THE INDEPENDENT EAR
Insights, Reviews & Interviews
By Willard Jenkins
Quarterly
Vol. 2 No. 1
THE INDEPENDENT EAR Artist's POV (point-of-view) is an ongoing series of Q&A interviews with important members of the jazz community. Our POV last issue focused on NEA Jazz Master Chick Corea, drummer Lenny White, and guitarists Bill Connors and Al DiMeola on the rise & demise of one of the signature jazz fusion bands, Return to Forever. That POV followed our inaugural installment with bassist Stanley Clarke on the same subject as well as other aspects of his successful career.
In case you missed either of those POV installments you can still catch them in the Archives area of this web site.
The Clients area of this www.openskyjazz.com details my ongoing work with the NEA Jazz Masters on Tour (NEAJMOT) program through Arts Midwest. Phase One of NEAJMOT will conclude its funding cycle later this spring and we will have met our goal of fostering NEA Jazz Masters appearances in all 50 states! As part of ongoing work coordinating the NEAJMOT program I had the pleasure of making five site visits, in Nevada (Randy Weston), Florida (Chico Hamilton), Washington state (Jimmy Heath), Missouri (Paquito D'Rivera) and North Carolina (Louie Bellson).
During those site visits one of the great pleasures was hanging out with the Masters. Inevitably the tape recorder was clicked on during at least some of those conversations. Not only was it a pleasure hearing the Masters insights into these experiences at far-flung venues, but following three of the programs it was also quite enlightening to tap random audience members for their reaction to the audience experience. What follows is four of those conversations (you can catch plenty of Randy Weston elsewhere on this site regarding our ongoing efforts at publishing his completed autobiography African Rhythms, composed by Randy Weston, arranged by Willard Jenkins); and following each of these conversations are the random observations of the fans who experienced these Masters.
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THE ARTISTS' POV
Chico Hamilton
10/10/06
Fort Lauderdale, FL
Chico appeared in Ft. Lauderdale under the auspices of the Gold Coast Jazz Society. His stay began with a morning session with school jazz band students and culminated with an evening concert at the lovely Amaturo Theatre. At 85 Chico is another of our senior artists who once the figurative red light is on and his youthful quintet hits, he immediately sheds at least 20 years. I was also struck by what a showman Chico Hamilton is, quite unlike so many of our contemporary jazz musicians who - perhaps under the misguided spell of Miles Davis' seeming non-verbal disdain for his audience (remember, his voice was shot, so he had a built-in excuse; what's your excuse for not communicating with your audience?; the goal folks is audience development) - musicians who fail to address their audience or even introduce their selections. What's the matter is it somehow uncool to talk to your audience and let them in on the secret?
After his many years teaching at the New School in NYC and his over 60 years on the road, clearly the great drummer had plenty of science to drop on the students at his clinic. My flight arrived too late to catch the clinic but I caught up with Chico at lunch immediately afterwards.
Jimmy Heath
11/6/06
Seattle, WA
Jimmy Heath's Washington state residency November 3-6 was a joint project of Seattle's ambitious presenting organization Earshot Jazz and the Seattle Repertory Orchestra. The residency consisted of rehearsals of a new work the Seattle Repertory Orchestra commissioned from Jimmy, including an open public rehearsal at the Langston Hughes culture center. The culmination was a Saturday evening concert performance of the new work at Seattle's beautiful downtown Benaroya Hall as part of the annual Earshot Jazz Festival, and a Sunday afternoon matinee performance in suburban Kirtland, WA. Our conversation took place that afternoon, following his second performance with the Seattle Jazz Repertory Orchestra, an immensely skilled ensemble which played Jimmy Heath's compositions with great authority.
Paquito D'Rivera
11/30/06
Columbia, MO
Amidst an impending (and unusually heavy according to the local folks) snowstorm Paquito D'Rivera and his quintet touched down in Middle America, Columbia, MO, for a 2-day engagement sponsored by the ambitious We Always Swing organization. Getting to Columbia is a purposeful journey. In most cases you fly into St. Louis and drive down I-70 two hours to this tranquil burgh, home to the University of Missouri. Paquito was in the midst of a several-day Midwest swing, with Cedar Rapids, Iowa next on their itinerary.
On the evening of our arrivals We Always Swing hosted a very warm reception at the university, where we learned that this engagement is part of their annual Latin American program honoring a late patron of Cuban descent who was a university professor. The next afternoon, with ominous snow clouds gathering, Paquito and the band gave a clinic for a group of aspiring university music students and several casual observers. When one of the students requested a Jelly Roll Morton tune Paquito feigned ignorance and invited the student onstage to demonstrate. Eagerly accepting the challenge the student bounded onstage to deliver some credible stride, graciously joined by Paquito halfway through on clarinet. Later that evening in the same university theater a half-house braved what forecasters were predicting would be the worst snowstorm in a generation, enthusiastically gobbling up Paquito's musical journey around Latin America.
Louie Bellson
12/7-8/-6
Durham, NC (Duke University)
Louie Bellson's three days in Durham, NC were devoted to a couple of lengthy rehearsals with the Duke University Jazz Ensemble, participating in an interview for a history of jazz lecture class, and performing an evening concert with the jazz ensemble. After cluelessly navigating Duke's east and west campuses (and never the twain shall meet), I arrived late to Louie's interview at the venerable turn-of-the-century lecture hall, but just in time for Bellson's words of wisdom and fond recollections of film-clip driven memories of jazz history. Your correspondent was later drafted to conduct a video taped interview with Louie slated for a documentary on the drum master that Duke is producing.
