly pop to several music with no signs of wear, even after several
ular due to their warm and clean tone. festivals and quickly months of intensive use. Bottom line is that
These picks eventually became illegal due found out that he had this is a groundbreaking product and well
to the endangered status of the hawksbill tor something truly special. worth the $35 for the discerning player.
toise, and the search for an acceptable substi Not only was the tone Keith Baumann
tute has had manufactures trying everything great, but the material has a
from custom plastic resins to stone, wood self-lubricating quality that reduces friction Ordering info: bluechippick.net

68-79_SHED.qxd 12/15/09 4:46 PM Page 75
Blue Microphones Encore Series:
Studio To Stage
Blue Microphones are so ubiquitous in record use another stage dynamic microphonesay,
ing studios, that you could forget theyve only miking a snare. There are three in the series
been around since 1995. Blues initial focus so far, aptly named 100, 200 and 300. The 300
was on high-end Class A studio mics marked was not yet available for review, but I got my
by transparent sound and unique design. The hands on the other two.
company has since introduced a slew of stu The first thing that strikes you about these
dio mics that are application-specific, and mics is their sturdy construction. They have a
across the board has been able to maintain a pleasant heft, if a little on the heavy side, and
high standard of quality and innovation. In their barrels are etched with a gripping sur
recent years, Blue has ventured into the home face that I found comfortable. Theres a nice
market with less expensive mics, and even laser-etched ring between the barrel and the
into the USB microphone market, always with grill, and they have a unique grill styling, with
interesting, and usually positive, results. Now a ring around it (a la Saturn) that youll have to
Blue has thrown its hat into the live perfor make your own decision about, but it definite
mance ring. ly fits in with Blues tradition of unusual
The new Encore series mics are designed design. The screen worked well, and deflected
primarily for stage, although they pops with aplomb.
can be used for studio applica The 100 is a classic dynam
tions where one might normally ic, and performed well,
although I thought it could
have used a little more gain.
It definitely had more defini
tion than other mics in this Theo
range, and I thought the
highs were pleasing as
Wanne
well. The 200 is an active Durga:
dynamic capsule, so it
requires phantom power.
Large-
The 200 has plenty of gain, Chamber
and sounded clearer to me,
although the specs are pretty
Mouthpiece Power
similar between the two. The Master mouthpiece creator Theo Wanne has
300 is a live condenser. developed the Durga saxophone mouthpiece,
I tested them for feedback a high-powered version of his True Large
issues against some mics at a Chamber design.
local club, and they performed The Durga features a long, high baffle and a
very wellbetter than any of very large chamber that transitions into a
the other contendersand any smaller chamber. This complex design allows
one who plays a lot of live for a fat, full sound with a powerful edge
shows can tell you that this is thats bright without being too thin.
one of the most important I tried the Durga on my vintage King
things you ask of your mics. Zephyr baritone sax, using a medium-soft
And while they both have the reed, and it brought out the instruments nat
same proximity effect that all ural brassy timbre while allowing for a huge,
dynamic mics exhibit, wherein round sound that you just dont get with other
the closer you get to the capsule bari mouthpieces. It took some extra effort at
the more bass response the mic first, as the Durga will take pretty much what
puts out, I found it to be less ever air you put into it, but once I got a feel for
tubby than on other mics. I liked this piece I was thrilled with the response and
the sound of them both, but con the way it suited my emboucher. Despite its
sidering the low price, I would modern design and overtone-rich sound, the
probably opt for the 200, unless Durga was versatile enough to work in vastly
you frequently use a board that different playing conditions. I was able to cut
does not supply phantom power. through the mix in a loud r&b group and
It seems that Blue has intro blended perfectly with the sax section in a
duced some real contenders into mellow, swinging big band.
the live space, and at $99 for the If youre having trouble getting a good con
100, and $149 for the 200, they temporary sound on bari, tenor or alto, give
are well worth a look. the Durga a try. It could change your game for
Chris Neville the better. Ed Enright
Encore 100 (left) and 200

Ordering info: bluemic.com Ordering info: theowanne.com

68-79_SHED.qxd 12/15/09 4:23 PM Page 76
Toolshed
1 2GEAR BOX3
1 Strum Those Keys
The Strum Electric GS-1 from
Applied Acoustics is a guitar track
plug-in that includes a collection of
classic, single coil- and humbucker
2
fitted guitars, a two-channel amplifier
with spring reverb, a speaker cabinet
and effects in a preset library. The
Strum Electric GS-1 automatically
voices chords played on the keyboard
as a guitarist would play them on a
fretboard. MSRP: $229.
More info: applied-acoustics.com
2 Studio Gear Emulation

