December 2023

VOLUME 90 / NUMBER 12

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8 DOWNBEAT DECEMBER 2023

 DECEMBER 2023

ON THE COVER
SHERVIN LAINEZ

DownBeat Hall of Fame Honoree

28Pharoah
Sanders
The Promises of
Pharoah Sanders
BY GARY FUKUSHIMA

The late Pharoah Sanders is on

the minds of many these days —
including the DownBeat readers

42
who voted him into the Hall of
Fame, and listeners who caught
a live performance this summer
of Promises, a project by Sanders
and the minimalist composer
Floating Points, at the Hollywood
Bowl with saxophonist Shabaka
What a year singer Samara Joy has had — from a Grammy as best new artist earlier
Hutchings in the role of Pharoah. this year to Album of the Year and vocalist of the year in the 88th Annual DownBeat Readers Poll.
Cover photo by Mark Sheldon
88TH ANNUAL DOWNBEAT READERS POLL
w
vie
36 Wayne Shorter Re H
tar H
5-S HH
Jazz Artist of the Year H
BY FRANK ALKYER

38 Artemis
Jazz Group of the Year
BY SUZANNE LORGE

42 Jazz Albums of the Year

55 John Scofield 59 Vinny Golia 63 Hayes Street Hart 67 Angelica Sanchez

43 Historical Albums of the Year

44 Blues Albums of the Year DEPARTMENTS

46 Complete Readers Poll 17 The Beat 92 Transcription

listings 17 Joe Bonamassa Keeping Blues Alive Lakecia Benjamin’s Alto Sax
20 In Memoriam: Carla Bley Solo on ‘New Morning’
BY JIMI DURSO
SPECIAL SECTION 22 The New Louis Armstrong Center
24 Caroline Davis’ Alula Soars
75 Holiday Gift Guide 26 Delmark Records at 70
94

Toolshed
Nord Stage 4 Keyboard
76 Boxed Set Bonanza
BY CHRIS NEVILLE
80 Vinyl & Reissues 55 Reviews
84 Holiday Yuletunes
90 Master Class 98 Blindfold Test
88 Great Gear Gifts
Music Therapy & the Church of John Coltrane Nduduzo Makhathini
BY ALEX WEISS BY MICHAEL JACKSON

10 DOWNBEAT DECEMBER 2023

 First Take BY FRANK ALKYER

RI SUTHERLAND-COHEN

DownBeat honors Pharoah Sanders as he enters the Hall of Fame.

Correcting Jazz History

SOMETIMES YOU GET A SECOND CHANCE feature article in DownBeat with the passing
to do the right thing. of Sanders.
With that, here’s a little inside baseball on When he placed second for the Hall of
how the publishing process works. Fame in this year’s Critics Poll (August), we
When Pharoah Sanders passed away on felt certain that Sanders had a chance to win
Sept. 24, 2022, DownBeat was able to post an via the next poll. Sure enough, the readers of
obituary online at downbeat.com immediately, DownBeat finally made it happen this month.
but we missed the window for running a prop- Now, Pharoah Sanders and his beautifully
er obituary in the November 2022 issue of the plaintive music have been enshrined in the
magazine due to production deadlines. As you DownBeat Hall of Fame. He appears in his
can guess, it takes time to write, edit, print and rightful place on the cover. And, as you can see
send a magazine, a bit of a disadvantage when it beginning on page 28, writer Gary Fukushima
comes to reporting breaking news, to be sure. offers a beautiful tribute to one of this music’s
Still, we thought there was an opportunity most spiritual and soulful artists.
for Sanders to join the DownBeat Hall of Fame We’re sorry it took so long. We regret that
later that year via the Readers Poll, and figured Sanders isn’t here to enjoy such a well-deserved
we could run a great tribute in our December honor. And to Mr. Probst and all the fans who
2022 issue. But he took fifth place for the honor wrote in, we hope we’ve done the memory of
and the opportunity faded. At that point, in Pharoah Sanders proud.
the world of publishing, the newsworthy ship Along with remembering Sanders, readers
had sailed. cast some rather sentimental votes this time
It didn’t go unnoticed. around, perhaps because we lost so many other
We received several letters over the next few jazz giants this year. Wayne Shorter won Artist
months, most of them reflected by this suc- of the Year one more time after passing away
cinct note from Peter Probst in Berlin: “One of in March. Tony Bennett, who succumbed in
the greatest tenor players of all time dies, and July, was honored as Male Vocalist. And Joey
I don’t find a single line about it in your mag- DeFrancesco won Organist of the Year despite
azine (only online as of Sept. 27, 2022). Is this his early calling in August 2022. Let’s not forget
right? A cover story would be appropriate!” Ahmad Jamal, who died in April and went on
Those letters stung, so the next hope was to win Historical Album of the Year.
that there would be a memorial concert, a Before anyone even tries to say this music is
new historical album released, perhaps a dying — full stop. Jazz artists and improvis-
new book to report on. For the next several ing musicians continue to look to the future,
months, it was stuck in the back of this edi- play for the moment and revere the legends of
tor’s mind because Mr. Probst and the others the past and the joy they’ve brought to all. And
were right: There should have been a major we’ll listen to and remember them always.  DB

12 DOWNBEAT DECEMBER 2023

 Chords Discords
Cover Tyshawn
Why did DownBeat pass on Tyshawn So-
rey for the cover and cover story for the
September 2023 issue. Please, please,
please don’t let this happen again.
LINDA LOUISE HUESTON
EDMONTON “JAZZ CITY”
ALBERTA CANADA

Editor’s Note: We ran a major feature

on Tyshawn in the September issue,
which highlighted the great pianist
Kris Davis on the cover. Sometimes we
have to choose between our favor-
ite children. But you are correct —
Tyshawn Sorey is cover worthy!

Carla Bley’s Beauty Missing Brötzmann

While your [online] article noting the pass- Did Downbeat miss the passing of Peter
ing of the great Carla Bley is reverential in Brötzmann last summer? He was a giant of
its praise for her amazing career, for inexpli- the European free-jazz scene; I can’t under-
cable reasons, you have chosen to lead with stand why this wasn’t noted.
remarks about her looks. Why? JOHN VEYLUPEK
Would the writer have done the same if LANCASTER, PENNSYLVANIA

it were Steve Swallow who died, to lead with Editor’s Note: We ran a full obituary online
remarks about his hairstyle and facial ap- on June 27, but due to deadlines and tim-
pearance? He’s certainly equally striking in ing, it did not appear in the print edition.
appearance to me. Has to be said. It’s one of the challenges of publishing on
TROY BOY many platforms. Thank you for mention-
VIA EMAIL
ing this. We are happy to note the great
Editor’s Note: Carla Bley was a striking saxophonist’s passing here.
woman from the music that she made to
the way that she dressed to the way she
looked. James Hale was simply drawing Ex Machina Anger
a parallel. Carla’s bangs were striking, Suzanne Lorge’s limited arrogant verbiage
almost as striking as her music. Readers [for Steve Lehman’s Ex Machina (Novem-
who missed the online tribute can read it ber)] does not explain the 3.5 stars for an
on page 20. album that can be prophetic and fantas-
tic at the same time. Faced with a small
space to express yourself and a struggle
Pass the Pease to search for the best, so common in Down
My grandmother’s cousin, Sharon Pease, was Beat, from my perspective, it limits the
an early writer for DownBeat in the 1930s and appreciation of a work that is recognized
a lyricist and jazz pianist himself. My grand- by European critics. Perhaps, you continue
mother was very close to him and spoke of with a reactionary thought of what should
him often when I was growing up. Now, I’m be, according to you, jazz. Therefore I to-
compiling some family history and would like tally disagree with your opinion, but I do
to include some information on him. He wrote not argue. Lack of substance and serious-
an article with the famous headline, “I Saw ness. And of course I don’t accept Paul de
Pinetop Spit Blood,” in 1939, which is featured Barros’s opinion either.
in a number of footnotes in various books on ALFONSO ZEPOL
Boogie Woogie. I’d love to get a copy of this VIA EMAIL

article, but can’t find it online. Is it possible to

obtain a copy from your archive?
ELLEN THALMAN
BERLIN, GERMANY/CHAPEL HILL, NORTH CAROLINA Clarification
In the October issue’s Transcription column,
Editor’s Note: Forgive the headline pun, the composer of “Portrait Of Jennie” is J.
but it was there, just waiting. Yes, we can Russel Robinson.
find that article for you. DownBeat is in
the process of digitizing every issue of the
magazine ever produced. Stay tuned for Have a Chord or Discord? Email us at [email protected]
more details in the months to come! or find us on Facebook & Twitter.

14 DOWNBEAT DECEMBER 2023

16 DOWNBEAT DECEMBER 2023
 The
Carla Bley RIP, Armstrong Center, Caroline
Davis’ Alula, Delmark Records & More!
ADAM KENNEDY

“The first Blues Deluxe album took seven days to finish, this one took five,”
Joe Bonamassa says of Time Clocks, a tribute to, and continuation of, his first hit album 20 years ago.

Joe Bonamassa: (Still)

Keeping the Blues Alive
P
erhaps the highest-profile blues guitar- as the Sydney Opera House, Vienna Opera at Eric Clapton’s Crossroads Festival in Los
ist on the planet today, Joe Bonamassa House and The Koninklijk Theater Carré in Angeles. Meanwhile, he’s gearing up for his
has packed iconic venues all over the Amsterdam. The blues, it seems, travels well ninth annual Keeping the Blues Alive at Sea
globe, from Royal Albert Hall in London to these days. cruise, scheduled to travel from Miami to
the Beacon Theater and Carnegie Hall in New In late September, he played alongside his Cozumel, Mexico, in March 2024. If not the
York, Red Rocks Amphitheatre near Denver boyhood hero John McLaughlin on a version best, he’s certainly the hardest-working blues
and Ryman Auditorium in Nashville as well of Jeff Beck’s “’Cause We Ended As Lovers” guitarist around.

DECEMBER 2023 DOWNBEAT 17

HALUK GURER

Bonamassa has a deep connection to guitarists Albert King, Albert Collins, Buddy Guy,
B.B. King, Jeff Beck, Eric Clapton and Jimi Hendrix, Danny Gatton and Eric Johnson.

Known for his incredible technique, which Vol. 2 on his J&R Adventures label. savant Calvin Turner wrote all the horn and
he has been flaunting in public since being string parts. So nothing’s canned. Everything
trotted out on stage at the ripe old age of 12, Bill Milkowski: You had just come off a success- is played live, I’m proud to say.
the seasoned 46-year-old New York native ful studio album with Time Clocks and fol-
has been in the spotlight his entire adult life. lowed that with your live concert film and Milkowski: You also tip your hat to blues icons
And while Bonamassa may also deftly incor- album Tales Of Time, shot at the Red Rocks like Bobby Parker, Guitar Slim, Albert King
porate progressive rock and heavy metal ele- Amphitheatre last summer and released on and Pee Wee Crayton on this album.
ments into the mix, which he did convincingly CD/DVD/Blu-Ray. Why did you decide to Bonamassa: Yeah. Those are Mt. Rushmore-
on 2021’s Time Clocks, he remains a dedicat- return to the blues now? level blues singers and guitarists. You’re never
ed blues scholar at heart. In conversation with Bonamassa: I never expected to make this gonna get to where those guys got on those
the busy blues ambassador, he seems genuine- album. Basically, I wanted to do something for tunes, so you just have to kind of just relax and
ly humbled by talking about his own person- the anniversary of Blues Deluxe, which kind be yourself; just be who you are and do your
al blues guitar heroes like Albert King, Albert of helped my solo career break out 20 years own version of the tune. We obviously wanted
Collins, Buddy Guy and especially B.B. King, ago. That was my third album but the first one to hit a couple of other marks along the way,
who he opened for as a little kid during the that really started to get some traction. And so like tipping the hat to the British blues scene
summer of 1990. instead of just remastering the original record, with Fleetwood Mac’s “Lazy Poker Blues.”
A self-described “old soul,” Bonamassa which is just a cheap way to sell it twice, I Because my blues journey started in London
has said he felt he was a child of the ’60s (even decided that we needed to cut another vol- with Jeff Beck and Eric Clapton and Peter
though he was born in 1977) because of his ume of songs. I got together with Josh Smith, Green, then ended up in Chicago with Muddy
deep connection to the Holy Trinity of guitar who plays guitar in my band and is a great pro- Waters, Howlin’ Wolf, Otis Rush and all those
gods from those days: Jeff Beck, Eric Clapton ducer/artist himself, and we went into Sunset real-deal blues guys that the British cats wor-
and Jimi Hendrix. Aside from B.B. King, he Sound studios in Los Angeles and just did it. shipped. So our version of “Well, I Done Got
counts Danny Gatton as a significant men- The first Blues Deluxe album took seven days Over It” is straight out of the Bluesbreakers
tor. (It was Gatton who introduced a young to finish, this one took five. It was a process of playbook from The Beano Album (1966 John
Bonamassa to recordings by iconic guitarists singing a guide vocal, doing a couple of takes, Mayall & The Bluesbreakers album featur-
like Les Paul, Hank Garland, Gene Vincent, taking solos on the floor and then, “Are we all ing Eric Clapton). And when we picked the
Cliff Gallup, Chet Atkins and Merle Travis). happy with it? Great, next.” It was crazy how songs, it was like, “Let’s just play it and have
Another guitarist whose influence looms large fast it all went. fun.” And I think you can really hear the band
is Eric Johnson, whose signature progressive responding that way throughout the album.
lines can be heard in some of Bonamassa’s Milkowski: There are a couple of tunes, like
more rock-tinged playing. Bobby “Blue” Bland’s “Twenty-Four Hour Milkowski: Blues Deluxe is named for a Jeff
Bonamassa spoke with DownBeat corre- Blues” and Josh Smith’s power ballad “Is It Safe Beck tune on his first album as a leader, 1968’s
spondent Bill Milkowski by phone just before To Go Home,” that go beyond a straight shuf- Truth. So there’s the London connection again.
he embarked on his fall tour in conjunction fle blues by using full string and horn sections. Bonamassa: Yeah, I cut my teeth on Truth and
with the release of the rootsy Blues Deluxe, Bonamassa: Yes, our bassist and musical Beck-Ola. And if you listen to “Blues Deluxe,”

18 DOWNBEAT DECEMBER 2023

the song is, simply put, the first verse of to do a little tribute to that, where everybody of Power vibe I said, “Listen, fellas, if we’re
“Gambler’s Blues” from B.B. King’s Blues Is takes a verse, takes a chorus, then trades off going to go there, let’s go all the way. Let’s
King (1967) and Buddy Guy’s hit single “Stone at the end. not beat around the bush. Everybody knows
Crazy” (1961). On Truth, it’s credited to Jeff where this shit is coming from.” So, you know,
Beck and Rod Stewart, but those verses are lift- Milkowski: Your original tune “Hope You our guys speak all the languages, and Calvin
ed straight out of Buddy Guy and B.B. King. Realize It” is a stone tribute to Tower of definitely speaks Rocco. But the thing about
Complete lift job. Power with the swaggering horns and with a blues covers record, which is predominately
bassist Calvin Turner copping that pump- what this is … you got to get off the trail. You
Milkowski: Your version of Bobby Parker’s “It’s ing 16th-note Rocco Prestia vibe from cannot follow the same deer trails that every-
Hard But It’s Fair” is super funky with the “What Is Hip?” body’s followed. You got to dig and find some-
punchy horns. Bonamassa: Yeah, that was a song I wrote with thing deeper than just the well-worn path. It’s
Bonamassa: My biggest regret is that Bobby Tom Hambridge. It was kind of funky to begin about keeping the blues alive and just keeping
never heard this version we did of his tune. I’m with and as we started flirting with the Tower going with it. —Bill Milkowski
a huge Bobby Parker fan. Bobby was a friend.
He had heard my version of his song “Steal
Your Heart Away” (from 2010’s Black Rock),
and he loved it. Bobby lived just outside of
Washington, D.C., and he actually came and
sat in with us in D.C. years ago, and he played
“Steal Your Heart Away” with us. He was a
good dude and we were really close to doing
something with him. We were talking to him
with (producer) Kevin Shirley about doing an
album together. It was going to a kind of come-
back album for him, but he suddenly died (in
2013). Bobby Parker had a moment in the ’60s,
but he isn’t mentioned in the same company of
the greats, and it’s sad. Because a lot of those
great artists like Bobby, although they were
kind of more obscure, were just absolutely tal-
ented to the highest level. But their business
was all fucked up. Bobby’s story was no differ-
ent than many of them — trouble with man-
agers, labels, this and that. You know, he just
never could catch a break.

Milkowski: Your love of Albert King comes

across loud and clear in the first two notes of
“You Sure Drive A Hard Bargain.”
Bonamassa: You know, I was leery of doing it.
That was Josh Smith’s idea and I told him,
“Josh, this is a big mountain to climb, man. I
don’t know if I can even get to base camp on
it.” And he said, “Let’s try it. The worst that
can happen is we’ll just scrap it.” And it came
out good. I was proud of it, especially the way
I sang it. Sure, it’s a guitar-based album, but
it’s really a singing gig in many ways because
you’re covering songs by some of the greatest
of blues singers of all-time, like Albert King.

Milkowski: It may well be a singing gig, but

that Kenny Neal shuffle, “The Truth Hurts,”
is a guitar extravaganza with you, Josh
Smith and Kirk Fletcher all trading furious
licks at the end.
Bonamassa: Basically, we wanted to do a tip of
the hat to that great Alligator record from the
mid-’80s, Showdown!, with Albert Collins,
Robert Cray and Johnny Copeland. Anybody
who’s in their 40s and plays guitar in the
blues world had a copy of Showdown! That
was standard ops back then. So we wanted

DECEMBER 2023 DOWNBEAT 19

 MARK SHELDON
Bley told DownBeat in 1984: “I’m just a composer, and I use jazz musicians because they’re
smarter, and they can save your ass in a bad situation. … I need all the help I can get.”

Hall of Fame Composer-Pianist

Carla Bley Passes Away at 87
WITH HER ICONIC BANGS, SHARP FEA- sionistic collaborators like her third hus- high school at 15 and moved to New York in 1953
tures and free-flowing sense of the absurd, Carla band, bassist Steve Swallow, and saxophonist to experience live jazz firsthand. Her primary
Bley, who died Oct. 17 of brain cancer at age 87, Andy Sheppard — Bley distinguished herself vantage point was her job selling cigarettes inside
was unable to go unnoticed in the male-domi- as a singular composer. She was elected to the Birdland, the Midtown jazz club. It was there she
nated jazz world of the ’70s and ’80s. Her distinc- DownBeat Hall of Fame in the 2021 Critics Poll. met Canadian pianist Paul Bley, who she married
tive, sometimes-absurdist/always-adventurous While she claimed to only play “composer’s after relocating to Los Angeles in 1957.
compositions made her impossible to forget. piano” at best, she studied the instrument With her husband’s encouragement, the
From early songs like “Jesus Maria” and from the age of 3 with her father, an Oakland, rechristened Carla Bley began writing music,
“Ida Lupino” through her landmark jazz California, church organist, and later was heav- including “O Plus One,” which appeared on Paul’s
opera Escalator Over The Hill to her later works ily influenced by Count Basie. 1958 album Solemn Meditation. Returning east,
— mostly open-ended landscapes for impres- Born Lovella May Borg, she dropped out of she continued to compose while working in the

20 DOWNBEAT DECEMBER 2023

coat check rooms at New York’s Basin Street and the Jazz Gallery,
and her songs began to attract the attention of artists like Jimmy
Giuffre, who featured two of her compositions on Fusion (1961)
and George Russell, who recorded “Dance Class” and “Beast Blues”
for George Russell Sextet At The Five Spot (1960).
Bley’s membership in the Jazz Composers Guild introduced her
to Austrian trumpeter Michael Mantler, whom she married in
1965. Their daughter, musician Karen Mantler, was born in 1966,
and survives her. Bley and Mantler formed the Jazz Composer’s
Orchestra, which brought together a broad range of musicians,
including Cecil Taylor, Steve Lacy, Archie Shepp and Don Cherry,
and an affiliated supporting organization: the Jazz Composer’s
Orchestra Association, which commissioned work, sponsored per-
formances and functioned as a record label.
Bley’s breakthrough came with three major works that were
released in the late ’60s: Gary Burton’s A Genuine Tong
Funeral (1967), Charlie Haden’s Liberation Music Orchestra (1969)
and the sprawling Escalator Over The Hill (1971), which was
released under the Jazz Composer’s Orchestra name but featured 36
musicians, stretching from singer Linda Ronstadt to guitarist John
McLaughlin and a young Karen Mantler on vocals.
With lyrics by poet Paul Haines, Escalator drew wide praise,
including an influential review in Rolling Stone that called it “an
international musical encounter of the first order” and a French
Oscar du Disque de Jazz award.
In 1972, Bley was awarded a Guggenheim Fellowship for com-
position and, with Mantler, founded a new label, WATT. Its
first release, Tropic Appetites (1974), was Bley’s debut as a leader.
Following a brief sojourn in the U.K., where she worked with bass-
ist Jack Bruce and Rolling Stones guitarist Mick Taylor, she formed
the Carla Bley Band and entered a very active period of touring
and recording, using a core that included her husband, trombonist
Roswell Rudd, Swallow and drummer D. Sharpe.
In the mid-’80s, Bley downsized to a sextet and made a shift to
more amplified music with Swallow, guitarist Hiram Bullock and
drummer Victor Lewis. She and Swallow also formed a duo, which
toured and recorded frequently for five years, during which time
Bley left Mantler and formed a 32-year relationship with the bassist.
In spite of achieving a higher profile, with tours that took her to
Europe and Japan, Bley remained circumspect about her talent.
As she told DownBeat in 1984: “I’m just a composer, and I use jazz
musicians because they’re smarter, and they can save your ass in a
bad situation. … I need all the help I can get.”
Saxophonist Sheppard rejoined Bley and Swallow for Songs
With Legs (1994) and they continued as a trio for more than 20
years. The ’90s also saw Bley working more often in a big band set-
ting — both with her own unit and as a guest composer — and with
Haden in a reformed Liberation Music Orchestra, which released
four additional recordings and continued to be active after Haden’s
death in 2014.
During their later years, Bley and Swallow became the most cel-
ebrated couple in jazz, touring in various formations and appear-
ing as special guests on the festival circuit. In 2015, she was named
a Jazz Master by the National Endowment for the Arts, and the fol-
lowing year, to celebrate her 80th birthday, ECM Records organized
a special event at Steinway Hall in New York.
In speaking about Bley’s many compositions that have
become new standards in jazz — including “Jesus Maria,“Ictus,”
“Sing Me Softly Of The Blues,” “King Korn,” “Vashkar” and
more — ECM founder Manfred Eicher said, “There are so many
of them, each as well crafted as pieces by Satie or Mompou —
or Thelonious Monk for that matter. Carla belongs in that tra-
dition of radical originality.”  —James Hale

DECEMBER 2023 DOWNBEAT 21

 Pops at home in Corona. The Here to Stay exhibit.

Louis Armstrong Center Offers

New Understanding of ‘Pops’
ON JULY 6, THE HOTTEST DAY IN RECORDED To be sure, the center, which has been draw- “He saved the good, the bad and the ugly,”
history, a new institution devoted to the man who ing a steady stream of visitors since it opened, Riccardi said of Armstrong.
gave the world “hot” jazz — and infinitely more offers much to confirm Jones’ rose-colored view The review, to be blunt, was ugly. Clearly
— opened its doors in Queens, New York, for the of Armstrong’s legacy. It is a view widely held by unmoored by the freedom implicit in a perform-
first time. members of the public, many of whom will be er who could command a stage with such radi-
It was very cool inside. familiar with the broad outlines of his rise from cal abandon — strutting, smiling, waving an
The Louis Armstrong Center — with its New Orleans waif to beloved global figure, even if ever-present handkerchief and using his grav-
sleek styling, multitudinous artifacts, acousti- they are unfamiliar with the details. elly voice to sublime effect before closing the
cally attuned performance space and ethos of But Ricky Riccardi, director of research oper- show on trumpet with a hundred high C notes
integration into the community — promises ations for the house museum and center, was — the reviewer ripped Armstrong’s musical
to set a standard for institutions dedicated to a ready to add nuance to that view. Tearing him- style, his stage presentation, even his physiog-
musician’s legacy. self away from answering visitors’ questions on nomy. And while that view was not universal
Not incidentally, it is also an impressively the welcoming first floor, he entered a wholly dif- among the press — Riccardi produced an edito-
scaled edifice that, despite being squeezed ferent world on the second: one of cubicles, offic- rial in the Evening News equating the critiques of
between a row of modest homes, somehow seems es and a heavily secured inner sanctum where he Armstrong with those of other maligned genius-
a natural fit in the quiet neighborhood of Corona. could mine the archival “stacks” for gold. es — it was, in some manner or form, accepted by
That is fitting. For 38 years, until his death in Many of the pieces in these stacks were pre- many high-minded scribes.
1971, Armstrong lived in a home directly across cious — a book inscribed to Armstrong by “The articles of the time — that’s DownBeat,
107th Street from where the center now stands. Langston Hughes, rare big-band arrangements, too, all the magazines — had a very tough time
And like the center, Armstrong seemed to dom- four Armstrong trumpets, for starters. And trying to understand what was actually happen-
inate the neighborhood even as he fit into it, Riccardi, a font of Armstrong minutiae with ing in the music,” said pianist and educator Jason
according to Lori Jones, a Corona native who, as superior recall of the center’s holdings, instantly Moran, who curated the center’s public-facing,
a girl, often encountered Armstrong on the block. knew where the best stuff was stored. first-floor exhibit Here to Stay. “But fortunate-
“We called it Louis Armstrong’s block,” she Zeroing in on one of Armstrong’s 85 scrap- ly, with Armstrong we have this much distance
said, standing in the center’s swank lobby amid books, he quickly found what he was seek- after his life to really start to let that bake in with
a swell of opening-day visitors and the piped-in ing: a review from London’s Daily Herald of the how complex a time he was dealing with and how
sounds of Armstrong’s seminal Hot Five. Soaking 32-year-old Armstrong’s performance at the complex that music was.”
it all in, she wistfully recalled the treats he and his Palladium on his first trip to England, in July In the 60,000-plus items housed within its
wife, Lucille, bestowed on neighborhood children 1932. Smiling, Riccardi waved the review in the 14,000 square feet, the Armstrong Center has
in and around their home — itself a national his- climate-controlled air before cheekily foreshad- enough material to deal with the complexities of
toric site and museum, thanks to Lucille’s efforts. owing its contents. Armstrong’s life and times. His United Kingdom

22 DOWNBEAT DECEMBER 2023

 Birthday wishes from President
Dwight D. Eisenhower.

Four Armstrong trumpets. The facade of the new center.

experience is illustrative: In 1934, just two years Gov. Orval Faubus to obey a court order allow- Moran said of the file, “because that’s how treach-
after the performances that generated such crit- ing nine Black schoolchildren to integrate a local erous the time was. I wanted people to see that —
ical vitriol, King George V gave Armstrong a high school. The incident generated global head- that he has to be watched because he’s telling peo-
gold-plated Selmer trumpet with “SATCHMO” lines, and Armstrong, loath to become a tool of ple what freedom sounds like.”
engraved under the rim of the mouthpiece. American propaganda, had second thoughts Musicians today are hearing that call, and the
On display in the Moran-curated exhibit, the about a planned tour of the Soviet Union. center is encouraging them to do so. Under its
gift highlights the stark contrasts in views of Armstrong was soon in the crosshairs of the Armstrong Now program, it is hosting per-
Armstrong — and that suggests the dangers of F.B.I., as a redacted page of his bureau file, formers at the center’s 75-seat Jazz Room, just off
viewing his legacy simplistically. Doing so can obtained in the 1990s under the Freedom of the main exhibition space. They include esper-
obscure the man’s role in advancing social justice. Information Act and displayed in the public anza spalding and the Antonio Brown Dance
In the public imagination, Armstrong is exhibit, shows. Referencing a report dated Oct. Company and poet-musician Amyra Leon. All
often seen as a joyful ambassador for American 16, 1957, from the Washington News, the page will explore the archives and create new material
values, a facet of his persona that the archives notes that the Arkansas University student sen- based on them while in residence the week before
address in many ways. Among them is a benign ate had withdrawn an invitation for Armstrong their shows.
photo of him meeting Pope Paul VI at the to appear at the school’s prom. “Armstrong, The center commissioned Marquis Hill, with
Vatican. The photo is incorporated in one of the a vehement critic of Gov. Orval Faubus,” the fellow trumpeters Bruce Harris and Giveton
750 collages Armstrong assembled, modernistic page states, “had said he would be glad to play Gelin, to write pieces drawing on the Armstrong
works of art that, like the discursive reel-to-reel at Arkansas, but would be sorry if Gov. Faubus legacy that they performed at the Newport Jazz
tapes they adorn, allowed him to shape the narra- were to hear any of the ‘beautiful notes coming Festival. In developing the piece, Hill said he was
tive of his life for posterity. out of my horn.’” originally inspired by a contentious incident in
But the exhibit also alludes to a more com- “His career could have been over after he which Armstrong, booked for the 1957 Newport
plex side to Armstrong’s ambassadorial role by spoke out about the Little Rock Nine,” said festival, made beautiful music despite his anger at
referencing a theatrical suite by Dave and Iola Regina Bain, executive director of the house unexpectedly being asked, as Dan Morgenstern
Brubeck, The Real Ambassadors. Brubeck was museum and center. “There were so many who put it in the Village Voice, “to serve as anchorman
himself part of the elite group of jazz musicians didn’t want him to travel around the world as for a parade of performers at the expense of his
who, starting in the mid-1950s, were sent over- an ambassador.” own group’s self-respect.”
seas by the State Department on so-called good- Public figures, from Bing Crosby to Jackie Hill was further inspired by archival tapes in
will tours. Brubeck asked Armstrong to star in Robinson, spoke up for Armstrong. And, belated- which Armstrong expresses interest in all kinds
his piece, which, the exhibit notes, was “inspired ly, Eisenhower sent in troops to enforce the deseg- of music — a sentiment supported by the diver-
by Armstrong’s role as America’s cultural regation order. Nine years later, Eisenhower, out sity of his 2,000 archived records, which include
ambassador.” of office, sent Armstrong a telegram wishing Chopin, Verdi and Nelson Eddy singing Stephen
The suite dealt with the cynical use of jazz him a happy birthday. Three years after that, Foster. With that as background, Hill, joined by
musicians as vehicles to promote a vision of then-President Richard M. Nixon, Eisenhower’s pianist Mathis Picard, bassist Russell Hall and
America abroad that was at odds with the real- vice-president in 1957, sent Armstrong a sim- drummer Herlin Riley, created a piece that aimed
ity at home. It drew on Armstrong’s role in the ilar greeting. Both telegrams are in the center to capture some of the man’s musical and emo-
1957 case of the Little Rock Nine, in which he archives, odd counterpoints to the malevolence tional complexity.
castigated President Dwight D. Eisenhower for of the F.B.I. file. “It’s rooted in beauty but also keeps in mind
hesitating to pressure segregationist Arkansas “I wanted to make sure that was visible,” his anger and struggle,” Hill said. —Phillip Lutz

DECEMBER 2023 DOWNBEAT 23

 Lorraine Hansbury speech, she already had

JOHN ROGERS
in her repertoire of sound samples. Except for
Sandra Bland, and the Jalil and Keith LaMar
material, which I gave her, Val chose what to use.
She’s an incredible sound artist.

