JazzTimes - January February 2020

R NG
year in review: the top 50 releases • john mc laughlin

EA I
Y AT
S
R
50 EB
L
CE
A Keyboard Master
Stays in TUne
KRIS DAVIS
Mixes and Matches
MICHEL CAMILO
Big Band, Big Stories
JOANNE BRACKEEN
Goes All the Way
+
Emmet Cohen
Dave Grusin
Jacky Terrasson
Fabian Almazan
Carmen Sandim
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CONTENTS JANUARY/FEBRUARY 2020 x VOLUME 50 x NUMBER 1
In every issue
Features 3 JT Notes
4 Opening Chorus
ECM turns 50 (and so does JazzTimes),
a documentary on Dave Grusin, Fabian
THE TOP 50 ALBUMS OF 2019
22 From untold thousands of jazz releases both new and historical, our
Almazan, Carmen Sandim, Senri Oe,
farewells to Ray Santos, Fred Taylor,
contributors picked their absolute favorites and commented on a few. Gerry Teekens, Jan Erik Kongshaug,
For those who haven’t already seen the list on our website, we won’t give and Mary Ann Topper
anything away on this page. (And if you have already seen it online, don’t
13 The Scene
be a spoilsport, okay?)
Brooklyn’s Bar LunÀtico
14 Chronology
CHICK COREA
28
Ethan Iverson on three late great
From Mongo to Miles to Circle—and from Return to Forever through piano men
combos Akoustic and Elektric to the Spanish Heart Band—Corea has had 16 Before & After
a remarkable life in music. Now, at 78, he’s busier than he’s ever been. Emmet Cohen
Tom Moon sat down with the keyboard maven to find out how he does it.
20 Overdue Ovation
Joanne Brackeen
KRIS DAVIS
34 For her latest album Diatom Ribbons, the daring pianist gathered together
46 Audio Files
Brent Butterworth on amplified
an astonishing array of players, including Esperanza Spalding, Nels Cline, speakers
JD Allen, Ches Smith, Terri Lyne Carrington, and turntablist Val Jeanty. And
48 Chops
yet, she tells Shaun Brady, she still feels wary of being pigeonholed.
The Real Book gets reharmonized
50 Gearhead
John McLaughlin goes hi-tech, plus
products from KRK and Expressive E
52 Album Reviews
Chet Baker, Tomeka Reid, and more
63 Ad Index
64 Artist’s Choice
Jacky Terrasson praises pianists you
40 MICHEL CAMILO
The Dominican Republic, Harvard University, Leonard Slatkin, and George
know right away
Wein (of course)—all play major roles in the history of Michel Camilo. To
celebrate the 25th album of his career, he delved back into that history and Cover image of Chick Corea by Mad
came out with a big-band gem called, appropriately, Essence. Camilo told Hatter Studios; Table of Contents image
by Frankie Celenza
Jeff Tamarkin plenty about that, and much more.
JA Z Z T I M E S .C O M 1
what's on
JAZZTIMES.COM
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x Exclusive Content J. West, David Whiteis
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Contributing Photographers & Illustrators
Anthony Buzzeo
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Jati Lindsay, Alan Nahigian, John Rogers, Nick Ruechel, Sarah MacDougall
sit down for a roundtable chat; and Lee Jack Vartoogian, Michael Weintrob, Michael Wilderman
Mergner selects the top jazz memoirs and
biographies in our biweekly JazzTimes 10 Editorial Consultant
Matthew Kassel
list. Plus album reviews and much more.
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x JT Blog
Congratulations to guitarist Evgeny Po- Operations and Front Desk Coordinator WordPress Developer
bozhiy (right), the first Russian winner of Toni Eunice David Glassman
the Herbie Hancock International Jazz Human Resources Manager
JATI LINDSAY (HANCOCK COMPETITION FINALISTS), COURTESY OF SANBORN SESSIONS (KANDACE SPRINGS)
EXECUTIVE
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JAZZTIMES FOUNDER: IRA SABIN (1928-2018)
2 JA Z Z T I M E S J A N U A R Y/ F E B R U A R Y 2 0 2 0
JT NOTES
Sacred Spaces
t the heart of pianist Jason Moran’s in between into something
#
Ì recent exhibition at the Whitney special, memorable, even sa-
Museum of American Art in New cred is no novel observation.
York—the first full-fledged museum It certainly must have been
survey of his work, simply titled “Jason on the minds of the folks who
Moran”—were three life-size stage sets. reopened the legendary Café Inside the “new”
Each replicated a long-gone venue that Bohemia in its original West Café Bohemia
had once played an important role in the Village location last October.
history of jazz: the Savoy Ballroom in As of this writing, I haven’t
Harlem, the Three Deuces on West 52nd paid it a visit yet, but the mere thought look forward to celebrating five decades
St., and Slugs’ Saloon in the East Village of hearing new sounds in the same room of those connections with you in 2020.
(the latter complete with sawdust on the that Art Blakey and Cannonball Adder- MAC RANDALL
floor and a fallen chair, clearly meant to ley brought alive in the 1950s is thrilling.
evoke memories of trumpeter Lee Mor- As JazzTimes enters its 50th-anni- Sour Notes: In our November feature on
gan, who met his gruesome end there in versary year, I’d like to think that this Roy DeCarava, we misidentified DeCarava’s
1972). Over the course of the exhibition, magazine has become one more such widow; she is Sherry Turner DeCarava, not
various musicians performed in each of sacred space. It may only physically Sherry Tucker DeCarava. And our December
these “rooms,” sometimes moving from exist on a few square inches of paper (or obituary for Harold Mabern incorrectly stated
one to another, as if to call up different screen, depending on your preference), that he had retired from his faculty position
JOSEPH ROSEN
spirits for different songs. but somewhere between that artifact at William Paterson University in 2017; in fact,
That the presence of music can turn and the reader’s mind an emotional con- he taught a full schedule of classes there on
four walls, some furniture, and the air nection is made—and jazz happens. I the day he died. We regret the errors.
NEW from award winning composer
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OPENING CHORUS ECM 50 x DAVE GRUSIN FILM x FABIAN ALMAZAN x
L to R: Giovanni Guidi, Joe

Lovano, Enrico Rava, Dezron
Douglas, and Nasheet Waits
The Munich Connection On this evening, over approximately

three hours, 32 musicians combined to
play 20 pieces. Although ECM’s work in
An all-star crew of more than 30 musicians celebrates the classical and new-music realms was
ECM Records’ 50th anniversary represented—Meredith Monk played
the still-striking meditation “Gotham
Lullaby” from her 1981 debut for the
label, Dolmen Music, and cellist Anja
o say that there is a single ECM solely by room ambience or bolstered by Lechner paid homage to the 18th-cen-
6
Ì Records sound is to oversimplify a artificial means; a focus on capturing the tury German composer Carl Friedrich
catalog that now encompasses more intellectual interplay between musicians Abel—jazz was first and foremost, ap-
than 1,600 albums. One suspects that if (or the thought processes within one mu- propriately given both the surroundings
the late Jan Erik Kongshaug, who engi- sician) and treating the rhythmic feel they and ECM’s history.
neered hundreds of those albums, were create or imply as a byproduct of those On record, a little of the Eicher vibe
still with us, he’d coolly dispute such a processes; a certain aesthetic refinement, can go a long way (and I say this while
statement with a nuts-and-bolts response, even when the volume rises. also acknowledging with gratitude that
pointing out the many different models All of these traits were on display Nov. my life has been irrevocably altered
of microphones he used over the years, 1 at Jazz at Lincoln Center’s Frederick by numerous ECM releases). But on
how he placed them in different positions P. Rose Hall for the first of two all-star a concert stage in the moment, it’s a
in different studios and enhanced their concerts honoring ECM’s 50th anniver- different matter, as the warmth that
LUCIANO ROSSETTI ©PHOCUSAGENCY
output with different types of reverb sary, the culmination of a year of cele- passes between the players is palpable.
units. All true enough. But even so, a bratory performances around the world You could feel it as guitarist Bill Frisell
few general, long-established traits of the by various artists on the label’s distin- and bassist Thomas Morgan tossed little
Munich-based label that Manfred Eicher guished roster. (Eicher himself wasn’t in jewel-like phrases to each other during
has helmed since 1969 are undeniable: the house, but he sent a note of con- a lovely rendition of Paul Motian’s “It
an emphasis on the space around and be- gratulations and thanks that was read Should Have Happened a Long Time
tween instruments, whether it be defined to the audience before the show began.) Ago”; as Vijay Iyer, switching between
x JazzTimes 10: Landmark ECM albums

CARMEN SANDIM xSENRI OE x FAREWELLS
Fender Rhodes and acoustic piano, communed with

trumpeter Wadada Leo Smith on the ominous “Rite”; and
as saxophonist Joe Lovano and pianist Marilyn Crispell
explored the many possibilities within the minor/ma- JT A look back at
jor-seventh chord over Carmen Castaldi’s percussion on
“Seeds of Change.”
50 notable issues in our
five-decade history
Later on, pianist Ethan Iverson—wearing a T-shirt with a
vintage ECM logo—joined with saxophonist Mark Turner This month: September 2000
for a take on the former’s composition “Showdown.” Back in In 2000, our computer systems and infrastructure did not
the summer at Newport, I’d heard Iverson play the tune by simultaneously crash and cause a Y2K-induced apocalypse.
himself in dramatic, cathartic style; Turner’s tenor gave the JazzTimes turned 30 that year, and to recognize that marker
same melody a new sweetness and a sense of deep accep- of youth gone by, we put together an anniversary issue
tance. The subtly barbed byplay of trumpeter Avishai Co- that ended up being both timely and timeless, and for
hen and pianist Fabian Almazan on “Shoot Me in the Leg” the first time featured no image on the cover, just text—
was notable too, as was the very ECM move Cohen pulled: appropriately for the content inside.
walking over to the piano and aiming his horn under the lid The September 2000 issue was anchored by long-form
at the strings below (the resonance, y’know). essays on the three preceding decades in jazz—Chip Stern
Because ECM has been responsible for so many memo- on the ’70s, Bob Blumenthal on the ’80s, and Peter Watrous
rable solo piano recordings (Keith Jarrett’s mystical opuses on the ’90s—as well as eight shorter pieces on various
like Facing You and The Köln Concert being only the most genres of jazz, such as mainstream, avant-garde, fusion,
famous), it was fitting that pianists took sole possession of Latin jazz, smooth jazz and more, from contributors like
the spotlight several times during the show. Egberto Gis- Stanley Crouch, Bill Shoemaker, and Bill Milkowski. A serious
monti opened the evening with a medley of “Infância” and jazz fan could well guess
who did what. The writing
“Forrobodó” that was by turns bouncy and rhapsodic. Craig
throughout was both
Taborn imbued an improvisation based on his Avenging
incisive and colorful, and
Angel album with icy intensity. And Nik Bärtsch, dressed
it well reflected what was
in his usual loose black martial-arts-studio garb, tapped
going on as JazzTimes grew
out a stark Morse-code message that ended up beaming us into a mature publication.
straight to the Crab Nebula in “Modul Five.” Another capti- It wasn’t all black ink either,
vating solo spot was bassist Larry Grenadier’s; his “Oceanic” as we commissioned several
offered a combination of bow work and natural harmonics accomplished visual artists
that at times seemed to stretch the limits of the possible. to provide vivid images for
The groups that wrapped up the concert’s two sets the Anniversary section.
nodded to the label’s illustrious past while also suggest- Also inside the September
ing directions worth pursuing in the future. For the title 2000 issue was a riveting
track of their 2016 In Movement album, drummer Jack excerpt from a book by Ashley
DeJohnette, saxophonist Ravi Coltrane, and electric bassist Kahn on Miles Davis’ album
Matthew Garrison built from quiet abstraction to a heavy Kind of Blue. Ashley would
funk-infused groove to end the first half. When Garrison go on to preview more of his work in JazzTimes, including
kicked on his distortion pedal, the sound probably got as a 10,000-word piece on Impulse! Records that later turned
close to Black Sabbath as has ever been heard in Rose Hall into the book The House That Trane Built. Dan Morgenstern
(though my inner metalhead wished it were louder). chronicled the founding and evolution of the magazine in
For the night’s final segment, trumpeter Enrico Rava— a piece that captured the particular charm of its founder,
celebrating his 80th birthday in 2019—reunited with Lo- the swinging Ira Sabin. I compiled a quirky Best of Leonard
Feather’s Before & After column, showing the entertaining
vano, pianist Giovanni Guidi, and bassist Dezron Douglas
results when Leonard would throw his curveball of playing
for a reprise of two songs from their live album Roma,
a Sun Ra or avant-garde cut for mainstream artists such
one of the outstanding jazz releases of the year; Nasheet
as Stan Getz, Artie Shaw, Joe Pass, and others. The issue
Waits more than ably filled the shoes of Gerald Cleaver,
ends with Nat Hentoff’s Final Chorus column, featuring his
the drummer on that album. As Lovano and Rava’s lines typically frank assessment of the legacy of jazz journalism.
loosely danced around each other, sort of together, sort of With its September 2000 edition, JazzTimes had not only
not, echoes of Dewey Redman’s Old and New Dreams (who come of age but had also produced a literary tribute to the
recorded two albums for ECM 40 years ago), and of the music, the artists, and itself. LEE MERGNER
classic Ornette Coleman Quartet that inspired it, weren’t
hard to hear. Not surprisingly, their closing tune was
Lovano’s “Fort Worth,” which namechecks the hometown
of both Redman and Coleman, and left the audience with a
savory and welcome taste of the blues. MAC RANDALL
OPENING CHORUS x Profile: Dave Grusin in 1998
traces the now 85-year-old artist’s ascent

from singer Andy Williams’ pianist/
bandleader (in one delightful clip, a
twentysomething Grusin participates
in a comedy bit with Williams and Jack
Benny on Williams’ 1960s TV show) to
Hollywood giant.
Throughout the film, Grusin is open
and reflective about his life and work.
He says when composing his scores, the
visual dictates the music he’ll create.
“The thing that impresses me about a
film and that triggers any kind of idea
isn’t what the story is about at all—or
has very little to do with it,” he ex-
plains. “It’s what it looks like.” Bentree
adds that during production, “someone
said something about color. [Grusin]
said, ‘I don’t see color. I hear it.’”
Andy Williams’ band included
a drummer named Larry Rosen,
and in 1978 he and Grusin formed
Grusin-Rosen Productions, which
became GRP Records. In the film,
bassist Marcus Miller says he thinks it
was the pair’s ability to speak the same
language as the artists on their roster
that set GRP apart from other labels.
“You didn’t get in the music business
unless you were a music lover,” he
says. “But there’s another level when
Time’s on His Side

you’re talking about somebody like
Dave Grusin, Larry Rosen, who were
musicians, who could communicate to
the musicians if something wasn’t right
Pianist, composer, and exec DAVE GRUSIN exactly what wasn’t right. And I think
is the subject of a revealing new film that made it special.”
GRP embraced the then-nascent CD
technology, becoming the first all-dig-
uring the documentary Dave Maude, Good Times, and Baretta. As a ital label. Says guitarist Lee Ritenour,
Ì& Grusin: Not Enough Time, there’s a recording artist he’s won 10 Grammys, one of the label’s stars, “They beat all
clip of the keyboardist and compos- and as the co-founder of the massive- the big guys, because the big guys were
er seated at his piano during a concert. ly successful jazz label GRP Records still so invested in vinyl.” Grusin cred-
He tells the audience, “I have a gratitude he helped pioneer digital recording its Rosen, who died in 2015, for much
factor that I can’t even express about technology. We all know his work, yet of GRP’s success, and he dedicates
being allowed to have this kind of life.” many people don’t know his name or Dave Grusin: Not Enough Time to his
And what a life it’s been. Over a the astonishing breadth of his artistry. former partner’s memory.
career spanning six decades, Grusin Dave Grusin: Not Enough Time aims to Remarkably, music wasn’t Grusin’s
touched virtually every corner of the change that. first ambition. Growing up in Littleton,
entertainment world. He scored dozens “For a long time, we were going to call Colorado as the eldest of three chil-
of major films, including Tootsie, The the film He Did That?” the documen- dren (brother Don is also a successful
Firm, The Fabulous Baker Boys, and tary’s director and producer, Barbara jazz keyboardist), he was profoundly
On Golden Pond, earning eight Oscar Bentree, says by phone from her Santa influenced by his father Henri, a Latvi-
nominations and winning one, for his Fe home. “I didn’t even know some of an-born watchmaker and accomplished
score of The Milagro Beanfield War in the stuff that he had done.” violinist who saw to it that his children
1988. He composed the themes to a Part oral history, part affectionate received music lessons.
slew of hit TV shows like St. Elsewhere, tribute, Dave Grusin: Not Enough Time But Grusin wanted to be a veteri-
narian, and in the film he recalls that
shortly before he was due to begin Larry Rosen (L)
veterinary studies, he experienced what and Grusin in
he calls “this terrible pang of guilt about younger days
my father having put all this time and
energy into my music education.” He
adds, “He never discouraged me from
going this agricultural route, but I kept
thinking, ‘Wait a minute. Maybe I ought
to try music for a minute just to see if it
would work. I know it would make him
happier—even if he wouldn’t admit to
it.’” Years later, when Grusin’s alma ma-
ter, the University of Colorado, Boulder,
wanted to name its music hall for him,
he asked that the university name it in
honor of his father.
Although he continues to perform
live and create music for select projects,
Grusin leads a quieter life these days.
The documentary includes scenes of
him fly-fishing in a river near his ranch
in Montana surrounded by magnificent screened last year at jazz and film “My deepest hope is just that he feels
scenery, and affectionately playing with festivals, and Bentree says she expects it like it’s been a good ride and that he’s
a child—presumably a grandchild— to be available on streaming platforms made a contribution. And certainly, I
ANDY BALTIMORE
while sitting at a beautiful blonde Stein- throughout the first quarter of this year. know he’s starting to get a sense of how
way piano at his home in New Mexico. “I think it’s been an opportunity for much people have appreciated him.”
Dave Grusin: Not Enough Time [Grusin] to really look back,” she says. LUCY TAUSS
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OPENING CHORUS x Profile: Fabian Almazan in 2012
vitality of its people is ever-present in

the grooves and celebrations of “The No-
mads.” Cuba’s street culture, as elevated
by the Afrocubanismo movement, is run
through a modernist’s filter for “Folklor-
ism.” And Bola de Nieve, an iconic pia-
nist/singer/songwriter, receives his due
on a Radiohead-esque, strings-enhanced
cover of Cuban rocker Carlos Varela’s
eponymous tribute. Elsewhere Almazan
approaches his own lineage with a
creative bent, exploring the evolution of
familial roles on “Uncle Tio” and saluting
his parents and their resilience on “Pet
Steps Sitters Theme Song.”
The Cuban artists who paved the
way for Almazan’s pursuits receive
their due on “The Poets,” a composi-
tion influenced by musica campesina,
a nature-themed style of music with a
freestyle-poetry slant to its structure.
Roots to Hold Close, The opening to that track, featuring the
poet El Macagüero de Pinar delivering a
Wings to Set Free decima, as the 10-line poems are called,

was the result of an unplanned encoun-
ter. Captured in the moment on a cell
FABIAN ALMAZAN returned to his native Cuba—and its phone, it came to represent a meeting of
birds—for his latest project, This Land Abounds with Life two worlds for Almazan. “Because I left
Cuba relatively young,” he says, “I have
this Never Never Land Peter Pan thing
abian Almazan left Cuba with his While speaking directly to one of where my childhood and adulthood
Ì( parents, fleeing an oppressive at- Almazan’s reasons for return, that use of were disconnected. And honestly, that
mosphere, when he was only nine birdsong also touches on a larger theme: [meeting with Pinar] was the point
years old. Approximately 23 years later, a the intersection of man and nature. It’s a where my whole life just connected. It
two-pronged purpose brought the cele- concern that surfaces in “The Everglades,” was a very meaningful experience.”
brated pianist back. “Terence Blanchard a meditation on the seasonal wonders of As with previous efforts like 2017’s Al-
was performing at a festival in Cuba,” the the titular swamplands, and it’s a subject canza, This Land Abounds with Life was
longtime Blanchard sideman explains. of prime importance in his work. “Differ- released on Almazan’s own Biophilia im-
“But I was planning on going anyway ent pieces on the album reflect the nature print, an eco-friendly label that eschews
because of a Jerome Foundation grant theme more than others, but I definitely waste. The origami-inspired packaging,
that I had received to record the endemic wanted to have nature play the role of made from FSC-certified paper and
birds in Cuba, and then the resulting being at the center of most of the issues containing a download code, appeals to
album, This Land Abounds with Life.” that we have as human beings.” those who seek tangibles like liner notes
Featuring Almazan’s longstanding Almazan also explores the darker side while eliminating the use of CDs and
trio with bassist Linda May Han Oh of those issues. “Jaula,” Spanish for “cage,” vinyl. Almazan, Oh, and like-minded
and drummer Henry Cole, that release was inspired by a 2013 visit to Johannes- artists such as saxophonist María Grand
artfully integrates Cuba’s birds into its burg’s Apartheid Museum and envisions and trumpeter Adam O’Farrill have all
story. Field recordings that Almazan Nelson Mandela’s imprisonment while released projects through Biophilia.
captured on the eastern edge of the is- alluding to post-apartheid South Africa’s “I understand it’s an enormous
land introduce “Songs of the Forgotten,” raw wounds. “Benjamin,” a frenzied yet problem we have with climate change,
a composition referencing the personal focused number, nods to George Orwell’s and this is just a drop in the bucket,”
and prevalent topic of displaced persons, Animal Farm, which was banned in Almazan says. “But any true movement
but those sounds are also sewn into Cuba. For both pieces, Almazan’s mes- has to have some sort of cultural shift.
the number’s DNA. “I literally took the sage is the same: “It’s important that we I’m not a climate-change scientist, and
pitch material from the birdsongs,” he don’t forget the past so we don’t repeat the neither are any of the artists on the label,
CLARA PEREIRA
explains. “It might be a little subtle, but same mistakes of our predecessors.” but I think this helps because we spark
it’s the song of the chichinguaco, which In Almazan’s hands, Cuba’s cultural a conversation, and that in turn creates
is one of the native birds of Cuba.” riches are painted with vivid colors. The some awareness.” DAN BILAWSKY
album offers a vibrant blend of har-
monically sophisticated modern jazz,
keen-edged rock influences, and rhyth-
mic accents from the composer’s native
Brazil. Despite the time that parent-
hood inevitably took away from music,
Sandim intended the title to be a playful
tribute to her son and daughter, whose
inspiration was even more essential.
“Kids do this funny thing: they just
amplify everything,” she explains. “My
heart got expanded and I felt things a
lot more, including my connection with
music. All of a sudden I felt like the muse
had become my BFF; I just had stuff
pouring out of me and I felt a lot more
desire and urgency.”
Classically trained as a young girl,
Sandim fell in love with the Brazilian
jazz sound epitomized by Antônio Carlos
Jobim, starting her down a path that
eventually led to Boston’s Berklee College
of Music. Intimidated by her limited
English at the time, she focused more on
composing than on performance, gradu-
ating in 2000 with a B.M. in film scoring.
She then moved to Washington, D.C.,
and embarked on a successful career in
composing for radio, TV, and political
advertising. The work was lucrative but
On the Night Shift far from fulfilling.
“I thought that I’d be able to do both
To keep composing music, CARMEN SANDIM had to [music for ads and jazz], but the reality
was that I was constantly on deadline,
make a major sacrifice: sleep so I got burned out after just a few years.
Not to mention writing music for polit-
ical stuff is not exactly inspiring. Back
aising two young children as a single you love. Something’s got to give, and then it wasn’t as nasty as it is now, but it
4
Ì parent while holding down four balance is what I chose to let go of.” still didn’t feel very clean.”
teaching positions is more than Sandim’s solution was to forfeit two In 2005, she left that life behind and
enough to fill anyone’s days. Trying to nights of sleep per week. For the next six relocated to Boulder (she now lives in
juggle all that and compose an album’s months, she would stay up every Friday Denver), where she soon encountered
worth of new material had begun to feel and Monday night, composing nonstop the vital local scene centered on the
unachievable for Carmen Sandim. The from 8 p.m. to 7 a.m., when her kids, aged likes of Art Lande and Ron Miles. Many
Colorado-based pianist thought about 2 and 4, awoke. “It was a really weird, of the key figures of that scene appear
setting her music career aside—not for the surprisingly possible endeavor,” she says. on Play Doh, including Kneebody trum-
first time—when a viewing of the John “The first couple of years that I had my peter Shane Endsley and recent trans-
Coltrane documentary Chasing Trane pro- kids, when I had to stay up the whole plants Khabu Doug Young (guitar) and
vided a much-needed jolt of inspiration. night, that was horrible. When I did it on Bruce Williamson (reeds). Lande served
“I felt like I received a message from purpose twice a week, the next day would as producer, continuing the mentorship
that movie,” Sandim recalls. “There’s be great. I would be tired but so happy.” role he’s played since Sandim’s arrival.
such an intensity to both single parent- The result of those binge-compos- “I pretty quickly realized that I’d
ing and musicianship, I realized that ing sessions is Play Doh (Ropeadope), come to the right place,” Sandim said.
MEL HAYNES
there’s no such thing as balance. There’s Sandim’s sophomore release. Sounding “I feel like I found my musical family
just do what you love or don’t do what far more celebratory than fatigued, the here.” SHAUN BRADY
OPENING CHORUS x Video: Senri Oe introduces Hmmm
Instead of bemoaning his lack of

progress, Oe paused and absorbed
music. “That time changed me a lot
because I tried to listen to some other
people playing,” he says. “The music is
not standing in the center of the stage
highlighted. No … it’s communication.
Maybe someone’s phrase is like a catch
ball, and I respond to him or her.”
After recovering from his injury, Oe
righted the ship, improved as a jazz
player, and graduated from the New
School in 2012. The next year, he made
his debut on PND Records, Boys Ma-
ture Slow, featuring a two-horn quintet.
He tried a variety of configurations:
a big band on 2013’s Spooky Hotel, a
saxophone-led trio on 2015’s Collec-
tive Scribble, and a variety of vocalists
(including Sheila Jordan and Becca
From Pop to Jazz Stevens) abetting 2016’s Answer July.