One was immediately struck by the multi-cultural nature of the 100 or so Duke students in the jazz history class. Louie Bellson, at 84 somewhat frail of health and dealing with Parkinson's, was well-taken care of by our host Professor John Brown. Besides directing all things jazz at Duke, John Brown is a skilled bassist and regular member of Ellis Marsalis' trio among other playing exploits. Past observation led me to conclude that the jazz scene in the state of North Carolina is probably statewide the healthiest in the southeast. Durham alone boasts such important jazz residents as Branford Marsalis and Nnenna Freelon; and Branford made his latest Marsalis Music record "Braggtown" in a Durham studio. John Brown's regular band is loaded with stellar players, including trumpeter Ray Codrington who played with Eddie Harris among others. And let's not forget how many jazz masters are native North Carolinians, including Dizzy Gillespie, Max Roach, Percy and Jimmy Heath, and John Coltrane to name a few.
Open Sky on the Road:
Panama Jazz Festival January 15-20, 2007
A JazzTimes magazine assignment afforded a very rewarding and revealing journey to the beautiful Central American country of Panama. Besides the promise of good jazz, the lure of spending a few idyllic 80-degree sunny days in Panama in the middle of January was irresistible for this El Norte escapee. The Panama Jazz Festival, in its 4th running, was established by one of the more exceptional people in jazz, pianist-composer-educator Danilo Perez, a proud son of Panama. Whereas so many overseas festivals are primarily designed as tourism lures - and certainly that's an aim of Panama's efforts - Danilo has built this festival on the admirable foundation of educating Panama's youth in music in general, jazz in particular.
The producer of this festival is the Danilo Perez Foundation, which was established in order to offer scholarships and opportunities for cultural growth to children and young people of limited resources with talent in the arts; as well as the training of professional artists and the creation of activities which support public reinforcement of the arts, education and culture in Panama. A mouthful of a mission to be certain, but one Danilo and his family of cohorts - which include his mom & dad, spouse Patricia Zarate, manager Robin Thomchin and seemingly the whole of "official" Panama - are well on their way towards accomplishing.
I've been fortunate to have traveled on festival press junkets before but Panama was absolutely the first experience of being graciously greeted by a head of state. Not only was our party of four journalists, and the assembled visiting musicians feted by El Presidente of Panama, the next day we had a revealing chat with the Mayor of Panama City (who later thrilled to the outdoor festival along with the masses), and breakfast with Panama's Minister of Tourism, master salsero Ruben Blades. Clearly Danilo has lined up immense official support for the noble efforts of his team.
Danilo Perez's dedication to bringing music to the youth of Panama was never more evident than at the opening evening concert, held in the handsome confines of the classic opera house Teatro Nacional. The festival was dedicated to the late Afro-Panamanian jazz singer Barbara Wilson, and following what would become nightly pre-concert screenings of a loving retrospective video tribute to Ms. Wilson, the quartet Panama Jazz Effects and a truly forgettable vocalist played a short set. Led by one of Barbara Wilson's musical intimates, trumpeter Reggie Boyce, they played a brief set. They were followed by the charming vocal improvisers Reto de Trovadores.
Then Danilo introduced what was billed as "nuevas generaciones del jazz" - star pupil examples of the next generation of Panama's jazz musicians, drummer Milagros Blades, saxophonist Jahaziel Arrocha, and pianist Tony Madruga. Later the charismatic youngster showed up on traps with a group of folkloric youngsters at the culminating outdoor concert. Though the generous spirit of Danilo Perez might not agree, in a very subtle and tasteful way it was as though Boyce and co. represented how it was - Panamanian musicians who learned the old or "street" way - and how it's gonna be, youth benefiting from more formal instruction. The effect certainly gave added life to opening night.
What followed were two evenings in the somewhat cavernous, convention center-like confines of Teatro Anayansi, the first of which featured an under-rehearsed, mixed assemblage of Panamanians and visiting musicians from Danilo's two teaching posts, the New England Conservatory and Berklee, under the direction of first Panama vet trumpeter Victor Paz and NEC composer Ken Schaphorst. They were succeeded by a promising assemblage delivering the project-in-progress Banda Tributo a Chile. The essential core of this quintet was two gifted women, vocalist Mili Bermejo (also from Berklee) and alto saxophonist Patricia Zarate, who arranged the material.
The evening closed with the stunning harp technique of Columbian Edmar Castaneda. However Edmar could stand some broadening of his band concept and compositional outlook, though the addition of his vocalist-wife Adrea Tiera brought substance to the set with her substantive alto. The revelation of his trio was the impressive slide manipulations of young trombonist Marshall Gilkes.
In the daytime fellow writer Bob Blumenthal and I ventured over to a modern museum space to sample some of the festival's many daytime educational offerings. During clinics by Edmar's trio (essentially reprising their set from the previous evening and taking questions), and IAJE Caribbean regional rep, saxophonist Marco Pignataro who teaches at the University of Puerto Rico, the thirst for knowledge and palpable enthusiasm of the aspiring Panamanian students was infectious. Edmar and Gilkes' virtuosity holding their rapt attention was a no-brainer, but when the more professorial Pignataro - operating solo with a keyboard for various illustrations and a whiteboard full of musical notations - held the same level of attention, it became crystal clear that Danilo's efforts will bear sweet fruit for generations to come. The attentiveness was extremely gratifying.
