Se AE RGR SSS CCST azzlimes AMERICA’S JAZZ MAGAZINE UG ea yt) man HISTORY OF SEVENTH AVENUE SOUTH—< aCe eee eek CO CC CCRT ICAER CL CORUM MLR ALCON CRS Marcus Miller Bob Mintzer Jaco Pastorius John Scofield Mike Stern & MANY MORE DS Vea Naa eth SLL 4 oe LCT en Lm in Ebanks, «Lionel Loueke, Russell Malone, Camila MezaSO BSCE RLU LS ei SU COR ee URE CROC ae ST Ce TC UCU eo uuu. e Goo UCR UC ALR URS Saeco ee Terri Lyne Carrington’s Mosaic Project with Valerie Simpson & Lizz Wright Branford Marsalis Quartet featuring Special Guest Kurt Elling - The Bad Plus Joshua Redman Gregory Porter - Maceo Parker featuring the Ray Charles Orchestra & The Raelettes Kamasi Washington - Cécile McLorin Salvant - Richard Bona Mandekan Cubano Hammond B3 Explosion: Dr. Lonnie Smith Trio; Ronnie Foster Trio; Dave Stryker Quartet featuring Eric Alexander & Jared Gold on organ SOO Ca UCC CU EAU Loe UU RUA Cd Bs Toshiko Akiyoshi Trio - Lew Tabackin Quartet featuring Randy Brecker Donny McCaslin Quartet - Stanley Cowell Trio - Billy Hart Quartet - Bria Skonberg TOUT CSCIC ORC ORS Ces Coe ee a) Buy Tickets Now! / 888.248.6499 / montereyjazzfestival.org BT Oe ee ee enn ee ee ey eee Cees eer ee eee ee ee ee eC een)JOHN OLTRANE OOltane ‘THE COLTRANE LEGACY REMASTERED FROM THE ORIGINAL ANALOG TAPES ELEGANT CLOTH-BOUND BOX 32 PAGE BOOKLET INCLUDING PHOTOS BY LEE FRIEDLANDER 6-CD & 6-LP+7” BOXED SETS DASROCKY I SA | AUDIO FEST FEATURING: RMAF Entry Level Room Series: $500, $11000, $1,500) $2,500 and ‘$5, 000 yp yoy aa Marricts Denver Tech Genter Denver, Geleracio WANN ACUI eC StamerEDUCATION NETWORK Early Registration eT LC erst) ee PU Ca) 8TH ANNUAL CONFERENCE JAN 4-7, 2017 NEW ORLEANS Ba JAZZEDNET.ORGEan MAN MADE OBJECT Mercury Prize nominated UK rio GoGo oa en se Pee Geer aire Peony eerie oiy eerie BLUE NOTE, WDE aa Wey ea Ea seer tet eee) Dm aca Pee deca a) ROGERS and drummer ERIC HARLAND along with guest vocalists WILLIE NELSON Brn curr is TUL g CLASSIC: LIVE AT NEWPORT eee ee ee sd Pome eet emits Pre aero ca att) eer es PUD Cast a cy collie} Thesinger and pais makes her fulength Cee ee cet) Ce raed Dene ne cc Pe ee) Sou er wees Peers ed oo eae TAKE METO THE ALLEY Grammy-winning vocalist sles his Se ee reat] ee ene Sey aclaimed million selling Blue Note Seas Is oe Na nN ‘Thesarophonist teams wth producer MESHELL NDEGEOCELLO and ras upon a word of music ‘fom Feat Dilla to Mingsforis Blu Note De nee UL Cy See a eg Pee ccncLs fetter cornealMAE Tht BANC JAZZ CONNECT CONFERENCE January 5-6, 2017 Saint Peter's Church, New York City For more information, call the conference hotline at 617-315-9158 or visit www.jazz-connect.com[6] «|| 4 EATS STU Av NaN Cee er ee | oe erne AT tenn einen eer i Lar aocinreereeniinnecrietepene ei PT Ce ee teen) J Sa ee cere CTS ATEL UL THE GREAT AMERICAN DRUM SET” "\ Ry akJuLY/auGUsT 2016 VOLUME 46 NUMBER 6 11 ITNotes Edior Evan Haga on Edie Palmieri, Seventh Avenue Sou tad the bygone characir of New York City 12. The Gig Note Chinen wrles about jazz: metal guilr phenom Hedkig Mollestod OPENING CHORUS 14 Hearsay The White House celebrotes Inter national azz Dey, 0 “spirival jazz" summit in Brooklyn, Russell Malone, Camila Mezo, ‘Miles Okazaki, he jazz possion of Prince, ews and farewells 26 Before & Alter lone! Loveke 30 Overdve Ovation john Pisano SOUND ADVICE 50 Audiofiles Bent Butterworh seeks out LP and CD storage solutions in the Spotty age 52 Chops Thomas Conrad talks o Richard Corsello, the master engineer behind Sonny Rolrs’ acclaimed Road Shows series 54 Gearhead The best recent musical instumenis and accessories REVIEWS 56 CD Reviews 69 VOX 71 xz FeeuptitonmndinEyioni!1900sdedhle boa Seok Anne 7) SemEDy South acvertive«forgoten golden age hacks fetuing great gutororgan hookups SEVENTH AVENUE SOUTH To be sure, they don't make jazz clubs like this anymore. Through the late 1970s ond ‘80s, the Brecker Brothers’ New York Ciy nighispot Seventh Avenue South hosted gigs by jazz legends, legendsiorbe, the hots! session aces on the Tiving sudo scene and, last bu 3, AT JAZZTIMES.COM rot least, groundbreaking fusion bands that defined a brilvant but MP3s hisiorcally overlooked era. And as umpeler Rondy Brecker reveals Promotions - jazz MP3s inthis ofeniotous, uncensored oral history, hs cub wos ao + JazeTimes Spine & Rif, « hee podcast hosled “kind of o den of iiquiy,” where sex, booze, cocaine and rash bby publisher lee Mergner: new epodes featuring tok flowed freely, Here, an allstar cast of survivors including ohn drummers Mat Wikon and Daniel Feedman, cic’ Scofield, Wil le, Marcus Miller, Mike Slem, Steve Gadd, Bob Bob Blumenthal and more ‘Mintzer, Peter Eiskine, Dave lisbman and many mote remember—or _* Free racks by Maggle Heron, Sri Kes, at leas! ry to remember—this hard:parying heyday. By Shaun Brady Joan Wotsonjones ard the aris EXCLUSIVE CONTENT JOHN MCLAUGHLIN articles - columns ‘Aday aft he dopped jaws of he While House’ jazz concet, he ideo irr dave fom fo Jazz Crise: chmmar at vitoso and jazerock pioneer, now 74, reflected on ley electic Francisco Mela ond sx legend Cheles McPherson; ‘ecordings from tnoughou his career—ncluding his seminal meeting wth rock premires by Rempel Erne Chores ond ‘Miles Dai, his gamechanging summit with Tony Wilkam and Lary ‘Mes Fl ord xephonist Gog Ward: speci “Young, hs ilaled work wth Jaco Pastorius and he lates! rom his fry onlineorly conersaton wih girs Peer Berste casen! woking bond, the th Dimension, By Evan Haga pis pho, Ie eviews, news and mach more Cover image ofthe Becher Boars cou of GRP Record; Scolld by Deborah Feingold; Davi by Kan Francling ass by lav Echen/counsay f Sen lagay, Mller cota of PRA Recrds, Cover ina jh Meloughin by Bact Bander. Table of Conant rchival mali coun of Kate Greil and Randy rchReo g Cy cae a Gretsch Drums Broadkaster4-piece Shell Pack Ampeg Heritage B15N Yamaha John Patituci Signature Mojave Audio: Nord Piano 3 ed siaveneese’ \ Gyyaatwate from ANY store!” VW Wi r (800) 222-4700 Music Instruments & Pro Audio Sweetwater.com FAST, FREE SHIPPING FREE 2 ‘YEAR LeddetAL FREE PRO ADVICE GB 0° INTEREST ron 24 MONTHS” Sentient eaten “ofa bythe number Jeep quali prchases, No inte ibe charg on it pmo said nu. The purchase and equal mort ent wl be ound othe et hi ase amount died imum pment tha woud 2; Minium eet hae 2 rat, anf rl purchase. ela acount rs apy ne roma purchases ied card ageemet rth applble ems. Stet ted appa. "Pas nce ty compete aRAYNIER oy TELLURIDE SU JON CLEARY PSUS a eae Pec ciy SRO ee FF COFFIN & THE MU'TE aa THE NIGEL HALL BAND Riri Dr oy ae ae SU Ue Ca ATD) peasy Jazzlimes AMERICA'S JAZZ MAGAZINE EDITOR EVAN HAGA shaga@jazzlimes.com PUBUSHER EE MERGNER [MANAGING EDITOR CAROUNA WORREL ‘worell@madaver.com GRAPHIC DESIGNERS LSA MALAGUTI ‘SCOTT BRANDSGAARD PROOFREADER CHRISTOPHER LOUDON ‘CONTRIBUTING WRITERS Dovid R. Adler, Lary Appeboun, Bil Beutler, Shaun Brady, Philip Both, Ruse Caron, "Nate Chinen, Sharonne Cohen, Thomas Conrad, Owen Corde, Brod Farbaman, Calin Fleming, ‘Andtew Gilber Fernando Gonzalez, Sieve Greenlee, Don Heckman, Geoffrey Hines, More Hopkin, Willard Jenkins, Mike Joyce, Ashley Kahn, David Kast, Aidan lov, Mat. ak, Christopher Loudon, Bill Mere, John Murph, Jenifer Od, Ted Ponkan, Brit Robson, Giovanni Russnel, Sam Sesso, Mike Shanley, of Tamarkin, Goorge Varga, Michael). West, David Whites, Josef Weoderd, Ron Wyn ‘CONTRIBUTING PHOTOGRAPHERS & ILLUSTRATORS Grog Ail, Ed Berger, Skip Bolen, Swart Brinn, Enid Farber, Ken Froncling Peter Gannushn, Romie James, Bn Johnsen, Jimmy Katz, R. Andrew lapley, Alon Nohigian, Jan Persson, John Rogers, [Nick Ruscha, Del Schike, Chuck Stewart, Jock Varoogion, Michael Weinrob, Michoe! Widerman PD Mapavor’ VICE RESIDENT BUSINESS OPERATIONS DIRECTOR, INTEGRATED PRODUCTION Vice PRESIDENT, AUDIENCE DEVELOPMENT RECTOR, AUDENCE DEVELOPMENT CCRCULATON OPERATIONS SPECIAUST ‘CONTROLER (GENERAL STAFF ACCOUNTANT SIF ACCOUNTANT TECHNICAL PRODUCT MANAGER ENR DIGTAL DESIGNER D/GTAL MEDIA PRODUCTTON ASSOCIATE "CUENT SERVICES ASSOCIATE [ADMANSTRATE ASSSTANT "NEWSSTAND DISTRTON JEFFREY C. 