Clean, melodic and funky, Oe takes
inspiration from Bill Evans, Wynton
Japan’s SENRI OE is well into his second act as a musician Kelly, Antônio Carlos Jobim, and The-
lonious Monk. “If I find the dominant
seventh in the left hand, that gives me
apanese jazz pianist Senri Oe was a Jazz at the New School in Manhattan, a very powerful moment,” he says,
,
Ì stadium-scale pop star in the 1980s which he’d been fascinated by for years; playing invisible sweeps in the air. “I
and ’90s, performing on lavishly de- in the early ’90s, Oe had stayed nearby can twist it, the mood, the air.”
signed stages with choreographed danc- and caught conversations between Oe’s latest album, 2019’s Hmmm, is
ers and exploding fireworks. He even young New School students in the his definitive jazz recording to date: nine
had a body double cavort in front of the streets. “For me, jazz music was in the breezy, appealing originals recorded
crowd while the real Oe was backstage. cabinet, but someday, I wanted to try to with bassist Matt Clohesy and drummer
“One time, the scenery was the Greek learn theory,” he said. Ari Hoenig. He recorded it directly in
Parthenon,” he tells JazzTimes. “And Oe got a teacher, bassist Osamu the wake of his father Tokio’s death from
darkness fell over all of our vision. I Kawakami, who had played with the cancer. Prior to recording, Oe flew back
hid, and fake me went out in the same alto-sax legend Sadao Watanabe, and to Osaka to see his dad for the last time
costume. I was already [offstage], and the pair cut a demo as an application to and the pair took a toast of nonalcoholic
[my double] popped out right in front the New School. Soon after, the pianist beer; the day Oe returned to New York,
of you. I went this way, but fake me was got a letter that changed his life. he learned his father had died.
still singing.” “I got mail from the New School— Although he was devastated, Oe
One day in 2007, the singer/songwrit- accepted,” Oe says, still somewhat made buoyant music. Hmmm tracks like
er walked by a glass façade, stopped, blown away. He went to the Sony office, “Re:Vision,” “Indoor Voices,” and “When
and took a good look at himself. “I saw tendered his resignation from pop, Life Was a Pizza Party” embrace a mod-
someone unknown in the shop window. and moved to 13th Street near the New ern approach that doesn’t sound much
That was me. He was not smiling in the School. One frigid January day, he like J-pop or traditional jazz. Catch his
reflection,” he says. “I tried to smile, but walked into his first day of orientation— regular gig at Tomi Jazz on Third Avenue,
in my eyes, inside, I was very serious. I and hit some bumps in the road. and you’re in for a treat: Oe vamping on
wanted to go to New York to learn jazz.” “We were going to do F blues,” he the rickety house piano like Erroll Gar-
Ever since his 1983 major-label debut says of a preliminary jam with his class- ner, grinning and gesturing at the tiny
for Sony, Waku Waku, Oe had seen the mates. “I knew the blues, but I didn’t audience like he’s still a pop phenom.
music industry’s highs and lows, and at know jazz blues form in 12 bars.” He “I was riding a rollercoaster of good
47, he was struggling to feel relevant as counted on the downbeat rather than and bad things and felt like I was in
a pop singer. “Pop music, the best time the upbeat and brought the jam to a emotional limbo,” Oe, now 59, wrote on
TRACEY KETCHER
is 20, always,” he says. “I was thinking halt. Soon after, he suffered a left-hand his website about the difficult gestation
about how life is one time, so limited.” injury that took him away from the of Hmmm. “[But] I make music to get
He decided to look up the School of piano for three months. fresh air.” MORGAN ENOS
“The Sound”
as requested by you.
You asked for the playability and
sound of the early Otto Links.
We listened.
With structural changes both
inside and out, “the sound”
of yesteryear has been
recaptured.
Otto Link Vintage

for tenor sax.
over
www.jjbabbitt.com MOUTHPIECES FOR CLARINETS AND SAXOPHONES

OPENING CHORUS
FAREWELLS
Ray Santos, a Latin-jazz saxophon- Gerry Teekens, a record producer 75. Through his work with ECM Records’
ist, composer, and arranger whose and label owner who was passion- Manfred Eicher and at his own Rainbow
exceptional craftsmanship and depth ate in his embrace and promotion of Studios in Oslo, Kongshaug helped put
of musical knowledge earned him straight-ahead jazz artists (especially his country’s jazz music on the map. As
the nickname “El Maestro,” died Oct. in the United States), died on Oct. 31 in of his death, he had been engineer on
17 from congestive heart failure at a Enschede, the Netherlands. He was 83. some 700 ECM studio albums, nearly
hospital in the South Bronx. He was 90. Himself a veteran drummer, Teekens was half of the label’s catalog; he also
A lifelong resident of New York, Santos also a tour producer and promoter in the produced over 3,000 more recordings
was a member of the city’s Nuyorican Netherlands. He founded the Criss Cross in his own right. Among the credits in
community and eventually played in the Jazz label in 1981 as a means to record his discography are the albums with
bands of both of that community’s two one of his clients at the conclusion of a which Norwegian artists like guitarist
leading musical lights, Tito Puente and European tour. Over the course of nearly Terje Rypdal and saxophonist Jan
Tito Rodriguez. Those two bandleaders, four decades, he would oversee a prolif- Garbarek made their breakthroughs, as
along with the Cuban American Machi- ic and beloved recorded legacy of over well as numerous titles by Keith Jarrett
to—with whom Santos also played— 400 albums on that label—nearly all by and Pat Metheny. Long recognized as
formed the “Big Three” of mambo one of the world’s foremost sound
music. He later lent his saxophone specialists, Kongshaug twice won
and arranging talents to Dizzy the Spellemannprisen, Norway’s
Gillespie, Eddie Palmieri, Mario most prestigious musical award; in
Bauzá, and Celia Cruz, cementing January 2019, he received the King’s
his place as a major figure in the Medal of Merit from the Norwegian
world of Afro-Latin music. Santos government, his nation’s highest
was best known, however, for two civilian honor.
projects from 1992: the soundtrack
to the motion picture The Mambo Mary Ann Topper, manager to nu-
Kings, on which he served as musi- merous notable jazz artists including
cal director and primary arranger, Ray Brown, Diana Krall, Joshua
and Linda Ronstadt’s Grammy-win- Redman, Jane Monheit, and Ron
ning album Frenesi. He remained Carter, died on Nov. 14 in Hyndman,
active until 2018 as a performer, Pa., where she had been living for
writer, and conductor. the last few years. She was 79. Top-
Gerry Teekens per had a long history as a starmaker
Fred Taylor, a jazz impresario who (1935-2019) and could rightfully claim credit for
presented legends and emerging launching the careers of more than
artists alike in the Boston area for a dozen successful jazz artists. After
more than five decades, died on spending approximately 15 years
Oct. 26. He was 90. As the founder of American artists, whom Teekens would as a music educator and vocalist, she
two of the Massachusetts capital’s seek out and record on his biannual founded her own management company,
most important jazz clubs—Paul’s trips to New York. “There are never any the Jazz Tree, in 1980 and started
Mall and the Jazz Workshop—Taylor restrictions on my dates; I just let the working with greats such as Brown, J.J.
promoted artists such as Miles Davis, musicians play their music,” Teekens Johnson, Jim Hall, Tony Williams, and
Duke Ellington, and Charles Mingus told jazz journalist David R. Adler in 2003. Carter. She soon transitioned into man-
during the height of their careers. He “As long as the music has some fire and aging more up-and-coming artists and
went on to book jazz and even some some blood, I’m happy.” became known for raising their profiles.
pop music at venues throughout New Krall, introduced to Topper by Brown,
England, including the club Scullers, Jan Erik Kongshaug, a Norwegian was an early success story and perhaps
which he ran for more than a quar- guitarist and sound engineer who her greatest, but certainly not her last.
ter-century. Taylor had been battling was essential in the creation of the During the late ’80s and early ’90s she
cancer for the last few years, but he legendary “ECM Sound” (or “Rainbow also managed Redman, Christian Mc-
was still a ubiquitous presence on the Sound”), died Nov. 5 in Oslo, Norway Bride, Russell Malone, Benny Green, and
Boston jazz scene. from a chronic lung condition. He was several others.
ETHAN IVERSON
THE SCENE
The historically African-Amer-
Kora master and LunÀtico regular
Yacouba Sissoko (center) performs ican neighborhood of Bed-
with his band; inset: the LunÀtico bar ford-Stuyvesant used to have a
thriving jazz scene. But aside from
Sistas’ Place—which has been in
the area for close to a quarter of
a century—there isn’t much jazz
there to speak of these days, which
makes the addition of Bar LunÀti-
co all the more welcome.
Designed with salvaged materi-
als, the bar has a rustic-chic atmo-
sphere and gives off an internation-
al vibe. Kèss, a singer and guitarist,
is from Venice, and her family
once owned a club outside that city
during the late 1980s. “I carried
with me a little bit of this,” she told
JazzTimes, “that maybe one day I
would like to have my own place.”
The venue also serves food
and drinks, including a diverse
selection of cocktails. The owners
wanted the space to have a
A Club Grows in Brooklyn liminal feel, in which the music

is respected but guests aren’t told
to be quiet if they exchange a few
Bar LunÀtico, which celebrates its fifth anniversary this words during a set. Although
year, consistently brings in some of jazz's hippest names jazz is heavily represented on the
schedule, the bookings are mixed,
BY MATTHEW KASSEL
featuring funk, flamenco, and
Haitian music, among other styles.
There are dreams of buying a neigh-
hose who pay close attention to New Kèss. They are each longtime residents of boring building and expanding the club,
Ì6 York jazz will probably have noticed Brooklyn and tap their own personal net- as well as hosting weeklong engage-
that, over the past few years, a works for bookings. “We’ve been able to ments à la the Village Vanguard. But for
number of top-shelf musicians have been bring in people that are not well-known, now the owners are content that their
performing at a venue called Bar LunÀti- and they get exposed here and most often enterprise has been able to exist for as
co. Located on an unassuming residential do great,” Kell said in an interview at the long as it has—and that they’ve earned
block in the Brooklyn neighborhood of club one recent morning. the appreciation of locals,
Bedford-Stuyvesant, the matchbox-sized In a city where clubs LUNÀTICO FACTS who make up a good
club opened without much fanfare in come and go, felled by percentage of the core
> Bar LunÀtico is located
2015, despite the fact that Madeleine onerous regulations clientele.
at 486 Halsey Street,
Peyroux performed that first night. and astronomical rents, “I used to go hear
Brooklyn, NY 11233; phone
Since then, Bar LunÀtico has consis- Bar LunÀtico’s success (718) 513-0339
music all the time,” Julian
tently punched above its weight, hosting stands out. The club, said. “I went because I
an impressive array of musicians, includ- which celebrates its fifth > Admission is free, with a knew who was playing. I
recommended donation of
ing Guillermo Klein and his Gauchos, anniversary in January, went right when the mu-
$10 for the musicians
Evan Christopher, Ethan Iverson, Greg doesn’t struggle with sic was starting, ordered
Lewis, Roy Nathanson, Jon Cleary, the challenges that of- > Food and drinks are the one drink that I didn’t
and the late Henry Butler, who lived in ten plague similar DIY available really want, drank it, and
the area and helped pick out the club’s venues. For one, Kell, > The club celebrates then left. And this is just
upright piano. Julian, and Kèss own its fifth anniversary in very different people.
The bar is owned by three well-con- the building, which January They come in and are
ROSITA KÈSS
nected musicians who are also friends: insulates them from > Go to barlunatico.com for like, ‘Hey, what’s gonna
Arthur Kell, Richard Julian, and Rosita capricious landlords. the schedule happen tonight?’” JT
CHRONOLOGY x Obituary: Harold Mabern
ican students, they were hindered by

Clockwise from left: Harold racism, but also nurtured by a strong
Mabern, Richard Wyands, internal network of African-American
and Larry Willis
teachers and professionals determined to
help the best succeed.
In 2019, our feverish culture war
includes hand-wringing about the partic-
ipation of African-Americans in “classical
music,” in this case referring to music
that holds European-based presentation
as the ideal. Around the time of the death
of Mabern, Willis, and Wyands, two
think pieces from eminent critics went
viral. In The American Scholar, Joseph
Horowitz unearthed and promoted the
Negro Folk Symphony of William Levi
Dawson; in The New York Times, Seth
Colter Walls trumpeted eight operas by
black composers, including H. Lawrence
Freeman and Shirley Graham Du Bois as
well as jazz avant-gardists like Anthony
A Trio Remembered Davis and Anthony Braxton. (Regretta-
bly, the names of great composers who
The classical music of HAROLD MABERN, LARRY just happen to be black while swimming
WILLIS, and RICHARD WYANDS BY ETHAN IVERSON comfortably in the mainstream of Amer-
ican concert music—George Walker,
Ulysses Kay, and Alvin Singleton come to
n September, the jazz community The three members of the late “trio” mind—seldom appear in such articles.)
Ì+ was rocked by the near-simulta- could swing and place each articulation The impulse to present more black
neous passings of pianists Harold inside the beat with casual mastery. They composers and performers in concert
Mabern, Larry Willis, and Richard knew every standard. They could play halls and opera houses is commendable,
Wyands. Each night during his week at the blues, bebop, and modal jazz. They but those high perches are not automat-
the Village Vanguard that month, Barry were perfect accompanists for singers. ically better or longer-lasting than the
Harris sang the original farewell ballad They were ideal trio pianists. They could humbler venues inhabited by Mabern,
he has sung at the funerals of pianists quickly learn any tune off the radio and Willis, and Wyands. It would be helpful
since the death of Al Haig in 1982, this arrange it in any style for a compar- if American institutions, academics,
time dedicated to the late “trio.” atively commercial circumstance. and critics with a bent toward European
Jazz is full of grandeur, irony, and Furthermore, since Mabern, Willis, and forms kept learning about the high art
the unknowable: The minute you try to Wyands were born before the civil rights found in jazz clubs and on jazz LPs. Our
write down what it really is, the words era, the very fabric of their experience is very best American musicians are often
look wrong on the page. But one way to uniquely American. As African-Amer- hidden in plain sight. JT
frame the music of Mabern, Willis, and
Wyands might be as “classical music.” THREE PIECES FROM THREE GREATS
John Coltrane said, “The term ‘classical
> Richard Wyands, > Harold Mabern, > Larry Willis, “Lawns”
music’ means the music of the compos-
“Blues for Kosi” (Half “The Beehive” (from (from Carla Bley, Sextet,
ers and musicians of the country, more
and Half, Criss Cross Lee Morgan, Live at Watt/ECM, 1987): Willis
or less, as opposed to the music that peo-
Jazz, 1999): An elder the Lighthouse, Blue plays the melody and
ple dance or sing along with, the popular Note, 1970): Mabern’s takes a florid solo that
statesman with a
music. …There are different types of legendary younger original modal burner utterly reframes Bley’s
classical music all over the world.” rhythm section (Peter brings out the best in beautiful rock tune.
Coltrane made this argument because and Kenny Washington), an all-star quintet. His The composer was so
the name “classical music” might suggest Wyands deals out a strength and endurance impressed she named the
more sophistication than “jazz.” But faultless round of urbane were certainly striking piece for him (“Lawns” is
that’s simply not true. While the music grit. Kenny Washington athletic achievements, a diminutive of Lawrence,
ALAN NAHIGIAN
of Coltrane himself is perhaps unusually calls Wyands “perfect” but he was also an Willis’ given name). Bley:
sophisticated, all consecrated jazz musi- in the liner notes, and it’s intellectual and a poet at “That style of playing was
cians have spectacular breadth and depth. easy to hear why. the keyboard. just velvet.”
x Obituary: Richard Wyands x Obituary: Larry Willis

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process. This is what true mastery looks and sounds like.
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BEFORE & AFTER A LISTENING SESSION THAT PUTS ARTISTS' KNOWLEDGE TO THE TEST
Emmet Cohen
relaxes with a
beverage and some
tunes at NYU
Emmet Cohen
An award-winning pianist holds forth on players past and present BY ASHLEY KAHN
azz is always busy writing its own history, sharing stories Ron Carter (he calls them the “Masters Legacy Series”), reflect
,
Ì that lead to other stories. Take the documentary Keep his dedication to not only the musical tradition but the musi-
on Keepin’ On, in which trumpeter Clark Terry—facing cians as well. He’s prolific too; 2019 saw the release of his sixth
health challenges in his old age, yet unbowed in spirit—in- album, the live Dirty in Detroit with his trio (full disclosure:
spires young pianist Justin Kauflin. As their story deepens this writer was asked to pen the liner essay, and did). By the
and unfolds, Kauflin is invited to enter the 2011 Thelonious time of this publication, there’ll be two more volumes in the
Monk International Jazz Competition. He does not win de- Masters series, with saxophonists Benny Golson and George
spite Terry’s advice and lucky socks, but there’s a brief scene Coleman, respectively.
when we meet the three finalists—Kris Bowers, Josh White, On piano, Cohen is noted for the warmth, clarity, and preci-
and Emmet Cohen—and with that, the realization dawns that sion in his playing. His penchant for stride, swing, and pre-bop
the true message of the film is as much about celebrating an piano vocabulary is a characteristic he shares with others of his
undying continuum as it is about two individuals. generation like Jon Batiste and Sullivan Fortner. This was his
I mention this cinematic moment because Emmet Cohen is first Before & After, conducted at New York University’s Clive
one pianist who is acutely conscious of this lesson, and whose Davis Institute of Recorded Music in Brooklyn.
jovial spirit—the guy’s blessed with a perennial smile—is
fueled by that self-awareness. Get him started and he speaks
proudly of being part of a “particular generation in my scene— 1. Harold Mabern and Geoff Keezer
in my larger circle of pianists and musicians with the common “Jeannine” (For Phineas, Sackville). Mabern, Keezer, pianos.
thread between us that we’re all interested in studying the deep Recorded in 1995.
history of the music.”
The Monk competition was but one of many Cohen tri- BEFORE: It sounds like the pianist has four hands [winks]. That
umphs—most recently, he was awarded the American Pianists sounds like Harold Mabern playing second. I got a chance
ASHLEY KAHN
Association’s Cole Porter Fellowship. His trio performances to see him many times and he was a mentor of mine. I went
and his self-released recordings, including collaborations with to take a lesson with him when I was 20 and met him at the
jazz legends such ads Albert “Tootie” Heath, Jimmy Cobb, and [American Federation of Musicians] Union [building on 48th
x Album Review: Emmet Cohen’s Masters Legacy Series, Vol. 2
Street]. He was trying to get everyone to join but my generation master. I think it’s a really interesting match between [him and]
has nothing to do with that—you just play a gig and then go Harold—or Professor Mabs, as I would always call him—and
home. So we met but the piano room was taken so he said, “We the kind of passing of the torch, the young and the new, and
don’t need it, we’ll go sit and talk.” So we went to McDonald’s you can hear that on the recording too.
and he got himself a senior-citizen coffee and a sandwich and
he talked to me about jazz for three hours. It was one of the best
lessons I ever had. From then on, he was so nice and so kind. 2. Jon Batiste
It was surprising that he passed away last month, and “Creative” (Anatomy of Angels: Live at the Village Vanguard,
whenever [a jazz legend passes], I’ll add a tune of theirs into Verve). Batiste, piano; Phil Kuehn, bass; Joe Saylor, drums.
my trio book. So on the last couple tours we’ve been playing Recorded in 2018.
one of Mabs’ tunes—“Edward Lee,” which he wrote for Lee
Morgan—and taking the time to say his name and thank him BEFORE: I’m embarrassed, I should know these. It sounds
for his contributions. Monk-influenced to me. Wait, this is Batiste. It’s Phil Kuehn,
I could always tell when it’s Mabs. He’s one of the most iden- Joe Saylor. I was at this gig, actually. This is “Creative.” I really
tifiable pianists: just the time feel and the way he gets around like this tune—it strikes me in an emotional way. I don’t think
the harmony. He had such big hands and he used them in a it has the strongest melody to latch onto, but I don’t think it
very specific way. He had—I don’t want to use past tense—he matters. It’s a study in groove and time and feel and the way a
has such great rhythmic ideas and it’s interesting to hear both piano trio can play together in the futuristic setting, which I’m
of these pianists’ time-feel work together. very interested in.
It’s cool to hear them both play walking bass too. When you J-Bat has had a big influence on the jazz scene, especially on
hear Chick or Herbie or Brad play duo pi- his generation, which is my generation.
ano, they’ll almost never go into walking I absolutely love him and have gotten
bass. They like to leave the space open. “ When your heroes a chance to spend some time around
To pursue intensity with two pianos can become your friends him and see how he’s able to control a
take a lot of forms, and walking bass room with his music and his personality.
lines can often be overbearing in that and know your name, I love the concept of this music—how
setting. But these players are so rhyth- the musicians play together, and how it
mically strong that it feels easy. Maybe
your career goes to a comes from Marcus Roberts, his concept
James Williams is the other pianist? whole other level.” of groove and time, which became Wyn-
ton’s concept, and which has protruded
AFTER: It was in my mind that it might into almost every corner of postmodern
have been Keezer. His left hand is one of straight-ahead playing. And I love it
the best in the business, like he has two right hands. I knew it because it’s an extension also of Miles Davis’ second quintet.
was someone that had that kind of control when you go into I played with Saylor for five years every week at Smoke,
double octaves like that. Mabs has some other techniques and Phil joined my trio sometimes too. Joe is a master—one
like taking an interval and bringing it really fast down the of the most recent innovators of jazz drums, in my opinion.
keyboard—that’s a signature Mabs thing. But Keezer has the He’s got everyone that’s come before. He’s perfectly comfort-
cleanest double octaves that you could possibly have, in the able playing with Vince Giordano and the Nighthawks, and
style of Phineas Newborn. he also internalized Jeff “Tain” Watts’ concept, and Ali Jack-
son and Herlin Riley, and he uses all that seamlessly in any
In fact, the album is a tribute to Phineas. musical setting he’s in, even on the Colbert show. Joe is one
of my best friends, and it’s nice to hear him at the Vanguard
I did not know that. That makes sense, and Mabern always really playing jazz.
talked about Phineas and his spirit, his ability to play anything.
Talk about someone with two right hands, that’s a big similari-
ty between Keezer and Phineas. 3. Monty Alexander
I took one lesson with Keezer when I was in college. He “Where Is Love” (Here Comes the Sun, MPS Records). Alexander,
came to visit the University of Miami and played for the whole piano; Eugene Wright, bass; Duffy Jackson, drums. Recorded in 1971.
jazz department. He played “Alone Together” with the school
rhythm section and it was just so swinging. There were so many BEFORE: I hear a little of everything in there. A little bit of
ideas he weaved between his two hands—that really opened my Oscar Peterson, a little bit of Ahmad, a big classical influence,
eyes to some new possibilities on how to approach a song. I also a complete mastery of the instrument. There are certain
remember he played “Cherokee” as a ballad, and then when I people—when they sit at the piano you can hear them trying
took my lesson he hipped me to what became one of my favorite to express their ideas. And then there are certain people that
records of all time: Tiptoe Tapdance, Hank Jones, solo piano. He have this command. Their ideas come out so clearly and in
said he transcribed every note on that, and also all the back- so many ornamented ways that it almost sounds too easy for
grounds from all the Frank Sinatra recordings. Keezer is just a them. Like Tatum, like Oscar Peterson. There’s even humor
BEFORE & AFTER
in this; while he was playing all this lusciousness, he held the whole time. I love short musical statements that go to a few
down a chord and just plucked the strings inside the piano different places and then leave you—like a nice little dessert or a
with the other hand. I love that. sweet little snack. It’s sweet and salty and it takes you to a couple
His name is on the tip of my tongue. I play this song—I can’t of places in your own experience and then leads you right back
remember the name. It’s from Oliver!—“Where Is Love.” where you started. Very contrapuntal, Bach-esque. I also love the
other textures, the bass and the guitar—is that a guitar in there?
AFTER: Monty was one of the first people my father took me
to see at the Jazz Standard when I was 11 or 12. I got a chance I’m going to give you a hint. It’s someone consciously playing
to meet him and he signed a little postcard for me and I had like another piano player, performing for a film.
it in my room all of my childhood. When your heroes be-
come your friends and know your name, your career goes to Very scenic music. It’s funny that you mentioned movies
a whole other level. I kept hearing Oscar Peterson, but Monty because it’s often the way I’ll talk to students who are in a box
has so much more than just that, he’s so clear and emotional. about jazz being exclusively melody followed by solos, followed
What’s the name of the record? by the melody again. That being said, it’s such a short track
with little improvisation, it’s hard to tell who it is.
4. Shirley Scott AFTER: Oh, okay. I did see the movie and I thought Kris did
“You Do Something to Me” (Like Cozy, Moodsville). Scott, piano; a great job with the soundtrack. It’s funny—I recognized his
George Duvivier, bass; Arthur Edgehill, drums. Recorded in 1960. hands in the movie because we spent a lot of time hanging out
at the piano in past years, in different competitions. I could
BEFORE: Cole Porter, “You Do Something to Me.” Tamir tell the way his fingers move and because he has very elegant
Hendelman taught me this on a jazz motions at the keyboard. I haven’t
cruise at 4 a.m. a few years ago. This is seen him in many years, though I’m
Shirley Scott.
On Ahmad Jamal: “The an admirer from afar. The last time
way he’s evolved is so far we were together was at the American
What made you guess her? Pianists Association [competition]
advanced from anything five years ago or something like that.
It’s just so in the pocket in a special else that’s going on in He was pretty heavy into film scoring
way, and it must be George Duvivier then, working on stuff on the plane, in
on bass, who she always plays with. I the jazz idiom.” the airport and in the cab, and I’m still
hesitate to guess because I prefer not trying to figure out how to play the
being wrong in front of millions of acoustic piano. I asked him, “How did
readers, but I’m convinced it’s him. On you learn all that stuff?”
all my favorite records of Shirley playing organ, he’s playing
bass and they have a certain way of locking up—George plays
in the center of the beat and Shirley’s a little behind. Also, 6. Joe Morello
Shirley’s rhythmic approach is very unique, especially when “Secret Love” (Going Places, Digital Music Products). Ralph Lala-
she goes into the block chords and starts playing two-hand- ma, tenor saxophone; Greg Kogan, piano; Gary Mazzaroppi, bass;
edly. There are parts in this where she’s comping specific Morello, drums. Recorded in 1993.
rhythms that are influenced by the Basie band, and it sounds
like a whole big band playing. BEFORE: “My Secret Love.” I know—it’s Kogan. It’s so funny
It was interesting to hear her on piano. Nice light touch. It you played me this recording. I’ve heard this before but the
reminds me of the way Ahmad would orchestrate. Ahmad tenor player is … Ralph Llama? There are very few recordings
really is the father of the piano trio. I heard him two months of Greg and he passed away just last month. Did you know
ago at SFJAZZ playing with his trio plus percussion. The way we’re related? Kogan, Cohen—Ellis Island. It was Kogano-
he’s evolved is so far advanced from anything else that’s going vitch in Russia. He is my dad’s first cousin and I hadn’t met
on in the jazz idiom, and the New Orleans influence is always him until I was about 17. I don’t know how that happened,
palpable. Everyone goes after his touch and his control of the just family dynamics and all that. His father was a great
rhythm section—myself included. saxophone player named Maurice Kogan who transitioned
from jazz to Broadway theater music, and played a thou-
sand shows. They called him Hawk because he sounded like
5. “Don Shirley Trio” (Kris Bowers) Coleman Hawkins; his wife called him Hawky. Greg was a
“Lullaby of Birdland” (Green Book [Original Motion Picture big player on the scene in the ’70s—with Buddy Rich, Joe
Soundtrack], Milan). Bowers, piano; Kevin Axt, bass; Artyom Morello. Everyone has great memories. I’ve talked to Randy
Manukyan, cello. Recorded in 2018. Brecker about him, and all the guys that played in the Lionel
Hampton orchestra.
BEFORE: I love the through-composed arrangement. That’s one Greg resurfaced in my family’s life when I was in high
thing that keeps the music interesting and had my attention school in Montclair, New Jersey and he would play at Trum-
pets with Joe Morello, and let me sit in. become a grandfather figure to me, performance. They’re not cramming
So I got a chance to hear Greg play, and Mr. Albert Heath. Bobby Timmons in everything [they] know, it’s just so
there were times where he would come and Tootie have these little punctua- tasty. That’s one thing about Mr. Carter.
over the house and I would ask him to tions that support the music perfectly. His taste is immaculate. JT
play this song for me and that song for Timmons doesn’t even play for the
me. He had this ability to do these cra- first few minutes of this track. Tootie is Read the rest of Emmet Cohen’s
zy runs that were so fast and so clean, on brushes the whole time, he doesn’t Before & After listening session,
slightly Tatum-esque but so unique need sticks to go to that elevation. They including comments on music by
too. He was also a big Cedar [Walton] play in a fashion that’s subtle but so Mary Lou Williams, Jason Moran, and
fan and he’d show me all the little powerful, and they leave much for the Carmen McRae and George Shearing,
inner voicing possibilities—I would be listener to imagine, especially in this at jazztimes.com.
like, “Stop, what’s that?” He had these
stock things he would do on different
tunes that I’ve never heard from any
other pianists.
We joke in my family that this makes
a good case for genetics. He continues
to inspire me. After he passed away I
XR TYPE
went through and listened to a lot of the
stuff that he recorded. It’s a pretty close
bloodline, so it’s always a pleasure to be
reminded of him. Thank you for that.
AMONG ALL SAXOPHONES
THIS XR TYPE IS UNMISTAKABLE
7. Bobby Timmons
Trio
“Softly, as in a Morning Sunrise” (The
Bobby Timmons Trio in Person, Riverside).
Timmons, piano; Ron Carter, bass; Albert
Heath, drums. Recorded in 1961.
BEFORE: One of the biggest compli-