McCree: Captivity is credited to Caroline Davis’

Alula, which is also the title of your 2018 album.
What does “alula” mean?
Davis: Alula is this little set of hidden bones and
feathers that helps birds take off, glide and land. It
only pops out when they need to do those things
[laughs], and that was like a metaphor for my
music. Most of what I do is acoustic and I wanted
to more fully embrace my electronic voice with a
hidden structure that lets me fly.

McCree: When did you first find your voice on the

alto saxophone?
Davis: I came to it kind of late. I grew up listening
Davis says, “I wouldn’t call myself a jazz musician; my music is more about crossing
boundaries.” Her band Alula, from left, Chris Tordini, Davis, Tyshawn Sorey and Val Jeanty.
to gospel and classic R&B and first started try-
ing to play my saxophone to En Vogue and Boyz

Caroline Davis’ Alula Soars II Men. I didn’t start playing the kind of music
I’m playing now until I was out of high school. I
wouldn’t call myself a jazz musician; my music is

High Above Prison Walls more about crossing boundaries. But when I was
in my 20s, I started checking out Charlie Parker
A RIGOROUS INTELLECTUAL, CAROLINE troops to the cause. and transcribing John Coltrane.
Davis makes intensely visceral music that mines Davis organized a fundraiser to help
everything from the cardiology of the human Muntaqim transition after his release, played at McCree: What about Albert Ayler? I was sure I
heart (Heart Tonic, 2018) to the anatomy of Free Keith LaMar benefit concerts and is donat- heard Albert Ayler speaking through you.
flight (Alula, 2019) to the shapeshifting nature ing a portion of Captivity’s sales to Critical Davis: Albert Ayler was a visionary who helped
of grief (Portals, Volume 1: Mourning, 2020). Resistance, the reform group started by Angela shape the sound of the saxophone, but I wouldn’t
On Captivity, her incendiary new release with Davis decades ago. Captivity also pays trib- say he influenced my music. For me, especially
her band Alula, the superb alto saxophonist and ute to the legacy of three Black women — Joyce on this album, Archie Shepp is much more of an
composer transmutes her alchemical mix of art Ann Brown, Susan Burton and Sandra Bland influence.
and science into a cry for justice for incarcerated — whose hope and resilience transcended their
heroes who’ve soared above prison walls by keep- incarceration. McCree: The Last Poets were contemporaneous
ing hope alive. During conversation, Davis discussed every- with all of that and really jumped out at me as an
And those walls come tumbling down, hard, thing from her late-blooming embrace of the sax- influence when I listened to the album, so I was
pummeled by the sheer force of the electro-acous- ophone to the evolution of Captivity, which was surprised you didn’t reference them.
tic music that proclaims “The Day Has Come,” recorded live during the pandemic with turnta- Davis: I just don’t have a very personal connec-
the opening call to arms, which samples speeches blist Val Jeanty, bassist Chris Tordini, drummer tion to them. I’m good friends with Brian
by former slave, abolitionist and women’s rights Tyshawn Sorey and guest collaborators Qasim Jackson, who worked with Gil Scott Heron, and
advocate Sojourner Truth. Naqvi and Ben Hoffman. I know they’ve been active in the 2000s, collab-
“I wanted to open the album with a tremen- The following interview has been edited for orating with Wu-Tang Clan. But I only had an
dous amount of energy,” Davis recalled, speak- length and clarity. opportunity to reference a certain number of
ing by phone from Brooklyn, where the peripa- people and the majority have been connected to
tetic Singapore-born artist settled after spending Cree McCree: You went all the way back to Galileo me personally.
her formative years in Chicago. “That piece was and the “Burned Believers” of the Middle Ages —
improvised in the moment and carries with it a was that part of your original agenda when you McCree: What’s the most important thing you’d
sense of urgency.” started conceptualizing Captivity? like listeners to take away from this album?
Davis has long composed and improvised Caroline Davis: I had people in mind throughout Davis: A sense of hopefulness through the dark-
music informed by gender and racial equality. time who were incarcerated for long periods and ness. If someone’s listening to the whole record,
But her art and activism didn’t really meld into a still kept hope alive. I also had an uncle I was real- starting with Sojourner Truth and ending with
singular force until the pandemic turned her into ly close to who spent 12 years in prison, when my Sandra Bland, whose words were taken from
a de facto prisoner. During lockdown, she began grandmother didn’t visit him at all. Seeing how her self-made video series, I hope people hear
writing to Jalil Muntaqim, a Black Panther who the whole system affected him really started com- the hopefulness in the hymn that I wrote for her.
spent decades behind bars before his late-2020 ing into focus during the pandemic. Because even though we live in dire circumstanc-
release. She also exchanged letters with, and vis- es, especially for black and brown people, there’s a
ited, unjustly accused death-row prisoner Keith McCree: Was turntablist Val Jeanty responsible for lot to be hopeful for in terms of what we can do. I
LaMar, who has languished for years in solitary integrating all the spoken word? want people to feel empowered to move forward,
confinement. Now she’s on a mission to rally her Davis: Yes. Some, like Sojourner Truth and the even in the places of darkness.  —Cree McCree

24 DOWNBEAT DECEMBER 2023

DECEMBER 2023 DOWNBEAT 25
 MICHAEL JACKSON
A great Chicago blues night at SPACE, from left, Mike Wheeler, Roosevelt Purifoy, Cleo Cole, Bob Stroger,
Billy Boy Arnold, Dave Specter, Sheryl Youngblood, Tad Robinson, Julia Miller, Larry Williams, Dick Shurman and Elbio Barilari.

Delmark 70th Bash

Convenes the Blues
CHICAGO-BASED DELMARK RECORDS,
founded by Bob Koester in St. Louis in 1953,
Where other venues have floundered with
identity crises, SPACE maintains a depend-
The latter pounced forward at SPACE for his
staple star turn in Mike Wheeler’s Band on
is the oldest continually operating indepen- able brand despite diverse bookings. Little Milton’s burner “That’s What Love Will
dent jazz and blues label around. Taken over Specter suggested hosting a Delmark cel- Make You Do.”
after Koester’s retirement in May 2018 by ebration at the club, so Barilari, Delmark’s High-octane Wheeler and axe comrade
Julia Miller and Elbio Barilari, the label cel- vice president and artistic director, assem- Specter showed seamless rapport, each
ebrated its 70th anniversary with a variety of bled the band — one that initially convened twanging strings in micro pockets in the
events in 2023. for Chicago Blues Festival last June. rhythm, trading respective brands of
Known as a hub for traditional and pro- “Dave is as humble as he is musically stinging call-and-response. They shared
gressive jazz, Delmark is equally famous for devoted … prefers to let the music speak for facets of Otis Rush’s indelible, spine-bend-
its deep blues catalog and long-term loyalty itself,” said Barilari in liner notes to Six String ing hooks on “All Your Love (I Miss
to the Windy City’s independent music scene. Soul. Such was borne out by Specter’s lack of Loving),” conjuring Rush’s exciting 1975
Guitarist Dave Specter has been a Delmark grandstanding but tight attention to detail live album of the same name from Wise
artist for more than 30 years, recording his during an explosive set at SPACE, which Fools Pub (Delmark, 2005). The bassist
debut Bluebird Blues in 1991. included slap bass virtuoso Larry Williams on that date 48 years ago was also in the
The most recent of his 14 albums, Six and Roosevelt Purifoy. house, the unstoppable Bob Stroger, who
String Soul, celebrates his 30th anniversa- “Roosevelt is one of the most versatile brought the house down with a rocking
ry on the label with a multi-flavored, highly organ/piano/synthesizer players around,” version of Eugene Church’s ’50s hit “Pretty
recommended 28-track retrospective featur- said Barilari. “And we used Larry in our Girls Everywhere,” which can be found on
ing such luminaries as Jimmy Johnson, Billy band [Volcano Radar, a band he co-leads That’s My Name (Delmark, 2022).
Branch, Ronnie Earl, Otis Clay, Jack McDuff, with Miller] because he’s such a different At 92, Stroger, sporting double-breast-
Steve Freund, Jesse Fortune, Sharon Lewis player to [the late] Harrison Bankhead, ed butterscotch suit and feathered fedora,
and Brother John Kattke. who was irreplaceable. It took things in crouched at the stage lip, then launched
Specter is also a partner at SPACE (an a new direction with electric bass, Larry into the capacity crowd, dancing with
acronym for the rarely used full name, Society adapted to free-jazz/open music without a assorted ladies, illuminated by cellphones
for the Preservation of Arts and Culture in second’s hesitation.” held aloft.
Evanston), which has been the choice spot in Within the blues, both Purifoy and Another Chicago blues elder, Billy Boy
Chicagoland to catch cannily curated blues/ Williams bring it, balancing consummate Arnold, sat at the back of the room, ready
jazz/roots/pop/folk/funk for the past 15 years. musicianship with ebullient showmanship. to sign his autobiography (which he penned

26 DOWNBEAT DECEMBER 2023

with author Kim Rice), The Blues Dream After singing a recent cut of his own, Life” (eponymous track from his last release
(University of Chicago Press). “Blues From The Inside Out” (from the in 2020).
“The term ‘legend’ gets bandied around, 2019 Delmark album of the same name), “Playing with a new combination of
but he’s it,” announced Specter, reminding Specter telescoped back to his first record musicians to celebrate the label’s legacy was
the room that Arnold was both a blues and (still available on cassette) with a slide ren- really inspiring,” reflected Specter, who field-
rock hall-of-famer with his songs being cov- dition of “Bluebird Blues,” inviting up for- ed all comers, all night. “Having Billy Boy
ered by the likes of British rockers David mative cohort Tad Robinson. Robinson join us for the encore topped off a great eve-
Bowie, Eric Clapton and The Animals. Blues delivered with his soulful voice reminis- ning of blues.”
historian Dick Schumer, who was in atten- cent of Robert Cray, and blowing killer “The vibe was great, it couldn’t have gone
dance, is producing a Delmark album of con- harp. His auspicious Delmark debut One better,” enthused Julia Miller. “We’ve been
verted acetates bestowed on him by Arnold To Infinity (1994) has weathered well and building the Delmark All-Stars roster and it’s
decades ago. still sounds sleek. paying off.”
At 88 and a sufferer of vertigo, it At SPACE, Robinson revived “What Meantime, the octogenarian Arnold
seemed unlikely the veteran harmoni- Love Did To Me,” recorded with Specter made a killing selling his memoir.
ca ace would join the fray. But such was at Buddy Guy’s Legends in 2007 (Live In “As long as you don’t think old, you’re
the energy in the room, Arnold ginger- Chicago, Delmark). good,” he advised.
ly stepped toward the stage. As soon as he Given the quantity of quality acts The nonagenarian Stroger was one of
clutched his tin sandwich to the mic he Specter has associated with over the years, the last to leave. Asked about his favor-
tore into “I Wish You Would” like it was the depth of the Delmark vaults and the ite of many Delmark recordings he’s per-
1955 again, hanging with Bo Diddley (the longevity of veteran artists who live for formed on, Stroger recalled 1975’s Cold
hambone groove of his precocious hit was the music, the show could have rolled Day In Hell with Otis Rush. A warm night
hatched alongside Diddley, and originally until dawn. in blues heaven was in the books, and
titled “Diddy Diddy Dum Dum”). The gospel-infused pipes of vocalist and Stroger was satisfied.
Despite the decibels of the grinding all- drummer Sheryl Youngblood parlayed a “Beautiful people, I love this space, it’s a
star band, the sound at SPACE, upgrad- brace of Junior Wells perennials: “Early In listening room,” he beamed. “I was sent to do
ed during the pandemic, was superbly bal- The Morning” and “Hoodoo Man Blues,” this, and I’m still having fun. God has been
anced, not deafeningly oppressive as it can be cuts from Delmark’s top seller from 1965, good to me. We did our job when people go
at other blues emporiums. plus Jimmy Johnson’s “Everyday Of Your home with happy faces.” —Michael Jackson

DECEMBER 2023 DOWNBEAT 27

 88

2023
HALL OF FAME

BY GARY FUKUSHIMA PHOTO BY MARK SHELDON

T
he moment happened on a cloudy September evening in Los
Angeles, in darkness around the neon-lit outline of the
Hollywood Bowl. Some 12,000 people sat silent, lost in thought
and reverence, held rapt by the upraised arms of conductor Miguel
Atwood-Ferguson, whose image from the podium was glowingly dis-
played on the surrounding video screens. “It was one of the high-
lights of my life,” he said afterward. “I felt very much present, but
also connected to other realms … like we all traveled to so many dif-
ferent realms. In that moment I wanted to make
this silence long enough so that
we could really get into
that space.”

28 DOWNBEAT DECEMBER 2023

DECEMBER 2023 DOWNBEAT 29
COURTESY LUAKA BOP

Sanders with bassist Hayes Burnett at the 1977 Jazz Festival Willisau.

Perhaps Pharoah Sanders was also in trend online, thanks to a reissue of Pharoah The music began to flow from a $30,000
that space, inhabiting some mysterious fold (Luaka Bop), a 1977 album considered a rare stereo system. And the rapt crowd was there
in the cosmos, having departed this world Sanders classic. Six days prior to the per- with Pharoah Sanders, sonically reincar-
nearly a year to the day before that night at formance at the Bowl, aficionados packed a nated. The opening track, “Harvest Time,”
the Bowl. He is on the minds of many these large, audiophile-tuned room a block north starts casually with an affected electric gui-
days, including the readers of this magazine of Los Angeles’ Sunset Strip for an exclu- tar vamp.
who have just voted him into the DownBeat sive listening of the newly pressed vinyl. A “It’s just what I felt was the right groove
Hall of Fame. tallish, Swedish gent addressed the room, for the moment,” said the guitarist, Tisziji
On that evening he was in the conscious- noting the plans he and Sanders had envi- Muñoz, who first played with Sanders in the
ness of both patron and player, as the in-ab- sioned for this rollout. “I just saw this very mid-1970s when the saxophonist asked him
sentia special guest for this performance exciting year ahead for us,” said Eric Welles- to sit in at the Village Vanguard. “With this
of Promises (Luaka Bop), the critically Nyström, “but, yeah, that was just a week particular record you hear the sweetness and
acclaimed collaboration by minimalist com- before he passed.” the love and affection that Pharoah delivered
poser Sam Shepherd (known as Floating Welles-Nyström manages the record label musically, and his kind, gentle spirit, but he
Points) and Pharoah Sanders. It was the Luaka Bop, and is responsible for the releas- could be, as we all know, ferocious.”
final recording the saxophonist would ever es of both Promises and Pharoah. He told the Muñoz experienced Sanders’ ferocity on
make. Shepherd took the stage with Atwood- audience, “There were so many people who that very first night at the Vanguard, exhort-
Ferguson (Shepherd’s handpicked conduc- loved Promises, and what [Pharoah] did on ing Muñoz to play “on top of him,” like
tor) and seven other keyboardists, the Los Promises. I wanted to have that same reaction improvising gladiators.
Angeles Studio Orchestra and saxophon- for a record that was just his.” He paused, then “I realized that this was not for any other
ist Shabaka Hutchings, who had the sublime said softly, “We’re here today, and it’s very reason except for the psychic interaction of the
honor of playing Sanders’ part. exciting that it’s out, but we’re not here with melodic creativity between both of us,” said
Pharoah Sanders’ name also continues to him, and that’s — that’s a shame.” Muñoz. “Some people say that’s what he may

30 DOWNBEAT DECEMBER 2023

have done with Trane. If he did it with John, Of the aforementioned, only Sanders was And there was no turning back for
then he would already know what the advan- retained by Coltrane for the short remainder Sanders, either. Coltrane passed the baton
tage could be if the vibrations between the two of his life. Sanders had gone to San Francisco to complete their mission. Before he died,
people were correct.” a few months after recording Ascension to see Coltrane had convinced Impulse! to sign
Pharoah Sanders would not be who he Coltrane’s quartet at the Jazz Workshop, just Sanders, who rewarded the label with indeli-
became without John Coltrane. Born on Oct. as his soon-to-be-mentor was, in Sanders’ ble albums, including Tauhid, Thembi, Jewels
13, 1940, in Little Rock, Arkansas, Farrell words, “thinking of changing the group and Of Thought and, most notably, Karma, from
Lee Sanders moved to New York in the early changing the music, to get different sounds.” which his best-known work, “The Creator
1960s — penniless and homeless. He played Sanders was invited to sit in, and the fol- Has A Master Plan,” has become a genera-
when he could with a barely functioning sax- lowing week, he traveled up to Seattle with tion-to-generation spiritual anthem.
ophone, fortunately catching the ear of trum- Coltrane for a week’s run at The Penthouse, Eleven minutes into “Harvest Time,” a
peter Don Cherry, who invited Sanders to documented by three remarkable albums new instrument is heard: a harmonium,
record with him and drummer Billy Higgins. made in a 24-hour span: Live In Seattle, played by Bedria Sanders, who had travelled
Later, Sanders was working as a cook at a recorded at The Penthouse; Om, recorded in with her then-husband to the countryside
club where Sun Ra was playing, and he asked a studio the next day; and A Love Supreme: of Rockland County, New York, to a modest
the bandleader to consider him for future Live In Seattle, captured that same night studio owned by engineer Bob Cummings.
work. Ra obliged, bequeathing on him the back at The Penthouse. All three have been “We were inseparable — everywhere he
name “Pharoah.” (Per Shepard’s request, the released on the Impulse! label. went, I went,” Bedria said over the phone
legacy Sun Ra Arkestra opened for Floating On these crucial albums, where from Ohio, where she grew up and where she
Points at the Hollywood Bowl.) Coltrane first elevated Sanders to his side, first heard Pharoah play, under a big reviv-
But in 1965, Sanders rose to another level Sanders, who never felt he deserved that al tent at a music festival. She gave “Harvest
when Coltrane, on the heels of his magnum place of honor, rises to challenge Coltrane, Time” its name, for the overcast autumn day
opus, A Love Supreme (Impulse!), turned at times playing over the venerated saxo- when they recorded. Another song, “Love
decisively but controversially toward free phonist, as he one day would instruct his Will Find A Way,” was dedicated to her, fea-
jazz with Ascension (Impulse!) for which guitarist Muñoz to do. Perhaps Sanders was turing Pharoah’s own voice as he sings with
Coltrane would amalgamate both seasoned a living arrow, pointing to where Coltrane passion and sincerity to his love right there
and fresh-faced horn players: trumpeters himself wished to go. Surely his pres- in the studio.
Freddie Hubbard and Dewey Johnson, and ence reminded Coltrane they had crossed “I loved his singing, you know, because
saxophonists Archie Shepp, John Tchicai, the Rubicon — there was no returning to he was so soulful,” said Dwight Trible, who
Marion Brown and Pharoah Sanders. things he once did. himself sang with Sanders in Los Angeles,

DECEMBER 2023 DOWNBEAT 31

 Hartman, and the intensity of a Pharoah
ERIC WELLES-NYSTRÖM

Sanders. “[Billy] would always try to get

them to let me sing,” Trible said of Higgins’
efforts with Sanders and other notable musi-
cians. It was only until after Higgins’ death
in 2001 that Sanders acquiesced, inviting
Trible on stage. Sanders soon relocated to
Los Angeles, and Trible joined his band,
becoming a close friend.
“We were up in Oakland,” Trible
recalled, “and on his bedside [Pharoah] had
a recorder or something and he was listen-
ing to John Coltrane, and I was like, “Wow,
he’s still listening to John … because, of
course, he revered John Coltrane so much.
“They both had some kind of highly
evolved spirituality about them … how do
you go that deep in the well, where every-
thing is scary, where it’s life and death?
Sanders and Sam Shepherd (aka Floating
Points) collaborated on the critically That’s the thing with John Coltrane and
acclaimed album Promises.
Pharoah — they went all the way down in
the well. I just wonder, when you go down
where the saxophonist lived the last decades musicians. Sanders was one of countless there, sometimes you have to pay the price,
of his life. “I stole a few licks from him influential and inspirational artists invit- and maybe that might be why John Coltrane
myself,” he confessed over the phone. ed by Higgins to play there, witnessed by a didn’t live very long.”
Trible was mentored by Billy Higgins, 9-year-old Kamasi Washington, attending John Coltrane has a church named after
who returned to L.A. in the late 1980s and his first jazz show with his father. him in San Francisco, but part of his spir-
co-founded the World Stage, a humble com- Higgins advocated for Trible, whose it moves through Los Angeles, even more
munity space that became an incubator for deep voice conjures the power of a Paul so after Sanders’ arrival. Trible is now the
multiple generations of West Coast jazz Robeson, the sensitivity of a Johnny executive director of the World Stage, and

32 DOWNBEAT DECEMBER 2023

there are whispers of his mentors in the Shepherd in June 2019. The entire piece him face-to-face, Sanders had suffered a
endeavors of those from his community — revolves and evolves around a repeating stroke and was moved to a health care facili-
Flying Lotus (a nephew of Alice Coltrane), four-chord sequence of intermittent arpeg- ty. Yet he seemed revitalized, eager to recov-
Thundercat, Kamasi Washington, Terrace giations between harpsichord and celeste. er and perform the music from Promises.
Martin, Madlib, Mark de Clive-Lowe, Sanders plays only occasionally but pivot- Welles-Nyström flew back to New York, only
Carlos Niño. So much of the creative music ally, his robust tone interchanging myste- to receive an urgent message 10 days later.
crafted by current artists in Los Angeles has riously with kaleidoscopic textures of key- “Sam and I got on the next flight to Los
direct or indirect inspiration from the same boards and strings. It seems he is quite at Angeles,” he said, “And I think as we were
spirituality that guided Higgins, Coltrane home with this minimalist treatment, an touching down, he passed at like 2 a.m. that
and Sanders. epiphany that maybe Sanders has been play- Saturday morning.”
In 2014, Luaka Bop invited Sanders to ing his own version of minimalist music They managed to make it all the way back
New York’s Central Park to perform with over his entire career. to him. “He was still in his bed; he was still
Nigerian funk musician William Onyeabor, The last time Welles-Nyström spoke with warm. We held his hand, we listened to
thus beginning Welles-Nyström’s role to
look after Sanders whenever he performed
for the label.
“I started visiting [Pharoah] here in L.A.
in 2016, and that was the same time that
we started working with Sam [Shepherd],”
he recalled. Welles-Nyström played one of
Shepherd’s albums for Sanders, who enjoyed
it very much, and suddenly the quest mate-
rialized to get the two of them to record
together. Furthermore, Welles-Nyström and
Luaka Bop were keen on trying to make the
reissue of Pharoah a reality.
The hardest part was convincing Sanders
because he hadn’t released a new album for
well over a decade, and he wasn’t eager to end
his hiatus. Trible explained that Sanders had
become wary of producers and record labels,
many whom had shamelessly exploited him.
He was especially paranoid about Pharoah,
due to the anguish he felt from the numer-
ous bootleg recordings already in existence.
Welles-Nyström confirmed, “It made it real-
ly hard in many ways to reissue it because it
was emotionally really stressful for him. He
would see it on YouTube or heard about peo-
ple pressing it, and it would just upset him
so much.”
Welles-Nyström spent years trying to
change Sanders’ mind. He flew to Los
Angeles repeatedly to meet with the saxo-
phonist, careful not to push too hard. They
would often just hang out, eating Roscoe’s
Chicken and Waffles or ordering his favor-
ite sandwich at Langer’s Deli. “Corned beef
sandwich on egg bread with Russian dress-
ing on the side,” Welles-Nyström recount-
ed, “and if you ate there he would have a hot
chocolate.”
It took the next three years for the friend-
ship and trust to develop to the point where
Sanders was finally ready. Welles-Nyström
was, too, having secured a trove of archival
photos (many from Bedria), press clippings
and interviews, along with recordings of live
performances of “Harvest Time,” all to be
compiled into a box set that rightfully hon-
ored the celebrated album and its creator.
As the production of Pharoah moved
forward, Sanders recorded Promises with

DECEMBER 2023 DOWNBEAT 33

music. He was just so beautiful, his long requires of us as musicians, to make what would just be silent.”
beard kind of like a mane, like a lion.” we what we feel is deepest and most pow- Trible had those same thoughts about
In getting to know Pharoah Sanders, erful for ourselves available to the public,” Sanders’ shows as he was watching Promises
Shepherd and Welles-Nyström grew to love he said. performed at the Bowl.
him. Bedria Sanders affirmed, “He was a “He would have those meditation bowls
And their efforts at the end of Sanders’ very good person, very generous. He had the … it would be completely quiet in [the club]
for anywhere from five minutes to some-
thing … And the thing about [Promises] is
it felt like that same vibe … but this thing
went on for an hour, that same feeling that
you felt at his concerts.” Trible concluded,
“I never would have thought to do a tribute
to Pharaoh where you just play that sort of
reverent kind of vibration to honor him.”
If Sanders’ life were a singular, epic per-
formance, then the entire Hollywood Bowl
vibrating into silent meditation was the
ultimate ending.
“Sometimes the best moments would be
in silence,” said Welles-Nyström of his time
with Sanders. And so, the silence that Sam
life allowed others who knew and loved heart of a baby, a baby’s heart.” She remem- Shepherd wrote into the score, marking the
him to express those sentiments one final bered Sanders often leading the crowd in end of his own time with Pharoah Sanders,
time. Muñoz did so by listening again to meditation at the end of his shows with the was the best moment given to all of us that
Sprirt World (Anami), a favorite album aid of some metal, bowl-shaped gongs. night, a quiet coda to this requiem for a fero-
of his from 1997, that Sanders played on. “The end of the concerts would be in ciously generous spirit who was making one
“[Pharoah] was on a level close to Trane complete silence,” she said. “He had the last journey down the deep well, exiting
with that kind of openness and feroci- meditation bowls … and he would wait through some mysterious fold in the cos-
ty — and I think I would call it generos- until they stopped vibrating, and people mos, to meet the creator of the master plan.
ity, because I think that’s what this spirit got quiet as it went down, and at the end it  DB

34 DOWNBEAT DECEMBER 2023

DECEMBER 2023 DOWNBEAT 35
 88

2023
JAZZ ARTIST
OF THE YEAR

36 DOWNBEAT DECEMBER 2023

WAYNE SHORTER
IN HIS OWN
WORDS COMPILED BY FRANK ALKYER
PHOTO BY MICHAEL JACKSON

W
ith Wayne Shorter’s passing on March 2, the readers of DownBeat wanted to
honor him one more time by naming him Artist of the Year. A sentimental
vote, to be sure, but also a well-deserved recognition, as Shorter was active
right up to taking his last breath, penning and premiering the opera Iphigenia.

In memory of Shorter, a true genius of jazz, a springboard into history, going all the way dered what kind of contribution I could be mak-
here are four select quotes from his conversa- back to the great explosion that started this plan- ing with all of these giants up there. I started to
tions with DownBeat over the years. et. You can’t just go on what Mr. X said, you’ve leave the stand, but someone grabbed me by the
got to do a little thinking on your own. —from back of my shirt — I think it was Max — and
ON CREATIVITY “Creativity and Change,” by Wayne Shorter, he told me to play more. It was a great night for
Is creativity good, in the sense of originality? DownBeat, Dec. 12, 1968 me. —from “The Wayne Shorter Interview,” by
How can you be so original, when you walk a Scott Yanow, DownBeat, April 1986
little bit like your mother or father, or have the ON GOING TO NEW YORK
color of your father’s eyes, or you make a gesture I worked in a factory for a year, saving up ON MILES
and someone says, “You did that just like your money so I could study music in college, and Here’s the way Miles would ask about some-
father used to do.” Charlie Parker, for example, during that time I played gigs on weekends, par- body. … He’d hear about somebody that he
said that when he was young, his idols on the alto ties for wealthy people. I then went to NYU, should investigate. “Everybody’s talking about
saxophone were Rudy Vallee and Jimmy Dorsey. graduated, and then got my greetings from the this new guy on the saxophone. You gotta check
If you’ve heard Bird, and if you’ve heard Rudy U.S. Army. I had just started playing jam ses- this guy out.” And Miles would say, “Well that’s
Vallee and Jimmy Dorsey, I think you’d have to sions in New York. Everyone used to tell me how all right, but can he see?” They didn’t know what
dig very deep, tear off many layers of wallpaper, hard it was to get in these jam sessions — that he was talking about.
before you could find any similarity in sound, you had to know someone. I was a bit worried Because everybody who worked with Miles
approach or technique. I would say that the only about going in the service. I thought maybe my and Gil Evans, that big band stuff, you had to
thing which would confirm what Bird said about life was all over, even though it was peacetime read. Philly Joe Jones could read good. Miles
his admiration would be the sophistication of his then. So one day during this period, I went to the could read. But one night he was talking to Trane
approach. It’s the sophistication of Westernized Cafe Bohemia and in that club were these people: at the Blue Coronet in Brooklyn. We were up on
music, Western scales. But let’s go back even fur- Oscar Pettiford on bass; Kenny Clarke was alter- the bandstand doing a new tune I wrote called
ther. Western scales came from around Greece, nating on drums with Art Taylor, Art Blakey and “Paraphernalia,” and he read the music but was
Jerusalem and Arabia. They’re world scales, real- Max Roach; Jimmy Smith was there on organ; stumbling a bit in memorizing it. He stopped
ly. People are taught music history this way, sep- Cannonball Adderley; Bill Harman on trumpet; the band in front of the people — and this was
arating Western music from Eastern music, but Jackie McLean; Walter Bishop on piano. I was the only time he had done this — held the music
I think it’s one big circle. It’s hard to keep from standing at the bar by the door, and Max Roach, up and said, “Let’s start it again.” I mean, they
using labels. For instance, when I said that Bird whom I’d never met, came up to me and said, called him a king, but that would have been
idolized Rudy Vallee and Dorsey, some people’s “Hey, you’re the kid from Newark.” He’d heard considered vulnerable. He was a human being.
minds would stop and they’d say, “Ooo, that’s about me through the grapevine. “Come on up —from “Wayne Shorter, The Final Interview,”
who he dug!” But I tend to use those names as and play,” he said. I did what I could but won- by Michael Jackson, DownBeat, May 2023

DECEMBER 2023 DOWNBEAT 37

 88

2023
JAZZ GROUP
OF THE YEAR

Artemis
38 is,DOWNBEAT
from left, DECEMBER
Allison Miller,
2023 Ingrid Jensen,
Renee Rosnes, Nicole Glover, Alexa Tarantino and Noriko Ueda.
BY SUZANNE LORGE PHOTO BY EBRU YILDIZ

I
n some ways, it’s hard to believe that Artemis is only 6 years old.
Not just for the group’s rapid ascent into the jazz firmament,
but for its players’ cool-headed resilience in the face of tecton-
ic change. First, there was the sudden spotlight of the 2018 Newport
Jazz Festival and subsequent major-label record deal. Then the social
justice movement and the jazz world’s reckoning with its inequitable
treatment of female musicians. And the global pandemic shutdown,
just as the then-septet readied its debut album for release. Throughout
all of this, the group continued to steadily build an admired presence
with the listening public. DownBeat readers noticed: This year they
voted Artemis the Jazz Group of the Year.