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Wel, Choleman & Ciel Execute Oficer SUBSCRIFIONS: yor (10 sass, US $29 9, Canada $34.99, itrnatona $5499, Digtl Only $20.00 Nia igi oes Regn ‘Tedd bcs och Sep endo eae Se ee ak Deparer Th asin: mare nthe. Rot and hademar Oe’ Com coprigin it tite achive ar cnpensenton ee ts pe Pn be USK "AZINE FOUNDER RA SAINJT New York Stories By Evan Haga cow do those psychological studies about musi listening habits go? For the rest of your life, you'll return enthusiastically to the Top 40 of your high schoo! years? I came of age during the pop nadir of P. Diddy and Limp Bizkit so I really hope that research is fallible—at least for those of us who hold music above mere autobiographical dressing, We jazz obsessives—musie students as Branford Marsalis might argue, as opposed to fans—get far more nostalgic forthe eras we never got to experience than for our own epochs. In my daydreams Te chartered a time machine back to S2nd Street, the Cotton Club, Keystone Korner and the Village Vanguard of the heady early “60s, After editing this issue's cover story, a no-holds-barred oral history of the Brecker Brothers’fusion-era haunt Seventh Avenue South, I have yet another hypothetical stop to make. More than anything the article, defy crafted by Shaun Brady, reanimates the New York City I mythologized growing up but one that had long since vanished before I began living there. Im not naive enough to pine fr street crime, substance abuse or economic collapse like most New Yorkers, I only wish that wealth could exist ihe Way We Play / _ Marquis Hill The 2014 Thelonious Monk Intemational , Jazz Competition winner pays homage to his formative years in Chicago ~ with stirring makeovers of Jazz Standards. “A dauntingly skilled trumpeter” gel - New York Times “One of the leading instrumental voices of his generation” = Chicago Jazz especially tender and beautifully honed” = Chicago Tribune marquishill.eom as part ofthe city’s ecosystem instead of outright defining it About three decades ago, composer-saxophonist John Zorn, an icon: defender of Gotham bohemia, famously began wearing T-shirt that read "Die Yuppie Scum!” But inthe cultural atmosphere of current New York—at once fatuousl artisanal and commandeered by corpo. rations and a draconian real-estate market—genuine creativity and ‘consumerism make the strangest and most indivisible bediellows. I donit think any enterprise straddles that median in more surveal and exciting ways than the Red Bull Music Academy, whose recent New ‘York concert series inchided two shows that helped me conjure life inside the street-level art community of 1970s and 80s NYC, One was a program of Glenn Brancas guitar symphonies righteously loud and dense as desited, and the other was Eddie Palmieri recasting of his 1971 LP Harlem River Drive, performed brilliantly inthe neigh borhood that bore i (and with Bernard Purdie on drums). A free ‘concert at which the diversity, fervor and abundance ofthe crowd ted New York alone, it was a reminder to relish the present. JT SAthe! | =") ¢ Hedvig Mollestad: Heavy Metal Heart, Jazz Mind By Nate Chinen Predictions are for suckers, in music as in politics, but 'm prepared to say we probably wont hear a heavier new track froma jazz combo this season than “In the Court ofthe Trolls” The band in question isthe Hedvig Mollestad Tro, from Norway, and the track appears on its fourth studio album, Black Stabat Mater Rune Grammofon). With its convulsive snarl of chromate ifs in 11/8 time, ita quaff drawn from the brackish well of prog-metal, But as the trio hurtles on, clea: ing room for an echoey, intrepid guitar solo, t also aligns with a jazz-rock axis. Hedvig Mollestad isthe guitars, in any case. She sounds like a holy terror. “That much hassit changed since Molestad released her debut allum, Shoo! five years ago. Her tro, which has Elen Brekken on bass and Ivar Loe Bjornstad on drums caught my earthen with ts audacious style references: the loose swagger of early Black Sab bath the density and prowl of peak Led Zeppelin; the expedition ary urge of Jimi Henetxs the incantatory fervor of John MeLaugh- lin. I dint findt a problem that all ofthese influences were fixed toa point in time: 1970, give or take a year. On the contrary, the specificity seemed a fier through which Mollestad could focus and project her ideas, which have more to do with the ja tradition than might be immediately apparent Inher interviews Mollesad, 34, bridges that gap without hesitation, citing the influence of fim Hall, John Abercrombie, Pat Metheny and John Scofield, along with the acts mentioned above. She grew up with everyday exposure to jazz courtesy of| her father, Lars Martin Thomassen, a well-regarded trumpeter con the Norwegian scene. Her mother, teacher, played some puitar,and Mollestad gravitated to that instrument rather than the horn. She met both Brekken and Bjonstad at the Norwegian ‘Academy of Musi, the elite conservatory in Oslo. They formed theie trio in 2009, the same year Mollstad won the prestigious Jazz Talent Award atthe Molde International Jazz Festival “They found common ground in metal, a music with root eur. rency in Norway; along with early psychedelic rock and fusion— all while stamping thei rapport with the flexibility and inquiry native to jazz.musicians. And while it shouldnt be remarkable that Mollestad isa young woman shredding her way through an ode tradition, well it assuredly stills re. rmarkable, if maybe a bit less so in Scandinavia than inthe States. Live reviews of Mollestad trio often include some passing but Pointed nod to her appearance, asi underscoring an essential incongruity. Every now and again a writer notes that Brekken i dynamo in her own right, leaving you to draw the conclusion: iter essentially macho Watch the Hedvig Mollestad Trio perform “Laughing John” This isa take-no-prsoners, majority femal band. So far [havent ha the privilege ofex periencingthe Molstad Tro in concert, ‘whichis one reason ts other new reas, Bilin Oslo (Rune Grammofon, serves sich vital function, Recorded at a pair of packed club gigs ast yea ita double LP that cheery: picks highlights from the band first three albums Side A features ‘material from Shoot_—notably the endur ing band anther “Ashes which suggests anew spin on McLaughlin fiery workin the Tony Wiliams Lifetime. Asifto sly that ancestral link theres als alive. wire version of"Laughing fon fom the band fine 2014 re lease, font Trl Slits not ll McLaughlin allthe time her. “The Valley” hasatwang evocative of Bil Frise, especially as Molletad gets painterly with ber pedal day The trading brat if of "Ariat, Bitch’ ‘more ready summons Tony lon, of Back Sabbath. That the intended allusion on Black Stabat Mater ora least part oft. As forthe "Stabat Matr”—Iitrally, "sorrowful mother"—is Catholic hymn from the 13th century, concerning the anguish of Mary atthe foot ofthe cross That’ a theme ripe forthe mus: cal imagination, which helps explain why there have been so many notable treatments by composers ranging from Hayda to Dvofik. to Arvo Part. The “Stabat Mater” has als been hijacked by bands ‘working in the extreme subgenre of black metal, fact that seems of obvious interest to Mollesta. The album opens with a workout called “Approaching” hitched tight toa rhythmic overdrive, steroidal and furious. Butte following track, “On Arvval” works far more abstract angle, wrangling feedback and nose to largely sculptural effec. Its the most outwardly experimental performance by this trio on record underscoring its spiritual affinities with metallurgic avant ‘werdos lik John Zorn, Raoul Bjorkenbeim and Jamie Saft. Alter teack, "40" ia ghostly ballad that incorporates tol of dissonant chords in tempo, wit percussion limited to gongs and whooshing cymbals like something ott ofthe soundtrack to anoir-western, These may be tantalizing glimpses ofthe path ahead for Malestad and company: an thier, more open-ended ss appropriaive brand ofbadasery- The closing track, by Brekke, iscaled “Somebody Else Should Be on That Bus” And while its cor viffs nasty fun, and sets uupsome grade-A guitar squall, the tune felslike cul-de-sac after the alluns other, more fly lshed themes. Then aga, Inthe Court ofthe Tol isnt tune that goes anywhere in particular, other than straight forthe jugular. Perhaps Mollestad has found a way to have her riffs an beat em, too. Or maybe she’ the trl presiding over this ‘metaphorical court~playing o expectations pushing some buttons bot refusing to full anyone elses idea of whats righteous. JT > Bjarnstad, Mallestod 1 Brekken (rom lef i : : 8 i i a i ia loudspeakersHot White House NTERNATION, fore we get tothe message, let us praise the logistics management. What poor, sleep-deprived soul was tasked with editn the recent White House jazz concer, which stretched toward two and a half down resourceful efficient hours, into the single hour that aired on network television the following night? It was a necessary duty, sare, but also an absurd one, This all-star bonanza, hosted by the Obamason April 29, was already engincered like a Swiss ‘watch, Headliner-caliber musicians from around the globe rotated in and out with {enough ease to suggest an oldies roadshow. Inlvidual performances were kept to pop length but didi fel truncated ‘Well with some exceptions. Chick ‘Corea, on key, guitarist John McLaughlin, ‘Wayne Shorter, on soprano saxophone, tabla master Zakir Hussain, trumpeter Terence Blanchard, electric bassist Marcus Milles, drummer Kendrick Scott and sec ‘ond keyboardist John Beasley performed Stay in tune Hearsay The White Hose celebrates International Jz Day, a “pra jazz” smitin Brook, Ruse Malone, Conia Meza, Miles Okazei the ja passion of Pine, news end forewele Before & After Lonel Lovel Overdue Ovation John Pisano Miles "Spanish Key toa three-minute countdown projected onto the house tele pprompter, With a harder: grooving backbeat than the headlong surge