ments I could give someone is that I From the familiar/unique key guard grills to
the subtle Bronze colorations throughout…
know it’s him right off the bat. In one coupled with precision-crafted “low profile”
note I could tell you it’s Ron Carter— thin key cups and extensive hand-engraved
let’s call him Mr. Carter—the most European style fleurets… here is truly a
recorded bassist of all time. There’s a stylish Saxophone that out-performs all
logic about the directions of his lines, others on the market.
when it’s high, when it’s low. He is the ...Stainless Steel rods guarantee
most intense bass player, and there are fastest key response...
different levels of the intensity too. He’s
able to elevate the music so gradually ...Thinner Italian choice leather
pads assure complete tone hole
you don’t know what’s happening. closure...
You play a few choruses with him
and then all of a sudden it feels like ...Bronze alloy that produced
the bandstand is going to lift off, then legacy European saxophones in
the ’30s...
he’ll start digging in a little bit harder.
Mr. Carter only gives it up to two or ...Bell taper and size that provide
three bassists—like Percy Heath, Israel optimum intonation and sound
Crosby, and Jimmy Blanton. I love that. projection...
I decided a while ago I wanted to make This isn’t a Faux Vintage saxophone
playing with Ron Carter one of my based on today’s standards. This is
missions as a jazz musician. the real thing… we’re going “Back to
This record is one of my—I hate the Future” to give you today’s new
benchmark of Saxophone excellence.
the phrase “desert island disc”—but it
is one of my bibles. Bobby Timmons
www.saxdakota.com
with Mr. Carter and someone who’s [email protected]
OVERDUE OVATION x Artist’s Choice: Joanne Brackeen on fantastic piano solos
Joanne Brackeen at the

2006 Charlie Parker Jazz
Festival in New York
Joanne Brackeen into real conversations with each other.

Strangely, only a handful of pianists
Now an NEA Jazz Master, still proudly unorthodox spend time focusing on that approach.
Her music is a challenge technically,
BY JOHN MURPH
and it’s a challenge for the listener. But
it’s soulful and needed.”
Saxophonist/composer Chris Potter,
hen the National Endowment provisation and composing. “[The NEA] who worked with Brackeen on her 1999
9
Ì for the Arts contacted Joanne didn’t have any women who were all the disc Pink Elephant Magic, remembers
Brackeen to inform her that she way into the music on piano like I was,” the unique complexities of her harmonic
was going to be inducted into the 2018 the 81-year-old explained in mid-Sep- language. “She had things in her music
class of the NEA Jazz Masters, she was tember at her spacious apartment near that I haven’t really seen since,” he
shocked. Why? Because so few women New York City’s Battery Park. laughs. “She would write three chords
who were strictly instrumentalists and All the way? What does that mean? right on top of each other. We normally
composers had gained that prestigious Pianist/composer Jason Moran explains might write one chord with a different
honor. Indeed, since the program started that what separates Brackeen from bass note than it would usually have. To
in 1982, the only other non-singing fe- other jazz pianists is the way she uses write two completely different chords
male musicians to be crowned NEA Jazz her hands. “She’s unafraid to disrupt on top of each other is unusual. To write
Masters had been trombonist/arranger that notion about how the two hands three? Wow. That sent me to the piano to
Melba Liston (1987) and pianists Marian should work together,” he says. “She figure out what she might have in mind.
McPartland (2000), Toshiko Akiyoshi allows lines to emerge from both hands. When she showed me, she was very
(2007), and Carla Bley (2015). Many pianists use their left hand to specific. And there was no simpler way
Few if any would argue that Brackeen support their right hand. But Joanne for her to write it.”
ALAN NAHIGIAN
belongs among that illustrious group. wants the left to have just as much During Brackeen’s acceptance speech
But she was still surprised, because of power and say in the musical conversa- at the Jazz Masters Awards ceremony in
her idiosyncratic approach to piano im- tion as the right. So her hands often get Washington, she spoke of her creative
process. “The music that I play appears Carle and Carmen Cavallaro. mon Morris. She called the experience
to originate in silence,” she explained. As a seventh-grader, Brackeen joined “great” because everybody in the band
“The silence forms vibrations and col- her middle school’s jazz big band, which was serious about the music. “That’s all I
ors that come into my body. It’s like a played several Glenn Miller arrange- needed,” Brackeen said. “Art and I never
very energetic feeling but it doesn’t yet ments. Again, she took an intuitive, talked that much. But we knew each
have sound. And I go to the piano and ear-based approach to learning the rep- other really well. He used to call me his
find the sound.” ertoire. “I’d never seen any of the sheet adopted daughter.”
Brackeen insists that she has never music before,” she said. “But I’d heard In the decades since, Brackeen
consciously striven for originality. his music. I didn’t think anything about has cultivated a wondrous body of
Instead, she saw herself as part of the it. I just went into the band and played.” work as a leader that includes bracing
jazz lineage that she grew up admiring. In her teens, she moved to the West- duets with guitarist Ryo Kawasaki
“When we were coming through, there chester neighborhood of Los Angeles and bassists Eddie Gomez and Clint
was Sonny Rollins, John Coltrane, Stan with her family, then immersed herself Houston; career-defining trio dates
Getz, Ornette Coleman, Joe Henderson, with DeJohnette and Gomez, Al Foster
and others,” she said. “You wouldn’t and Cecil McBee, and Billy Hart and
mistake one of them for the other.” “I just enjoyed what I Walter Schmocker; larger instrumental
Still, she understands that her settings featuring the likes of saxo-
music—particularly from the mid- was doing … I never, phonist Branford Marsalis and trum-
1970s and 1980s—was incredibly, if not ever thought of peter Terence Blanchard; and brilliant
intimidatingly, forward-thinking. “Few explorations into American standards
people understood what was going on myself as a ‘woman and Brazilian jazz. She’s also backed
inside my music back then,” she noted. up George Benson, Freddie McCoy, Joe
“The only drummer that I could get who
playing jazz.’” Henderson, Sonny Stitt, Lee Konitz,
could grasp my concepts was Billy Hart. and Stan Getz, among many others.
Regarding the horn players—I had a Despite her history, Brackeen winces
sound in my mind, but few people could at being labeled a pioneering female
put the ideas together to get that sound. in the L.A. jazz scene. She began to get jazz musician. “I just enjoyed what I
Now, it’s no problem.” steady gigs—leading her first trio at 16, was doing,” she said before recounting
She then references “Egyptian Dune landing the opportunity to play with her discomfort when she was asked to
Dance,” a rhythmically intrepid original Dexter Gordon at 18—and gradu- perform at a 1978 Women’s Jazz Festival
that first appeared on her 1982 LP Spe- ally became a professional musician in Kansas City. “I thought that was the
cial Identity. Drummer Jack DeJohnette without intending to do so. In 1965, she weirdest thing in the world, because I’d
and bassist Eddie Gomez craft a devilish moved to New York with saxophonist/ been playing jazz all my life. During the
push-pull propulsion, which Brackeen then-husband Charles Brackeen and whole time that I worked in all of those
explains is in 5/4½ meter rather than three children (their fourth was born bands, I never, ever thought of myself as
a Westernized 11/8. On top of that on the East Coast). Three years later, she a ‘woman playing jazz.’”
shifting rhythmic bed she embroiders became the first female instrumentalist Brackeen contends that if someone
hypnotic intersecting passages, distin- to play in Art Blakey’s Jazz Messengers is willing to put in the hard work and
guished by a punchy rhythmic motif. for any substantial length of time. is relatively easy to work with, their
“Students love trying to get that bass line Brackeen recalls first playing with gender will not become an obstacle for
right so they can improvise on top of it,” Blakey at New York’s notorious Slugs’ mapping out a jazz career. When asked
she said with glee. Saloon. She lived near the East Village to share her thoughts on saxophonist
Brackeen’s unconventional approach venue and decided to check out Blakey’s Roxy Coss’ Women in Jazz Organiza-
to music was evident early on. As six- concert one night. During their first set, tion or Terri Lyne Carrington’s Berklee
year-old child prodigy Joanne Grogan she noticed that the Messengers’ pianist College of Music of Jazz and Gender
in Ventura, Calif., she intuitively could was just sitting at the piano without Justice—both of which, in part, aim to
comprehend the inner workings of songs playing. “[The music] sounded like there level the playing field for performance
she heard on the radio without knowing should’ve been a pianist playing,” she and recording opportunities based on
the actual names of chords and other remembered. “So I just asked Art if I gender—Brackeen says that she could
musical terminology. When her mother could play. And he said, ‘Yes.’” never conscientiously be a part of either
hired a piano teacher, Brackeen disliked She soon found herself on a grueling one. “However, I can help people indi-
the regimen. “I would never practice. Japanese tour with the Messengers— vidually,” she acknowledged. “Talking
Why would I want to practice just a cou- after which she remained with the group in front of a mass of people about gen-
ple of notes at one time?” she remem- for three years. Among her bandmates der issues in jazz would never work for
bered, before explaining that she was were trumpeters Woody Shaw and me. I often tell my students that dealing
already thinking holistically about how Bill Hardman, as well as saxophonists with life has a lot to do with having a
to interpret music by the likes of Frankie Carlos Garnett, Buddy Terry, and Ra- sense of humor.” JT
ear in Review
e Y 201
Th 9
We calculated our top 40 new releases and top 10 historical/reissue recordings

of 2019 based on year-end lists by our writers. They were asked to choose the
10 best new releases and five best historical titles—i.e., albums and box sets
consisting primarily of music recorded 10 or more years ago. To see each
voter’s ballot, visit JazzTimes.com. Albums and box sets released between Nov.
10, 2018 and Nov. 9, 2019 were eligible. Some discs may have slipped through
the cracks, however, as official release dates shifted or weren’t available.
BLURBS BY PHILIP BOOTH, THOMAS CONRAD, J.D. CONSIDINE,

MORGAN ENOS, STEVE GREENLEE, GEOFFREY HIMES, MATTHEW KASSEL, KEN MICALLEF,
MAC RANDALL, BRITT ROBSON, JEFF TAMARKIN, AND CHRIS J. WALKER
L to R: Branford Marsalis,
Justin Faulkner, Eric Revis,
and Joey Calderazzo
Branford Marsalis Quartet

The Secret Between the Shadow
and the Soul (Okeh)
That some will talk trash about the
Marsalis brothers forever is a given.
Wynton and Branford are jazz warriors
unafraid to chart their individual
courses against trend, against style,
against East and West Coast jazz
divisions. Branford and pianist Joey Calderazzo live 2. Dave Holland/Zakir Hussain/
in the South, bassist Eric Revis in L.A., and drummer Chris Potter Good Hope (Edition)
Justin Faulkner wherever his hat falls; this seeming group Saxophone, bass, and
dislocation is mirrored in the oddly open-ended but drums make a relatively
focused splendor of The Secret Between the Shadow and standard trio—except when
the Soul. While many pay mere lip service to the idea of the drums are tablas, and
free expression, the Quartet raise the creative stakes to the player is Zakir Hussain. But don’t
incendiary levels, adding classical and operatic influences mistake this for raga-jazz, as Hus-
to the common jazz menu of blues, swing, and solos, with sain meets bassist Dave Holland and
searing group interplay. An hour of envelope-smashing saxophonist Chris Potter on their own
improvisations, the record tilts on Revis’ rowdy “Dance turf, sparking performances that range
of the Evil Toys” and Calderazzo’s stately “Conversation from the bass-driven “Good Hope” and
Among the Ruins,” while Marsalis’ “Life Filtering from the easy, tuneful “Island Feel” to the
the Water Flowers” battles through nearly 10 minutes swirling group improvisation in “Lucky
of nose-diving improvisations and refined instrumental Seven.” J.D.C.
ballistics. Andrew Hill’s “Snake Hip Waltz” and Keith
Jarrett’s “The Windup” form the opposing poles of this 3. Chick Corea Trilogy 2 (Concord)
album’s bipolar but beautiful character. K.M. The ever-restless pianist
ERIC RYAN ANDERSON
collaborates with bassist

Christian McBride and
drummer Brian Blade
on a double-disc sequel to their 2013
x Feature: The Top 50 albums of 2018

triple-disc release. Taking a mostly and Marc Ribot, and vocalist Esperan- 8. Christian Scott aTunde Adjuah
democratic approach to music mak- za Spalding—for a post-postmodern, Ancestral Recall (Ropeadope)
ing, they cook up arresting versions genre-defiant outing that traverses an With its layers of roiling
of Return to Forever tunes “500 Miles enormous amount of territory, corral- African-suffused percussion
High” and “La Fiesta,” nod to Monk on ling influences from the avant-garde, crossbreeding with Western
“Crepuscule with Nellie” and the rarely electronica, hip-hop, R&B, and rock. instrumentation, gripping
played “Work” (also on the first Trilogy), S.G. spoken-word interludes, and Adjuah’s
and put creative spins on “How Deep Is own trumpet and electronics, Ancestral
the Ocean” and “But Beautiful.” P.B. 6. Tom Harrell Infinity (HighNote) Recall teems with audacity and author-
Joined by familiar associ- ity. At times there is an overpowering
ates, including drummer sense of otherworldliness and displace-
4. Camila Meza & the Nectar Or- Johnathan Blake, the ment within these incessantly engag-
chestra Ámbar (Sony Masterworks) trumpeter and flugelhornist ing grooves, the music transcending
Rarely has a group been offers searing, soaring lines on well- conventional rules of time and space to
so aptly named; dipping drawn compositions that feel distinctly forge its own self-contained world. J.T.
into its bittersweet timbres forward-looking. With saxophonist
may leave you drunk as a Mark Turner and guitarist Charles
9. Johnathan Blake Trion (Giant
bumblebee. Over swirling strings and Altura (replacing piano for a more open
a subtly driving rhythm section, Meza group sound) as chief foils, Harrell
Step Arts)
sings and plays guitar with an emotional opens with the chugging groove and Trion launched the nonprofit
power that’s all the more compelling for speedy head of “The Fast,” hints at Giant Step Arts program
how casual it seems. Eleven gorgeous Gaelic themes on “Dublin” and “The founded by photographer/re-
Latin-inflected alt-jazz art songs are Isle,” and makes great use of a hypnotic cording engineer Jimmy Katz. Two hours
capped by a rendition of “This Is Not riff on closer “Taurus.” P.B. of live music were beautifully recorded
America” that’s both a tribute to heroes by Katz at the Jazz Gallery in New York.
David Bowie and Pat Metheny and a 7. Joel Ross KingMaker (Blue Note) Three exceptional players (Johnathan
deeply personal lament. M.R. Ross is only in his early Blake, Chris Potter, Linda May Han Oh)
twenties, but he has already were given freedom, space, and time.
established himself as one They responded with epic 17-minute
5. Kris Davis Diatom Ribbons of the most vital musicians onslaughts of theme-and-variation like
(Pyroclastic) on the scene—and on the vibra- “Synchronicity I,” and by incinerating
A stunning achievement phone, no less. His debut as a leader “Relaxin’ at Camarillo.” T.C.
from the inventive pianist is a refreshingly inventive postbop
whose daring projects keep document, aware of the tradition but 10. Linda May Han Oh
us guessing. Diatom Rib- in no way bowing to it. Ross’ crisp, Aventurine (Biophilia)
bons is Davis’ most ambitious yet. She bell-like tone stands apart in his work- Bassist Linda May Han Oh
assembles an A-list cast—including ing quintet, Good Vibes, which also has made waves as an ac-
saxophonist J.D. Allen, drummer Terri features alto saxophone, piano, bass, companist, but Aventurine,
Lyne Carrington, guitarists Nels Cline and drums. M.K. named after a viridescent
17. Ralph Alessi 21. Joey DeFrancesco 25. Frank Kimbrough

Imaginary Friends (ECM) In the Key of the Universe Monk’s Dreams: (Sunnyside)
(Mack Avenue)
18. Brad Mehldau 22. Melissa Aldana 26. Ryan Keberle & Catharsis
Finding Gabriel (Nonesuch) Visions (Motéma) The Hope I Hold (Greenleaf)
19. Anat Cohen Tentet 23. Kendrick Scott Oracle 27. Tyshawn Sorey/
Triple Helix (Anzic) A Wall Becomes A Bridge Marilyn Crispell
(Blue Note) The Adornment of Time (Pi)
20. Art Ensemble of Chicago 24. Matt Mitchell 28. Joe Lovano
We Are on the Edge (Pi) Phalanx Ambassadors (Pi) Trio Tapestry (ECM)
form of quartz, is her boldest leap for- es”), and even a Stooge (“Curly”), sound visceral appeal of her debut Fly or Die
ward to date as a composer. She expands open and egoless, leaving room for while expanding her musical scope. B.R.
her lineup to include a jazz quartet, a pianist Uri Caine and drummer An-
string quartet and, on four tracks, the drew Cyrille to play off each other both
Invenio Singers ensemble. These sepa- sympathetically and irreverently. M.E. 15. Bill Frisell/Thomas Morgan
rate elements bond into a lucent whole, Epistrophy (ECM)
a reflection of both Oh’s master’s from Yes, it’s more of the same:
the Manhattan School of Music and her 13. Fabian Almazan Trio This Land further recordings from the
mastery as an arranger. M.E. Abounds With Life (Biophilia) 2016 Village Vanguard duo
The “land” referred to engagement that gave us
in the title of Almazan’s Small Town two years ago, with a similar
11. Tomeka Reid Quartet excellent fourth album set list (Motian, John Barry, “Wild-
Old New (Cuneiform) is—in most instances— wood Flower”). But does anyone really
The title is an apt descrip- Cuba, where he was born. The pianist have a problem with a few extra quiet
tion. However abstract traveled to his homeland in 2016 and epiphanies? Frisell and Morgan further
Tomeka Reid’s cello gets brought back field recordings of bird demonstrate their shared fondness for
with its screechy harmonics song, among other things, which he the surprising pause, as the Vanguard
and clattering bow noise, and despite the features alongside his bandmates, stage becomes a cozy cantina on the
Dali-esque droop of Mary Halvorson’s bassist Linda May Han Oh and Henry border between the expressed and the
guitar tone, the playing here is ground- Cole. The record functions as a love unexpressed thought. M.R.
ed by the roots-deep rhythm of bassist letter as well as a warning, as the
Jason Roebke’s straightforward time and threat of climate change looms. M.K.
Tomas Fujiwara’s New Orleans-spiced 16. Miguel Zenón Sonero: The
drumming. So the blues are blessedly Music of Ismael Rivera (Miel)
cliché-free and the bop swings with 14. Jaimie Branch Fly or Die II: Puerto Rican singer Ismael
refreshing angularity, while the free Bird Dogs of Paradise Rivera (1931-1987), appre-
blowing is tuneful and inspired. J.D.C. (International Anthem) ciatively called “El Sonero
A pugnacious wail amid Mayor” (The Greatest Latin
12. Dave Douglas/Uri Caine/An- a polarizing period of Singer), was an improvisatory master
drew Cyrille Devotion (Greenleaf) American democracy, Fly or of Puerto Rican bomba and plena, and
Jazz is glutted with tribute Die II is nevertheless more Cuban son. He influenced generations
albums—to Bird, to Monk, ambitious than it is angry. “Prayer for of salsa and jazz artists, such as Ismael
to Dizzy—but Dave Doug- Amerikka Pt. 1 & 2,” a riveting punk- Miranda, Rubén Blades, and now sax-
las’ trio album Devotion is jazz narrative that channels vintage ophonist Miguel Zenón. Sonero is the
a more personal and nebulous kind of Patti Smith, deservedly draws the most innovative reedist’s tribute to the leg-
homage. The trumpeter’s compositions, attention, but there is an ever-twirling endary singer in a scintillating vocal-less
written for pianist Franco D’Andrea array of textures and moods that sashay modern Latin-jazz context—except for
(“D’Andrea,” “Francis of Anthony”), forth. Trumpeter (and now vocalist) the remixed intro featuring Rivera’s
composer Carla Bley (“False Allegianc- Branch has doubled down on the mesmerizing a cappella singing. C.J.W.
29. Terri Lyne Carrington 33. Miho Hazama 37. Allison Miller’s Boom
and Social Science Waiting Dancer in Nowhere Tic Boom Glitter Wolf (Royal
Game (Motéma) (Sunnyside) Potato Family)
30. Steve Lehman Trio + 34. Quiana Lynell A Little 38. Keith Jarrett Munich 2016
Craig Taborn The People Love (Concord Jazz) (ECM)
I Love (Pi)
31. James Carter Organ Trio 35. Enrico Rava/Joe Lovano 39. Tierney Sutton Band
Live from Newport Jazz Roma (ECM) ScreenPlay (BFM)
(Blue Note)
32. JD Allen Barracoon 36. Fred Hersch & WDR Big 40. David Torn/Tim Berne/
(Savant) Band Begin Again (Palmetto) Ches Smith Sun of
Goldfinger (ECM)
John Coltrane
Blue World
(Impulse!)
In my JazzTimes record review,
I said Blue World might not win
the historical category this year
because it is only 37 minutes long
and contains only eight takes of
five tunes. My bad. When there is
JIM MARSHALL/COURTESY OF UME
John Coltrane music never heard

before, performed by the greatest
small jazz ensemble of all time at
the top of its game, recorded by
no less than Rudy Van Gelder,
the jazz world seizes upon it, and
why not? T.C. John Coltrane
2. Eric Dolphy Musical Prophet:
The Expanded 1963 New York Studio Sessions (Resonance)
In the summer of 1963, Eric Dolphy recorded two long sessions for FM Records.
The unreleased tracks from those sessions—both the unaccompanied duets with
bassist Richard Davis and the piano-less ensembles with Bobby Hutcherson, Woody
Shaw, and others, supplemented by a surprising avant-garde collaboration with Bob
James—are finally available on this set, revealing Dolphy’s rapidly evolving skills at
composition and playing bass clarinet, flute, and alto sax. He was dead 13 months
later. G.H.
3. Betty Carter The Music Never Stops (Blue Engine)

