Documentos de Académico
Documentos de Profesional
Documentos de Cultura
on the
Beatles
Al Di Meola
Pays Tribute to
the Fab Four
www.jazziz.com
Fall 2013
54
On Disc
Fall into JAZZIZ Nightlife
Two new discs, lots of hot new music from Earl Klugh, Jeff Lorber Fusion,
Chick Corea, Gregory Porter, Kneebody, Michel Camilo, Roberto Fonseca,
David Chesky and more.
32
62 Coming On Strong
The sudden emergence of Gregory Porter. By Ted Panken
70 As In a Dream
Thirty years on, Michele Rosewoman’s New Yor-Uba continues to evolve.
By Larry Bumenfeld
76 Vintage Ink
Rediscovering the cover art of David Stone Martin.
87 Happy Trails
George Duke departs on a high note. By Bill Milkowski
94 Playing Smart
Pondering the curious mind and music of Craig Taborn. By Shaun Brady
100 Nothing But ’Nett
Charnett Moffett adds a remarkable solo disc and more to his résumé. By Bob Weinberg
106 Movin’ On
David Murray sets his sights on a larger audience and the neon lights of Vegas.
By Shaun Brady
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14 Publisher’s Letter
A Midsummer Night’s Dream. By Michael Fagien
18 Prelude
George Benson covers Nat Cole; Geri Allen returns
to Motown; Gary Burton picks up the pace; the
Cherry Poppin’ Daddies return to swing; Bill Frisell
surveys Big Sur; Eliane Elias recalls Chet Baker;
Will Calhoun plays the world, and more.
Departments
50
48 Traditions
Catherine Russell and her late mother, Carline Ray.
By Bob Weinberg
50 Contempo
The life and times of young Emily Bear.
By Jonathan Widran
52 Blu Notes
The strikingly original world of Andy Bey.
By Larry Blumenfeld
114 Auditions
Cécile McLorin Salvant steps into the spotlight.
By Jon Garelick
Roundups
119 The Caribbean tinge. By Mark Holston
123 Mixing it up in the Windy City. By Phil Freeman
Travels
128 Stumbling Into Montreal. By David Pulizzi
Coda
130 One Man’s Sax. By Brian Landrus
119
10 fall 2013 jazziz Photos by John Abbott, Nick Suttle, and Laura Ferreira
George Duke has gathered a myriad of
funk, jazz, gospel and R&B talents on
DreamWeaver. Guests include Christian
20-Time GRAMMY® winner Chick Corea
McBride, Rachelle Ferrell, Lalah Hathaway,
returns with his highly anticipated new band.
Jeffrey Osborne, BeBe Winans, and Perri’s Lori
The Vigil also features guest appearances
Perry, among others. “Ball & Chain,” features
by Stanley Clarke and Ravi Coltrane.
a duet with Duke accompanying the late R&B
singer Teena Marie – one of the last tracks she
recorded.
Available at
www.raycharles.com www.concordmusicgroup.com
Publisher's Letter
advertising: 561-910-7721
Donahue, Ted Drozdowski, Enid Farber, Sascha Feinstein, Phil Freeman, Steve
Futterman, Jon Garelick, Cary Gillaspie, Fernando Gonzalez, Mark Holston, Jeff
Jackson, Ilana Khon, Ed Kopp, Kara Manning, Bill Meredith, Bill Milkowski, John
Joe Gransden & Russell Gunn Frederick Moore, Alan Nahigian, Daniel Nevins, Ted Panken, Michael J. Renner,
Michael Roberts, James Rozzi, Kirk Silsbee, Neil Tesser, Eric Waggoner, Jonathan
JAZZ CONTRASTED: Tribute to Kenny Dorham
Widran, Josef Woodard, Scott Yanow, Linda Zacks.
Trumpet masters pay homage to one of the greats.
JAZZIZ USPS# 015486 ISSN 074-5885 is published (in print and delivered by mail) quarterly
by JAZZIZ Publishing, LLC.
201 Plaza Real Boca Raton, Florida 33432
Editorial phone number 561-893-6868.
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Permissions: Nothing can be reproduced in any manner without prior written permission
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Prelude
Back to Motown
FT LAUDERDALE
TURKS & CAICOS
SAN JUAN
S T. M A A RT E N
H A L F M O O N C AY
HOLLAND AMERICA
M/S EURODAM
JANUARY 26-
F E B R U A RY 2
2014
Ernie Adams John Fedchock Tommy Igoe Sextet Houston Person Quartet TO L L- F R E E U S & C A N A DA
Bill Frisell’s
rehearse, Frisell brought everyone to Glen
Deven so they could get a feel for it. “I
found that when we did the record and
Big Sur
were playing, it triggered memories of
the place,” he recalls. “Little flashes. It is
connected.” —Jon Garelick
Acoustic-guitar virtuoso Earl Klugh smith in his own right. For HandPicked,
www.jazziz.com
Earl Klugh
JAZZIZ ON DISC is a 2-CD music compilation from the artists of yesterday, today and tomorrow, bundled in the subscriber copies
of the print editions of JAZZIZ Magazine. For this issue, we’ve made Disc One a compilation of music by artists who have appeared at
JAZZIZ Nightlife, this magazine’s sister nightclub, in Boca Raton, Florida. Disc Two features fresh jazz from a diverse range of artists.
first established
Disc 1
herself as a composer,
penning songs for R&B singers Patti Labelle, q Orquesta sinfónica nacional de costa rica
w chieli Minucci and special eFX e earl klugh
for their read of “Wave,” included here. sionist George Jinda. The pair have long Army of Angels [Harpara Music]
Moraes’ and Orta’s sparkling opening since parted, but Minucci recruited t Nanami Morikawa and Phillip Strange
“UMMG” Open Spaces [New Truth]
statements ride Ousley’s and Araya’s A-list players including keyboardist Jay
y A ndrew Neu “Date Night”
insistent groove, while Rose Max’s velvety Rowe, bassist Jerry Brooks and drum- Everything Happens for a Reason [CGN]
vocals effortlessly surf the rhythmic tide mer Lionel Cordrew. All are on hand u Palo! “Tabaco y Ron Pa’ Mi Santa”
and gentle swells of brass and strings. for the new release, which spotlights This Is Afro-Cuban Funk [Rolling Pin Music]
recording under the Time,” our selection, the guitarist offers s Eric Hansen “Back in the Groove”
String Theory [Hansenhaus]
Special EFX rubric. some intriguingly bent, bluesy notes, as
d C arol Duboc “Elephant”
As evidenced by his well as agile lead lines that call to mind Smile [Gold Note Music]
latest CD, Genesis Wes Montgomery. Brooks and drum- f Randy Brecker/Włodek Pawlik
(Shanachie), the mer Omar Hakim maintain a slinky “Night in Calisia” Night in Calisia [Summit]
group has undergone significant person- backbeat, and saxophonist David Mann
nel changes over the decades, having blows unison lines and a fiery, albeit
started out as Minucci’s duo with percus- too-brief solo to close out the tune. Mastered by Tod Levine at Magnetic North Studio, NY
If you purchased this magazine without the CDs or would like additional copies, e-mail service@jazziz.com
or log onto www.jazziz.com.
OnDisc
34 fall 2013 jazziz Photo by Greg Allen
IMPORTED FROM
PASEAUX ROBLES.
What could the wines of JUSTIN Vineyards possibly have in common with the great Bordeaux wines of Margaux
and Saint-Émilion? The answer is, quite a lot: from Paso Robles’ limestone-rich soil and ideal microclimate,
to the wine itself, intense yet elegant and well worth aging. However, what sets JUSTIN apart from its
Old World counterparts is price. Thanks to our Paso Robles location, we can create superb wines for
a fraction of the cost of Bordeaux of equal quality. To which we say, vive la différence!
©2013 JUSTIN Vineyards & Winery LLC. All Rights Reserved. JUSTIN, JUSTIN LOGO, ISOSCELES, and JUSTIFICATION are registered trademarks of JUSTIN Vineyards & Winery LLC. JV9130
Contemporary-jazz saxophonist Andrew Even if you didn’t know he was born
Neu has paid his in Jackson,
dues as a sideman. Mississippi, you
His talents have could easily
been employed, detect the roots
onstage and of saxophonist
in the studio, Patrick Lamb’s
by the diverse funky, old-
likes of Bobby school soul and
Caldwell, Pat Martino, Randy Brecker, R&B. On his latest release, It’s All Right
Gerald Albright and Peter Nero and the Now (Patrick Lamb Productions), Lamb
Philly Pops. Neu’s contributions to Peter digs in on a meaty set of contemporary
White’s “Here We Go” helped that song jazz with a decidedly roadhouse ori-
reach No. 1 on the Billboard Smooth Jazz entation. He nods to inspirations with
chart in 2012. The saxophonist’s latest songs such as “Maceo!” which is dedi-
disc, Everything Happens for a Reason cated to James Brown saxman Maceo
(CGN), is certainly a crowd-pleaser. Parker (and was No. 2 on Billboard’s
Switching between tenor and alto saxo- Contemporary chart as of this writing),
phones, Neu welcomes a host of con- and interprets a slinky Eddie Harris
temporary-jazz stars, a spanking horn party groover for the title track. And
section and the Los Angles Studio String his blowing throughout conjures those
Orchestra on the 12-track program. heroes, as well as King Curtis, David
Caldwell lends his lithe vocals to “What Sanborn and Grover Washington Jr.
Would I Do,” which he penned with Lamb receives sterling support from
the saxophonist, and guitarist Gannin producer Jeff Lorber, who lends his keyboards and horn arrangements and who co-wrote
Arnold adds modern texture to the jazz much of the material. The über-funky “Sweet Tea,” included here, is a perfect example of
classic “Take Five.” All-stars Steve Oliver, the Lamb-Lorber connection. Lamb’s church-meets-juke-joint sax line rides the greasy
Jeff Lorber, Brian Bromberg and Alex rhythm laid down by bassist Alex Al and drummer Michael White. Meanwhile, Lorber
Acuña further enrich the proceedings and guitarist Dwight Sills offer instrumental commentary, and trumpeter Ron King
throughout. The romantic “Date Night,” fattens up the horn choruses. It’s a fitting tribute to the official beverage of the South.
our selection, features Neu’s tenor
joyfully loping over the funky rhythms was able to realize his musical vision. developed the groove from a Perez
and enlivened by a sunny horn chorus. Palo! further shaped their aesthetic Prado beat, which he started playing
Lorber’s electric piano is equally ecstatic, while holding down a weekly residency one night during a set. The rest of the
but leaves you hungry for a longer solo. at the Little Havana nightspot Hoy band followed suit, and in the keyboard-
Como Ayer. Since then, they’ve played ist’s words, “it turned into a cool jam.”
About a decade ago, Miami keyboardist clubs and events throughout South Cartaya and Roitstein crafted verses
and composer Florida. Featuring tenor-sax giant for the song, which celebrates saint
Steve Roitstein Ed Calle, the band’s 2009 CD, This Is worship with lines like “I light a cigar
assembled a Afro-Cuban Funk (Rolling Pin Music), for you, my little mother” and “I bring a
handful of simpa- ladles up a hefty portion of the band’s cigar and rum, an offering that comes
tico musicians to roots-rich picadillo, combining tastes from my heart.”
perform a hybrid and textures from both sides of the
of his favorite Florida Straits. On “Tabaco y Ron Pa’ Mi With a sound as seductive as their
kinds of music — Santa,” which translates to “Tobacco name, Bikini Jazz create the kind
funk and Afro-Cuban — and Palo! was and Rum for My Saint” and is included of steamy, jazz-infused Latin music
born. Collaborating with vocalist and here, Calle’s greasy tenor cuts through you’d expect to hear blasting from a
songwriter Leslie Cartaya, timbalero a vintage-sounding electric keyboard Miami nightclub. And sure enough,
Raymer Olalde and percussionist and vamp fattened by a deep bass groove the core of the band came together
vocalist Philbert Armenteros, Roitstein and steady-rolling percussion. Roitstein during a jam session at the Van Dyke
OnDisc
36 fall 2013 jazziz
Cafe, a Miami Beach nightlife staple.