ofthe Bitches Brew version, and more emphasis on the themes, itwas a jazz-rock moment worth savoring. ‘Asa colleague to my could have used plenty more of that. felt the same way about the program on the whole Practice is making perct for UNESCO ‘Goodwill Ambassador Herbie Hancock and. rusical director Bealy. Te telecast was the centerpiece ofthis year’s International Jazz Daya celebration lanched by UNESCO and the Thelonious Monk Institute in 2012, and ‘bookended that year by concerts in New Or Jeans and New York. Ithas since been central htchuckled, he ized in Istanbul, Osaka and Paris, with satellite events in nearly al ofthe worlds nations ts goal, explicate in many earnest speeches is tohold up jazzasan allegory for the kind of slobal democracy and dynamic interdepen: dence that human civilization should strive for. Which might seem a quixotic aim inthe age of ISIS and toal-lose! tweets, but that locsrit make t any less honest or rea Tn opening remarks so deft you might hhave wondered what profesional culturalandelo"; ight Dion in honar of Inert critic was called in forthe assist, the President outlined jazz asan American artform generated by the black Ameri ‘can experience and gifted to the world. It speaks to something universal about ‘our humanity—the restlessness that stirs in every soul, the desire to create with no boundaries” he sai. The conce hosted by Morgan Freeman and held in a soundstage-cquipped tent on the South Lawn, bore those sentiments out while also reflecting the multicultural reality ‘of the current jazz-fstival scene—pop and R&B concessions included. It was & ‘generous, engaging representation ofthe music tailored for TV, with a blind spot for the avant-garde given the circumstances, until you recall, that George Wein booked Cecil Taylor atthe White House in 1978, to Jimmy Carters eventual delight. Some sort of acknowledgement of recent Pulitzer Prize-winner Henry Threadgill would understandable also have been welcome, youve watched or attended any of the previous Jazz Day shows, or the gala concerts that close each year’ Theloni- ‘ous Monk competition, the east and flow would have been familiar ‘end up in sometimes head-seratching ‘combinations but things tend to work, with enough solo space to understand, given player iscoming from. A few of jazz contemporary marquee artists were surprisingly absent—say, Jon Batiste, Gregory Porter, Cécile McLorinSalvant, Kamasi Washington and the trumpeter ‘who is arguably the most famous living jazz musician, Wynton Marsais—but the musics celebrities overflowed stil here were also celebrities, period, Aretha Franklin, singing and playing piano, accompanied by Hancock on keyboard, bassist Christian McBride and ‘drummer Brian Blade, offered an oddly bittersweet opener with ’A Song for You and turned up later duringa Prince tribute, taking her stil-striking vocal instrument to “Purple Rain” That medley homage also fea tured Hancock, keyboardist Robert Glaspe, saxophonist Terrace Martin, guitarist Lionel Loucke, basis Ben Williams, drummerposto Re SURE Cmca e A Ei fea] n 5 em So x Oo Oo O _— Zz uu Qa O‘Terri Lyne Carrington and, driving home smartly chosen nod to jazzand hip-hop abiding kinship, the MC Rapsody. Sting, introduced by Helen Mirren ancl backed by guitarist Pat Metheny, Hancock, Glasper, Loueke, Miller and Carrington, crooned through his spritual-noir rover “Sister “Moon” He gravitated toward the grand piano and Hancock, whose solos were daring given the context, forcing aggresive, ‘tude-like lines atop seductive R&B. Inall, and not unexpectedly, this was avocal-heavy program. Al Jarreau with Corea, McBride, Blade, guitarist Lee Riten- our and saxophonist Sadao Watanabe, acted asambassador for jazz’ more intellectual and idiomatic voice traditions, giving a tutorial in vocalese and scat on “Take Five” Dianne Reeves also mac cher mastery of ‘wordless singing known, on Metheny’s "Minuano” alongside the guitars, pianist Danilo Pérez, Beadey, Hussain, McBride and Scott. Reeves athleticism also came to the fore during the tongue-twisting climax to her "Nine?" where her band included bassist Esperanza Spalding, who didnt sing "until the evening’ final, an all-hands-on- deck take on John Lennon “Imagine” —a requisite "We Are the World” moment. ‘Two pop-jazz marvels delivered their respective gifs. Jamie Cullum, per usual a bal of barely contained energy, sang Just One of Those Things fronting the band of German trumpeter Till Bnner, saxophonist Bobby Watson, Williams and Blade. Diana Krall, in duo with Christian MeBride, swung slyly through "East ofthe Sun (and West ofthe Moon)” Pointing up how effectively jazz can serve as hammy, humor soaked entertainment, Dee Dee Bridgewater and Kurt Elling dueted on “St James Infirmary? with proper New Orlea nian backing from Trombone Shorty and the Rebirth horns, pls pianist Kris Bowers, Williams and Blade. Latin-jazz was showcased vi a perfor- ‘mance of Bebo Valdés “Con Poco Coco” by an ensemble boasting the composer’ son, pianist Chucho Valdés, saxophonist and. John Pisano (la) and guest Anthony Wilson ot Piano's Guitar JOHN PISAN By Matt R. Lohr you've never before attended the Los Angeles jazz inst tion known as “ohn Pisano’ Guitar Night” you might be hard-pressed, upon entering the Viva Cantina restaurant in Burbank, Calif, to identify which man on the small tage isin fact guitarist John Pisano, Yes, there i a guitarist out in front. But, that’ not Pisano, You'll find him stage left, slightly back from the center. He does take solos, his tone cool and husky, his melodie notions compelling. But he spends much of the night laying down a subtly driving rhythmic base for his guest guitarist Pisano has worked just as hard out ofthe spotlight as he has init The result has been a career, now in its seventh decade, that has seen him forge creative relationships with drummer Chico Hamilton, vocalist Peggy Lee, trumpeter Hetb Alpert and most notably fellow guitarist Joe Pas, with whom Pisano played on 11 classic albums, including the seminal 1964 release For Django. Born on Staten Island in 1931, Pisano’ musical education was an informal one. He took one early lesson with guitarist Chuck Wayne, best known for his work with Woody Herman and George Shearing, but learned much of his trade studying recordings ofthe great guitarists of his youth, “My first influ ence would have been Django Reinhardt” he says, speaking in the spacious office of his Studio City home. "I woodshedded a lot of his stuf, wore out a lt of his records” Following a four-year stretch inthe Air Force, during which, he played in military bands that afforded him his first record- ing and radio sessions, Pisano originally planned to attend the Manhattan School of Music. But no sooner had he paid his tuition than he received a call from Hamilton, asking him to fornia and join his quintet—the result ofa ree ‘ommendation from Hamilton’ saxophonist and flutist Paul Horn, a former military-band connection. Pisano played With Hamilton from 1956 through 1958; it is his guitar you heat, and his hands doubling for actor Martin Milner’, in the classic 1957 film Sweet Smell of Sucess, which features music and onscreen appearances by Hamiltons band. When Pisano first ame to the West Coast, he didat expect to still be living there 60 years later. But after a while, says the guitarist, "I had more contacts here than in New York, because [had literally played maybe two or three gigs in Manhattan. I was on Staten Island, playing Italian wed: dings!” Pisano’ ties to L.A. are temperamental, as wel. “I've always been a more laidback kind of person,” he says. “The Intensity of New York was too crazy for me, West Coast jazz was always a litte more relaxed. I think it's just the nature ‘of the areas influencing the intensity of the music” An early devotee of the undulating rhythms of Brazilian music, Pi: sano was among the artists who spearheaded the bossa-nova craze that swept jazz in the 1960s. Through his work with Herb Alpert & the Tijuana Brass, he also became a member ‘of the original lineup of pianist-composer Sergio Mendes’ wildly popular Brasil 6. kas shortly after his stint in the Hamilton band that Pi- sano began his long-running partnership with Joe Pass, The {guitarists first met when Pass agreed to sub for Pisano at an L.A. club gig, so the latter could go out on tour with Peggy Lee, (Pisano calls the torch singer “one of my dearest bud: dies," and she wrote lyrics for his composition "So What's New2" a standard that has been recorded by more than 50 artists.) Pisano says the chemistry between Pass and himself was there from the first time they played together, though he finds it dificult to put the uniqueness oftheir harmonic interplay into words. "I guess the thing I did for him is cexactly what he needed, he says. "I just had a great time playing with him, and I'm so proud of it. Without bragging, I feel very honored” Guitarists have long recognized the influence of the Pass- Pisano