THE INDEPENDENT EAR
Insights, Reviews & Interviews
By Willard Jenkins
Vol. 1 No. 3
Last issue we introduced THE INDEPENDENT EAR Artist's POV (point-of-view), an ongoing series of Q&A interviews with important members of the jazz community. Our POV last issue with bassist Stanley Clarke, included his equal parts pungent and reflective commentary on the rise & demise of one of the signature jazz fusion bands, Return to Forever. Regardless of wherever you feel that music falls in the lineage of jazz history, RTF was a very influential unit. RTF leader Chick Corea is a member of the 2006 class of National Endowment for the Arts Jazz Masters, and Clarke, drummer Lenny White, and guitarists Al DiMeola and Bill Connors have enjoyed their own significant successes in the interim.
The Stanley Clarke POV was part of a series of interviews with those key members of the late RTF that was subsequently published in the May 2006 issue of Down Beat magazine. For this issue of The Independent Ear, here's the second installment in that series, the Q&A commentaries of Corea, White, DiMeola and Connors. They recall RTF, the seminal 70s jazz scene, and the changes the music underwent in those days.
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The Artist's P.O.V. Independent Ear Guest Interview By Rahsaan Clark Morris FYI Independent Ear Record Section |
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As one who firmly believes that audience development is the most critical issue facing the jazz community - it's simple, no audience, no art... or art produced purely in a vacuum - I'm pleased that an increasing focus of my work under the Open Sky banner is in jazz presenting. Last spring I was pleased to begin a very fruitful relationship as artistic director of Boston's annual BeanTown Jazz Festival. You can read more complete details on the history of BeanTown Jazz Festival on OpenSky.com under Clients; how BeanTown Jazz Festival is now under the production banner of Berklee College of Music and how Boston businessman Darryl Settles developed the festival over its first five years.
With the unfortunate demise several years ago of the Boston Globe Jazz Festival, the BeanTown Jazz Festival is poised to become Boston's signature annual jazz festival. As of August 1 here is the 2006 BeanTown Jazz Festival performance schedule:
Friday, September 29 @ 8:00 p.m.
Berklee Performance Center
McCoy Tyner's Impulse Project w/Eric Gravatt, Donald Harrison, Wallace Roney, Dave Liebman, Charnett Moffett, Steve Turre
Saturday, September 30 (all-day free on Columbus Avenue!)
11:00 a.m. Jazz Journalists Association panel discussion:
"The Legendary Recording Session of Miles Davis' "Kind of Blue" w/drummer Jimmy Cobb (sole survivor of "Kind of Blue"); author Ashley Khan; critic Bill Milkowski; trumpeter Christian Scott; club owner Fred Taylor;
Beginning @ Noon
Sovereign Stage (main stage)
12:15 p.m. - 1:00 p.m. Mike Tucker group
1:15 p.m. - 2:00 p.m. Ellen O'Brien group
2:20 p.m. - 3:35 p.m. Kenny Garrett Quartet
4:00 p.m. - 5:15 p.m. Christian McBride Situation
(w/Oliver Lake, Patrice Rushen, DJ Logic)
5:35 p.m. - 6:50 p.m. Carmen Lundy & the New Songbook Artists
Global Stage (Columbus Avenue near Massachusetts Avenue)
12:00 p.m. - 1:15 p.m. Omar Sosa
1:30 p.m. - 2:15 p.m. Antonio Jackson & Friends
2:35 p.m. - 3:50 p.m. Lionel Loueke's Gilfema
4:10 p.m. - 4:55 p.m. Hot Like Fire
5:15 p.m. - 6:30 p.m. Unwrapped All-Stars
Marsalis Music Stage (field stage)
12:20 p.m. - 1:05 p.m. NEC Jazz Composers Ensemble
1:25 p.m. - 2:40 p.m. Jimmy Cobb (featuring Javon Jackson)
2:55 p.m. - 3:40 p.m. Delfeayo Marsalis
4:00 p.m. - 5:15 p.m. Doug Wamble
5:35 p.m. - 6:50 p.m. Michael Carvin Quintet
Sunday, October 1 11:00 a.m. - 2:00 p.m.
Colonnade Hotel
Gospel-Jazz Brunch w/Kendrick Oliver's New Life Orchestra (featuring Kevin Mahogany)
Open Sky on the road...