Also gratifying was the high level of not only official Panama support for this event, but the impressive roster of corporate supporters the Danilo Perez Foundation has roped into the mix, most prominently including an auto distributor and a high tech communications company. At the opening press conference there was a real familial feeling between arts, government, and the corporate community that would be the envy of many U.S. festivals.
The Friday evening concert introduced the Panamanian audience - leavened with a growing cadre of foreign travelers mainly from North America - to the visiting artist they fell head over heels for, vocalist Nnenna Freelon.
The Panama Jazz All-Stars included saxophonists Carlos Garnett and Jorge Sylvester, bassist Santi Debriano, percussionist Renato Toms, Perez on piano, and fusion drumming titan Billy Cobham. The latter hadn't been seen by most of us in many moons, doubtlessly owed to living in Switzerland for a number of years. The fact that they chose to play original material rather than coast the set away with jam session standards was laudatory. Given more time this could be quite a unit.
Saturday's outdoor, day-long free blowout in Plaza Catedral was a big-fun populist affair. Untainted by the corporate and municipal restrictions that might inevitably be applied once this festival is further solidified, canny entrepreneurs hawked beverages and homemade refreshments throughout the teeming throng, adding to the charm of the day. Clocking in at just over 12 hours, the musical proceedings which commenced in the early afternoon, were largely a reprise of the acts that had played the two theatres for the paying crowd the preceding three evenings. Stark contrast in professionalism was offered by the green harpist Edmar Castaneda and Nnenna Freelon. Castanada essentially repeated his sets from Thursday evening's concert and his follow-up clinic, while Freelon delivered a fresh set seemingly designed for such an outdoor event, captivating the crowd with a particularly convincing Stevie Wonder cover.
I'm not certain what other jazz festivals may exist in Central America but clearly the Panama Jazz Festival will serve as a regional beacon. And the growing legend of Danilo Perez, his zeal, charisma, and generosity may well be the guiding light behind opening the jazz door to that fertile region.
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RECENT SIGHTINGS…
Marc Cary's Focus Trio is an exceptionally interactive unit. Given time and the potentially fresh compositional insights of its members could be a potent force in the ongoing development of that most basic of jazz units, the piano-bass-drum ensemble. Sighted on a chilly Monday evening at Blues Alley in DC, in the first set Focus neatly worked out the apparent kinks of time away from the hunt. Cary arrived in his native DC (he's a product of the city's Duke Ellington School of the Arts) from his uptown NYC home; meanwhile drummer Sameer Gupta and bassist David Ewell arrived from disparate points. They came together under the banner of Cary's go-go rhythms-informed, blues & swing, dressed in a kind of old school pursuit of new vistas. Gupta was particularly impressive, bringing cyclical Indian rhythms to his kit work which he augmented on occasion with tabla forays… Several nights later poet Sekou Sundiata, touched down at the University of Maryland with his deeply resonant multi-media program "The 51st Dream State." Sundiata's shrewd, pointed politics and cautionary sense of humanity in couplet partnered with a multi-culti crew of four disparate female voices - two African American, one Indian, one Asian - keyboards, acoustic bass, guitar, drums and trumpeter Eddie Allen. They were garbed in an effective backdrop series of screens with alternating human images, some of whom provided narrative connective tissue, as did the frequently heard voice of Cornel West. The sum of these parts is a lengthy evening that can leave one alternately pessimistic and hopeful about the human condition; after all if the world were thoroughly hopeless humans couldn't make art like this… A short trip to NYC for some Lost Jazz Shrines (see below) research at that essential font of jazz history, the Institute of Jazz Studies at Rutgers U-Newark included a rewarding birthday evening at JALC's agreeable Dizzy's Club for Gold Sounds. Built as a special project to examine the jazz-transference properties of the songs of indy alt-rock band Pavement, Gold Sounds shows signs of being an engaging semi-permanent band. The parts are certainly exceptional: multi-reedman James Carter, keyboardist Cyrus Chestnut (who expressed obvious delight at being loosed on the Fender Rhodes when we chatted post-set), drummer Ali Jackson, and bassist Reginald Veal. And the tunes are more than convincing, having gone through a bandstand metamorphosis from the curiosity level of their '06 Brown Bros. record "Gold Sounds." One very positive note, the ever-loquacious, visibly-maturing Carter has begun to more carefully edit his breathless reed forays. Look out for this band, hopefully they'll be given time… The same trip offered evidence of the continued evolution of a very effective space for the music, Dale Fitzgerald's Jazz Gallery at Hudson & Spring. This place is blossoming into a truly community-minded jazz haven. Examples of their view-beyond-the-bandstand are offered not only in their ongoing visual arts exhibits, but also in ways designed to move the music forward. Jazz Gallery has certainly offered its share of young strivers a good space to develop projects, as well as expert sounding boards for germination. Steve Coleman has been in a Monday residence series (check web site for program description). I stopped by one bitterly cold February Monday when Coleman's sub was none other than the mercurial Henry Threadgill, holding what amounted to a composition class. He took one young woman's ideas, stripped them down, then logically rebuilt them on the piano, maintaining and enhancing her original intent… The Berklee Performing Arts Center is one venue that is always buzzing, very nearly 365. If it isn't visiting artists it's Berklee faculty or student performances or perhaps the very vibrant world music series that plays there throughout the year. As luck would have it a recent planning meeting for the BeanTown Jazz Festival '08 (September 28-29) coincided with a two-week residency by saxophonist-composer Greg Osby at Berklee. The culmination of that residency was a concert of Osby's arrangements performed by the leader and two ensembles of Berklee students. The students, male and female, came from points across the U.S. and Canada and befitting Berklee's vibrant foreign student population, from Portugal, South Korea, and Japan as well. Osby, who limited his solo contributions to a handful of typically pithy, serpentine forays, caringly encouraged and benevolently guided the students through a program of his originals and one Andrew Hill piece, "Ashes."