collaboration. Transcriptionist Wolf Marshall has fought with publishers to include Pisano lines in his detailed breakdowns of Pass’ work, and guitarist Anthony Wilson, who has played with Pisano on a number of occasions, says that when he intially encountered the Pass albums, his first thought was "What's Joe Pass even doing playing with another guitar player? But then when I heard those records, and I heard what was happening with this other guy’... ‘thought, man, that’s really amazing playing, you know?” In both instrumental playing with Pass, Hamilton and ‘others, and in his collaborations with vocalists like Lee, Dia Krall, Frank Sinatra, Julie London, Tony Bennett and Natalie Cole, Pisano has thought long and hard about what makes an effective accompanist, “The whole key to not only playing ‘good music but realy enjoying music, which sa rarity isin listening” he says, “There's a thing that happens when you're playing withthe right combination. Its lke the minds seem to {go together, and you know exactly what the other guy is going to do, And when you get that kind of strength and energy sur rounding you, its just a magical high Pisano has also thought deeply about the tone and sound,Nisongong coloration ih asman Guar, which he crear ohn Piano Spee Mal ree iy love thesoundof he gurls the scone under beast? Piano sy "Youcan eth vibration n your bones Tht was iar Ot nro alg G90 ane thu was confortable plying, and oto large Te ft tlhe model was adc of pte and ape “enon de came pichedand lke he alow sound So we made mahogany Birdwatching Minton ofthe Peano model” Thdny, Pandy principal create ol ithe Guar Night sein ich cleats 20h aniversary ths epee the perarmance een which Puan i folaed bys new goes gars very weck (pa tstor cade Win, eter been invaluable in Bernstein and Kenny Burrell), rotated through several homes before finding its current residence at Viva Cantina, which hhas now presented the event every Tuesday for over two years x its that when he started Guitar Night, he had no tockhausen / Pisano admits that when he started Guitar Night, he had FlowanWweber ‘dea it would be a two-decades-and-counting aple ofthe L.A. jac seme Bul be plas to kee gong a long ashe stil abe Alba to play and he values the current venue because its no-drink- ‘minimum policy allows admittance to Pisano’ students from California State University, Northridge, where he has taught guitar fr the last 12 yeas. teach what I know and do well” Pisano says, “and thats chord progression and movement. So my job sto show them ‘sella by Starlight and how Bill Evans teas it, how Stan Getz ‘would reat it, on the same changes. ‘Cause, you know, azz like train youte on, When you're playing ane, you dot stop the train and sy, Wait a minut, Thad another noteT wanted to Play here! Youre looking at what you jst played, you're looking now, and youre looking at what youre going to pla ater that phrase, And your mind has tobe abe to access whatever harmony you have in your head, and whatever sales you have in your head. Theres lot of stuf to practice John Pisano has practiced it all, andi served him wel ina career any musician would envy. Wilson recognizes that what Pisano provides his olaboatos the quintessence of creative Partnership. "For mei jut the richness of what he has in his Forene playing, from so many diferent angles—as an accompanist as Srepetder 2 soll, as a peron who has huge eas for harmony and for Fythm he cays. "The way I fel a oon asm in the midst of Peles that is like I can be free to play however I want to play. There something in the way he plays that gives license to his partners to realy go for it? JT 4 Nils Okland Band Recommended Listening: Joe Pass For Django (Pacific Jazz, 1964) Herb Alpert & the Tijuona Brass What Now My love (ABM, 1966) ae Pisano & Ruff Under the Blanket (A&M, 1970) Joe Pass/John Pisano Duets (Pablo, 1991) tecabeokcomececors| W GECMRctons John Pisano's Guitar Night (Mel Bay, 2007) orate emSOG Ce THE ORAL (AND NAS! re HISTORY OF SEVENTH AVENUE SOUTH— THE BRECKER BROTHERS’ HARD-PARTYING, BAND-BUILDING, ERA-DEFINING NEW YORK CITY NIGHTCLUB Pees eerie Ter)By Shaun Brady V4 Pea)34 unique meeting place for jazz cats, fusion pioneers and in-demand studio musicians, Seventh Avenue South, lo- cated at that thoroughfare and Leroy Street in Manhat- tan’s West Village, became one of New York City’s hip- pest hangs for a hectic decade. Michael and Randy Brecker, along with a restaurateur and educator named Kate Greenfield, owned and operated the lub from 1977 to 1987, where it became a con- ‘vergence point for everyone from Cedar Walton to Jaco Pastorius, Miles Davis to Chaka Khan. Itwas also the launch pad for several notable groups, including Steps Ahead, the Bob Mintzer Big Band, Pastorius’ Word of Mouth, the 24th Street Band with future David Letterman band members Will Lee and Hiram Bullock, and ‘Marcus Miller's Jamaica Boys. Itwas also a hub for in the words of more than one of its regulars, “sex, drugs and jazz” Here isthe story of Seventh Avenue South in the words of those who lived to tell its often-riotous tale. RANDY BRECKER (TRUMPETER, CO-OWNER): Mike and I became friendly with a guy ‘named Bob Cooper, who managed a club called Boomers on Bleecker Street that ‘was a cool hangout. It was somewhere you could realy feel comfortable, have a drink, Tisten to music se other musicians— where you werent just asked to leave after the set. Several months afer itclosed, [Cooper] found a space that he thought might be suitable to resurrect aclub, and hhe needed a modest investment. KATE GREENFIELD (CO-OWNER}: was working in the Brooklyn Criminal Court ina counseling program, but I was very interested in food and I hada litle bit of, ‘money saved up. I decided I wanted to ‘open a restaurant, It was just one of those things: at any moment we could have not done i, but we just kept moving forward, [Cooper] was supposed to know the business and teach me, since I was going tobe the working partner with him, but ittbecame apparent that he didn't know as ‘much as he professed to know. He would show up in the midale ofthe day with a racing form and a bag of chips. So we gave him some money and bought him out. BRECKER: Mike and I were meant to be ‘more or les silent partners, but itended up that we werent so silent Our modest investment increased by leaps and bounds ‘Thats really how it started. It was a mere accident and it continued for 10 years. DAVE LIEBMAN (SAXOPHONIST: Sam Rivers had Studio Rivbea and Rashied Ahad Alis Alley, soit wasnt unknown for musicians tohavea dub, But in that generation, for that kind of music, twas probably the first ‘one—maybe the only one BRECKER: It was two floors. The music [space] wason the second floor and held about 120 people, and there was a long bara la Bradley’ downstairs with alittle section where people could sit and a couple of tabletop video games and stools around. ‘The frst floor became the hang ifyou didnt want to go upstairs and listen tothe music ‘WiLL LEE (BASSIST: would st in the back and play Missile Command all night. They had a great sit-down Atari arcade game that was built into a table. They also had a jukebox. I think the most played. record there ofall was probably [uns] “Blue Train” Of all the tunes that were played on there, I think that one set the atmosphere that defined the way that room felt twas just chill. LUEBMAN: The upstairs and the doinstairs were two diferent works, Downstairs it was people drinking and hanging and get ting high. Upstaies it was no differeot, but vwehad music [augis] We had an excuse. BILL CHERRY (BARTENDER): I was working at Barbara a small jazz club on West Third and Thompson, after [the Upper West Side jazz club] Mikells. Kate got to know ‘me and mentioned that she and Randy and Michael were opening a spot, and asked if] would be interested in geting involved from the ground up. Ihada following, and in the bar business ifyou have a bartender that has a following you ‘can start with at least something going on until you can build it up. STEVE FERRONE (DRUMMER, THE BRECKER BROTHERS, AVERAGE WHITE BAND]: Bill (Cherry was the real jazz bartender. He was such a cool guy. He had the Afro and everything, like a Snoop Dogg character, if you want to put him in modern terms. ARSON MILES (COMPOSER, PRODUCER, KEYBOARDIST): To me, Bill was the fist social-media dude. He brought people from Mikells with him down to Seventh Avenue South, People used to follow bar tenders around, Bartenders were almost the leaders of their own clan, LEE: There was always a Bill Cherry party going on. He wasnt a crazy, wild guy. He was just a really sweet, sensible guy who ‘made you feel at home, and alot of us wanted to feel at home. (MARCUS MILLER (BASSIST Ifyou had a gig at Seventh Avenue South, during your break you could walk three blocks to Swieet Basil or one more block up to the Village Vanguard to see who was hitting ‘over there, so maybe you could catch 10 ‘minutes of somebody else’ set. There was alot of