THE INDEPENDENT EAR
Insights, Reviews & Interviews
By Willard Jenkins
Vol. 1 No. 2
This section focuses on recommended-highly recommended recordings from the vast universe of independent jazz and related recordings, including CDs and DVDs. The so-called "majors" have almost completely abdicated their responsibility to release new jazz recordings; witness one notable executive's recent tiredly negative lamentations about the current supposed dearth of compelling artists - and new jazz producers for that matter (see Jazz Week.com). Digital technology enables and even encourages myriad small boutique labels and do-it-yourself artists to take up the slack. And with the retail record marketplace undergoing vast changes in response to new technology, artists are discovering their best, most direct sales are on the gig. Eager fans queuing up post-performance -- cash or cards at the ready -- anxious to take home that evening's featured artist's latest release, is a common sight nowadays, and one that is increasingly lucrative for the artist.
This issue introducing THE INDEPENDENT EAR Artist's POV (point-of-view), our ongoing series of Q&A interviews with important members of the jazz community.
THE INDEPENDENT EAR record section provides capsule viewpoints on independent jazz recordings. We also rate how they stack up in terms of such marketplace essentials as consumer accessibility - i.e. whether proper contact information is provided - packaging considerations and such important and often overlooked aspects as whether the packaging provides adequate information about the given recording and subject artists to meet the needs of writers, radio, and consumers. This is a technical assistance tool. This issue of also introduces Reviews & Insights.
Interviews
This addition of THE INDEPENDENT EAR features an interview that fueled a retrospective piece contributed to the May 2006 issue of Down Beat magazine on the history of the important jazz fusion pioneer band Return to Forever. This session was spurred by working in production with Tami Willis on a new television series hosted by bassist-composer-bandleader and film score composer Stanley Clarke for BET J (airing as part of special Black Music Month programming in June) titled "On the Road with Stanley Clarke". Recalling college days as a fledgling jazz enthusiast enthralled with the compelling music being made by the late 60s-early 70s Miles Davis bands and Miles progeny - who became Weather Report, the Mahavishnu Orchestra, and Return to Forever - I set out to interview the five members of the electric RTF, starting with bassist Clarke.
Reviews & Insights
Consider this frequent conundrum: As often happens at WPFW (89.3 FM Washington, DC; www.wpfw.org) when our listeners want information on what they just heard (usually of the "what's that, and where can I get it?" variety) they simply call the studio line. All too often, after searching and searching the disk and the CD booklet programmers are flummoxed - no phone number, address, web site, email address, not even a suitable label name that one could investigate on the web are readily discernible. And given the nature of jazz radio these days, a significant number of programmers spin their own libraries on air. Some - yours truly included - choose not to tote around loads of plastic jewel cases and instead use those convenient CD booklet holders, carrying only the disk and booklet to the studio.
It is now essential that all pertinent CD information be listed not only on the back panel of the jewel case but either within the CD booklet or imprinted on the disk itself. Why are so many artists failing to list a simple label name for their independent, self-produced recordings? Part of the idea here folks is building your catalogue. Anyone in the record business will tell you that catalogue development is the key to building a label, even if it's just for your own recordings. If you don't go under a record company name - even if it's simply your given name - how are you going to build a catalogue? These and other vital elements will be graded as part of our review criteria, under the heading Info factor.
Please note: ALL grades are strictly for the "Info factor" NOT the music.
10 For your consideration…
Paul Bollenback
Brightness of Being
Elefant Dreams ED4548
Resourceful guitarist Paul Bollenback is relaxed and creative in seemingly whatever setting he chooses - from greasy-sack organ trios to edgier vistas. Any artist who engages the flinty Gary Thomas and downhome David "Fathead" Newman on the same disk has my vote as a rangy leader. For tenor contrasts he blends in Tim Garland, driven by the rhythm section of bassist James Genus and drummer Terri-Lyne Carrington. Displaying Bollenback's range, the disk boasts the familiar "Unchain My Heart" (naturally Fathead guests) as well as Stevie Wonder's ""Don't You Worry 'Bout a Thing," a 3-part Puccini adaptation from the epic Tosca, and a 4-pack of his own pungent compositions.