… That same week brought Dave Holland's bristling new sextet to the Kennedy Center Terrace Theatre for two SRO shows. Trombonist Robin Eubanks, with whom Holland has achieved an admirable partnership, was the lone holdover from Dave's award-winning quintet; they were joined by the impressive trumpeter (dig his flugelhorn chops!) Alex "Sasha" Sipiagin, vibrant alto saxophonist Antonio Hart, one of our absolute finest pianists Mulgrew Miller, and one of the most complete drummers of his generation, Eric Harland. Dave Holland really fosters a high band concept. Solo spots are doled out judiciously, not everyone solos ad infinitum every selection; he tends to feature one or at most two soloists per tune and balances things in a very democratic fashion. Their set was beautifully paced and a highlight was Dave's tribute to Ed Blackwell, "Pass it On," with Harland subtly incorporating second line drumming… Proving once again that the DC area is fertile ground for live jazz sightings, capping off a weekend filled with thrills - including Georgetown's beatdown of Marquette on the basketball court at the Verizon Center - was vibraphonist Stefon Harris' stunning "African Tarantella… Dances with Duke" project (theme of his latest Blue Note release) at the Clarice Smith Performing Arts Center on the University of Maryland campus. For his exploration of sections of Ellington's "New Orleans" and "Queens" suites Stefon surrounded himself with an orchestral small ensemble, including a harmonically rich blend of cello, viola, trombone (Roland Barber), clarinet (Mark Vinci), and flute (Anne Drummond), the latter three noted for their solos contribution to Stefon's rich mix. Bassist Derrick Hodge, the ever-tasteful and swinging pianist Xavier Davis (Betty Carter is smiling down on this musical child of hers), and the ensemble's glue, drummer Terreon Gully. For this pallet Duke left for us to learn, Stefon favors dark, lush hues, adroitly doubling on vibes and marimba; concentrating on the latter perhaps more than ever. Clearly he intends to incorporate the marimba more robustly in his oeuvre, thoroughly heightening his already prodigious musicality.
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That's What They Heard
This is a new feature of The Independent Ear which poses the following question to select young artists.
When you decided to play jazz music, what recording(s) were major influences over your decision and/or guided your efforts?
HELEN SUNG, pianist: When I first began exploring jazz music during college, the thing that hooked me was Tommy Flanagan's solo on "Confirmation" on his album "Confirmation" on Enja Records. It was a trio album with bassist George Mraz and drummer Elvin Jones.
"Confirmation" had been one of the tunes the jazz professor assigned me to learn; needless to say, it was not easy for me to improvise over it! Tommy Flanagan's touch, his sound, the seeming effortlessness and musical sense of his improvisation, and the swing… it blew me away and cemented my resolve to play jazz music!
I also listened to everything I could get my hands on. Other albums/songs that were important to me at the beginning were Bud Powell's "Jazz Giant". I loved "Parisian Thoroughfare," "Tempus Fugit," and "Celia"; Bill Evans "At Town Hall"; and Oscar Peterson's solo on "I Want to Be Happy" on [the album] "Stan Getz and the Oscar Peterson Trio." I was transfixed by [Peterson's] rhythmic energy and virtuoso improvising and spent an entire afternoon transcribing his solo!
Helen's latest recording: Helen Sung Trio, Helenistique, Fresh Sound
RAHSAAN BARBER, saxophonist: I grew up on albums and cassettes, in addition to CDs. My grandmother, a gospel and classical pianist, has an extensive collection of records. When [brother] Roland [trombone] and I began playing music, it was our grandmother's tastes which rubbed off on us immediately, which meant heavy doses of "tenor-men", as she called tenor saxophonists. Truly influential albums included Dexter Gordon's "Ballads" and "Boss Tenors" featuring Sonny Stitt and Gene Ammons. The latter was a favorite of Granny's to listen to while we were cleaning the house.
The next album which drove me crazy in the best way possible was Shirley Scott's "Queen of the Organ." I've always loved Stanley Turrentine's playing but was totally caught off guard by how great his playing is on that album. Amazing stuff!
Next I'd have to say it really comes down to tracks on particular releases. Al Grey's plunger-in-hand performance of "Summertime" comes to mind on one of the early recordings with Jimmy Forrest; very, very deep music. Also I was totally enthralled with "Cannonball and Coltrane" and then "Kind of Blue." Just two more: Rahsaan Roland Kirk's "One Man Twins" and "Moore Makes Four," featuring Ralph Moore and the Ray Brown Trio. That's probably my older brother's favorite record. He's also a sax player and he'd smack me upside the head if I didn't mention that one!"
Rahsaan's latest recording: The Barber Brothers Quintet, Twinnovation,
2 Soul Music (www.barberbrothers.com)
NOTE: Helen Sung Trio and the Barber Brothers Quintet will be featured at Tri-C JazzFest Cleveland on Saturday, April 28, 2007 as part of the festival's Debut Series (see TCJF section on this site).
Industry person…
ADRIAN BUTTS, President, Tetra Speakers:
When you first started listening to jazz music what recording(s) were major influences on your listening?