Further proof that improvisation was more essential to Betty Carter than to any
other jazz vocalist. Her commanding arsenal goes beyond the rhythms of scatting;
her tone, timbre, and note-shaping possess the mercurial integrity of master soloists
on any instrument. This 1992 live recording at Lincoln Center thrives under Carter’s
quality control: A mentor of equal caliber to Blakey and Miles, she handpicked a
series of trios to back her for an event she helped bankroll. B.R.
4. Nat King Cole Hittin’ the Ramp:

The Early Years (1936-1943)
(Resonance)
This seven-CD/10-LP compendium reaffirms that from the start, long before the pop-in-
formed hits that thrust him into the show-biz mainstream, Cole’s genius was full-blown.
The comprehensive set of formative recordings—much of its contents newly discovered—
displays the familiar Cole sophistication and distinctiveness despite his youth. Some sides
jump like crazy, others are silky smooth; he’s still searching but he’s unmistakably Nat. J.T.
5. Cannonball Adderley Swingin' in Seattle:

Live at the Penthouse 1966-67 (Real to Reel)
This release marks the entry of a potentially important new label into the histori-
cal-jazz category. The package, including rare photos, is lovingly crafted. The music
comes from four gigs at the Penthouse in Seattle in 1966 and 1967. It is not great
Cannonball. It is very good Cannonball, which is to say it puts the work of most other
alto saxophone players, living and dead, to shame. Brother Nat and Joe Zawinul also
kill. T.C.
6. John Coltrane 7. Wes Montgomery 8. Michel Petrucciani 9. Art Pepper Promise 10. Kenny Barron &
Coltrane ’58: Prestige Back on Indiana One Night in Karls- Kept: The Complete Mulgrew Miller The
Recordings (Craft) Avenue: The Carroll ruhe (SWR Jazzhaus) Artist House Record- Art of Piano Duo –
DeCamp Recordings ings (Omnivore) Live (Groovin’ High/
(Resonance) Sunnyside)
The
Well-Tempered
Clavierist
Corea in the studio with his Spanish

Heart Band (L to R: Jorge Pardo,
Marcus Gilmore [obscured], Nino
de los Reyes, Niño Josele, Michael
Rodriguez, Luisito Quintero, Steve
Davis, Carlitos Del Puerto) and
vocalist/wife Gayle Moran Corea
At 78, in the midst of a wave of
creative activity that’s impressive
even for him, CHICK COREA is
intensely focused on staying in
tune—in every sense of that term
By Tom Moon
F or most of its recent tour,

the Chick Corea Trio has opened
its concerts with a seemingly ordinary
it’s a gentle bit of subversion, an end run
around attention deficit disorder.
“At first I did it for a lark,” Corea ex-
Chick Corea is 78 years old.
He has been cultivating this discourse—
between himself, an astonishing list of
tuning ritual. plains. “And then I found out that beyond collaborators, and the audiences for his
Corea plays a series of As in the pia- just a fun moment we might have with the varied projects—for more than six de-
no’s middle register. Christian McBride audience, it sets us up for great communi- cades. At a time of life when most people
adjusts his bass as needed. Brian Blade, cation right at the beginning of the show.” are slowing down, Corea is in the midst
drums impeccably pre-tuned, tests a Blade goes further: “You know, people of a furious creative outpouring. He’s re-
few brush strokes on the snare drum. initially might be shy to sing out, if leased 13 records of new or live material
Business as usual. they’re alone. But they hear the whole since 2011. He’s toured around the world
And then Corea offers that same A room is doing it, and what a congre- with several completely different proj-
440 to the audience. gational beauty that brings. It makes ects, and has commissions lined up that
He politely requests that they sing an everybody loosen up … Chick is all will consume every scrap of “downtime”
A back. After several more such exchang- about engaging with people, and this he might get in 2020.
es, there comes a curveball: a short three- opens the door and invites them to share Our conversation took place in a
note phrase. As Corea repeats the phrase, in the experience.” hotel suite overlooking Independence
he makes conductor-like gestures. The Sure enough, that’s what happens. Hall in Philadelphia. The focal point
next one is more intricate—a ringtone For nearly two hours, the hall is a zone of the room was a keyboard; Corea
from a galaxy with faster mental process- of active listening. The three musicians has been preparing to play his Piano
ing. This loses people. Chick Corea smiles play at a hushed or moderate volume, Concerto with the Seattle and Portland
a delighted evil-professor smile and keeps Blade mostly on brushes, through Symphonies when the current trio tour
going, adding a tritone monkey wrench, a challenging program of Corea’s ends. McBride says the pianist has been
upping the degree of difficulty. originals, standards, and Thelonious obsessive about practicing the work, and
It’s a little gimmicky, this call-and-re- Monk tunes. They converse from the when I ask about it, Corea is blunt. “I
sponse game. The performance equiva- first theme statement to the last chord, wrote this piano concerto with a good
lent of jumping jacks before gym class. following each other around blind-alley spirit but never thought to myself that
But on the night I caught the group, corners and down rickety unlit stairs, I’d be playing it with orchestras. So now
at the Kimmel Center in Philadelphia, chasing dramatic extremes of soft and I’m needing to learn it well enough so I
its effect was outsized. After the tuning, loud, density and spaciousness, tension don’t look like a jerk when I get there.”
when the first plaintive rubato notes of and release. He laughs in a hearty, contagious
“500 Miles High” arrived, the audience Corea says his goal, particularly on way, then abruptly pivots back to his
seemed alert and fully receptive, ready the ballads, is to glimpse new possibil- concern. “No, I mean that. It’s written
to listen, primed for something other ities of color and texture. “As a sonic notes. I’ve got to play a certain amount
than the usual “legend playing the great- person, an orchestrator, I find it incred- of the written notes in order to make it
est hits” experience. ibly interesting, and delicious actually, sound like the piece I wrote. In order to
Musicians rely on tuning to create a to have these three different timbres let the orchestra know where I’m at.”
sense of unity on the bandstand. Corea’s [piano, bass, drums] to work with. It’s This is the only time over an extend-
MAD HATTER STUDIOS
tuning game widens the circle, luring a classic sound but it doesn’t have to be ed conversation that Corea expresses
concertgoers into the trio’s workspace, just that. We play with a lot of space— anything resembling anxiety. He’s one
making them participants. In the age you have to become very sensitive to of those lively intellects who leaps across
of 24/7 handheld distraction machines, make each other sound good.” disciplines to make a point—he invokes
x Profile: Chick Corea and Steve Gadd
Nathaniel Hawthorne’s “The Great an exchange that not only makes sense between tunes. Because it brings us down
Stone Face” to answer a question about but is pleasurable is, I hate to throw out to earth together for a moment. I’ll tell a
interacting with Herbie Hancock in a this word but I think it’s the correct one, little bit about what we’re about to do, to
duo situation. As he speaks, it becomes “archetypical.” It’s built into the human get them oriented. Honestly, I like it when
clear that the nitty-gritty challenges of way of living. The essential thing that the audience gets what we’re doing.
making music are way more important happens in music is an element that was
to him than any of the after-effects, the there from the beginning of time and
critical raves, or lifetime achievement will never change until the end of time. Accessibility has never been a
awards. He’s wired for the moment, And that’s human spiritual contact. negative in the lexicon of Chick Corea.
oriented in an almost obsessive way Right, but as an improvising artist Though he’s pursued improvisational dis-
toward new creative endeavors. For him, you have an unusual hill to climb: sonance in provocative ways (see Circle,
everything lines up around a single to involve listeners in your mostly with Dave Holland and Anthony Brax-
overarching goal: communication. abstract pursuit. How do you bring ton), the pianist and composer has also
JT: Do you sense, in the audi- people into that? created profound yet easily relatable music
ences at your shows, a difference Most of the audience, they’re not pro- in a head-spinning array of settings. Early
in terms of attention since the fessionals. They maybe don’t recognize on, Corea formed an agile, pathfinding
smartphone came along? Is this a when we’re playing the melody from an trio, with drummer Roy Haynes and
concern for artists who are focus- original score and when we’re depart- bassist Miroslav Vitous, for the classic
ing from it. A lot of Now He Sings, Now He Sobs. After stints
people are surprised as a sideman with Mongo Santamaría
L to R: Brian Blade, Corea,
and Christian McBride on to learn that we’re and Blue Mitchell, he cultivated his own
stage in Montreal playing on a form at approach to Afro-Cuban improvisation,
all! They hear it as one then wrote some of the most challenging
endless meandering sambas in history (see Light as a Feather),
of notes. I never gear then explored flamenco and bolero and
the performance tango (My Spanish Heart). Corea was in
so that people need the room when Miles Davis’ pioneering
to recognize the Bitches Brew happened, and went on to
tune—that’s never the build a jazz-fusion juggernaut (Return to
game we’re playing. Forever) that, through several iterations,
[Because] what I no- sold lots of records and influenced gener-
tice is, anyone can get ations of musicians. His catalog includes
into the thing I was gorgeous Satie-like miniatures (Children’s
talking about before. Songs) and luminous duet records (Crystal
They pick up on the Silence with Gary Burton, CoreaHancock
visceral communica- with Herbie Hancock, the underappre-
tion between the trio, ciated Orvieto with Stefano Bollani) and
and between us and assorted jazz quartets and quintets.
them. Consider Corea’s activity just during
Are there ever 1972. That’s the year Crystal Silence was
times when that’s recorded, and the release year for Piano
not enough? Improvisations Vol. 2, which had been
It’s up to us as recorded the year before. 1972 was also
performers to be the year Corea recorded both Return to
responsible for making Forever’s self-titled debut and Light as
ing on interplay, often unscripted sure there’s a good groove there. My rule a Feather—though the former album
interplay? number one of ethics as a performer is wasn’t released in the U.S. until 1975.
CHICK COREA: As an artist I’ve that you can never blame the audience for Every musician should have a
learned what I think is the wisdom being a bad audience. You hear players year like you did in 1972.
of putting those kinds of changes, say stuff like “They weren’t so good to- I don’t go so much by the number
like attention, on a lower mechanical night.” C’mon! That’s not their job. They of the year as the project. Like if you’re
level, in order to focus on the essential paid to come into the hall to see us. It asking about that first Return to Forever,
thing that happens in music between then becomes our job to give them some- I know where that sits because it was in
an artist and an audience. No matter thing that they can hold and enjoy. … I’ve New York. That first one for ECM was
what culture you’re in or what period of made music that totally loses the audience the first thing we did as a group—we
history, human beings communicating sometimes. Not because I wanted to, but had no record company for it at the
comes down to the same basic thing: the because I didn’t give ’em enough hooks, time. We’d been performing regularly,
DAN MUSE
desire to get someone’s attention and to enough familiarity. That’s part of our job, and all we did was go in and play our
maintain his attention. For you to have and it’s one of the reasons I like to talk set down and that was the record. We
took the tapes to Germany and Manfred
[Eicher, the ECM founder] was in on
the mix. Light as a Feather happened
after that, and I think Crystal Silence
was before the first Return to Forever.
The records didn’t come out in the order
they were recorded. ... They’re all quite a
stretch from each other.
You’ve said before that RTF was
like a 180 from Circle, an attempt to
play music with a groove.
I had two tunes, “Some Time Ago”
and “La Fiesta,” and I put a band together
based on that. The first guy I bumped
into was Stanley Clarke, we played a gig
with Joe Henderson here in Philly ... then
I asked Joe Farrell, then Flora [Purim, the
vocalist] came to a rehearsal and brought
her husband Airto, who I had played
with earlier in Miles’ band. Our first
gig was at the Vanguard. I went to see
[Vanguard owner] Max [Gordon] and
told him I had a group he would like. He
said “Well, I can pay you blah-blah, and
you can open for Roy Haynes’ group this
weekend.” So we played two nights and
it was such a hit that he hired us again to
do a week. At that point I was booking technically demanding, he’s running on heart. I was like, “I know this somehow.
the gigs and me and Stanley were carry- impulse, not doctrine. Trying stuff. He I’ve been here. I don’t know when or
ing the Fender Rhodes around. can dispense musical heaviness in bulk, where. But this is really natural.”
Was the sound we know from but he tends to offset the meta-conceptu- Almost a déjà vu experience?
Light as a Feather there from the al with a rogue move or a comical quote. Exactly. It took what I had gotten into
beginning? Several times during our conversa- as a serious student of bebop and jazz
Yes. Stanley and me and Joe were tion, Corea uses the phrase “That’s not and put it into a different frame—the
steeped in Miles, Monk, Coltrane. But the game I’m playing” to draw distinc- openness within that music, the feeling
of course Airto was not, not so much. It tions between his philosophy and that of of dancing and people having fun, really
was a mixture for sure—Airto brought others. The distinctions themselves are spoke to me.
that authentic feel, and then Stanley, important if sometimes small; his choice Did you still consider yourself a
being a rebel from day one, played those of that phrase is more significant, speak- student?
rhythms his own way, not like Brazilians ing to temperament, orientation, the Absolutely. Of course. And then
played them. It just clicked. priority he places on mental agility and somebody recommended me for Mongo
flexibility. And, just as important, fun. [Santamaría]’s band, that’s when I got a
At what point were you drawn to taste of the real Cuban tradition. Mongo
The cover of the Spanish Heart Afro-Cuban music? was like a father. Real generous, and
Band’s ambitious recent album, Anti- In high school I had one fortunate gig patient. Gave me just the right kind of
dote, shows Chick Corea in a flamenco with a Portuguese trumpet player named instruction, showed me how to deal with
dance position. One hand is above his Phil Barbosa. He had a little quartet, rhythms that were new to me. It was
head doing the finger-snap, the other is and the conga player was Bill Fitch, who the first time I encountered that kind
at his belt, possibly just post-snap. He’s played with Cal Tjader later on. I knew of learning, and it’s a philosophy that’s
smiling in a rascally sly way, like he’s just nothing about Latin music. When we stayed with me my whole life. If you
been caught doing something supremely went to play the first time, I didn’t know want to learn how to do something, go
un-legend-like and could not care less. what to do, and Bill showed me how find the guy who’s doing it. Ask ques-
It’s not a distinguished-elder look. It’s to make a rhythm background on the tions. Take instructions from him. And
not a jazz look. It’s a “Lighten up! Come piano, like the Latino guys. That was then play the music.
dance!” look. my beginning. And then he played me Seems like you did that over and
The image speaks to a core truth of records—Tito Puente, Eddie Palmieri, over your first years in New York.
Corea’s approach to music: He comes at Cachao, a whole bunch of people. That When I got the gig with Blue Mitchell
DAN MUSE
his work with genuine lightness. Even music and those rhythms just completely I was over the moon, because that’s the
when the compositions are intricate and opened me up. It went straight to my music I grew up with, sort of hard-bop
rumba. I was basically stepping into my first solo record Tones for Joan’s Bones Has your perception of Bitches
Horace Silver’s band, and Horace was came out, I found it in a record shop and Brew changed over the years? I was
one of the megaheroes. I transcribed bought it. Joe Farrell was on that—he was struck by the energy of that “third”
more Horace, particularly his tunes, my elder by several years and I looked up quintet on Live in Europe 1969. The
more than any other transcription thing I to him. Anyway, I took it to his apart- band with you, Dave Holland, Jack
did. … And the gigs [with Mitchell] were ment and we made some peanut-butter DeJohnette, and Wayne Shorter
an adventure. We did two or three stints sandwiches and sat down and listened. was really intense.
at Minton’s Playhouse, long stints like And every time my piano solo came, he’d When we started recording [Bitches
four to five weeks at a time, and six nights be listening to the solo. I’d play a lick Brew], I saw it as a comedown from the
a week playing three or four sets a night. and he’d go, “Horace.” Few seconds later, live gigs that we were doing. They were
Me playing on a really shitty piano. another lick and he’d go, “Oh, Wynton really an adventure—just the wildest
What was your experience of the [Kelly].” He was blowing me up because thing I had ever experienced up until
social world of musicians in New he was kinda right. I could hear what he that time. With Miles and his incredible
York? Did people get what you were was saying. That’s the view I had of what melodic sense, and a laser intention that
bringing musically right away? I was doing at that time. would set the scene for everything. And
I have no idea. I sorta had my head in- then the musicians in that band were
side my coat then. I was just trying to find just taking it every direction, imagina-
my heroes and play with them. ... I’ll tell For years now I’ve been wanting tions were running wild in that band. So
you one thing that was really important to thank Corea for sharing a small but when we got in the studio to do Bitches
to me. After Mongo’s band, Willie Bobo, significant detail about the making of Brew, I thought, “Oh, we’re making rock
who was the timbale player, formed his Miles Davis’ Bitches Brew. We talked on & roll now, Miles is doing some com-
own Latin-jazz band and hired me. After the phone in 1998, for a Guitar World mercial music now.” Hahaha ...
the gig the first night, I was at the bar at magazine story marking the album’s 30th Were you surprised by the editing?
Birdland having a drink. I think I might anniversary. Everyone involved had vivid When Bob Belden finally did the
have been down on myself—feeling like recollections of the sessions, but Corea [2004] remix, I got interested. Before
I could have played better. It was just me dropped what was, for me, a mind-blow- that I couldn’t tell what it was—it didn’t
at the bar, the end of the night. I notice ing factoid—that the sessions began, sound like what I remembered was
this guy walking toward me. When he promptly, at 10 a.m. every day. I tell him happening in the studio. He put it back
got close up I recognized him as Tommy that knowing about the timing became together again in a way that made sense.
Flanagan, and he just pointed at me and key to my understanding of the album, For one thing, finally you could hear
he said, “You got something fresh.” I was and that I’d brought it up in discussions keyboards. I thought, “Oh yeah, there it
on cloud nine for two weeks. around the 50th anniversary of the re- is! I knew I was in there somewhere.”
He was an early adapter! cording, which was earlier this year.
That was important for me because I “That was made 50 years ago?” Corea
always thought I was copying everybody. asked, sounding genuinely stunned. Corea has been averaging two
Because I was! About six months after “Jesus Christ.” new releases a year since his 70th birth-
kk 10 Chick Corea Games to Play Today
Chick Corea: “Steps - Chick Corea: “No. 3” Gary Burton/Chick Chick Corea: “Day Chick Corea: “Litha”
What Was” (from Now (from Children’s Songs, Corea: “Crystal Danse” (from My Span- (from Tones for Joan’s
He Sings, Now He Sobs, 1984) Silence” (from Crystal ish Heart, 1976) Bones, 1968)
1968) One compact crystalline Silence, 1973) The tightest track Corea’s leader debut
The birth of a provoc- miniature in a set of A placid yet meta-mind- from an ambitious and features inventive hard-
atively new—and yet them, designed to evoke ed conversation in wide-ranging work that bop composition and
fully realized—piano trio the stealth lyricism of which two dialed-in celebrates traditional correspondingly agitat-
sound. Béla Bartók and Erik improvisers take turns forms (bolero, rumba, ed blowing, particularly
Satie. discovering (and tango) using non-tradi- from tenor saxophonist
cultivating) constantly tional orchestration. Joe Farrell.
evolving, delicately
shaded landscapes.
day in 2011—a tear chronicled, in part, records the better. I think we should cap- asked about the trombone concerto,
in the new documentary Chick Corea: In ture ideas, document them, and put them I immediately [said], “Wow, yes, I’d
the Mind of a Master. Some of them have out. Then the ones who are trying their love to do that.” And that turned into a
been elaborate projects: a three-CD live best to market it go, ‘Oh no, not another schedule, and the need to deliver it at a
set of material from the trio with Mc- one, we’re still trying to work on the last certain time, and that meant planning.
Bride and Blade, a large-ensemble reboot one.’ I understand that from the business Do you talk about this stuff in
of the Spanish Heart concept, and so on. point of view. I just can’t let that commer- master classes, or interactions with
There are plans for a U.S. tour with the cial reality affect the creative work.” young musicians? Seems like a lot
latter group, featuring Rubén Blades on He mentions the trove of solo record- there doesn’t get covered in music
vocals, in 2020, and that’s in addition to ings he’s just begun to sort; another one school—particularly that notion of
plans for another Akoustic Band record is slated for release early next year. By prioritizing projects.
and more solo piano music. then, he’ll be diving into an artist-in-res- The first thing I say is that doing
His primary label in recent years has idence appointment with the New York anything in the arts requires some
been Concord Records, which has issued Philharmonic, and writing a concerto organization. It’s necessary. But I don’t
significant works by Paul Simon, Santa- for longtime principal trombonist Joe focus too much on that. I more want to
na, and many other established artists. Alessi. “It’s exciting to write for orches- share my experience of being an artist,
Talking to label president John Burk, tra—an entirely different beast. These because when I’m at work I can see
you get the sense that Corea presents his projects, I’d really like to share them the result of what I do as I do it. That’s
team with a unique air-traffic-control with the people who know me from the incredibly fulfilling, and not like most
challenge: “He tours in three or four jazz stuff. … I guess to a label person professions. I can see if I’m bringing
different configurations, and he’s out on I must look like a creature with eight people pleasure. When you do that,
the road a lot. Then he has a backlog of heads or something.” you’re putting something good into the
music ready to go that he wants to re- It seems like a gargantuan task to world. I believe that.
lease. It’s taken us a while to line up the juggle so many projects. Most musi- On a vibrational level?
releases so they align with his touring cians just worry about the next gig. On many levels. What making
activity, so that there’s a strategy that And there’s nothing wrong with music for people does, I’ve observed,
allows for each of the records to reach that. For me the most important thing is it stimulates what’s natural in all of
their maximum potential audience.” is fun, being in situations like the trio, us. You don’t have to be a professional
Corea has no specific issue with the where we know it’s going to be a differ- anything—all you need to do is be a
label; he says that Concord has been ent challenge every time. Years ago I living human being, and open to the
extraordinarily supportive. His beef is realized that I could have a million ideas play of imagination. After you do this
with the entire record industry. “I have and they might never get going without for a while, you see that you can use
forever disagreed with the commercial some structure. It’s only fun if I can give your imagination and imbue life with
philosophy of ‘Don’t flood the market.’ what’s needed. At this point, the real your creation. And that your happiness
My philosophy has always been, the more way to get involved with any project is to comes from what you imbue, what you
communication the better, the more book a commitment. So when Joe Alessi bring of yourself. JT
Mongo Santamaría and Chick Corea Trio: “My Chick Corea & Stefano Sonny Stitt: “My Little Chick Corea and Return
his Afro-Latin Group: Foolish Heart” (from Bollani: “Retrato em Suede Shoes” (from to Forever: “500 Miles
“Tumba Le Le” (from Go, Trilogy, 2013) Blanco e Preto” (from Stitt Goes Latin, 1963) High” (from Light as a
Mongo!, 1962) The Corea/McBride/ Orvieto, 2011) On this spirited date, Feather, 1973)
Here, at age 21, Corea Blade trio, active for The highlight of this Stitt and Corea explore This entire album is an
shows that he has his nearly 20 years, em- underappreciated the harmonic complexi- ever-modern, endlessly
own approach to the phasizes lightness and two-pianos live affair is ties of bebop within the refracting essay on love,
stock piano-montuno balance, poise and pure a Brazilian ballad that sensual churn of the truth, and beauty in
patterns, as well as the swing. This track also Corea and Italian pianist cha-cha. samba form.
glib blues-based ver- has memorable solos Bollani stretch to ach-
nacular that prevailed in from guitarist Niño Josele ingly lyrical extremes.
the Latin-jazz combos of and flutist Jorge Pardo.
the day. For 10 more choice Corea tracks, visit JazzTimes.com.
On KRIS DAVIS’ 14th album, the macro and
the micro converge, along with a diverse
array of great musicians BY SHAUN BRADY
CAROLINE MARDOK
The trio (L to R): Terri
Lyne Carrington, Davis,
and Val Jeanty
Diatom Ribbons started life as a funk record.