Members bring skills honed in their
respective home lands, as well as in
the United States. Vocalist, guitarist
and composer Elizabeth “Eli” La O hails
from Camaguey, Cuba. Guitarist and
composer David Sound is from Bogota,
Colombia, and earned a scholarship
to the University of Miami’s Frost
School of Music. And percussionist,
conguero and arranger Reynaldo Pena,
who grew up in Caracas, Venezuela,
received a scholarship to Miami Dade
College and went on to study at UM
and Berklee College of Music in Boston.
Drawing from a rich tropical palette
of Afro-Latin, bossa nova, cumbia and
salsa, Bikini Jazz sizzle on tracks from
their self-titled debut CD La Receta
de la Felicidad (The Prescription for
Happiness). Juan Ricardo’s double-
tracked trumpet and trombone and If you get the sense from his music that Eric Hansen has had a guitar in his hands for
Eddie Montilla’s piano add even more much of his life, you’re correct. He developed an early taste for
heat to “No Se Puede Vivir sin Coger,” (“I classical, jazz and flamenco, and studies in his teen years led
Can’t Live Without Sex”), our selection. to professional gigs and studies at Florida Atlantic University
Pena’s irrepressible congas and Sound’s and then the New England Conservatory of Music. Boasting a
piquant leads provide the perfect discography that dates back a dozen years, Hansen has lived up
backdrop for La O’s sensual vocals. to his promise, with two of his albums tarrying on Billboard’s
New Age chart. Now firmly ensconced in the contemporary-jazz
American trumpeter Randy Brecker world, the South Florida-based guitarist continues to perform
and Polish pianist throughout the region. On his most-recent release, String Theory (Hansenhaus), Hansen
and composer displays remarkable chops on a set of originals and a couple of well-chosen covers
Włodek Pawlik (“Nature Boy” and “Hotel California,” both of which are a natural fit). Throughout, the
initially played guitarist — who doubles on bass — receives expert rhythmic support and color from
together dur- drummer Matt Calderin and percussionist Rick “Rico” Geragi, as well as violinist Randi
ing a concert in Fishenfeld and keyboard ace Tony Monaco. Hansen reveals how skillfully he folds
Germany in 1994. classical and flamenco styles into contempo-jazz on “Back in the Groove,” our selection.
They collaborated His pristine playing converses eloquently with Calderin’s strong R&B pulse, and a bed
again in 2008 on the very personal CD of handclaps reminds listeners of the music’s Iberian influence.
Nostalgic Journey: Tykocin Jazz Suite,
which included music Pawlik had writ- ancestry, which led to Tykocin. On their Philharmonic. Ironically, the title
ten to honor Brecker’s mother’s family latest collaboration, Night in Calisia song, our selection, has a definitively
roots in Poland. Brecker had turned to (Summit), the pair salute yet another modern arrangement. Pawlik sets the
his Polish friend a few years earlier, af- Polish locale, the ancient town of Kalisz, tone with a swift-moving piano vamp
ter his brother, the late sax star Michael which recently celebrated its 1,850th flowing beneath the proceedings. The
Brecker, had been diagnosed with anniversary. Once again, Brecker and excitement is amped by the edgy and
leukemia. Hoping to find a good ge- Pawlik work with Pawlik’s jazz trio insistent string section, modern-sound-
netic match for a bone-marrow donor, — featuring bassist Pawel Panta and ing horn charts, liquid electric bass,
Brecker asked Pawlik to pinpoint the drummer Cezary Konrad — as well as sparkling vibes and, of course, Brecker’s
specific area of his maternal family’s a local orchestra, this time, the Kalisz warm, burnished brass.
OnDisc
38 fall 2013 jazziz Photo by Geoffrey McDonald
Hello Browser!
Following her 2009 Burt Bacharach Songbook JAZZIZ OnDisc FALL 2013
CD, vocalist Carol
Duboc returns to
music of her own de-
vising on Smile (Gold
Note). The Kansas
City, Missouri, native
FALL 2013
Fall Into JAZZIZ Nightlife
first established
Disc 1
herself as a composer,
penning songs for R&B singers Patti Labelle, Orquesta Sinfónica Nacional de Costa Rica
Chieli Minucci and Special EFX Earl Klugh
OnDisc
OnDisc
or Steely Dan’s Donald Fagen. And she’s
certainly in great company here. Duboc once
again calls on flutist Hubert Laws, who ac-
Earl Klugh companied her on her Bacharach CD, and re-
cruits top session players including keyboard-
ist Jeff Lorber, bassists Brian Bromberg and Disc 1
Fall Into JAZZIZ Nightlife
Jimmy Haslip, drummer Vinnie Colaiuta and
percussionist Luis Conte. The singer’s cool, Orquesta Sinfónica Nacional de Costa Rica
For more information regarding this and more than 100 other JAZZIZ discs available for purchase, go to www.jazziz.com understated vocals deftly ride the swaying
rhythms of the clever “Elephant.” Included
“Wave” Bossa Nova Sinfónico: Recordando a
Antonio C. Jobim [Centro Nacional de la Musica]
ticulate fingering as Thelonious Monk, Vince Guaraldi gent of South Florida jazz musicians Moraes’ and Orta’s sparkling opening since parted, but Minucci recruited Nanami Morikawa and Phillip Strange
“UMMG” Open Spaces [New Truth]
on HandPicked and Rodgers and Hart. He also penned on Bossa Nova Sinfónico: Recordando a statements ride Ousley’s and Araya’s A-list players including keyboardist Jay
Andrew Neu “Date Night”
(Heads Up), a three tunes for the session, including Antonio C. Jobim, which captured their insistent groove, while Rose Max’s velvety Rowe, bassist Jerry Brooks and drum- Everything Happens for a Reason [CGN]
quietly radiant the sprightly “In Six,” included here. performance at the Teatro Nacional in vocals effortlessly surf the rhythmic tide mer Lionel Cordrew. All are on hand Palo! “Tabaco y Ron Pa’ Mi Santa”
set of jazz and Klugh conjures the shimmer of moon- San José. Pianist Michael Orta, bassist and gentle swells of brass and strings. for the new release, which spotlights This Is Afro-Cuban Funk [Rolling Pin Music]
pop gems played solo and in collabora- light, as his fingers deftly dance to the Jamie Ousley and drummer Carlomagno Minucci’s often-exotic compositions Jeff Lorber Fusion “Corinaldo”
Hacienda [Heads Up]
tion with guests. Duet partners include rhythms he pulls from his strings. Araya form a core rhythm section Contemporary-jazz guitarist Chieli and remarkable playing. Minucci also
Patrick Lamb “Sweet Tea”
fellow six-stringer Bill Frisell, ukulele behind vocalist Rose Max and guitarist Minucci recently features standout contributions by It’s All Right Now [Patrick Lamb Productions]
ace Jake Shimabukuro and guitarist Costa Rica has been much in the public Ramatis Moraes, the South Floridians celebrated his violinist Karen Brigg, pianist Lao Tizer Bikini Jazz “No Se Puede Vivir sin Coger”
and vocalist Vince Gill. In a career eye these days, teaming up with the Costa Rican orches- 30th anniversary and vocalist Xu Feiyu. On “Till the End of La Receta de la Felicidad [self-released]
spanning more than 40 years, Klugh its burgeon- tra on a set of standards by Brazilian recording under the Time,” our selection, the guitarist offers Eric Hansen “Back in the Groove”
String Theory [Hansenhaus]
has recorded with the likes of George ing economy maestro Jobim. Conductor and arranger Special EFX rubric. some intriguingly bent, bluesy notes, as
Carol Duboc “Elephant”
Benson, Return to Forever and Bob acknowledged Jeremy Fox assures that the intimate As evidenced by his well as agile lead lines that call to mind Smile [Gold Note Music]
James. Besides his dazzling technique, by a visit from acoustic music is never overpowered by latest CD, Genesis Wes Montgomery. Brooks and drum- Randy Brecker/Włodek Pawlik
the Detroit-born guitar great is known President Obama the orchestra. Rather, brass, strings and (Shanachie), the mer Omar Hakim maintain a slinky “Night in Calisia” Night in Calisia [Summit]
for his interpretations of melodies from earlier this year. woodwinds add color, texture and cin- group has undergone significant person- backbeat, and saxophonist David Mann
the jazz and pop worlds, even as he’s More evidence ematic sweep to Jobim gems. The group nel changes over the decades, having blows unison lines and a fiery, albeit
established himself as a fine song- that the verdant nation is growing in so- borrows a Claus Ogerman arrangement started out as Minucci’s duo with percus- too-brief solo to close out the tune. Mastered by Tod Levine at Magnetic North Studio, NY
JAZZIZ ON DISC is a 2-CD music compilation from the artists of yesterday, today and tomorrow, bundled in the subscriber copies
of the print editions of JAZZIZ Magazine. For this issue, we’ve made Disc One a compilation of music by artists who have appeared at
If you purchased this magazine without the CDs or would like additional copies, e-mail service@jazziz.com
JAZZIZ Nightlife, this magazine’s sister nightclub, in Boca Raton, Florida. Disc Two features fresh jazz from a diverse range of artists. or log onto www.jazziz.com.
Flip and Zoom Pages … Touch Album Covers … Play Music … Watch Videos
Science fiction and fantasy have long Gilmore’s and Saturnino’s energetic, rock-
www.jazziz.com
sician stretches back even farther. Having
provided inspira- solid rhythms. Perhaps reinvigorated by studied saxophone at the University of
tion for the music recent tours with Return to Forever, Corea Miami in the early ’80s, Moon performed
of Chick Corea. sounds excited and engaged, as he draws with some of South Florida’s top talents
On his latest otherworldly sounds from his electronic and toured with Maynard Ferguson. In
release, The Vigil instruments. At 72, the keyboardist seems 2011, he realized a long-held ambition
(Concord Jazz), tireless, as he chases his muse wherever with the release of Into the Ojalá, his
Corea once again it leads, on stage or in the studio. On the debut album with his Moon Hotel Lounge
turns his childlike CD’s back cover, he vows to “Flood the Project. The album boasted a distinctly
sense of wonder to the cosmos, while market with music — refine the art of nocturnal Latin ambience, thanks to
also remaining rooted in terra firma living — defy the existing norm. Keep on the leader’s evocative compositions and
and saluting jazz masters Roy Haynes creating.” Sage advice for any artist with film-noir tenor and Behn Gillece’s icy
and John Coltrane with a pair of gor- an eye toward longevity. vibraphone. Moon follows that record-
geous, heartfelt compositions (“Royalty” ing with Blue Night (Frosty Cordial), a
and “Pledge for Peace,” respectively). Regular consumers of music criticism showcase for his Ensemble Novo sextet.
Alternating between electric and acoustic may recognize On a set comprising bossa nova classics
keyboards, Corea leads a stellar ensemble Tom Moon’s and a couple of original tunes inspired by
including Tim Garland on reeds, guitarist byline from his the Brazilian canon, Moon again evokes
Charles Altura, bassist Hadrien Feraud, longtime gig at nighttime in the tropics. Vibist Gillece
drummer Marcus Gilmore and percus- The Philadelphia sparkles throughout. The rest of the group
sionist Pernell Saturnino. On “Galaxy Inquirer. Or maybe — acoustic and electric guitarist Ryan
32 Star 4,” the opening track and our they’ve followed McNeely, bassist Mark Pryzbylowski,
selection, the group fires the afterburners his work for Rolling drummer Eli Sklarsky and percussionist
and heads for the stars. Corea, Garland, Stone, Spin and National Public Radio, or Jim Hamilton — also beautifully comple-
Altura and Feraud have plenty of space read his book, 1,000 Recordings to Hear ment the saxophonist. Moon’s smoke-
in which to play, tethered to the craft by Before You Die. But Moon’s career as a mu- kissed tone is heard to good effect on his
JAZZIZ ON DISC is a 2-CD music compilation from the artists of yesterday, today and tomorrow, bundled in the subscriber copies
of the print editions of JAZZIZ Magazine. For this issue, we’ve made Disc One a compilation of music by artists who have appeared at
JAZZIZ Nightlife, this magazine’s sister nightclub, in Boca Raton, Florida. Disc Two features fresh jazz from a diverse range of artists.