My friend Fran Cosper has played alto sax since he was twelve. It was approximately 1990 when I asked Fran what jazz albums I should pick up so I could 'expand my musical horizons'. Fran happily gave me a crash course in jazz and played many different styles of jazz for me to see what I liked. I gravitated towards Miles Davis during that initial listening session and Fran's buy recommendations for me were "Kind of Blue", "Seven Steps to Heaven," and "Sketches of Spain," which I quickly purchased. I added "Amandla" myself later as I was definitely turned on to Miles. Now, as a speaker designer, I lean heavily on all kinds of jazz recordings as my 'tuning music.' Jazz playing and the recording process is so transparent that it leaves nowhere for the artist's intent to hide. As a maker of listening instruments I like that!
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Tech side…
ABOUT TETRA SPEAKERS: I do a great deal of my listening in my office. That's largely where I preview new recordings for potential spins on my radio program (Friday Drivetime Jazz, 4-6:00 p.m. on WPFW 89.3 FM, Pacifica Radio in Washington, DC; listen live at www.wpfw.org), for my artistic direction work (see elsewhere on this site), and for writing & reviewing purposes; along with the trusty iPod for portable listening. My aged NAD receiver had been faltering for the last few months and replacement time was near. Yes, I know the audiophile's biblical drill: separates are best for top-shelf sound. But let's face it, the average office is a limited space and the thought of cramming separate amplifier, tuner, pre-amp, etc., etc. wasn't real practical.
Being more than satisfied with my two previous NAD receivers - from both performance and budget standpoints - I resolved to purchase their latest model, the C720BEE to go along with a CD burner I was well-satisfied with. For these ears the speaker system is the key to good sound. In this case I cast aside budget considerations and determined to go beyond the Circuit City/Best Buy-level speakers and seek something more in the audiophile atmosphere.
Ordinarily JazzTimes' monthly Sound Advice column is a bit windy for me; and I suspect the same holds true for all but the audiophile amongst us. But the November issue column, titled "The Making of a Jazz Audiophile", caught my attention primarily because it promised to detail the listening habits of several jazz artists, including NEA Jazz Master bassist Ron Carter. As the column detailed, Carter "describe[ed] how the Tetra 606 speakers he purchased last year have finally made him a believer in the legitimacy of so-called high-end audio…" On the next two pages were photos of these rather advanced looking speaker systems.
Curiosity properly piqued I visited the Tetra web site (www.tetraspeakers.com) and was further intrigued by the speaker's glowing endorsements from such learned ears as NEA Jazz Masters Benny Golson and Herbie Hancock. So via the listed email contact I inquired about the location of the nearest local Tetra dealer. Wonder of wonders Adrian Butts, the company president himself, contacted me almost immediately. One thing led to another and I ordered their office system-friendly bookshelf model Tetra 120u speakers.
A few days later when they arrived and I eagerly hooked them up to my new NAD, I was amazed at the clarity of these speakers; the absence of artificial bass and treble boost (no, you'll read no audiophile hoo-haw about sonic hieroglyphics here), and the fact that what I now heard from the CDs spinning in the office was a sound atmosphere truer to the optimum live performance experience than any comparable bookshelf speakers in my experience. So if you visit the Tetra site (www.tetraspeakers.com) you'll find this writer among the happy endorsers of this great product.
Tetra is a Canada-based company whose speakers - ranging from my bookshelf 120us to Ron Carter's monster 606 models - are nothing short of extraordinary for home jazz recording reproduction, and any other music I've spun through them -- including blues, R&B and African. To learn more visit www.tetraspeakers.com or call them toll free at 866/626-0030 and be sure to let Tetra know that Open Sky sent you!
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Records
THE INDEPENDENT EAR record section provides capsule viewpoints on independent jazz recordings. These are not "reviews" per se, in the traditional sense of music magazine recordings' reviews. The mere fact that these recordings appear here mean they are in some way meritorious in terms of their music (why waste space with negativity). As opposed to standard music magazine record reviews, we're concerned here also with rating 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 WPW (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.
For your consideration…
Bill Anschell
More to the Ear Than Meets the Eye
Origin
Bill is a fine pianist who has made remarkable artistic progress in his artistry as he has developed from the jazz coordinator at the Southern Arts Federation in Atlanta, to a stint as Nnenna Freelon's music director, then moved to Seattle to plot his own course. First impression of the opener, "Night and Day," was that Bill channeled a Keith Jarrett Trio vibe, and that's not a bad thing. The same feeling pervades - in an Anschellian way on - "Alone Together." There is some effective saxophone and trumpet playing, by Richard Cole and Thomas Marriott respectively, on several tracks, but the core is a very warm piano trio atmosphere that achieves a true ensemble feeling. Anschell has a sure touch on the keys, evidenced particularly by his delicate but sturdy treatment of "Emily."
Info factor: The booklet contains complete information: tracks, credits, personnel, contact info (www.billanschell.com; billanschell@mindspring.com), Anschell's discography and good notes by syndicated Seattle jazz radio voice Jim Wilke. Back jewel case lists tracks and personnel. (A for the information)
Mayra Casales
Woman on Fire
Afrasia
Cubana Percussionist Mayra Casales can aptly described by this album title, particularly if you've ever spotted her on the bandstand with Regina Carter or Carmen Lundy, her highest profile gigs. The talented Rodriguez Brothers, Robert on keyboards and Mike on trumpet, are part of a rotating cast here that also includes cameos from Carter and Lundy. The atmosphere is definitely Caribbeana, with at least one Brazilian flavor courtesy of Jon Lucien's guitar-voice cameo and composition "Xomara." Mayra sings a bit as well, comfortably interpreting Tadd Dameron's classic "If You Could See Me Now" in Spanish. Yes, she's on fire!