crosspollination. It was a really vibrant community, and Seventh Avenue South was atthe center of t PETER ERSKINE (DRUMMER): Mike and Ran- ddy were living the dream. They created a place where like-minded, like-souled ‘musicians could play. BOB MINTZER (SAXOPHONIST: The majority ofthe clubs in town were run by proprietors that had very specific likes and disikes when it came to jazz music, so they booked accordingly. But Seventh Avenue South was \wide open. Every kind of music imaginable was played in there, and [think they hired acts based on the merit ofthe music alone. LEE: This wasaatime when going into a nightelub meant there was so much ciga- rette smoke that you were going to have tohhave your clothes dry-cleaned jst from walking in, It was very difficult to walk: inand hear lame music. It was one ofthe places that you could count on to hear great, great stuf It wasnit a snobby place where every note you played was being judged, ora place where the music was so loose that it ended up being valueless. There were probably more good notes per capita played there than anywhere, JOHN SCOFIELD (GUITARIST: To me, it was the center ofthe jazz world at that time. There was the Village Vanguard, but this was the real contemporary jazz scene in New York. It was atime when fusion ‘music didnt have the bad reputation that itgot ater smooth jzz came along. It was still cutting edge. It was also a meeting place for jazz_musicians and studio musi cians there’ always been a big overlap between those worlds. Soi was place not only to hear great music but also to be part ofthe music world BRECKER: Youtl be downstairs and see Cecil Taylor hanging out with Hiram Bullock, It was a melting pot of different yles of music FERRONE: It was a mixture of what I, being from England, would eal “jazz cers” and studio musicians. Some nights youl go down there and Max Roach or Dexter Gordon would be playing, and then yould have Jaco Pastorius and the Brecker Brothers. Some ofthe greatest players that New York had to offer were Seventh Avenue South guys, MILER: Downstairs was shoulder to shoulder with cats talking stuf to each other. Lenny White would go up to somebody and say, “Man, you wasnit swinging lastnight real and unfiltered, especially when it’ late at night and everybody's uninhibited. It was more ofa street ‘mentality than a school mentality Teas BRECKER: Icait say we were very hands on. We would play there alt, and that was our main function, We put bands together and would either play asthe Brecker Brothers oras the Seventh Avenue South All-Stars which featured people like Cedar Walton, Slide Hampton, Reggie Workman and AL Foster. We also played there quite abit with offshoots ofthe Average White Band, It was an exciting time for experimentation, cae spring ee ae MINTZER: It was never my intention to havea big band. Just on a lark I called all the guys that were playing there, never imagining that they all be interested in36 Brite ka Khan check out dling this and they were, tomy surprise. One of the first big band gigs did ther, the club ‘was fall of people and the energy was incredible, Dave Liebman was in the audience and couldsit control himself—he stormed the bandstand and grabbed David Sanborn soprano and started playing ig. I said the on ‘thing we could do would be to open on Monday night and do a special show, but we couldn't do any advertising—wed just have to announce it during Don Grolnick’s show that weekend and do it by word ‘of mouth. So Jaco ended up naming the band Word ‘of Mouth, JACQUI SMITH PERRINE (WAITRESS): My first Fhusband was Eric Gale, the guitar player, and when we (MIKE MAINIERI(VIBRAPHONIST: The first split up I moved to the city and needed banal put together there was with Michael job. Eventually Michael and I hada Brecker, Steve Gadd, Don Grolnick, Eddie relationship for many years. But [hada Gomez and myself, We had an offer to go very good ear for music, and there was @ to Japan because a young lady was broad period oftime where I setually booked casting a radio show from Seventh Avenue the place. At that time we were closed on South and she was working with some ‘Monday nights and Jaco, ashe was wont promoters in Japan. (The Japanese record todo, showed up atthe club wanting to label] Nippon Columbia heard the group sazz) Juiy/AuGust 2016 and liked it very much and offered usa dea. Atthe time I was signed to Warner Bros. in the United States as a solo artist 0 I couldait call that band the Mike Mainieri Quinte. I gave it the name ‘Steps, and then we called the group ‘Steps Ahead when we were signed to an American label LEE: played there alot with the 24th, Street Band, which later became the Letterman band. Paul Shaffer copro- ‘duced ou second album and we be- ‘came so close that he saw an opportun ty to turn that band, as it was breaking up, into his band for Late Night With David Letterman. ‘MIUER: I would hang out there with the _guys who became the Jamaica Boys, Lenny White and Bernard Wright. also played witha group led by a couple ‘of really popular studio singers, Frank and Babi Floyd, Charley Drayton, who was probably 14 atthe time, was the drummer, and Bernard, at 16 0° 17, was playing keyboards. And everybody would come down to hear the kids play. They called us the Nursery Rhyme Band because we were so young, [MAINIERE: It was a great place to play. Half of the audience were musicians. When the place was packed, there was so much energy: What I remembers this rush: You just didat get chat inother clubs. But I just remember weld ‘come bursting out, and it didnit just have to do with the drugs—though that was prevalent. There was so much excitement and electricity in the air some nights PAQUITO D’RIVERA (SAXOPHONIST, CCLARINETIST: One of my frst gigs in New York City was at Seventh Avenue South. Back in Cuba everybody was crazy about the Brecker Brothers, soto have the ‘opportunity to work ina club owned by them was tremendous. And then I invited Randy to play on my second LP for CBS, twas the only time in my life that I hired the owner of a place that I was going to be playing. I paid him like $50. Mike was inthe audience—he wanted to check out who the hell this Cuban was who hited his brother to play in his own club. ‘SCOFIELD: I was playing with my tro with Steve Swallow and Adam Nussbaum, and Stevie Wonder came in, There were about four people inthe club, and after the frst tune he clapped real loud and he looked around—wel, he didat look around, but he realized he was about the only guy inthere. Afterwards I'm siting in the bathroom stall and Stevie comes in with one of his guys. Asthey're leaving he says, "You know, when you listen to music like this...” and then the door closed and I didait hear what he said. So I donit know ithe liked it or not. 'm still wondering WYNTON MARSALIS [TRUMPETER]: We were booked to play New Years Eve in 1982. (One couple showed up the whole night. ‘The lady of the couple said, “Ifyou guys ‘ever get known, we can look at itone of two ways: Either we were the dumb couple that came or we were the lucky ones” And ‘we played for them the entire night. (GREENFIELD: Watching Wynton start his ‘career was really exciting, one of those young people asked fora drink at the end ofthe nigh, I would only give them milk and cookies. was so self-righteous, while atthe same time I was being so ridiculous, (MARSALIS: It was lifeline for us. They gave mea gig when nobody knew who Iwas. Tm forever grateful to the brothers fo that, (GREENFIELD: When Cissy Houston would sing at the lub, Whitney Houston was 8 young teenager and she would sing “TWAS 18, 19 YEARS OLD; I DIDN'T KNOW WHAT. WAS GOING ON. I JUST ASSUMED IF YOU WERE AMUSICIAN, BY THE TIME YOU HIT 28 OR 29 YEARS OLD YOU'RE GOING TO START ACTING A LITTLE, WEIRD. I DIDN'T KNOW WHY CERTAIN DRUMMERS WOULD HAVE TO GET DOWN AND ADJUST THEIR BASS DRUM PEDAL BETWEEN EVERY SONG. I DIDN'T KNOW THAT'S HOW YOU DID YOUR COCAINE.” — Marcus MILLER backup. All the record company people BRECKER: We had Joe Henderson a the club would be there to hear her, way before one weekend with his All-Gil Rhythm she became famous. Section” Thats how his manager insisted it bebilled, [so you can see] how much things BRECKER: Nile Rodgers would come down have changed since then as fr as women in and hang when he got done producing jazz goes. Joe nickname was “The Phan- or playing inthe studios. He wasa great tom, and sure enough, Saturday night—no Pac-Man player Joe. Iwas sil atthe club at 430 am. or s0, closing up, and up the back stairs comes, GREENFIELD: There were a lot of Saturday Joe, He goes into the litle dressing room, Night Live afer-parties because Mike ‘behind the stage and [hear him playing, and/or Randy would be playing. We so [opened the door and he said in that had a party for Joni Mitchell when she soft-spoken but super-articulate voice of was on SNL and made a guitar out of his, “Ahh, Randy thought Id get here early chopped liver. John Belushi lived right and practice a