40 fall 2013 jazziz Chick Corea by Arne Rostad; Roberto Fonseca by Carlos Pericas
Cuban-born pianist and composer Roberto JAZZIZ OnDisc Fall 2013
Fonseca is a true fu-
sion artist, combin-
ing the sounds of
his homeland with
American jazz, and
African and Middle
FALL 2013
Fall Into JAZZIZ Nightlife
sometimes fly off into mad flashes of dissonance. The prayerful vocals of Rai singer Faudel, w Jeff Richman “Big Deal” Big Wheel [Nefer]
the talking drums of Baba Sissoko and the simmering guitar of Munir Hossn further e David Chesky “Jazz in the New Harmonic”
Jazz in the New Harmonic [Chesky]
contribute to the multicultural tapestry. The effect is nothing less than mesmerizing.
on a discography composed the remainder of the program. i L awson Rollins “Point of Attraction”
that stretches back Texture and sustain reign supreme on Full Circle [Infinita]
nearly 30 years, “Big Deal,” included here. Without resort- o Gregory Porter “Liquid Spirit”
Liquid Spirit [Blue Note]
and a performance ing to flashy pyrotechnics, Richman
a The New Gary Burton Quartet “Caminos”
career that goes works soulful, understated magic on Guided Tour [Mack Avenue]
back even farther. this sultry groover, which also features a s Roberto Fonseca “Chabani” Yo [Concord]
His most-recent dexterous solo from bassist Taba. d K neebody “Cha-Cha” The Line [Concord]
release, Big Wheel (Nefer), strikes a balance
f Michel Camilo “Island Beat”
between ambitious soundscapes and Inspired by Third Stream innovators such What’s Up? [OKeh/Sony]
If you purchased this magazine without the CDs or would like additional copies, e-mail service@jazziz.com
or log onto www.jazziz.com.
OnDisc
42 fall 2013 jazziz Photo by John Abbott
films and early 20th-century rural
America. Frisell’s quilt of influences
cohere in fascinating ways, particularly
when he plays with the coalition of
frequent confederates he’s assembled
in recent years. Those players — violist
Eyvind Kang, cellist Hank Roberts,
violinist Jenny Scheinman and more
recent addition, drummer Rudy Royston
— join the guitarist on Big Sur (OKeh/
Sony), the music for which Frisell com-
posed at Glen Deven Ranch in Big Sur,
California. At once rustic and elegant,
the music continually subverts expecta-
tion — well, for anyone but Frisell fans
— weaving homespun Americana with
chamber-music sophistication, and spik-
ing the familiar and comfortable with
dark, ominous rumblings. Frisell wears
his inspirations on his (album) sleeve,
with song titles such as “Hawks,” “We
All Love Neil Young” and “Walking Stick
(for Jim Cox).” And, on “Sing Together
Like a Family,” included here, the guitar- In recent years, guitarist Lawson Rollins has covered a vast expanse of musical
ist and his close contingent conjure the terrain, his recordings incorporating influences from the
intimacy of playing music in the parlor deserts of Iran to the peaks of the Himalayas. Rollins’ pristine
with the ones he knows best. and masterful picking on acoustic and electric guitars is
the common thread running through all his work. His most
With his individualistic blend of jazz, recent recording, Full Circle (Infinita), emphasizes his play-
blues, gospel and ing, more so than the exotic settings, although certainly
R&B, vocalist the album has them in abundance. Flamenco, Latin jazz and
and composer Middle Eastern music reverberate through the North Carolina
Gregory Porter native’s mesmerizing string work, as well as through the expert backing of a group
created a sensa- of Rollins regulars. Keyboardist Dominic Camardella, bassist Randy Tico, drum-
tion with his first mer Dave Bryant, violinist Charlie Bisharat and cellist Cameron Stone all re-up for
two recordings another round with the maestro. The group’s dynamic is aptly displayed on “Point
for the Motéma of Attraction,” included here. Rollins displays his virtuosity atop a bed of skittering
label. On Water and its follow-up, last strings, propulsive percussion and, quite naturally, rhythmic flamenco handclaps.
year’s Be Good, the native Californian
displayed a warm, embracing aesthetic his back on musical forebears. A similar depriving people of musical nourish-
that’s respectful of and affectionate message permeates the gospel/soul- ment. “Un-reroute the rivers,” he sings.
toward jazz tradition, but by no means jazz hand-clapper “Liquid Spirit,” our “Let the dammed waters free/There’s
confined by it. On Liquid Spirit, his selection. Accompanied solely by Aaron some people down the way that’s
debut release for Blue Note, Porter con- James’ upright bass and the aforemen- thirsty/Let the liquid spirit free.”
tinues to borrow liberally from across tioned handclaps at first, then joined
the spectrum of African-American by a joyous chorus of horns, piano and Having turned 70 earlier this year,
music and to refine his excellent song- drums, Porter testifies that listeners vibraphone master Gary Burton main-
writing. He best explains his artistic are thirsty for soulful, substantial tains a vital presence in the jazz world.
credo on the rhythmic vamp “Musical music. But the healing waters are held Not only did he collect his seventh
Genocide,” steadfastly refusing to turn back by commercial interests, thus Grammy, but he also just published an
OnDisc
44 fall 2013 jazziz
autobiography and established the first
online courses for
Boston’s Berklee
College of Music,
where he taught
for decades
and served as
executive vice
president. Most
importantly, Burton continues to craft
excellent music. He sounds invigorated
in the presence of the superb young
talent he’s assembled for his New Gary
Burton Quartet, with whom he recently
released Guided Tour (Mack Avenue),
the band’s second recording. Consisting
of guitarist and Burton protégé Julian
Lage, bassist Scott Colley and drummer
Antonio Sanchez, the group converses
eloquently — and democratically —
with their leader. The four-mallet
innovator is in top form. His sparkling The name of the modern-leaning improvisational outfit Kneebody may be off-putting,
vibes are as articulate as ever, whether but their music is quite palatable. Keyboardist Adam Benjamin,
he’s providing colorful comps behind trumpeter Shane Endsley, bassist Kaveh Rastegar, saxophonist
his cohorts or unleashing his magic on Ben Wendel and drummer Nate Wood became good friends while
a quietly dazzling and thoughtfully studying at The Eastman School of Music and Cal Arts. They began
constructed solo. Burton also wisely playing as Kneebody on the Los Angeles music scene a dozen years
taps the compositional abilities of his ago, and released their eponymous debut album in 2005. With
bandmates. On the album-opening influences ranging from electric-era Miles Davis and Bill Frisell
“Caminos,” penned by Sanchez and to Elliot Smith and Radiohead, the band hardly subscribe to a
included here, the ensemble plays with traditional jazz mindset. However, improvisational detours and unexpected compositional
remarkable synergy. Burton and Lage twists do connect them to the more adventurous end of the jazz spectrum. As accom-
engage in sinewy unison lines before plished musicians, they can play just about anything, including a cha-cha, which they
the vibist breaks out on a solo run that do on the mid-tempo groover of the same name, our selection, from their latest recording
explains why his name has become The Line (Concord). Spiked by a second-line drum beat, and with the horns playing in
synonymous with his instrument. counterpoint, the tune starts off sounding like a laid-back New Orleans party anthem. But
Kneebody strays from the parade route and takes some intriguing side streets.
As anyone who’s witnessed pianist
Michel Camilo was required on his first unaccompa- the jazz-piano idiom. Quite naturally, it
in performance nied recording, 2005’s Solo, nor on the wouldn’t be a Camilo album without the
can tell you, new What’s Up? (Sony). Whereas Solo Latin and tropical influences that per-
the Dominican was mostly contemplative, What’s Up? meate his playing, and they’re pushed
jazz artist balances introspection with moments of to the fore on his compositions “Paprika”
hardly requires unbridled joy. So, while Camilo indeed and “On Fire.” His “Island Beat,” included
accompaniment delves into heartfelt ballads — as on his here, showcases not just the propulsive
to enthrall an gorgeous and moody “Sandra’s Serenade” qualities, but the stately elegance of the
audience. While his work alongside vari- or the deeply interior “A Place in Time” multi-faceted music of the Caribbean,
ous rhythm players over the years has — he also hangs fire on a set that shows which combines African and European
been exceptional — dig last year’s trio his mastery of and affection for blues influences in tantalizing ways that have
recording Mano a Mano — no sideman and stride and other styles that inform become indigenous to the region.
OnDisc
46 fall 2013 jazziz Photo by Paulifornia
traditions
A Fond Adieu
By Bob Weinberg
CM
MY
CY
CMY
K Mack Avenue Records is proud to present the scintillating debut release by its very own
SuperBand, an all-star ensemble comprising many of the label’s most acclaimed artists. Recorded
live at the 2012 Detroit Jazz Festival, it documents the SuperBand’s debut performance.
The SuperBand is Gary Burton, Kevin Eubanks, Tia Fuller, Sean Jones, Cécile McLorin Salvant,
Evan Perri and Alfredo Rodríguez—all supported solidly by the rhythm section of Carl Allen,
Aaron Diehl and Rodney Whitaker.
mackavenue.com
available wherever you like to buy music
s Count Basie Basie’s Beatles Bag (Verve, 1966) — (“I Am the Walrus”), Robert Quine and Jody
Drummer Sonny Payne, guitarist Freddie Green Harris (“Yes It Is”), David Tronzo (“Because”)
and the Count drive Chico O’Farrill’s big-band and David Fiuczynski (“Tomorrow Never
arrangements of “Help,” “Can’t Buy Me Love,” “She Knows (Slight Return”)).
Loves You,” “Michelle” and seven others. s Various Artists Blue Note Plays The Beatles
s Chet Atkins Picks on The Beatles (RCA, 1966) — The (Blue Note, 2004) — This winning compila-
Country Gentleman applies his signature thumb- tion culled from the Blue Note archives
and-fingerstyle guitar technique to his tasty inter- includes Stanley Turrentine’s grooving
pretations of “She’s a Woman,” “I Feel Fine,” “Can’t “Can’t Buy Me Love,” Buddy Rich’s dynamic
Buy Me Love,” “And I Love Her” and eight others. big-band take on “Norwegian Wood,” Tony
s Ramsey Lewis Mother Nature’s Son (Cadet, 1968) — Williams’ “Blackbird” and Grant Green’s
Accompanied by members of the Chicago Symphony funky “A Day in the Life,” along with Stanley
Orchestra, Lewis brings his piano prowess to bear Jordan’s virtuosic “Eleanor Rigby,” Cassandra
on 10 songs from The White Album, including “Julia,” Wilson’s sultry “Come Together” and Bobby
“Rocky Raccoon,” “Sexy Sadie” and the title track. McFerrin’s astounding solo vocal version of
s George Benson The Other Side of Abbey Road “Drive My Car.”
(A&M, 1970) – The jazz-guitar great turns in s Various Artists The Beatles Tribute: An All-
winning vocal and instrumental renditions of the Star Jazz Celebration (GRP, 2004) — Includes
Beatles’ classic album Abbey Road. Includes delight- George Benson’s “The Long and Winding
ful medley’s of “Golden Slumbers/You Never Give Road,” McCoy Tyner’s “She’s Leaving Home,”
Me Your Money” and “Because/Come Together” Diana Krall’s “And I Love Her,” Chick Corea’s
along with a soulful “Oh! Darling” and a swinging “Eleanor Rigby,” Spyro Gyra’s “In My Life,”
“Octopus’s Garden.” Dave Grusin’s “Yesterday” and “While My
s Sarah Vaughan Songs of The Beatles (Atlantic, Guitar Gently Weeps” by Russ Freeman &
1981) — Sassy has her way with “Eleanor Rigby,” The Rippingtons.
“Fool on the Hill,” “You Never Give Me Your Money,” s BeatleJazz With a Little Help From Our
“Blackbird,” “Yesterday,” “The Long and Winding Friends (Lightyear, 2005) — Pianist Dave
Road” and other contemporary pop/R&B arrange- Kikoski, bassist Larry Grenadier and drum-
ments (by Marty and David Paich) of familiar mer Brian Melvin are joined by guests John
Beatles fare. This 1977 recording, which wasn’t Scofield (“Piggies,” “I Will”), Randy Brecker
released until 1981, features guitarist Lee Ritenour (“Imagine”), Michael Brecker (“Working Class
and harmonica ace Toots Thielemans. Hero”) and Mike Stern (“A Hard Day’s Night”).
s Various Artists Come Together: Guitar Tribute to s BeatleJazz All You Need (Lightyear, 2007)
The Beatles (NYC Records, 1993) — A highly original — The core trio of pianist Dave Kikoski,
six-string salute to the Fab Four featuring Mark bassist Larry Grenadier and drummer Brian
Whitfield’s take on “Come Together,” Toninho Melvin is augmented by special guests
Horta’s “She’s Leaving Home,” Ralph Towner’s Richard Bona (“All You Need Is Love,” sung
“Here, There and Everywhere,” Larry Coryell’s in his native Duala language), Joe Lovano
“Something” John Abercrombie’s “And I Love (“The Continuing Story of Bungalow Bill”)
Her,” Leni Stern’s “Norwegian Wood” and Allan and Toots Thielemans (“Fool on the Hill”).