Info Factor: Label & artist web addresses show up on the back panel of the environment-friendly paper package, but no contact info on the booklet. Booklet notes by guitar authority Bill Milkowski, and otherwise quite sufficient information provided on the booklet. Strictly artist & album title on the disk. www.paulbollenback.com or www.elefantdreams.com. (B)
Anthony Branker & Ascent
Spirit Songs
Sons of Sound SSPCD028
Trumpeter Anthony Branker leads a tight-knit, well-rehearsed ensemble that is quite capable of the robust, which is always gonna be the case when the explosive Ralph Peterson is on the set; though Ralph has clearly matured from his youthful impetuousness. There's some thoughtful writing here as well, witness Branker's (he wrote 'em all) obligatory Miles tribute "Sketches of Selim." It's also good to hear such neglected players as saxophonist Ralph Bowen (ensconced in academia) and trombonist Clifford Adams (ditto Kool & the Gang for decades). Alto man Antonio Hart, who engages in a friendly joust with Bowen on "J.C.'s Passion" (tribute to guess who), bassist John Benitez, and pianist Jonny King round out the exceptional cast.
Info Factor: One literally needs a magnifying glass to determine the label name. No leader contact info on jewel case rear; absolutely no contact info on the booklet. Fortunately there are informative notes on Branker and the date by Laurie Altman and the leader himself. No track listing on disk. www.sonsofsound.com (C+)
John Di Martino
Birds of the Heart
Panda Moon 100101
Right from the jump Di Martino's impresses with his sensitive touch on the 88s. The rhythm section is mixed a bit hot in spots, but the pianist always maintains a nice balance and assured attack. Open up the package and you see Di Martino gently clutching a dove, which somewhat belies the oomph I've seen him display in various settings, including the late Ray Barretto's fiery band. Not heard often enough these days, Dick Oatts shows up beautifully on overdubbed flute (and piccolo), lifting the lovely "Birds of the Heart" on gossamer wings. Di Martino varies the programmatic settings here, including duet, piano trio, quartet, and Latin flavors to essay his 10 originals
Info Factor: Initiates won't have a clue who John Di Martino is or what his intent was since there are no notes, not even a descriptive paragraph. Otherwise the web contact address is only on back cover; tracks are listed on the disk, on the back, and inside booklet, as is the complete personnel and a personnel track breakdown. www.johndimartino.com (B)
Paulette Dozier
With You
(who knows?) PDF-1000
Ms. Dozier is a singer blessed with admirable diction and relaxed phrasing. She's coquettish where necessary, finely controlled and never over-the-top American Idol style. This date is not about jumping off a cliff and taking chances; there is a certain comfort level with the material, and we all know these songs, starting with her clever melding of Marvin Gaye classics she calls "Groovin' with Marvin." But she serves up the chestnuts with assured warmth and classy arrangements.
Info factor: The "who knows" above relates to the fact that she fails to list a discernible label name - which happens all-too-often with such vanity releases. An obvious fashionista (check the slightly provocative outfit), Ms. Dozier is also enterprising, listing complete contact info on jewel case rear for her "Fashion & Entertainment" company. Track listings on both the booklet, back cover and the disk itself, including track-by-track personnel in the booklet, a poignant personal dedication (but no bio sketch; who is Paulette Dozier anyway?), and contact info all three places. www.paulettedozier.com. (B)
Steve Heckman
Live at Yoshi's
World City Music WCM-2050
This Bay Area-based tenor man has a beautiful tone, and sound certainly counts. For this date he is enveloped in the familiarity of his complimentary quartet mates. Heckman addresses the classic "Soul Eyes" at a jaunty lope, driven by the familiar NOLA drum riff that launched "Poinciana." Heckman's "Theosphere" is a witty Monk tribute.
Info factor: Personnel on back cover and booklet; track listings on booklet, disk and back cover. Plenty of notes and descriptive info in the booklet, including bio and the leader's philosophy on this date; and sufficient web contact info in booklet and back cover. This is how it's done. www.steveheckman.com (A)
Monk's Music Trio
Monk's Bones
CMB 102842
Just so you don't confuse your Monks here, Monk's Music Trio is friend-of-Thelonious pianist Si Perkoff, drummer Chuck Bernstein, and bassist Sam Bevan. Monk's Bones are special guests son-of-Si Max Perkoff and the distinguished Roswell Rudd. I haven't heard the trio's past Monkish exploits, but if this disk is any indicator… time to play catch up. Anywhere Rudd shows up there's interest; like his late friend Steve Lacy, the man is deeply invested in Monkery, including proper doses of humor & melancholia. "Friday the 13th" is simply outstanding; dig the way the two bones - both muted - interact with berimbau. They compliment each other polyphonically on "Blue Monk."