while” He thought it was. down the street, so heused to come in 4:30 in the afternoon! Just 12 hours off atin the morning and say, “Give mea bottle of scotch!” FERRONE: One night I was standing at the bar and there was a tap at my shoulder. BRECKER: Belushi and [Dan] Aykroyd had turned around and it was Grady Tate, We their own [Blues Bar} during the Blues were chitchattng, and next thing I knew Brothers era, but after that closed they _there wasa tap on my other shoulder would come down and smell like they’ and it was Max Roach. Behind the bar been up fora few days. there was one of those gunslinger mirrors ‘where you could see who was standing ERSKINE: I remember seeingalot of my __behind you, and I remember looking up jazzheroes at Seventh Avenue South at that mirror and there was Grady Tate (Cedar Walton was playing there one time and Max Roach having a conversation and Iwas champing at the bit tositin, He and me standing in the middle, That mo- invites me onto the bandstand and calls ment isemblazoned into my brain, “AIL Blues this jazz waltz. So I played it and afterwards Cedar complimented me BRECKER: [In 1981] Eliane Elias had just andI said, “Thanks. Iwas really hoping _relocated from Sio Paulo and played at we were going to do something in 4" I the club with Eddie Gomez and Peter wanted to show off what I thought was Erskine. I usually didnt do this, it was ‘my Elvin thing, For years afterward, every someone else’ job, but I paid her. It was time Td run into Cedar hell say, "You something lke $500 for the trio—cash. A remember that night at Seventh Avenue few minutes later she came over, and in South when you satin and afterward hher broken English explained that right you said, ‘I wish wei played somethin after I paid her, Chet Baker gave her a sob in4/42” And hed cock his head and say, _story about how his girlfriend had kicked “That was some funny shit” ‘him out so he didat have a place to stay. AzzWes.com 37She was a big fan and was starstruck, so she gave him the money: The next morn: ing I was walking to session on 49th Street, when who turns the corner walk- ing in my direction on the other side of the street? Chet! Out ofthe corner of his ‘eyehe sees me, turns around and starts walking quickly in the other direction, SCOFIELD: | remember the night my daughter was born. After my wife had ‘given birth at St. Vincent’ Hospital a ‘couple of blocks up from the club, they went to sleep, so I decided to stop by and celebrate fora second. Chet Baker was there, who I idolized. He asked how I was start chuckling to himself. asked him, “What do you think, Gil?” And he said, “Man, is just so unabashedly romantic, its eracking me up” ‘BRECKER: Jaco played quite bit, though that ‘was kind ofa sad state of affairs towards the end ofhis career, when he was hanging in New York and didnt really have a place to live. People would always come because it was Jaco, but twas tough time for him. CGREENFELD: Oh, my God, tlk about Junatics. But when [Jaco] played we had to have people standing onthe stairs stop. ping people fom coming up. “ONE NIGHT MICHAEL [BRECKER] WAS, PLAYING AND MILES CAME DOWN. CHAKA WAS THERE AND MILES SAID TO HER, ‘LET'S GO UPTOWN AND SHOPLIFTY MILES DAVIS AND CHAKA KHAN—LIKE NO ONE’S GOING TO NOTICE YOU.” — co-ow doing and said, "Great, Chet, my wife just had a baby, our frst child” And he goes, "Really? John, can [borrow a hun- dred dollars?” Asif hadsit said anything, SMITH PERRINE: I dont want to use the word “steal” but Gil and Anita Evans \were my neighbors in the Village and the Gil Evans Orchestra used to play at Sweet Basil every Monday night. I convinced them to come and do Monday nights at Seventh Avenue South, MINTZER: I remember playing with the Gil Evans band ther. Ia al the great ‘writing he had done for Miles in my head and [I was exited to play] these elaborate, 20-page arrangements. So I show up and ‘each tne was maybe thre lines of musi just seratched-out head arrangement there wasa total lack of any discernible structure, but thas what Gil wanted. He ‘went in there to have this improvisatory large ensemble where things unfolded based on the decisions of the players, with very ltl inthe way of instruction. MILER: Isat next to Gil one night when Jaco was there. Jaco would play this vibrato-laden melodic suff and Gil would ER KATE GREENFIELD FERRONE: Jaco would wander in and whoever was playing, he would jst walk ‘up onstage and plug in and sabotage their entire set (MILER: I'm playing the middle of a song and I see the head of a Fender Jazz bass ‘coming up the stairs in front of the bandstand. Itwas Jaco balancing his bass ‘on one hand coming up the stairs to announce his arrival. He walked straight ‘onto the stage, plugged into my amp, turned al the knobs up to 10, and we hhad a jam session, Whatever I was doing before he arived turned into what he ‘wanted to do, which was fine with me. [MIKE STERN (GUITARIST): One time Jaco got pissed off and threw his bass down the stairs, He came to my place after that and got on the phone with Kevin Kaufman, who used to epairall of Jaca bases. Jaco was winking at me ashe said, "Thad alte accident at Seventh Avenue South and cant seem to get ‘sound out ofthis bass” Meansile, Kevin told me he broke the thing nto three pieces and sent it to him ina large shoebox. ‘SCOFIELD: I played there a bunch with the Gil Evans band, and we were ll hanging ‘out in this litle back room, Sanborn said, “Listen guys, Ive really changed my thing. Te been drug-free fortwo months now” [And Jaco goes, "Free drugs! Where?” That ‘was an ill omen of things to come. LUEBMAN: Miles came down and heard Sco- field there with me. Afterwards we hung ‘out and Isai, "You like the guitar player?” He said, “No” I told him, “Hes gonna be yur next guitar player" ‘SCOFELD: I don't remember [Liebman] saying that, but I know he introduced. me. Miles said to me, "You sound great, kid” And I said, “Oh, Miles, isso great to meet you. You're my idol” And he said, “Shut the fuck up” BRECKER: Once Miles discovered the place he would come down quite abit and wreak hhavoe with the waitresses SMITH PERRINE: Miles could be quite rude, but I wouldait take his shit. He was standing next to me andl said, "I want to eat your pussy" I looked at him and said, “No you dont, Itstinks” And he sid, "Ile you, smarty-pants” He called me smarty-pants| every time he saw meatier that ERSKINE: When he lobbed that bal over the net, Jacqui smacked it back double. think ‘Miles was even kind of shocked, Everyone ‘was proud of her. THOM BEERS (PRODUCER, Deaallest Catch, Monster Garage): I was the bartender in the service bar upstairs, so I served all the musi- cians. Miles drank the most disgusting drink in the world: Grand Marnier in a brandy snifter with Coca-Cola, It was gnatly (GREENFIELD: One night Michael was paying nd Miles came down. Chaka was there and Miles sid to her, “Lets go uptown and shopli!” Miles Davis and Chaka Khan—like no one’ going to notice you. (CHAKA KHAN VOCAUST: I used to take ‘Miles there often. That was our litle clique. ‘We were siting right inthe front one night; ‘we could see right up everybody's noses. 1 think we were prety high and the Breckers ‘were playing. They were smoking, and then ‘hen they ended there was that moment of silence before everyone knows they'veended and starts lapping, When that moment of, silence eame, Miles std, “Them white boysPtouARcE COUT OF a ClEND AANOYEE cant play no horn” Iwas like, ‘Beam me ‘up, Scotty. im ready to go now Miles had no iter. He embarrassed me a lot, but I loved that. (GREENFIELD: Chaka was hanging with me at the club, anda friend called and told me that she was with Sarah Vaughan at Mills. I said, “Chaka would love to meet Sarah Vaughan!” It was very sweet watching Chaka Khan be totally starstruck. KHAN: Kate introduced me to Sarah ‘Vaughan and she just treated me like a fly on the wall. I said, "Fuck that” and went back up to her and said, “At the risk of you killing me, Ihave to tell you how such [ove you and how much you've Influenced my life” We started talking and became friends of a kind, (GREENFIELD: Of course we sat there and snorted coke fora couple hous, Sarah ‘Vaughan didat have to teach us how to do that, can clearly remember her putting it ‘on herltte pinky nail and quietly snort: ing it. You could hardly hear her doing it. KHAN: That was the peace pipe. It was a way of ingratiating yourself with some- ‘one—you got alittle blow, you were in, [MAINIERE: It wasa place to go and drink, and it was atime when there wasa lt of medication going on. People were not so- ber then, let me put it that way. Ifyou mix all those elements together, you can rally stir the pot. It was a sensual place tobe, BRECKER: It was kind ofa den of iniquity (MILER: was 18, 19 years old didnt know what was going on. I just assumed. Ifyou were a musician, by the time you hit 28 oF 29 years ald you're going to start acting litle weird, I didnt know why certain drummers would have to get down and