Holdsworth’s “Michelle.” s Carlos Barbosa-Lima & The Havana
s Various Artists Come Together: Guitar Tribute String Quartet Beatlerianas (Zoho, 2013) —
to The Beatles, Vol. 2 (NYC Records, 1995) — More The Brazilian guitarist performs Leo
six-string takes on the Beatles, this time by such Brouwer’s arrangements of classic Beatles
cutting-edge guitar slingers as Wayne Krantz tunes like “Ticket to Ride,” “Here, There
(“Tomorrow Never Knows”), Philip deGruy and Everywhere,” “Penny Lane” and
(“Strawberry Fields Forever”), Charlie Hunter “Got to Get You Into My Life” with the
(“Drive My Car”), Adam Rogers and David Gilmore renowned string quartet from Cuba.
JAZZ
into it. And when she found out who it was, she just turned to
me and screamed, ‘It’s Paul McCartney!’ because she knows
that it was one of my dreams to meet him and she also knows
what the Beatles meant to me growing up and how signifi-
cant it was for me in reconnecting with their music on this
project. And when she said Paul McCartney, I got chills, man!
AT T H E B O W L So we drove out to the Hamptons and found the place. I
pulled up into the driveway and … he was right there! His
driveway was right next to mine, almost touching, and he
was just standing there — no security, no nothing. We got to
AN EVENING WITH meet the third day I was there. I saw him pulling out of the
BUDDY GUY
QUINN SULLIVAN
WITH SPECIAL GUEST
These are such familiar tunes and yet you put your own
stamp on each one.
Yeah, that was the point. It’s my little world meets their big
world. And at first I thought about adding more sounds and
things, but everyone that heard it said, “No, man, keep it simple.
FUNKY METERS Just guitar. Just the way it is is great.” So I was kind of buying
into that after a while. But sure, if I had real budgets like back in
AUG 21 the heyday, it would’ve been a much bigger production. But then
again, it’s kind of nice to hear just the guitar without all the
fluff, especially as rich as they sound on this record.
WAYNE
Wayne Shorter Quartet with Danilo Pérez,
John Patitucci, Brian Blade and special guest I think people are going to appreciate what you’re doing with
Herbie Hancock and Imani Winds
these tunes.
SHORTER
ACS: Geri Allen, Terri Lyne Carrington, Yeah, I’m really proud of this one. Look, they’re not my
Esperanza Spalding
compositions but I feel so close to them. As I said, it was a labor
Joe Lovano and Dave Douglas Quintet: of love. I’m really happy with the way it came out, especially the
8 0 T H B I RT H D A Y “Sound Prints” guitar sounds. I wanted to go analog the whole way. There’s no
CELEBRATION AUG 28 comparison to digital; it’s far superior. Why doesn’t everybody
record this way? But this whole experience — recording at
Abbey Road, living next door to Paul McCartney, who is probably
HOLLYWOOD BOWL the most famous person in the world, if not the richest — it’s
been a trip, man.
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By Ted Panken
Photos by Shawn Peters
“At this point I don’t know if
there is anyone who writes
lyrics as well as him. And, if
anybody has as good a voice
as he does, let me hear it.”
—Chip Crawford
It rained torrents in Brooklyn on the first Friday in June, so These days Porter commands much higher fees. In five days, he
much rain that at 3 p.m. water was flowing through crevices in would fly to Los Angeles to play the Hollywood Bowl, launching
the cornice atop the stoop of Gregory Porter’s Bedford Stuyvesant a summer itinerary of North American festival appearances and
brownstone into the cramped vestibule. It was also, Porter engagements in Europe, where he’s toured without respite during
said, seeping from the back into his ground-floor kitchen. No the past year. His fan base spans the United Kingdom and extends
respite was in sight until well past Porter’s scheduled 7 o’clock to elsewhere in Europe, as well as to the former Soviet Union and
flight to Pittsburgh, so it promised to be a long day. Still, the Japan, where he was packing rooms well before Water launched
singer, sheathed in the black balaclava and Kangol cap that is his recording career. Increasingly his admirers also include peers
his sartorial trademark, seemed stress-free as he escorted me and elders, among them stylistically divergent artists like Wynton
upstairs, where it was dry. Marsalis, who in March cast Porter in the Trickster role originally
In truth, the weather seemed an apropos backdrop for a inhabited by Jon Hendricks in a high-profile restaging of Blood On
discussion framed around Porter’s September Blue Note release, the Fields at the Rose Theater, and David Murray, who recruited
Liquid Spirit, which follows on the heels of his Grammy-nominated Porter to sing lyrics by Ishmael Reed and Abiodun Oyewole of the
2010 leader debut, Water, and its Grammy-nominated successor, Last Poets on Murray’s recently released Be My Monster Love.
Be Good. Both generated uncommon levels of crossover buzz for a “The hook-up with Gregory was one of the greatest things I
release by a “jazz” singer. One reason is Porter’s dazzling toolkit — a could do with a vocalist,” Murray told me over the phone. “He can
resonant voice, multi-octave range, conversational projection and reach deep down, but also get up there, like the tenor or cello — he’s
soulful feel. Another is his luminous songwriting — 27 well-crafted got power in all areas. He can sound like people, too. He can do all
originals on the three CDs that convey both grand metaphysical those things, which is phenomenal, and he’s a thinking man. I have
themes and intensely personal narratives in precise, symbolic, total respect for him.”
soul-baring language that evokes such late 20th-century masters “He has the spirit of the ’70s with a jazz aesthetic,” says Chip
as Joni Mitchell, Leonard Cohen, Bill Withers, Abbey Lincoln, Donny Crawford, Porter’s pianist from his earliest St. Nick’s Pub days.
Hathaway and Gil Scott-Heron. It’s also intriguing that the source “I’m getting more and more amazed at his writing ability, plus his
of these introspections is a strapping, full-bearded ex-linebacker melodies are as good as anyone’s. At this point I don’t know if there
who, after moving to New York in 2005, built his Q-rating in the is anyone who writes lyrics as well as him. And, if anybody has as
old-school, grassroots manner — several years of weekly Tuesday good a voice as he does, let me hear it.”
night appearances in the raucous confines of St. Nick’s Pub in “I try to be organic,” Porter says of his approach to making
Harlem, then a year of Thursday night three-setters at Smoke, the albums and writing lyrics. “I’m not calculating in terms of, ‘I want
Upper West Side jazz club. to write some modal music and connect it to Gregorian chant,’
“Some people told me, ‘Stop doing that damn gig,’” Porter says, which is a dope way to be as well. I open up my chest and arms and
recalling reaction to his appearances at St. Nick’s Pub. “But I dug see what falls in there inspirationally, and these are the things that
that regular people would come in and buy a $3 beer and hear live come out at the point of the release of energy. After everything is
jazz. So this lab that is St. Nick’s Pub — that is community, that is on the page, I look and say, ‘OK, this is what that is.’”
tourist — became this soulful place for me and the band as well. Having eased into the conversation, Porter adds, “I don’t mean
We enjoyed ourselves there for that little $30 or $40.” to be throwaway about it, or like I’m not really thinking about
By Larry Bumenfeld
“I started hearing these two kinds of music as one,
but they would meet only in my dreams. In my
real life, they were parallel, but I literally dreamed
this union — these folkloric, spiritually powerful
songs in a contemporary jazz setting.”
On an unseasonably warm April night, 11 musicians fill the that seem (and may well be) mystical. In matters of Afro-Cuban
stage at Roulette, an auditorium in Brooklyn, New York, ritual traditions, he is spiritual and musical guide to Martinez
known for cutting-edge music presentations. Up front sits a and many others on the New York scene.
trio of percussionists: Pedrito Martinez, Roman Díaz and Abraham Yet no one player or singer is the focus here. Rosewoman’s music
Rodriguez, with their conga and batá drums. Just behind the per- unites players with distinct personalities into a communal voice,
cussionists are bassist Yunior Terry and, at his trap set, drummer much in the mold of Mingus or Ellington, even as she adheres to
Adam Cruz. At the rear, five horn and reed players stand in a row. Afro-Cuban traditions. It sounds bold, swinging, ceremonial and
Center stage, somewhat enveloped by the other musicians, Michele formal — all at once, in many cases. It carries the air of something
Rosewoman sits at a piano, a Fender Rhodes keyboard at her side. ancient, which makes sense since so many of these compositions de-
Rosewoman is a petite woman, still somewhat girlish at 60. She’s rive from ritual rhythms and cantos, or chants, for orishas, the deities
barely visible from the audience and yet clearly in charge, directing of West African Yoruba tradition that are essential to Cuban folkloric
the action with a turn of her head, a firm nod or hand motion. music, and signaled by the batá — three two-headed drums that,
Rosewoman’s music spills out over the course of three hours, when played correctly, are said to speak the Yoruba language. Yet
sounding by turns playful, intense, cacophonous, melodic, the music also sounds urgent, new. Some of these pieces were in fact
meditative and nearly always densely percussive. Her piano recently composed, and all of them involve not just the structured
playing draws equally from the bluesy drama of Randy Weston call-and-response of Afro-Cuban folkloric music but also spontane-
and the ardent yet grounded freedom of Cecil Taylor. Her grasp ous exchanges in the improvised language of New York jazz.
of Afro-Cuban tradition enables her, when she chooses, to make There are several histories packed within Rosewoman’s music,
her instrument function like a set of tuned drums. At times, she none more so than her own creative arc. She first presented “New
trades phrases with percussionists as if one of them. All three per- Yor-Uba: A Musical Celebration of Cuba in America” at Manhattan’s
cussionists sing, as does Rosewoman. Martinez, a wondrous musi- Public Theater on December 12, 1983. The 14 musicians that surround-
cian, displays mesmerizing abilities on hand drums. His voice, ed her onstage then included Lake, who she counts among her men-
which manages to be simultaneously searing and comforting, tors, and Cuban percussionist and singer Orlando “Puntilla” Ríos, her
cuts through and soars above Rosewoman’s rich arrangements. most profound influence, who died in 2008. Between songs, she says
Instrumental voices command attention, too. Alto saxophonist from the stage, “A lot of this repertoire was written around Puntilla’s
Oliver Lake plays pleading figures, hard-swinging statements and voice and spirit.” In the decades since its debut, Rosewoman has
well-placed squeals. Trumpeter Freddie Hendrix crafts concise presented several editions of her New Yor-Uba ensemble at festivals
and smart solos, sometimes pulsing a single note through the and in clubs. But she’s never recorded the group. That situation is
swirl surrounding him. Díaz lends tiny inflections and subtle about to be remedied. In three days, Rosewoman and New Yor-Uba
innovations to each pattern of beats; he shifts rhythms in ways will head into Brooklyn’s Systems Two Studio.
Batá, in brief an energy that naturally accelerates. You don’t want to step on that
but you also need to think about keeping a tempo for the group.