Universal Audio has introduced the 4K
Channel Strip, an exacting circuit emula
tion of the SSL 4000 G+ console with the
Type E black knob four-band EQ, and
the companion 4K Buss Compressor,
which offers a simple control set and
transparent compression characteristics.
Each of the 4K series plug-ins includes a
14-day demo. MSRP: 4K Channel Strip,
$249; Buss Compressor, $199.
More info: uaudio.com
3 Behavior Modeled
Waves Audio has introduced the Hybrid
line of plug-ins. The H-Comp Hybrid
compressor combines the modeled 3
behavior of transformers, tubes and tran
sistors with the precision of modern tech
nology. The H-Delay delivers vintage
sounds, such as slap-back echo and ping
pong delay, as well as PCM42-style effects
controlled by an intuitive user interface. 4
More info: waves.com
4 Sweet FX Suite
Novation has released a suite of five
VST/AU effects plug-ins: chorus, delay,
tremolo, phaser and filter effect featuring
overdrive. Each plug-in offers an upgrade.
Five filter types, three different octave
slopes and a crunchy overdrive let the fil
ter plug-in deliver a variety of dynamic fil
ter modulation effects.
More info: focusrite.com
5 Reverb Generator
The X-Verb from Solid State Logic is a
reverb generator based on SSL algo
rithms. This approach generates sonic
results with the lowest possible latencies,
allowing dynamic access to the detail
parameters of the early reflection and
reverb structure. The Morph feature
allows MIDI-controllable crossfading from
one reverb preset to another. MSRP: $379.
5
More info: solid-state-logic.com

68-79_SHED.qxd 12/15/09 1:03 PM Page 77
68-79_SHED.qxd 12/15/09 1:03 PM Page 78
Jazz On Campus
Danilo Prez (left) teaching

Andrew Burglass and
Matthew Halpin
School Notes
Steve Wiest
Double Nomination: The University of

North Texas One OClock Lab Bands Lab
2009 disc has been nominated for a
JENNIFER SHANLEY
Grammy in the best large jazz ensemble
album category. Its director, Steve Wiest,
has been nominated for a best instrumen
tal composition award for his Ice-Nine
from that disc. Details: unt.edu
Berklee Goes Global With New Institute
The first thing that comes to mind about Berklee Joe Lovano, George Garzone, John Patitucci, Hines Educational Gift: The bulk of Earl
College of Music may be super-fast tempos or a Terri Lynn Carrington, Jamey Haddad and Ben Fatha Hines estate will be donated to
mastery of sight reading. But the faculty behind Street, who teach master classes and also pri the University of California, Berkeley, to
the new Berklee Global Jazz Institute, which vately. Berklee will look to establish exchange provide music instruction to low-income
debuts in January at the Boston school, empha programs overseas with schools such as the students. The campus library will also
size the culture, history and politics that continue Paris Conservatoire and Siena Jazz Foundation receive his papers, compositions and
to impact music traditions throughout the world. in Tuscany, Italy. other memorabilia. Hines had served as a
Berklee president Roger Brown said it isnt a Pignataro also serves on the faculty at the Regents Lecturer in music at the school.
case of Berklee shifting its focus. Rather, the Conservatory of Music of Puerto Rico, where he Details: berkeley.edu
Boston school is refreshing the curriculum with directs the jazz and Caribbean music program.
new international ideas. He calls the Berklee program an effort to reform Pre-Open Win: Oberlin Colleges Litoff
The Berklee Global Jazz Institute is a recog the current jazz education model. Building, which will be the home of its jazz
nition that you dont create exciting new music Were insisting on a more humanistic point studies department, has received the
on chops alone, Brown said. Theres some of view, Pignataro said. If you think about it, American Institute of Architects Western
thing deeper and profound about the music that conservatories are putting out [an] endless num Mountain Region 2009 Honor Award for
has to do with inspiration and emotion, and con ber of incredibly proficient musicians who dont Unbuilt Work. The building will open in
necting in a very deep way with people. And we say anything. They play their instruments May. Details: oberlin.edu
need to make sure that there is a place that hon incredibly, but theres no expression.
ors that and supports students who really want to Prez speaks of the social impact musicians JALC Multi-Talent Search: New Yorks
explore new directions, new ideas, new voices can have. In his native Panama, he has estab Jazz at Lincoln Center is celebrating the
and new concepts. Were trying to get at a cre lished the Panama Jazz Festival, and also a foun 15th anniversary of its Essentially Ellington
ative incubator of new musical ideas. The histo dation providing arts education and scholarships High School Jazz Band Program with new
ry of jazz is about reinvention, and about always for children and young people. initiatives. Writing contests have been
pushing the envelope and always coming up Music has a social power and can affect added to the competition, and students
with new ideas, and not repeating yourself. communities, Prez said. Were encouraging are invited to submit entries in the non-fic
The Berklee Global Jazz Instituteunder the the student to be more active in the world not tion essay or fictional short story cate
supervision of pianist Danilo Prez, who serves just as a performer, but also as a citizen. And in gories. Students, band directors and fans
as artistic director, and saxophonist Marco the process they learn more about themselves are also encouraged to share their experi
Pignataro, the programs managing director [and] about humanity, and that will be ences with the program for a compilation
will limit its enrollment to 14 students. These [expressed] in their music. to be presented during the May 810
students will remain in the program for one to Roger Brown said the Berklee Global Jazz event. Competition recordings are due
two years, while earning up to 30 credits. The Institute reflects a trend at the college. It includes Jan. 29, and writing contest essays are
programs official launch is Januarys Panama a class focusing on turntables for DJs and a due Feb. 5. Details: jalc.org/ee15
Jazz Festival. future program dealing with American roots
In addition to improvisation and performing music. Jazz Buffs: The University of Memphis
in ensembles, the curriculum focuses on build You will see a trend in all academic institu Southern Comfort Jazz Orchestra has
ing connections among music, art, dance and lit tions trying to understand that complicated idea released a new CD, Out Of The Bluffs.
erature. Such classes include faculty from of defining and quantifying creativity, Brown Jack Cooper directs the ensemble.
Berklees liberal arts departments. The other said. Where do new ideas come from? How do Details: memphis.edu
instructors participating in the program include we promote their development? Eric Fine