adjust their bass drum pedals between every song, I didnt know that’s how you did your cocaine between songs. HAL GALPER (PIANIST: There would be so much of it that it would be stuck in ‘your socks and in your hait. Once, I was going to the bathroom and Randy started following me. [had to turn around and say, “Randy, I'm just going to take a piss FERRONE: One night Randy and jst Hardly got completely wasted. He ran into the bathroom and was in there a bit long, so went in after him and climbed up on the sink to look over the stall. Randy was there throwing up, and I was like, “Hey, Randy, what are you doing?” And he ‘made this lasso motion with his hands, finished throwing up and said, "Right, let's go back and get started again” reyes STEVE GADD (ORUMMER}: That was before everyone knew that cocaine could be addictive, In other words, it was still party. Everyone was having a ball, LEE: This was a cra waking up one morning and Ihad passed time. I remember AZZIMES.COM 340 ‘out in the club, and they had locked the doors with me in it So I wake up next to iy bass case tothe smell of carpet cleaner, right in time to make my jingle. FERRONE: I remember playing with the Brecker Brothers and [keyboardist] Mark Gray had a seizure, | guess. The dressing room was a tiny litle liquor cabinet back ‘behind the stage, and Mark Gray was back there in this collapsed state BRECKER: Something Mark ingested dict ‘quite agree with him. He could play but couldnt hold his head up, so I had to hold him up by his hair during his piano solo. [MARSAUS: Idi’ really witness that. T saw so much alcohol and drug abuse in Pocket" on the jukebox and dance around, They were always scantily clad and they went home with everybody. think everybody had them—including “Michael. Tats pat of being with a musi cian. We used to call them the “Skank Sisters? ut that could have just been what the waitresses called them, (GREENFIELD: I've been clean almost 33, years soit seems like a different lifetime. ‘We were wild and crazy, but we thought we ‘were cool. There were many times leaving there at 6 or 7 in the morning, SMITH PERRINE: There be lines of cocaine ‘on the Pac-Man machine at night, when itwas closed tothe public. Wed be leav- ing and it would terally be daylight ‘werent interesting, nice, talented people when we were geting high, but twas really nice to getto know people once you can get the drugs and alcohol out and realy see the sensitivity that makes people drink and drug the way we did. It was almost like knowing people two diferent ways. ERSKINE: When Michael cleaned up, it was kind ofa seismic shift A lot of people realized we had to stop doing this stuff. 1 remember speaking with Bob Mintzer and thinking how great it was to be hanging out atthe club and actually talking about real things FERRONE: When Mike came out of rehab, there was another club around the corner called 55 Grand, which was renowned drug hang- “IT PLAYED THERE A BUNCH WITH THE GIL EVANS BAND, AND [I REMEMBER ONCE] WE WERE ALL HANGING OUT IN THIS LITTLE BACK ROOM. [DAVID] SANBORN SAID, ‘LISTEN GUYS, ?'VE REALLY CHANGED MY THING. I'VE BEEN DRUG- FOR TWO MONTHS NOW: AND JACO GOES, ‘FREE DRUGS! WHERE? THAT WAS AN ILL OMEN OF THINGS TO COME.” inthe scene I grew up i, it didnt have any allure for me. We were trying to find ‘some women. I was 20; that’s what Iwas thinking about, BRECKER: I was living alone in a nice high: rise apartment in Waterside, right on the East River, and doing a lot of sessions, ‘Some nights I didn't make it down to the club, and around booty-call time, like 3 a.m. after writing some music I call the club and get Jacqui on the phone. I knew her very well and she had a great sense of dark humor. Some of my nefari: ‘ous “chicks” we gave rather sarcastic, admittedly demeaning nicknames to: the “Magpies,” the “Beached Whale,’ the “Kodiak Bear” They were on the D list but what can I say—it was 3 a.m.! So Ta call her and ask who was there, and shetd ‘give me a rundown using the nicknames and I'd say, "OK, put the ‘Beached Whale’ on the phone,” and Id have that girl come over for little late-night fun, SMITH PERRINE: There were these tivo skinny girls that always used to put that song “Tm Special” [the Pretenders “Brass “That was the worst feeling onthe planet. ‘You prayed that it was raining when you walked outside and people wearing busi- ness suits were going to work while you \were still in your smoke-covered clothing from the night befor, FERRONE: I was surprised at how many people managed to actually survive those years, We were all really worried about ‘Mike, and here we all are, partying like crazy, going to bed at 5 in the morning. SMITH PERRINE: Michael, fra long time, vwasa [highly] functioning addict. Don Grolnick, who was Michaels closest friend and loved him lke a brother, wrote him this heartfelt letter, and then Don and I found this place in Florida and got Michael to go there and get clean and sober: That was the beginning ofthe end for Michael and Ihe even- tually married his drug therapist. But if that’ what it took, that’s what it took. (GREENFIELD: Michael got cleanin 1980 and he helped allot of us. Michael was so spe- cial, and to watch him evolve—not that we REE JOHN SCOFIELD ‘out, Mike [wanted to go), so I thought, "TI wander around there and keep an eye on im.” Mike stood very nervously atthe bar drinking water and of course I go involved inal the debauchery At some point inthe evening Mike ‘would go home and Ié end up staying until all hours The same thing happened the next day, and three nights int that I said, "Youte ‘wearing me out with this I get wasted every night while you test yourself to see i you can get through it” BRECKER: | wast quite that bad. weaned myself off everything a litle later, but the last ‘couple yeas of the existence of the club it be- ‘came kind of an AA hangout, which ifyou're trying to sell Booze isnt such a great idea STERN The vibe changed as Mike changed He got sober and totally turned his shit around, They tried to keep it happening but the business was rough. remember Mike was really upset about it because he thought itwasan amazing place. ‘MILES: Seventh Avenue South basically went out with a whimper. It didn't go out with some big bang.SMITH PERRINE: Having become a restau rateur after it closed, I don't know how itever made money. I dont think it was ‘managed well. ts amazing that it stayed ‘open as long as it di. BRECKER: After afew yeats we tried to sell the place and a guy came in and restruc tured it, bt he never followed through and bought the place. He did't pay any taxes the whole time he was in there, so we got stuck with those, too, ERSKINE: I remember Stix Hooper had a ig, and when he went to play the place was taped and padlocked for non-payment of something, or someone didat get bribed the right amount, so they shut it down, That was near the beginning ofthe end. BRECKER: Eventually we lost the The guy who owned the building was a fan so he was very kind tous, but at one point he sold the building to two Indian gynecologists who were getting divorced. The wife ended up with the club in the settlement, Mike went to try to talk some sense into her, but she really knew what she had. That was the crowning blows (GREENFIELD: When I got clean in 1983, 1 came tothe realization that we couldnt or didat want todo it anymore. Iwas hiding in the office and knitting after I stopped drinking and drugging, and you cant really run a jazz club hiding from everybody. Mixing jazz and money is an interesting recipe, It was like we were supposed to throw the party every night. Thad enough checks that I couldn’ eash to wallpaper a small room. Once the party was aver it was really over, BRECKER: It never was a moneymaking en. (facing page) On the Soul coun of he White House in Apri, McLoughlin on 2 jaw-dropping band y ‘Spanish Key” From leh Chick Corea, Terence Bk Miller, the guitarist, Kenckck akc Hussain; (his 2g) “By the time I got to ings ond doing three ‘ond then | began mediting My life changed. | got my spiritual name, Mahavih P says McLaughlin, soon here in the whirhvind ecrly "70s Since [To |, not blind, but unseeing it was all experi ments. We had no idea about the future ramifications of what we were doing. We ‘were following our noses and following ‘our gut feeling Since the gt feelings ‘were strong, the volume went up. I had to get rid of an acoustic-electric guitar and buy a solidbody, because [Tony] was killing me. A Fender Mustang—that all Thad the money for. Iwas playing for 20 Ducks a night, just geting by. IFT had to survive with Lifetime I wouldn't have, Larry and I wer MAHAVISHNU ORCHESTRA Birds of Fire (Cunt, 1973) Mahavishnw (Orchestra was from the beginning a phenomemon. The second record is, always difficult when you have a successful frst record, and our first record was very successful, The record company had expectations ‘One thing you should take into account| John McLaughlin “JACO THOUGHT HE WAS GONNA DIE THAT DAY IN THE