Rosewoman considers the batá “the heart of New Yor- Meanwhile, the precision of the batá calls for incredible precision in
Uba,” Here she explains the role of these drums in Yoruba every other seat, especially the bass and drums.”
tradition through text she wrote with her frequent collabora- Rosewoman had considered making a solo-piano recording to
tor, percussionist Eddie Bobé: celebrate her 60th birthday this year. Over dinner, a friend persuaded
Through the drums, human beings become connected to her to document New Yor-Uba instead. “Right after he suggested it,”
all of nature and to the supernatural, and thus, the drums are she says, “I realized that now was the moment.” Like so many musi-
honored and celebrated. The cians these days with ambitious ideas and limited corporate support,
batá drums hold, to those who she opted for a campaign on the Kickstarter website to generate a
believe, divine power. They are core budget. By mid-March, she had reached her goal, and raised more
used to communicate with the than $23,000. For posterity, she wanted to honor what she’d created
deities known as Orishas, and 30 years ago. She also wanted to document how it has evolved. Ríos’
with the spirits of the ancestors, death in 2008 was a turning point for New Yor-Uba. The current group
known as Eguns. includes two original members — Lake and, on tuba and baritone sax-
The batá are the orchestra of ophone, Howard Johnson. The newer members, especially those in the
the Yoruba temple. They are the rhythm section, create a changed context for her project. “These guys
most important drums in the have a fluency in both jazz and Afro-Cuban languages,” she says. This
Afro-Cuban form of the Yoruba opens new possibilities. “Puntilla was a pure folklorist,” she explains.
religion, known in Cuba as “His presence made sure that I stayed grounded in tradition and that
Santeria (also known as Regla de my foundation was correct, that elements were presented in the right
Ocha). Santeros are practitioners of this religious form. sequence and on the correct side of clave. With Pedro [Martinez] and
The batá are three two-headed drums, each head with its Roman [Díaz], it’s a much more interactive thing. They’re reacting to
own distinct tone. In Cuba, ‘un tambor batá’ does not exist. the energy and to the soloists. That’s a new dimension for the group.”
The three constitute the batá (los bata son tres). A ceremony Ellman, who has more than a decade’s experience as guitarist in
where batá drums are played is called un toque de batá. Henry Threadgill’s groups, was fascinated while working as producer
To play batá means to play these three drums together. in the studio with Rosewoman. “One of the great things about the
Combined, they constitute ‘a conversation of six hands.’ situation is that everyone is a little out of their element at some level,”
The batá drums play complex rhythms called toques, he says. “There was this interesting back-and-forth that had to do
which correspond with the different phases of the cer- mostly with humility. Everyone had moments where they had to
emonies. They are considered talking drums because they defer to someone else. Everyone was aware of everyone else’s role.
actually speak the Yoruba language through the call-and- Everyone had to give a little of themselves to the whole in order for it
response conversations that occur between the two largest to succeed.”
drums. The toques themselves are highly sophisticated Rosewoman knows that beyond rhythmic tensions and the disso-
rhythmic patterns that are passed on to the aspiring lution of individual egos, her music suggests disparities, perhaps even
drummer through the oral tradition. Bata drummers must conflicts, for purists of jazz and Afro-Cuban folklore. She doesn’t see it
be able to memorize hundreds of toques and their variants. that way. “Jazz is a world of extending and expanding tradition,” she
They are able to retain such a great amount of information says. “The rhythmic traditions of Cuba are about maintaining tradi-
through melodic memorization, as the various combina- tion. But the idea of obscuring things seems fundamental to both. The
tions of rhythmic patterns create distinctly different idea is to know something so well that you don’t have to state it.”
melodies. Improvisation occurs, depending on the drum- For Rosewoman, such mystery, emboldened by knowledge, releases
mer’s ability to rephrase these patterns. her most deeply held desires — the stuff that first bubbled up within
her in the Bay Area, when she was simultaneously studying jazz and
Afro-Cuban drumming, and then took firmer shape decades ago, in
The challenge of New Yor-Uba comes at Rosewoman in waves — New York. She senses these desires manifested in small details on the
literally. On her computer screen, she’s looking at the wave forms new CD, such as the way Hendrix begins a trumpet solo just right on
created by her music as seen through Pro Tools software, while work- “Praise for Ancestors (for Eggun)” and the batá pattern that mimics a
ing with producer Liberty Ellman on the mix of her new double-CD tenor sax run later in that tune. She hears it most clearly of all near the
with New Yor-Uba,A Musical Celebration of Cuba in America (Advance end of “Where Water Meets Sky (for Yemaya),” in brief horn improvisa-
Dance). “I can see clearly here what I’ve always known,” she says, refer- tions that seem to float into place above chants and rhythms, only to
ring to patterns on the screen. The jazz musicians are playing behind dissolve and make way for the precise and accelerating fury of batá
the beat; the percussionists, playing Afro-Cuban folkloric rhythms, are drumming. “It’s otherwordly when you hit that zone, the one you’ve
in front of the beat. “It’s a tug of war,” she says, “and I’m sitting in the been searching for,” she says. “You’re floating. You’re somewhere you
middle, trying to make sure things don’t ever get too far out of align- dreamed of being but didn’t know you’d ever reach.” s
High Atlanticos
www.adventure-music.com
Vintage
Ink Rediscovering
the cover art of
David Stone Martin.
David Stone Martin was an American artist, best known for the over 400
album covers he illustrated during a prolific period that lasted from the
late, 1940s until the early ’60s. His strikingly modernist work, a dazzling visual
refraction of the energy and spontaneity of postwar jazz itself, graced the cov-
ers of albums by Charlie Parker, Billie Holiday, Dizzy Gillespie, Duke Ellington,
John Coltrane, Ella Fitzgerald, Art Tatum, Stan Getz and many of their peers.
Like those artists, Martin, who died in 1992 at the age of 78, earned for himself a
well-deserved place in jazz history.
In recent years, no one’s done more to champion Martin’s achievements than
Vincent Gerard, the 48-year-old founder and creative director of Jazzartz.com.
Not long ago, Gerard, struck by the fact that few people had ever seen Martin’s
illustrations on anything other than old 12” x 12” album covers, began the
arduous process of transforming Martin’s work into the stuff of fine contem-
porary art. Today, he sells meticulously restored prints of more than 100 of
Martin’s album-cover illustrations. They come in four sizes, all square (14”, 24”,
36” and 44”), and each is printed on museum-quality fine-art paper stock that’s
been handmade in Germany. Prices range from $350 for the smallest pieces to
$1,750 for the largest. A 220-page book that includes excellent reproductions of
Gerard’s 100-plus prints is also available for $399 through his website. Jazzartz
also sells a custom leather-bound edition of 100 24” prints for $25,000.
“It’s really important that people understand these are not just big blow-
ups of old scanned album covers,” Gerard says. “We worked for over two years
digitally restoring archival artwork brushstroke by brushstroke, and giving the
color amazing fidelity. We worked with David’s son Tony Martin to get the color
perfect and everything true to his father’s vision. No one has ever seen David’s
art like this. The prints are of the highest quality.”
Had he lived, David Stone Martin would’ve turned 100 years old earlier this
year. As a centennial celebration of sorts, we offer a small sampling of his many
illustrations, each of them painstakingly restored.
All of David Stone Martin’s album-cover illustrations can be seen and
purchased at www.jazzartz.com or at Vincent Gerard’s newly opened Jazzartz
David Stone Martin, self-portrait Gallery in Laguna Beach, California.
Flip Wails (by Flip Phillips and His Orchestra, Clef Records, 1956)
George Duke is living proof that sometimes there is light at the console and my equipment and go, ‘Nah, not today.’ And
at the end of the tunnel of despair. Following the death of that kept going on. And that’s unusual because normally music
his wife, Corine, the Grammy-winning keyboardist found is my respite, but I just did not feel any creative urge. I could not
himself so consumed by grief that he couldn’t work on his think of a single note to play or any groove that I wanted to do.
music. Artistic stasis had set in, and he didn’t see any way And it didn’t happen for a long time.”
out of his doldrums. Finally, when he was at his lowest ebb, During a Soul Train Cruise last October, Duke got his mojo
something clicked in him, sparking a flood of ideas and a wave back. “I was there by myself. It was the first time I had done one
of momentum in the studio that culminated in the July release of those cruises without my wife, which was strange enough.
of Dreamweaver (Heads Up), which Duke calls his “most honest I didn’t have to play for a few days, so I had a couple of days to
album in several years.” just do nothing — listen to other bands and kind of just stare at
“It was pretty difficult, actually, to begin,” he says, reflecting the sea. On the third day, something happened. I had watched
back on that dark period when nothing seemed to be happening some bands and stayed up kind of late. It was around four in the
for him. “My wife passed last July, and then I was supposed to morning when I finally went back to my room. But I didn’t feel
start the album right after that, but I didn’t feel like creating any like going to sleep, so I went out and sat on the deck and just
music. I have a studio in my home, and I’d walk in there and look stared at the water go by until the sun started coming up. Then
Composing for the Prince of Darkness Zappa’s band, which lasted through 1975. The following year,
he formed the Billy Cobham-George Duke Band, a powerhouse
George Duke composed two songs that appeared on Miles fusion outfit featuring former Weather Report bassist Alphonso
Davis recordings during the ’80s — “Backyard Ritual,” on Johnson and guitarist John Scofield. “I had met Billy in 1973
1986’s Tutu, and “Cobra,” on 1989’s Amandla. Says Duke: “Miles when I was in Zappa’s group, and we opened for the Mahavishnu
used to call me from time to time and say in that raspy voice, Orchestra. On that tour is when we first talked about forming
‘Hey, George, this a band. Billy was like a freight train running loose on the rails
is Miles. I want back then. We only recorded one album [1976’s Live on Tour in
you to write me a Europe] but we have lots of extra stuff from that tour that we’re
tune.’ And when currently remixing and will be putting out soon.”
I asked him what By 1980, Duke began pursuing a slightly different muse
kind of tune he when he formed the R&B flavored Clarke/Duke Project with
wanted, he’d yell bassist Stanley Clarke, who appears as a special guest on
into the phone, Dreamweaver, unleashing one of his signature upright-bass
‘You know what solos on the lush, large-ensemble number “Stones of Orion.”
I sound like! Just “I first met Stanley at a jazz festival in Pori, Finland,” Duke
write me some- recalls. “We met in the hallway. Actually, our Afros met in the
thing like you hallway. I was trying to pass by him to get to my room, and
think I oughta be our Afros touched. It was a very small hallway. Later I went
doing NOW!’ downstairs and heard him play. He was sitting in and just jam-
“So first I ming, and it was absolutely amazing. Chick Corea was playing
wrote ‘Barnyard drums, Stanley was playing bass. I was there with Cannonball
Ritual’ and sent Adderley, and he was there with Return To Forever. That’s the
him a demo. Then first time we actually started talking, and he heard me play
I didn’t hear from there with Cannon. Eventually he played on my records, I played
him for three, on his, and it continues from there.”
four weeks. So I While playing together in an updated edition of the Clarke/
called him up and Duke Project, the two old friends have also entered into a new
said, ‘Hey, Miles, this is George. Did you get the tune?’ He told musical situation that has reaped musical rewards for both men.
me he got it and liked it, and I said, ‘Oh, great, man! When “We have begun to do duo concerts, just acoustic bass and piano,
we going in the studio to record it?’ And he kind of grunts, which allows me to stretch out and do some other things that
‘It’s already recorded.’ And I said, ‘What are you talkin’ about, I don’t do on my normal records and in normal performance.
man? That was a demo. At least let me change the sax and It’s very challenging. We tried it at the Blue Note in New York
the drum sounds.’ And he says, ‘No, I like it ’cause it sounds for four nights. We did eight shows there, and it was absolutely
funny.’ And it went on the record just like that. incredible. It actually worked. We kept the attention of the audi-
“So my first experience working with Miles was a ence the whole time, just with piano and bass.”
demo. After that he’d call me from time to time, trying Duke has also recently played several two-piano concerts
to get me to come over to his house when he was living with Joe Sample, and they’re planning more. Chick Corea has
in Malibu. And, basically, every time he called, he’d say, also expressed interest in going out with George for a series of
‘I ain’t dead yet. Write me something.’ I wrote more than duo concerts. “We talked about doing a two-piano thing but I
he actually ended up recording because he passed in the said, ‘Man, I don’t want to go out and be embarrassed. I’m not
middle of all of this.” —BM going out with Chick Corea unless we play the blues all night.’ So
I have a standing joke with him about that.”
Duke also plans to record his next orchestral project (a follow-
albums during the next several years, including such Zappa classics as up to his triumph at the 1993 Montreux Jazz Festival, docu-
1973’s Over-Nite Sensation, 1974’s Apostrophe and 1975’s One Size Fits All, mented on the live recording Muir Woods Suite) by early next
which includes his bravura vocal performance on the time-shifting, year. “I’ve written a bass concerto for Christian McBride, which is
interval-leaping number “Inca Roads.” Duke says the late guitarist- probably the most astute and mature orchestral writing that I’ve
composer was a key figure in his career. “I never played synths done so far,” he says. “We premiered it here in Los Angeles a year
before Frank. He’s the one who got me to play synthesizer and also or so ago, and I think we’re going to go into the studio and record
encouraged me to bring my humor out, to be more tolerant of simpler it in January or February of 2014.”
forms of music. I mean, he really opened up the doors of my creative While still grieving over the loss of his wife, Duke continues to
awareness. That’s why I’m in the shape I’m in, musically.” fill the hole in his soul with music. And if music is a healing force,
Following an invaluable stint with the Cannonball Adderley Dreamweaver is an impressive first step on the road to a full recovery. s
Playing Smart
Pondering the curious mind and music of Craig Taborn.