Info factor: The notes, including copious bios are nearly over-the top extensive, but you'd better employ your specs. What a shame, no track listings in either the booklet or on the disk. Contact info only on rear jewel case; next time edit down the notes (booklet appears too "busy") and include more pertinent info in the booklet please. Email: monksmusic@hotmail.com. (C+)
Shahida Nurullah
The Ruby and the Pearl
Alembic Arts AACD 607
Shahida Nurullah starts off with a truly rich set of pipes; honey-laden, easeful phrasing, proper understatement of gifts, spherical, celestial voice. She's a true vocal gem befitting the album title. I have no idea as to the "correctness" of her Portuguese diction but she's very convincing on Toninho Horta's "Aui, Oh" and Jobim's classic "A Felicidad," where she floats with confidence. The Detroiter is accompanied by piano, bass, drums, acoustic guitar, percussion and Motor City vet Larry Nozero on reeds & flutes.
Info factor: Tracks are listed on disk, rear jewel case and in the booklet w/composer credits. Good notes by outside writer and the artist; email, web contacts and telephone number on the booklet. www.shahidanurallah.com | shahida@shahidanurallah.com (A)
Bill Ransom
Generations
Bongo Time BR2005
Our leader is a fairly selfless (he's no gratuitous bombardier) Cleveland-based drummer who is adept at multiple percussion augmenting his trapsmanship; above all he plays with an admirable, controlled drive. The ensembles are crisp and Ransom's tune selection is balanced and programmatic, including modern standards from Metheny, Corea, Kenny Kirkland, and Tony Williams plus Miles' classic "Solar." The horns take a break for nice trio readings of "Armando's Rhumba," which aptly displays pianist Jackie Warren's considerable Latin chops, and Leonard Bernstein's azure "Some Other Time." Bassist Glenn Holmes is a bulwark throughout.
Info factor: One must search through Bobby Jackson's otherwise informative liners for the tracks (personnel is bolded there) which are thankfully listed on the disk as well as back jewel case. Shame, shame… contact info only on rear jewel case. www.billransomusic.com | hihat64@aol.com (B-)
Sonido Isleno
Vive Jazz!
Tresero Productions TP1105
The band is led by, and all compositions composed by, the resourceful plectrist Benjamin Lapidus. The band jumps straight outta the Latin Jazz box with "La Suegra," then makes a turn in a more folkloric direction with the tres-driven "East of Son, Wes del Tres" (our leader is not without humor). The return to jazz vistas is deep in the pocket, straight no chaser on the extended "Vive Jazz", with its poetic interlude a sort of Latin treatise on jazz; including a tres passage that seems designed to illustrate cultural bridges - which Lapidus succeeds to convey rather seamlessly. Guitar leads in Latin bands are the exception, not the rule.
Info factor: Tracks listed on rear jewel case and in booklet (including times both places). Extensive personnel listed only in booklet. Bilingual notes are extensive. Lone drawback: contact info only on rear jewel case. www.sonidoisleno.com (B)
Mark Whitecage & The Bi-Coastal Orchestra
Bushwacked: A Spoken Opera
Acoustics ELE 416CD
The politics of dissent are the point of this disk, which as its title suggests deals with the hijacking of this country by the current administration. Reedist Whitecage presents this as "A Spoken Opera" and while the spoken word sections serve as connecting tissue, the major outrage, questions and poignant cries for justice are issued by the bi-coastal cast of musicians, including guitarist Scott Steele, pianist Bill Larimer, drummer Robert Mahaffay, Whitecage and his partner Rozanne Levine on reeds. Whitecage and Levine flew west to realize this idea with their cohorts. Their concerns are quite aptly expressed by this tableau. Would that more artists would take up the political cudgel; paraphrasing Whitecage's sub-title: "Fool Me Twice Shame on Me"!
Info factor: Tracks are listed on the disk and rear jewel case; the "booklet" is a one-sheet. That one-sheet fully lays out Whitecage's treatise and the origins of this potent commentary. Unlisted personnel on the one-sheet is a potential handicap to radio programmers (see column intro). Contact info on both jewel case and one-sheet. rozmark@bellatlantic.net (B)
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