Info factor: This is one of those digi-pack cardboard packages so the considerations change a bit since there's no booklet. The inside panels contain copious information, including track composer and personnel credits (a good thing since the personnel shifts from track to track), and Mayra's generous thank you notes. Tracks listed on back panel. No web or email contact (only for the photographer!) info for Mayra or the Afrasia label, only a P.O Box. (B+ for the information)
Chembo Corniel & Andrea Brachfeld
Beyond Standards
Consolidated Artists
This is an interesting team seemingly without precedent: conguero & flutist. They are joined by a robust cast that includes Steve Turre and the late Hilton Ruiz. A good taste of Hilton's everlasting potency can be heard in his solo on track 2, Coltrane's "Transition" - yet another of Trane's vehicles suitable for La Clave. Ms Brachfeld is a flutist well-seasoned in this Carib jazz language and she adroitly navigates even the most difficult passages. Chembo bears the hard hands of a conga adept, but also brings nuance and sensitivity to his work. The selections are well-plotted, ranging from Trane, Strayhorn, Shorter, Ellington, Eddie Harris and Bird contributions bracketed by one each from the co-leaders.
Info factor: Eloquent, descriptive and biographical liner notes by one of the champs of the form, Bob Blumenthal, tell the story of this disc. However the booklet does not list the tracks or composer credits; one must dig through Blumenthal's essay which may be difficult on the "run" in a radio studio. Tracks are listed on the disc itself however. Complete personnel, track and credits on back cover. Artist contact info on the booklet: www.andreabrachfeld.com and www.chembocorniel.com. (B for the information)
Connie Evingson
Let it Be Jazz
Minnehaha Music
Sub-titled "Sings the Beatles", don't be fooled by the whimsical cover photo of Ms. Evingson tripping along under an umbrella. This Beatles cover thing is not exactly an original idea, but it is so well-executed that it sounds fresh! A Twin Cities-based vocalist with a flexible soprano, Evingson has taken fourteen Beatles tunes - mixed both familiars ("Blackbird" and a fine re-tooling of "Can't Buy Me Love") and lesser-known selections from the Fab Four's book (a tender "Wait" with spare piano accompaniment and "I'm Looking Through You") and crafted a winning package. She engages rotating casts of TC musicians to achieve this program, including several horns. Her confident gaze on the back cover photo says it all - as in 'I know you're gonna like this one.'
Info factor: Complete track and personnel crediting - which is essential with a disc performed by such a rotating cast - inside booklet, including the leader's thanks notes. Tracks and Beatles album origin listed on back panel; a nice touch. Tracks, personnel and contact info (www.connieevingson.com) on back jewel case. (A for the information)
Kali Z. Fasteu/Kidd Jordan
People of the Ninth
FNCD
Ms. Fasteau is a steadfast free jazz player (piano, cello, soprano sax, Nai flute and something called "aquasonic") who for her 15th date as a leader has enlisted the ever-ready services of one of the true stewards of the form, New Orleans' own patriarch Edward "Kidd" Jordan. They are joined by drummer Michael T.A. Thompson on a free expression program of 12 co-composed tracks, in somewhat miniature (none exceeding 6:58) considering Jordan's prodigious energy and enthusiasms.
Info factor: Another digi-pack (see Mayra Casales above), so no booklet. Complete track and instrumentation credits inside package, as well as biographical notes under the disc housing. Personnel, instrumentation and artist contact info (www.kalimuse.com) on back cover. (B+ for the information)
Steve Herberman Trio
Action: Reaction
Reach Music
Based in the DC area Steve Herberman is a guitarist with first-rate touch, and admirable facility, who achieves exceptional sound on his instrument. And in the forest of guitarists that's no mean feat. Track three "Negev Journey", which one supposes is an original, is an excellent showcase for Herberman's dexterity. He is joined by a sympathetic rhythm section including bassist Drew Gress and drummer Mark Ferber.
Info factor: Another digi-pack. Who wrote these tunes? There are no composer credits anywhere. Tracks are listed on the disc and back cover, along with personnel. No artist contact info just label contact (www.reachmusicjazz.com). Who's Steve Herberman, you ask? You won't find that out from this package. Playing this finely and subtly crafted deserves better. (C for the information)
Dave Kain Group
Citizen Kain
(no label name)
This is a quartet date, perhaps introducing (who knows, there's no info provided) guitarist Kain and his cohorts, bassist Jerry McDonald, saxophonist Matt Garrison, and drummer Rick Donato. That doesn't diminish the competency of the players, however… Sound unheard, exactly what about this disc might attract a consumer spotting it either online or in a retail rack. Fact is you probably wouldn't exactly seek out this disc unless you knew these guys.
Info factor: Nada… Apparently these guys are more concerned with your seeing what they look like, courtesy of some studio snapshots, than with informing you about them or their music. Booklet only contains photographs - and low-definition at that. Track listing - but no composer credits - on the back cover plus leader contact info (www.davekain.com). This is no way to develop an audience. (D for the information)
Elisabeth Kontomanou
Waitin' for Spring
Nocturne
It's nice to hear a contralto voice with a slight bit of grit & gravel. And she can soar as well, as she does right outta the box on the well-worn "Sunny", which Ms. Kontomanou manages to refresh. The players here include John Scofield, saxophonist Sam Newsome, and bassist Daryl Hall. The program she chooses is an intriguing one as well, ranging from the comfort zone of "The Good Life", in which she heartily invests, and "We'll Be Together Again" to Mingus' lovely tribute "Duke Ellington Sound of Love," to the curiously titled original "Ayanna left New Orleans and went to Mexico". She's not afraid to take chances with her voice, some of which she doesn't make but that doesn't detract from the overall promise of Elisabeth Kontamanou - one to watch. The true heart of her voice is perhaps best sampled on her duet intro with Hall on the Mingus piece, which she handles with aplomb.