By Shaun Brady
Photos by John Rogers
Like many of his peers, Craig Taborn forged his sound, at least That open-minded approach to creative inspiration may help
partly, in college classrooms. Unlike most of his peers, how- to explain how Chants (ECM), the new CD by Taborn’s trio with
ever, he didn’t spend much time at college actually studying Morgan and drummer Gerald Cleaver, seems to both reinvent
music. Instead, Taborn majored in literature at the University of the piano-trio tradition while remaining indebted to it. The fo-
Michigan and graduated with a general liberal arts degree, secure cused, intimate interaction between the three musicians exempli-
in his belief that the non-musical knowledge he gained would fies the format’s ideal, while the dense, mysterious intensity of this
positively influence his playing. “I thought the exclusive study of particular group belongs to it alone.
music was a waste of my time,” the 43-year-old pianist says today. “To make a contribution to that tradition, you have to chal-
“It just felt like a collapsing spiral.” lenge yourself to not make constant reference to the past out
A born polymath, Taborn had begun his own study of music of a space of total reverence,” Taborn says on a humid June day
years earlier by digging through his father’s eclectic record over lunch at a Cuban restaurant near his home in the Flatbush
collection. As he grew older, he explored a diverse range of music section of Brooklyn. “It’s just a balance of how much you’re tak-
in the record stores and concert halls of his native Minneapolis, ing from it and how much you’re offering to it, and I’m definitely
taking in everything from jazz to heavy metal to electronic music into trying to offer more.”
to hardcore punk. By the time he reached college, he had decided While Chants is this trio’s debut recording, Taborn has been
to concentrate on other areas of study, the results of which are touring with Morgan and Cleaver since their first performance
evident in the intellectual content of his own music. together at the 2007 Monterey Jazz Festival. He’s been playing with
Thomas Morgan, the bassist in Taborn’s current trio, describes them individually for even longer. The group’s singular, almost
Taborn as having “a very wide-ranging curiosity about music — cryptic sound on Chants, Taborn says, is the result of working
and just about everything else, too, as far as I can tell — and he through the music, night after night, over the past six years. “It just
goes deep in his studies.” takes risk. You have to risk failing and then working it through.
All of his knowledge, Taborn contends, can be found in his play- With this trio, it’s always worked to a certain extent, largely
ing. “I always thought that music was enhanced by study,” he says. because it was conceived around Gerald and Thomas, and they’re
“I had a sense that what you learn impacts your creative life, so I not normal thinkers anyway.”
just wanted to explore and understand a lot of different things.” The band continues to develop, according to Cleaver. “Chants rep-
Possibilities and Limitations one of the greatest electric bass players in the world not playing
electric bass,” Berne says of Taborn before also praising his acoustic
While his own recent releases have concentrated on the acous- piano playing. “The thing that separates Craig from a lot of people
tic piano, Taborn continues to split his focus between acoustic is that he has a real sound, a real command over the sound of
and electronic playing. “I invest a little bit in each,” he says. the piano. He has an incredible dynamic range and a variety of
The major difference between the two, Taborn explains, is touches; it’s not one dimensional. A lot of people just sit down and
the open-ended definition of “electronics.” To him, the word play the piano, but with Craig his whole body goes into it. I’ve seen
signifies an approach more than an instrument, and it can a million different things come out of him, and I don’t hear a lot of
encompass electric keyboards, synths, laptops and all manner people who have that much variety in their sounds.”
of gadgets and programs. “I don’t view the electronics as one While his previous work had led to different reputations in
instrument. I view it as more of a process of engaging with a different circles, from electronic music to straightahead jazz to
lot of different tools, so I always have to reinvestigate what my free improvisation, working with Berne finally brought those
instrument is at the time. The piano is always a piano, so your worlds together. “It really forced me to negotiate all those spaces
concept may change but that stays the same.” at once, which I’d never had to do before,” Taborn says. “In each
The constancy of the piano can be both a strength and a of the other contexts, one of those elements was removed. I
weakness, Taborn says. When a piano and electronic instru- improvised and played challenging written music with Roscoe,
ments are both present, the piano “becomes part of the larger but on piano; with Craig, I was using all these electronics but
battery. Because you have all this stuff, the piano’s not going to it didn’t require me to deal with so much stuff flying at me. So
predominate. It tends to just blend in.” that was a huge growth period.”
Removing electronic alternatives, on the other hand, forces Taborn’s association with Berne led to opportunities to play
Taborn to take a more inventive approach. “When the piano is and record with Dave Douglas and Steve Coleman, and to mix it up
the only tool I have,” he says, “I have to really try to hyperex- with other forward-thinking musicians in New York. He became a
tend it to get some other sounds out of it. Consequently, some- regular at saxophonist David Binney’s Tuesday night sessions at 55
times I get more mileage out of just playing the piano than if Bar in Greenwich Village. It was there that he met Morgan for the
I have more synths. A lot more will happen sonically because first time, which he calls “a revelation,” and also where he played
I’m forced to try to push beyond a boundary. I’ve often found with Chris Potter in a bassless format that led directly to the
that with electronics, the more stuff I have, the less actually formation of Potter’s long-running electric band Underground.
happens. I’ve definitely noticed diminishing returns.” —SB “I love Craig’s attention to detail and his commitment to being
uncompromising about what he really wants to sound like,”
Potter says. “He’s such a bright guy and so well-versed in so much
with Mitchell. “The lens on how I perceived making music was music, especially music that’s kind of far from the mainstream.
definitely changed. Roscoe just had a different way of thinking And you can hear it in his playing. Somehow, even when you’re
about improvising and putting together music. That affected ev- playing a blues, you’ll hear these references from contemporary
erything I’ve done, even straightahead playing, since. I just think classical music or death metal or whatever he’s into. It’s inspiring
really differently. To be honest, I can probably remember how I for me to be around.”
would have thought back then, but I can’t remember why I would
have ever thought that way. It totally changed my awareness.”
Taborn says his experiences playing with Mitchell provided Following the release of his 2004 electric quartet CD Junk Magic,
him with the tools needed to play with Tim Berne. That op- Taborn didn’t release another album under his own name until
portunity came shortly after he moved to New York City in 2011’s magisterial solo breakthrough Avenging Angel, his debut
1997, during which time he was working more frequently with on ECM Records. Initially he talked to the label about recording the
electronics in collaboration with Carl Craig. (Taborn plays on trio that eventually made Chants, but misaligned schedules led to
the 1999 album Programmed with Craig’s Innerzone Orchestra.) the decision to record a set of solo improvisations instead.
Berne says he first approached Taborn after regularly spotting Despite the differences between Avenging Angel and Chants —
him in their shared Brooklyn neighborhood. “I used to see him one solo, one trio; one improvised, one composed — the two albums
walking around the street, and I just thought he looked like share a similar feeling of fragile intensity and an otherworldly air of
a space cadet — in a good way,” the saxophonist recalls. “And elliptical mystery. Taborn himself sees “a lot of cross talk between the
every time I saw him, I would go, ‘I know I’d like to play with aesthetics” of the two albums. “They share certain ideas about static
this guy.’ I had this idea for an electronic thing that would cover versus dynamic space, engaging with sound in an environment.”
guitar and keyboard and bass at the same time.” The acclaim that has met both discs appears to be a breakthrough
Taborn played electronics — including synth, laptop and for Taborn, even as he refuses to settle on a fixed group sound. It’s a
Rhodes — in Berne’s trio Hard Cell (with drummer Tom Rainey) and testament to the one constant — an untranslatable beauty — that
his quartet Science Friction (which added guitarist Marc Ducret) runs throughout a music that constantly changes and deepens as he
through the early 2000s, and the two continue to play together and his trio continue to perform and we continue to listen. s
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This story originally ran in the August 2013 online
edition of JAZZIZ magazine at www.jazziz.com.
Nothing
But ’Nett
Charnett Moffett adds a remarkable
solo disc and more to his stellar résumé.
By Bob Weinberg Photos by Rebecca Meek
Charnett Moffett looks positively beatific as he pulls rich, and jazz visionary had such a powerful influence on Moffett
sonorous notes from the strings of his black-lacquered upright that the drummer named a son, born in 1967, “Charnett,” a
travel bass. Onstage at North Miami’s Luna Star Café in April, blend of the two men’s names.
he beams at guitarist Jana Herzen, with whom he’s touring in Charnett grew up in a creatively stimulating environment, sur-
support of their duo recording Passion of a Lonely Heart, add- rounded by his dad’s colleagues and four musical siblings: Mondre,
ing layers of harmonic and emotional resonance to the music. a trumpet player; Charles Jr., a tenor saxophonist; Cody, a drummer;
Moffett’s sensitive accompaniment is particularly adept during and Charisse, a vocalist. After taking a run at drums and then
Herzen’s read of Paul McCartney’s “Blackbird.” The bassist fingers trumpet, Charnett finally settled on bass, assuming his rightful
a graceful counter-melody, then smoothly transitions to an ach- place in the Moffett Family Band led by his dad. He proved so adept
ingly beautiful arco passage. that he began recording and touring with the group at age 7.
Of course, Herzen is savvy enough to feature Moffett But Charles Moffett wasn’t a musical didact, preferring to allow
prominently each set, turning over the stage to her collabora- his progeny to come to the music naturally. “You got your research
tor so he can work his solo string magic. Nattily attired in a just from daily activities, from being around the music,” Charnett
black suit, bolo tie and sparkly silver vest — the latter of which explains. “And then, as you became more serious about it, knowing
he cherry-picked from the formal-wear store next door to the that it was a trade and studying it in school, of course you would have
venue — the bassist digs in on a buoyant medley of Monk to do your homework. But the way it happened for me was really quite
tunes and delivers a bravura reading of his composition “Free natural — whatever music I heard around the house. … And a lot of it
Your Mind.” Both numbers appear on his first-ever solo-bass was on-the-bandstand training, to be honest with you.”
CD, The Bridge, which arrived close on the heels of his duo disc That training continued when the Moffetts moved from
with Herzen and presaged the release of his full-band record- California to New York in the early 1980s. While he was obtaining
ing, Spirit of Sound, which came out in July. All were released formal knowledge at LaGuardia High School of Music and Art (the
on the Herzen-owned Motéma imprint. school from the movie Fame), then at Mannes College of Music,
In the liner notes to Passion of a Lonely Heart, Herzen likens then at Juilliard, to which he earned a scholarship, Charnett contin-
improvising with Moffett to “rafting down a fast-flowing river ued his education on club and concert stages. His dad’s colleague,
... refreshing, ever-changing, sometimes dangerously deep ... and saxophonist Kenny Millions (a.k.a. Keshavan Maslak), hired father
always exhilarating!” and son to form the rhythm section of his Loved by Millions band.
“It’s a challenge, but it’s actually an easy challenge,” Herzen Millions’ avant-punk-jazz group, with which Charnett played
says by phone from her home in New York City in late June. The electric bass and toured Europe, proved worlds apart from his
musician and label exec had just returned from a festival in experience with his subsequent employer, Wynton Marsalis.
Morocco with Moffett and fellow Motéma artists Will Calhoun “Seventeen-year-old Charnett Moffett is shocking in his
and Marc Cary. “You really have to stay in the moment and swing and his sound,” Stanley Crouch raved in the liner notes to
keep going. Charnett’s very fresh in that way. He just feels the Marsalis’ now-classic Black Codes (From the Underground), “never
moment very well and pushes things in a certain direction. It’s a losing his place as [pianist Kenny] Kirkland and [drummer Jeff
certain talent he has.” ‘Tain’] Watts reorder the accents and superimpose other time
And it’s a talent that’s kept Moffett in demand for decades, signatures.” Moffett did hand over the reins to the legendary Ron
from his 1985 star-making turn on Wynton Marsalis’ Black Carter on one track, but Marsalis thought enough of the young
Codes (From the Underground) through his work with legendary bassist to include a bonus track duet of just trumpet and bass,
leaders Art Blakey, Ornette Coleman, Tony Williams and McCoy showcasing Moffett’s already-mature mastery.