Kris Davis was simply relaxing with a series of memorial shows celebrating Zorn’s Bagatelles on marathon concerts
some music during the off hours of her the life of Geri Allen, whose music featuring 14 different ensembles.
2018 duo tour with Craig Taborn when was largely unfamiliar to the young- Whichever narrative thread you
her regular producer, David Breskin, er pianist but whose adventurous choose to begin this particular story, all
heard the muffled but unmistakable spirit certainly resonated with her. A of them converge in Diatom Ribbons,
thump of a James Brown groove pulsing centennial tribute to Thelonious Monk Davis’ stunning 14th album as a leader.
from her earphones. “You should do found her sharing the stage with JD It’s the sort of project that defies simple
a funk record,” Breskin suggested Allen, whose molten tenor flow seems encapsulation, weaving together players
offhandedly, perhaps at least half in jest. to embody the “Pyroclastic” name that from far-flung camps across the jazz
Still, the idea triggered connections that Davis gave her own record label, its landscape, mixing and matching them
led Davis to think about what Brown brawny bop muscle a world apart from in unpredictable combinations, and pur-
had in common with Ornette Cole- but equaled in ferocity by her kaleido- suing a panoply of ideas leading down
man’s Prime Time, or Henry Thread- scopic angularity. scattershot paths.
gill’s Society Situation Dance Band, or Then again, could be that it all Yet the album never feels less than
the Senegalese pop of Youssou N’Dour, began with Davis alone at the piano in wholly cohesive; Davis is a master quil-
or with Stevie Wonder, the first artist her home in Ossining, N.Y., intensely ter, able to turn a patchwork of colors,
she ever saw live … studying the scores of 20th-century inspirations, textures, and voices into
But maybe it didn’t start there. composer Olivier Messiaen, dissecting a single harmonious vision. The music
Maybe it started with a run of his intricate harmonies and rhythmic that she shepherds into existence here
recent tribute concerts that brought patterns to find ways of integrating is wildly diverse and compellingly rich
CAROLINE MARDOK
Davis together with several seemingly them with her own multifaceted vocab- in its fine details—and the image that
unlikely collaborators. Drummer Terri ulary. Or it was prompted by the death forms once all those puzzle pieces are
Lyne Carrington invited Davis to join of Cecil Taylor, or the perspective-shift- joined together is breathtaking.
her and bassist Esperanza Spalding for ing experience of performing John “I like to use my records as a win-
dow into that period of time,” Davis mers out a spiraling prepared piano Ribbons has been the one with Car-
explained in her cozy living room accompaniment. rington. The inspiration has worked in
last October. “All of these ideas were “When Cecil passed I wanted to pay both directions: Carrington’s sprawl-
marinating, and at the same time I was tribute to him,” Davis said. “But I didn’t ing, politically driven new album
just starting to connect with this circle want to do it the obvious way, which Waiting Game includes a 42-minute
of musicians. Whatever’s coming in at was to just play like Cecil Taylor. So I improvised suite that she credits in
that moment—the music I’m listening thought I’d try to incorporate his voice.” large part to Davis inviting the drum-
to, everything I’m experiencing, the Later in the same tune, the tenor mer to play her first-ever completely
people I meet—I want to use that, to tandem of Allen and Tony Malaby improvised gig at the Stone. She
try to encapsulate that somehow.” begins to remold the rhythm into a returned the favor by inviting Davis to
boisterous if obtuse-angled swing, join the Berklee Institute of Jazz and
he title of Diatom Ribbons un-
doubtedly sent most listeners (at
least those without a degree in
molecular biology) scrambling
“We’re drawn to the people
for a Google search. Diatoms,
it turns out, are single-celled algae
that live in aquatic environments all
that are like us. That’s what human
over the planet. Look at them under
a microscope and each one (there are beings do. But that’s not necessarily
myriad species) reveals an elegant in-
terior architecture; gathered together
en masse they can form enormous
good for the music.”
blooms in oceans and lakes, appear-
ing as ornately tendrilled ribbons via
satellite imagery. though it ultimately proves elusive, Gender Justice.
Davis discovered this obscure fragmenting and shifting in a way that “Sometimes you have to fight against
microorganism, beautiful from both offers both firm footing and unex- doing what’s been successful for you, or
a vast perspective and under focused pected obstacles to the soloists. Soon what people expect of you,” Carrington
scrutiny, through the random viewing that funk inspiration insinuates itself, said in a separate interview. “I always
of a nature documentary. But she through the sinuous groove of “Rhi- love the musicians that go against the
immediately recognized its resonance zomes” and the blistering velocity of grain, that keep surprising you and
with her own creative approach, “Certain Cells.” reinventing themselves.”
forever alternating between the macro “I always try to write towards what The preternatural rhythmic connec-
and the micro. “If I’m out listening the players represent,” Davis explained. tion that Davis and Carrington share
to music or just walking around the “I want to enhance where they’re coming is the gravitational center of Diatom
neighborhood and something grabs me from, but also to push them, give them Ribbons, and both credit it to their
as a larger idea, then I have to go home space to improvise and create on the shared roots in the jazz tradition—
and write the notes and rhythms and spot with whoever’s there.” even if, as Davis says, she has long
always be checking back and forth to On Diatom Ribbons that necessitat- since “veered off to do my own thing.”
see if I’m actually accomplishing that ed conceiving environments that could Nonetheless, she became enamored of
goal. If I’m not, I have to change what accommodate both the guitar freak- jazz through the influence of Monk,
that larger idea is about, so there’s al- outs of Nels Cline and Marc Ribot Herbie Hancock, Bill Evans, and Keith
ways this give and take as I go through along with the lithe vocals of Esper- Jarrett, figures that also loom large in
the process.” anza Spalding; the shimmering vibes Carrington’s pantheon.
The various threads that Davis wove of Ches Smith with the found-sound “The thing that really spoke to me
together to form the tapestry of Dia- eclecticism of Jeanty; the robust tenors about Kris was her time,” Carrington
tom Ribbons aren’t difficult to discern, of Allen and Malaby with the rough- said. “Her time is amazing, so I feel
though they’re nearly impossible to un- hewn bass of Trevor Dunn. Many of like I can play anything and we just
ravel. On the title track, which opens these musicians had not only never hook up. I also had that like-minded-
the album, the exploratory turntablist met prior to the recording date, but ness with Geri Allen, which came from
Val Jeanty makes striking use of the some of them had never even heard of having a similar language and aes-
late Cecil Taylor’s voice, philosophiz- one another. thetic about what’s hip. Even though
ing from a 1994 Piano Jazz interview Perhaps the most important, and the language may be a little different,
with Marian McPartland. “Music saved most surprising, relationship that I feel that same connection with Kris.
my life,” Taylor muses as Davis ham- Davis forged in the run-up to Diatom She knows tradition and I come out
x Album Review: Kris Davis and Craig Taborn’s Octopus
of the tradition. When you know the Canada. There she met Malaby, who in- trio with saxophonist Ingrid Laubrock
tradition, you can move away from it troduced her to the world of avant-garde and percussionist Tyshawn Sorey.
but there’s a part of the language that’s jazz and free improvisation. He became “The thread for me has been the chal-
still there.” a key mentor and collaborator after she lenge of each project,” Davis said. “There
“It all comes down to rhythm and moved to the States, but recognized from are so many musicians in New York that
how you connect with time,” Davis their first meeting her ability to synthe- it can feel like you have to specialize, just
agreed. “I come from that jazz back- size her influences and reimagine them choose a direction and go deeper into
ground, so it’s easy for me to understand through her own very specialized lens. that. The challenge is to reach outside of
that world and play it—I don’t want “She asked to learn a certain piece your comfort zone and the people you
to say authentically, but all of that is of mine, so I showed it to the group by feel comfortable with to incorporate ev-
still in there. Everything that I’ve been ear,” Malaby recalled, referring to an erything going on at that time in terms
interested in informs how I play over ensemble he was leading at the Banff of influences.”
these tunes.” Workshop. “Kris immediately got it and Davis is hoping to pass those values
on to a new generation of musicians
through her work at Berklee. The Insti-
“Forget your biases and try some things. tute of Jazz and Gender Justice aims to
promote gender equity and inclusivity
in the jazz arena. Like Carrington before
Every time I do that, her, Davis has long resisted identifying
her career with her gender, avoiding
“Women in Jazz” festivals or all-female
I’m never disappointed.” ensembles.
She even remembered an initial
reluctance to meet Laubrock, who has
since become one of her most important
A piece like “Stone’s Throw” exem- then turned it into something else. She’s collaborators and closest friends; the two
plifies the way that these conceptions always been able to absorb material and have a new duo album set for release on
meet on an evocative middle ground, bring it into her own world.” Intakt in 2020. When Laubrock original-
with complex evolving forms that blur In recent years that’s led Davis to ly moved to the city, Davis resisted calls
the lines between composition and im- forgo, at least on record, the founda- from male collaborators like Malaby and
provisation, its overall structure proving tion of a steady working band in favor Rainey to play with this newcomer.
evasive on initial listen. “Certain Cells,” of project-based collaborations, a “I was like, ‘Oh god, they want me
meanwhile, is driven forcefully by a pro- concept that’s reached a culmination to play with a girl,’” Davis laughed. “So
pulsive drum ’n’ bass-inspired groove on Diatom Ribbons. On 2016’s Duopoly I reluctantly asked her to come over
that anchors borealis-like atmospher- she engaged in improvised dialogues and play, and I set up a session with
ics. The deeper one delves, the more with a variety of partners including Tyshawn. We improvised for an hour
layers are revealed; on the surface, the Bill Frisell, Don Byron, Tim Berne, and I just remember thinking, ‘Holy
experience is never less than infectious, and Julian Lage; she focused in on one shit. This is really cool.’ Ingrid is so
reveling in the “pleasure principle” of those pairings, with fellow pianist unique, and we all became dear friends
that Taylor discusses in his sampled Craig Taborn, for her followup, the right after the session. It’s funny how
monologue. mesmerizing Octopus. that works with music. Forget your
“There’s a lot going on throughout the Those intimate outings were pre- biases and try some things. Every time
record,” Davis admitted. “I found myself ceded by Save Your Breath, featuring I do that, I’m never disappointed.”
grabbing different pieces of things from the eccentric octet Infrasound, which The aftereffects linger, even this long
all different genres and influences and coupled the rhythm section of Davis, into her career. Despite the exciting
then creating the project, along with a organist Gary Versace, guitarist Nate possibilities offered by her collabora-
little bit of chaos. Maybe that’s where I’m Radley (Davis’ husband), and drum- tion with Carrington and Jeanty, Davis
at right now.” mer Jim Black with four clarinetists. briefly hesitated to continue with them
Before that came Waiting for You to as her core trio for fear that their lack of
we zoom out further, we can Grow, commemorating the birth of Da- Y chromosomes would influence others’
discover one more starting point vis’ son, with trio mates John Hébert perception of the group. “I was slightly
for the album, a much earlier and Tom Rainey; the captivating solo worried that we were going to be pigeon-
one. Shortly before moving to album Massive Threads; the vividly holed,” she said.
New York in 2001, Davis attend- textured quintet session Capricorn “It just creeps in. It’s the right thing
ed the Banff International Workshop Climber; and Union, the second album for the music, but there was a little
in Jazz & Creative Music in her native by Paradoxical Frog, Davis’ collective moment there of ‘How is this going to be
taken?’ As I’m getting older I’m seeing inextricably linked, as the creative mu- my goal of inviting more women into
the bigger picture: I know my music’s sic world proved to be more accepting the music that didn’t necessarily come
solid, so I’m not having any kind of in the early stages of her career than up studying the language of jazz and
crisis about gender relating to the music the more traditional jazz field. embracing them as improvisers.”
for myself. But I do see in my students “The straight-ahead scene was more Forming human connections has
so many women coming up and asking difficult,” Davis recalled. “The impro- become central to Davis’ career, whether
how to navigate it all.” vised scene is just different. There’s as an educator, a composer, or an impro-
Davis also brings a unique stylis- more gender balance and more diver- viser. The unexpected chemistries and
tic perspective to the Berklee fac- sity. In a way I feel like I’ve benefited surprise discoveries that can arise from
ulty, which is far more focused on from that, which is something that I new relationships are what seem to thrill
the straight-ahead path than on the want to pass on as I contribute my ideas her in every aspect of her work.
avant-garde. In addition to her work to the Institute.” “We’re drawn to the people that are
MIMI CHAKAROVA
with the Institute, she’ll lead a free im- “Berklee could use more musicians like us,” she concluded. “That’s what hu-
provisation ensemble and a composi- and artists like Kris,” said Carrington. man beings do. But that’s not necessarily
tion ensemble. She sees the pursuits as “She’s the perfect person to help with good for the music.” JT
FRANKIE CELENZA
25 albums into a prolific
and varied career,
MICHEL CAMILO has lots
to talk about
BY JEFF TAMARKIN
Y
by the time I turned 16, I was already GETTING AT THE ESSENCE
a member of the National Symphony Essence is Camilo’s followup to 2017’s
Orchestra, playing the piano parts and Live in London, a solo piano perfor-
the percussion parts as well.” mance, which followed the previous
Then there are the stories behind year’s Spain Forever, an album of duets
the songs on Camilo’s latest album, with flamenco guitarist Tomatito.
Essence. It’s his 25th in all, and a very Camilo has recorded and performed
special one to him. For the release, he live with sextets, symphony orchestras,
assembled a big band—only his third and—more prolifically than anything
big-band recording—to revisit, with else—in trio settings. He’s composed
YOU DON’T GET AN ANSWER new arrangements, some of his favorite soundtracks, classical works, and
when you ask Michel Camilo a question, compositions from throughout his 35- jazz that dodges easy categorization.
you get a story—like the one about how year recording career. Three of the 11 Although there’s a pronounced Latin
he gravitated toward the piano as a child tracks were inspired by drummers and influence to much of his output, he
growing up in the Dominican Republic. percussionists who have figured promi- doesn’t slot solely into Latin jazz; his
“When I turned almost five, that nently in his life: “And Sammy Walked 2006 album-length interpretation of
Christmas my mother and father gave In,” the leadoff track, is a nod to Sam- George Gershwin’s Rhapsody in Blue
me a very tiny accordion,” says the my Figueroa, the conguero in Camilo’s heads in another direction completely,
now 65-year-old pianist, bandleader, first sextet, back in the days when he and his early trio recordings, particu-
and composer. “Luckily it was in tune, held forth regularly at the long-defunct larly those with bassist Anthony Jack-
so I was able to pick out the melody to jazz club Mikell’s on Manhattan’s Up- son and drummer Dave Weckl, only
‘Silent Night’ by ear. I discovered the per West Side, while “Mongo’s Blues” is hint at Camilo’s cultural roots.
notes on my own. Then the next one I for Mongo Santamaría. “It keeps me fresh,” he says about
played was ‘Happy Birthday.’ The fam- “He was my neighbor,” Camilo the diversity, “because each one has a
ily said, ‘Wow!’ because I was learning recalls of the latter musician. “I was different approach. But, for example,
really fast. My uncle could also play always asking him to tell me stories playing with symphony orchestras has
accordion, and just by watching him, about 52nd Street, the scene at the clubs made me a stronger player, because I
I was picking up everything. Then, by and him coming up in the ranks and have to project acoustically in front of a
the time I was six, I started coming up his encounters with all the legends of 90-piece orchestra, and be able to deliv-
with my own melodies. It was natural jazz, including Coltrane. He told me er the sound and work on the phrasing
to me. My parents noticed it and hired about ‘Afro Blue’ and [Herbie Han- and be very aware of this monumental
a professional musician, who used to cock’s] ‘Watermelon Man,’” a Top 10 elephant. You have to move and phrase
come to my home. I would sit with him single for Santamaría. together and breathe together. It makes
and play my new songs: simple melo- And then there’s “Repercussions,” you a better musician in certain ways,
dies yet with a structure. I was writing Camilo’s tribute to Art Blakey. “Art that challenge. Playing solo is also
all kinds of things. Blakey and the Jazz Messengers used to challenging because it gives you total
“But my first love was piano,” Camilo play at Mikell’s too,” he says. “He didn’t liberty, but you have to be very careful
continues. “My grandparents had one of play at the Vanguard, which would when you have so much liberty. You
those old uprights, which all of us would have been what you expected. All the don’t want to lose your focus, and you
play. I didn’t know how to play the piano youngsters, we would be in the audience, want to be concise and honest.”
well. I just moved my right hand, but not hanging out and listening to him, and he Throughout Camilo’s canon, one con-
the left yet, because I was used to playing would go around the tables and find out sistent trait has always been meticulous-
the accordion. Then when I was nine, I who was an up-and-coming musician. ness, both in his own playing and in the
asked my parents to send me to the con- I was one of those. One night, he came arrangements, regardless of the style.
servatory, and they made a deal with me: to my table and said, ‘You’re a pianist? “That’s a signature of my music, the
If I did well the first year, they would buy Do you want to sit in?’ And he pulled tightness of the ensemble and the preci-
my first piano. And I did great! That first me out from my table. I said, ‘What do sion and its challenging passages. What
year, believe it or not, to practice I drew we play?’ He told me, ‘No, that’s not the I did on Essence was to lay down all of
the keyboard on a piece of cardboard, way it works.’ I said, ‘How does it work?’ my rhythm tracks—and the big band
because I could hear in my head all the He said, ‘You dig your own grave and we knew what was going on because we had
notes. My teachers were wonderful, and bury you in it.’” already rehearsed—then I brought in
Camilo at the 2018
Newport Jazz Festival
the horns and conducted them.” by Berklee College of Music in 2017, to MAKINGS OF A MUSICIAN
Essence was produced by Camilo, be used for educational purposes, just Berklee itself figures into Camilo’s devel-
with most of the music cut at the Power as Camilo was starting to piece together opment as an artist. As with much else
Station at Berklee in New York. All the project. “They were telling me there’s in his career, fortuitous occurrences put
of it was composed by the artist, with a deadline, because they were going him where he needed to be at a certain
arrangements by longtime associate to shut it down for renovations that time in his life. His roots were in clas-
Michael Phillip Mossman, who also con- summer,” he says. “I said, ‘No, I want sical music, but when he was 14, he dis-
tributes trumpet and flugelhorn. Some the room the way I know it, before you covered jazz in a cousin’s record collec-
of the other musicians on the session start breaking the walls. I know that tion. “My cousin had a two-hour radio
had worked with Camilo before, while room, I know that board, and I know show every Monday afternoon, where he
several—including trombonists Michael how it sounds because I’ve done so many would play from his collection,” Camilo
Dease, Steve Davis, and Jason Jackson— albums there in the different rooms.’ So says. “I vividly recall that I was practic-
were new to him. “It was a nice assembly it was a back and forth until they said, ing my Beethoven and my Mozart and
of people and they all played their very ‘Okay, this is the date we’re going to shut I’d turn on the radio, and there was Art
best,” Camilo says. down.’ Then the challenge became, who Tatum, playing ‘Tea for Two.’ I was in
ALAN NAHIGIAN
It almost didn’t happen the way it did, is in town, who’s back from the road? total shock at this incredible master who
though. There’s a story for that too. The Michael [Mossman] started making had absolute command of the piano and
Power Station studio had been acquired phone calls until everyone was back.” was so advanced harmonically. I said,
‘What is this? My God!’ I didn’t even theory and improvisation. Tatum led to with my trio. One guy, who was in the
know it was called jazz.” Oscar Peterson, then McCoy Tyner, Phin- Peace Corps in the Dominican but also
Jazz recordings were difficult to find eas Newborn, Bud Powell, and Sonny an advanced jazz player who was into
in the Dominican Republic when Cami- Clark. Dizzy Gillespie’s Afro-Cuban ex- Miles, heard me playing jazz, and he got
lo was coming up, but fortunately, his periments opened Camilo up to the world me my first gig, at a very bohemian kind
cousin served as something of a lending of bebop and its intersection with Latin of place where the poets and the painters
library. “I started transcribing like crazy, rhythms. “But I didn’t go to jazz through and the sculptors used to hang out. I
and trying to understand this music. the Latin side,” he says. “I went through used to play there every Thursday night
Then I discovered that jazz was very the other side, the mainstream. Then I with my trio, and then I got invited to a
similar to classical music in a certain went backwards, to Scott Joplin and Jelly reception at the American Embassy for
way. There were schools, there were Roll Morton, and James P. Johnson.” the Harvard Jazz Band. Then, of course,
movements, there was West Coast, there He didn’t hear any of this kind of a jam session ensued, and I sat in with
was East Coast, Chicago, New Orleans, music live until Harvard University’s them, and their leader said, ‘You ought
all of this. But it was all compressed into big band came through Santo Domingo. to go to Berklee.’”
one century. That’s the way I started The story: “They came in on one of those Camilo never did attend the college,
FRANKIE CELENZA
approaching it, trying to understand the cultural ambassador trips, and then but he sent for Berklee’s correspondence
different schools and different styles.” there was a concert at a hall,” Camilo course on the music, which taught him
Through the history, he learned about says. “By then I was starting to play a lot. He finally visited jazz central, New
x Video: JazzTimes interviews Michel Camilo at the 2011 Newport Jazz Festival
York, in 1974, then moved to the city TAKING NOTHING FOR in New York because we get these
in 1979, checking out heroes like Thad GRANTED audiences that are jazz connoisseurs
Jones and Mel Lewis at the city’s venues Michel Camilo has one standard and they are very interactive with you.
and buying records he couldn’t find at Grammy, for 2003’s Live at the Blue Sometimes they are very respectful
home. “By then the hot guys were Keith Note, his personal favorite among his and quiet. It doesn’t mean they’re not
Jarrett, Chick Corea, Herbie Hancock,” recordings, and three Latin Grammys. enjoying it; it just means that they’re
he says. “I went back to the Dominican He has also taken home an Emmy, for concentrating and they don’t want to
and started studying those guys heavily “The Goodwill Games Theme.” He’s spoil the moment.”
and my mind changed completely. Then won awards from Billboard and the He cites one such gig, a duo show
I started trying to play that with my Jazz Journalists Association, and has with Tomatito in Tokyo. “Some in the
own group down there, and I set my earned a couple of honorary degrees audience put their heads down and
eyes on coming to New York. I waited and a Herb Alpert Visiting Professor- closed their eyes, because this music
until I graduated from the conservatory
with my degree, and then my wife and I
decided to give it a chance.”
Once in America, Camilo attended
postgraduate classes at Juilliard and
Mannes School of Music while trying to “I asked Art Blakey, ‘What
land gigs. He worked with a band called
French Toast (their leader was a French do we play?’ He told me, ‘No,
horn player, Peter Gordon), which
attracted A-list guest musicians to their that’s not the way it works.’
gigs, including Peter Erskine, Lew Soloff,
Jon Faddis, and Steve Gadd. French
I said, ‘How does it work?’ He
Toast recorded one self-titled album
in 1984, and through that experience
said, ‘You dig your own grave
Camilo met Jackson and Weckl. They and we bury you in it.’”
formed their trio but Camilo, his repu-
tation building, also worked with Tito
Puente, who needed a fill-in pianist for
a date at the Montreal Jazz Festival and
subsequently kept Camilo employed. In
the audience one night was the Cu-
ban-born saxophonist Paquito D’Rivera,
who took Camilo on tour with him to ship at Berklee, where he and his wife was very hypnotic. Tomatito was freak-
Europe. Camilo remained in D’Rivera’s also sponsor a scholarship. ing out. He said, ‘Man, we’d better go
quintet for five years. But more than anything else, it’s the home. We’re bombing here. This is not
In the meantime, Camilo also kept gratitude he gets from performing in happening.’ I said, ‘No, no, this is a very
busy composing. One of his tunes, “Why front of audiences around the world that different audience.’ At the end there
Not?,” was picked up by the Manhattan makes it all worthwhile for him. His first was a standing ovation. You learn that
Transfer and became popular enough for piano concerto, composed at the request you cannot take it for granted.”
others to cover. The song caught the ear of acclaimed conductor Leonard Slatkin, That’s a message Camilo makes sure
of a Japanese record company executive, premiered at the Kennedy Center and to convey to young musicians. “You
who signed him for two albums—Cami- has now, according to Camilo’s own have a duty to your audience,” he says.
lo’s initial outings as a leader—Why Not? count, been performed 117 times inter- “If you go on the road it’s not to party
and Suntan. A gig at New York’s Blue nationally. “Maestro Slatkin told me, out. You go there to perform music, and
Note impressed Newport Jazz Festival ‘Don’t take it lightly; you’re a living com- to give your best to your audience when
promoter George Wein, who paid for poser and it’s very rare to have a living they pay to see you. It’s a thrill to be able
Camilo’s next session and brought the composer performing his own work.’” to make great music together at a very
tape to Columbia Records, handing it Wherever Camilo performs, and re- high level and communicate the world of
over to A&R man/producer Dr. George gardless of the circumstance, his guid- ideas and feelings and extrapolate your
Butler, along with one sentence: “You ing principle is to always give his all. life experiences into sound,” he adds.
should sign this guy.” Columbia did and “I learned my lesson a long time ago,” “It’s a process of self-discovery. You put
Camilo’s recording career took off in he says. “Each audience is completely your heart, your soul, and your life into
earnest from there. He has since released different; you learn not to expect them what you do, and it’s really great when it
music on several other labels. to react the same way. We’re spoiled comes together. It’s a blessing.” JT
AUDIO FILES x Audio Files: Brent Butterworth on smartspeakers
A Fine Romance
Building amps into speakers is revolutionizing stereo systems
BY BRENT BUTTERWORTH
ince stereo came out—roughly ian and Dynaudio, kept pushing the at least one more component you don’t
Ì5 around the same time as Kind of concept, and slowly persuaded more need—and maybe a remote control you
Blue—audio systems have typically and more audiophiles of the advantages can get rid of too.
included a couple of speakers and some of internal amplification. But the trend However, internally amplified speak-
sort of separate amplifier. While this really took off about two years ago, ers can also offer technical advantages.
arrangement still works well, audio as audio companies started building Here we have to distinguish between
product designers started a couple of streaming services such as Spotify, powered and active speakers. Although
decades ago to toy with the idea of Apple Music, and Tidal into their the terms are sometimes used inter-
building an amplifier into a speaker. products—and as audiophiles got hip to changeably, a powered speaker is gener-
For reasons we’ll discuss below, the the convenience of mainstream active ally considered to be just a conventional
concept quickly became the norm in speakers such as the Sonos Play:5. speaker with an amplifier built in, an
professional recording monitors. But arrangement that eliminates a compo-
even though every speaker and amplifier nent but offers little improvement in
designer I know believes that “powered” The Active Advantage sound quality.
or “active” speakers can deliver superior On one level, the lure of powered An active speaker, on the other hand,
performance, audiophiles have largely speakers is obvious: You have just one incorporates separate amplifiers for
rejected the idea, preferring to pick their pair of speakers, usually connected each speaker driver, as well as electron-
speakers and amps separately. with a single cable, instead of speakers, ic signal processing to divide the signal
The home audio industry never quite an amp or receiver, maybe a preamp, into bass and treble for the woofer and
gave up on powered speakers, though. and cables connecting them. If the tweeter, respectively. (In powered and
A few companies, most notably Merid- speaker has streaming built in, that’s passive speakers, this task is performed
L to R: SVS Prime Wireless, Devialet Phantom,
Kanto YU6, and KEF LS50 Wireless
with relatively crude and imprecise or Internet radio from your phone most others tend to be judged. Its coin-
networks of capacitors, resistors, and through Bluetooth; and connect your cident driver system centers the tweeter
inductors.) The signal can then be fine- TV using the Toslink digital input, and inside the woofer, a design that made
tuned to suit the performance charac- you probably have all the entertainment the original, passive LS50 one of today’s
teristics of each driver, thus delivering options you need. top audiophile speakers, and it streams
performance that would be difficult and While there are some active speakers Tidal and Spotify directly.
expensive to match with traditional without built-in streaming of some Devialet’s Phantom series might
speakers. The electronic processing also sort, they’re uncommon; the best- be the most extreme active speakers
makes it easy to include tone con- known example I can think of is Dy- in terms of radical engineering; they
trols, as well as a limiter that prevents naudio’s $1,499 Xeo 10 system, a two- look more like large pill capsules than
damage to the speakers when they’re way speaker with analog and digital speakers, but extensive digital signal
cranked all the way up. inputs as well as a Bluetooth receiver. processing and acoustical engineer-
Four 65-watt amplifiers provide fully ing give them an amazing sound for
separate power for the Xeo 10’s tweeters their size. The line starts with the
What’s in the Box? and woofers. $1,090-each Reactor 600, with two
The capabilities and features of powered More common these days are speak- drivers and 600 watts of total pow-
and active speakers vary considerably. ers with streaming built in, usually er per speaker, and goes up to the
Some basically just eliminate the need through a third-party technology such $2,990-each Phantom Gold, with three
for a separate amplifier, while others as Apple AirPlay or DTS Play-Fi. SVS’s drivers and 4,500 watts per speaker.
are designed to operate as complete $599 Prime Wireless speaker system All include Apple AirPlay streaming
audio entertainment systems. includes Play-Fi, which lets you play technology plus Bluetooth.
At the simplest level are powered sys- music from streaming services such as With these active speakers providing
tems such as the Kanto YU6 ($399.99). Spotify, Pandora, and Tidal, all selected all the convenience of mass-market
Each of its speakers has a 5.25-inch through your smartphone or through wireless speakers and sound quality
woofer and a one-inch tweeter. A the system’s front-panel preset buttons. exceeding that of traditional systems,
two-channel amp is built into the left The Prime Wireless system has 50 watts it’s hard to imagine they won’t soon
speaker, with line and phono inputs of power for each speaker driver. become the standard—especially when
as well as Bluetooth wireless. Hook up The $2,499 KEF LS50 Wireless sys- kids who got started with Sonos and
a turntable for your old Lee Morgan tem is sort of the Coltrane of wireless Bluetooth speakers start to look for
sides; stream Spotify, Apple Music, speakers—i.e., a standard by which something better. JT
CHOPS x Gearhead: The evolution of The Real Book
Jack Grassel in a
Real Book (6th Edition), featuring all-
non-transcribing new harmonizations of its time-honored
moment melodies, arranged by Grassel over an
eight-week period last year. The book was
originally conceived by Hal Leonard’s
executive vice president Jeff Schroedl
as a resource that would give players
some built-in options for adding color to
the harmony and provide a new way of
approaching songs that they might have
been playing the same way for years.
A man obsessed with musical growth
and improvement, Grassel saw the
project as an opportunity to modern-
ize these cherished songs using chord
progressions more indicative of today’s
music. “I saw Chick Corea recently,”
he recalls, “and on one of his tunes he
played 10 choruses, and every one had
a different set of chord changes. This,
I feel, is where jazz is going, where, in
addition to improvising the melody,
players will be improvising the chord
changes as well. My work in this book is
an instruction manual for other people
to do the same thing—harmonizing in a
more modern way.”
Grassel says he worked within a set
of criteria that he established to ensure
the resulting reharmonizations were still
musical. These included such consider-
ations as whether the reharmonization
of each melody note sounded good on its
own as well as against both the preced-
ing and succeeding chords; density or
sparsity of chord changes within each
section of the tune as well as in relation
Reharmonizing to the melody; and whether the song still
retained its original character and stood
The Real Book up to repeated listening, among others.