Info factor: This is another digi-pack, but this one contains a nice fat booklet that includes tracks and lyrics and is otherwise consumed with studio photos, space that could have better served Elisabeth with some bio paragraphs; after all if I'm not mistaken this is her debut release. Tracks, personnel, composer and other crediting takes up the back cover. I suppose Ms. Kontamanou will remain a bit of a mystery as her indy French label eschews her contact info. (B- for the information)
Lake/Tchicai/Osgood/Westergaard
Lake/Tchicai/Osgood/Westergaard
Passin' Thru
This is a very interesting multi-generational meeting of about 3 generations of non-compromisers. This is also not what I'd call a likely hook-up between the protean alto man Oliver Lake and the exploratory tenor man John Tchicai. Though no such information is provided, I'm gathering that Osgood and Westergaard are Tchicai's regular Scand rhythm section. This all started with a series of performances in Denmark that achieved an obvious simpatico. There's a cooperative sensibility at work here, with the quartet sharing the billing and the compositional chores. As for the lead voices there is an attractive contrast between Lake's roiling alto and Tchicai's dry martini-toned tenor. Next time you see Oliver Lake ask him if that "spirit" he chants about on #7 ever came into that room. Fittingly the Osgood-powered "Smiling Billy Higgins" is a joyous finale.
Info factor: Yet another entrant in the digi-pack sweepstakes, so there's no booklet. Lake penned three sentences to detail the quartet's hook-up, otherwise the inside package is bereft of text. Tchicai and Lake you may know, but it would have been nice to know a bit about Osgood (who produced this date) and Westergaard. Back cover provides plenty of crediting information, including track times, and Passin' Thru (Oliver's label) contact info: www.passinthru.org; www.oliverlake.net where you can check out his growing catalogue. (B for the information)
Mo' Rockin' Project
Sahaba
Remarkable Current
Out of Oakland, this is one of the latest musical cross-pollination efforts at incorporating North African Gnawa ("Mo' Rockin'"… get it?) with western music. The principle collaborators are trumpeter Khalil Shaheed, saxman Richard Howell, and the Gnawa element stems from North African musicians Yassir Chadly (who has recorded with Gnawa collaborator and NEA Jazz Master Randy Weston), and Bouchaib Abdelhadi, on oud, percussion, dumbek and vocals. Befitting the title funk is in the house and Islamic textures provide the seasonings. The firm underpinning here is a jazz sensibility, with bright orbiting satellites from North Africa and funkland.
Info factor: Complete tune listings & credits, personnel listing, spiritual intent notes, and contact info (www.morockinproject.com; www.remarkablecurrent.com) all in the booklet. Ditto tune listing and contact info on back jewel case. (A for the information)
Michele Rosewoman & Quintessence
The In Side Out
Advance Dance Disques
From the jump one is left hanging by the truncated opening piece (@ 1:04). But clearly that was a mere appetizer for what follows. Starting with the slightly odd metered "Warm," it's on. A good deal of pianist-composer Rosewoman's earlier recordings were in a progressive Latin pocket. For this very composer-centric disc she has broadened her pallet in a somewhat electro-acoustic vein with David Fiuczynski guesting on guitar, Brad Jones doubling on acoustic and electric bass, Michele's Rhodes, and Mark Shim dabbling in a midi wind controller. The growth in Rosewoman's reach is tangible - the core of which is the intriguing piece "Guapo" and it's brief electric return. She doesn't entirely eschew her Latin proclivities, as evidenced by the folkloric intro on "Eshu Laroye", about halfway through which she makes an abrupt left turn congas still in play, then suite-like it's back to bata drum and chant.
Info factor: Self-penned liner notes, session dates and full credit listings in the booklet, including tunes, times, personnel & instrumentation. Web site (www.michelerosewoman.com) contact info, and personnel, instrumentation, tunes & times repeated on back cover. (A for the information)
Dave Sterner Quintet
What's What
AB [?] (un-sure about label name)
With Fender Rhodes and electric bass in the band, and opening with such original titles as "The Jive Song" and "Slick Willy" in the mix, Cleveland-based alto man Dave Sterner brings some funk twists to the proceedings. This release has some snap and a real sense of joy in the way Sterner and his guys serve up the grooves on this no frills date. You get no sense of ego-driven sensibilities or weighty agendas, just good, clean fun. I like the way Sterner capped off the date with a sparkling rendition of one of the original Jazz Messengers vehicles, Horace Silver's ebullient "Split Kick."
Info factor: The question mark above relates to one's inability to determine the label name. I've said this before, imprinting a label name is important and as simple as coming up with an original moniker and cross-referencing to make sure you're not invading somebody's copyright. There's plenty of Sterner bio info in the booklet and his email contact is included (davesterner@sbcglobal.net). But there is no tune, instrumentation, personnel or other crediting info anywhere on the booklet, only on the back cover. (C for the information)
Rick Wald 16/NYC
Castanada's Dream
Glowbow
The band tag 16/NYC refers to saxman Rick Wald's 16-member big band, a unit full of fine players including such first-calls as bari ace Gary Smulyan and trombonist Art Barron. Wald ably navigates this unit through a seven track program of his intriguing originals. The opener "Coffee with Dolphy" steps right out of the box full of intricate harmonies, knotty passages and a robust ensemble sound that is never over-bearing. This date is squarely about composition.