Tyner to more recent forays alongside Melody Gardot, Kenny His remarkable chops also won him a coveted spot in Art
Garrett, Nicholas Payton and label mate Calhoun, to whose latest Blakey’s Jazz Messengers. “That was an amazing academy that
recording, Life in This World, he lends his seasoned skills. Moffett allowed the artist to get seasoned and then move on,” Moffett
welcomes — no, craves — the variety of situations in which he says. “There’s a great Art Blakey record, I can’t remember the name
finds himself playing these days. of it, but he makes a speech — it was one of the live records with
“Each time you perform — whether it’s with a vocalist or you’re [announcer] Pee Wee Marquette — and Art says, ‘When these guys
performing solo or you’re supporting a trio or quintet — your roles get too old, I’m gonna get some younger ones.’ It’s classic.”
change,” he explains during a phone conversation from his home And move on Charnett did, finding employment in bands led by
in Pennsylvania’s Poconos in May. “You have to find the balance, to Stanley Jordan, Tony Williams and, later, McCoy Tyner, with whom
figure out the best way to express your creative moment.” he played for more than six years — as well as with the all-star
Manhattan Jazz Quintet. He released his debut album as a leader,
1987’s Net Man, on Blue Note, featuring Jordan and Kirkland and
Free-jazz drummer Charles Moffett made some spectacular music fellow heavyweights Michael Brecker, Mino Cinelu and Al Foster.
with Ornette Coleman. Their collaborations can be sampled on Charnett soaked it all in, particularly the knowledge imparted
classic live albums such as Coleman’s Town Hall 1962 and to him from the disparate bandleaders for whom he worked. Their
the two-volume Ornette Coleman Trio at the Golden Circle methods and conceptions were not as different as one might
Stockholm, recorded late in 1965. The saxophonist, composer imagine. “No one person has the perfect formula,” he says. “The
only thing you can do is be honest with yourself. You know, it’s bass record — at least not one by Moffett. “I thought, for him, it
still all a matter of taste at the end of the day, what appeals to would be an excellent thing to do,” she says. “Because, for the type
someone or what doesn’t appeal to someone. But certainly artists of talent he is, this is where you can really hear it. And we’re al-
like Buhaina [Blakey] and of course Ornette Coleman and McCoy ways looking for a way, at the label, to showcase the artist, where
Tyner all have a common denominator. And the common denomi- you can really hear the specialness of their talent. Do I think we’re
nator, really, is the love of the music and sharing the knowledge going to have a runaway radio success with a solo-bass CD? No,
in a way that elevates the artistic performance.” but I have to say we’ve gotten terrific radio play, much more than
anybody thought. I think this is a repertoire that will be with him
for the rest of his life.”
Besides marking Charnett Moffett’s first-ever solo-bass record- On his other new Motéma release, Spirit of Sound, Moffett
ing — a rarity in the jazz world and elsewhere — The Bridge did something else that comes naturally to him — he played
also serves as musical autobiography and curriculum vitae. with family members. In addition to his wife, Angela Moffett,
Moffett revisits songs from his lengthy history, recasting num- who plucks a long-necked Asian lute, or tamboura, and delivers
bers that he performed with the Manhattan Jazz Quintet, Tony potent spoken-word performances, the bassist also called on his
Williams and Wynton Marsalis or that were inspired by heroes son Max, 20, to supply drums and tabla, and daughter, Amareia,
such as Charles Mingus, Ornette Coleman and Bobby McFerrin who just finished her freshman year at Marymount Manhattan
(see sidebar). His lyrical, melodic touch and exquisite tone in College, to lend vocal backing.
various registers keep the proceedings highly accessible, but he “It’s the next generation of a tradition that’s being kept based
hardly sacrifices emotional expression or technical brilliance. on the love of the music,” Moffett says. “No one can force you to be
Even listeners who generally retreat to the bar or restroom during a musician. Either you’re interested in doing it or you’re not. It’s a
bass solos will find plenty to enjoy. full-time life dedication. There’s no half-steppin’ about it. For me,
“That’s where producers come in,” Moffett says. “For the artist, it’s been a full-time life. It’s the only life I’ve known.”
creatively, we’ll just keep on making music until we can’t make
anymore. We don’t really care about time in that capacity. But
when you’re making a product, and you have to be played on the Moffett views the music on The Bridge and on Spirit of Sound as
radio and you have to market it, you have to be conscious of it. two parts of a whole. In fact, the final song on the former, “Free
That’s why, on The Bridge, we actually kept all the pieces short.” Your Mind,” serves as a prelude of sorts to the first song on the
For her part, Herzen had no trepidation about releasing a solo- latter, “Bassland.” Adding subtle electronic effects to his bowing on
Thanks to Our MJF/56 Partners: Alaska Airlines, North Coast Brewing, Scheid Vineyards, Yamaha, Inns of Monterey, The Jazz Cruise /
The Smooth Jazz Cruise, Macy’s, Motéma Music, Hyatt Regency Monterey, Amoeba, KUSP, DownBeat, Jazziz, JazzTimes,
Gallien-Kruger, Remo, Big Sur Land Trust, Monterey Peninsula College, Monterey-Salinas Transit
“Free Your Mind,” Moffett expands the sonic palette of the piece,
which he originally recorded on his 1994 album Planet Home. The
dazzling “Bassland,” also performed solo but pizzicato and sans
effects, echoes “Free Your Mind” in tone and technique, while also
serving as an introduction to the music on Spirit.
The opening track’s alluring Eastern inflections ring
throughout the album. Utilizing the complementary spices of
tamboura and tabla, and the Middle Eastern flavors provided by
reed player Oran Etkin, Moffett switches among upright acous-
tic, fretless electric and piccolo basses. The instrumental array
allows him a range of tonal possibilities, sometimes suggesting
oud or sitar, as on the tune “Swing Raga” and a saffron-scented
read of Ornette’s “Lonely Woman.”
While he’s certainly amenable to the notion that he’s soaked
up influences from his global rambles and the musicians he’s
By Shaun Brady
Photos by Rebecca Meek
The gig at New York City’s SubCulture Arts Underground in
mid-June was billed under David Murray’s name. It was the
veteran saxman’s Infinity Quartet that took the stage, and
material from his latest album, Be My Monster Love (Motéma),
that comprised most of the set. But after leading the band through
two tunes, Murray stepped to the microphone to self-effacingly
announce “the one you’ve been waiting for” — namely, Macy Gray.
The crowd’s raucous response to the eccentric-voiced singer,
best known for her 1999 pop hit “I Try,” argued in favor of Murray’s
modest assessment of his own relative stardom. As did Gray’s
outsized diva demeanor, as she towered at least a full head over the
rest of the band in a purple spangled dress, elbow-length gloves
and feather boa (at least at first — this was the rare jazz show that
featured three costume changes).
Murray’s slight ceding of the spotlight at this point in his
almost 40-year career is a calculated move. He credits the idea
for his collaboration with Gray as well as his last project, the
audience-friendly Plays Nat King Cole en Español, to his wife and
producer, Valerie Malot. “She’s trying to open me up to a wider
audience, and I’m going with it instead of being stuck in my tun-
nel vision,” Murray says.
“I could live on the East Side and go play at the Vision Festival
every year. I like those people, those are my friends, I was part of
the creation and the evolvement of all that, but that’s not what I
want to do anymore. If you want to know the truth, I would like
to play in Las Vegas with Macy and my big band. I’m 58 years old,
man. It’s time to move on with my life.”
With its vocal tracks featuring Gray and rising star Gregory
Porter, Be My Monster Love may represent a bid for greater pop-
ularity, but it could hardly be termed a sell-out. For one, Murray
surrounds himself with a stellar quartet featuring pianist Marc
Cary, bassist Jaribu Shahid and drummer Nasheet Waits. For
another, his playing is as rock-solid and venturesome as ever, mar-
“If you want to know the
rying as he always has the burly tenor rumble of a Ben Webster or truth, I would like to play
a Coleman Hawkins with the tightrope-walking sound of the ’70s
avant-garde loft scene, in which Murray played a key role. in Las Vegas with Macy
“I’m not playing any different,” Murray insists. “I’m getting bet-
ter, but you’ll still hear all those elements. I’m just not going to bore
and my big band. I’m 58
you with all of my extended this and that; I’m not going to play a years old, man. It’s time to
45-minute solo anymore — although I could.”
In addition, while Gray may be more of a household name move on with my life.”
than Murray, she’s still a curious star to hitch one’s wagon to. Her
off-kilter, raspy purr has always been an acquired taste, while
her career has followed a rather erratic path, from forgetting the
lyrics to the national anthem at a football game to covering Stevie arrangements that step all over each other but still make sense,”
Wonder’s Talking Book in its entirety. As Murray observes, “Macy is she says. “It’s exciting. So I asked him to do an arrangement on
a cult figure. She’s not Madonna or Beyoncé. She doesn’t have that one of my own songs.”
kind of notoriety, but she’s got her own fans all over the world. I’m The result was “Love Lockdown/Buck,” a mash-up of songs
just happy that she’s come over to our side.” by Kanye West and Nina Simone that appeared on Gray’s 2012
Murray met Gray while both were touring with “Questlove’s covers album, Covered. That same year, Gray began performing
Afro-Picks,” an eclectic tribute to African musical history with Murray’s big band, followed by a tour this summer with his
formed by The Roots’ drummer in 2011. Gray says she instantly newly formed Infinity Quartet. The singer, who cites jazz influ-
recognized a kindred spirit. “I noticed he had these really wild ences ranging from Simone and Nancy Wilson to Frank Sinatra
Macy’s Music
corded in the past with the likes of Fontella Artists’ Group: Oliver Lake, Hamiet Bluiett
Bass and Cassandra Wilson, written two and Julius Hemphill (who passed away
operas, and arranged an album’s worth of in 1995 and has since been replaced by a
In addition to “A Dangerous Kind Grateful Dead songs. “I’ve written many dif- number of other saxophonists, most notably
of Love,” the short story printed ferent kinds of songs,” he says. “I work out of James Carter).
in lieu of liner notes inside Be My the song form even in my quartet. I can tell “They’re like my uncles,” Murray says.
Monster Love, author Robert Wilson players that actually know and appreciate “They’re a little bit older than me, so I’ve
also tried his hand at songwriting for the song form. Ishmael Reed told me that always treated them like uncles, not like
the first time at David Murray’s behest. you can tell if writers can rhyme even when brothers, because I have respect for their
The result didn’t make the album, they write prose. It’s the same in music; you eldership. We’re all leaders, so there’s a lot of
however; it was one of two songs that can tell if guys are comfortable with the heavy personalities. We love each other, but
Macy Gray rejected of the five that song form even if they’re playing totally we may not be able to take each other but in
Murray presented her. avant-garde. I have it in my back pocket spurts. I think that’s just a sign of maturity.
“Every song ain’t for Macy,” Murray because I grew up with music.” Everybody’s got their own career to pursue
says. “And she’ll let you know right Catherine Murray was the musical and is very creative in their own right. I
away. She’s not the kind of person who director, pianist and organist for the Church have the utmost respect for them.”
can sing something that’s not true to of God in Christ in Berkeley, California, As for whether the quartet will play
her. She’s very gracious, though. What and was her son’s first music instructor. together again in the near future, Murray
she always says is, ‘It’d be better if David went on to attend Pomona College in simply shrugs. “Maybe the next time we
y’all did that instrumental.’” Southern California, where he would study get together it’ll be at one of our memorials,
When considering lyrics, Gray with trumpeter Bobby Bradford (who makes because we’re very close to 40 years. Every
says, “I just look for songs I can relate a guest appearance on Be My Monster Love), few years somebody comes up with a big
to, songs that mean something to me saxophonist Arthur Blythe and writer/critic gig, and we get together and sound great.
when I sing them and I can translate Stanley Crouch. “I wanted to be a writer,” Meanwhile we’re all going on with our
honestly.” Murray recalls. “That’s why I wanted to careers, so it’s just a matter of somebody
In addition to the title song on Be go to Pomona College and be a student of wanting to see us again and putting the
My Monster Love, Gray’s repertoire Stanley Crouch. When I was in high school financial commitment down. The three of
with the quartet includes two of her I had done my English class thesis on his us are all alive and kicking.”
songs — “Relating To a Psychopath” book of poetry called Ain’t No Ambulances
and her 1999 hit “I Try — as well as For No Nigguhs Tonight. When I showed it
Arcade Fire’s “Wake Up,” which she to Stanley, he took it, marked it up, threw it While Be My Monster Love is Murray’s
recorded on 2012’s Covered; “Green on the floor and said, ‘Man, stick with the first quartet recording since 2007’s Sacred
Satin Dress” and “Red Car,” two fucking saxophone. You ain’t no writer.’ So Ground and the first with this new unit
songs by Lawrence “Butch” Morris that was the end of my writing career.” (which has since changed again, Cary be-
for which Murray penned lyrics af- The name of Murray’s Infinity Quartet ing replaced by pianist/organist Thornton
ter his longtime friend and collabo- immediately calls to mind Studio Infinity, Hudson Jr.), the saxophonist says that it’s
rator passed away in January; a new the loft that he and Crouch operated after not exactly a return to the quartet format.