One of the methods employed fre-
quently in the reharmonized edition is
Jazz guitarist JACK GRASSEL makes giant steps toward the transformation of AABA song form
modernizing a treasured tome BY MICHAEL MUELLER to an AABC variation, which Grassel
uses to great effect on songs like “Body
and Soul,” “Oleo,” “Anthropology,” and
or nearly 50 years, The Real Book Berlin would someone set out to rehar- “The Girl from Ipanema.”
Ì( has sat proudly on music stands monize its contents? “When a song is in AABA form, you
across the world, from clubs and “Music is in a whole different place might play the A section three times in a
society gigs to practice rooms and jam now,” says guitarist Jack Grassel, 71, a row, exactly the same way,” Grassel says.
sessions. It’s—unofficially—the best-sell- professional jazz musician and educator “And if you have a bunch of people tak-
COURTESY OF JACK GRASSEL
ing “fake book” of all time. Generations of more than 50 years. “People don’t use ing solos, you might hear that A section
of jazz musicians have learned to play ii-V-I progressions now, and if they do, it 50 or 60 times. That needs to change. So
standards and classics from the Great makes the music sound very old.” what I tried to do was make a new song
American Songbook via its venerable The Reharmonized Real Book (Hal form, where each of the three A sections
pages. So why in the name of Irving Leonard) contains 393 songs from The could be different, which makes it a lot
FEBRUARY 19 – MARCH 1
“When I look at a song like ‘Autumn Leaves’

and see that opening progression, I think,
‘Oh man, here’s another ii–V–I,’ and I’ve
Presented by
become really repelled by that.”
Archie Shepp
Branford Marsalis
Thundercat
easier for the player and the listener. I as he streamlined the famously dense David Sanborn
think that makes for a more modern, changes and achieved one of his more Larry Carlton
through-composed reading of the song, radical reharmonizations along the Ghost-Note
like what Wayne Shorter, Chick Corea, way. “Well, it’s about time! We’ve Kenny Barron
and Herbie Hancock did with some of been playing it the same way for 60 John Medeski
their more modern songs.” years,” Grassel quips. “When Coltrane Terry Riley
Another thematic approach that wrote ‘Giant Steps,’ he was trying to Kenny Garrett
Grassel used to produce a more modern push ii–V–I progressions as far as he Antibalas
sound was to drastically reduce the oc- could take them. And if you look at Eric Gales
currence of the ii–V–I progression—a the melody of the first two measures, Mark de Clive-Lowe
bold move considering it’s foundational it’s just a Gmaj7 chord, so I removed Stanton Moore Trio
to the jazz sound as we know it, but four of Coltrane’s chords in those two Terrace Martin
one that he was eager to make. “When measures and replaced it with just Harrison-Clark-Blades Trio
I look at a song like ‘Autumn Leaves’ one chord. Furthermore, you’ve now Stanley Jordan
and see that opening Am7–D7–Gmaj7
progression, I think, ‘Oh man, here’s ♭ ♭
got this chromatic root movement of
G–A –A–B –B over the first seven bars,
Omar Sosa & Yilian Cañizares
Tuck & Patti
another ii–V–I,’ and I’ve become really but the underlying chord qualities Kat Edmonson
repelled by that,” he says. “So I changed create some counterpoint. I feel this Miguel Zenón Quartet
♭
that opening three bars to a chromatic
movement of E 13–E9 ♯ 5–F9–F♯7–
makes the song more contemporary, Dan Tepfer
♭
Gmaj7 5–Gmaj7, and it sounds like a
because that’s the way jazz has been
going for quite a while.”
Kandace Springs
Mark Guiliana
whole new song now. It’s still ‘Autumn What impact does Grassel think the James Francies
Leaves’ when the melody is played, new volume will have? “I hope it makes Aaron Goldberg
of course, but when the solos appear, people better players and boosts their
you’re presented with all-new harmonic enjoyment of making music,” he says.
scenery you get to navigate while play- “It’s on my music stand right now, and Full lineup at pdxjazz.com
ing this song that everybody loves.” I’m playing through it page by page,
Even a sacred cow like John Col- being confronted with new things every PDX Jazz thanks our major partners
trane’s “Giant Steps” wasn’t immune practice session, and that’s making me
to Grassel’s modernization crusade, a better player.” JT
GEARHEAD x Bright Moments: John McLaughlin
McLaughlin in the studio

with Shankar Mahadevan (L)
grammed; they sound performed. “It

was a long time coming—oh brother!”
McLaughlin laughs. “Don’t get me
wrong, I love the guitar. That’s been
my instrument for my life. But for this
project with Shankar’s voice, which
is wonderful, I wanted to find a vocal
quality. It started with a standard tone
with the Logic ES-2 synth plugin. I
was tweaking aspects of the inside of
the tone.”
He created the instrumental tracks in
stages. When orchestrating background
parts, he relied on the Fishman Triple
Play MIDI pickup system (“polyphon-
ic and very accurate,” McLaughlin
reports). But when it came time for
the improvised solos with Shankar—
John McLaughlin which are more of a musical dialogue
than a traditional vocal/instrumental
Makes MiGiC trading-off—he wanted to go beyond

the limitations of MIDI. “About a year
or so ago I found a program called
A six-year deep dive into synth control helped this guitar MiGiC,” he says. Billed as real-time
icon create a new electronic voice BY EMILE MENASCHÉ guitar-to-MIDI software, MiGiC pro-
cesses audio from the guitar’s output to
generate MIDI messages.
ver his 50-plus years on the world by the soundscape. Over the six years “It took some experimenting with the
Ì1 stage, John McLaughlin has never it took to make the album, McLaughlin pickups—you have to work with it and
been afraid to explore uncharted built a new voice for himself using an with the synth patches,” McLaughlin
territory. Yet, as the 78-year-old guitarist improbable tool—a synthesizer plugin explains. “But the amount of gain you
jovially admitted by phone from his from Apple’s Logic Pro digital audio put into it can give you different ‘inside’
home in Monaco, he’s always wanted workstation. Improbable not because tonal effects, which becomes much
to be a singer. And though he’s counted McLaughlin is new to guitar synthe- more personal. The average MIDI note
among the greatest players of all time, sizers; he’s been messing with them is impersonal to me. Though it’s purely
his search for a voice-like sound keeps since the ’70s. The issue is that even monophonic, and it’s kind of demand-
driving him forward. when synths can track the phrasing of a ing because you need your playing to be
On his new duo album Is That So?, guitar, it’s hard to capture the complex pretty accurate, it can handle whatever
McLaughlin’s guitar and Shankar decay and sustain that gives stringed you can give it. It sets that singing tone
Mahadevan’s voice combine to create instruments their nonlinear dynamics. you only get from a guitar string.”
something both meditative and emo- McLaughlin did that and more on
tional. My first listen was in a noisy Is That So? The vowel-like synth tone MiGiC is available with a free 30-day demo
(and irritating) environment, and it moves with the nuances inside the or at full purchase price of $24.95 at migic.
took less than 30 seconds with head- notes. The parts are unapologetical- com. Fishman Triple Play starts at $229.95
phones to be transported and transfixed ly electronic but don’t sound pro- street price.
S LFO Yeah
The TWA SS-01 Side Step universal tap-tempo LFO pedal
(distributed in the U.S. by Godlyke, Inc.) takes the low-fre-
quency oscillator (LFO) to the ground floor. Godlyke says it’s
a “variable-state, tap-tempo LFO that can be used to control
practically any device with an expression input and/or +5V
S Clock the Beat
Backbeater is a compact tool to help drummers play at a consistent
control voltage source.” For example, you might connect it
speed—or at least be more aware of variations in their tempo. The
to the expression-pedal input of another effects device and
basic version clips onto a snare drum and tracks tempo in real time,
use the LFO to control one or more parameters. There are
then transmits the results to a smartphone for display using a free app.
eight switchable waveforms, while the rate can be set by tap
There’s also a Backbeater Deluxe option, which comes with a mount-
tempo, an onboard pot, or an external expression pedal.
ing bracket to position the smartphone on a nearby cymbal or drum
stand for easy visibility. The app can save songs and set lists, making it
$179 street | godlyke.com
a useful tool for performance as well as practice.
$39 ($59 for Deluxe version) | backbeater.com
S The Ultimate in Reeding

RS Berkeley’s Ultimate ULT19 reed-sculpting tool is de-
signed to help players shape and balance their reeds for
maximum vibration and performance. It features a wood S Keyed Up Emotionally
handle and a hand-lapped and -shaped curved blade, and According to manufacturer Expressive E, the new Osmose synth
works with both single and double reeds. Learn more and expands on a standard keyboard’s capabilities with Augmented Key-
find demo/instructional videos at the company’s website. board Action (a.k.a. AKA), which “gives the player three dimensions
of continuous control for creating a closer bond between the player
$39 street | rsberkeley.com and the instrument.” While the Osmose can control external instru-
ments and soft synths, Expressive E says its 24-bit onboard sounds
have been optimized to take advantage of the expressive control
offered by its 49 keys. The demo videos are impressive, and with a
low introductory price, the Osmose looks like it has a lot of potential.
$299 street | expressivee.com
W Take 5
KRK Systems’ Classic 5 Professional Bi-amp Studio Monitors have a bi-amped Class A/B power
section with built-in automatic limiter and an optional 2dB bass boost. Housed in a low-reso-
nance enclosure designed to minimize distortion and colorization, the five-inch glass-Aramid
composite woofer is voiced for clear midrange and tight bass. The company says its one-inch
soft-dome tweeter boasts an “optimized waveguide” for articulate highs up to 35KHz and
detailed imaging. To improve decoupling (and accuracy), hi-density foam pads are pre-installed
on the bottom of each monitor.
$149 each | krksys.com
REVIEWS ALBUMS x VIDEOS x BOOKS
“A handsome, honeyed
delight”: Chet Baker
Broadway and more on contemporary
jazz compadres such as Bennys Gol-
son and Carter and Miles Davis for its
melodic kicks. While slow moments like
Golson’s “Blue Thoughts” allow Baker
& Co. stewing solitude, Owen Mar-
shall’s “Hotel 49” and Miles’ “Solar” are
aggravated bop workouts where everyone
flies (including tenor saxophonist Johnny
Griffin). Baker, in particular, sounds
freer than he has before in his still-young
career as a leader. Though known for
melodious simplicity and barely extend-
ing his range beyond a single octave, he
worked that staff like a rib on this album.
Chet continues Baker’s effortless
reach into romantic rumination with an
instrumental effort costarring the likes
of Bill Evans and Herbie Mann. When
Baker isn’t deep in the clinches with
guitarist Kenny Burrell for their tender
take on “September Song,” he’s letting
baritone saxophonist Pepper Adams
loose on “Alone Together.”
Flutist Mann, pianist Evans, and sax
Before the Fall man Zoot Sims help close out Baker’s
tenure with Riverside on an up note:
Chet Baker's artistic peak, on five LPs the showtunes of Lerner and Loewe. “I
Could Have Danced All Night” becomes
an open-ended waltz with Baker’s breezy
trumpet line bucking against Mann’s
CHET BAKER main event, however, is its pristine sweet counterpoint, and “I’ve Grown
The Legendary Riverside remastering of (Chet Baker Sings) It Accustomed to Her Face” grows more
Albums Could Happen to You, Chet Baker in sensual and languorous with each Sims
Craft New York, Chet, and Chet Baker Plays lick and pensive Baker solo.
During his two years on the Riverside the Best of Lerner and Loewe. The entirety of Chet Baker’s Riverside
label (1958-59), smooth-faced, square- As on Pacific Jazz albums such as Chet is a handsome, honeyed delight, and a
jawed son of the heartland Chet Baker Baker Sings (1954), the trumpeter spends true examination of the trumpeter/vocal-
was an end-of-the-Eisenhower-era much of It Could Happen to You with his ist’s range. A must-have. A.D. AMOROSI
dreamboat, and as soft-spoken a vocalist axe by his side, crooning. Only here, his
as he was a trumpet player—unless tack- chilly, whispery rasp is lithe and limber.
ling hard bop, which he did with man- There’s a new confidence to his vocals MAT MANERI
nered zeal. His cool mix of “James Dean, that offers a graceful counterweight to an QUARTET
Sinatra, and Bix Beiderbecke” (historian energetic, cranky set of East Coast play- Dust
Dave Gelly’s description) put Chet, ers including pianist Kenny Drew and Sunnyside
early on, in a pantheon beyond jazz: the drummers Philly Joe Jones and Dannie
humble hipster hero. That he wound up Richmond. Nonchalant and nuanced, Putting aside for the moment mention of
abusing heroin even before his Riverside Baker—as singer and trumpeter—turns chamber-jazz weaves, global influences,
tenure meant the dreamboat would soon tunes like “Do It the Hard Way” and modal designs, and high-wire improv,
sail, even if his haunting musicality and “Old Devil Moon” into intimate mo- what’s the most economical way to de-
subtle invention would not. ments, balancing his fluid melody lines scribe the performances on Dust? How
BOBBY WILLOUGHBY
This weighty five-LP set is a testa- against the sniper-precise piano of Drew. about suggesting an alternative four-let-
ment to such dreaminess, stuffed with Chet Baker in New York keeps the ter album title? Soul, for instance.
prints, booklet, and a solid disc of unruly East Coast vibes, loses the gently After all, that’s the common emo-
alternate versions and outtakes. The vexing vocal lines, and relies less on tional thread running through these
mostly introspective, artfully executed performances—a yearning
vocal-like quality that helps account for why even the longest,
most multifaceted tracks consistently cohere. Of course, Maneri’s
contributions are crucial. In addition to playing viola and a key
role during two improvised pieces, he wrote five of the seven com-
positions included here. His seemingly innate lyricism, previously
highlighted in a variety of significant collaborations (Cecil Taylor, gregory porter
Paul Motian, et al.), is often distinguished by such a breathy,
& ledisi
reed-like tone that you may sometimes find yourself wondering
Sun, Feb 16 @ 7PM
whether this four-piece ensemble is larger than it is. It’s a night of soul
At its most expressive, Maneri’s viola offers an affecting con- with two of today’s
trast to the music’s occasional intervallic leaps, percussive bursts, most captivating
vocalists, Gregory
and keening exclamations; it also melodically sustains a series of Porter and Ledisi.
thoroughly absorbing excursions. Even so, he’s clearly content to
front what essentially sounds like a leaderless group devoted to
the art of interplay. No surprise there, in light of his impressive
track record and the caliber of the company he’s keeping on this
session, which features two familiar collaborators—pianist Lu-
cian Ban and drummer Randy Peterson—and the well-matched bokanté
bassist John Hébert. Not to be overlooked, the album’s remaining
Sat, Feb 29 @ 7:30PM
compositions, both written by Ban, further contribute to its qui- The world music
etly unfolding charms (“Mojave”) and spiritual resonance (“Two supergroup,
featuring members
Hymns”). MIKE JOYCE of Snarky Puppy!
ROBERTO FONSECA
Yesun
Mack Avenue
Is it necessary for jazz to be “challenging” or “complex” in order

to be considered “good”? Pianist Roberto Fonseca blazes few michael
new trails here, despite his blending of styles and influences that
some might consider disparate, if not oppositional. “We have a
feinstein
featuring Storm Large
little mambo and rumba, some reggaeton and hip-hop,” he says Shaken & Stirred
in the online press release, adding that “[t]his song is calling Sat, Mar 14 @ 3PM
people to a party so nice it will fill your soul completely.” A celebration of
the greats of
It’s that “nice” that some might find problematic. “La Llama- American Song
da,” textured by darkly propulsive yet buoyant interplay between and pop music!
Fonseca, bassist Yandy Martínez Rodríguez, and drummer Raul
Herrera, is infused with a brooding romanticism that’s accentu-
ated by the breathy vocals of the group Gema 4: ethereal enough
to retain a sense of mystery, yet dangerously close to crossing the
line between poignant and prettified. “Cadenas” is funkier —
there are echoes of Stevie Wonder in Fonseca’s keyboard work—
geri allen
and guest vocalist/rapper Danay Suárez’s vocal timbre is girded
jazz camp
with more emotional nuance than most North American rappers All-Female Residency
with Artistic Director
seem able or willing to summon, but the electronically tweaked Regina Carter
sung vocals may either widen the sonic spectrum or dilute the Jul 5–11
Students refine their
immediacy of the message, depending on one’s perspective. instrumental or vocal
Saxophonist Joe Lovano negotiates the bop-like melody line of skills with acclaimed
“Vivo” with unerring crispness, and his bristling tone effectively jazz musicians!
Sign up today!
leavens the grandiosity of the arrangement, although one wishes njpac.org/allfemalejazz
he’d been given the opportunity to stretch out more.
At times, as on “Mambo pa la Niña,” with its heady meld
of organ-trio soul and funk/salsa rhythms spiced with New
Orleans-tinged keyboard curlicues from Fonseca, we’re delivered
from “niceness” into a full-on, ecstatic dance party. Elsewhere,
For tickets & full schedule
though, despite the well-honed chops and imaginative depth of visit njpac.org or call 1.888.GO.NJPAC
One Center Street • Newark, NJ
REVIEWS ALBUMS
instrumental arrangement of an R&B