DECEMBER 2023 DOWNBEAT 39

 MARK SHELDON

MARK SHELDON

MARK SHELDON
Shown here performing at the Detroit Jazz Festival, the ever-evolving band
Artemis has won the attention and hearts of DownBeat readers.

In other ways, however, Artemis’ success is vocalist Cécile McLorin Salvant, all of whom has become more defined,” Rosnes explained.
neither surprising nor unexpected. As individ- had been touring with the group since its for- “When we’re in the moment, there’s a laser
ual artists, the group’s core members have long mation for International Women’s Day in 2017. focus that brings us into a zone of conversation,
graced all manner of concert stages and record- This past May, as a follow-up to this debut, where one statement can alter the direction of
ings: Artemis musical director/pianist Renee Artemis released In Real Time (Blue Note), the music. Trust and an open-mindedness to
Rosnes has released more than 20 albums as another massive ensemble effort featuring embrace each of our musical natures has led to
a leader and racked up multiple Juno Award the band’s latest configuration. Saxophonist some exhilarating music-making.”
nominations and wins. Trumpeter Ingrid Nicole Glover had taken over for Aldana just Even as deep listening and ready respon-
Jensen has led almost a dozen albums, garnered before the first album hit the streets, and multi- siveness to each member in the moment affects
one Juno, and is a first call for bandleaders like reedist Alexa Tarantino had replaced Cohen in the direction of the music, it’s hard to ignore
Maria Schneider, Terri Lyne Carrington and 2022. Salvant, who received both MacArthur Rosnes as the driver behind both the group’s
Darcy James Argue. Foundation and Doris Duke grants in 2020, has creation and its musical path forward.
Drummer Allison Miller, with almost a been touring and recording seemingly without “As musical director, I mainly act as an
dozen albums under her name (several featur- letup since these triumphs. Rather than signal- organizing force for the band,” she said. “I do
ing her long-standing sextet Boom Tic Boom) ing disruption within the band’s ranks, howev- many of the arrangements, but every member
works just as easily with pop stars as with lead- er, this shape-shifting — from septet to sextet contributes to the repertoire as well. In terms
ing avant gardists. Bassist Noriko Ueda, win- and sometimes quintet — speaks to the emi- of rehearsal, each composer shapes and hones
ner of the BMI Foundation Charlie Parker Jazz nence of its individual members. their own piece, and once we begin performing
Composition Prize, has fronted her own suc- “Artemis is an evolving band, and from them, the music naturally morphs and expands
cessful big band for almost two decades. time to time the personnel change, and may in conception.”
Alongside such prodigious self-directed do so again in the future,” Rosnes wrote in an Quite clearly, each of the originals on the
output, these players also have contributed to email to DownBeat, in between album-launch new album carries the stamp of its composer
well over 100 albums as side musicians working shows at New York’s Birdland in September. — both in sound and backstory. Jensen’s con-
with some of the world’s most prominent art- “Because we are a band of leaders with busy tribution, “Timber,” for instance, derives from
ists. So, how could the combined talents of these schedules, we have to carve out time well in the trumpeter’s family ties to British Columbia,
formidable women be anything but blinding? advance to make sure we can tour.” with its rugged, forested terrain. Her free,
In 2020, the group turned out its first Notably, despite the exigencies of touring impressionistic intro invokes the wildness of
record, Artemis (Blue Note), an impressive and leader projects, the group’s rhythm sec- this landscape, her clean brass sections convey-
showcase of smartly composed works written tion and principal horn soloist have remained ing its majesty, and her sputtering solo reveal-
and/or arranged by its members. At the time, unchanged, suggesting that the group’s evolu- ing its imperilment. When Jensen plays, you
three similarly high-profile musicians were tion augurs a deepening rather than a course can almost hear the intended words — part rev-
part of the band’s lineup: tenor saxophonist adjustment. erence, part warning.
Melissa Aldana, clarinetist Anat Cohen and “Since its inception, the sound of the band Ueda, too, draws inspiration from nature

40 DOWNBEAT DECEMBER 2023

 MARK SHELDON
MARK SHELDON

on “Lights Away From Home,” recalling a cle for emotional vulnerability. “When I’m “Wayne Shorter was a visionary thinker, a
meteor shower that she witnessed while camp- writing and discover a melodic cell that I find genius, a hero and an influence to a large degree
ing on a remote New York island. Counter to interesting, I place a lot of trust in my intuition for all of us in the band,” wrote Rosnes. “The
this romantic imagery, the composition bustles and instincts,” she said of her writing process. experiences I had as a member of his band 30
with fast-twitch solos and delight-driven full “The art of composing is basically improvisa- years ago helped to shape my entire view of
band sections. tion with the luxury of time and an eraser, and music and certainly who I am as a player and
Miller, whose rhythmic deftness firmly the process itself is a balance of time.” composer today. He opened up my mind to new
establishes the ensemble’s gravitational pull, For the album, Rosnes also arranged two ways of thinking about music, and there isn’t a
again offers a tribute to Artemis, the goddess compositions by jazz innovators who’d influ- day that goes by that I don’t reflect on some les-
of the hunt, as on the group’s first album. Her enced her work. On the first, “Slink,” by Lyle son that I learned while working with him.
composition “Bow And Arrow” remains teth- Mays (1953–2020), she applies a coordinat- “I love that Wayne immortalized many
ered in a declarative big band swing, even as ed, unison melody line that flows through the women through his music — family mem-
Miller pushes fluctuations in feel. tune’s ever-moving harmonic spaces. One of bers, friends and great women of history alike
Likewise, Tarantino uses unflinching those lines is her own smooth vocals; though — through many of his pieces, including ‘Ana
movement to create tension on “Whirlwind,” Rosnes doesn’t consider herself a singer, she’ll Maria,’ ‘Iska,’ ‘Miyako,’ ‘Joanna’s Theme,’
a fervent jazz waltz with a brooding head use her voice “for orchestrational purposes” ‘Aung San Suu Kyi,’ ‘Sacagawea,’ ‘The Three
that changes color with each soloist; where and the “certain magic” that wordless vocals Marias,’ ‘Midnight In Carlotta’s Hair,’ ‘Marie
Tarantino’s trilling flute conjures mystery, add to an otherwise instrumental piece. Antoinette’ and ‘Nefertiti.’”
Glover’s deep tenor generates frenzied excite- “I’ve always really loved Lyle Mays’ playing, This track, the album’s last, bears repeated
ment — a reflection on Tarantino’s early days and especially his writing,” Rosnes said. “[This listening if only to hear Shorter’s musical ideas
with Artemis. (Glover also writes for the group, tune] is one of his great compositions, original- channeled through these six musicians’ instru-
though none of her tunes appear on this record.) ly featured on his first, eponymously titled, solo ments. In coming to appreciate all that goes into
Rosnes’ two originals on the album, howev- album in 1986. I rearranged it for Artemis, with their artistry behind the scenes — the arrang-
er, stand in contrast with each other, revealing the addition of the flute, Rhodes and the vocals ing, the composing, the leading — it’s easy to
different aspects of the pianist’s compositional on top, and the band played it like it had been in forget that first and foremost these women are
self. First, the stimulating “Empress Afternoon” the book for years.” players. Players of the highest order.
— previously recorded with tabla master Zakir Rosnes also placed “Penelope” on the Playing happens “in real time,” the album
Hussain on Rosnes’ Life On Earth (Blue Note) album’s set list, recorded before its composer, title reminds us. On the surface, this phrase
and rearranged for the sextet — evidences her Wayne Shorter, passed away in March. A sta- alludes to the improvisatory abilities of these
extreme comfort with complex polyrhythms. ple of the group’s live repertoire, Rosnes’ take players and the ephemeral nature of music
And in what is arguably the most introspec- on the tune features rangy horn solos and dark itself. Deeper still, though, it makes a statement
tive track on the album, “Balance Of Time,” chords in an irresistible slow dance — a denser, about the strength required to face change —
Rosnes embraces melodic simplicity as a vehi- more structured understanding of the original. and about the women who take that on.  DB

DECEMBER 2023 DOWNBEAT 41

 88

2023
TOP 10 JAZZ ALBUMS OF THE YEAR

Samara Joy, Linger Awhile Charles Lloyd, Trio Of Trios Fred Hersch & esperanza spalding,
(VERVE)....................................... 1,910 (BLUE NOTE)............................................. 1,080 Alive At The Village Vanguard
With this beautiful recording, a silky-voiced Three different trios, three full albums, one (PALMETTO)................................................620
star is born. work of beauty, poise, joy and ambition. Two masters, one magical evening — Hersch
at piano, spalding with just her lovely voice.
Terri Lyne Carrington, New Standards Brad Mehldau, Your Mother
Vol. 1 (CANDID).........................................1,350 Should Know Julian Lage, View With A Room
Putting her music where her mouth is, (NONESUCH).............................................. .810 (BLUE NOTE)................................................580
Carrington brings much-needed attention to The music of The Beatles channeled The amazing guitarist continues to thrill with
the composing voices of women in jazz. through the mind of one of our greatest liv- another recording full of heart and soul.
ing pianists.
Redman/Mehldau/McBride/Blade, Cécile McLorin Salvant,
Long Gone (NONESUCH)......................... 1,190 Shorter/Carrington/Genovese/ Mélusine
A breathtaking reunion of four of the bright- Spalding, Live At The Detroit Jazz (NONESUCH)...............................................500
est stars in jazz. Festival The leading lady of jazz vocals creates a mas-
(CANDID).................................................... 730 terpiece of thoughtful, adventurous music.
Kenny Barron, The Source A beautiful moment captured not long before
(ARTWORK)................................................1,110 Wayne Shorter left the planet. Thank you, [For the complete list of Jazz Albums of the
The master at 80, alone at the piano...perfection! Detroit and Candid. Year, see page 47.]

42 DOWNBEAT DECEMBER 2023

 88

2023
TOP 10 HISTORICAL ALBUMS OF THE YEAR

Ahmad Jamal, Emerald City Nights: The final Jarrett live performance with ele- truly divided the votes, but this is a beauty,
Live At The Penthouse gance, angst, taste and storytelling. too. The project was shelved when the label
(JAZZ DETECTIVE).......................2,376 literally dropped its entire jazz roster except
Winner of the DownBeat Critics Poll also gets Sonny Rollins, Go West! (CRAFT).........1,397 for Miles Davis.
the nod from the Readers! Rollins’ classic West Coast adventure.
Chet Baker, Blue Room, The 1979 Vara
Bill Evans, Treasures: Solo, Trio & Orchestra Oscar Peterson Trio, On A Clear Day: The Studio Sessions In Holland
Recordings From Denmark (1965–1969) Oscar Peterson Trio–Live In Zurich, 1971 (JAZZ DETECTIVE/ELEMENTAL)...................968
(ELEMENTAL).................................................2,167 (TWO LIONS/MACK AVENUE)................ 1,232 Beautifully recorded, lovingly packaged, cap-
A collection of previously unissued perfor- Captures the stunning musicality of Peterson. turing the chill nuance of Baker’s art.
mances demonstrate the genius of Bill Evans.
Charles Mingus, Changes: The Complete Jimi Hendrix Experience, Los Angeles
Miles Davis, What Happened 1982–1985: 1970s Atlantic Recordings (RHINO).... 1,221 Forum, April 26, 1969
The Bootleg Series Vol. 7 (LEGACY) .....1,738 Captures Mingus at the end of his musical run (SONY LEGACY)...............................................858
Unreleased material from Star People, Decoy between 1973 and his passing in 1979. Sony/Legacy has been releasing a host of
and You’re Under Arrest. great, live Jimi Hendrix recordings.
Charle Mingus, The Lost Album From
Keith Jarrett, Bordeaux Concert Ronnie Scott’s (RESONANCE).................. 1,045 [For the complete list of Historical Albums of
(ECM).........................................................1,441 Two Mingus historical records in one poll the Year, see page 47.]

DECEMBER 2023 DOWNBEAT 43

 88

2023
TOP 10 BLUES ALBUMS OF THE YEAR

Buddy Guy, Blues Don’t Lie Eric Bibb, Ridin’ (STONY PLAIN).............. 539 Doug Wamble, Blues In The Present Tense
(RCA/SILVERTONE).................... 4,664 Bibb continues to ride the civil rights train with (HALCYONIC).............................................. 374
The elder statesman of the blues delivers another superb entry into the blues canon. The guitarist and singer/songwriter slathers
the truth and another win for Blues Album his blues in jazz with a tight band that also
of the Year. Ruthie Foster, Healing Time features Prometheus Jenkins, also known as
(BLUE CORN).............................................. 528 Branford Marsalis.
Taj Mahal, Savoy (STONY PLAIN)...........3,113 Foster assembles and all-star cast for this
Taj Mahal mixes a bit of jazz with his blues this 12-song set of prodigious blues. Rory Block, Ain’t Nobody Worried
time for a nostalgic trip in memory of New (STONY PLAIN)............................................341
York’s famed Savoy Ballroom, one of the great Fantastic Negrito, Here’s Rory Block’s pandemic project where
dance haunts of jazz’s golden age. White Jesus Black Problems she plays plenty of her favorite songs — and
(STOREFRONT)...........................................462 it’s killing.
Shemekia Copeland, Done Come Too Far Always pushing the envelope, Fantastic
(ALLIGATOR) ...........................................2,002 Negrito developed the concept for this fan- Tracy Nelson, Life Don’t Mess Nobody
The reigning queen of the blues offers up tastic album after learning that his seventh (BMG)...........................................................341
tales of love and longing on this terrific set. great-grandmother was a white indentured On her first album in more than 12 years,
servant from Scotland. Tracy Nelson shows she’s still got the goods
Joe Bonamassa, Tales Of Time on a bluesified album that owes just as much
(J&R ADVENTURES)............................... 1,485 Duane Betts, Wild & Precious Life to classic R&B.
Joe Bonamassa offers a live take on his most (ROYAL POTATO FAMILY)..........................440
recent studio album, Time Clocks. Once Is it blues? In a Southern, swampy, rocking [For the complete list of Blues Albums of the
again, the guitar slinger rocks the blues. way, hell yes! Year, see page 53.]

44 DOWNBEAT DECEMBER 2023

DECEMBER 2023 DOWNBEAT 45
 88

2023

COMPLETE RESULTS

DAN NAWROCKI
JIMMY AND DEANA KATZ

Herbie Hancock

EBRU YILDIZ
Pat Metheney Christian McBride

Paul Bley.............................................594 Emmet Cohen.................................. 1,188 Joshua Redman................................363

HALL OF FAME
Buddy Guy.......................................... 572 Joey DeFrancesco..........................1,089 Julian Lage......................................... 352
Pharoah Sanders....................1,925 Dave Holland..................................... 572 Terri Lyne Carrington.................... 1,056 Nicholas Payton..................................341
Jack DeJohnette............................ 1,903 Randy Brecker...................................550 Pat Metheny...................................... 1012 Immanuel Wilkins.............................330
John McLaughlin............................ 1,617 Dr. John...............................................550 Jon Batiste..........................................847
Charles Lloyd....................................1,507 Dee Dee Bridgewater.......................539 Wynton Marsalis...............................847 GROUP
Grant Green......................................1,199 Dianne Reeves...................................484 Brad Mehldau....................................704 Artemis...................................1,903
Ramsey Lewis....................................1,177 Joe Lovano.......................................... 473 Bill Frisell............................................ 649 Redman/Mehldau/McBride/Blade:
Kenny Burrell....................................1,155 John Scofield......................................462 Cécile McLorin Salvant.................... 649 A MoodSwing Reunion................. 1,848
Oliver Nelson.................................... 1,144 Jan Garbarek......................................440 Mary Halvorson.................................605 Pat Metheny Side-Eye................... 1,749
Shirley Horn..................................... 1,056 Abdullah Ibrahim..............................429 Esperanza Spalding.......................... 572 Emmet Cohen Trio......................... 1,628
Ellis Marsalis....................................... 957 Henry Threadgill................................429 Terence Blanchard............................539 Snarky Puppy.................................. 1,584
Bob Brookmeyer................................924 Chris Potter.........................................484 Terri Lyne Carrington + Social
Terence Blanchard.............................814 ARTIST OF THE YEAR Lakecia Benjamin...............................451
Science..............................................1,342
Branford Marsalis Quartet........... 1,298
Maria Schneider.................................781 Wayne Shorter.......................2,277 Jack DeJohnette................................451
Charles Lloyd New Quartet...........1,254
Billy Higgins........................................ 759 Samara Joy.......................................1,452 James Brandon Lewis.......................451
Bill Charlap Trio................................. 1,111
Bobby Hutchinson............................682 Herbie Hancock.............................. 1,408 Henry Threadgill................................407 Bill Frisell Four....................................979
Bill Frisell............................................ 649 Christian McBride........................... 1,309 Ambrose Akinmusire........................ 385 Jon Batiste & Stay Human..............858
Anthony Braxton...............................638 Kenny Barron...................................1,232 Anat Cohen........................................ 385 The Cookers.........................................781
Dr. Lonnie Smith................................605 Charles Lloyd.....................................1,221 Kenny Garrett.................................... 374 Joe Lovano Trio Tapestry................. 715

46 DOWNBEAT DECEMBER 2023

 BRIENE LERMITTE

CEDRIC ANGELES
Maria Schneider Terence Blanchard

Mary Halvorson Sextet....................693 Ed Palermo Big Band........................ 385 Makaya McCraven, In These Times Keith Jarrett, Bordeaux Concert
Dave Holland New Quartet............ 649 Ulysses Owens Jr. Big Band............363 (NONESUCH)......................................... 400 (ECM)................................................... 1,441

Terence Blanchard & The Steven Bernstein’s Millennial Bobby Watson, Back Home In Kansas Sonny Rollins, Go West! (CRAFT)....1,397
E-Collective.........................................550 Territory Orchestra...........................308 City (SMOKE SESSIONS)........................ 400 Oscar Peterson, On A Clear Day:
Trombone Shorty & Orleans Remy Le Boeuf Assembly of Billy Childs, The Winds Of Change The Oscar Peterson Trio–Live
Avenue................................................550 Shadows..............................................308 (MACK AVENUE).....................................390 In Zurich, 1971 (TWO LIONS/MACK
John Pizzarelli, Stage And Screen AVENUE)...............................................1,232
Tom Harrell Quartet.........................495 Vince Giordano’s Nighthawks........ 253
(PALMETTO)...........................................380 Charles Mingus, Changes: The
Kurt Rosenwinkel Quartet...............484 Fire! Orchestra................................... 242 Complete 1970s Atlantic Recordings
Brian Blade & The Fellowship Band,
Immanuel Wilkins Quartet..............484 Frankfurt Radio Big Band................209 Live From The Archives (STONER (RHINO).................................................1,221
Miguel Zenón Quartet.....................484 Satoko Fujii Orchestra......................209 HILL).......................................................360 Charle Mingus, The Lost Album From
Orrin Evans Quintet.......................... 473 Joe Lovano Trio Tapestry, Our Daily Ronnie Scott’s (RESONANCE)........... 1,045
SFJAZZ Collective...............................429 ALBUM OF THE YEAR Bread (ECM).........................................360 Chet Baker, Blue Room (JAZZ
DETECTIVE)............................................ 968
Ravi Coltrane Quartet.......................418 Joe Farnsworth, In What Direction Are
Samara Joy, Linger Awhile You Headed (SMOKE SESSIONS)...........340 Jimi Hendrix Experience, Los Angeles
Jane Bunnett & Maqueque............330 (VERVE)......................................1,910 Forum, April 26, 1969
Miguel Zenón, Musica De Las
The Bad Plus........................................319 Terri Lyne Carrington, New Standards Américas (MIEL)...................................340 (SONY LEGACY).......................................858
James Brandon Lewis Red Lily Vol. 1 (CANDID).................................. 1,350 Dave Stryker Trio, Prime (STRIKEZONE).. 330 Max Roach, We Insist! Max Roach’s
Quintet.................................................319 Redman/Mehldau/McBride/Blade, Freedom Now Suite (CANDID)...........814
Art Ensemble Of Chicago, The Sixth
Superblue with Kurt Elling & Charlie Long Gone (NONESUCH)...................1,190 Decade (ROGUEART)............................ 320 Donald Byrd, Live: Cookin’ With Blue
Hunter.................................................308 Kenny Barron, The Source Note At Montreux (BLUE NOTE).......... 715
Mike LeDonne/Eric Alexander, The
Gerald Clayton Trio...........................300 (ARTWORK)...........................................1,110 Heavy Hitters (CELLAR MUSIC)............ 320 Vince Guaraldi, Jazz Impressions Of
Charles Lloyd, Trio Of Trios Black Orpheus (CRAFT)....................... 715
DOMi & JD Beck, NOT TiGHT
LARGE ENSEMBLE (BLUE NOTE)........................................1,080 (BLUE NOTE)...........................................300 Charlie Parker, Afro Cuban Bop:
Brad Mehldau, Your Mother Should The Long Lost Bird Live Recordings
Maria Schneider Orchestra.... 3,938 Sun Ra Arkestra, Living Sky
Know (NONESUCH)................................810 (LIBERATION/ROCKBEAT)......................... 715
(OMNI SOUND).......................................290
Christian McBride Big Band........ 3,399 Shorter/Carrington/Genovese/ Sonny Stitt, Boppin’ In Baltimore: Live
Walter Smith III, Return To Casual
Jazz at Lincoln Center Orchestra....2,805 Spalding, Live At The Detroit Jazz At The Left Bank (JAZZ DETECTIVE).....671
(BLUE NOTE)...........................................280
Sun Ra Arkestra...............................1,672 Festival (CANDID)................................. 730 Chet Baker, Chet (CRAFT)..................594
Al Foster, Reflections
WDR Big Band Cologne.................1,573 Fred Hersch & esperanza spalding, (SMOKE SESSIONS)................................. 270 Christian McBride, The Movement
Alive At The Village Vanguard Marshall Gilkes, Cyclic Journey Revisited (MACK AVENUE).................... 583
Mingus Big Band.............................1,375
(PALMETTO)...........................................620 (ALTERNATE SIDE)................................... 270 Little Feat, Waiting For Columbus
Count Basie Orchestra....................1,331
Julian Lage, View With A Room Delfeayo Marsalis, Uptown On Mardi Super Deluxe Edition (RHINO)..........539
Anat Cohen Tentet........................ 1,045 (BLUE NOTE)...........................................580 Gras Day (TROUBADOUR JASS)............ 270 Abbey Lincoln, Straight Ahead
Clayton–Hamilton Jazz Orchestra....836 Cécile McLorin Salvant, Mélusine Vince Mendoza, Olympians (CANDID)................................................539
Vanguard Jazz Orchestra................ 759 (NONESUCH)..........................................500 (MODERN).............................................. 250 Dorothy Ashby and Frank Wess, A
John Beasley’s MONK’estra............ 726 Chris Potter, Got The Keys To The Minor Groove (REAL GONE)................. 517
Gordon Goodwin’s Big Phat Band......715 Kingdom (EDITION)............................. 490 HISTORICAL ALBUM OF THE YEAR Charles Mingus, Mingus Presents
Darcy James Argue’s Secret Lakecia Benjamin, Phoenix Ahmad Jamal, Emerald City Mingus (CANDID).................................506
Society.................................................693 (WHIRLWIND).........................................480 Ray Charles, Live In Stockholm 1972
Nights: Live At The Penthouse
Béla Fleck/Edgar Meyer/Zakir (JAZZ DETECTIVE)........................2,376 (TANGERINE)...........................................484
Chicago Jazz Orchestra....................561
Hussain, As We Speak (THIRTY Bill Evans, Treasures: Solo, Trio & Michel Petrucciani, The Montreux
Bill Warfield and the Hell’s Kitchen TIGERS)...................................................480
Funk Orchestra................................... 517 Orchestra Recordings From Denmark Years (BMG)...........................................451
Anat Cohen, Quartetinho (ANZIC).....430 (1965–1969) (ELEMENTAL)....................2,167 Eddie “Lockjaw” Davis and Shirley
DIVA Jazz Orchestra.........................495
Chucho Valdés/Paquito D’Rivera Miles Davis, What Happened Scott, Cookin’ With Jaws And The
NDR Big Band.................................... 473 Reunion Sextet, I Missed You Too! 1982–1985: The Bootleg Series Vol. 7 Queen: The Legendary Cookbook
Steven Fiefke Big Band....................462 (SUNNYSIDE)...........................................410 (LEGACY)..............................................1,738 Albums (CRAFT)...................................440

DECEMBER 2023 DOWNBEAT 47

MARK SHELDON

COURTESY TRI-C JAZZ FESTIVAL

Trombone Shorty at the Tri-C Jazz Fest

BART BABINSKI
Kenny Garrett at the Detroit Jazz Fest Chris Potter

Buddy Guy & Junior Wells, Live From Brian Lynch.........................................330 Dave Liebman..................................2,145 David Sanborn.................................1,001
The Chicago Blues Festival 1964 Jason Palmer.......................................319 Kenny Garrett.................................1,969 Gary Bartz.......................................... 946
(GOOD TIME)..........................................440
Kirk Knuffke........................................308 Joshua Redman............................. 1,650 Tia Fuller.............................................. 825
Andrew Hill, Dance With Death
(BLUE NOTE)...........................................440 Ravi Coltrane.................................... 1,518 Bobby Watson...................................803
Albert Ayler, Europe 1966 (ORG).....407 TROMBONE Jane Ira Bloom................................. 1,441 Charles McPherson........................... 770
Medeski Martin & Wood, It’s A Jungle Trombone Shorty.................. 3,289 Jan Garbarek.................................... 1,188 Vincent Herring..................................671
In Here (REAL GONE)............................396 Steve Turre...................................... 2,552 Joe Lovano.........................................1,177 Rudresh Mahanthappa....................561
Dizzy Gillespie, Portrait Of Jenny Wycliffe Gordon............................. 1,540 Chris Potter....................................... 1,144 John Zorn.............................................561
(BBE)...................................................... 352
Steve Davis...................................... 1,408 Jane Bunnett.................................... 968 Donald Harrison................................ 528
Curtis Fuller......................................1,397 Steve Wilson.......................................935 Steve Wilson.......................................495
TRUMPET Michael Dease.................................1,232 Tia Fuller.............................................. 737 Anthony Braxton...............................484
Terence Blanchard................ 3,058 Robin Eubanks.................................1,199 James Carter..................................... 660 Grace Kelly..........................................465
Wynton Marsalis........................... 2,695 Delfeayo Marsalis............................1,199 Alexa Tarantino................................. 627 Henry Threadgill.................................451
Ambrose Akinmusire.................... 2,046 Marshall Gilkes...................................924 Roscoe Mitchell..................................605 Marshall Allen....................................440
Randy Brecker................................ 1,936 Nils Landgren..................................... 759 Ingrid Laubrock.................................539 Ted Nash.............................................407
Ingrid Jensen................................... 1,815 Natalie Cressman............................... 715 Wayne Escoffery................................ 517 Tim Berne............................................363
Tom Harrell.......................................1,375 Ray Anderson..................................... 616 Ted Nash.............................................506 Jim Snidero......................................... 352
Nicholas Payton................................1,155 Conrad Herwig................................... 583 Evan Parker........................................396 Steve Coleman....................................341
Terell Stafford.....................................913 Walter Smith III..................................396 Sharel Cassity.....................................330
Slide Hampton....................................561
Jeremy Pelt........................................ 869 Donny McCaslin................................ 374 Caroline Davis....................................330
Ryan Keberle......................................550
Wadada Leo Smith.............................781 Joel Frahm.......................................... 352 Peter Brötzmann...............................308
John Fedchock................................... 528
Sean Jones.......................................... 770 Vincent Herring.................................308
Curtis Fowlkes....................................484
Jaimie Branch (PASSED AUG. 22)......... 715
Alan Ferber.........................................396 Sam Newsome................................... 297 TENOR SAXOPHONE
Dave Douglas.....................................704
Nick Finzer.......................................... 385 Jimmy Greene.................................... 275 Chris Potter........................... 2,420
Eddie Henderson...............................693
Sarah Morrow....................................363 Charles Lloyd....................................2,321
Avishai Cohen.....................................671
Marquis Hill........................................638
Steve Swell..........................................330 ALTO SAXOPHONE Joe Lovano........................................1,738
Gianluca Petrella................................319 Kenny Garrett....................... 3,245 Joshua Redman..............................1,705
Chief Xian aTunde Adjuah
(FORMERLY CHRISTIAN SCOTT)............... 583 Vincent Gardner................................ 297 Immanuel Wilkins...........................1,837 Melissa Aldana.................................1,661
Enrico Rava..........................................561 Samuel Blaser.................................... 253 Lakecia Benjamin.............................1,551 Branford Marsalis........................... 1,474
Jon Faddis...........................................539 George Lewis...................................... 253 Chris Potter.......................................1,276 Houston Person................................1,133
Theo Croker......................................... 517 Miguel Zenón...................................1,265 Pharoah Sanders............................... 1,111
Etienne Charles.................................. 385 SOPRANO SAXOPHONE Greg Abate...................................... 1,034 Kamasi Washington....................... 1,012
Michael Rodriguez............................363 Branford Marsalis................. 3,366 Paquito D’Rivera.............................1,001 Eric Alexander.................................... 957