Travel Tip:
I recently visited the great city of Istanbul, Turkey - the crossroads city bridging Europe and Asia. The occasion was the Istanbul Jazz Festival, primarily on assignment from Down Beat magazine to interview Trio Beyond (Jack DeJohnette/John Scofield/Larry Gardner) for a feature slated for the November issue of DB. One of the festival venues was a spiffy and fairly new place on the shore of the Bosphorous (the famed waterway separating Europe from Asia) called the Istanbul Jazz Center. I spent a rewarding evening there catching the second evening of pianist Robert Glasper's splendid trio, with his two equally-promising mates Vicente Archer on bass and drummer Damion Reid. One of the most hopeful aspects of the Istanbul Jazz Center is that perhaps through its auspices jazz performance can be sustained in the city beyond just festival time. But later on in the week I was happy to learn that the Istanbul Jazz Center is not alone in that desire.
My friend vocalist Allan Harris has spent a good number of nights entertaining the Turks at several hip boites, one of which is an outdoor joint attached to a swank hotel on the Bosphorous, but I wasn't familiar with the Istanbul Jazz Center, which is certainly a promising club. I also had the pleasure of meeting musicians Zuhal Focan and his partner Onder, proprietors of the Nardis Jazz Club. Just to give you a philosophical sense of where Nardis is coming from the club sent me a bit of a manifesto that any number of jazz clubs here stateside would do well to emulate. Here's a key clause in the credo of Nardis Jazz Club:
"Jazz is a living music style. We think that jazz has to be listened and consumed not only in certain periods like jazz festival times, but all over the year. That's why local jazz artists are very important for us. Nardis has [also] featured Paolo Fresu, Ron Affif, Benny Golson, Al Foster, Eddie Henderson, Roseanna Vitro, Deborah Davis, Ted Curson, Dave Kikoski, Wess Anderson, Valery Ponamarev, etc. and will definitely have more. But the main mission of Nardis is to provide a scene for local jazz artists. Almost all of the local jazz artists have performed in Nardis, several projects which [were] then performed in festivals and other stages, and released CDs, such as Quartet Muartet [which was featured on the festival stage], Passiflora, Vural & Focan Project have emerged from Nardis."
Contact: www.nardisjazz.com
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 the artists to meet the needs of consumers, writers, and radio. Consider this section part of our ongoing technical assistance efforts for artists.
This review section focuses on recommended-to-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. 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 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 recording artist.
Regarding these technical assistance matters, 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. Sometimes the info - or lack thereof - may be a drawback, but we don't waste time here with jive records in terms of musical quality. Just so you know, these disks all have certain musical charms.
Please note: ALL grades listed are strictly for the "Info factor" NOT the music.
A baker's dozen of recommended disks...
Afro Bop Alliance
Camino Nuevo
Afro Bop Alliance
Led by drummer Joe McCarthy and based in DC, the Afro Bop Alliance is a crisp, clave-centric unit that was formerly pretty much in residence at the eminently hip Smithsonian Jazz Café's Friday evening gigs. While there they embraced such stellar guests as vibist Dave Samuels, one of two noted guests here (the other is Poncho Sanchez) and pianist Arturo O'Farrill, who wrote the liner notes for Camino Nuevo. They breathe new life into Miles and Monk classics and show equal aplomb in tackling Chick Corea's trickster line "Armando's Rumba" and Wayne Shorter's "Tom Thumb." Strings are quite effectively employed to shade Luis Hernandez' tenor on Jerome Kern's "In Love in Vain." Far from a beans & rice blowing date, this date is a real contender.
Info factor: Again a pet peeve: why is it so difficult for indy bands to clearly mark a label imprimatur on their disks? Other than that there are no quibbles: personnel is clearly listed in the booklet, including a breakdown of where their prominent guests fit in, and both O'Farrill and McCarty weigh in on the notes. The tracks are listed clearly on the back jewel case panel and on the disk itself - with track times both places. They give their website address in three places as well as booking and purchase info.
www.cubop.com
B+ on the info)
jpjkmccarthy@aol.com
Tyrone Brown String Sextet
Between Midnight and Dawn
Dreambox Media
One of Philly's finest, Tyrone Brown spent decades playing bass in the Max Roach Quartet, as well as with the underrated 70s group The Visitors and on his homeboy Odean Pope's various projects. This date represents Philly soul of another hue and expression. Basically six strings (including the notable John Blake) plus bass, drums and percussion, this band is a fine sonic companion to Pope's saxophone choir. Brown's unit has ample versatility and range -- able to switch from hard groove to tender melodies - boasting true harmonic sophistication. They're like a well-oiled string section of a hip, progressive orchestra. This is a finely nuanced date, with all compositions by Tyrone Brown, who seamlessly switches from acoustic to bass guitar with aplomb.