Murray composition, “Naturally”; arriving in New York City in 1975. But Murray “The quartet is my vehicle. Everything
and “Army of the Faithful,” a says that the name reaches even further revolves around that. If I’m not recording
song which Murray previously back, to Crouch’s group Black Music Infinity, with my quartet, we’re still on the road.”
recorded as an instrumental called founded while both were still on the West Of the members in the current group,
“Missionary” and which Gregory Coast. “It gives me a chance to talk about our Jaribu Shahid has been in Murray’s orbit
Porter sings on the album. history,” Murray says of the name. “The his- the longest. Neither man can say exactly
As for Wilson’s song, Murray says tory of me and the history of our movement how long they’ve been working together,
that he’s glad Gray passed. “His song from California. I asked Stanley if I could use though 15 years seems to be a fair estimate.
is about a woman boo-hooing about the name because I thought it was impor- Murray calls the bassist “my confidante in
losing a man. Perhaps I’ll give that tant, and he agreed that it was important this group. He’s good at hearing, he knows
song to another female who could because it would spur conversation.” as much about sound as all these sound
sing about losing a guy, but Macy The year after he moved east, Murray men that we encounter, and his personal-
ain’t gonna sing that kind of shit. That founded what would become his most ity is so intellectual, he’s able to speak to
would have been an embarrassment. long-lived band in a career that has seen people on whatever level. So he helps me
She ain’t gonna sing nothing out of him constantly working in new situa- in a lot of ways, not just playing the bass. I
her mouth that she don’t feel.” —SB tions on more than 150 recordings. The always say that he’s my number one guy in
World Saxophone Quartet placed Murray this band and one of my best friends.”
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Woman-child
in the
promised land
Cécile McLorin Salvant knows what time it is now.
By Jon Garelick
concept album First Black Nation (MLS Music), by guitarist and and fluid articulations are an effective combination. And his
composer Michael-Louis Smith and his quintet. The overarching reading of Thelonious Monk’s “Green Chimneys” confirms the
narrative that links the session’s 10 tracks is the 2010 earthquake trumpeter’s growing reputation as a first-rate soloist. s
Change” and “(And) It All Goes ‘Round and
‘Round” are particularly noteworthy, each
benefiting from Bill Ortiz’s muted trumpet.
The singer’s heartfelt reading of Stevie
Wonder’s plaintive plea for understanding,
“Visions,” closes the disc. The title track’s
acoustic guitars and electric piano provide
the perfect backing for Bearde’s quietly
impassioned delivery. — Ross Boissoneau
I had a hard time getting to this year’s Montreal International at 7 p.m., at a theater barely more than a stone’s throw from our room
Jazz Festival. It was my own absent-minded fault. A friend in the Hyatt, but we didn’t arrive in town until well after Lloyd and
and I left our hometown in central Pennsylvania early on the his accomplices — pianist Jason Moran, drummer Eric Harland and
morning of June 28, the festival’s opening day, and
had driven 250 miles — to within about 60 miles of Zakir Hussain and Charles Lloyd
the Canadian border — when the thought just sort of
breezily occurred to me, as if it were entirely inconse-
quential: Hey, I forgot my passport.
I understood instantly, of course, that there’d
be no getting into Canada without it. Just to be
sure, I pulled off at a roadside rest stop and asked a
heavily tattooed young trucker if, to his knowledge,
there was any way I could cross the border without
a passport. Yes, he said, that was possible under
certain conditions. Unfortunately I met none of
those conditions and so, with a resigned shrug, my
roadside acquaintance informed me that I was, in a
word, screwed. Ten-four, good buddy.
After I indulged in a bit of healthy venting, my
friend and I began our journey back to Williamsport,
the town from which we had departed in such high
and adventurous spirits nearly four hours earlier. By
the time we parked for the last time that day, three floors below the bassist Reuben Rogers — began. (Incidentally, I highly recommend
Montreal Hyatt, where we’d be staying for the next four days, we had the Hyatt to anyone in need of accommodations at the festival. The
driven about 740 miles and had been on the road long enough for my rooms are nice enough, but more importantly you’re in the immediate
lower back to openly revolt against the idea of proceeding any further. vicinity of all the action and many of the performers hang out and
In retrospect, the whole forgotten-passport episode didn’t bother sometimes jam late-night in the ground-floor lounge.)
me much. But I was troubled by the fact that the many hours we spent On a brighter note, nearly 500 shows were in the offing during the
on the road that day had caused us to miss the Charles Lloyd Quartet’s festival’s 10-day duration, so it wasn’t as if my friend and I had missed
performance in Montreal that night. The band played as scheduled all the fun. Some 300 of those shows were presented free-of-charge by
128 fall 2013 jazziz Photos by Jean-François Leblanc, Frédérique Ménard-Aubin, and Diane Dulude (www.dianeduludephotography.com)
3,000 artists from 30 different countries on 10 stages in the heart of Quartier des Madeleine
Spectacles, which is also where many of the ticketed shows are held in indoor Peyroux
venues. As it happened, Charles Lloyd was the festival’s artist-in-residence this
year, which meant, among other things, that we’d have opportunities to see
him perform beyond opening night, though not with his quartet. We seized
one of those opportunities during the festival’s second evening, when Lloyd
performed in the handsome Théâtre Jean-Duceppe with his Sangam trio, which
includes Harland and the incomparable Indian tabla master Zakir Hussain.
Lloyd, primarily a tenor saxophonist and flutist, and Harland each took an
extended turn on a grand piano during a spiritually rich and deeply moving
performance, the conclusion of which, literally, left me in tears.
That concert lasted a little more than an hour. From there, my friend and
I walked a short distance to the Théâtre Maisonneuve, where a concert cel-
ebrating the 80th birthday of Wayne Shorter was about to commence with a
hotly anticipated performance by the ACS Trio (pianist Geri Allen, drummer
Terri Lyne Carrington and bassist Esperanza Spalding). That trio played well,
as did the Joe Lovano–Dave Douglas Sound Prints quintet that followed, but
neither of those two opening acts could match the high-wire artistry and
telepathic interplay of Shorter’s brilliant headlining quartet (with pianist
Danilo Perez, drummer Brian Blade and bassist John Patitucci). Wayne
Shorter, who wouldn’t actually turn 80 until two months later, on Shorter
August 25, picked his spots to blow. Invariably they were good spots, and
he illuminated them with powerful runs on his horn that flashed through
the darkened room like jagged bolts of lightning. Meanwhile, his three
younger bandmates tore up the stage with their exceptional playing and
dazzling interactions. To experience Shorter’s quartet at this point in its
development is to witness an alchemical relationship of a rare and high
order. For me, experiencing them less than 90 minutes after seeing and
hearing Charles Lloyd’s Sangam trio constituted a once-in-a-lifetime
episode of mind-blowing sensory overload.
In terms of the number of acts it stages, the Montreal International Jazz
Festival is the world’s largest jazz festival, and it’s widely considered to be
among the best. In defense of that position, it’s only fair and true to say that
the city itself — a multi-faceted, cosmopolitan jewel — is grand, the festival’s
venues are nicely varied and uniformly stellar, and its administrators most
assuredly do not skimp on booking top-shelf talent. It’s almost comical — and
somewhat wearying — to look back over the performance schedule and pon-
der the sheer magnitude of talent that played at this year’s festival. In addition
to those already named, the embarrassment of riches included Chucho Valdés,
Joshua Redman, John Abercrombie, David Murray with Macy Gray, George
Benson, Barry Harris, Trombone Shorty, Jacky Terrasson, Dr. John, Madeleine
Peyroux, Holly Cole, Bill Frisell, Vijay Iyer, Gregory Porter, Oliver Jones, Kurt
Rosenwinkel, Preservation Hall Jazz Band, The Bad Plus, the Steve Kuhn Trio Lionel
and Tim Berne. And that’s not to mention the many relatively unknown acts Loueke
who played adventurous music of many varieties on the festival’s outdoor
stages and in nearby clubs.
It’s hard to know what to make of all this talent on-hand at a single
event. The Montreal festival has come a long way in its 34-year history. It
began small and obscure and has evolved into something very large and
reputable. I’m acquainted with several people who attend most every year,
and they all agree that the festival just gets better and better. As for me,
well, this year marked the third time I’ve attended, and even though I had
a wretched time getting into town, I was thrilled once again by all that
transpired once I arrived. s
Coda
When I was 13, my parents could tell I had fallen deeply in love with music. In an effort to
focus my boundless curiosity, they decided I needed a high-level saxophone. We went to the
music store and I was able to choose my favorite saxophone from an assortment of new and
vintage horns. I didn’t know much, but I was drawn to an old Selmer Super Balanced Action alto
from 1950. It wasn’t as shiny as the others and smelled old,
but it just had a singing quality that made it an easy deci-
sion. I still have that saxophone and will never sell it.
From then on I tried hard to find other Selmer saxophones
from the same period, specifically the Super Balanced
Action, which is a rare line only made in Paris from 1948-53.
I found a tenor that belonged to Rico Mordenti, one of my
old teachers, that happened to be an SBA. I found an SBA
soprano in upstate New York after many years of search-
ing. Then finally I found an SBA baritone on Craigslist in
Sacramento, California. The only ones I’d seen before had
been very beaten up, but this one was mint.
I contacted the gentleman who owned it, and he explained
to me that his grandfather had played this saxophone with
Woody Herman and Tommy Dorsey. He was aware that the
instrument was worth more than the $5,000 he was asking
for it, but, at his grandfather’s request, he wanted it to go to
a serious player. His grandfather had bought it new in 1948 and played it through the early ’50s.
He then had health problems so it sat unplayed for nearly 50 years. When he passed, his grandson
Aaron took charge of finding a worthy player for the axe.
When I spoke to Aaron, he asked me to send him some of my music so that he could hear me play.
He said many dealers had contacted him, and that he would only sell it to a player. After listening
to the couple of CDs I sent, he called to tell me he loved them and that he’d decided to sell me the
saxophone. I was thrilled to acquire this instrument, which looked nearly new and was in 100 per
cent original condition. Strangely, Aaron requested that I sign a contract stating that I wouldn’t sell
the saxophone for at least five years. He also insisted that I send him pictures of me with the sax as
well as recordings I made with it. I asked how I should pay him and have the sax shipped. He said he’d
only take cash. Unfortunately I was going back on the road and couldn’t meet him.
Luckily, one of my best friends, Greg, lives near Donner Lake, California, about an hour from
Sacramento, where he agreed to meet Aaron and pay for the instrument with cash. When they
met inside the Bank of America branch, Aaron opened the case, and Greg said later that he
nearly screamed because the saxophone was so beautiful. Indeed, it has a dark honey-colored
lacquer finish and gorgeous engraving along the bell. Greg paid for the saxophone, and I followed
through with sending him pictures and recordings.
This saxophone is by far the best baritone I’ve ever played, and I’d never sell it. It’s been my
main instrument since I bought it, it’s on the cover of my new album, Mirage, and I’ve been very
fortunate to have played it all over the world. s
Brian Landrus lives in Brooklyn, New York. He’s a low woodwind specialist who The New York
Times has called “a baritone saxophonist of imposing authority.” He leads two ensembles and tours
internationally with Esperanza Spalding.