48 DOWNBEAT DECEMBER 2023

 ELENA OLIVO

SHERVIN LAINEZ
Brad Mehldau
COURTESY BLUE NOTE RECORDS

James Carter Anat Cohen

James Brandon Lewis......................682 Mats Gustafsson................................ 616 Gianluigi Trovesi................................209 Ahmad Jamal...................................1,232
Joel Frahm...........................................561 Paula Henderson................................561 Angel Bat Dawid...............................200 Jon Batiste........................................1,001
Walter Smith III..................................550 Jason Marshall...................................550 Bill Charlap.......................................1,001
James Carter......................................506 Brian Landrus.....................................440 FLUTE Kris Davis............................................. 792
Wayne Escoffery...............................495 Lisa Parrott..........................................407 Hubert Laws...........................3,575 Fred Hersch.........................................781
Jerry Bergonzi....................................429 Patience Higgins............................... 385 Charles Lloyd...................................2,893 Joey Alexander.................................. 726
Nubya Garcia......................................418 Chris Cheek........................................ 374 Nicole Mitchell................................. 1,881 Renee Rosnes.....................................682
George Garzone..................................418 Vinny Golia.........................................286 Elena Pinderhughes.......................1,419 Gerald Clayton.................................. 649
Archie Shepp......................................407 Mikko Innanen...................................286 Lew Tabackin...................................1,001 Sullivan Fortner................................ 649
JD Allen...............................................396 Jane Bunnett.................................... 990 Vijay Iyer.............................................. 572
Billy Harper.........................................396 CLARINET Tia Fuller.............................................. 957 Monty Alexander............................... 517
Peter Brötzmann............................... 385 Anat Cohen.............................7,711 Henry Threadgill.................................913 Eliane Elias..........................................506
Mark Turner........................................363 Paquito D’Rivera........................... 2,662 Alexa Tarantino..................................814 Jason Moran......................................429
Roxy Coss............................................ 352 Ken Peplowski................................. 1,870 Dave Liebman.................................... 759 Craig Taborn.......................................418
Donny McCaslin.................................341 Don Byron........................................1,694 Ted Nash............................................. 726 Chucho Valdés....................................418
Scott Robinson....................................341 Eddie Daniels.................................. 1,650 Jeff Coffin...........................................638 Aaron Parks........................................407
Ingrid Laubrock................................. 297 Victor Goines......................................880 Roscoe Mitchell..................................550 Benny Green......................................396
David Sánchez................................... 297 Shabaka Hutchings...........................561 Anna Webber.....................................539 Helen Sung.........................................396
Shabaka Hutchings..........................286 Ben Goldberg.....................................495 Anne Drummond............................... 517 George Cables.................................... 385
Ted Nash............................................. 473 James Spaulding...............................506 Robert Glasper...................................363
BARITONE SAXOPHONE Vincent Herring................................. 385 Ali Ryerson..........................................484 Abdullah Ibrahim..............................330
James Carter..........................3,421 Chris Speed........................................ 385 Jamie Baum....................................... 473 Orrin Evans..........................................319
Gary Smulyan..................................3,212 Peter Brötzmann............................... 352 Steve Wilson.......................................462 Matthew Shipp..................................308
Grace Kelly...................................... 2,299 Marty Ehrlich.......................................341 Holly Hofmann...................................418 Joey Calderazzo................................. 297
Ronnie Cuber...................................1,573 Evan Christopher..............................330 T.K. Blue...............................................363 Cyrus Chestnut.................................. 297
Scott Robinson.................................1,529 François Houle...................................286 Shabaka Hutchings.......................... 352
Claire Daly........................................ 1,386 Aurora Nealand.................................286 James Newton....................................341 KEYBOARDS
John Surman....................................1,243 Rebecca Trescher..............................264 Herbie Hancock .....................6,710
Ken Vandermark...............................748 Gabriele Mirabassi............................ 253 PIANO Robert Glasper.................................2,178
Lauren Sevian.................................... 737 Ken Vandermark............................... 242 Brad Mehldau........................2,431 Larry Goldings..................................1,672
Tim Berne........................................... 649 Louis Sclavis......................................... 231 Kenny Barron..................................2,376 Hiromi.................................................1,221
Stephen “Doc” Kupka...................... 627 Beth Custer......................................... 220 Herbie Hancock.............................. 2,222 Craig Taborn......................................902
Dave McMurray................................. 627 Jeff Lederer........................................209 Emmet Cohen................................. 1,958 John Medeski..................................... 792

DECEMBER 2023 DOWNBEAT 49

 MARK SHELDON
COURTESY MARCUS MILLER

Regina Carter at the Detroit Jazz Festival

JIM HESTERMAN

Marcus Miller Joey DeFrancesco

Gary Versace....................................... 715 Tony Monaco.....................................429 Rez Abbasi...........................................176 John Patitucci................................. 1,804
James Francies..................................693 Kit Downes..........................................407 Nir Felder..............................................176 Esperanza Spalding.......................1,694
Patrice Rushen...................................693 Akiko Tsuruga....................................396 Stephane Wrembel............................176 Victor Wooten.................................. 1,518
Cory Henry..........................................682 Jared Gold.......................................... 352 Linda May Han Oh.............................913
Danilo Pérez...................................... 649 Jamie Saft...........................................330 BASS Thundercat.........................................880
Gary Husband.................................... 572 Delvon Lamars...................................286 Christian McBride................. 5,643 Meshell Ndegeocello........................847
Geoffrey Keezer..................................561 Rhoda Scott........................................ 275 Ron Carter......................................... 4,114 Richard Bona......................................704
Jeff Lorber............................................561 Wayne Horvitz................................... 253 Dave Holland...................................1,727 Tony Levin..........................................693
Eddie Palmieri.....................................561 Chris Foreman.................................... 220 Linda May Han Oh......................... 1,650 Brian Bromberg..................................561
John Beasley......................................495 Esperanza Spalding.......................1,606 James Genus...................................... 528
Uri Caine..............................................462 GUITAR Stanley Clarke....................................880 Pino Palladino....................................462
Omar Sosa..........................................429 Pat Metheny......................... 4,081 John Patitucci.................................... 825 Avishai Cohen.....................................451
Marc Cary............................................407 Bill Frisell...........................................2,541 Larry Grenadier..................................682 Derrick Hodge.....................................418
Leo Genovese..................................... 374 Julian Lage...................................... 1,892 John Clayton...................................... 627 Jamaaladeen Tacuma.....................396
Nik Bärtsch......................................... 352 John McLaughlin............................1,661 Peter Washington..............................561 Larry Grenadier.................................. 385
Matthew Shipp.................................. 352 Mary Halvorson.............................. 1,639 Avishai Cohen....................................506 Tim Lefebvre...................................... 374
Zaccai Curtis........................................319 John Scofield................................... 1,595 William Parker....................................407 Matthew Garrison..............................319
Kit Downes...........................................319 Peter Bernstein................................1,320 Reggie Workman.............................. 385 Felix Pastorius....................................308
Brian Charette...................................308 John Pizzarelli..................................1,254 Victor Wooten.................................... 374 Mimi Jones......................................... 297
Kurt Rosenwinkel.............................1,122 Dezron Douglas.................................363 Ingebrigt Håker Flaten..................... 220
ORGAN Dave Stryker....................................... 957 Luques Curtis.....................................330 Stomu Takeishi..................................209
Joey DeFrancesco Pascquale Grasso..............................880 Scott Colley..........................................319
(PASSED AUG. 25, 2022).............. 8,019 Lionel Loueke.....................................682 Rufus Reid...........................................319 VIOLIN
Larry Goldings.................................2,893 Mark Whitfield................................... 528 Cecil McBee........................................286 Regina Carter.........................8,514
Carla Bley..........................................1,276 Bobby Broom..................................... 473 Thomas Morgan................................286 Jean-Luc Ponty............................... 3,146
Booker T. Jones............................... 1,210 Charlie Hunter...................................440 Michael Formanek............................ 275 Sara Caswell.....................................1,573
Cory Henry....................................... 1,034 Jeff Parker...........................................440 Arild Andersen...................................264 Jenny Scheinman...........................1,276
John Medeski...................................1,001 Gilad Hekselman................................341 Mimi Jones......................................... 242 Mark Feldman................................. 1,034
Mike LeDonne................................... 990 Romero Lubambo..............................341 Jorge Roeder......................................209 Mark O’Connor.................................. 957
Brian Auger........................................935 Ben Monder.........................................319 Zach Brock..........................................693
Gary Versace..................................... 869 Marc Ribot...........................................319 ELECTRIC BASS Jerry Goodman................................. 660
Pat Bianchi.......................................... 528 Bruce Forman..................................... 231 Marcus Miller..........................3,311 Michal Urbaniak................................506
Brian Charette.................................... 517 Miles Okazaki.....................................209 Stanley Clarke.................................2,365 Mat Maneri......................................... 385
Amina Claudine Myers..................... 517 Wolfgang Muthspiel.........................198 Christian McBride............................2,134 Jason Kao Hwang............................. 374
Barbara Dennerlein..........................506 Jakob Bro.............................................187 Steve Swallow................................ 2,079 Sarah Bernstein.................................363

50 DOWNBEAT DECEMBER 2023

Tomoko Omura................................. 352 Kendrick Scott.....................................319 Stefon Harris...................................2,937 Scott Robinson (BASS SAXOPHONE)...803
Karen Briggs........................................341 Marcus Gilmore................................. 297 Joe Locke......................................... 2,189 Grégoire Maret (HARMONICA)............781
Eyvind Kang........................................341 Eric Harland........................................286 Jason Marsalis............................... 2,002 Gary Versace (ACCORDION)............... 660
Christian Howes................................ 297 Rudy Royston.....................................286 Steve Nelson....................................1,672 Richard Galliano (ACCORDION)......... 616
Mads Tolling....................................... 275 Patricia Brennan............................... 990 Edmar Castaneda
Carla Kihlstedt.................................... 253 PERCUSSION Joe Chambers................................... 869 (COLOMBIAN HARP)...............................605

Scott Tixier.......................................... 242 Sasha Berliner....................................693 Anouar Brahem (OUD)....................... 583

Zakir Hussain.........................2,673
Poncho Sanchez..............................2,431 Kenny Wollesen.................................539 Chris Thile (MANDOLIN).......................561
DRUMS Sheila E............................................ 2,046 Chien Chien Lu..................................506 Howard Levy (HARMONICA)...............550
Airto Moreira.................................. 2,046 Jason Adasiewicz.............................. 473 Greg Leisz (PEDAL STEEL GUITAR)........ 528
Brian Blade............................2,937
Jack DeJohnette..............................2,211 Pedrito Martinez..............................1,199 Hendrik Meurkens............................ 385 Hendrik Meurkens (HARMONICA)..... 473
Terri Lyne Carrington.....................2,145 Trilok Gurtu........................................1,133 Simon Moullier................................... 352 Theon Cross (TUBA)............................396
Steve Gadd.......................................1,342 Bobby Sanabria.............................. 1,078 Warren Smith......................................341 Peggy Lee (CELLO)...............................363
Johnathan Blake...............................902 Kahil El’Zabar...................................... 957 Karl Berger..........................................308 Toumani Diabaté (KORA)...................319
Roy Haynes.........................................902 Cyro Baptista......................................902 Behn Gillece........................................308 Ben Wendel (BASSOON)......................319
Tyshawn Sorey.................................. 825 Mino Cinelu........................................803 Matt Moran........................................308 Dino Saluzzi (BANDONEÓN)................308
Jeff Hamilton..................................... 792 Manolo Badrena................................ 726 Mulatu Astatke.................................. 297
Allison Miller....................................... 726 Hamid Drake....................................... 715 Tomas Fujiwara.................................264 FEMALE VOCALIST
Billy Cobham......................................682 Susie Ibarra.........................................693 Samara Joy........................... 4,477
Jeff “Tain” Watts...............................682 Marilyn Mazur.................................... 616 MISCELLANEOUS Cécile McLorin Salvant..................2,937
Cindy Blackman Santana.................671 Rogério Boccato................................605 INSTRUMENT Diana Krall........................................1,782
Peter Erskine.......................................671 Pete Escovedo....................................605 Laila Biali.......................................... 1,386
Béla Fleck (BANJO)................. 2,882
Billy Hart............................................. 660 Giovanni Hidalgo..............................484 Dianne Reeves..................................1,221
Jon Batiste
Lewis Nash.......................................... 572 Ches Smith.........................................429 (MELODICA/HARMONABOARD)........... 2,046 Esperanza Spalding.........................1,221
Kenny Washington...........................539 Sammy Figueroa................................418 Brandee Younger (HARP).............. 2,046 Veronica Swift..................................1,199
Bill Stewart..........................................495 John Santos........................................407 Chris Potter (BASS CLARINET).............1,177 Dee Dee Bridgewater.....................1,166
Herlin Riley.........................................429 Kate Gentile.........................................319 Tomeka Reid (CELLO).......................1,166 Cyrille Aimée......................................924
Matt Wilson........................................429 David Murray (BASS CLARINET)..........979 Jazzmeia Horn....................................814
Makaya McCraven.............................418 VIBRAPHONE Steve Turre (SHELLS)...........................935 Cassandra Wilson...............................814
Nate Smith..........................................396 Warren Wolf...........................3,223 James Carter (BASS SAXOPHONE)......847 Sheila Jordan......................................561
Joey Baron.......................................... 352 Joel Ross...........................................3,025 Wycliffe Gordon (TUBA)..................... 825 Lizz Wright..........................................495

DECEMBER 2023 DOWNBEAT 51

 DAVID MCCLISTER
EMMAN MONTALVAN

Jon Batiste Tedeschi Trucks Band

Gretchen Parlato...............................462 Christian McBride...............................891 Miguel Zenón.....................................308 Vince Mendoza...................................451

Catherine Russell...............................451 Mary Halvorson................................. 792 Myra Melford..................................... 275 Bill Laswell...........................................440
Thana Alexa.......................................407 Renee Rosnes..................................... 737 Ed Palermo.........................................264 Dave Douglas......................................418
Tierney Sutton................................... 385 Henry Threadgill................................682 John Daversa..................................... 253 Larry Klein............................................418
Patricia Barber................................... 374 Bill Frisell............................................. 583 Sullivan Fortner................................. 242 Kris Davis/David Breskin.................. 374
Melody Gardot................................... 374 Robert Glasper...................................539 Ambrose Akinmusire.........................319
Roberta Gambarini........................... 352 Vince Mendoza..................................539 RECORD LABEL Tyshawn Sorey...................................319
Karrin Allyson......................................341 Tom Harrell.........................................495 Blue Note.............................. 6,479 Paul Stache.........................................308
Stacey Kent.........................................330 Fred Hersch........................................495 ECM...................................................2,497 Matt Pierson....................................... 297
Madeleine Peyroux........................... 297 Kamasi Washington.........................495 Mack Avenue....................................1,177 Miguel Zenón..................................... 297
Luciana Souza.................................... 297 Dave Holland.....................................484 Smoke Sessions...............................1,166 Flying Lotus........................................ 253
Sara Serpa........................................... 242 John Scofield......................................440 MoonJune........................................... 627 Ben Allison.......................................... 242
Tyshawn Sorey.................................. 385 Verve.................................................... 583 Charlie Hunter.................................... 231
MALE VOCALIST Arturo O’Farrill................................... 374 ACT....................................................... 528 Marty Ashby.......................................209
Tony Bennett Anthony Braxton...............................363 Impulse!................................................ 517
(PASSED AUGUST 2023)...............5,291 Jim McNeely.......................................363 BLUES ARTIST OF THE YEAR
Mosaic.................................................506
Kurt Elling........................................4,752 Ambrose Akinmusire........................330 Origin...................................................495 Buddy Guy............................. 3,696
Gregory Porter............................... 4,246 Melissa Aldana...................................330 Nonesuch............................................ 473 Taj Mahal......................................... 1,936
Bobby McFerrin.............................. 1,309 Darcy James Argue........................... 297 Sunnyside...........................................396 Keb’ Mo’............................................1,243
Theo Bleckmann............................... 825 Kris Davis............................................. 297 Gary Clark Jr..................................... 1,188
ArtistShare...........................................341
Jacob Collier.......................................803 Joe Bonamassa.................................1,133
Jazz Is Dead.........................................319
José James.........................................803 ARRANGER Posi-Tone.............................................319 Shemekia Copeland......................... 1,111
Benny Benack III.................................781 Maria Schneider................... 3,806 Christone “Kingfish” Ingram....... 1,034
Resonance.......................................... 275
Harry Connick Jr................................748 Terri Lyne Carrington..................... 1,518 Robert Cray......................................1,023
Pi Recordings.....................................264
John Pizzarelli.................................... 572 Wynton Marsalis.............................1,507 Robben Ford.......................................847
Whaling City Sound..........................264
Michael Bublé.....................................451 Carla Bley.......................................... 1,419 John Mayall........................................836
Criss Cross Jazz.................................. 253
Leslie Odom Jr...................................429 Christian McBride........................... 1,364 James Blood Ulmer............................671
SmallsLIVE........................................... 253
Dwight Trible.....................................396 John Clayton......................................924 Charlie Musselwhite.........................462
International Anthem Recording
James Blood Ulmer........................... 385 Vince Mendoza..................................924 Co.......................................................... 242 Marcia Ball..........................................440
Sachal Vasandani.............................. 385 Darcy James Argue...........................836 HighNote.............................................. 231 Duke Robillard....................................418
Jamie Cullum..................................... 374 Billy Childs..........................................836 Concord............................................... 220 Eric Bibb..............................................407
João Bosco.......................................... 352 Esperanza Spalding...........................814 Ronnie Earl &
Kenny Washington............................319 Bob Mintzer........................................ 759
PRODUCER The Broadcasters.............................. 385
Giacomo Gates...................................308 John Beasley....................................... 715 Christian McBride................. 2,508 Samantha Fish................................... 374
Johnny O’Neal...................................308 Gordon Goodwin............................... 627 Manfred Eicher...............................2,420 Sue Foley..............................................341
Allan Harris......................................... 297 Robert Glasper...................................605 Terri Lyne Carrington................... 2,299 Fantastic Negrito................................319
John Boutté........................................ 275 Kamasi Washington......................... 528 Don Was............................................ 1,419 Ruthie Foster.......................................319
Jim McNeely....................................... 473 Robert Glasper..................................1,177 Eric Gales.............................................308
COMPOSER Gil Goldstein.......................................407 Michael Cuscuna................................913 Otis Taylor...........................................242
Maria Schneider....................3,014 Arturo O’Farrill...................................396 Dave Holland......................................814 Sonny Landreth..................................231
Terence Blanchard......................... 2,255 Nicholas Payton................................. 352 Zev Feldman........................................781 Kenny Wayne Shepherd...................231
Pat Metheny................................... 2,068 Steven Bernstein................................341 John Zorn.............................................781 Elvin Bishop........................................220
Wynton Marsalis.............................1,100 Miho Hazama.....................................330 Cory Weeds........................................539 Doug Wamble................................... 209
Benny Golson.................................... 990 Lakecia Benjamin...............................319 Makaya McCraven............................ 528 Billy F. Gibbons..................................198
Carla Bley............................................979 Makaya McCraven............................308 John Beasley....................................... 517 Bobby Rush........................................198

52 DOWNBEAT DECEMBER 2023

 Steve Lacy, Gemini Rights (L-M/RCA/SONY)..............924
BLUES ALBUM BEYOND ALBUM
Arooj Aftab/Vijay Iyer/Shahzad Ismaily,
Buddy Guy, Blues Don’t Lie Tedeschi Trucks Band, I Am The Moon Love In Exile (VERVE)....................................................858
(RCA/SILVERTONE))........................................4,664 (FANTASY).................................................... 2,629 Ali Farka Toure, Voyager (WORLD CIRCUIT)..............770
Taj Mahal, Savoy (STONY PLAIN).............................. 3,113 Ralph Towner, At First Light (ECM).......................2,035 Ryuichi Sakamoto, 12
Shemekia Copeland, Done Come Too Far Rickie Lee Jones, Pieces Of Treasure (MODERN).1,936 (KAB AMERICA/MILAN/SONY)...........................................759
(ALLIGATOR)................................................................ 2,002
Antonio Sánchez, Shift (BAD HOMBRE VOL. II) Lizzo, Special (NICE LIFE)..............................................495
Joe Bonamassa, Tales Of Time (WARNER)..................................................................... 1,793 Khruangbin/Vieux Farka Touré, Ali
(J&R ADVENTURES)....................................................... 1,485
Van Morrison, Moving On Skiffle (EXILE)..............1,419 (DEAD OCEANS)...............................................................429
Eric Bibb, Ridin’ (STONY PLAIN)...................................539 Yo La Tenga, This Stupid World (MATADOR)...........407
Eva Cassidy/London Symphony Orchestra/
Ruthie Foster, Healing Time (BLUE CORN)...............528 Christopher Wells, I Can Only Be Me Aoife O’Donavan, The Apathy Sessions
Fantastic Negrito, White Jesus Black Problems (BLIX STREET)................................................................ 1,221 (YEP ROCK)......................................................................330
(STOREFRONT).................................................................462 Beyoncé, Renaissance (COLUMBIA)..............................1,078 boygenius, the record (INTERSCOPE)........................308
Duane Betts, Wild & Precious Life (ROYAL POTATO Björk, Fossora (ONE LITTLE INDEPENDENT)................ 1,023 Natalia Lafourcade, De Todas Las Flores (SONY).. 253
FAMILY).......................................................................... 440
Doug Wamble, Blues In The Present Tense
(HALCYONIC)...................................................................374
Rory Block, Ain’t Nobody Worried (STONY PLAIN)...341
Tracy Nelson, Life Don’t Mess Nobody (BMG)........341
Marc Broussard/Joe Bonamassa, S.O.S. 4: Blues For
Your Soul (KTBA)...........................................................330
Fenton Robinson, Somebody Loan Me A Dime
(ALLIGATOR)....................................................................330
Matt Anderson, The Big Bottle Of Joy (SONIC)......308
The Cash Box Kings, Oscar’s Motel (ALLIGATOR)....308
Joe Louis Walker, Weight Of The World (FORTY
BELOW)...........................................................................286
Blue Moon Marquee, Scream, Holler & Howl
(ILDA)..............................................................................264
Kenny Wayne Shepherd, Trouble Is … 25
(PROVOGUE)....................................................................264
Walter Trout, Ride (PROVOGUE).................................264
Sass Jordan, Bitches Blues
(STONY PLAIN)................................................................. 253
Mike Zito/Albert Castiglia, Blood Brothers
(GULF COAST)...................................................................231
Jimmy Hall, Ready Now (KTBA)................................ 198
Peter Case, Doctor Moan (SUNSET BLVD)..................154
Chris Duarte, Ain’t Giving Up (PROVOGUE)..............154
Angela Strehli, Ace Of Blues (ANTONE’S)..................154

BEYOND ARTIST
Jon Batiste................................................ 2,574
Tedeschi Trucks Band............................................ 1,397
Rhiannon Giddens.................................................. 1,342
Tower of Power........................................................ 1,045
Bob Dylan................................................................. 1,034
Bonnie Raitt.............................................................. 1,034
Robert Glasper........................................................... 869
Rickie Lee Jones..........................................................770
Björk..............................................................................759
Gregory Porter............................................................726
Trombone Shorty........................................................715
DOMi & JD Beck.........................................................704
Van Morrison.............................................................. 605
Antonio Sanchéz....................................................... 605
Arooj Aftab, Vijay Iyer, Shahzad Ismaily................517
Neil Young....................................................................517
Melody Gardot........................................................... 484
Kendrick Lamar...........................................................429
Thundercat..................................................................429
Caetano Veloso...........................................................385
Lucinda Williams........................................................385
Billie Eilish....................................................................363
Booker T. Jones..........................................................363
Bettye LaVette.............................................................341
Beyoncé........................................................................308

DECEMBER 2023 DOWNBEAT 53

54 DOWNBEAT DECEMBER 2023
 Masterpiece ★★★★★ Excellent ★★★★ Good ★★★ Fair ★★ Poor ★

NICK SUTTLE
John Scofield recorded Uncle John’s Band in a trio with
drummer Bill Stewart and bassist Vicente Archer.

John Scofield been to explore compositions with good bones.

Some of these bones are just older than others.
evident than on “Mo Green,” which extrapo-
lates Scofield’s “Green Tea” with a clever bow
Uncle John’s Band Like his closest contemporary, Bill Frisell, to one of The Godfather’s more memorable vil-
ECM
Scofield puts his own stamp on pieces like Bob lains. The leader also makes sly allusions to pop
HHHH Dylan’s “Mr. Tambourine Man,” Neil Young’s music classics like The Monkees’ “Last Train
It’s only in scanning his entire musical output “Old Man” and the Grateful Dead’s “Uncle To Clarksdale” and Stan Jones’ “Ghost Riders
that you can truly appreciate how many styles John’s Band,” but he also digs deep into a pair In The Sky.” It all adds up to a casual-sound-
guitarist John Scofield has pursued since his of compositions associated with his former ing session.
first Enja recording in 1977, and how he has bandleader, Miles Davis. The only exception is “Nothing Is Forever,”
exhibited his aversion to stepping in the same If there’s an overarching approach, it’s the a spiky composition with unexpected turns
water twice. There’s barely a genre he hasn’t relaxed vibe the trio maintains throughout — that Scofield wrote for his son Evan, who died
touched, and signed as his own. revving up a bit for Scofield’s own “How Deep” of sarcoma a decade ago. — James Hale
The handful of compositions from the ’60s, and slowing it down for Leonard Bernstein’s Uncle John’s Band: Mr. Tambourine Man; How Deep; TV
Band; Back In Time; Budo; Nothing Is Forever; Old Man. The Girl-
’70s and further back make it seem like Sco’s “Somewhere” — ideal for the trio setting and friend Chord; Stairway To The Stars; Mo Green; Mask; Somewhere;
feeling nostalgic, like many men his age. That the tight connection between the leader and Ray’s Idea; Uncle John’s Band. (89:41)
Personnel: John Scofield, guitar; Vicente Archer, bass; Bill
analysis is too shallow by half, and overlooks his frequent drummer, Bill Stewart. Their abil- Stewart, drums.
the fact that the guitarist’s approach has always ity to communicate has seldom sounded more Ordering info: ecmrecords.com

DECEMBER 2023 DOWNBEAT 55

 exoplanets — planets orbiting stars outside of our
solar system — and as such the album revolves
around its three-part “Exoplanet Suite.” “Part I:
Elliptical Orbit” centers on Christian McBride’s
resonant bass playing, bestowing a propulsive
foundation to the string section’s trilling ascen-
sions. We move from plaintive solo violin and
downtempo balladic introspection on “Part II:
Three Sunlights” to frenetic breakbeats and intri-
cate horn lines on “Part III: Planet Nine.”
With so much ground covered in the suite,
the remaining five tracks can feel like filler. Yet
for each potential mismatch there is a moment
of formidable grace. Opener “Abeam” explodes
horn fanfares over a lively clave rhythm, giv-
ing the brass section a welcome chance to trade
Miho Hazama’s m_unit phrases, while closing track “From Life Comes JD Allen
Beyond Orbits Beauty” provides a magnificent showcase for This
EDITION guest saxophonist Immanuel Wilkins’ lyrical SAVANT
HHHH playing, soaring into a dextrous solo over drum- HHHH
For a decade, Japanese composer Miho Hazama’s mer Jake Goldbas’ groove.  —Ammar Kalia
JD Allen consistently maximizes an air of mys-
m_unit band has existed as the repository for tery in his music, either by giving his compo-
Beyond Orbits: Abeam; A Monk In Ascending And Descending;
her expansive and often complex arrangements. Exoplanet Suite: I. Elliptical Orbit; Exoplanet Suite: II. Three Sun- sitions and albums provocative titles or unrav-
Operating somewhere between the intricacies lights; Exoplanet Suite: III. Planet Nine; Can’t Hide Love; Portrait Of
Guess; From Life Comes Beauty. (64:21) eling haunting improvisations on the tenor
of an orchestra and the weighty grooves of a jazz Personnel: Miho Hazama, conductor; Steve Wilson, alto, soprano
saxophone that elude melodic expectations but
saxophone, flute; Jason Rigby, Jeremy Powell, tenor saxophone,
big band, the group’s three previous records have clarinet; Andrew Gutauskas, baritone saxophone, bass clarinet; Jon- tug the heartstrings. Even in his music’s bright-
traversed everything from atonal explorations to athan Powell, trumpet, flugelhorn; Adam Unsworth, French horn;
Tomoko Akaboshi, Ben Russell, Maria Im, violin; Atsuki Yoshida, est moments, a sense of danger always lurk
heady swing, hip-hop beats and cinematic strings. Matt Consul, viola; Meaghan Burke, cello; James Shipp, vibra-
underneath.
phone; Billy Test, piano; Sam Anning, bass; Jake Goldbas, drums;
For Beyond Orbits, the m_unit is as deft as Christian McBride, bass (3); Immanuel Wilkins, alto saxophone (8). For more than a decade, he’s showcased his
always. The record takes lofty inspiration from Ordering info: editionrecords.com unrepentant playing in sparse instrumentation,
oftentimes without the benefit of springy har-
monic beds. Piano-less trios remain his favor-
ite instrumentation.
Gonzalo Rubalcaba This, however, rehauls his trio formation by
Borrowed Roses swapping out bass with Alex Bonney’s elec-
TOP STOP tronics. (Allen’s penchant for pugilistic rep-
HHHH artee with drummers remains intact thanks
to Gwilym Jones’ limber improvisational
By far, any jazz musician’s greatest challenge is to rhythms.) Within this new trio context, Allen’s
perform a song from the canon that has been music casts a more subtle technicolor splendor.
played hundreds of times before and locate If anything, songs such as the ghostly “Know
a new route through it. On Borrowed Roses, Dogs Allowed” and the strutting “Boom-Bap”
Gonzalo Rubalcaba not only takes up that chal- provide ample evidence that the leader could
lenge, he does it solo. The repertoire gives him score films inspired such sci-fi novelists as
both an emotional safety net and familiar foils Octavia Butler or Sameul Delaney.
to play with and against. But he’s in no hurry. He In short, This is a very modern jazz album
journeys through “Chelsea Bridge” as if it might containing gems such as the transfixing title
be booby-trapped, pausing cautiously at near- track, on which Allen’s howling tenor saxo-
ly every turn and peeking around the corners phone melody sounds like the last surviving
points. In subtle ways, he manages to find cre-
before making his moves. His manner is con- human in a post-apocalyptic city; the menac-
ative space.
sistently soft, pensive, but to the point. He rarely ing “Beeyondsay,” a tongue-in-cheek shoutout
“Take Five” offers the widest latitude.
overstays his welcome beyond two choruses and to Beyoncé that still sounds restless and eerie
Rubalcaba frequently manipulates the rhyth-
resists wandering into excess abstraction. thanks to Jones’ rumbling drumming and
mic tension with his left hand while permit-
Where the melodic material rules, he Bonney’s arresting electronic textures; and the
ting his right hand an extra openness. It is the
obeys respectfully. “Someone To Watch Over jostling “See It, Say It, Sorted,” on which Allen
one piece that possesses a momentum. But his
Me” and “Lush Life” loom large in the first tussles with Jones’ snapping rhythms like a
larger intent here is not to swing but to seduce
chorus, then retreat a bit behind the flitting jostled London commuter jockeying for posi-
the senses with a mix of familiarity and quiet
pirouette, an arching arpeggio or thought- tion on The Tube.  —John Murph
surprise.  —John McDonough
ful substitution. But Rubalcaba provides clear
Borrowed Roses: Chelsea Bridge; Summertime; Someone To This: This; The Revelator; Know Dogs Allowed; Boom-Bap;
markers, so the listener always knows where Watch Over Me; Take Five; Here There And Everywhere; Windows; Beeyondsay; Mx. Fairweather; The Knight Of Swords; See It, Say It,
he is the piece. On “In A Sentimental Mood,” Lush Life; Night And Day; In A Sentimental Mood; Very Early; Do It Sorted. (43:02)
Again; Shape Of My Heart. (60:05) Personnel: JD Allen, tenor saxophone; Alex Bonney, electronics;
he introduces a lovely introductory motif at Personnel: Gonzalo Rubalcaba, piano. Gwilym Jones, drums.
the top that effectively echoes at two other Ordering info: topstopmusic.com Ordering info: jazzdepot.com

56 DOWNBEAT DECEMBER 2023

The

John
Critics James Hale Ammar Kalia McDonough John Murph

John Scofield ★★★★ ★★★½ ★★★★ ★★★½

Uncle John’s Band

Miho Hazama’s m_Unit ★★★★ ★★★★ ★★★ ★★★★

Beyond Orbits

Gonzalo Rubalcaba ★★★½ ★★★½ ★★★★ ★★★½

Borrowed Roses

JD Allen ★★★ ★★★★ ★★★½ ★★★★

This

Critics’ Comments

John Scofield, Uncle John’s Band

Scofield’s latest trio record is typically freewheeling and expressive. His playing is crisp and
determined, yet the sparseness of this trio format often leaves too much room for the mind to
wander.  —Ammar Kalia
Two CDs where one would have done the job. Still, relaxed with nothing to prove and no expi-
ration date on the diverse set list. High-end Scofield swings with cool eloquence on “How Deep,”
“Ray’s Idea” and “Budo.” Casual but smart. —John McDonough
Apparently, the guitarist is not ready to take on the elder’s stateman role, opting instead for the
jovial avuncular leader who engages his younger bandmates as someone who just wants to
hang, cut loose, yet still have meaningful conversations. —John Murph