Info factor: Not only does Wald write his own very informative, band-biographical notes, he also details his intent and gets in a few well-placed (and deserved) shots at record companies that express little interest in this kind of date. On the back page of the booklet is a very helpful list of soloists for each track - by track number, not title unfortunately; so a spank on the back of the hand for the lack of tune titles in the booklet. Contact info (rwald@nyc.rr.com) in booklet. Back jewel case cover details tracks, times, and the full band. (B for the information)
Chris Washburn
Land of Nod
Jazzhead
Given trombonist Chris Washburn's deeply Latin proclivities, not to mention the presence of such experts of that sound as percussionists Vince Cherico and Bobby Sanabria, and conguero Chembo Corniel, I dove into this disc expecting a thorough Latin patina. Such is not entirely the case, as evidenced by such leftward leaning grooves as Washburn's "Off-White", with it's slightly off-center funk bass-driven groove. Elsewhere he leavens his and other originals, and achieves a neat balancing act between Ornette Coleman and Horace Silver's separate meditations on "Peace." At its core though, this is about new vistas in Latin expression, clave firmly in effect.
Info factor: This disc comes from an independent company and is not an artist self-manufactured piece. Washburn wrote his own informative liners which neatly detail where he's going with this music. The booklet has the compete tune and crediting list but does not list the band personnel; for that and the contact information you must refer to the back jewel case. Contact is www.jazzheads.com and www.chriswashburne.com. (B for the information)
The W.E.S. Group
Ancestors
H2 Jazz
Brawny tenor saxophonist W.E. Smith is also a music educator at American University, where this disc was recorded. For his latest W.E.S. Group exploration he employs some of the DC area's most promising young musicians: brothers Nathan and Noble Jolly on drums and piano respectively, plus bassists Ben Williams and Corcoran Holt. Befitting this well-executed date each track holds significant personal meaning for the leader, relating specifically to his ancestral lineage. With the exception of his adaptation of "Like Someone in Love" in the Coltrane mode, where he raises the key signature, the tracks are all originals, including the optimistic "Yes."
Info factor: CD booklet fleshes out the band's intent and theme for each piece, including credits and track times, plus a bit of biographical information. Copious contact info: www.thewesgroup.com; info@thewesgroup.com inside booklet. Tracks and times listed again on back booklet cover, on the disc itself, and on back jewel case cover (which is a repeat of back booklet graphics. (A for the information)
Interested in seeing your CD in the Independent Ear record section? Send your indy release to:
Willard Jenkins
Open Sky
P.O. Box 858
Rockville, MD
…And make sure to label it for the Independent Ear.
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Books
Jazz Guide NYC (2nd Edition)
By Steve Dollar
Publisher: The Little Bookroom
Things do change so it's always nice to have a timely comprehensive guide to jazz venues in what remains jazz Mecca, New York City. Not only does Steve Dollar provide pithy capsule reviews and reminiscences of times well spent - or wasted - he also avoids Manhattan-centrism, listing venues in Brooklyn, Queens and elsewhere. You'll find pages on jazz concert venues, festivals, scenes (including big band opportunities), and even a listening guide from the inimitable Masked Announcer, producer-raconteur Joel Dorn. Highly recommended.
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The Tip
In the age of the iPod Shuffle and assorted MP3 units, when recording your CDs be sure to make each track a self-contained unit; in this case we're speaking of making any intros or outros all part of the complete track selection. Here's an example of how NOT to do it: I frequently use one of the larger capacity iPods and currently have just short of 4,000 tracks stored, including jazz, blues, oldies R&B & rock, old school hip hop, African music & music from around the world, and several European classical selections. Setting the unit on Shuffle mode reveals some often startling, uncanny combinations and sequeways that would be the envy of any DJ. Ingesting box sets into my system has become a bit of a pastime. One recent addition to my system was the Wynton Marsalis Septet Village Vanguard box. The geniuses who manufactured this box had the brilliant idea of making Wynton's various intros and outros separate tracks unto themselves!!! The result is that on shuffle mode Wynton will pop up with some witty intro of some juicy track or other, followed by a succeeding track from another artist's recording entirely! Talk about leaving the listener hanging! As one of my WPFW radio colleagues is known to say to his audience: "Pay attention"!!
The fall of Tower Records quite honestly marked the end of an era - the last of the truly full-service, catalog-attentive four-wall retail record chains. The best record stores now are the specialty shops, particularly those that deal in both new and used recordings. Perhaps the most vibrant retail record store in this country is the Amoeba Records outlet in Hollywood. For the next edition of the Independent Ear we'll rate several online record services.
Please send us your favorite online retail record service(s) and tell us why this/these are your favorite(s). Send us your input at muzikmuse@comcast.net by April 1, 2007.
Any comments or questions about the Independent Ear may be directed to the same address (above) or willard@openskyjazz.com. Hear the sounds of Open Sky live, Fridays 4:00-6:00 p.m. on WPFW 89.3 FM in Washington, DC; or listen live on the web at www.wpfw.org.
Check out THE INDEPENDENT EAR Archives:
Vol. 1 No. 1
Vol. 1 No. 2
Vol. 1 No. 3