Info factor: I like the way the multi-cultural/mixed-gender nature of this ensemble is pictured on the disk - but no tracks listed on disk. Ample credits, including leads and solos, are provided within the track listings on the booklet. It would have been illuminating to hear Brown air his string-proud philosophies behind this ensemble, but alas there are no notes. Record company web site and leader link is provided and tracks are listed on the booklet and back jewel case panel.
www.dreamboxmedia.com/tyronebrown.htm
(B- on the info)
Leslie Burrs
Impressions of Another You
Dreambox Media
Impeccably accompanied by the great Kenny Barron, this concert recording is a fine showcase for one of our most skilled flute specialists; yet another of Philly's finest. A versatile artist whose brain is split between jazz, classical, and original composition, Burrs is blessed with a sumptuous tonal quality. Just when all is tenderness and light on the opening "My One and Only Love" Burrs goes avian on us with some penetrating bird whoops and cries on his free prelude to "Cherokee." "Aryssa's Carol" is a yearning original with Burrs bending and shaping his tone adroitly. One taste of his closing cadenza on "My Funny Valentine" is clear evidence of his virtuosity. On "Nobody Knows," where one may expect Burrs to luxuriate, he takes flight.
Info factor: Tracks (including times), personnel and instrumentation (though it's just a duo) are listed on the disk, back panel, and booklet. Burrs gives both email and snail mail contact info and there's a effective one paragraph liner note. No issues with this package.
www.dreamboxmedia.com
(A on the info)
leslieburrs@aol.com
The Carter Quintet
Yesterday's Tomorrows
RC
Remember that old adage "the family that plays together, stays together…"? Well that's exactly what we have here: father Russell Carter on tenor sax, sons Roland on piano, Rashaan on bass, and Russell Carter Jr. on drums; not to mention the fact that mom Ellen keeps the home fires burning with her weekly show on DC's jazz beacon WPFW. What a joy it must be for these young men to record with their father and mentor! And they certainly contribute joyfully, on a menu of eight potent standards and ond of dad's originals rounding out a nicely balanced program. The rhythm section cohesion is palpable, as might be expected from in-tune siblings.
Info factor: Tracks and credits listed in booklet, on back, and on disc. Ample contact info, including both telephone and email, on back cover; booklet contains concise biographical info on the family band, including some archival photos on the guys ranging from toddlerhood to adult.
rcarter@russellcarter.com
(A on the info)
www.russellcarter.com
Suzanne Cloud
With A Little Help From My Friends
Encounter Records
Vocalist Cloud wrote lyrics to seven of the eleven tracks, including several that are quite humorous - and we could all use some laughs these days. On the opening piece the orchestration threatens to overwhelm her otherwise pleasant voice, though fortunately things even out a bit later. Among her lyrics one is happy to hear what she's done with Cedar Walton's classic "Bolivia." Cloud contributes potent political commentary, including a collage of sampled voices, most from the repressive side of the aisle, on the pithy "Below the Beltway." Elsewhere she properly skewers Kenny G ("Hey Kenny, Gee"), pens a love letter to Monk, and offers a sarcastic send-up of the cosmetic enhancement craze ("Collagen Lips").
Info factor: No track listings on the disc. Ample track crediting info on the booklet, including the shifting personnel cast. Given her obvious penchant for lyrics the notes consist of her words to the originals and the Walton classic. But new initiates are still left wondering: Who is Suzanne Cloud? The lone contact info is for the label - no web or email contacts. So if you're in the business of presenting or broadcasting artists, is that where you contact Suzanne as well???
(B- on the info)
Alex Coke
Iraqnophobia
Voxlox
Alex Coke is a member of the reed section of one of the modern, quintessential territory bands of our time - Tina Marsh's Creative Opportunity Orchestra out of Austin, TX. I could wax poetic all day on Ms. Marsh's extraordinary efforts at maintaining this vital ensemble, but the subject here is a broad-based work written by Coke on commission from Marsh. How's that for keeping a wheel within a wheel! This edgy work is a rumination on writing the world's wrongs inspired by ills ranging from the Middle East to the Texas plains. Wake Up Dead Man occupies tracks 1-6 and Iraqnophobia tracks 7-14 and the music that brings alive these vivid sentiments and images is quite potent throughout. On "Longnecks and The Shah" Marsh's wordless vocal, leavened with a yodel, might properly bring shivers to the listener. Coke's original composition throughout is exceptionally penetrating.