Miho Hazama’s m_unit, Beyond Orbits

Rich, rangy and unpredictable, Hazama’s compositions sparkle in the hands of her 16 band
members and two guests. Conceived during COVID lockdown, the scope of her music suggests
her mind was wandering far afield. —James Hale
Hazama’s sort-of big band begets a blend of smartly balanced classical and jazz expedients,
performed with care and detail. Its energy emerges in contrasting clashes rather than thematic
appeal, save for the charm of “Can’t Hide Love.” —John McDonough
This 10th anniversary celebration of this brilliant large ensemble provides that there is still much
bristling imagination and vitality left to uncork. —John Murph

Gonzalo Rubalcaba, Borrowed Roses

Forget that hoary cliché about Cuban pianists leaning into rococo muscularity. Rubalcaba
expresses his soft side as he explores the harmonic beauty of a dozen balladic mainstays.
 —James Hale
Lightness, lyricism and emotive expression are the calling cards of this solo record. There is little
new ground to be covered but Rubalcaba satisfyingly embodies the essence of these timeless
compositions.  —Ammar Kalia
This solo piano exploration into the venerable American songbook and jazz canon allows listen-
ers to gleam the leader’s wondrous touch on the instrument as well as interpretational prowess.
 —John Murph

JD Allen, This

Electronics can be additive. Here, they too frequently overshadow the Trane/Ali-type interplay
between Allen and Gwilym Jones. —James Hale
Allen goes electric for his latest release, and it’s an admirable experiment. In Alex Bonney, Allen
finds an unnervingly deep and dark accompaniment for his hard-blowing, fast-moving sound.
One for blasting on a heavy soundsystem. —Ammar Kalia
Eight tenor-drum encounters where the electronics are a third wheel. Allen’s themes make for
permissive guardrails, but his commanding sound and discipline provide a sense of order. Quali-
ties to value in music whose stern passion is not always easy to love. —John McDonough

DECEMBER 2023 DOWNBEAT 57

 dard repertoire via the Miles Davis–Chet Baker
romance he’s always channeled.
He’s not that far out from his bread-and-but-
ter, in other words, and he throws in a Coldplay
song (“Fix You,” the only track with percussive
muster) to acknowledge it. There’s not much real
adventure in his songbook choices: “Danny Boy”?
“My Funny Valentine”? Still, he renders them with
delicacy and often loveliness, the former nearly a
duet with piano (were it not that there are actu-
ally two pianists, David Foster and Taylor Eigsti),
the latter a quintet with classical violinist Joshua
Bell sharing the front line and doing credibly well.
Botti is unsurprisingly pretty as well on
Davis and Bill Evans’s “Blue In Green” and
Willard Robison’s “Old Folks,” and does a
Chris Botti nice job on his co-written (with vocalist John Rhiannon Giddens
Vol. 1 Splithoff) smooth bossa “Paris.” Indeed, those You’re The One
BLUE NOTE words, “nice” and “unsurprising,” best sum up NONESUCH
HH1/2 Vol. 1. Botti’s first expedition through acoustic HHHH
jazz is along the (admittedly pleasant) path of
Chris Botti has never been easily written off as a least resistance. Surely he’s got some originality Rhiannon Giddens has been writing songs
smooth-jazz sellout (hard though he sometimes in there somewhere.  —Michael J. West that examine America’s racial, sexual, polit-
seemed to try). From his arrival in the 1990s, ical, cultural and musical contradictions
the trumpeter had the chops and the vocabu- Vol. 1: Danny Boy; Bewitched, Bothered And Bewildered; Two For
The Road; Paris; Blue In Green; Someday My Prince Will Come; Time
since she started her career with the Carolina
lary for the real thing, even as he restrained them On My Hands; My Funny Valentine; Fix You; Old Folks. (47:19) Chocolate Drops. Although she’s won two Best
Personnel: Chris Botti, trumpet; Taylor Eigsti, piano; David Foster,
in service to Richard Marx and R. Kelly songs. piano (1, 6); Julian Pollock, piano (9), Rhodes (2, 3); Zach Moses, Folk Music Album Grammys and a Pulitzer
Finding himself on the most hallowed of jazz bass (2–7, 9, 10); Thomas Morgan, bass (8); Vinnie Colaiuta, drums;
Leonardo Amuedo, guitar (3, 4, 6, 7, 9); Gilad Hekselman, guitar (2);
Prize for her work with Michael Abels on the
labels, though, Botti has at last made an hon- Shane Fontayne, guitar (4); Chad Lefkowitz-Brown, saxophone (6, folk opera Omar, this is her first full album of
7); Patrick Warren, strings (1, 3, 4, 6, 9); Joshua Bell, violin (8); John
est-to-god acoustic jazz album. Vol. 1 is a bal- Splithoff, vocals (4). original songs.
lads record, with the star interpreting the stan- Ordering info: bluenote.com The arrangements cover the entire range of
American popular music, with Giddens’
impressive vocals taking center stage. She dips
into the sound of Muscle Shoals on “Too Little,
Lafayette Gilchrist Too Late, Too Bad,” growling out a warning to
Undaunted an unfaithful spouse in a tone that would make
MORPHIUS Aretha proud. Cajun fiddling, a second-line
HHHH backbeat and a rock ’n’ roll bass line drive “You
Louisiana Man.” Giddens sings the lovesick
On the title track of Undaunted veteran pianist lyric with an ironic air, lightening things up on
Lafayette Gilchrist mounts his melodic state- the bridge with some gospel-accented melis-
ment over a beautiful groove, which also mas and jazzy scats. Giddens belts out “Hen In
sounds like a march. It is both opening and The Foxhouse,” a potential feminist anthem,
passing through in one fell swoop. against a funky, Latin-tinged percussion track
It is a moment that might be thought to par- highlighted by bluesy organ fills. The rich string
allel Gilchrist’s career. Emerging in the broad- orchestration of “Who Are You Dreaming Of”
er DMV (DC, Maryland, Virginia) region’s jazz echoes the sound of a classic from the Great
scene first in the 1990s, Gilchrist has kept on the American Songbook, with Giddens delivering
move, appearing in several prominent bands as a swooning vocal.  —j. poet
well as having music featured in hugely popu-
provides a pulsating bass line. Together with
lar cultural moments such as HBO’s The Wire.
the horns, Brian Settles on tenor saxophone You’re The One: Too Little, Too Late, Too Bad; You’re The One;
With each pass, Gilchrist’s sound makes us Yet To Be; Wrong Kind Of Right; Another Wasted Life; You Louisiana
and Christian Mizon on trombone, this album Man; If You Don’t Know How Sweet It Is; Hen In The Foxhouse; Who
consider what lay on the other side of the break. Are You Dreaming Of; You Put The Sugar In My Bowl; Way Over
features moments that would suggest we get up Yonder; Good Ol’ Cider. (41:34)
In that way, Undaunted continues to reflect
and dance. It recalls the days in the DMV where Personnel: Rhiannon Giddens, minstrel banjo, modern banjo,
a meditative relationship to hip-hop, go-go, viola, vocals; Jason Isbell, vocals; Dwayne Bennett, Hammond B-3,
one could encounter bands playing straight- keyboards; Eric Escanes, electric guitar; Terrence “Teajai” Grizzle Jr.,
and other rhythmic influences. In this effort, drums; Humberto Ibarra, percussion; Eryn Allen Kane, background
ahead, go-go or salsa on the same streets. vocals; Tadarius “T Ray” McCombs, electric bass; Dirk Powell,
Gilchrist is joined by the drummer Eric
Whatever else Undaunted provides, there is an accordion, piano, fiddle, guitar; Niwel Tsumbu, nylon-stringed
Kennedy and Kevin Pinder, a percussionist guitar; Francesco Turrisi, piano, tamburello, piano accordion, frame
insistence on taking care of the rhythm. And drum; Jack Splash, percussion, guitar, drum programming, Rhodes,
who brings an Afro-Latin and Caribbean fla- Wurlitzer, string arrangements; Jason Sypher, upright bass; Lalenja
keeping our pulses moving.  —Josh Myers Harrington, background vocals; Leyla McCalla, cello; Amelia Powell,
vor to the proceedings. This union is notable for triangle, background vocals; Gene Sxip Shirey, National Reso-
Undaunted: Undaunted; Ride It Out; Into The Swirl; Southern
the space it creates on “Ride It Out.” As well as Belle; Metropolitan Musings (Them Streets Again). (40:41)
Phonic guitar; Lester Snell, Jennifer Puckett, Yennifer Correia, Andy
Yum, violins, string arrangements; Beth Luscome, viola, violins,
in the middle section of “Into The Swirl,” where Personnel: Lafayette Gilchrist, piano; Brian Settles, tenor string arrangements; Aaron Tubergen, viola, string arrangements;
saxophone; Herman Burney, bass; Christian Hizon, trombone; Eric Jonathan Kirkscey, cello, string arrangements; Ted Zimmerman,
the rhythm section is rounded out with another Kennedy, drums; Kevin Pinder, percussion. trumpet; Scott Klarman, saxophone, flute; Jose Miranda, trombone.
DMV mainstay, bassist Herman Burney, who Ordering info: morphius.com Ordering info: nonesuch.com

58 DOWNBEAT DECEMBER 2023

 end and NineWinds founder Vinny Golia, whose The Tracks; HM-1; Install/Reinstall/Install/Reinstall. . .; Are Your Papers
In Order?; Diachronic–3; GS; Full Metal Body Punch; Suite For Alk-
Music For Like Instruments series was an exhaus- is–4th movement; Sleight Of Hand; Words, like broken diamonds;
The Age Of Window; Seeing The Field; Armoured Car!!!; With
tive primer to his various horns. He’s gone a step Movement; Going Big On The Scottsman; EP-1; We’re Moving On
further here, in what was originally intended to Now, part 1; Bonecrusher; C Bell Intro; Teology; Monkey Problems;
Tell Me Howard . . .; First In A Series Of Events, part 1; For Harp; Brass
be a bridging movement between parts one and Trio, Exclusion, Bowed Gong For The Intro; Wood Block Event; For
Tim Perkis; Eustasy–a beginning point-1; For Nels Cline; Nothing per-
three of Even To This Day . . . but developed out of sonal Mr Decker, but it’s the paper bag for you; Watching Watching
a short suite for guitarist Alkis Nicolaides into a Waiting Waiting; Ok, Wow! It’s Five!!!!; The Big Gong Improv Of 1642;
Bob & June Wheeler . . . enough said!; Turning Your Back On Time;
wholesale exploration of electronic sound. Bass Flute Improv; “Little after I’ll call you (he’s a nice fela); Gong
Zili; It has not title, but title . . .; Wind The Stage, Bellows & The King;
It was, and is, Golia’s typically generous Eustasy–Piano; 2-17 Rock; Which myself, I am; Wood Sounds; Anne
Bissell Sweeps The Competition; The 12 Strings of Karlo; Andas,
attempt to help his friends out of COVID stasis part 2; New-1; A Poem For Eli Wallach; Eschatological Visions; You
and despair. But what could have been a work of Could Have Had All This Too; Andas (intro-outro & version 1); Bowls;
Eustasy–Good One; Wilfred’s lycanthropian desires have a dilemma
apocalypse, done in stygian tones, is actually and with Dr Yogami’s needs; Two Views; Samson & The Return of the
300 lb Man vs 1; Duo M; Why George . . . Why?; The Lennie Tristano
genuinely affirmative. Memorial Homecoming Lunch; Brutus’ Removal Syndrome’ Will
The music is also, of course, in the lineage of Salmon-3; Guaze The Academic; Scott’s Got A Headache; Suite
For Alkis–5th movement; We’re Moving On Now, part 2; First In A
Charles Ives, though even his totalizing imagina- Series of Events, part 2; Bernie; Music For Planetary Shifts; Intro 1–It
Needs To Be Slower; Mock Rupperts; Moai-6 vs 2; Moai-3-6; Suite
tion never got quite this far. Soloists come and go, For Alkis–3rd Movement–Are you sure you didn’t see anyone?;
Vinny Golia with Golia strongly featured on his Whole Earth Moai-3-1; Slap-1; New-2; Sketch-2l Andera, or?; He Wore Penguin

Even To This Day . . . Music

Shoes; Henry One; Samson & The Return of the 300lb Man vs
Catalog of horns and aerophones, though Wayne 2; Mike & Clay; Spring Wood, a few heads above all others (is it

For Orchestra And Soloists, Peet takes a strong hand in the overall organiza-
reborn?); Diachronic-2; Slightly Altered; Diachronic-1; Talos; Kong’s
Island, Revisited; Suite for Alkis–2nd Movement–L one A and I one
Movement Two: Syncretism: tion of the music. B Broadway; There it is!, 1428 elm . . . is Freddy home?; The Chamber
Of Echoes; I’m Known As The Lotus Man; Taiko & Strings; Gongs &
For The Draw . . . A track-by-track analysis — there are 110 of Bells; P-T part 2; Hey! (When Dogs Talk); Requiem. (810:00)
Personnel: Vinnie Golia, soprillo, sopranino, alto, curved soprano,
NINEWINDS them — is available on polite request (and your mezzo-soprano, tenor, baritone and bass saxophones, tubax,

HHHHH credit card number), but this for free: Even To This clarinet, Eb clarinet, Bb clarinet, alto clarinet, contrabass clarinet,
basset horn, piccolo, flute, alto flute, bass flute, contrabass flute,
Day . . . might look like a loose, baggy monster, but Indonesian bamboo flute, fujara flute, Japanese flute, Maori flute,
“Let us say ‘Yes’ to our presence together in chaos!” it’s a vital piece of modern music, an improvised
Tibetan trumpet, bagpipes, gongs, bells; Wayne Peet, piano, electric
piano, organ, synthesiser, electronics; Dan Rosenboom, trumpet;
That was John Cage, I think, but it will do for the symphony for the times, and it lifts the heart.  Ethan Marks, trumpet, electronics; Wayne Peet, trombone; Mason
Moy, tuba; Mike Fink, Alex Noice, Jake Vossler, Nels Cline, Josh
urgent, joyful spirit of this American master-  —Brian Morton Gerowitz, Henry Kaiser, G. E. Stinson, electric guitar; Alkis Nicolaides,
electric guitar, bass; Susan Alcorn, pedal steel guitar; Steuart Liebig,
piece. Musically, it sounds more like a meeting synthesiser; Ellington Peet, drums; Greg Lewis, drums, percussion;
Even To This Day ... Music For Orchestra And Soloists,
between Anthony Braxton and Frank Zappa. The Movement Two, Syncretism–For The Draw . . .: Make A
Cheryl Leonard, Chas Smith, percussion, kep flute; Tim Feeney,
percussion; Clay Chaplin, Tim Perkis, electronics; Tany Ling, Andrea
heavy guitar sounds are redolent of FZ, but the Joyful Noice (for my friend Alex); Suite For Alkis–1st movement, The Wolper, voice; Will Salmon, voice, harmonium.
pandat is a sword from Borneo (now called Miramar); Gravel Notes;
multi-instrumentalism clearly belongs to L.A. leg- The Line; Diachornic–4; Tengmo; Elide, Not That Again; Zana; Follow Ordering info: vinnygoliamusic.bandcamp.com

DECEMBER 2023 DOWNBEAT 59

 Historical / BY JOSEF WOODARD

CREDIT
Bygone Jazz Heroes, Live and Well
While the pursuit of and intrigue over se- er is one of the album’s sideman stars, as accord on bass and drums. His solo treat-
cret treasure-styled unreleased projects well as Monk Montgomery on acoustic ment of “Emily” is a singular gem and inti-
and alternate takes from the vaults can bass, in easy lockstep with drummer Carl mate insight into Jamal pianism.
entice us in particular ways, the in-the-mo- Burnett on the later dates. Ordering info: deepdigsmusic.com
ment immediacy of live recordings speak In an album note, master vibist Gary Fidelity-wise, the archival bounty of
boldly in a different fashion. Much-ac- Burton decrees Tjader as one of four im- Wes Montgomery–Wynton Kelly Trio’s
coladed producer, historian and self-de- portant vibists in the instrument’s early Maximum Swing: The Unissued 1965
scribed “jazz detective” Zev Feldman stage, alongside Lionel Hampton, Red Half Note Recordings (Resonance;
recognizes this special quality of live jazz Norvo and Milt Jackson. Catch the Groove 124:00 HHHH1/2 ) doesn’t boast the cohe-
recordings special, and three of his new helps to illustrate the validity of the con- sive and lucid sound quality of the Pent-
projects deepen his ongoing mission and nection and legacy. house recordings covered in this column.
archivist narrative. Not incidentally, they Individualistic pianist Ahmad Jamal Regardless, the album’s rough edges are
also deepen and broaden our appreciation is, in his own way, less lionized than he more than compensated for by the capti-
of the specialness of each jazz legend and should be in jazz circles. As is often not- vating force of Montgomery’s guitar work,
give us much to listen about. ed, no less a myth than Miles Davis was rippling octaves, serpentine single-note-
Although Cal Tjader (1925–’82) en- one of his admirers and acolytes. Emer- line playing and all. In some way, the raw
joyed success as a leader and is widely ald City Nights: Live At The Penthouse raggedness of the presentation suggests
hailed as a Latin jazz pioneer, his place 1966–1968 (Jazz Detective/Elemen- a kind of guerilla archivism at work: cap-
in the jazz pantheon is too often under- tal; 93:00 HHHH), the latest historical turing a wise, wild energy force by what-
stated. Short of a dive into Tjader’s studio issue of his Penthouse recordings from ever means available.
album discography, we get a compacted, the ‘60s, is the third and final installment To hear the rapid-thumbed wonder tear-
crystallizing portrait of the musician on of the series, and this entry rings with a ing it up on “Cherokee” (as does the fiery Kel-
Catch The Groove–Live At The Pent- certain added poignancy coming close on ly) and “Birk’s Works,” or delivering beautiful-
house 1963–1967 (Jazz Detective/El- the heels of Jamal’s death in April of this ly on such originals as his wistful ballad “Mi
emental; 161:00 HHH1/2 ), significant in year. Cosa” and the angular classic “Four On Six,” is
part as the first batch of previously unre- Heard in the expansive, twisting its own reward, whatever the fidelity at hand.
leased Tjader recordings in two decades. and turning context of Jamal’s unique The frequent intrusions of emcee Alan
Captured with a vivid you-are-there approach to musical structure, in a live “stay beautiful” Grant on the WABC-FM
clarity by Jim Wilke, this set covers a swath setting, this recording resonates all the broadcast recordings from the Half Note
of Tjader’s vital ‘60s work, demonstrating more deeply than a studio date could. (It do establish historical context and color on
the clean-burning power of the vibist/ is instructive to note that Jamal’s timeless first listen but prove a distraction upon re-
bandleader leader in live action. Among classic 1958 recording of “Poinciana” was peat lessons. And this is definitely an album
other virtues, the package exposes Tjad- also recorded live at the Pershing Hotel in warranting repeat listens, thanks to Mont-
er’s broader interests, beyond Latin-in- Chicago.) gomery’s warm-toned yet always venture-
flected material, from the standards land Jamal puts his mercurial reinterpretive some and propulsive improvisations.
of “Take The ‘A’ Train” and “In Your Own impulses to artful ends even on the ultra-fa- Maximum Swing arrives in the glowing
Sweet Way” to “Cuban Fantasy,” “Mambo miliar turf of “Misty,” shapeshifted into a light of Montgomery’s centennial year
Inn” and a Latin-flavored “Along Comes 13-minute invention on the fly, and he simi- (he died at the far-too-young age of 46
Mary” to close. larly elasticizes the core material into some- in 1968), and the evidence here accentu-
The album is produced by celebrated thing fresh on an epic rendering of Henry ates the timeless appeal of the guitarist’s
archivist Feldman and Brent Fischer, son Mancini’s “Mr. Lucky,” “Corcovado” and signature touch and ever-active musical
of another Latin jazz legend deserving “Naked City Theme,” with allies Jamil Nass- mind.DB
greater credit, pianist Clare Fischer. Fisch- er and Frank Gant in close, follow-the-leader Ordering info: resonancerecords.org

60 DOWNBEAT DECEMBER 2023

DECEMBER 2023 DOWNBEAT 61
 2020. Responding to the unrest that arose
in response to the deaths of unarmed Black
Americans, he undertook a deep study of
Martin Luther King’s speeches. Three of
the record’s seven tracks feature recitations
by Mtume Gant of King’s words, which are
placed into frameworks that replicate the
chaos and dischord of the time in which
they were composed.
Despite the lean line-up of four instru-
mentalists, Ortiz’s arrangements feel
orchestral. Stark, foreboding percussion
and dynamic, pungent strings enhance the
unease of Gant’s stern declamation on “The
Dream That Wasn’t Meant To Be Ours”;
probing reeds and strings lance the com-
Aruán Ortiz poser’s emphatic piano figures over a driv- Joey Alexander
Pastor’s Paradox ing backbeat on “Turning The Other Cheek Continuance
CLEAN FEED No More.” MACK AVENUE
HHHH Only the intricate, chanted introduc- HHH
tion to “No Justice, No Peace, Legacy!”
Pastor’s Paradox constitutes a departure foregrounds the rhythms that surge The poet Ogden Nash famously wrote, “The
from Aruán Ortiz’s recent work in sever- through Ortiz’s recent trio recordings. trouble with a kitten is that it eventually
al ways. It is his first recording for Clean Whereas Serranías is as thrilling as shoot- becomes a cat.”
Feed after seven albums on Intakt. It derives ing some white-water rapids, Pastor’s Joey Alexander, who is said to have taught
form from the sounds and structures of spo- Paradox is as sobering as a morning-after himself the piano at 6, recorded his first album
ken language, unlike the primarily instru- survey of a still-smoking field of conf lict. at 11: a collection of standards and one “orig-
mental focus efforts that preceded it. And By turns brooding and stormy, this inal” blues, backed by veteran professionals.
instead of abstracting rhythms from his music effectively conveys the gravity of liv- He’s released five more albums since, as well
native Cuba, as he did to splendid effect on ing social realities that stubbornly refuse as a Christmas EP. With each release, though,
Serranías (which was released earlier this to remit.  —Bill Meyer his status as a Facebook meme — “OMG, look
year), Pastor’s Paradox deploys a combina- at that little kid playing jazz piano! Wait, is he
tion of text and turbulent sound to confront playing for Obama?” — has waned.
Pastor’s Paradox: Autumn Of Freedom; Pastor’s Paradox; Turn-
the problematic racial circumstances of the ing The Other Cheek No More; The Dream That Wasn’t Meant To Now, on album number seven, he’s 20 and
Be Ours; From Montgomery To Memphis (To April 4th); An Interval
USA, which has been his home for the past Of Hope; No Justice, No Peace, Legacy! (39:20) being forced to compete as just another jazz
two decades. Personnel: Aruán Ortiz, piano, voice; Don Byron, clarinet, bass musician. The results are mixed. He’s writ-
clarinet, voice; Pheeroan Aklaff, drums, voice; Lester St. Louis, cello
The album expands upon a program of (1, 2, 4–6); Yves Dhar, cello (3, 7); Mtume Gant, spoken word (1, 4, 6). ten most of the material himself (the excep-
music that Ortiz originally composed in Ordering info: cleanfeed-records.com tions are a version of the spiritual “Great Is
Thy Faithfulness,” and the pop song “I Can’t
Make You Love Me,” made famous by Bonnie
Raitt) and is backed by bassist Kris Funn and
drummer John Davis, well-regarded and
skillful players who mostly stay in the back-
ground and don’t assert themselves.
The exception is “Zealousy,” which fea-
tures an extended Funn intro and an intri-
cate shuffling groove, over which Alexander
lays Fender Rhodes and Theo Croker shows
up to deliver a questing, investigative solo.
Alexander is not a distinctive or exciting
player — he’s a gifted student without the
courage to plagiarize — so the album perks
up most when he adds Mellotron; the string
sounds on “Hear Me Now” and flute-like
noises on “Aliceanna” are more interesting
than what he’s doing at the piano. 
 —Phil Freeman

Continuance: Blue; Why Don’t We; Hear Me Now; I Can’t

Make You Love Me; Zealousy; Great Is Thy Faithfulness;
Aliceanna. (45:59)
Personnel: Joey Alexander, piano, Fender Rhodes, Mellotron;
Theo Croker, trumpet; Kris Funn, upright bass; John Davis,
drums.
Ordering info: mackavenue.com

62 DOWNBEAT DECEMBER 2023

 Adam Birnbaum
Preludes
CHELSEA MUSIC FESTIVAL
HHH
I don’t come to jazz for Bach and I don’t know
why anyone would. Bach’s music has been
regarded as ingenious, “genius,” even tran-
scendent by two centuries of artists of all
kinds. I respect that he established or refined
many of the practices that are fundamental
to music I love, so accept my being unmoved
and disinterested as a personal failing.
However, Bach’s works are formative
influences for Adam Birnbaum, a rapidly ris-
ing, acclaimed and honored pianist. He stud-
Kevin Hays, Ben ied them as a child, has played them all his life “C-sharp Major”) or something like open
improvisation (as on “E Major”).
Street, Billy Hart and debuted his transformative approach on
a previous release. Preludes is his reworking Prelude‘s focus on Bach’s compositions
Bridges of material from the 18th-century German can’t be ignored, though; they are cen-
SMOKE SESSIONS
composer’s Well Tempered Clavier. tral to this project. Bach’s vocabulary, ges-
HHHH1/2 Birnbaum is clearly a virtuosic keyboard- tures, motives and esthetic (and Birnbaum’s
Bridges is the follow-up to this trio’s 2021 pan- ist, masterfully dexterous and quick, with use of them) surely has meaning to jazz pia-
demic-era debut All Things Are. True to its precise, flowing, expressive touch. On nists, yet my bias is for what they arrive at by
title, it is a bridge between generations and Preludes, he extends Bach’s compositions departing from it: the rolling power, the infu-
sensibilities. But as appealing as the originals into “jazz” territory with rhythmically fluid sion of blues irony and humor, the embrace
are — especially pianist Hays’ pastoral, Jarrett melodic extrapolations and harmonic com- of ugly beauty introduced by European
trio-inspired “Butterfly” and the soothing, plications, Caribbean-inflected vamps and Romanticism, set as a default by modern-
contemplative “Song For Peace,” and drum- balladic sensitivity. He’s accompanied with ism. I associate Bach fun with Glenn Gould’s
mer Hart’s “Irah” — and as beautifully as they skillful and subtle ideas and accents by probing and the Swingle Singers’ flippancy.
convey Wayne Shorter’s harmonically search- Clohesy (superbly pizzicato) and Ogama This is a “good” record, but not for me. 
ing “Capricorn,” it’s the album’s two pop cov- (often on hand drums). My pleasure perks  —Howard Mandel
ers that demonstrates the trio’s depth and the further they step away from the Baroque
range. and into African-American-Caribbean styl- Preludes: Prelude In C Major; Prelude In D Minor; Prelude In D-flat
Major; Prelude In E Minor; Prelude In C# Minor; Prelude In D Major;
The first is John Lennon and Paul ings (as in “D-flat Major”) with nods to Chick Prelude In E-flat Minor; Prelude In G Major; Prelude In B-flat Minor;
McCartney’s “With A Little Help From My Corea, Keith Jarrett (both of whom record- Prelude In F Major; Prelude In C Minor. (61:26)
Personnel: Adam Birnbaum, piano; Matt Clohesy, bass; Keita
Friends,” from The Beatles’ seminal 1967 ed Bach) or Gonzalo Rubalcaba, swing (“D Ogawa, percussion.
album Sgt. Pepper’s Lonely Hearts Club Band. Major”), harder drive (curtailed, sadly, on Ordering info: adambirnbaum.bandcamp.com
It reveals Hays’ love of rock, though with an
unexpected, slippery modulation at the bridge.
Bassist Street works hand-in-glove with Hart
throughout (they’ve worked for two decades
together in Hart’s quartet), and there’s a clos-
ing hint of a catchy vamp by bass and drums at
the end. Fittingly, as the senior member of the
trio, Hart gets the last word.
The second is the gorgeous, life-affirming
title track “Bridges (Travessia),” composed
by Milton Nascimento and Fernando Brant,
also from 1967. There’s a delicate rubato solo
piano intro stated by Hays, with deft drum
beats blended in from Hart. It’s obvious they
all know the lyrics and they paint the text
with colors and brushstrokes that uplift lis-
tener’s spirits. You can imagine Nascimento’s
sky-high vocal inviting you to sing along with
what Hays calls “one of my favorite composi-
tions ever, by anyone.” —Larry Appelbaum

Bridges: Butterfly; Capricorn; Song For Peace; With A Little

Help From My Friends; Row Row Row; Throughout; Irah;
Bridges (Travessia). (43:23)
Personnel: Kevin Hays, piano; Ben Street, bass; Billy Hart,
drums.
Ordering info: smokesessionsrecords.com

DECEMBER 2023 DOWNBEAT 63

 tics women need most to thrive in the busi-
ness world (according a 2019 article in Forbes
magazine).
Wharton, a New York-based trombonist,
composer and arranger, is joined on Grit &
Grace by her band Bonegasm, comprising
trombonists John Fedchock, Nate Mayland
and Alan Ferber, pianist Michael Eckroth,
bassist Evan Gregor, drummer Don Peretz
and percussionist Samuel Torres.
Their simpatico elevates the story of Grit &
Grace, which iterates on themes of resilience,
beauty, and solidarity, often from the perspec-
tives of women composers. Highlights include
“Virtual Reality,” a tense, Latin-inflected com-
position by Wharton, the energetic “Mama’s
Jennifer Wharton Alright,” written by trombone legend Melba
Bonegasm Liston, singer/trombonist Natalie Cressman’s
Grit & Grace “Menina Sozinha” or “girl on her own,” and
SUNNYSIDE the mournful “In Our Darkest Hour,” written
HHHH by Australian composer Vanessa Perica about
the political upheaval in the U.S. in 2020.
If you’re a fan of that soaring, many-voiced Stirring, fresh, and emphatic, Grit & Grace
brass band sound, Jennifer Wharton’s Grit & makes a statement worth hearing.
Grace is bound to catch your ear. Featuring  —Alexa Peters
Wharton’s nimble bass trombone and the bold
Grit & Grace: Be Normal; In Our Darkest Hour; Anita; Mama’s
original works of several women compos- Alright; Norhala; Uncertainty; Menina Sozinha; Virtual Reality; La
ers, Grit & Grace elevates bass trombone as a Bruja; Coop’s Condiments. (61:00)
Personnel: Jennifer Wharton, Bass trombone, Vocals; John Fed-
lead instrument, as well as a myriad of talent- chock, trombone; Nate Mayland, trombone; Alan Ferber, trombone;
Michael Eckroth, piano; Evan Gregor, bass; Don Peretz, drums;
ed, resilient women in jazz. Indeed, Wharton Samuel Torres, percussion.
named the album for the two characteris- Ordering info: sunnysiderecords.com