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Blindfold Test By Dan Ouellette
At the 42nd annual Monterey Jazz Festival in Monterey, Calif., key

boardist George Duke, whose music cuts across all the jazz subgenres,
appeared in the live DownBeat Blindfold Test on Sept. 19 in front of 500
people in Dizzys Den. Saying that hes not an opinionated guy, but Ive George
got to tell the truth, Duke weighed in on an eclectic playlist.
Cannonball Adderley
Duke
Dizzys Business (from The Cannonball Adderley Sextet In New York,
Riverside/Concord, 2008, recd 1962) Adderley, alto saxophone; Nat Adderley,
cornet; Yusef Lateef, tenor saxophone; Joe Zawinul, piano; Sam Jones, bass;
Louis Hayes, drums.
Thats Cannonball Adderley, and thats one of my favorite periods. I
worked with Cannonball in the early 70s. This was from the 60s when
he made a series of albums in New York, San Francisco, Chicago and
Europe. His sextet is like a big band in a small package. I love that band.
Yusef Lateef was amazing on flute and saxophone. When I first began
playing the synthesizer, I tried to play the way Yusef played the blues with
the flute. I wanted to play like that, but you cant bend notes on a piano.
Once I found out about the synth, I was trying to play like Yusef. 5 stars.
Ledisi
You And Me (from Lost & Found, Verve Forecast, 2007) Ledisi, vocals; Rex
Rideout, keyboards and programming; Errol Cooney, guitar; Kenny Knight, organ;
Dwayne Smith, bass.
EDIE ELLIS
Thats kind of funky. I heard this song on the radio a lot in L.A. I think this
is Ledisi, who I worked with before on a Christmas album. Shes a fantas
tic artist just like a lot of young singers like Jill Scott. In their own way didnt like that snare drum. I have to say that this is not my cup of tea, but
theyre keeping the spirit of jazz alive for the youth who dont know who anyone who has the gumption to do something on the outside instead of
Dizzy Gillespie is and could probably care less. But Id like to hear them staying in the inside, I say, go for it. Even if I dont like it, I err on the side
dig a little deeper and come up with something where they dont all sound of giving it up for them. 4 stars.
the same. Its not always the artists issue, but a record companys, which
is a business. Ledisi has the ability to be free, but it takes a lot of chutzpa Herbie Hancock
to follow ones creative heart. Ill give Ledisi 5 stars because shes one of Fat Mama (from Herbie Hancock: The Complete Warner Bros. Recordings,
the most talented artists in that school. from Fat Albert Rotunda, Warner Bros., 1994, recd 1969) Hancock, piano; Joe
Henderson, alto flute, tenor saxophone; Johnny Coles, trumpet; Garnett Brown,
Frank Zappa trombone; Buster Williams, bass; Albert Tootie Heath, drums.
The Grand Wazoo (Think It Over) (from Zappa Wazoo, Vauter Native Records, I know that tune, but I cant place it. It sounds like one of those old Quincy
2008, recd live 1972) Zappa, guitar; various artists in Mothers of Invention Jones records. The piano player sounds like a lot of different piano play
orchestra, including Bruce Fowler, trombone; Jim Gordon, electric drums. ers, so I cant guess. It could be Greg Phillinganes. But its definitely not a
This is a Zappa tune, and its probably by one of those bands out there that Bill Evans or Herbie Hancock or McCoy Tyner. He doesnt stand out, but
either play Franks music or are influenced by it. When the tune went into it could be that the tune required him to play a certain way, so you have to
the big band, whooh! It reminded me of some of the things I used to do change what you can do. It is Herbie? For a minute I thought I heard him
with Zappa. I started with him in 69, then left in 72 to play with with that ding-a-ling sound. I love you, Herbie, but I couldnt really hear
Cannonball. I rejoined Frank in 73 and left the band in 76. That was a you in this. Oh, its Bill Cosbys Fat Albert Rotunda? Well, that makes
great period. sense, Herbie had to do certain things. Its all about the context. You play
So this is actually Frank? This is not one of his better efforts. But I have whats required of youbecause its important for your pocketbook. As
to thank him. I wouldnt be here today without himand Cannonball. for Herbie, fortunately he went on to do a lot of great things.
Frank always gave me little tidbits of advice. He told me, George, you
need to play the synthesizer. I told him, no, but he bought one for me Hank Jones
anyway. He told me, Put it on your Fender Rhodes and maybe youll Handful Of Keys (from Handful Of Keys: The Music Of Thomas Fats Waller,
bump it by mistake and a sound will come out of it. Sure enough, I Verve, 1992) Jones, piano.
bumped it one day. Hmmmmm. Thats when I found out you could bend I wish I could play like that. Thats another discipline. I can only hint at it,
a note on a keyboard. I said, OK, Yusef, here I come. but I cant really play it. Ive heard this song before, but I havent made a
study of that era. From a weird standpoint, it sounded like Fats Waller
Robert Glasper playing without talking. I could hear the grumbling in the background. Its
All Matter (from Double Booked, Blue Note, 2009) Glasper, piano; Derrick Hank Jones? They really got that sound, and Hank is a lot closer to that
Hodge, electric bass; Chris Dave, drums; Bilal, vocals. time than me. Hank is an amazing pianist, just like many from the time he
Its interesting. It sounds like several songs in one. Its music thats daring was coming up. Ive got to get this album. DB
on a certain level, especially conceptually because its not geared for play
ing on the radio. The singer is pretty good. At first I thought it might be The Blindfold Test is a listening test that challenges the featured artist to discuss and iden
John Legendthe timbre of his voice. But I never heard him do anything tify 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.
like this. The piano player is good, stretching out here and there. But I