Info factor: The CD booklet in this digi-pack is an art piece in itself, with its prisoner images for the Dead Man section and haunting faces of the Middle East for Iraqnophobia; not to mention informative notes and composer observations. Track listings, including on disk, are sumptuous, including composer explanations and listening cues. Contact info for Coke, Tina Marsh and the Creative Opportunity Orchestra, and the label.
www.xs4all.nl/~alexcoke/
(A+ on the info)
www.creop.org
www.voxlox.net
Tia Fuller
Pillar of Strength
Joe Jennings' prize pupil at Spelman College - not exactly known as a hotbed of music education - has certainly graduated to the major leagues. Altoist Tia Fuller comes leaping right out of the box, full of the vim and vinegar of an impetuous, eager young firebreather - which she most certainly is. Someday we'll evolve, but until we do women like Fuller - who is clearly a contender - comes equipped with the unfortunate knowledge that as a female she must cast aside all semblance of the wimp factor, which she does four bars into her aptly titled debut disk. In addition to a rambunctious alto Tia wields a very tasteful flute on "Rain of Patience," one of four originals. She also embraces the acoustic-electro landscape by introducing some Rhodes keyboard on "Bookie-Head." Her relaxed swing on "Secret Love" is quite attractive as she blows the chestnut beautifully. Among her mates are such promising young players as trumpeter Sean Jones, bassist Miriam Sullivan, drummer Kim Thompson, and pianist Miki Hayama.
Info factor: Where & what's the label name? No track listing on disk, but plenty of listing and crediting on back cover and inside booklet. Thankfully there's a couple of biographical paragraphs and good session photographs inside the booklet, plus a good explanation of her execution of each track. Contact info only on back cover.
www.tiafuller.com
(B on the info)
Buck Hill
Relax
Severn
Rarely has there been a more apt record title. The quintessential DC tenor saxophonist not only has a thoroughly relaxed persona, but his playing is also not in any rush as he luxuriates - but doesn't yawn - his way through this lovely program of eight pieces. This is an organ date with John Ozment ably handling the B-3, Paul Pieper on guitar and Jerry Jones on drums. One listen to Hill's soulful kiss of "Old Folks" will seal the deal for anyone with a beating heart. Elsewhere he invests proper misterioso on Miles' "Flamenco Sketches" and swings like a man who knows where he's going on Davis' "Pfrancing" and "Milestone." Add three Buck Hill originals and you've got quite the succulent package.
Info factor: One doesn't expect personal contact info or a web site from an artist of Buck Hill's vintage, but the record label web site suffices. No tracks listed on disc but track info is plentiful on this digipack, replete with DC jazzman Jamal Muhammad's loving liners
www.severnrecords.com
(B+ on the info)
Lenny Robinson
Songs I Like to Play
FTR
Here's another of DC's finest in a program that is self-explanatory; quite simply this is what our drummer-leader likes to play! Robinson ably leads a trio with bassist Gavin Fallow and pianist Andrew Adair, plus a cameo from pianist Bob Butta. Robinson keeps the pots cooking and sets the table quite ably but refrains from any sense of bombast, the kind that has been known to sabotage drummer-leader dates. There's a mellow sensibility here which hardly detracts from the business of swing, but lends itself well to the attractiveness of this date. Robinson's pallet of favorites ranges from Richard Rogers to Ornette Coleman; properly broad.
Info factor: Here's a twist, tracks listed on disk and on back but not in the booklet! Robinson penned the notes which ably introduce the players and set up the date. Artist contact info on jewel case back on this concise and informative package.
www.lennyrobinson.com
(B on the info)
Cecilia Smith
Dark Triumph
CEA Music
As evidenced by her exultant Mary Lou Williams project, vibist-composer Cecila Smith is an artist of abundant ideas, vivid imagination, and keen historical perspective. This time she takes the unusual step of paying homage to a family matriarch, the odyssey of Victoria L. Smith, revealing a distinguished life well-lived. The elder Ms. Smith herself narrates her oral history on the first of these two discs; the second is all instrumental. Cecilia ambitiously employs a string orchestra and the soprano section of the Boys Choir of Harlem. The music is lushly illustrative, a lovely biographical quilt. Smith, who has a gorgeous, full touch on the vibes, is far too busy for solos; she is a thoroughly selfless composer who doesn't allow herself any real extended soloing until "Grief and Disasters," certainly a self-explanatory mood. This is indeed the chronicle of a wise woman, a sumptuous bouquet delivered by a younger wise woman.