Pete Zimmer
Dust Settles
TIPPIN’
HH
This is the kind of lineup that convenes at Smalls
in New York, although if this quintet played the
tunes on this album in a live setting they’d prob-
ably appear in a rougher, energy-charged guise.
(Drummer Zimmer has recently moved to
Chicago.) Dust Settles is slickly recorded and per-
formed but has a well-behaved mainline smooth-
ness that, despite its fine combination of artists,
makes it lurk within the crowd.
Zimmer’s sixth album as a leader mostly fea-
tures his original compositions, but a pair of the
solos, with increased interaction. Dillard might
best numbers are bluesy, early works. “504 College
choose soprano, while Bernstein is prickle-pick-
Blues” makes a determined stomp, with a slight-
ing with aplomb.
ly sleazy aura, saxophonist Stacy Dillard push-
“Judgement” maintains its swift pace with a
ing himself further, slurring and testifying, along
flowing saxophone solo, bounding along the
with a talkin’ Yasushi Nakamura bass solo to fin-
tracks, and “The Point” is a brisk walker. These
ish. “5am Blues” can’t get more after-hours, with
faster pieces help make this a friendly album, but
Peter Bernstein delivering a guitar solo that oscil-
still in need of some more tempestuous outbreaks.
lates between picking and chording, Dillard
 —Martin Longley
throaty on tenor, bending his phrases. Kurt
Weill’s “Speak Low” represents a softer approach, Dust Settles: Smooch The Pooch; Dust Settles; Bush Walked In;
with a slinky slowcoach reading, soft and delicate. Speak Low; Judgement; Idle Moments; 504 College Blues; Sweet
Love Of Mine; 5am Blues; The Point. (63:00)
This is the only track where Bernstein sits out, so Personnel: Pete Zimmer, drums; Yasushi Namakura, bass; Miki
Yamanaka, piano; Peter Bernstein, guitar; Stacy Dillard, soprano
the palette is sparser, highlighting Dillard’s tender and alto saxophones.
reed-rasp. Several tunes devote equal time to the Ordering info: petezimmer.bandcamp.com

64 DOWNBEAT DECEMBER 2023

Kevin Sun
The Depths of Memory
ENDECTOMORPH
HHH1/2
Waxing lengthy is part of Kevin Sun’s vision. In 2019 the New York-
based saxophonist dropped The Sustain Of Memory, a double-disc
set housing a trio of extended pieces that ranged from 29 to 48 min-
utes long. Heady stuff, and its suite-like atmosphere — circular but
not redundant, prolix but seldom tedious — sets the stage for this
fifth record, a work that again braids a series of pithy movements into
drawn-out statements.
Happily, in Sun’s hands, waxing lengthy isn’t necessarily waxing
verbose. He dodges the crimes associated with protraction by shaping
the music around a parade of curt rambles. Things are always morph-
ing in these thoughtful excursions; the action trickles along, each min-
iature movement standing up for its own value.
This is most evident in “From All This Stillness,” whose seven sec-
tions make a case for composure being just as engaging as clamor.
Sun’s tenor lines are measured and secure, not unlike Dharma Days-
era Mark Turner, and his band of pianist Dana Saul, drummer Matt
Honor and bassist Simón Willson glides through the elliptical designs
he’s cooked up, a collective poker face marking their moves. When
trumpeter Adam O’Farrill joins for 24-minute exercise of “Eponymous
Cycle,” the poise remains and the steadily swooping phrases present
themselves as elastic melodies, referencing where they’ve been as often
as they allude to where they’re going.
The “slow motion” part of “The Depths Of Slow Motion” (the nine-
part composition that constitutes the album’s second half) might dis-
may a few listeners. However, as it drifts along, Honor and bassist
Walter Stinson build a creative tension that sustains the moody perco-
lations of trumpet, piano and horn. Somewhat studious and a tad aca-
demic, Sun’s arrangements nonetheless bolster the imaginative land-
scapes he trusts will seduce us.  —Jim Macnie

The Depths Of Memory: From All This Stillness: Frozen In Profile; Interior Choruses; From Some
Unceen Center (I); Elliptical Blue; Ghosts Of Repetition; From Some Unseen Center (II); Shadow
Meridian; Eponymous Cycle (I); Eponymous Cycle (II); Eponymous Cycle (III); The Depths In Slow
Motion: Before Depths, Depths I, Depths II, Depths III, Depths IV, Depths V, Depths VI, Depths VII,
After Depths. (82:24)
Personnel: Kevin Sun, tenor saxophone; Adam O’Farrill, trumpet (2, 3); Dana Saul, piano; Walter
Stinson (3), Simón Willson (1, 2), bass; Matt Honor (1, 3), Dayeon Seok (2), drums.
Ordering info: endectomorph.com

DECEMBER 2023 DOWNBEAT 65

 Drums / BY AARON COHEN

LINE RAUD

PHIL LEPEÉ
Mike Reed’s Separatist Party Kate Gentile

Studies in Modern Percussive Dynamics

Drummer Mike Reed is an invaluable mu- Fujiwara) and Brennan sound more than Ordering info: pirecordings.com
sical leader in Chicago, with each album ready for all of these challenges. On “Re- While Cuba-born drummer Francis-
highlighting his continuing reinventions. solve,” Fujiwara’s deceptively light touch co Mela and Brooklyn-based Israeli sax-
The Separatist Party (We Jazz/Astral provides a frame for Brennan’s myriad ophonist Jonathan Reisin came to jazz
Spirits; 43:42 HHHH) brings together tones as Reid adds unexpected harmonies from different places, their duet album
longtime bandstand colleagues — vocalist/ that land just right as they build the track’s Earthquake (577; 45:02 HHH1/2 ) shows
poet Marvin Tate and cornetist Ben LaMar rhythmic foundation. A quick-witted Fuji- how they share a sense of tonal openness
Gay — with synth players Cooper Crain wara/Brennan duo on “Other” also grants and spontaneous composition. Through-
and Dan Quinlivan as well as multi-instru- the right kind of space for Reid to sneak out the 26-minute title track, Reisin’s vibra-
mentalist Rob Frye of the electronics group in before the group’s crescendo. Although to with its echoes of Albert Ayler matches
Bitchin Bajas. “Breath” is the concluding track, the entire Mela’s palpable urgency. Along with Rei-
The music reflects Reed’s thoughts album sounds like they always know how sin’s upper-register bursts on “Thunder-
about isolation, a process that began before to breathe together. clouds,” Mela never lets up in building
the COVID pandemic. This blend of electron- Ordering info: outofyourheadrecords.com a sense of tension throughout their dia-
ic and acoustic instruments — along with a New York-based drummer/vibraphon- logues. Sometimes a well-placed vocal
shared aesthetic on spontaneity and struc- ist Kate Gentile is an ambitious composer shout says as much as his polyrhythmic
ture — always sounds warmly human. That who packs a lot into different-sized spaces drive but so do the duo’s more subdued
comes across especially when the interwo- for her three-disc Find Letter X (Pi; 196:35 and introspective moments.
ven electronics support LaMar Gay’s lyrical HHH1/2 ). The set asks for close attention Ordering info: 577records.com
tone on “A Low Frequency Nightmare” and over a long haul, even if it is half the length Veteran drummer (and film produc-
Tate’s shouts of desperation on “Hold Me.” of her previous collection, Snark Horse. For er) Richard Baratta put together an ace
Tate’s words also reconfigure the direction those who devote the time to share her quintet to revisit pieces from the 1960s and
of “We Came To Dance” from lighthearted to quartet’s adventure, the trip is frequently ’70s for the joyous Off The Charts (Sa-
stark. Reed’s sparse-yet-firm approach and exciting. Gentile’s force and keyboardist vant; 54:06 HHH1/2 ). For this celebration,
intuitive melodic feel clearly guide everyone Matt Mitchell’s electric distortion build he astutely selected a host of jazz compos-
through these turns. compelling fusillades in both short bursts ers’ lesser-known works. Baratta’s finesse
Ordering info: astralspiritsrecords.com and unfurling extended pieces but also on cymbals combined with pianist David
Like Reed, Brooklyn-based drummer shifts from the aggressive to the lyrical. Kikoski’s touch on Wayne Shorter’s “Lost”
Tomas Fujiwara continues to change di- For some pieces, like “Ore Whorls,” they convey the legendary musician’s standout
rections with the help of familiar and new surprisingly double back on themselves. blend of beauty and mystery. Bassist John
teammates, such as his trio with bassist On “zislupme tnilyive tsoam ath…” a sharp Patitucci cues up Baratta’s explosive solo
Tomeka Reid and vibraphonist Patricia break invites an oblique and compelling on Charles Lloyd’s “Sombrero Sam.” Barat-
Brennan on Pith (Out Of Your Head; angular bass clarinet solo from Jeremy ta’s deep affinity for Latin rhythms also
38:52 HHHH). This assemblage sounds Viner. The group’s kind of absurdist humor shape the group’s take on McCoy Tyner’s
as vibrant here as its combination of in- (and enigmatic track titles) works through- “Peresina.” Jerry Bergonzi’s warm tone is a
strumentalists is distinctive. Fujiwara em- out the set, which suggest ideas that Gen- highlight on Alec Wilder’s “Blackberry Win-
phasizes subtleties, and while his recent tile may have gleaned from such former ter.” The whole group emphasizes the funk
compositions sometimes highlight bluesy colleagues as Anthony Braxton. But she on Joe Henderson’s “Afro-Centric.” A few
vamps (“Josho”) he stealthily shifts up the wrings them all through changes that are odd fadeouts don’t spoil the party.DB
meters. Reid (whose own quartet includes distinctly her own. Ordering info: jazzdepot.com

66 DOWNBEAT DECEMBER 2023

 with the innocent sophisication Vince Guaraldi
often gave to the music floating behind the
Peanuts gang. When speaking about “New
Wave Theater,” it’s ironic that Babko says he,
Guiliana and Lefebvre stay apprised of “con-
temporary music and enjoy exploring the pro-
duction and compositional style of a post-
1980 world.” The way the trio unite behind
the track’s repeated and low octave phrase, the
track sounds decidedly older — like something
out of a 1960s or ’70s spy film.
“New Jersey Ballad” is remarkable in how it
both steeps in and expands its contemplative
mentality so much in just 97 seconds. “Boo Boo’s
Birthday” is a couple clicks faster than its source
material but after the serenity of Guiliana’s work,
Jeff Babko/Mark it’s a welcome spark. This piano driven take feels
Guiliana/Tim Lefebvre closer in heart to the Monk family and increas-
Clam City es its sense of melodic complexity due to its lim-
ited timbre set. “Return To Jerz” is a delicate and
SAM FIRST
perfect reprisal ending for Clam City, even more
HHHH emotive in even less time. Clam City is immense-
Clam City blends the talents, artistic instincts ly thoughtful in its performances, tracklisting and
and openmindedness of pianist Jeff Babko, conisderation of the memories and feelings that
bassist Tim Lefebvre and drummer Mark inspired each piece in the first place.
Guiliana. The album’s eight tracks, recorded  —Kira Grunenberg
at Los Angeles club Sam First, are delightfully
Clam City: The Church Of Bill Hilton; New Wave Theater; New
natural pearls — each unique but tied together Jersey Ballad; This West; Boo Boo’s Birthday; Fugue Robotique;
under a single identity. Chongo’s Song; New Jersey Ballad–Return To Jerz. (74:25)
Personnel: Jeff Babko, piano; Tim Lefebvre, bass; Mark Guiliana,
The easygoing melodic swings heard in the drums.
motif of “The Church Of Bill Hilton” resonate Ordering info: samfirstrecords.com

Angelica Sanchez
Nighttime Creatures
PYROCLASTIC
HHHH
Michaël Attias’s wandering alto saxophone on
“Cloud House” keeps the listener guessing,
never waning in interest, and finding its way
back to the rest of the ensemble. It’s a fascinat-
ing breakdown that finds form again. Such is
the case with all the songs on the album, mak-
ing new twists in their arcs or uncovering new
rooms to explore in improvisation, but never
quite straying too far from the origin point.
It’s remarkable how much this album has a
little of everything. Everyone in this group could
be lockstep in a march, buzzing like bees or ser- remarkable turns. It’s an unbelievably sweet
enading souls. There isn’t one concrete idea for tune, like an oasis in calm in the midst of so
what this album is, yet it doesn’t sound unfo- many skittering ideas, the chewy, chocolaty
cused. Much like the album as a whole, each center in this Tootsie Roll Pop, and Sanchez
song frays from its themes before coming back has so much more in mind than to rush to bit-
to them. The journey this group takes in “Astral ing through the hard compositional candy.
Light Of Alarid,” for example, as Thomas  —Anthony Dean-Harris
Herberer’s quarter-tone trumpet runs us from Nighttime Creatures: Nighttime Creatures; C.B. The Time
the edges of free-jazz to a Latin blues before the Traveler; Cloud House; Astral Light Of Alarid; Lady Of The Lavender
Mist; Land Here; Ringleader; Big Weirdo; Wrong Door For Rocket
rest of the nonet calls us to attention with a new Fuel; Tristeza; Run. (79:27)
movement is just plain inspired arranging. Personnel: Angelica Sanchez, piano; Michaël Attais, alto
saxophone; Ben Goldberg, contra alto clarinet; John Hébert, bass;
In an album full of angular zigs, the gor- Thomas Heberer, quarter-tone trumpet; Sam Ospovat, drums;
Chris Speed, tenor saxophone, clarinet; Omar Tamez, guitar; Kenny
geous zagging ballad “Lady Of The Lavender Warren, cornet.
Mist” is a remarkable turn in an album full of Ordering info: angelicasanchezpyroclastic.bandcamp.com

DECEMBER 2023 DOWNBEAT 67

 Debuts / BY SCOTT YANOW

GEORG STERNWEISS
Shuteen Erdenebaatar, a rare Mongolian export to the jazz world, marks her arrival with Rising Sun.

Five Fruitful, Far-Flung Freshman Forays

In recent years there have been so many tal- “Time’s Knockin’ At The Door” uses rep- he performs 10 originals in a trio with pia-
ented new jazz artists that those who have etition quite dramatically, almost sound- nist Ewen Farncombe and drummer Ethan
not been following the music very closely ing like the background for a silent-movie Ardelli. Dietschi (who sometimes takes
since 2010, or even 2015, might be a bit be- melodrama. Other highlights include the bowed solos) consistently plays intuitive
wildered by the many unfamiliar names. Five melancholy jazz waltz “Echoes Of A Por- ideas behind Farncombe (himself a major
musicians who recently made their recording trait,” the Asian-tinged “Joy Takes Flight,” talent) during the group’s lengthy explora-
debuts as leaders are among the scores who a quietly spooky “Whispers Of A Sleepless tions of the bassist’s songs. The trio’s sensi-
are worth discovering. Night” and a menacing strut on “Prayer’s tive interplay and quiet creativity (even on
One does not think of Mongolia as being March” that is worthy of Keith Jarrett. the hotter pieces) make these atmospheric
one of the music’s centers, but pianist-com- Ordering info: aaronlehrian.com performances worthy of several close lis-
poser Shuteen Erdenebaatar, who moved Alto-saxophonist Maddie Vogler’s While tens.
from Mongolia to Munich in 2018, has been We Have Time (Origin; 50:53 HHH½) de- Ordering info: jessediestchi.bandcamp.com

creating a stir in the European jazz scene. Ris- fies expectations a bit. Some of her music is Violinist Aline Homzy, who is originally
ing Sun (Motema; 46:53 HHH1/2 ) features dedicated to her grandmother, who left Cuba from Montréal, performs music on Eclipse
her on eight thoughtful originals that fall into for Chicago with her family when she was 16. (Elastic; 49:22 HHHH1/2) that will certainly
the modern modal mainstream without hint- While the opening number, “The Need To Be,” keep one guessing. She is joined by vibra-
ing at her Mongolian heritage. She sounds is Latin-flavored jazz, the other pieces are mod- phonist Michael Davidson (also heard on
fine in a quartet with the powerful and in- ern hard-bop with just subtle hints at Vogler’s piano and marimba), guitarist Thom Gill,
ventive Anton Mangold (another major new Latin background. She has an original sound bassist Dan Fortin and drummer-percus-
talent) on soprano, alto and flute; Nils Kuger- on alto and takes fluent solos throughout this sionist Marito Marques. The ensembles are
mann on bass and Valentin Renner on drums. outing with a group that includes trumpeter colorful and often electronic, and there are
Erdenebaatar’s piano playing is at its most Tito Carrillo, pianist Jake Shapiro, bassist Sam- often many tempo and mood changes with-
original on ballads (including “I’m Glad I Got To uel Peters, drummer Neil Hemphill and, on four in a piece. The episodic “Caraway,” an out-
Know You” and her unaccompanied feature of the nine songs, guitarist Matt Gold. Her orig- er-space trip on “Cosmos,” the out-of-tempo
on the picturesque “Summer Haze”), although inals have attractive melodies and fertile chord romantic ballad “Hanakotoba” and “Aliens
Mangold is often the dominant soloist. changes that inspire the musicians. Vogler is Are Pieces Of Wind,” which evolves from a
Ordering info: motema.com generous in featuring her sidemen, with Car- quirky waltz to a medium-tempo romp and
Savannah, Georgia-based pianist Aar- rillo’s blazing solos often taking honors. “While finally a ballad, are among the highlights of
on Lehrian forms a tight and often-tele- We Have Time” and “Check Engine Light,” this unpredictable set. Even Charlie Parker’s
pathic trio with bassist Stan Piper and which are mostly heated tradeoffs by the two “Segment,” the one “cover” on these five
drummer Stefan Klein on A Joyous Opus horns, are among the highlights of this stirring albums, goes to unusual places. The blend
(Independent Release; 49:03 HHHH). maiden effort. between violin and vibes by itself would be
Lehrian has impressive classical technique Ordering info: originarts.com enough of a reason to recommend this al-
and a mastery of dynamics that he uses to The virtuoso bassist Jesse Dietschi, bum, but there is often so much of interest
convey a variety of different moods during who is based in Toronto, keeps busy in both going on that it will take time to fully savor
his 10 originals. The title cut has a repeated the classical and jazz worlds. On Gradient its beauty and originality. DB
bass note that functions as a fanfare while (Independent Release; 71:34 HHH½), Ordering info: alinehomzy.bandcamp.com

68 DOWNBEAT DECEMBER 2023

 The 88-year-old Person still has a great deal
GEORG STERNWEISS

of pep in his step and it shows all throughout

this album. He’s become more seasoned and
this is yet another session, and it’s a pretty good
one. He defines the mood here, and everyone
else curves around him, wherever he wants to
take things.
That said, this is a pointedly straightahead
album. It’s not breaking boundaries, and it isn’t
trying to do so. It’s merely a celebration of the
fundamentals.
It’s the kind of reverent work one would
typically make with an elder. Person is Cohen’s
guest in this endeavor; the host is doing every-
thing possible to make his guest comfortable,
and it shows. This is a very comfortable set of
songs, easygoing like a BarcaLounger.
This is also to say that it’s not all that chal-
lenging, which is fine, but not negligible. This
is a collection of songs that are smooth and
unflashy, rarely raising one’s heart rate, which
makes sense for a project revolving around an
octogenarian. Masters Legacy Series, Vol. 5 is
like the musical equivalent of Lipitor.
Emmet Cohen jamming with legendary players and staying  —Anthony Dean-Harris
Masters Legacy Series, squarely in the pocket in his Masters Legacy
Series. For the fifth volume with tenor saxo-
Masters Legacy Series, Vol. 5–Houston Person: Why Not;
Vol. 5: Houston Person phonist Houston Person, Cohen isn’t messing
Isn’t It Romantic; If You Could See Me Now; Just The Way You
Are; I Let A Song Go Out Of My Heart; All My Tomorrows; Blues
BANDSTAND PRESENTS Everywhere; Sunday Kind Of Love; Just The Way You Are (alternate
with a good thing. He’s got good ears and great take). (60:38)
HHH1/2 taste and he knows exactly when to shine and
Personnel: Emmet Cohen: piano; Houston Person, tenor saxo-
phone; Yasushi Nakamura, bass; Kyle Poole, drums.
Since 2017, pianist Emmet Cohen has been when to stay out of the way. Ordering info: bandstandpresents.com

DECEMBER 2023 DOWNBEAT 69

 Appropriately, on the opening track, “The
Meeting Place,” Masekela’s often declarative, tri-
umphant trumpet establishes a festive blend of
jubilee and celebration. Against the continuous
rhythmic pulse of Siparia’s pans, his voice forges
a spirited tapestry of harmony. Masekela invests
here the same intuition and energy he gave to jazz
when he arrived in America from South Africa.
On “Lady,” the slowest track, the vocals and
pans are high-pitched almost to a breaking
point against a reggae lope. For all his love and
fascination for world music, Masekela is never
more than a note or two from the Soweto town-
ship sounds of marabi and mbaqanga.
There are several standout moments, par-
ticularly for the steelpan orchestra, on “Mango
Hugh Masekela/ Tree” and “Dis Soca is For You,” and on both
Siparia Deltones occasions Masekela applies lovely tonal exten-
Siparia To Soweto sions to the tinny pans. His staccato phrasing
MONK MUSIC GROUP/GALLO intensifies Siparia and together they are a col-
HHH1/2 laborative collage of calypso sonority. Before
his earthy departure Masekela merged sever-
When it came to music and culture, Hugh al cultures of the world into soundscapes that
Masekela was as intrepid as he was open-mind- makes his legacy all the more significant — and
ed. Before his death in 2018, his boundless curi- missed. —Herb Boyd
osity took him on several trips to Trinidad and
Tobago, where the sound of calypso entranced Soweto To Siparia: The Meeting Place; Sugar Bum Bum; Bongo
Day; Love In The Cemetery; Dingolay; Esto Se Paso; Lady; Mae Mae;
him and beckoned his voice and horn. Siparia Mango Tree; Radica; Roll It Gal, Dis Soca Is For You; The Meeting
To Soweto is a lively sample of the musical ven- Place (Live Pan Version). (60:31)
Personnel: Hugh Masekela, trumpet, vocals; Siparia Deltones,
ture to the islands, a tour guided and under- steelpans.
girded by the Siparia Deltones. Ordering info: gallo.africa

Jeff Lederer/
Mary LaRose
Schoenberg On The Beach
LITTLE (I)
HH
The superb, versatile reedist Jeff Lederer grew up
in Pacific Palisades, California, not far from
where Arnold Schoenberg, the father of 12-tone
music, spent his later years. Schoenberg’s music
planted a seed in the reedist’s early work, and now,
decades later, he’s created dynamic new arrange-
ments of early, pre-serialist songs by the compos-
er — plus several by his famous student Anton
Webern — for an agile quintet. Lederer’s arrange-
ments are dynamic, teasing new harmonies and Mary LaRose, delivering English translations of
melodic elaboration from the source material, and texts written by Goethe, Rilke and Nietzsche, is a
giving the music a vibrant rhythmic thrust. distraction at best, and more often an albatross, as
The band Lederer has assembled matches his she gives the music’s Sprechstimme articulation a
ingenuity, whether in the way Patricia Brennan heavy dose of show-tune theatricality. Her instru-
warps and smears her translucent vibraphone ment hits the notes, but her loopy phrasing has
lines or how Matt Wilson straddles deep swing proven insurmountable for this listener.
impulses with the precision inherent in the  —Peter Margasak
source material. Turntablist Arktureye adds
some woozy interstitial soundscapes, twisting Schoenberg On The Beach: On The Beach; Blummengruss;
Beneath The Shelter; The Pale Flowers Of The Moonlight; Heiter; I
bits from a vintage collection of field record- Gaze Upon; Moondrunk; Summer Evening; Summer’s Weariness.
ings made at Coney Island into trippy palate (60:06)
Personnel: Mary LaRose, voice; Jeff Lederer, clarinet, flute; Hank
cleansers. Roberts, cello; Patricia Brennan, vibraphone, electronics; Michael
Formanek, bass; Matt Wilson, drums, percussion; Arktureye, intersti-
If this recording was instrumental, I would tial electronics; Marty Ehrlich, bass clarinet (4).
rate it much higher, but the presence of singer Ordering info: littleimusic.com

70 DOWNBEAT DECEMBER 2023

Butcher Brown
Solar Music
CONCORD JAZZ
HHHH
Even in the post-everything era of music, Butcher Brown is expansively
cross-genre. The Richmond, Virginia-based quintet touts itself as “root-
ed in jazz,” but they could swap that out with “funk” or “hip-hop” and be
no less apt — and that roots system seems to be expanding all the time.
Case in point: Try, on first pass, to identify a style for “Espionage,” the
second track on the band’s new Solar Music. In less than four minutes,
streaks of ’60s lounge, hip-hop, jazz both acoustic and fusion (the latter
thanks to guest guitarist Charlie Hunter), George Clinton-P-Funk, soul,
rock and a dash of Blacksploitation film music show themselves.
Not every piece is quite so everything-everywhere-all-at-once, but their
mergers are solid and surprising. “No Way Around It” affirms the (not so)
secret link between rap and disco; “Turismo” puts neo-soul songstress Julia
Shuren under a gauzy shroud of EDM kinesis and dub-reggae-style produc-
tion; “DYKWYD” marries an acid-jazz groove to a gruff delivery from band
MC Marcus “Tennishu” Tenney and a gorgeous alto saxophone improvisa-
tion from guest Braxton Cook. What they leave out is surprising, too: “This
Side Of Sunshine” has a slow-jam funk beat, beautiful groove lines from
guitarist Morgan Burrs (on acoustic) and trumpeter Tenney, and jubilant,
squiggly fills from keyboardist DC Harrison. It feels destined to undergird
an R&B ballad singer; none materializes, and it’s perfectly wonderful any-
way. (This doesn’t always work so well; the similarly vocal-less “BubbleBath”
is such an obvious bed for an MC that it just feels incomplete without one.)
Scads of guests join the quintet on Solar Music, most of them rappers;
Nappy Nina (“Half Of It”) and Michael Millions (“Pink Fur”) are simul-
taneously deft and charismatic. But — as is usually the case with Butcher
Brown — Solar Music’s most valuable players are drummer Cory
Fonville and bassist Andrew Randazzo, whose wide, round, deep sound
is the constant across the whole stylistic mélange. The two rhythm play-
ers ensure that this ambitious eclecticism remains fun to listen to.
 —Michael J. West
Solar Music: Cozumel; Espionage; I Can Say To You; MOVE (RIDE); Turismo; Eye Never Knew; No Way
Around It; Half Of It; DYKWYD; Happy Hourrr; Run It Up; Pink Fur; This Side Of Sunshine; BubbleBath;
Touring Pains; It Was Me; Around For A While. (46:07)
Personnel: DJ Harrison, keyboards; Marcus “Tennishu” Tenney, trumpet, saxophone, MC; Keyon
Harrold, trumpet (6); Braxton Cook, alto saxophone (9); Morgan Burrs, guitar; Charlie Hunter, guitar (2);
Andrew Randazzo, bass; Cory Fonville, drums; Vanisha Gould (3), Julia Shuren (5), vocals; Jay Prince (4),
Pink Siifu (6, 11), Nappy Nina (8), Michael Millions (12), MC.
Ordering info: butcherbrownmusic.bandcamp.com

DECEMBER 2023 DOWNBEAT 71

 posed four-movement work for alto sax, string
quartet, and drums.
A lot of Jones’ music is extremely patient:
he’ll let a single note sustain until you start to feel
like your teeth are coming loose in their sock-
ets, and he’s very comfortable with slow tem-
pos. There aren’t many long drones here, but
the third movement, “Rainbow,” devotes much
of its nearly 18 minutes to an extended bass solo
by James Meger that seems to stop time, whether
he’s strumming ferociously in the style of Jimmy
Garrison or thumping out single low notes like
distant undersea explosions.
When creating the score, Jones combined
traditional Western musical notation with a set
of 25 self-designed graphics intended to spark
Darius Jones both improvisation and thought about the emo-
fLuXkit Vancouver (itssuite tional impact of sound. This has allowed for
but sacred) some beautiful string writing, but also given us
“Damon and Pythias,” a sustained explosion
WE JAZZ/NORTHERN SPY
lasting nearly 17 minutes and featuring some
HHHH1/2 genuinely harrowing, almost Albert Ayler-esque
From the beginning, Darius Jones has refused to playing from Jones as Cleaver unleashes thunder
allow boundaries to contain his creativity. His behind the kit and the strings whirl and lash at
catalog includes duets for saxophone and elec- the listener. All in all, this is a work of stunning
tronics; duos with pianist Matthew Shipp; noisy, beauty.  —Phil Freeman
clanging postpunk squall with Little Women;
Fluxus V5T 1S1; Zubot; Rainbow; Damon and Pythias
conventionally structured trios and quartets (51:56)
under his own name; an album of a cappella Personnel: Darius Jones, alto sax and composition; Jesse Zubot,
violin; Josh Zubot, violin; Peggy Lee, cello; James Meger, bass;
vocal pieces; a solo saxophone performance with Gerald Cleaver, drums
the intensity of an exorcism; and now this com- Ordering info: wejazz.fi

Simon Moullier Trio

Inception
FRESH SOUND
HHHH
Simon Moullier is the unchallenged new star
of jazz vibraphone. His debut record Spirit
Song tended to bury his technique in an
over-produced “sci-fi” (his term) landscape of
world sounds.
Since then, stripped down to his excellent
trio, he has concentrated here (and with the
previous Countdown) on adapting classic jazz
themes to the vibes.
Don’t be put off by the relative familiarity
of the material. The playing is out of this world
magic has been applied, when, in fact, this is
(in the better sense). Those who frequent “the
exactly the sound he gets in a live setting.
bars” tend to play either percussively or pia-
It’s exciting and vibrant, and it may well be
nistically. Moullier seems capable of both,
that the necessary next step is the develop-
with a legato, singing tone that often sounds
ment of some new material, rather than reper-
like saxophone is somewhere in the mix —
tory modernism.
saxophones were part of the problem on
Only the solo closing “RC” is a Moullier
Moullier’s first record — or another harmony
composition, but there’s a composer at work
instrument.
all the way through.  —Brian Morton
Wayne Shorter’s composition “Lost” and
McCoy Tyner’s “Inception” are perhaps the
Inception: Ecaroh; Inception; Desafinado; Peggy’s Blue
two most challenging themes here. But the Skylight; Lush Life; Pfrancing; Lost; You Must Believe In Spring;
speed of Moullier’s articulation and his abil- RC. (42:20)
Personnel: Simon Moullier, vibraphone; Luca Alemanno, bass;
ity to sustain overtones and harmonics often Jongkuk Kim, drums.
make it sound as if some post-production Ordering info: freshsoundrecords.com

72 DOWNBEAT DECEMBER 2023

Donald Vega
As I Travel
IMAGERY/TIGER TURN
HHHH
Pianist and composer Donald Vega crafts an elegant sonic autobiography
with As I Travel, an ode to the family and community that empowered
him on the physical and metaphorical journey to where he is today.
From studying under jazz legends such as John Clayton, Billy
Higgins and Kenny Barron, being a staple member of Ron Carter’s
Golden Striker Trio and most recently being selected as a Guggenheim
Fellow, Vega, a native of Nicaragua who emigrated to the United States
at age 14, has had a wide-ranging career that has pushed him into the
upper echelons of the jazz landscape. As I Travel, his fourth album as a
bandleader, is a programmatic, autobiographical suite of compositions
inspired by his voyage.
The album is off on a jump-start with “Baila!–Dance Like No One’s
Watching,” a jubilant statement that reflects the culture and outlook of
Vega’s homeland. The positive vibe continues with the cool breeziness of
“I Know You Can Fly,” the flowing melody and sophisticated harmonies
of “Dear Mayra,” and a crisp retelling of “Tomorrows,” one of Vega’s old-
est compositions.
As I Travel reaches a point of maximum depth and density on
“Disturbios,” while “Isabel–The Enchanting Nature Of You” comes across
as graceful, rhapsodic and downright embraceable. The album clos-
es with the dancing energy of “Beautiful Ladies,” on which Vega, Chick
Corea-like, uses short, stinging ostinato passages to propel the music for-
ward; a percussion solo ultimately leads the way back home from Vega’s
travels, ending on a carefree fadeout that feels like walking into a sunset.
A recording with such high-caliber vision and carefully crafted com-
positions requires a band of aces to pull it off, and Vega assembled a per-
fect cast for the task: Lewis Nash on drums, John Patitucci on bass and
Luisito Quintero on percussion. With a body of work that flows between
classical, Latin and swing idioms, such highly refined levels of musician-
ship and interconnected trust are a must.  —Ed Enright

As I Travel: Baila!–Dance Like No One’s Watching; I Know You Can Fly; Dear Mayra; Tomorrows;
Alegria; Disturbios; Isabel–The Enchanting Nature Of You; As I Travel; Beautiful Ladies. (50:08)
Personnel: Donald Vega, piano; John Patitucci, bass; Lewis Nash, drums; Luisito Quintero, percussion.
Ordering info: donaldvega.com

DECEMBER 2023 DOWNBEAT 73

74 DOWNBEAT DECEMBER 2023
2023

HOLIDAY HIP!
Christian Sands’ Christmas
Stories leads a slate of jazzy
new releases for the season

BOUNTIFUL BOXED SETS I 76

VOLUMES OF VINYL I 80
YULETIDE HITS I 84
12 GREAT GEAR GIFTS I 88

DECEMBER 2023 DOWNBEAT 75

HOLIDAY GIFT GUIDE 2023 I BOXED SETS
COURTESY OF CANDID RECORDS

Chick Corea Elektric Band, from left, Frank Gambale, Eric Marienthal, Corea,

BOXED BEAUTIES
John Patitucci and Dave Weckl. Inset: One of two test pressings available for sale.