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01_COVER.

qxd 12/10/09 11:44 AM Page 1

President Kevin Maher

Jack Maher, President 1970-2003

02-27_FRONT.qxd 12/15/09 1:50 PM Page 5

10 Chords & Discords

6 DOWNBEAT February 2010 Cover photography by Paul Natkin

First Take by Aaron Cohen

8 DOWNBEAT February 2010

Chords & Discords

Dont Kill The Clubs

10 DOWNBEAT February 2010

02-27_FRONT.qxd 12/15/09 2:03 PM Page 13

INSIDE THE BEAT

WBGOs Stylish 30th Celebration

February 2010 DOWNBEAT 13

Riffs Saxophonist Wall Balances Jazz

Performance With Rabbinic Life

14 DOWNBEAT February 2010

Jazzs roots in Europe are strong. This column looks at

Josele Crafts Personal JazzFlamenco Connections

Although hes only in his mid-30s, hes originals.

16 DOWNBEAT February 2010

Wynton Marsalis with Atlanta Symphony Orchestra

Marsalis To Debut 7-Movement

Rava Clinches Austrian Award

Photographer Williams Quietly Shattered Barriers

Hank Mobley, Thelonious

20 DOWNBEAT February 2010

Ann Arbors Edgefest Stays on Michigans Nerves

22 DOWNBEAT February 2010

February 2010 DOWNBEAT 23

24 DOWNBEAT February 2010

consider myself an expert, by any means, I enjoy experimenting with

Spending three years with Charlie Hunter was a rebirth, because I

Sitting comfortably in a posh

26 DOWNBEAT February 2010

hile Chicago bundles up and

W hunkers down in the middle

28 DOWNBEAT February 2010

30 DOWNBEAT February 2010

it lump-de-lump music. And it was such a good rhythm. I tell people

February 2010 DOWNBEAT 35

obscure stuff and stay with it long enough to

36 DOWNBEAT February 2010

38 DOWNBEAT February 2010

February 2010 DOWNBEAT 39

40 DOWNBEAT February 2010

playing jazz. They were just wonderful songs.

February 2010 DOWNBEAT 41

Father And Son

An Interview with blues, Paul?

42 DOWNBEAT February 2010

Muddy Waters (left) and Paul Butterfield

February 2010 DOWNBEAT 43

44 DOWNBEAT February 2010

February 2010 DOWNBEAT 45

46 DOWNBEAT February 2010