Info factor: Listed on disk is the designation of Disc 1 as Narrative and Music, and Disc 2 as Music Only. This made things a bit confusing because the booklet text is consumed with the core of this project - the oral history narrative on Disc 1, making the music only Disc 2 seem a bit of an afterthought. The tracks on Disc 2 could have been better fleshed out in the listings. Otherwise there are explanatory liner notes befitting such a singular project, personnel is listed in the booklet as well as soloist credits for each track. Complete contact information for Cecilia Smith is listed in the booklet, including snail mail, telephone, email and web info.
ceamallets@mindspring.com
(A on the info)
www.ceciliasmith.com
Marcus Strickland Quartets
Twi-Life
Strick Muzik
Here's another two-disk set, each disk represented by a different quartet - different in both personnel and feel - led by one of the most promising saxophonists, Marcus Strickland. He had the good brotherly sense to include his twin brother E.J. on drums, another of the brightest young musicians. They're joined by pianist Robert Glasper and bassist Vicente Archer on disk 1, guitarist Lage Lund and bassist Brad Jones on disk 2. Marcus has a nimble mind and lickety-split facility on both tenor and soprano sax. He works from the sturdy whole-cloth of a well-developed tone and careful attention to note quality. The compositions are all Marcus' inventions. There's a bit more of a wistful, contemplative quality to disc 2, creating a nice balance between the two - which are definitely separate programs.
Info factor: Unlike some of our other indy artists here Marcus has the good sense to have his own imprint. He also lists the tracks on each disk and inside this digi-pack and personnel on the inside and back cover. No notes, which might have been helpful to introduce such a young artist. Complete artist & representative contact info, including two web sites for CD purchase.
www.marcusstrickland.com
(B+ on the info)
mfiles@marcusstrickland.com
ladyuprod@aol.com
Michael Thomas
It Is What It Is
Jazhead
DC-based, Vegas-raised trumpeter Michael Thomas skillfully pilots this rough & ready crew: tenor man Zach Graddy, pianist Darius Scott, bassist Kent Miller, drummer Frank Williams, and three cameos from the wise one, Buck Hill on tenor. The mood here is decidedly hard bop and this bunch takes no prisoners. They sample the Hank Mobley, Lee Morgan, and Benny Golson bags in addition to some Thomas originals and two sweet takes on "Candy." Thomas' progression as a trumpeter is quite palpable from his debut disk and one of the most positive factors is that these guys really sound as though they're having fun, which is no minor consideration, especially when the sun shines so brightly as it does through these grooves.
Info factor: Michael Thomas too has the good sense to establish his own label imprimatur; don't forget, in the distribution game catalogue counts big time! Informative liner notes from sage Askia Muhammad illuminate these goings on, including some bio info on our leader. Tracks are listed on disk, in the booklet, and on back cover - as is personnel inside and back. Thomas includes plenty of crediting info and complete contact info in booklet and on back cover.
manofjazz@aol.com
(A+)
www.jazhead.com
jazheadbookings@aol.com
James Williams & Bobby Watson
Soulful Serendipity
We Always Swing
This June '03 performance by these two familiar players is warmly preserved by the We Always Swing jazz presenting dynasty Jon Poses has built in the unlikely burgh of Columbia, Missouri. Williams, who has passed on to ancestry, is remembered for his ever-soulful pianistics and as one of the great gentlemen of jazz. Not sure but this may have been his final recording, and the love between these two masters is quite palpable on this intimate duet exploration of eight familiar songs, ranging from splendid recollections of their Jazz Messengers days - specifically "Moanin" and Watson's magnetic "Wheel Within a Wheel" - to standards and three Williams originals. Is there a more optimistic alto sax sound than Bobby Watson?
Info factor: Poses, who is also a skilled writer, spins a beautiful story of these two and this date in his informative liners, augmented by touching recollections of the co-leaders from their fellow Messengers Dennis Irwin and Branford Marsalis, as well as Christian McBride, Marian McPartland, Pat Metheny, and Watson's songwriting spouse Pamela, who also contributes a vocal turn. Proceeds from sales of this disk will benefit both the education program We Always Swing has established in Williams' name and Watson's jazz ed efforts at the UMKC Conservatory of Music. No track listing on disk is the only tiny quibble.
info@wealwaysswing.org
(A)
www.wealwaysswing.org
The Independent Ear
P.O. Box 858
Rockville, MD 20848
Willard@openskyjazz.com
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Check out THE INDEPENDENT EAR Archives:
Vol. 1 No. 1
Vol. 1 No. 2