Editor’s Pick track than his own “jazz” composi-
NICK DUNSTON tion. His trumpet trades phrases with
Atlantic Extraction keyboardist Michael King in a call and
(Out of Your Head) response that then develops into a new,
oscillating melody, much like a singer
Nick Dunston didn’t have a particular ensemble sound in his head when he built his turning from verse to chorus. The sound
new quintet last year. He just hoped a handful of committed improvisers would natural- of the trumpet here is soft and billowing,
ly morph into a working band, sharing their savvy and collectively shaping a music that the sonic portrait of a perfectly puffy
deep-sixed the constraints of idiom. Guess what? Dude’s dream came true. Atlantic white cloud. An echo effect that turns
Extraction’s debut is an engaging date that offers unique vista after unique vista, com- one horn into a small choir of trumpets
ing on like a suite regardless of how far-flung any of its individual elements seem to be. allows the listener to sink ever deeper
The young bassist, who has swooped onto the New York jazz scene with into the tranquil, unhurried mood.
surprising velocity in the last two years, has myriad interests. So the terrain of Hill regularly pulls back the music to
this program’s 16 tracks is in constant flux; his embrace of modern classical and
let the other stars of the album—the spo-
abstract improv lingos informs many of the vignettes. A guitar/flute/drums/violin/
ken (and recorded) thoughts of distin-
bass outfit has innumerable textures to investigate, and Team Dunston’s curiosity
guished black women like Abbey Lincoln
gets the green light at every turn. Plus, those experimental gambits are bolstered by
and Eartha Kitt, as well as the hauntingly
several arrangement insights.
That means there are solo tracks as well as passages by pared-down versions of beautiful vocals from singer Christie
the group. Luminous crescendos that exude a natural radiance. Poetic reveries that Dashiell—take prominence. He says that
thrill with their commitment to pith. Frenzied drama that manages to exude grace. the music’s direction was suggested by
Simple taps and gurgles that conjure the natural world. “String Solo No. 2” actually the spoken-word recordings, which focus
works as a percussion piece, with Tal Yahalom tapping a parade of feels from his gui- on philosophical concepts of love, but
tar. One section of “Contraband Peanut Butter” finds Ledah Finck’s violin drone sta- drawing a through line from the words
bilizing a swirl of hubbub just aching to boil over. Dunston has a way with suspense, to his music is a difficult, muddled task.
and his design game is strong. At some Still, the sounds they inspired suit Hill
points, it’s as if Air were interpreting Anthony well. JACKSON SINNENBERG
Davis’ I’ve Known Rivers or Leroy Jenkins’
Legend of Ai Glatson. Or both at once.
The bassist has worked with Tyshawn BARNEY WILEN
Sorey, Dave Douglas, and Amirtha Kidambi. A QUARTET
recent video portrait for NYC’s Roulette per-
Live in Tokyo ’91
formance space found him touting influences
Elemental
including Bartók and August Wilson. He’s said
his perspective is informed by the AACM and If you are American and you know the
BAG, and “S.S. Nemesis” features a momen-
name Barney Wilen, it is probably from
tary “Oh! Susanna” reference. Seems this
two recordings of film music. When he
broad-reaching testament to inclusion is also
was 20, in 1957, Wilen played on Miles
a refutation of formulaic expectations. Long
Davis’ groundbreaking improvised
story short: Dunston has made the debut of
2019, and it’s likely that its beauty will resonate soundtrack to Louis Malle’s Ascenseur
“His design game is strong”:
for much longer than that. JIM MACNIE pour L’échafaud. At 22, he played with
Nick Dunston
Thelonious Monk on the soundtrack for
another French film, Roger Vadim’s Les
Liaisons Dangereuses.
all concerned, the blend of aesthetics has been teasing this direction for years, An unknown kid tenor saxophone
and influences results mostly in a mix starting with the hip-hop cadences he player from France was an unlikely
that’s pleasant and occasionally bracing, folded into 2014’s Modern Flows Vol. 1. choice for both sessions, but Wilen had
but with few outright challenges or fresh But if you listen to his arrangements of something. Then and now, what he had
angles of vision. DAVID WHITEIS standards like Herbie Hancock’s “Maid- is called cool. He sounded like a West
en Voyage” as well as originals from his Coast tenor, but the coast was in France
last two albums (see parts of 2018’s Mod- and the accent was Parisian. You may
MARQUIS HILL ern Flows Vol. 2), you’ll hear him leaning have wondered whatever became of him.
Love Tape into the lyricism and lush production of Live in Tokyo ’91 answers the ques-
GAYA FELDHEIM-SCHORR
Black Unlimited Music Group contemporary soul and R&B. Love Tape tion. Wilen was active on the European
fully embraces this sound. jazz scene until his death at 59 in 1996.
Fans of trumpeter Marquis Hill To the point, “Won’t You Celebrate This two-CD set catches him on a tour
shouldn’t be surprised that his latest with Me,” the third of the record’s nine of Japan with a capable straight-ahead
album is more neo-soul than bop. Hill tracks, sounds almost more like Hill’s French rhythm section. The kid who
recorded with Miles has become a more continues his evolution from suave
assertive, versatile tenor player. He R&B crooner to poised jazz vocalist
powers through tunes like “Doxy” and with his encompassing Cole celebra-
“Bésame Mucho,” riveting ideas in place tion. Covering a variety of musical
and connecting them all. moods with easygoing authority,
But Wilen’s gift was for ballads. On from the wistful “I Remember You”
“Old Folks,” in a whisper, he lingers and the swooning “Tenderly” to the
behind the languid beat. He can remind snappy “Straighten Up and Fly Right”
you of Stan Getz in the way he relaxes and the elegiac “I Wish You Love,”
into a song, trusting his Muse, letting Bearde wades into the songs like he’s
melodies flow. Gordon Jenkins’ “Good- stepping into a warm bath. For most
bye” reveals how he could brood over a of the album, his accompanists are a
ballad and seduce you into its story. trio led by ace Los Angeles pianist Josh
The best historical jazz labels perform Nelson, who also produced the tracks
a valuable service by rescuing lost music, and wrote the arrangements; two songs
and an even more valuable service by feature pianist Peter Horvath, who
rescuing lost jazz musicians. Elemental, a arranged and produced those pieces.
relatively new player in the historical-la- Tenor saxophonist Eric Alexander, a
bel category, has produced a nice package boon to any musical setting, contrib-
with photos, reminiscences from friends utes on three songs, adding a partic-
and musical associates, and high-quality ularly poignant edge to the pathos of
sound—all for the worthwhile purpose “Funny (Not Much).”
of keeping Barney Wilen from being If Bearde is the masculine yin com-
forgotten. THOMAS CONRAD ponent of Cole’s musical persona, Con-
necticut-based vocalist, arranger, and
multi-instrumentalist Orice Jenkins
NICOLAS is the sensitive, torch-carrying yang.
BEARDE He’s also more interested in vividly
ScOoP Up ThIs
I Remember You: The reimagining familiar songs, both as a
Music of Nat King Cole singer and arranger. Accompanying his
Right Groove imploring, almost androgynous vocals WiNtEr’S LaTeSt
ORICE JENKINS
on piano, Wurlitzer, Rhodes, and gui-
tar, Jenkins opens the album with “Let JaZz BiOgRaPhY!
Centennial Cole: The
There Be Love”—a cappella except for
Music of Nat “King” Cole
Truth Revolution
his finger snaps, a setting that makes
the silliness of the lyric unavoidable,
Nat King Cole didn’t need a milestone and irresistible. The album’s most
birthday to elicit a flood of tribute arresting tracks feature string quartet
albums. A bona fide pop star and racial arrangements that are often effectively
barrier-breaking icon at the time of his counterintuitive, like the ominous
death from lung cancer in 1965 at the minimalist pulse on “Mona Lisa” that
age of 45, he’s been saluted and cele- imbues the song with a film-noir edge.
brated on dozens, probably hundreds of Similarly, Jenkins renders “Blame It
discs, including the 1991 megahit Un- on My Youth” and “Stardust” more as
forgettable…with Love by his daughter art songs than jazz vehicles, employing
Natalie Cole and 1992’s Just the Way I idiosyncratic phrasing that might irk
Am by the inimitable Freddy Cole, Nat’s some listeners. It’s a perspective on
younger brother (the Coles cornered Cole that’s well worth considering.
the market on cool). The undimmed ANDREW GILBERT
spotlight on Nathaniel Adams Coles
has blazed all the brighter in the year of
his 100th birthday, and two estimable DAN WEISS TRIO
new albums explore different facets of PLUS 1
his multifarious musical legacy. Utica Box
WwW.ChIcAgOrEvIeWpReSs.CoM/
Building on 2016’s Invitation, a Sunnyside BeTtErDaYsWiLlCoMeAgAiN
hard-swinging program of standards
produced by pianist Nat Adderley Jr., The unusual instrumentation of the new
San Francisco singer Nicolas Bearde album from drummer Dan Weiss brings
REVIEWS ALBUMS
semble unity. Here Weiss, best known

Editor’s Pick for bold statements, opts for nuanced
TODD MARCUS movements and a slightly refracted
Trio+ grace that makes the ensemble distinc-
Stricker Street tive. A Utica box is a 19th-century form
of torture, but this Utica Box makes an
Todd Marcus, one of the few bass clarinetists in modern jazz, has almost made a ideal form of 21st-century contempla-
point of understating his skill as a player throughout his recording career. His first tion. MARTIN JOHNSON
albums aimed to incorporate his ethnic heritage into his art, wedding Egyptian music
theory with big-band jazz. On These Streets, his 2018 release, was an immersive,
moving reflection of his work as an activist, organizer, and resident of West Balti- LEE KONITZ
more. Marcus’ instrument was more his group than his horn on these records, as he
NONET
used the ensembles to weave rich narratives through the arrangements.
However, the bass clarinet is front and center on Trio+, a strong postbop showcase Old Songs New
for Marcus’ unquestionable command of the instrument in a small-combo setting. His Sunnyside
ambition is announced swiftly and directly across the album’s four opening tracks,
The title might just as easily have been
which make up the “Something Suite.” Propelled by the engine of Ameen Saleem’s gal-
Old Freedoms Reimagined. Lee Konitz,
loping bass and Ralph Peterson’s piston-like attack on the drums, Marcus delves into
who in 1949 as a member of the Lennie
his penchant for “sheets of sound”-style soloing. Visualizing the dizzying dance of his
fingers across the valves as notes spill out will leave you winded and arthritic by proxy. Tristano Quintet helped blaze the trail
Marcus gets so much room to soar due to the group’s lack of harmonic resistance; for free improvisation on the landmark
though trumpeter Sean Jones appears on four tracks, the majority are only clarinet/ “Intuition,” here explores a very different,
bass/drums. This setting also allows Marcus to show a real ingenuity with his ar- but no less challenging, kind of freedom.
ranger’s pen to keep the sound Rather than creating spontaneously with
dynamic. See his version of no preset plan or structure, he takes
“My Foolish Heart,” where Pe- on material already familiar to him
terson becomes the principal (including his own bebop-tinged “Kary’s
accompanist during Jones’ Trance”), immerses himself in arranger
and Marcus’ lush solos. His Ohad Talmor’s richly colored aural land-
brushes are always in motion, scapes, and then, as Talmor’s liner notes
not just swirling on the snare explain, proceeds to “either play over or
head but whirling around the fit inside the lush sounds at will … where
kit, as if he’s improvising his the music would simultaneously stand on
fills in tandem with the horns. its own and complement Lee’s inspiration
It keeps things interesting, when he chose to play along with it.”
varied, and engaged—some- Indeed, this set is as much a showcase
thing Marcus never fails to do. “Will leave you winded and arthritic by proxy”:
for Talmor as it is for Konitz; the nonet
JACKSON SINNENBERG Todd Marcus
orchestrations are fully conceived works
in themselves—mini-symphonies, in
fact. For his part, the nonagenarian
to mind Smokestack, Andrew Hill’s 1966 title track, an elegantly structured piece, Konitz’s pitch has loosened somewhat,
Blue Note classic, as both recordings em- the rhythms change subtly in a nod to his vibrato wider and more watery in
ploy a drums/piano/two-basses lineup, composer Morton Feldman. “Jamerson” places, and, especially on ballads, he’s not
but Weiss didn’t intend the comparison. pays homage to the great Motown bassist above adding some syrup to his tone, his
For him, this was simply an outgrowth James Jamerson. “Rock and Heat” is a heart more visible on his sleeve (as if he
of the trio with bassist Thomas Morgan highlight for the interaction of Morgan can now afford to reveal a vulnerability
and pianist Jacob Sacks that he show- and Opsvik. Afro-Cuban rhythms high- that might have been anathema in his
cased on the 2006 recording Now Yes light “Please Don’t Leave,” and metallic Young Turk days). He continues to im-
When and 2010’s Timshel. Over the years thump is present in “Bonham,” a tribute provise primarily on melody instead of
Eivind Opsvik has often subbed for to one of Weiss’ cornerstone influences, chord structure, and despite his cerebral
Morgan, and Weiss began writing music Led Zeppelin drummer John Bonham. approach and his steadfast avoidance
for an ensemble with both bassists. Weiss’ decades-long study of the tabla and of sentimentality, he remains a deeply
This concept may seem a long distance its textures underpin all of the music. soulful player, if for no other reason than
from Weiss’ other recent projects, such as Whether led by pianists or drum- his deep-running, palpable infatuation
the heavy metal thrust of Starebaby, or the mers—Chad Taylor’s superb Circle with beauty. While there’s a sense of
South Asian tilt of his sideman work with Down comes to mind—the dynamic of isolation, a stark loneliness, at the heart
ERAIN RIBEIRO
Rudresh Mahanthappa’s Indo-Pak Coali- the piano/bass/drums trio has changed of his storytelling, he nonetheless basks
tion, yet elements of both and many other in the past 15-20 years, with tension in the intimacy of communication with
influences factor into the music. On the building from changing levels of en- his fellow musicians (and, by implication,
with the listener), invoking a spirituality Parker, alto saxophonist/saxello player Garden Party was recorded in New
every bit as profound, if not necessarily Chad Fowler, and vocalist Kelley Hurt— Orleans, and all the players save William
as overt, as that of such free-jazz mystics is a bittersweet entry in the percussion- Parker have Southern origins; those roots
as Coltrane, Ayler, and their latter-day ist’s canon: the final session he would resonate in glorious fashion. “Dopolaria,”
disciples. DAVID WHITEIS make before falling ill. It’s also a set that a love song with a theme inspired by part
bursts with joy and abandon, suggest- of a Puccini melody, is slow-burning and
ing the intoxicating big-band spirit of majestic, while the earthy title track is an
DOPOLARIANS Charles Mingus. improvised children’s song akin to the
Garden Party These six blissed-out, part-im- spiritual uplift of Sun Ra, featuring an
Mahakala provised, part-composed pieces are angelic-voiced Hurt.
a testament to the chemistry—and histo- It’s sad that Fielder isn’t here to see the
Early in 2019, the avant-garde jazz ry—that the members of Dopolarians release of Garden Party, a perfect balance
world suffered a crate-sized blow when share. Fielder played with Jordan in the of euphoric improvisation, bluesy mettle,
drummer Alvin Fielder passed away at Improvisational Arts Quintet, William and melodic composition that’s as edgy
83. A Sun Ra Arkestra member in the Parker and Jordan have appeared on as it is infectious. BRAD COHAN
late 1950s, Fielder cofounded the Asso- albums together and are Vision Festival
ciation for the Advancement of Creative fixtures, and Chris Parker, Fowler, and
Musicians (AACM), played on Roscoe Hurt go way back. Their simpatico ERI YAMAMOTO
Mitchell’s 1966 touchstone Sound, and, interplay is palpable from Parker’s very TRIO & CHORAL
in recent years, teamed with double first playful piano notes, which open up CHAMELEON
bassist Damon Smith on several heady, the jaunty 10-minute “C Melody.” With
Goshu Ondo Suite
must-hear recordings. Parker and Fielder leading the melodic
AUM Fidelity
Garden Party, the debut by Dopolar- charge, Jordan and Fowler trade lines
ians—a supergroup featuring Fielder, and screams with soulful force. The po- Although traditional folk songs have
tenor saxophonist Kidd Jordan, bassist tent, blues-laden swagger of “C Melody” been a favorite source for classical
William Parker, pianist Christopher percolates through the entire record. composers from Brahms to Bartók, they
REVIEWS ALBUMS
“yoiyamakka, yoiyamakka” refrain in

Editor’s Pick Part 2—while finding a way to make
that distinctly Japanese cadence feel
TOMEKA REID QUARTET jazzy. Even better, she makes harmony
Old New and counterpoint seem a natural part of
Cuneiform
the music, even though both are foreign
to the original.
Few records embody the spirit of jazz in 2019 as well as the new release from the
However much the Goshu Ondo Suite
Tomeka Reid Quartet. A cellist who began her rise in Chicago during the ’00s as a
showcases Yamamoto’s writing and
sidewoman in groups led by Mike Reed, Nicole Mitchell, and others associated with
the AACM, Reid leads a stellar group through nine compositions that blend tradition arranging, the album itself succeeds
and innovation seamlessly. Her ensemble includes guitarist Mary Halvorson, bassist mostly because of the creative balance
Jason Roebke, and drummer Tomas Fujiwara, and they nimbly move through a wide maintained by her trio. Yamamoto,
range of musical styles—with influences ranging from Renaissance to Roscoe Ambrosio, and Takeuchi play in a
(Mitchell)—changing lead and support roles with ease. Solos feel organic rather conversational style that ultimately
than scripted, and group improvisations arrive at unsuspecting moments. defines a sense of community, and
Highlights include “Wabash Blues,” where Halvorson, Fujiwara, and the leader all nothing could be truer to the spirit of
reference the titular genre without a whiff of cliché. “Niki’s Bop,” a nod to a mentor, the original “Goshu Ondo” than that.
gently glides into an engrossing group improvisation. “Aug. 6” is a tour de force of J.D. CONSIDINE
skittery pizzicato and percussion that transitions into a noir-ish tune riding Halvor-
son’s knotty lines and Reid’s puckish responses. “Edelin” offers fragments of sound
that eventually cohere into a warm passage anchored by Roebke’s bass; Halvorson JOHN YAO’S
then blows things up, followed by Reid. “Peripatetic” leads with a cello-and-drum TRICERATOPS
duet before bass and guitar dive in and a tug-of-war between the entropy of group
improv and tight melodic How We Do
See Tao
structure ensues.
2019 may have John Yao’s Triceratops (named for a
been Reid’s breakout
three-horned dinosaur) is American,
year. In addition to this
but could be taken for European. Like
superb recording, she
many of the best current European
performed admirably on
Dave Douglas’ Engage
bands, Triceratops operates in that
and Fujiwara’s 7 Poets fertile zone between inside and outside,
Trio. However, Old New prioritizes the collective ensemble over
should function as a the individual soloist, and forgoes a
benchmark both for chording instrument.
Reid and for the variety The front line is indeed three horns:
of virtuosity that can be Yao on trombone, Jon Irabagon on tenor
found in today’s jazz. “Organic rather than scripted” (L to R): Tomas Fujiwara, saxophone, and Billy Drewes on soprano
MARTIN JOHNSON Mary Halvorson, Tomeka Reid, and Jason Roebke and alto saxophones. Peter Brendler and
Mark Ferber are on bass and drums.
Yao’s meticulous compositions and
don’t have a corresponding place in the this isn’t World Music fusion. Instead, arrangements contain many internal
jazz canon. And that’s a pity, as pianist her writing plays off the tune’s me- moving parts: shifting background
and composer Eri Yamamoto makes lodic resilience while emphasizing figures, motivic recurrences, punctuat-
plain with her Goshu Ondo Suite. its rhythmic potential. Although the ing riffs, fluid counterpoint, sudden calls
Composed for choir and jazz trio, it’s suite opens with a choral statement of and thoughtful responses. Tunes don’t
based around a traditional circle-dance the melody, which Yamamoto’s piano flow. They pitch and spike, episodically.
song that’s performed at festivals in and David Ambrosio’s bass support Even a lyrical ballad like “Circular Path”
the Shiga prefecture of Japan. Typi- with modal harmony, the real action contains nervous tension.
cally, “Goshu Ondo” is performed in lies with drummer Ikuo Takeuchi, For this album that is not about
a call-and-response format, with a who gradually builds the central pulse solos, the subject of solos cannot be
leader singing the main lyrics and the into a swinging stew of polyrhythms. avoided. Yao’s playing here places him
crowd answering key lines. Although Although the dynamics barely move with the best of the new trombone gen-
shamisen (or, these days, electric guitar) past mezzoforte, the range of rhythmic eration (e.g., Marshall Gilkes, Michael
is often used for accompaniment, the intensity is astonishing. Dease, Alan Ferber). Drewes, an un-
main interplay is between the voices The rest builds from that. Yamamo- der-the-radar veteran, is dynamic. On
JASMINE KWONG
and taiko drums. to’s choral writing keeps its focus on “Three Parts as One,” he even matches
Yamamoto retains that drums- the rhythmic quality of the Japanese Irabagon for trilling, squalling extrem-
against-voices energy in her suite, but lyrics—for instance, the repeated ity. As for Irabagon, he has dissociative
identity disorder—in a good way. Very Kick Out of You.” (On “Crying Sands,” Green on trombone.
few living jazz musicians can function clarinetist Herman does a pretty fair Herman and publisher Howard
on such a high level in so many styles. Johnny Hodges impression on alto.) Richmond’s 1952 cofounding of Mars
He’s relatively well-behaved on How We His influences are similarly upfront on Records really brings the excitement.
Do, but he is still a wildly unpredict- “Basie’s Basement.” The sound is bright, the music adven-
able, exciting improviser; on “Doin’ the Following these two would give the turous. “Celestial Blues” echoes “Bags’
Thing,” his furious runs stay within the First Herd—which began in spring Groove” from that same year; a Burns
margins of the song, barely. Yet he also 1944 with the arrival of trumpeter arrangement of “Love Is Here to Stay”
serves the ensemble as a participant in Neal Hefti, tenor saxophonist Budd flirts with bop harmonies and lovely
enigmatic harmony and background Johnson, and especially arranger Ralph brass interplay. By the set’s conclusion
support. Yao provides space for impro- Burns—progressive jazz bona fides. in 1954, the band is digging into rhythm
visers (including himself) to cut loose, That’s audible in radio transcriptions & blues—even a cover of Ray Charles’s
but always pulls them back into the of “Ingie Speaks” (with a wondrous Hy “Mess Around!”—foreshadowing their
overriding communal purpose. White guitar solo), “Blue Lullaby,” and ’60s rock excursions.
How We Do is an outstanding exam- “Saturday Night,” and sealed with the Herman’s underrated singing is one
ple of what is happening on the leading premiere of Igor Stravinsky’s “Ebony of the album’s pleasures; this writer
edges of the jazz art form at this moment Concerto” at the Herd’s 1946 Carnegie had forgotten he was a vocalist at all
in time. THOMAS CONRAD Hall concert. until his silky baritone came through
Four discs in, the set skips ahead to the speakers, sounding (as is Mosaic’s
1951, when the Third Herd arrived at wont) better than ever. Unfortunately,
WOODY MGM. Their first outing there, a col- the label’s completist spirit means that
HERMAN laboration with fellow forward-thinker with such wheat comes chaff. In this
The Complete Woody Billy Eckstine, is surprisingly vanilla. case, that’s mostly MGM’s creative
Herman Decca, Mars and But though bebop hadn’t been lucrative mismanagement of Herman, such as
MGM Sessions (1943-1954) for Herman, he continued experiment- an appearance with easy-listening
Mosaic ing with it, hiring trumpeter Shorty bandleader David Rose that even Jeffrey
Rogers, trombonist Carl Fontana, Sultanof’s exhausting, insightful notes
Woody Herman aficionados will know pianist/arranger Nat Pierce, and can’t pretend has merit. That’s okay;
from this set’s title what it doesn’t flutist Sam Staff to provide that flavor. Herman completists are the most likely
contain. The second Thundering Herd, A cover of George Shearing’s “Bop, consumers of the set’s 2,500-copy lim-
Herman’s 1947–49 bebop-laced (“Four Look and Listen” is a highlight of the ited edition. The non-MGM material,
Brothers”) orchestra, made all its shaky MGM period, as is a somber but though, is worth exploring by fans of
records for Columbia and Capitol. The sublime new arrangement of Herman’s progressive big-band and early modern
presence here of the First and Third older hit “Blue Flame” with Urbie jazz. MICHAEL J. WEST
Herds, along with some sides from
“The Band That Plays the Blues”
and the Woodchoppers small(er)
band, makes the Four Brothers’
absence all the more glaring.
GITTERMANGALLERY
Yet this absence may be the
JAZZ
seven-disc set’s linchpin. Hearing
the before-and-after of that inno-
vative ensemble—much of which
was obscure until now—reveals
that Herman was always attuned
to jazz’s cutting edge. The original
orchestra’s final two sessions (in
November 1943 and January 1944)
are still those of Swing Era hitmak-
ers; ’44’s “Do Nothin’ Till You Hear
PHOTOGRAPHY
From Me” was among Herman’s
biggest sellers. Yet “Do Nothin’” ONLINE EXHIBITION AND SALE
also demonstrates that Herman had
taken Ellington’s forward-think-
ing cues. He took Ellington’s star JANUARY–FEBRUARY
saxophonist Ben Webster too,
whose gruff swagger invigorates www.gittermangallery.com
“Who Dat Up Dere?” and “I Get a
REVIEWS ALBUMS
SCOTT KINSEY Editor’s Pick