BY FRANK ALKYER
Looking for that perfect gift for the music fan who wants everything?
Check out these 7 great, new boxed sets coming out just in time for the holidays!
CHICK COREA ELEKTRIC BAND guitarist Frank Gambale. NINA SIMONE
The Complete Studio Recordings 1986–1991 And for the Chick-o-files out there, Four Women: The Nina Simone Complete
(Candid) Candid will also be separately issuing a Recordings 1964–1967
On Dec. 1, Candid Records releases a never-before-released live album that was (Verve)
limited edition, five-album box of the compiled by Corea himself before his pass- This limited-edition, seven-LP box is
Chick Corea Elektric Band’s output on the ing. The Chick Corea Elektric Band, The being released in honor of the soulful sing-
label. The collection includes The Elektric Future Is Now was selected from live shows er/pianist’s 90th birthday. The collection
Band, Light Years, Eye Of The Beholder, recorded between 2016 and 2018 in a three- features all seven albums Simone record-
Inside Out and Beneath The Mask. The disc vinyl set. ed for Phillips during that time, remastered
CD version comes in at just under $70, but Finally, for a classical-jazz fusion of by Kevin Reeves from original analog tapes.
there’s also five-LP, limited-edition box Corea’s art, the label will be releasing The albums include Nina Simone In Concert
at just under $200. And, if you’re lucky to Sardinia: A Night Of Mozart & Gershwin (1964), Broadway–Blues–Ballads (1964),
have $1,000 burning a hole in your pock- with the Orchestra da Camera Della I Put A Spell On You (1965), Pastel Blues
et, there are two 10-LP test pressings avail- Sadegna. It’s a mind-expanding live (1965), Let It All Out (1966), Wild Is The Wind
able. The lineup is the quintessential band recording demonstrating once again the (1966) and High Priestess Of Soul (1967). The
with bassist John Patitucci, drummer Dave absolute breadth of Corea’s creativity. set includes 18 pages of rare photos as well
Weckl, saxophonist Eric Marienthal and (candidrecords.com) as liner notes by noted author Ashley Kahn

76 DOWNBEAT DECEMBER 2023

 BOXED SETS I 2023 HOLIDAY GIFT GUIDE

and features some of Simone’s most indelible great interview with Auger, whose key- lected a stellar crop of fascinating demos
anthems including “Mississippi Goddam,” board work and vocals drove the band. and alternative takes of music from these
“I Loves You Porgy,” “Don’t Smoke In Bed,” (soulbankmusic.com) albums. Also included is her triumphant
“I Put A Spell On You,” “Feeling Good” — return to Carnegie Hall in 1972, another
and that’s just scratching the surface. The JONI MITCHELL live show from the Court And Spark era fea-
package is beautiful, the music astound- Archives–Volume 3: The Asylum Years turing a backing band of Tom Scott & the
ing. All-in-all, a treat for the eyes and ears. (1972–1975) L.A. Express as well as other cuts featuring
(ververecords.com) (Rhino) James Taylor, Graham Nash and Neil Young.
This five-CD, four-LP box features nev- (rhino.com)
BRIAN AUGER’S OBLIVION EXPRESS er-before-heard demos, alternate takes and
Complete Oblivion rare live performance recordings along PETER BERNSTEN
(Soul Bank) with a 40-page book packed with pho- Signs LIVE!
Here’s one for lovers of ’70s fusion. Brian tos and an intimate conversation between (Smoke Sessions)
Auger’s Oblivion Express danced between Mitchell and writer/filmmaker Cameron While most boxed sets focus on a more
the grooves of jazz, pop and r&b with a Crowe. This volume documents Mitchell’s distant past, Smoke Sessions, the New York
British cool that remains indelible to this art at a time when she was questioning the jazz club and record label, delves into archi-
day. The folks at Soul Note Records have scrutiny of her music and her life as laid val moments a little closer to the present. If
boxed up the group’s six studio albums into out in the tabloids. She announced an early you haven’t caught Peter Bernstein live …
one fantastic package, completely remas- retirement from the stage in 1970, moved do it. He’s one of the best guitarists working
tered from the original master tapes by Bill to British Columbia and became inspired today in the Big Apple or on planet Earth.
Smith at United Archiving in Los Angeles. by her new surroundings. In doing so, the Here, Bernstein reconvenes an all-star cast
The two-piece box features six LPs and six singer, songwriter and guitarist created that recorded his second album, Signs Of
CDs with the original covers of each album three of her most endearing works: For The Life, back in 1994, featuring pianist Brad
presented as they were on these record- Roses, Court And Spark and The Hissing Of Mehldau, bassist Christian McBride and
ings released between 1970 and 1975. The Summer Lawns. As Mitchell approached drummer Greg Hutchinson. A two-CD set
booklet is packed with rare photos and a her 80th birthday this year, Rhino col- came out back in July, but Smoke Sessions

DECEMBER 2023 DOWNBEAT 77

HOLIDAY GIFT GUIDE 2023 I BOXED SETS

MARK SHELDON

Buselli–Wallarab Jazz Orchestra

is releasing a five-LP vinyl set in late BUSELLI–WALLARAB JAZZ ORCHESTRA

November, just in time for the holidays, The Gennett Suite
that also includes two bonus tracks. (Patois)
(smokesessionsrecords.com) This tasty big band out of
Indianapolis released The Gennett Suite,
VINNY GOLIA it’s most ambitious album to date, ear-
Even To This Day… lier this year. Now comes a five-LP
Movement Two: Syncretism: for the draw… vinyl version of the music available
Music For Orchestra And Soloists in early November. The album tips its
(Ninewinds) hat to Richmond, Indiana, where 100
Experimental composer and instru- years ago jazz legends f locked to record
mentalist Vinny Golia has released a mag- music in a converted piano factory.
num opus of adventurous art with this Louis Armstrong, Bix Beiderbecke, Jelly
110-track second movement to Even To Roll Morton and so many others trav-
This Day… . Originally conceived as part eled to Richmond to record at Gennett
of Golia’s 75th birthday celebration, one Studios for the Gennett label, one of the
that included performances by 75 musi- earliest to have success in jazz. Brent
cians, but this expanded well beyond Wallarab has admired the era and the
that original notion. On volume two, label throughout his musical career and
recorded by Golia and engineer Wayne employs themes from some of Gennett’s
Peet, Golia plays more than 30 instru- biggest hits — such as “Dippermouth
ments on this sprawling set with a slew Blues,” “Wolverine Blues” and “Star
of special guests including Nels Cline, Dust” — to bring that sense of inspi-
Susan Alcorn, Chas Smith and more. ration and awe into the present. DB
(vinnygoliamusic.bandcamp.com) (patoisrecords.net)

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DECEMBER 2023 DOWNBEAT 79
HOLIDAY GIFT GUIDE 2023 I VINYL

GREAT REISSUES & VINYL!

Between Record Store Day’s Black Friday releases and a bevy of reissues and new vinyl
releases, there is a wealth of great sounds swinging your way.
VARIOUS ARTISTS Man’s Detroit mastering and pressing FRANK SINATRA
The 313 Partnership (Third Man/Blue Note) facility. Sound and mastering engineer Platinum (Universal)
In a new partnership announced over Warren Defever and the Third Man team To celebrate the 70th anniversary of
the summer, Blue Note Records and Third oversaw the project, which includes limit- Ol’ Blue Eyes signing a recording con-
Man Records announced a showcase reis- ed-edition color variants. tract with Capitol Records, Universal has
suing five classic Blue Note releases by thirdmanrecords.com beautifully remastered some of his most
artists from Detroit. The 313 Partnership bluenote.com beloved tracks and included rare, previ-
appeals to any music fan of classic Detroit ously unreleased music, too. Available
sounds by some of the greatest artists to COUNT BASIE ORCHESTRA in a four-LP vinyl or two-CD set, this
ever grace the jazz planet. The releas- Swings The Blues (Candid) 44-song collection serves as a travelogue
es were personally chosen by Blue Note The Count Basie Orchestra has been in through one of the greatest recording
President Don Was, himself a Detroit a truly creative mode of late, bringing its careers in history.
native, as a tribute to that city’s rich musi- big band brand of swing to new audienc- sinatra.com
cal heritage. es. On Swings The Blues, bandleader Scott
Included in the set are Thad Jones’ Earnhardt pulls in some of the greatest liv- KEITH JARRETT
Detroit–New York Junction (1956), Donald ing blues, jazz and r&b artists to join in on Solo–Concerts: Bremen–Lausanne (ECM)
Byrd’s Electric Byrd (1970), Elvin the fun. Bobby Rush sings “Boogie In The Released as part of ECM’s
Jones’ Genesis (1971), the first vinyl reis- Dark.” Buddy Guy, Shemekia Copeland Luminessence series, this triple album of
sue of Multidirection (1969) by Kenny and Charlie Musselwhite join in on “I’m A Jarrett alone at the piano focuses on the
Cox and The Contemporary Jazz Quintet Woman.” Ledesi swings “Evil Gal Blues,” maestro at the height of his art in July
and the first-ever vinyl release of Grant and George Benson rocks “Rock Candy,” of 1973. The music catches Jarrett at the
Green’s Live At Club Mozambique (1971). just to name a few. It’s a swinging good beginning of his solo artistry. The origi-
The series features 180-gram vinyl remas- time for all. nal release garnered praise from around
tered from the original tapes at Third candidrecords.com the world and became must-hear studies

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 VINYL I 2023 HOLIDAY GIFT GUIDE

HEAPS OF CRAFT
Craft Recordings keeps swinging out the hits with a slew
of reissues. Here’s a sampling!

THELONIOUS MONK TITO PUENTE

Brilliant Corners El Rey Bravo
Craft has lovingly remastered this
As part of the Craft Recordings
1962 classic that features “Oye Cómo
Small Batch series, the label has
Va,” one of the biggest hits of Tito
released an audiophile pressing of this
Puente’s illustrious career. Cut from
classic, which introduced a number of
the original masters by Kevin Gray at
Monk classics and a stellar lineup fea-
Cohearent Audio and pressed on 180-
turing Sonny Rollins, Max Roach and Paul
gram vinyl, there is also a limited-edi-
Chambers. Limited to 4,000 copies, the
tion Canary Yellow option (limited to 500
reissue features laquers cut from origi-
copies) as well as a hi-res audio version
nal tapes by Bernie Grundman. Pressed
being released on streaming platforms.
on 180-gram vinyl at RTI using Neotech’s
VR900 compound, the one-step lacquer
process allows for heightened musi-
WES MONTGOMERY
cal detail and clarity. Liners come from
The Complete Full House Recordings
The centennial of the groundbreak-
author Ashley Kahn.
ing guitarist’s birth has produced a trea-
sure trove of new
for generations of pianists and fans alike. material, includ-
ecm.com/shop ing this collection,
an expanded ver-
JIMI HENDRIX EXPERIENCE sion of his 1962
Hollywood Bowl August 18, 1967 (Sony Legacy) classic album Full
The latest in a series of releases of Hendrix’s live
BEN HARPER
WITH CHARLIE MUSSELWHITE House. The record-
performances, this Hollywood Bowl experience offers ing serves as Montgomery’s only only
Get Up
a touch of Hendrix that has never been released offi- live recording for Riverside Records.
This Grammy-winning instant classic
cially or on bootleg. The release captures the gui- The complete concert is delivered in a
from 2013 gets a 10th anniversary treat-
tarist and band before they exploded on the music three-LP set, pressed on 180-gram vinyl
ment as a vinyl reissue. Coming from two
scene. Two tunes being touted from the collection are at Optimal Media with new liner notes by
generations and very different corners
Howlin’ Wolf ’s “Killing Floor” and The Beatles’ “Sgt. Bill Milkowski.
of the musical world, singer/songwrit-
Pepper’s Lonely Hearts Club Band.” But, never fear,
er Harper and blues harmonica legend
there are plenty of Hendrix hits, too.
Musselwhite create magic.
jimihendrix.com

VARIOUS ARTISTS
Great Women of Song Series (Verve)
Verve continues its Great Women of Song Series
with new releases by Billie Holiday, Sarah Vaughan, CHARLIE PARKER, DIZZY GILLESPIE,
Dinah Washington and Astrid Gilberto. Just as the
BUD POWELL, CHARLES MINGUS, MAX
VARIOUS ROACH
series has culled the best of Verve’s catalog for other Hit The Bongo! The Latin Soul Hot House: The Complete Jazz
legendary chanteuses like Nina Simone, the new of Tico Records at Massey Hall Recordings
releases offer the best of the Verve archives from Here’s a collection of 26 Latin rarities This recording celebrates one of the
some of the leading vocalists in jazz history. guaranteed to get the booty shakin’ fea- most storied concerts of jazz history. Hot
umusic.com turing Ray Barretto, Willie Bobo, The House presents the complete concert
Joe Cuba Sextet, Eddie Palmieri and Cal in honor of the 70th anniversary of the
CLAUDIA ACUÑA Trader, Tito Puente and more. The collec- show and in celebration of the centennial
Duo (Ropeadope) tion, being released on vinyl and digitally, of both Max Roach and Bud Powell. It’s a
Now available on vinyl, the famed Latin singer culls the archives of Tico from 1962-1972 deluxe three-LP set that’s also available
performs classics with a killer backing band that with lacquers cut by Phillip S. Rodriguez in CD and digital formats.
includes Kenny Barron, Christian McBride, Carolina at Elysian Masters. craftrecordings.com
Calvache, Fred Hersch, Regina Carter, Arturo

DECEMBER 2023 DOWNBEAT 81

HOLIDAY GIFT GUIDE 2023 I VINYL

O’Farrill and Russell Malone. But it is Acuña’s voice, strong and

SMOKE ON VINYL!
rich, that is front and center.
ropeadope.com

Smoke Sessions Records has expanded its MARVIN GAYE

growing list of vinyl offerings. In addition to Let’s Get It On: Deluxe Edition (Motown/UMe)
the mammoth five-LP box of guitarist Peter For some out there, it’s hard to believe that this classic album
is now celebrating its 50th anniversary. For those who may be
Bernstein (see page 78), the label has recently new to the music of Marvin Gaye, the shock will be how fresh the
released three other vinyl gems. music still sounds. This deluxe edition features 33 bonus tracks,
18 never before released, culled from the six months of recording
sessions that went into its making.
STEVE DAVIS motownrecords.com
Steve Davis Meets Hank
Jones, Volume 1 STEELY DAN
When trombonist Steve Aja (Geffen/UMe)
Davis met pianist Hank Jones No band has ever straddled the line between pop and jazz
with bassist Peter Washington better than Steely Dan. Proof stands front and center with the
in June of 2008, the record- band’s 1977 classic Aja, which has returned to vinyl for the first
ing was never released. Well, time in more than 40 years. The album has been remastered by
here it is now on vinyl, an inti- Bernie Grundman and pressed on 180-gram black vinyl. The reis-
mate trio date where the elder sue can also be owned as a limited-edition premium 45 RPM ver-
statesman and the younger sion on Ultra High-Quality Vinyl from Analogue Productions.
generation beautifully glide through the American Songbook. steelydan.com

VAN MORRISON
His Band And The Street Choir (Rhino)
EDDIE HENDERSON The latest release in the Rhino High Fidelity series is
Witness to History Morrison’s classic 1970 album, which launched his career with
The trumpet icon cele-
the album’s opening tune, “Domino.” Like all Rhino Hi-Fi releas-
brates the 50th anniversa-
es, His Band And The Street Choir is limited to 5,000 individual-
ry of his debut recording with
ly numbered copies.
a new set that features pia-
rhino.com
nist George Cables, saxophon-
ist Donald Harrison, bassist
JACO PASTORIUS
Gerald Cannon and drummers
Word Of Mouth (Rhino)
Lenny White and Mike Clark. At
This, too, is part of the Rhino Hi-Fi series featuring the
the age of 83, Henderson uses
famed bassist’s 1981 release, his first after leaving Weather
the opportunity to look back at
Report. Both of these releases were cut by Kevin Gray with
his prodigious career, and tip his hat to a documentary about his
Optimal pressing the albums on 180-gram vinyl. Word Of Mouth
life that’s coming out in 2024. This is being offered as a limited
has additional liner notes by legendary record executive Ricky
pressing of 500 pieces, so get ‘em while they’re hot!
Schultz, who signed Pastorius to Warner Bros.
rhino.com

LAFAYETTE GILCHRIST
HAYS STREET HART Undaunted (Morphius)
Bridges The gifted pianist launched his newest recording of
This trio of Kevin Hays on
groove-oriented, driving jazz with a killer sextet featuring
piano, Ben Street on bass
drummer Eric Kennedy, bassist Herman Burney, tenor saxo-
and Billy Hart on drums came
phonist Brian Settles, trombonist Christian Hizon and percus-
together in December of 2020
sionist Kevin Pinder. The album is being released on CD and
as a performance in honor of
streaming platforms as well as a limited-edition run on vinyl.
drummer Hart’s 80th birthday
morphius.com
— The venue, New York’s Smoke
Jazz & Supper Club; The time,
YO-YO MA
smack dab in the middle of the
J.S. Bach: 6 Suites For Unaccompanied Cello, The 1983 Sessions
pandemic. So, it was streamed
(Sony Classical)
with no audience, but became the trio’s 2021 debut, All Things Are.
For lovers of classical music, Sony has released this three-LP
Spin ahead two years and the group, well, regrouped for a second
collector’s edition in honor of the recording’s 40th anniversary.
and that recording is now available on vinyl. The trio melds styles,
It represents Yo-Yo Ma’s very close connection to Bach’s Suites
generations and times to deliver music for now.
For Unaccompanied Cello. The famed cellist first played Suite
smokesessionsrecords.com
No. 1 at the age of 4.
sonyclassical.com

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DECEMBER 2023 DOWNBEAT 83
HOLIDAY GIFT GUIDE 2023 I HOLIDAY MUSIC
AMBE J. WILLIAMS

YULETUNES
Samara Joy

BY FRANK-JOHN HADLEY
‘Tis the season. You enjoy Christmas music, but are leery of listening to the same old albums.
Bored with, oh, the Vince Guaraldi Trio’s A Charlie Brown Christmas? So, for restoration of
aural cheer, consider several new releases by jazz, blues and beyond artists who put their
own spin on chestnuts and offer crisp originals.

SAMARA JOY bassist Yasushi Nakamura and Christian’s X-mas tunes from the 1960s and of favorites
A Joyful Holiday (Verve) brother Ryan Sands on drums, plus special like “What Are You Doing New Year’s Eve?”
Samara Joy, the Gen Z jazz luminary, has guests saxophonist Jimmy Greene, vibra- (with acclaimed young singer Samara Joy).
the perfect stage name for someone serious phonist Stefon Harris, percussionist Keita Porter’s sincerity doesn’t waver. bluenote.com
about conjuring pure Christmas spirit on a Ogawa and guitarist Max Light. The music is
holiday EP. Six songs reveal that she has a core breezy instrumental magic and includes a fine DAVE BRUBECK
of joyfulness and benevolence inside. She sings set of holiday chestnuts including a swinging A Dave Brubeck Christmas (Craft)
with an uncanny control, a keen intelligence “Have Yourself A Merry Little Christmas,” Dave Brubeck finally made a Christmas
and, for certain, a beautiful voice. Standouts “God Rest Ye Merry Gentlemen” with a Latin record in 1996, when he was 75. This solo
are “Warm In December,” a mildly swing- twist and an extended jam on “Silent Night.” piano showcase, a treasure standing with the
ing revival of Julie London’s 1950s tune, that The final tune, “Last Christmas,” also fea- likes of Geri Allen’s A Child Is Born and Dave
has Joy at the apogee of her powers, and “O tures a lovely string arrangement by ris- McKenna’s Christmas Ivory, returns as a two-
Holy Night,” with her joined by singing family ing star Steven Pheifke. (by Frank Alkyer) LP package. Brubeck’s religious faith almost
members (among them is her father, Antonio mackavenue.com certainly deepens meticulous probes of litur-
McLendon) in an inspired performance fit for gical fare “O Tannenbaum” and “Away In A
a Christmas Eve gospel service. On the EP are GREGORY PORTER Manger.” His “Run, Run, Run To Bethlehem”
several refined accompanists, including guest Christmas Wish (Blue Note) and the familiar “Santa Claus Is Coming To
pianist Sullivan Fortner and Joy’s regular gui- Gregory Porter’s first holiday album at Town” sparkle like sunlight on freshly fallen
tarist Pasquale Grasso. ververecords.com once entertains with the minor miracle of his snow. craftrecordings.com
gut-deep baritone and tracks the respect, com-
CHRISTIAN SANDS passion, altruism and nostalgia that he deems RAPHAEL WRESSNIG & ALEX SCHULTZ
Christmas Stories (Mack Avenue) important to Yuletide. Savor his natural gos- Soulful Christmas--With A Touch Of Funk
The gifted pianist is joined here by his pel-rooted renditions of three thoughtful (Pepper Cake)
working quartet with guitarist Marvin Sewell, originals, of Stevie Wonder and Marvin Gaye Seated at the console of his B-3, enthralled

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DECEMBER 2023 DOWNBEAT 85

HOLIDAY GIFT GUIDE 2023 I HOLIDAY MUSIC

by 1960s Jimmy McGriff Xmas records, Brown, Koko Taylor, Son Seals — are certi- GEORGE GEE SWING ORCHESTRA
Raphael Wressnig has a great time slather- fiable eminences. They excel at recounting Winter Wonderland (self-released)
ing Hammond grease all over nine seasonal Santa’s romantic hijinks, confronting lone- For jitterbugging fans of 1940s X-mas
tunes. In the process, the Vienna-based vir- liness on Christmas and expressing bayou jazz, the George Gee Swing Orchestra’s
tuoso realizes an artistic triumph, a singu- or boogie-woogie roadhouse fun. Up-and- December performance at New York’s
lar merger of jazz, blues, Memphis soul and comers such as Lil’ Charlie Baty and Rick Birdland is a big deal, as his nonet swings it
New Orleans funk. Not confined to a back Estrin and Lil’ Ed Williams act out their own way through “Jingle Bells” and other tunes
seat in Santa Wressnig’s sleigh, Alex Schultz Yule doings with enthusiasm. LP (red vinyl) appropriate to Noel. Modern-minded solo-
demonstrates again and again why he’s one and digital only. alligator.com ists, respectful of but not hide-bound to
of America’s best blues-and-more guitarists. tradition, include baritone saxophonist
A protean talent in her own right, guest sing- LISA BIALES Patience Higgins and pianist Steve Einerson.
er Gisele Jackson enrichens “This Christmas.” At Christmas (Big Song Music) Singer John Dokes, his low tones suggestive
raphaelwressnig.com A top-level blues-roots singer with a ten- of Joe Williams and Nat Cole, brings out the
derly strong voice, Lisa Biales invests nine heart of five famous tunes with a sober, mea-
VARIOUS ARTISTS solid originals and a Louis Prima cover sured delivery. georgegee.com
Santa Swings … The Windup (Bear Family) with warm spirit on her debut Yule album.
The German archival label presents in its She’s a bit of a sentimentalist but, glad to NILS LANDGREN
ongoing holiday music series this collection say, doesn’t get bogged down in idyllic, Christmas With My Friends Vol. VIII (ACT)
of X-mas treats from the swing era. The ros- sugar-plum-sweet, idyllic visions of the past. Nils Landgren is a Swedish holiday music
ter is packed with all-star orchestra leaders: “When The Snowflakes Fell” even concerns institution unto himself, a jazz trombonist who
Louis Armstrong, Duke Ellington, Count hard times. The Ohioan was smart to travel to every other year since the early ’00s gets col-
Basie (with Helen Humes), Chick Webb Los Angeles and record with illustrious folks leagues together for an album and tour. He
(with Ella Fitzgerald), Don Redman, Glenn like producer-drummer Tony Braunagel and favors the low-key jazz gaiety of the season,
Miller, Charlie Barnett, Louis Prima, Teddy guitarist Johnny Lee Schell. lisabiales.com drawn to precious European carols and a cou-
Wilson, others. There’s a jaunty confidence to ple songs that bask in the traditional jazz of New
the music even when Santa-hatted forgotten DAVID IAN Orleans. An unexceptional singer, Landgren
souls like Putney Dandridge, Bob Chester and Vintage Christmas Trio Melody relies on Swedish vocalists of authority and
Monette Moore take charge. Reefer madness: (Prescott) style, including jazz chanteuses Ida Sand and
Johnny Guarnieri’s “Santa’s Secret.” Excellent Since 2011, talented Toronto jazz pianist Sharon Dyall and operatic singer Jeanette Köhn.
production, liner notes, CD and LP mastering. David Ian has released five albums that com- actmusic.com
bear-family.com municate the easygoing, endearing glow of
spending Christmas Eve with family and SUKEY MOLLOY
VARIOUS ARTISTS friends. This time around, joined by a cooly Snow Is Falling! (PlayMusic&Sing Inc.)
The Alligator Records Christmas Collection swinging string bassist and a drummer, he Charismatic singer, storyteller and teacher
(Alligator) dotes on the melodies of 10 classic noels, Sukey Molloy, in New York, reaches out to fam-
The premier blues label celebrates the sea- among them “We Three Kings” and “Silent ilies with young children with a peppy assort-
son by excavating a 1992 album from their Night.” His adoration is generally healthy ment of well-known “Songs For Christmas,
bottomless catalog. More than half of the and productive, not overbearing or mawkish. Hanukkah & Kwanzaa.”  DB
14 featured musicians — start with Charles iantunes.com sukeymolloy.com

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DECEMBER 2023 DOWNBEAT 87
 GREAT GEAR GIFTS
HOLIDAY GIFT GUIDE 2023 I GEAR

FOR THE HOLIDAYS Big-Ticket ‘Beater’

All saxophones aren’t meant to
be polished, pretty and polite.
The P. Mauriat System-76
Custom Derek Brown BeatBox
Sax features more than a
dozen unique modifications
by saxophone innovator Derek
Brown. This one-of-a-kind
instrument can create sounds
on the saxophone you didn’t
know were possible. From
percussive ring scratches, guiro
effects and bell-poundings, to Enhance Your Kit
reshaped and added keys, the The NIO Electronic Percussion Pad from ddrum has the
sky’s the limit to what the player capabilities of a fully functioning electronic drum kit. With a
can do with this professional- broad surface of responsive pads, endless percussive options
grade, edgy, “battle worn” tenor and ample connectivity, the NIO is the ultimate addition to
saxophone. pmauriatmusic.com your acoustic or electronic kits. Use it for at-home practice,
live performances and even studio sessions. The NIO is
designed with nine isolated rubber pads and comes pre-
loaded with 30 kits (including five ddrum series kits), 20 user
kits and hundreds of other built-in sounds. ddrum.com

Versatile Ligature
Whether the woodwind
player on your shopping
list is a high schooler in
concert band, jazz band
and marching band, or
a seasoned pro with an
expansive repertoire, the
Festive Djembes
Toca Percussion’s Freestyle Colorsound Djembes are available in seven eye-
Versa-X from Rovner meets
catching metallic colors. The djembes are 12½ inches high with a durable
those multiple needs. With a
7-inch synthetic head. Each djembe is made from a seamless lightweight,
metal cradle and re-positionable
synthetic shell material, making them ideal for music educators and
inner flaps, the Versa-X improves
drum circle enthusiasts. They are available individually or in sets of seven.
intonation, provides presence and dynamic response and
Durable and moisture-resistant, they are great for a classroom of students
lets the player switch between two tonal modes. It’s available
or any gathering. Freestyle Colorsound Djembes are available in metallic
in 10 sizes for saxophone and clarinet. rovnerproducts.com
blue, green, red, orange, yellow, indigo and violet. tocapercussion.com

Goin’ Mobile
1 Mic Does it All The EXM Mobile8 from Yorkville Sound is
Start producing professional-quality audio with a three-way battery-powered speaker for
Samson’s Q9x Dynamic Broadcast Microphone. musicians on the go. With 5½ hours of
Equipped with an analog XLR output, the Q9x performance, the EXM Mobile8 battery-
integrates into any professional broadcast advantage lets you take your sound
or home studio setup. Simply connect the anywhere. Featuring an 8-inch woofer
Q9x to your mixer or audio interface and and a coaxial mid-range driver/tweeter,
start recording or streaming broadcast- the EXM Mobile8 is a true three-
quality audio. Equally suitable for a way speaker. The three-way design
podcast studio, broadcast booth or provides maximum bass and enhances
recording rig, the microphone with its intelligibility, while the speaker’s
standard XLR output easily connects multi-angle geometry offers the
to almost any standard preamp, mixer flexibility to fit any indoor or outdoor
or audio interface. samsontech.com performance environment. yorkville.com

88 DOWNBEAT DECEMBER 2023

 GEAR I 2023 HOLIDAY GIFT GUIDE

Distinctive Sounds, Catchy Colors

Yamaha’s Stage Custom Birch line of drums has expanded to
include three new colors, including Classic White, a stunning
Deep Blue Sunburst and the eye-catching Matte Surf Green.
The shells are 100% birch, which has been responsible for
the distinctive sound of Yamaha drums for many years, and
offer short decay, quick attack and tight sound with good
separation. The coating specifications of the finishes achieve
the kind of beauty found in high-end drum kits. usa.yamaha.com

Bookplate Stands
Gator Frameworks has
added two models to its
line of sheet music stands,
both equipped with large
wooden bookplates. The
GFW-MUS-4000 and the

Christm as Jazzf Hal GFW-MUS-5000 feature

o a superior red wood finish to maintain a
nd edition
The seco hristmas
The Real C professional look, while meeting conductors’
Leonard’s s 150 custom or soloists’ demands for functionality.
re ls
Book featu ts with lyrics of caro The GFW-MUS-4000 (pictured) features
n g e m e n a y song s
arra olid
mporary h a collapsible tripod base, ensuring easy
and conte cated jazz chord transport and storage. The GFW-MUS-5000
isti
with soph iendly
a n g e s in the user-fr s include has a brushed metal design and an easy-lift
ch rm a t. S o ng mechanism, enabling one-handed height
fo
Real Book mas Is My
t For Christ adjustments. gatorframeworks.com
“All I Wan eeth,” “Baby, It’s
T ”
Two Front e,” “Blue Christmas,
id
Cold Outs ime Is Here,” “Have ”
sT s,
“Christma erry Little Christma
e lf A M stmas,”
Yours a st C hri
lls,” “L
“Jingle Be ,” “White Christmas”
e
“Sleigh Rid itions are available
m o re . Ed
an d Bass
, B -fla t, E-flat and com
in C on ard.
ns. ha lle
Clef versio

Unwrap Your Bass Tone

The B2 Four Amp and Effects Emulator, powered with Zoom’s Multi-
Layer IR technology and six iconic DI models, gives bassists the ability
to craft the perfect low-end tone. Build patches from 104 effects,
including models of famous boutique effects and preamps. Mix and
match up to five effects and amps simultaneously to build your own
custom patches. If you want to plug directly into the house PA, the B2
Four has you covered. It features three tube and three solid state DI
models that recreate the tone of world-class direct boxes. zoomcorp.com

In Tune & In Time

The Peterson StroboPLUS HDC delivers the Ultimate Guitar Connection
ultimate strobe tuner/metronome combo. Its IK Multimedia’s iRig HD X is the new flagship of
0.1 cent tuning accuracy will tune any the company’s iRig guitar interface line, offering
instrument with the utmost precision. Featuring improved sound quality and more advanced
a high-definition, multi-color display with features than its predecessors. Lightweight and
variable color LED backlight, the StroboPLUS compact enough to store in any pocket, the
HDC can be seen clearly across the stage or iRig HD X gives players the ability to connect
studio. More than 200 exclusive Sweetened virtually anywhere, at any time. It sports a
Tunings and Guided Tunings accommodate redesigned enclosure and a new user interface
a variety of instruments, temperaments and with an ergonomic multi-function knob that
musical genres. The configurable metronome lets guitarists quickly adjust headphone levels,
features precise 0.1 BPM adjustability in eighth loopback functions, direct monitoring and the
notes, quarter notes, dotted quarter notes built-in tuner. The iRig HD X’s LED ring input
and half notes, a tempo range of 10–280 level indicator also doubles as a precise tuner
BPM and more than 100 subdivisions, accent for the connected instrument. ikmultimedia.com
patterns and polyrhythms. petersontuners.com

DECEMBER 2023 DOWNBEAT 89

 Woodshed MASTER CLASS
BY ALEX WEISS

comes to life. Diane has been unable to speak for

COURTESY OF ALEX WEISS

a few years now. But she can still sing.