We Speak Luniwaz: The
Music of Joe Zawinul MICHELE ROSEWOMAN’S NEW YOR-UBA
Whirlwind
Hallowed
Keyboardist Scott Kinsey’s fascination Advance Dance Disques
with Joe Zawinul (1932-2007) increased
after he joined guitarist Scott Hender- The evolution of New Yor-Uba, pianist Michele Rosewoman’s painstaking synthesis
son’s band Tribal Tech upon graduating of modern jazz and ancient Afro-Cuban folkloric traditions, has been a journey of
from Berklee in 1991. It just so hap- slow-motion magnificence. Three full decades after premiering her semi-big band in
pened that Henderson had been part of 1983, Rosewoman released its first recording, the live double-disc New Yor-Uba, 30
Zawinul’s post-Weather Report group, Years: A Musical Celebration of Cuba in America, to critical acclaim. Now, six years
the Zawinul Syndicate, in the 1980s. later, comes Hallowed, with Rosewoman offering only slight refinements of New
Kinsey subsequently became a rarity: Yor-Uba’s unique template.
a keyboardist who, like his idol, could The crown jewel here is “Oru de Oro” (“Room of Gold”), a 10-song, nearly 48-min-
ute “rhythmic suite” commissioned by Chamber Music America. It’s undergirded by
play piano, organ, and synthesizer with
batá drums, described by Rosewoman as “the orchestra of the Yoruba temple,” with
equal aplomb. On We Speak Luniwaz,
patterns recreated from tradition by folklorist Román Diaz. New Yor-Uba hews to the
Kinsey presents a sequence of creatively
traditional “six hands” of batá, three drummers hitting the double-sided drums to
arranged Zawinul gems, plus a couple of
call up the power of ancestral spirits. Occasionally the percussion assumes center
original compositions, with a gifted core stage, but mostly it provides a density that’s both staccato and sinuous, creating a
band (saxophonist/flutist Katisse Buck- rugged yet pliable springboard for the solos and choruses of Rosewoman and four
ingham, bassist Hadrien Feraud, and or five horn players. Rosewoman pounds and scampers in a manner reminiscent of
drummer Gergö Borlai) and guest stars. McCoy Tyner, while the brass and reeds generally play a low-toned, high-caliber
Those guests include bassist Jimmy blend of postbop Latin jazz. To appreciate its ambitious arc and the import of its
Haslip (Yellowjackets, Allan Holdsworth), slight shifts in momentum, “Oru de Oro” is best appreciated straight through.
who contributes his signature tone and Two other extended works, lasting approximately 10 minutes apiece, round out
feel to the opening “The Harvest,” from Hallowed. “The Wind Is the First to Know” is a collection of traditional songs sung
Zawinul’s 1986 release Dialects. Tool by Diaz and Nina Rodríguez, with the airy ambience of Rosewoman’s Fender Rhodes
drummer Danny Carey adds electronic the dominant instrument. Then there’s the loping groove of “Alabanza” (“Praise”),
drum embellishments amid Bucking- which won composer Rosewoman a Latin Jazz Grammy in 2016 when it appeared on
ham’s flute, a flexible Borlai cadence the Afro Latin Jazz Orchestra’s Cuba, the Conversation Continues.
making 4/4 time sound like anything but, Rosewoman’s abiding faith in
and Kinsey’s homage on keyboards and these centuries-old rhythms, covert-
vocoder. “Victims of the Groove,” from ly passed down by word of mouth to
the Zawinul Syndicate’s 1992 album Lost safeguard their potency, provides
Tribes, is likewise authentic, aided by the New Yor-Uba with an idiosyncratic
discipline similar to Henry Thread-
accents of former Weather Report percus-
gill’s Zooid or Steve Coleman’s Five
sionist Bobby Thomas Jr.
Elements. As with those ensembles,
Kinsey’s originals include the rousing
listeners are richly rewarded by
title track, with contributions from
marinating in the music. Past history
co-composers Steve Tavaglione (soprano suggests that you’ll have plenty of
saxophone) and Cyril Atef (percussion) time before another round becomes
and additional percussion by original available. BRITT ROBSON “Pounds and scampers”: Michele Rosewoman
Tribal Tech member Brad Dutz, and
“Running the Dara Down,” featuring
the keyboardist’s worldly tonal voodoo
stew. Weather Report highlights include MILES OKAZAKI previous recording of original material,
a medley in which Feraud recreates The Sky Below 2017’s The Trickster, with Okazaki and
Alphonso Johnson’s signature bass line Pi his new quartet channeling a kind of
from “Cucumber Slumber” and Buck- epic storytelling through the Charybdis
ingham raps, “If I were you, I’d let the The first sound you hear on Miles swirl of their music.
legendary Joe Zawinul empower you.” Okazaki’s latest album is something For The Trickster, Okazaki turned to
Kinsey cloaks the signature melody, and familiar: the warm, springy, and crisp legends of tricksters as inspiration—
slows the rhythm, of the title track to tone of his Gibson Charlie Christian think the Norse god Loki or the West
the 1976 gem Black Market until late, model guitar. However, that small bit African spider god Anansi. He con-
and Feraud cuts loose à la Jaco Pastorius of comfort quickly gives way to a rush tinues that line of thought on The Sky
CHRIS DRUKKER
on Weather Report co-founder Wayne of new, rumbling sounds as his quartet Below but takes cues from tales of the
Shorter’s aptly named “Fast City.” launches into the adventure proper of sea; more Odyssey, less Br’er Rabbit. The
BILL MEREDITH The Sky Below. It’s a sequel of sorts to his group thrashes stormily on “Dog Star,”
Okazaki and pianist Matt Mitchell surrounding race, sexuality, and gender. record for the celebrated ESP-Disk’ label
pushing and pulling against each other “Pay It No Mind,” marching in to and fourth overall, which follows the
like ocean waves in the tempest. Bassist Jennings’ cadence before embracing an trio’s exceptional 2015 debut Radical Em-
Anthony Tidd and drummer Sean understated hipness, salutes transgen- pathy and confirms that Cline and Wim-
Rickman add to the onslaught on “Mon- der trailblazer Marsha P. Johnson. And berly are Thollem’s greatest free-improv
stropolous,” which beats out Lennie “Convo with Senator Flowers” finds the brothers-in-arms. From the moment the
Tristano’s “Descent into the Maelstrom” leader percussively painting along to a record button is pressed for the opening
as the most terrifyingly realistic sonic recording of Arkansas Senator Stepha- “Collective Tunn els,” these three virtu-
portrait of a whirlpool. The four play nie Flowers’ speech lashing out against a osos sculpt and splatter dizzying textures
circular patterns that spiral downward, Stand Your Ground bill. and patterns that are like Sonny Shar-
unrelenting and dizzying in their pull. Solidarity offers opportunities to hear rock-meets-Unit Structures-meets-In-
These are just two stops on the Jennings in open spaces—on the solo terstellar Space. The interplay here is on
eight-track journey; others allow miniature title track and pulse-ground- musical mind-reader levels.
Okazaki to play with the conventional ed “Heart”—but he’s just as quick to But although its two 18-minute-plus
sounds associated with sea and shore. showcase his colleagues, be it on one marathons feature plenty of mayhem,
A series of chords suggesting calm, of his tributes or through sympathetic Reality and Other Imaginary Places
beachside-cabana bossa nova on “Seven covers like a genre-blurring “Be-Bop,” isn’t all take-no-prisoners. In fact, there
Sisters” grows into towering, foreboding upbeat “I Love Your Smile,” and tender are moments of downright majesty,
melodic exchanges between Okazaki “You Are Never Far Away from Me.” particularly when Thollem switches
and Mitchell. On “The Castaway,” the With guests like bassist Endea Owens, from electric piano to acoustic at the
quartet makes isolation feel palpable saxophonist/flutist Tia Fuller, and beginning of “Conscious Tunnels.” His
as the guitar wanders disjointedly over vocalist/saxophonist Camille Thurman classical-informed lines are playful and
the rhythm section, seemingly adrift. working alongside McBride, pianist eccentric, darting and galloping before
Okazaki knows where he’s going, but Zaccai Curtis, and trumpeter Josh Evans Cline and Wimberly join in. From there,
the music plays the trick all too well. (among others), Jennings clearly practic- it’s a breakneck space-jazz trip into the
JACKSON SINNENBERG es the same solidarity that he preaches. netherworld, which eventually slows
DAN BILAWSKY down for a Cline clinic of effects-laden
twang. BRAD COHAN
JEROME
JENNINGS RADICAL VARIOUS
Solidarity EMPATHY TRIO ARTISTS
Iola Reality and Other If You’re Going to the
Imaginary Places City: A Tribute to Mose
The sophomore album from Jerome ESP-Disk’ Allison
Jennings further crystallizes the Fat Possum
rising-star drummer’s concept of The pianist Thollem may go by a single
bandleading, framing it within a name, but his improvisational and Mose Allison has long found favor
clearly comprehensible matrix of social compositional wizardry has many among pop and rock artists. John
justice. Addressing the experiences of dimensions. A sort of freewheeling Mayall and the Bluesbreakers adapted
African-American women through the cross between Cecil Taylor, comedian his arrangement of “Parchman Farm”
lenses of the Black Lives Matter and Andy Kaufman, minimalist pioneer on their 1966 album featuring Eric
#MeToo movements, it presents an in- Pauline Oliveros, and punk icons the Clapton, and the Who included his
creased focus on original compositions Minutemen, he’s extended his creative
while featuring the same sharp stick reach into myriad styles from avant-gar-
work and arranging savvy that made de jazz and classical to blues and rock.
2016’s The Beast a standout debut. He’s also a road warrior, perpetually
With his wife, poet and scholar on tour, and his travels have led to
Naomi Extra, to thank for his theme, collaborations with the headiest of his
Jennings goes to work uncovering fellow avant-gardists, including William
stories too often ignored while elevating Parker, Susie Ibarra, Ava Mendoza, Rob
brave heroes through musical action. Mazurek, and Henry Kaiser.
The soulful “Recy’s Lament” honors In 2017, Thollem had a residency at
Recy Taylor, who took a bold stand after Brooklyn’s Pioneer Works, where he
being raped by six white men in 1944. reconvened Radical Empathy Trio, the
A charged “The Theory of Difference,” group he shares with guitarist Nels Cline
opening on a riveting bass intro from (Wilco) and drummer Michael Wimberly
Christian McBride, nods to writer (Charles Gayle). From that engagement
Audre Lorde, a pioneer in voicing issues comes this live album, Thollem’s latest
REVIEWS ALBUMS
“Young Man Blues” on their 1970 Live Editor’s Pick

at Leeds. Van Morrison cut an entire
album of Allison compositions in 1996, KEITH JARRETT
while everyone from the Yardbirds to Munich 2016
the Clash to Leon Russell has dipped ECM
into the late Mississippi-born singer/
songwriter/pianist’s extensive song A Keith Jarrett solo recital is its own art form. It is unlike solo performances by other
catalog. So it comes as no surprise that jazz pianists, most of whom improvise off composed tunes or create free jazz absent
artists as diverse as Jackson Browne, of structure. Calling Jarrett an improvising pianist is too limiting. He’s more akin
Iggy Pop, Richard Thompson, and Taj to a classical composer—except that he works really, really quickly. His original
Mahal are collected on this 15-track solo works may be wholly improvised, but it’s more accurate to say that they’re
compilation, each giving Allison’s work composed on the spot. He writes études and sonatas directly onto the keys, before
their own touch. enormous crowds.
Allison’s allegiance to blues con- Maybe that’s why he demands such stillness from his audiences: He’s not just
playing, he’s composing (he’s trying to work here!). This is especially true of the
ventions and his too-hip-for-the-room
12-part suite that makes up most of the two-disc Munich 2016, recorded in July of
demeanor are often pervasive, or at the
that year in the Bavarian capital’s Philharmonic Hall. Some parts are introspective.
very least implied. Chrissie Hynde’s
Some are romps. The first part, a 14-minute behemoth, is all sharp edges, dizzying
“Stop This World” is consistent with
runs and punchy chords. The blues abounds. So does the pastoral. Part IX is, of
her recent covers album, suave and all things, a boogie-woogie, Jarrett’s left hand anchoring the tune with stride-style
sweet; Bonnie Raitt’s 2017 live take on ostinatos while his right unleashes dramatic flourishes. He follows that with a gor-
“Everybody’s Crying Mercy” (which geous movement whose story is told in minor chords and contrapuntal accents.
she cut originally back in 1973) takes For an encore he takes on “Answer Me, My Love” (made famous by Nat King
a deep dive into blues territory; Pop’s Cole), “It’s a Lonesome Old
reading of the title track goes heavy on Town” (Frank Sinatra), and
the MIDI electronics; Loudon Wain- “Over the Rainbow,” each
wright III’s solo acoustic “Ever Since the lovelier than the last.
World Ended” puts the focus squarely Spontaneously com-
on Allison’s words. posed music is rarely as
The most effective tracks are those glorious and sophisticated
that veer just far enough from Allison’s as in Jarrett’s hands. Is this
trademarks but still leave no doubt his finest solo work? Who
whose songs these are: Former Blasters knows and who cares? For
co-leaders Dave and Phil Alvin place that honor it’s up against
“Wild Man on the Loose” into an The Köln Concert, Radiance,
appropriate rockabilly-esque setting, and his others, which are
the best in the business.
while Robbie Fulks recasts “My Brain”
STEVE GREENLEE “He’s trying to work here!”: Keith Jarrett
as surrealistic bluegrass in a Béla
Fleck mold. Wrapping the consistently
impressive project are Amy Allison
(Mose’s daughter) and Elvis Costello, music style, one is easily transport- played keyboards, and wrote the or-
who team on a dark, laconic “Monsters ed into its depths. On Close to Me, chestrations.
of the Id,” a tune originally tucked away Mendes executes an eloquent love The album opens with the soft,
on Allison’s 1970 Hello There, Universe. letter to her homeland of Portugal, haunting “Há Uma Música do Povo,”
The update, taken from Amy’s 2009 but instead of using fado’s traditional as Mendes serenades listeners in her
Sheffield Streets album, features Mose stringed instrumentation, she adds a native tongue and engages in some light
on piano, his playing simple and direct, symphonic touch. chanting. On the vibes-led “Tempo
just enough to remind us that he was Mendes’ third album, Close to Me is Emotivo” and “Hermeto’s Fado for
like no other. JEFF TAMARKIN also her most personal. Her previous Maria,” she shows off her adept scat-
releases, 2012’s Along the Road and ting ability. While most of the tunes
2015’s Innocentia, consisted of more are bossa nova-ish, Mendes changes
MARIA MENDES straightforward standards; this time, the mood midway through with the
by tapping into her roots, she becomes chilling folk standard “Barco Negro”—
HENRY LEUTWYLER/ECM RECORDS
Close to Me
Justin Time more adventurous. Throughout the first recorded by fado legend Amália
album, her elegant vocals are warm- Rodrigues in 1954—which she begins
Fado is not a genre that’s well-known ly embraced by the sounds of an by singing a cappella, beautifully. It
to the average listener, but after outstanding orchestra, the Metropole may be the most stirring track on the
hearing vocalist Maria Mendes’ jazzy Orkest, led by pianist/composer John album, but nothing here disappoints,
version of that melancholy Portuguese Beasley, who also produced the album, as Mendes cleverly revives an age-old
genre that clearly is not mournful
when sung by this graceful vocalist. AD INDEX
VERONICA JOHNSON
Blue Note Records..................................C4 jj Babbitt....................................................11
VINCENT Centrum Jazz Port Townsend...............7 Lisa Hilton Music.....................................3

HERRING/ Chicago Review Press..........................55 NJPAC...................................................53
BOBBY
WATSON/ City of Gaithersburg............................55 PDX Jazz Festival....................................49
GARY BARTZ Dakota Saxophones..............................19 Scientology Network.............................15
Bird at 100
DJ Records...............................................61 Scott's Aural Fixation...........................63
Smoke Sessions
Gitterman Gallery....................................59 Sweetwater Sound................................C2
His recorded body of work the holy
JEN Conference......................................C3 University of North Florida.................57
scripture of bebop saxophone, alto
giant Charlie Parker has been the
subject of hundreds of tribute albums
since his death, far too young, 64 years
ago, as Ted Panken points out in the
liner notes to Bird at 100. For the latest
disc honoring Parker, three of the finest
inheritors of the Bird tradition shared
the stage at Smoke Jazz Club in New in Paris” before injecting new life into trumpeter Brian Lynch, tenor saxophon-
York in August for shows celebrating the old, familiar melody. It all amounts ist Diego Rivera, and trombonist Michael
what would have been the honoree’s to a frequently thrilling saxopalooza. Dease take their solo journeys. The play-
99th birthday. Sequel, anyone? PHILIP BOOTH ers uphold tradition while living in the
It’s partly cutting contest, partly here and now. Pianist Richard Roe plays
joyful invocation of the spirit of Bird, sweet notes leading into “All Too Soon,”
as Vincent Herring, Bobby Watson, and RODNEY melody and lyrics recited by Fortin. “Take
Gary Bartz variously take solo flights WHITAKER the A Train” finds Whitaker in his best
and offer three-part harmony readings All Too Soon: The Music Blanton/Pettiford mode, playing an evoc-
of Parker’s dizzying melodies. Among of Duke Ellington ative solo, followed (eventually) by further
the album’s greatest pleasures are the Origin bombs from Riggins. Sly and sweet, “Just
pieces with the simplest foundations, Squeeze Me” is the perfect low-key swing
including “The Hymn.” The speedy This spirited romp by top-tier jazz engine, propelled by Whitaker’s dulcet
gospel-tinged blues has the alto men professionals through the music of Duke recitation of the melody.
sound the theme unaccompanied Ellington and Billy Strayhorn is long Throughout All Too Soon, Whitaker
before the rhythm section comes in to overdue. Though many pay lip service to pays welcome respect to Ellington and
drive roaring solos; Herring’s ends with their twin genius, the pair seem almost Strayhorn; may it ignite new interest and
a figure repeated by Watson at the start forgotten in popular culture. No massive further homage to the distinguished
of his improvisation, and Bartz’s heady vinyl reissue campaigns by major labels, duo. KEN MICALLEF
outing cues extended open space for no racy docudramas, no Record Store
drummer Carl Allen. Day limited editions.
“Yardbird Suite” is here, of course. Bassist and educator Rodney Whita-
It’s a relaxed version, at 11 minutes the ker has studied the classic work of Scott s Aural Fixation
disc’s longest track, with the saxophon- Ellington and Strayhorn since he was Buys LP s in excellent
ists trading off on the sections and giv- a member of the Lincoln Center Jazz condition with an emphasis
ing the bass player some. Allen, bassist Orchestra (1994-2002), where spirited on Rock, Soul, Modern jazz,
Yasushi Nakamura, and pianist David debates with Wynton Marsalis drove Blues, and World Music.
Kikoski groove hard here and through- him deeper into the music. All Too Soon,
out. Each of the leaders gets a ballad fea- the second installment of a five-CD proj- No collection
ture too. Herring is alternately elegant ect, finds Whitaker enlisting a stellar
and sultry, leaning hard into the long sextet and singer Rockelle Fortin to pay
too big!
notes on “Lover Man”; Watson fronts homage to this invaluable music. Call or Email
“These Foolish Things” with a series of “Cotton Tail” opens the recording, Scott at: 978-930-0395
fortunate twists, sans band; and Bartz, drummer Karriem Riggins blistering
too, goes it alone at the start of “April with forward-motion assaults before [email protected]
ARTIST'S CHOICE THEMATIC PLAYLISTS CREATED BY PLAYERS AND SINGERS
Pianists You Recognize

Right Away
There are certain pianists that just can’t hide—not that they would want to. I’ve always been
fascinated by those who have developed such a strong Identity. Commonly, people say they
have their own style, but there is so much more at stake. Key elements would be touch,
phrasing, language, sense of time and swing, orchestral visualization, harmonic approaches,
and of course heart and guts. I’ve chosen seven “easy” examples to make this obvious, but
the list goes on and on and has carried into my generation (Brad Mehldau, Gonzalo Rubalcaba,
Fred Hersch, Robert Glasper, etc.). JACKY TERRASSON
Ahmad Jamal Keith Jarrett

“Poinciana” “The Masquerade Is Over”
Ahmad Jamal Trio at the Pershing: But Not for Me (Argo, 1958) Standards, Vol. 1 (ECM, 1983)
A personal favorite for two important reasons. Mr. Jamal, I was saying how I admired the way Ahmad Jamal paid atten-
who possesses a brilliant technique, has shown us what “less tion to the sound of his trio, and I would say the same about
is more” means—the right choice of notes at the right time this mythic trio with Gary Peacock and Jack DeJohnette. Mr.
with the right expression, and it’s all there, even if we’re only Jarrett brought us fresh approaches to the Great American
talking about a few notes. Another thing is, some pianists not Songbook. What I admire the most is his phrasing; the way
only cultivated their own sound but pushed the envelope even notes follow each other has never been done that way. He
further by creating a band (here a trio) sound. This might be a creates spaces, to enter into a musical “high” where you are just
perfect example. transported. It’s almost stupid to try to describe it, so I’ll stop.
Just listen … a lot.
Bill Evans
“Never Let Me Go” McCoy Tyner
Alone (Verve, 1970) “Afro Blue”
Eloquence is the word that comes to mind. Bill Evans really de- Song of the New World (Milestone, 1973)
veloped his own language and redefined the voicings of chords. Probably most known for being The Man in John Coltrane’s
Hear how he just goes and goes and tells his story with his own quartet, Mr. Tyner has many sides. Hear how distingué he
words (notes) with such ease and fluidity. How romantic too. sounds on ballads. I chose this album because I’m amazed that I
only discovered it recently—I was blown away! McCoy’s playing
Bud Powell is at times vertiginous. If you’re trying to quit coffee, take a shot
“Hallelujah” X of this! (Actually, be careful, this would be a triple espresso.)
Piano Solos (Mercury, 1951)
The quintessential bebop pianist. Of Thelonious Monk
course, there were many, but Bud
“Just a Gigolo”
Powell had this light, this fire, this
Monk Alone: The Complete Columbia Solo Studio Recordings 1962-1968
amazing furious energy. Yet always, (Columbia, 1998)
his lines are clear. I know I’ve used
“eloquence” before, but again, when a You know right away when it’s Monk at the piano, just like
writer uses the right word to make that to-the-point phrase … you know when he—or anyone else—is playing one of his com-
positions. His approach to everything is singular: the way he
Glenn Gould strikes the keys, the voicing, the phrases, the rhythm, the use
“Prelude and Fugue No. 1 in C Major, BWV 846” of space or silence. He owns it all. I love his solo albums.
Bach: The Well-Tempered Clavier, Book I: Preludes and Fugues 1-8
(Columbia, 1963) Jacky Terrasson, who won the Thelonious Monk International
Yep! Notice the title of this is pianists, not jazz pianists. Some Jazz Piano Competition in 1993, has performed with (among oth-
music critics have criticized Gould’s playing of J.S. Bach for ers) Betty Carter, Wallace Roney, Cassandra Wilson, and his own
long-running trio. His 15th and latest album on Blue Note, 53, was
being too metronomic or stiff. I believe the contrary. He teases
MARC OBIN
released in October 2019.

perfection. It’s architectural, it’s a house, a castle of cards where
everything is exactly where it needs to be. « For more of Terrasson's picks, visit JazzTimes.com
x Profile: Jacky Terrasson in 2003

JAMES CARTER BILL FRISELL JACKY TERRASSON
JAMES CARTER ORGAN TRIO: HARMONY 53
LIVE FROM NEWPORT JAZZ
Saxophone master JAMES CARTER makes Acclaimed guitarist BILL FRISELL makes his With 53, the 15th album in a recording
his Blue Note debut with this thrilling live set Blue Note debut with HARMONY, a gorgeous career that has now spanned 25 years
captured at the 2018 Newport Jazz Festival and evocative journey across the landscape of since his stunning self-titled debut on
featuring his Organ Trio performing their American music of the last century featuring Blue Note in 1994, the remarkable pianist
clever soul jazz reinvention of the music of vocalist PETRA HADEN, cellist & vocalist JACKY TERRASSON presents a collection
gypsy jazz legend DJANGO REINHARDT. HANK ROBERTS, and guitarist, bassist & of original pieces brought to life by a
vocalist LUKE BERGMAN. varied cast of trio mates.
BLUE NOTE 80 SERIES BLUE NOTE REVIEW TONE POET SERIES

ALL-ANALOG VINYL VOLUME TWO — SPIRIT & TIME ALL-ANALOG AUDIOPHILE VINYL
By 1970 guitarist GRANT GREEN’s style Get the 2nd edition of our subscription vinyl TINA BROOKS’ ƓUVWUHFRUGLQJMinor Move
had moved into funkier territory as captured boxset before it’s gone! Curated by DON WAS, the from 1958 further revealed his status as one of
RQKLVƓUVWHYHUOLYHDOEXPAlive! featuring a set includes all-analog, 180g vinyl reissues of the most innovative tenor saxophone stylists
hard-driving set of jazz-funk. The album is part Africaine by ART BLAKEY & THE JAZZ MESSENGERS in jazz when it was released in 1980. The
of the Blue Note 80 Vinyl Reissue Series: and Patterns by BOBBY HUTCHERSON; a new album is part of the Tone Poet Audiophile
all-analog 180g vinyl releases in standard TONY WILLIAMS tribute album on 180g vinyl + Vinyl Reissue Series: all-analog 180g
packaging mastered by KEVIN GRAY from CD; FRANCIS WOLFF lithographs of ART BLAKEY vinyl releases in deluxe gatefold packaging
original master tapes and manufactured and ELVIN JONES; the book Spirit & Time: Jazz produced by JOE HARLEY, mastered by
at Optimal with titles presented Drummers On Their Art; the zine Out of the Blue; KEVIN GRAY from original master tapes, and
by themes. For more titles visit a set of Topps Blue Note Trading Cards; and a Blue manufactured at RTI. For more titles visit
store.bluenote.com. Note record brush. Available exclusively store.bluenote.com.
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EXCLUSIVE DIGITAL PHOTOS FOR OUR DIGITAL READERS
L to R: Herbie Hancock, chairman of the Institute

that bears his name; Carnival Cruise Lines CEO
Arnold Donald; competition winner Evgeny
Pobozhiy; and Hancock Institute Board Vice-
Chairman Stuart Subotnick
From Russia with Chops

The 2019 Herbie Hancock International Jazz Guitar Competition winner
calls Moscow home
On December 3 at the John F. Kennedy Center for the Performing

Arts in Washington, D.C., the Herbie Hancock International Jazz
Competition could claim two firsts: its first finals round under a
new name (it was the Thelonious Monk International Jazz Competi-
tion from 1987 to 2018) and its first Russian champion—guitarist
Evgeny Pobozhiy, 30, who beat American pickers Max Light and
Cecil Alexander to win a $30,000 scholarship and guaranteed
recording contract with Concord Music Group. The closing night
of the competition doubled as an all-star gala concert, featuring
singers Dee Dee Bridgewater, Jane Monheit, Lizz Wright, and
Cassandra Wilson; actor Keith David; and guest of honor Terence
Blanchard (who received the Hancock Institute’s Maria Fisher
Founder’s Award), among many others. Photographer STEVE
MUNDINGER captured the highlights.
EXCLUSIVE DIGITAL PHOTOS 2019 HANCOCK COMPETITION
Herbie Hancock
John Scofield
(standing) was one
of seven guitarist
judges, along with
Russell Malone, Lee
Ritenour, and Pat
Metheny (all seated)
Max Light
Carl Allen
Cecil Alexander Bobby Watson

Evgeny Pobozhiy
Dee Dee Bridgewater Jane Monheit
Keith David
Lizz Wright Cassandra Wilson

L to R: Terence Blanchard, Keith

David, Lizz Wright, Herbie Hancock,
Dee Dee Bridgewater, Cassandra
Wilson, and former New Orleans
mayor Mitch Landrieu
Terence Blanchard

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year in review: the top 50 releases • john mc laughlin

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