My journey into music therapy started with
John Coltrane. Or more specifically, the John
Coltrane Church of San Francisco, founded by
Archbishop Franzo King and his wife, Mother
Marina King, who were so moved by Coltrane’s
1965 album, A Love Supreme, that they formed
an entire church around it and sought to can-
onize him. The two years that I spent with this
church, from 1994 to 1996, were pivotal ones
that seared into me that music can be a form of
ministry and service to others, not just enter-
tainment or art.
I was in my early 20s, a saxophonist living in
San Francisco. Two hundred thirty miles south
of me, down in San Luis Obispo, my father was
battling terminal cancer. Though he insist-
ed on not disrupting my life or my sister’s as
much as possible, I went back and forth as often
as I could. A friend of mine told me about the
church: “a place that celebrates Coltrane as he’s
the patron saint of the church, and the services
are amazing as they’re filled with his music.”
After my first Sunday service, I was hooked. I
wanted to go every week. And I did.
Supposedly referencing his years of recovery
from heroin addiction, in the liner notes to A
Love Supreme Coltrane wrote, “I experienced,
by the grace of God, a spiritual awakening. ...
At that time, in gratitude, I humbly asked to
be given the means and privilege to make oth-
ers happy through music.” These words became
the foundational backbone of the church, which
used the album itself as religious musical text to
form their worship. Although I had been raised
to look askance at organized religion, this type
of worship — through music — felt different.
Back in San Luis Obispo, chemo and radia-
tion had taken a toll on my father. After one visit
in particular, I couldn’t shake the memory of
my father’s frail body. The next day when I went
to church, I was asked to come up and lead the
congregation in “Acknowledgement,” the first
movement of A Love Supreme. Some of the most
accomplished musicians in the city stepped
aside to let me lead that first movement. As I
Alex Weiss worked in a soup kitchen run by the
Church of John Coltrane for two years. played the signature arpeggio phrase, surround-
ed by people who showed their caring through
How the Church of John Coltrane Led the music, I felt the darkness inside me lift.
The original church building on Divisadero
To My Discovery of Music Therapy Street was a modest storefront of a place. But

D
inside, it was outfitted with a beautiful altar,
iane is a 57-year-old woman with to share time together by visiting these songs she pews, and iconography made by a painter
Down syndrome. Our time togeth- has sung her whole life. But she does not speak named Mark Doox. He had painted masterful
er once a week at her home in Bergen any more. When I begin with her by strum- portraits of both Coltrane and Jesus (who was
Beach is usually spent singing gospel songs ming through the chords of “Amazing Grace” portrayed as Black and wearing dreadlocks) in
together. The familiar music from her church- in a slow and rubato way, it serves as a cue for the style of Russian orthodox icons. A drum set,
going days still linger in her memory. We’re able her and her ability to vocalize through the song piano and upright bass sat patiently in the front

90 DOWNBEAT DECEMBER 2023

by the altar. Despite its modest exterior, the later when I became a father, I gave my son the Occasionally, he would abruptly stop play-
place felt like a sanctuary. middle name Roberto. ing in the middle of a song, pause for a bit and
Sunday service began with fervent preach- The church also ran a soup kitchen after ser- then turn around to me to recall a specific
ing from Archbishop King, whose sermons vice, twice a week, Wednesdays and Sundays. moment in time that had to do with making
weren’t liturgical but spoke piercingly of polit- All kinds of people came — people who had music, and sometimes to recall a time with a
ical injustice and social issues. Then the service attended service, homeless people and people loved one. I would put my horn down and lis-
would seamlessly transition into the music of A who lived in the neighborhood. For two years, ten to his story. Then I’d ask him questions to
Love Supreme, and passing through all its four working in that soup kitchen on those two further explore the memory, if it felt like the
movements were the antiphonal prayers formed days felt like learning how to make the spirit of right thing to do. My goal was to get him to
by Archbishop King’s words. Coltrane’s music concrete, learning the practice reflect on the positive aspects of the memory,
to spotlight the joyous times within his story.
And sometimes the story was one of loss. His

In music therapy, what’s wife passed away years ago, and letting him tell
the story of her passing with an empathic ear
was all that he needed.

important is not skill or artistry,

When I started working as a music therapist,
it highlighted for me one of the most beautiful
things about music: the myriad different ways it
can be made. Sometimes, just two simple chords

but that it gives us a way to be played on a guitar, toggled back and forth slowly,
can be precisely the music needed to help.
When I interned as a music therapist at the

in communion with each other.

Neonatal Intensive Care Unit of Beth Israel, my
job was to use a guitar to calm distressed infants,
as it was critical for them to conserve energy. An
alternating arpeggiation of two chords (e.g., C
There were three saxophonists in the of being of service to others. and F) played very slowly, quietly, and close to
church’s core sextet: Archbishop King, his son In 1998 my father passed, and some years the incubator glass, would almost always calm
Franzo Jr. and the Bishop Roberto De Haven. later, I eventually moved to New York City, down the baby. The monitors showed the dis-
The pianist was Fred Harris; the bassist, Juanika where I was a gigging musician with a day job. tressed spike in the baby’s vital signs drop. My
King; and the drummer, Archbishop King’s Then, when that job started looking uncertain, I being able to calm the baby down this way meant
other son, John. The Sisters of Compassion discovered music therapy. Alan, a pianist friend a further intervention by a nurse or a doctor was
choir sang lyrical accompaniments while they of mine, was working as a music therapist after not needed. And watching those impossibly tiny
played A Love Supreme. Together, the music completing a graduate degree. We met up and wrinkled hands and feet stop their flailing, just
they made was powerful. And when the sextet talked about his experiences during the pro- because I played those chords, filled me with
played, they sounded like the greatest Coltrane gram and his work as a therapist. What struck wonder. They instinctively responded to music
band in the world. The spirituality of A Love me was the remarkable range of those that could even before they’d had the chance to be proper-
Supreme is the most important element of be helped, from neonatal babies to the geriatric ly in the world. The music calmed them down
Coltrane’s album, but one that is often lost in population, to soldiers with PTSD. because on some level, they could sense the pres-
interpretation. But the sextet played it with the I worked with a man whom we’ll call “Jack” ence of another, just as their mothers’ heartbeats
full gravity, devotion and beauty it deserved. for about six months in 2010. We would meet in had been their constant, reassuring companion
The great Roberto De Haven, a known jazz a music room of sorts the music therapy depart- through their whole gestations.
player and saxophonist in and around the ment had in one of the buildings owned by Beth In music therapy, what’s important is not the
Bay Area, was also my mentor. He had a gen- Israel hospital in Manhattan. It was outfitted skill or artistry of the music, but that it gives us
tle demeanor and spoke in a rich, low baritone. with all kinds of percussion, mallet instruments a way to be in communion with each other. And
Once a week, down in the church basement, and Jack’s instrument, a piano. Jack had been in healing resides in that human connection. That
Bishop De Haven and I would read through and out of Section 8 housing and homeless shel- was the spirit of what Coltrane wrote in those
the Charlie Parker Omnibook, and then impro- ters for years. So, these once-a-week meetings liner notes to A Love Supreme, the album that
vise freely with two saxophones. Sometimes, we had served a bit as a refuge for him. It was a inspired the formation of the church that started
Roberto would play the drums. We’d listen to place for him to travel to, and go with the knowl- me on this journey.
all kinds of music — from Parker to Johnny edge that he’d have access to a piano and be able Coltrane thought music was a shared expe-
Hodges to Ornette Coleman to Coltrane, and to play his music. rience and that it could be a gift we could give
much more. Jack was an Afro-Cuban piano player for each other. And each time I listen to Coltrane’s
We’d only stop when we truly felt the time many years, and his dexterity and overall ability version of “I Wish I Knew,” or see a baby calm
was over. He told me to pay him what I could, on the instrument was wonderful. To these ses- its restless roiling because two chords are played,
and he would give 10 percent to the church. I sions I’d bring my tenor saxophone. We would I feel that, too: the beauty of the sharedness of
remember his complete and genuine dedication. run through all kinds of standards like “Mambo music, and how it can help heal. DB

The music was a specific kind of gift and like Inn,” “Caravan,” “Manteca” and “Perdido.”
nothing I had ever received before. He showed These sessions gave Jack the opportunity to Brooklyn-based saxophonist and composer Alex Weiss is
me how important and affirming music can be relive his musical days and remember the good preparing a recording of jazz standards with Santiago Leibson
on piano, Dmitry Ishenko on acoustic bass and Vijay Anderson
for myself. How the discipline of music, listen- times he had when he was young in an environ- on drums. Check him out online at alexweissmusic.com or
via his Instagram and Facebook pages. Weiss’ recordings are
ing to it, and cultivating it with assiduity and ment that was safe and if needed, a place where available through bandcamp.com as well as all streaming
commitment is a worthy practice in itself. Years he could be vulnerable to feel nostalgic. services and the label Ears&Eyes Music.

DECEMBER 2023 DOWNBEAT 91

 Woodshed SOLO
BY JIMI DURSO

Benjamin’s use of thematic development produces cohesion in her solo.

Lakecia Benjamin’s Alto Sax Solo on

the 5-Bar Phrases of ‘New Morning’
T
he solo section for alto saxophonist es. Benjamin shows great skill in dealing with and following material.
Lakecia Benjamin’s song “New this. For one thing, she starts a bar early and Benjamin is also quite aware of the asym-
Morning” (from Phoenix, released this ends on the downbeat (sort of) of the final bar, metrical form. Notice that out of the six times
year on Whirlwind Records) may come off as rather than playing through into the next sec- she plays through the progression, more than
just some diatonic chords in Eb minor, but here’s tion. To my ear, this helps bookend her state- half of these have her landing squarely on the
the rub: The form consists of five-measure phras- ment, making it separate from the preceding tonic on the downbeat of the first bar (measures

92 DOWNBEAT DECEMBER 2023

5, 10, 20 and 25). To add to that, in bars 10 and 20 subtle variations. ations for the next six bars (excluding the odd-
she plays a series of quarter notes on this pitch. It’s also worth noting that the Bbb/A natural ball lick in measure 11. Major third in a minor
This creates the seed of a motif which, when licks and the Fb licks pointed out earlier are the key?) and then returns to the Cb major scale for
stretched out for the second iteration, we hear it same idea in different keys. So, even subtler is the second half of measure 13. But this isn’t the
as a developing idea. Benjamin’s use of the same material, but play- Cbmaj7 chord!
In bar 25, Benjamin starts a repetitive idea ing on the V chord in addition to the tonic. So Let’s assume that Benjamin isn’t lost, as
on that downbeat — also creating a motif but it’s bluesy, but in a manner that one might not based on what we’ve heard, she totally knows
one that she develops during that round rather expect to find in a lot of blues. It’s particularly this landscape. Also notice that she seamless-
than bringing it back later, in this case altering sweet that Benjamin’s final two licks are both of ly turns this descending major scale into the
the phrasing the third time (the slur goes away) these. We hear the Bb blues in measures 31–32 blues as she crosses the barline. We have more
and dropping the first note an octave on the and the Eb blues in the final two bars. In fact, of this sound until bar 19 where that oddball
fourth iteration. Both are great means of delin- though rhythmically different, these closing lick returns verbatim. But again, it’s on a differ-
eating the odd form as well as producing a sense phrases are identical: 4–b5–4–b3–b7–R in Bb ent chord (Gbmaj7 as opposed to Cbmaj7). So
of continuity through this improvisation. and then in Eb. How’s that for subtle variations? Benjamin is presenting some of these sounds on
Other motifs emerge in Benjamin’s playing, (Also, how about Benjamin placing the Bb lick to varying harmonies, adding to the non-predict-
and not necessarily on the first bar of the form. lead into the Ebm bar and the Eb lick to lead into able direction (or subtle variations, if you prefer).
In measure 2 we hear an Fb used to ornament the Bbm bar?) Benjamin’s development of these themes is
the tonic, but with the Db inserted it can almost In fact, though not actually a motif, not just clever; it also produces a cohesion in her
give the impression of a Bb blues lick. That this is Benjamin’s use of minor pentatonic and blues solo. And her demonstrated ability to place them
done on chords sitting on top of a Bb in the bass I scales juxtaposed against modal lines is another at the right points shows her comfort playing on
would argue is no accident. Benjamin is in a way means of creating non-predictable direction (if the five-bar form.  DB
tonicizing the Bb, implying a modulation in this you’ll excuse the oxymoron). The first five bars
modal environment. are combinations of blues scale (though in two
This lick returns in bars 16–17, and like the keys) and minor pentatonic, but then in mea- Jimi Durso is a guitarist and bassist based in the New York area.
He recently released an album of Indian classical music played
previous motif she extends it, giving our ears sure 6 a Cb major scale appears, and right on the on the string bass, titled Border Of Hiranyaloka. Find out more
more of a chance to digest what we’ve heard Cbmaj7 chord. Benjamin returns to blues vari- at jimidurso.bandcamp.com.
before. Although it wasn’t in this exact form,
Benjamin did use this bluesy Fb in bar 7, on the
same harmony. It also appears in measure 31,
leading up to this chord. Subtle variations on a
theme. All of these appear at the same point in
the form (the final appearance in bar 31 does
show up two beats early, leading to this bar). All
of these variations provide further evidence evi-
dence as to Benjamin’s ability to navigate the
song’s five-bar phrases.
Measure 12 has another interesting motif,
which reappears in bars 18 and 22. It’s a Bb minor
arpeggio, but with the Gb leading off it gives a
feeling of Db6, as if it’s Dbsus resolving. Twice
this is played over the Ebm/Bb, again obscuring
the sound of the underlying chord and key (in
measure 18, being played on the Bbm/Ab creates
even more of a sense of Db6 now that the fifth
of the Db is in the bass). Not only does this hap-
pen at the same point in the form, but Benjamin
has chosen to use this motif on the same section
she had applied the previous one to. So she’s not
stuck with certain licks on certain harmonies,
and it also makes it more intriguing for us listen-
ers: We may hear development of the first motif,
or of the second, or a new idea. The development
doesn’t happen in a predictable way.
Another motif we hear is the combination of
Eb–Gb–Ab–A/Bbb–Bb. This addition of the b5/#4
isn’t so much a motif; it’s a time-honored blues
lick. And it does serve to add a bluesiness to
Benjamin’s improvisation. Notice the variations
on it in measures 3–4, 8, 14–15, 23–24, 27–28,
29–30 and 32–33. Also notice how frequently
this idea crosses the bar line. So even though it’s
not a motif per se, Benjamin uses it in such a way
as to create continuity through her solo. More

DECEMBER 2023 DOWNBEAT 93

 Toolshed

Nord Stage 4 Keyboard

Upgrades Enhance the Live Playing Experience, Allow More Complex Sound Design

T
he Nord Stage series has long been a ubiquitous presence in the The biggest overhaul comes in the Synth section, which is now based
keyboard market, and this year the company released the Stage on the Nord Wave 2. This greatly expands the number of sound design
4, a major redesign that’s available in three versions: 88-note fully options, including Analog, Digital Waves, FM algorithms, Super Waves
weighted, 73-note fully weighted and 73-note semi-weighted. While the and Samples. There are now three completely independent synthesizers,
familiar red chassis and form factor may look the same at first glance, so complex layers and splits are possible in a way they were not before.
there are a ton of changes and improvements on the Stage 4, both on the There is also a large LCD screen dedicated to the synths, so editing is a
front panel and under the hood. snap. The arpeggiator has gotten a big upgrade, with new functional-
The familiar three-section architecture remains, with Organ, Piano ity and sequence ability, all made easier by the screen. The sound of this
and Synth engines, but all have been upgraded to Nord’s latest technol- engine is really versatile, and I was able to dial in everything from huge
ogies. Gone is the “two panel” architecture in favor of volume sliders for analog pads to brilliant digital textures in minutes. The filters are also
each section that allow for multiple instances of each engine to be used new, and have a plethora of types and options to choose from.
simultaneously and adjusted separately — two each for the Organ and Another major upgrade has come in the Effects section. On previous
Pianos, and three for the Synth section. This allows for more complex Nord Stage models, the effects were global to whatever program you
sound design, and also improves usability for live playing to a huge degree. were in, but now all effects are independently available to all synth and
The Organ section now features physical drawbars on all the mod- piano layers, and to the pair of organ layers. This change was a main
els, including the 88-key, alongside the LED bars that show you where driver to making all of these layers independent for all sections, and it
a given preset is. The B-3, Vox, Farfisa and two Pipe Organs are all here allows for a ton of options for your sound. On top of this, Nord greatly
and upgraded, as well as a new B3 Bass mode, making easy splits with expanded the effects options, introducing new reverbs and a new spin
dedicated bass drawbars for the left hand or pedals. The Leslie simu- effect, and now all the effects options have a variation, which effective-
lation has also been upgraded to the same one as the Nord C2D, and ly double your options. This level of effects manipulation and indepen-
sounds great. dence is some of the best I’ve seen on any stage keyboard.
The Piano section features a wide array of acoustic and electric pia- Usability was clearly a focus of the redesign, and that is most appar-
nos, clav, harpsichords and an assortment of other keyboard sounds, ent in the new Program section. Nord has expanded the number of pro-
and many additional types are downloadable for free from the Nord grams available, and these are accessed through eight buttons (up from
website. New levels of control over the sound have been added here, five on the Stage 3) for each page of programs, including Nord’s Live
including multiple EQ profiles for the pianos and clavs, string resonance mode.
and half-pedaling. When you add the new triple pedal you get full con- I have been a Nord Stage user since the Stage 1, and every new model
trol over sostenuto and una corda options as well. The Unison mode brings significant changes and upgrades. The Stage 4 takes the biggest
allows for piano doubling and tripling with no loss of polyphony. This leap yet. The great new sounds and the flexibility of the Effects section,
section now has two completely independent layers that are separately coupled with all the usability enhancements, will surely expand Nord’s
adjustable on the fly, which makes dynamic layers and splits simple. The dominance in the stage keyboard market. —Chris Neville
new triple sensor keyed on the 88-key version feels amazing, too. nordkeyboards.com

94 DOWNBEAT DECEMBER 2023

DECEMBER 2023 DOWNBEAT 95
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96 DOWNBEAT DECEMBER 2023

 DB Buyers Guide
Bari Woodwind....................... 74 Jesse Dietschi......................... 14 Patois Records.........................12
bariwoodwind.com jessedietschi.com patoisrecords.net
Billy Mohler............................64 JJ Babbitt................................19 Peterson Tuners........................ 2
billymohler.com jjbabbitt.com petersontuners.com
Blue Note Records...........4, 5, 87 JodyJazz..........................85, 100 Resonance Records..................71
bluenote.com jodyjazz.com resonancerecords.org
Bob Baldwin............................ 74 JoVia Armstrong.................... 85 Rovner.................................... 87
bobbaldwin.com joviaarmstrong.com rovnerproducts.com
Candid Records........................21 Légère......................................13 Ruby Slippers
candidrecords.com legere.com Productions.............................. 8
Cannonball Music.................... 11 Machete Records.................... 73 lisahiltonmusic.com
cannonballmusic.com johnsantosofficial.com Sarah McKenzie.......................31
Capri Records.......................... 87 Mack Avenue Records............ 83 sarahmckenzie.info
caprirecords.com mackavenue.com Shawn Maxwell....................... 74
Casio......................................... 9 Manhattan School of Music.... 34 shawnmaxwell.com
casiomusicgear.com msmnyc.edu Smoke Sessions................6, 7, 78
Cellar Live............................... 14 Masumi Ormandy................... 70 smokesessionsrecords.com
cellarlive.com masumi-ormandy.com SteepleChase Productions.......12
Craft Recordings..................... 79 MVD Entertainment Group – steeplechase.dk
craftrecordings.com Brubeck Editions.................... 62 Storyville................................ 85
Crooners Lounge & Supper Club.... 32 mvdshop.com; storyvillerecords.com
croonersloungemn.com brubeckeditions.com TAO Forms / AUM Fidelity....... 85
David Rife & James Langdon.... 87 MVD Entertainment Group..... 63 aumfidelity.com
amazon.com/author/davidrife mvdshop.com Tapestry.................................. 85
DownBeat.......... 8, 45, 54, 61, 95 MVD Entertainment Group – caprirecords.com; sallesjazz.com
downbeat.com Mads Tolling........................... 87 Ted Klum Mouthpieces........... 72
Ear Up Records........................ 59 mvdshop.com / madstolling.com tedklum.com
earuprecords.com NJPAC – New Jersey U.S. Air Force Band................. 69
Elemental Music......................51 Performing Arts Center...........16 music.af.mil/bands
elemental-music.com njpac.org Vandoren.................................. 3
FocusYear Basel...................... 67 Nonesuch Records.................. 33 dansr.com
focusyearbasel.com nonesuch.com Victory Musical Instruments.... 57
Fresh Sound Records.............. 74 Origin Records........................ 25 victorymusical.com
freshsoundrecords.com origin-records.com Vin Venezia............................ 74
HighNote Records................... 27 Øyvind Jazzforum................... 87 vincentvenezia.com
jazzdepot.com oyvindskarbo.com William Paterson
Initiative Musik...................... 53 P. Mauriat............................... 99 University............................... 65
initiative-music.de pmauriatmusic.com wpunj.edu
JEN – Jazz Education Network.... 35 Palmetto Records....................15 Yana Tech............................... 74
jazzednet.org palmetto-records.com yanatech.store

DECEMBER 2023 DOWNBEAT 97

 MARK SHELDON
Blindfold Test BY MICHAEL JACKSON

Nduduzo Makhathini
M uch powerful and resonant music has emanated from South
Africa and, in part due to the reprehensible cultural scatter and
exile caused by apartheid, only occasionally has the world paid enough
attention. The blend of bittersweet serenity, melancholy and inner-
mounting-flame in the oeuvres of Abdullah Ibrahim and Bheki Mseleku
— back-filtered through the transatlantic diaspora and Ellington, Monk
and McCoy Tyner — has been absorbed by Nduduzo Makhathini, who
has emerged over the course of 10 leader albums into a perennially quest-
ing, paradoxically grounded force. His sophomore album on Blue Note,
In The Spirit Of Ntu, strives to distill spiritual essence and cleave closer Nduduzo Makhathini, on stage at the 2023 Detroit Jazz Festival.

to universal truths. A philosopher wont to deliver articulate thesis state-

ments between bouts at the piano, Makhathini is, onstage and in person,
Don Pullen
uncommonly warm and receptive. His first Blindfold Test mixed cur- “Endangered Species–African American Youth” (Random Thoughts, Blue Note 1990),
veballs and shoe-ins at the Detroit Jazz Festival, where he triumphant- Pullen, piano: Lewis Nash, drums; James Genus, drums.
ly culminated a U.S. tour with drummer Francisco Mela and bassist Makhathini: Hmm, might have been influenced by Don Pullen.
Zwelakhe-Duma Bell le Pere. Jackson: I knew you’d get it, as soon as the elbows came into play with the
keyboard.
Sean Bergin & Ernst Reijseger Makhathini: Haha, I heard it from the beginning! An incredible piano
“For The Folks Back Home” (Mistakes, Broken 1979), Bergin, tenor saxophone; Rei-
player, I didn’t know he died at 53. Do you know his “Ode To Life”? One
jseger, cello.
of the most beautiful tracks I know.
Nduduzo Makhathini: That’s from South Africa, definitely.
Jackson: Tell us something else you like about Pullen.
Michael Jackson: It was recorded in Cornwall in the ’70s, though. The sax-
Makhathini: There’s the lexicon, what we think of as the jazz language, it’s
ophone player is from Durban, and it’s not guitar but cello played side-
got such a gravitation that to find anything new as a pianist is difficult,
ways, by a Dutchman.
almost everything was done in the ’60s already. So I really respect people
Makhathini: Not Dudu Pukwana, right? The flavor was obvious in a sec-
who could learn this vocabulary and find a way to express it in a way that
ond, pointing to us. I never heard him but can tell he’s from South Africa
is so unique. Maybe in one note you can tell it is Don Pullen. I guess you
and came from the sound of (saxophonist) Kippie Moeketsi.
could say the same about Randy Weston, Monk, all these pianists that
Bheki Mseleku have not so much transcended the canon as dialogued with it.
“Melancholy In Cologne” (Star Seeding, Polygram 1995), Mseleku, piano; Charlie Ha-
den, bass; Billy Higgins, drums. Johnny Dyani
“Radebe,” (Witchdoctor’s Son, Steeplechase 1978), Dyani, bass; John Tchicai, Dudu
Makhathini: [after only a few notes] “Melancholy In Cologne,” Charlie
Pukwana, alto saxophone; Alfred do Nascimento, guitar; Luis Carlos de Sequeira,
Haden, Billy Higgins! [Bheki Mseleku] was my teacher and would be very drums; Mohammed al Jabry, percussion.
disappointed if I didn’t guess his sound in the first three seconds. He had Makhathini: This song is called “MRA.”
a way of thinking about music and philosophy that informed his compo- Jackson: No, it isn’t, smarty pants!
sitional technique, around his ideas of an afterlife. He always wanted to Makhathini: “Radebe!” Definitely Johnny Dyani and Dudu Pukwana.
compose music that he called “endlessness,” that produces this energy of
continuity, and he played with Pharoah Sanders, Elvin Jones, here with Abdullah Ibrahim & Ekaya
Billy Higgins, and he toured with Joe Henderson. Bheki ended up frus- “Sotho Blue” (Sotho Blue, Sunnyside 2011), Ibrahim, piano; Jason Marshall, baritone
saxophone; Keith Loftis, tenor saxophone; Cleave Guyton, alto saxophone/flute; An-
trated. He put out the album Home At Last but was having difficulty with
drae Murchison, trombone; Belden Bullock, bass; George Gray, drums.
the notions of home after exile. When South African musicians, includ-
Makhathini: I’ve definitely heard that before, it’s going to come. … The
ing [Hugh] Masekela and [Miriam] Makeba, returned post-apartheid in
arrangement is by Abdullah Ibrahim, I just met him recently for the
1994, they were well-received due to speaking exclusively about politics
first time. He has some origins there, from the north of the country, the
and societal ills. Instead, he was talking in a different language about
Besotho people who were led by King Moshoeshoe. They have this bril-
spirituality, didn’t get a single gig and returned to London.
liant music with really unique scales and rhythm. The language they
speak, Sesotho, informs the way they articulate the sound. It’s real-
Muhal Richard Abrams ly interesting when you meet musicians from different geographies in
“Imagine” (Song For All, Black Saint 1997), Abrams, synthesizer.
South Africa.
Makhathini: The arrangement made me think of Anthony Braxton and the
Jackson: You know what? We’ve been preoccupied enjoying the music
AACM movement.
and egregiously failed to allocate any stars! How many stars, out of 5, for
Jackson: It’s the éminence grise of the AACM, the mastermind behind
this one?
the operation.
Makhathini: A million stars!  DB
Makhathini: The one who wrote the book?
Jackson: George Lewis? No, but that’s a good guess given Lewis’ pioneer-
The “Blindfold Test” is a listening test that challenges the featured artist to discuss and identify
ing work with synthetic sounds and interactive computer music. the music and musicians who performed on selected recordings. The artist is then asked to rate
Makhathini: [afterwards] Ah, yes, he is featured in the book. each tune using a 5-star system. No information is given to the artist prior to the test.

98 DOWNBEAT DECEMBER 2023

DECEMBER 2023 DOWNBEAT 99
100 DOWNBEAT DECEMBER 2023