CONTROL ROOM OF CBS. TONY [WILLIAMS] WAS FURIOUS. HE DIDN'T TOUCH [JACO], BUT TONY IN ANGER WAS A VOLCANO IN ACTIVITY. .»» TONY WENT IN AND DESTROYED HIS DRUMS IN THE STUDIO. [LAUGHS] AND WALKED OUT.”feel it. People cal it truth, or sincerity Bis had it It was after Birds of Fire when | believe we suffered from too much com. is of Fire had it because the band mercial success and personalities began to change inthe band, Plus, was on my trip. The guys were drinking, there were lots of girls, and I was doing my medlta tion and yoga, and maybe that irritated them, Because I wasnt hanging out with the guyss was hanging out with the roadies. They were more fun, in a way: That’ just the way it was But I did want them to start meditating: I didnt care what they did. Why should they care what I do? There was a great deal oflove in the band—it was just too much suc 23s, to0 much money. JOHN MCLAUGHLIN/ JACO PASTORIUS/ (luna /Legary re. 1979, The first person Jaco ao Pastorius came to = see in New York was Ee, and we jammed 1) foster ask tui]. He found sme and asked me for 20 bucks to fix a lat—money I never got back! [laughs] He walked in and sid Tm Jaco Pastorius, the greatest bass player in the world” Isai, “Ob, Ike the ‘way you talk Lt’ play" And we played and it was marvelous. tld him, "If dint have a great bass player already Td hire you” But I called Tony Williams that night and suid, “See if theres something you can do with this guy Jaco, because hes amazing, Within six months Joe Zawinul had snatched him up, fired Alphonso Johnson and the est is history In 1979 we were booked for the Ha vana Jam, and Jaco had already started his descent, So sad, But we went to rehears als, and the rehearsals were just amaz- ing. 'm so sad those rehearsals werenit corde So we played the Bay of Gigs [chuckles] but the performance was not good at al. Jaco went on a star trip, and musically it I, becaus o they were outstanding, was a bit of disaster The three of us are onstage, and all ofthe sudden Jaco, in the riddle of a C-minor blues, stars playing in A-major, real loud, and going up front Limes rock-star showboat ing. (Tony an] did what we could, as best as posible, and when we gt offstage, Jaco anys, You know, youre bad motherfuckee" And I sid“ have never ft 9 ashamed to be onstage... If never see you again ifs too soon” And all tbe ats and snc came out he betrayed To Tn the kind of guy jst ett all ut (speaks quiet] and | told him to fuck off. Bat Tony couldnt handle that, and he kept his an-— > na ge internalized, But CBS knew and they hore with the drum Could hear [the tapes] ofcourse. So CBS J : callstwo weeks ater and says,"Willyou mic" rin Blimere lst {ino the studio with Tom And [std “If Tony is ready to go, go because [felt nd me. So ind Jaco? ‘ meJT ESSENTIALS: Forgotten Fusion Classics Fusion was all he roge among creative musicians in he late ‘60s through the mid!70s, with open minded jazzers readily crosepolinating with similarly motivated rock players, Many projects spawned bigseling albums and tours, but here ara a few of the era's underappreciated gems. ‘THE ELEVENTH HOUSE Introducing the Eleventh House With Larry Coryell (lng, 170 Leary Coryell, whe hod geined aclaim via his work wih Herbie Mann end Gary Burton, used his searing leod gui ond unpredictable Rights of improvisation lead a group of Kaur sors inducing tumpter Rendy Brecker ond drommes Alphonse Mouzon, along wih pions Mike Mendel nd bossa Danny Tifa. The ambitious composiins ore akernatdly tippy and hinged to Free grooves informed by funk, rock and jazz. The psychedsiclearing tmospheris are enhanced by Cory’ experimental touches and Ereckarswewch; Opener ‘Bclinges” wh i pee nes cd srapefing frm 0 highligh that sl the fone forthe rest of he 10 racks. THE GARY BURTON QUARTET Duster ID ‘With the adelition ofthe fry guitar playing of young Larry Coryell vibcaphonis! Gary Burton offered music that came to be consideced « harbinger ofthe shape of fusion to come. The combination ofthe intense four:mllts vibes atack and the bite blues-edged guitr, driven by the rambuncious rhythms of bassist Steve Swallow (on upright, before his, switch fo electric} and drummer Rey Haynes, is infectious. Some tunes, ke Burton and Coryel’s “One, Two, 1-2-3-4," move ata breakneck pace, while thers, including Swallows “General Mojo's Welr-Laid Plan” sprawl gorgeously JOHN ABERCROMBIE/DAVE HOLLAND/JACK DEJOHNETTE Gateway (N19) ECM stondout quits John Abercrombie teomed with bossa Dave Hollend cand drummer Jack Delohnete both of whom hod pastcipated in Mile’ first tlecrc recordings, fo ast of highly interactive music (something of {low pte Abercrombie’ Titles te wes viewed ox roy Undlassiable and ofn challenging. Sains of free jazz ond roc-edged {sion ar itered throughout ther halt dozen tock, induding frenetic pieces ike Holland’ 11-minute “May Dance,” the Abercrombie/Delehnetie composition "Unshielded Desire” and the bests relatively lidback, uncitered “Weiting and “Jamala.” ‘THE NAT ADDERLEY SEXTET & RICK HOLMES Cannenball Adderley Presents Soul Zodiac 1972) Soul jazz, psychedelia, spocey rock, electronic textures and spoken-word readings by a los Angeles DJ combined fore double album that wes one of the mest offbeat enries ofthe fusion era. Eoch rack, named for on hea’ Kallax fans might even need space for reel-to-reel and cassette tapes, both of which are experiencing a minor renaissance among au- dio enthusiasts. You might also want to accommodate accesso- ries such as remote controls, record and CD cleaning products, and tools for adjusting a turntable cartridge Most media storage devices are designed to keep records and (CDs standing straight up. Tis is important with records because it helps prevent warping. CDs arent particularly heavy when stored in their jewel cases, but if youre storing records, the racks need to be strong, Thrce standard 12-inch records in their sleeves weigh about 1.3 pounds, so bundle of 300 weighs about 130 pounds, You will have to decide whether you want to conceal the diss or keep them in the open for easy access. Some audiophile prefer to keep their media racks in a state of mild chaos, with some shelves full and some partly empty; because a messy media rack can help break up sound reflections and prevent “flutter echo the rapid, an noying bouncing of sound back and forth between parallel walls. Play It Your Way Large jaz collections ae often best served by modular storage systems that can be combined t sit the user's needs— perhaps space for thousands of CDs and couple hundred ving records, Or vce versa, One ofthe nicest such systems Tve seen comes ftom Mapleshade «company that sells audiophile records and accessories. Is system lets you mix and match storage modules > le} The 606 Universal Shelving System by Visco; (ight) Ts Can-Am LP storage cabinety SYMBOL audio for whatever media you own, The coolest option isthe Fip-Thru Shelf, which lets you store records facing forward, so you can flip through them as you would in a record store. Prices vary depending ‘on finish and which and how many modules you choose; a basic system that holds 177 CDs, 100 Blu-rays and more than 300 records rns $645 in finished oak. If you prefer to keep your sides concealed, Can-Am offers a dis- rect but similarly flexible option—file-cabinet-style modules that ‘ean be stacked and combined with equipment racks. A two-drawer ‘module that holds 540 CDs, 240 DVDs or 300 Blu-rays runs $475; a module that holds 560 LPs runs $650. The styling ofthese rugged units appears rather industrial, but with 18 different stock colors available, its easy to lighten up the look, ‘The sleckest solution Ive seen comes from Vitse, whose Euro- style, minimalist systems lt you combine shelves and drawers in wall- mount or freestanding configurations, so you can accommodate discs ofall typesas well as electronic equipment. The company will ‘custom-spec a system for you ifyou send it photos of your space. A six-shelf system holding 372 CDs or 258 DVDs runs $912. Iyour taste in furniture iss elevated as your taste in musi, check out SYMBOL audio, whose products recall the beauty and style of Danish Modern furniture from the Kind of Blue era Symbols ccustom-configurable racks accommodate LPs, CDs, DVDs and ‘gear in Whatever combination you need. The coolest feature is tlt ‘out LP drawer that lets you view the spines of all your records from above, so you dont need to kneel down or use a flashlight to browse Your sides. A basic cabinet that holds 240 LPs runs $3,545. ‘Of course, some jazz lovers would rather spend their money on records or audio equipment than on media storage. Record collectors Jooking for stylish but affordable storage often rely on Ikea Kallax shelving unit. Each cubbyhole in the Kalla is 13 1/4 inches high, just right for LPs. The Kallax units arent sturdy enough tobe filled completely with LPs, but the $149, 16-cubbyhole model lets you store about 300 records on the bottom level and fill the other levels with CDs, DVDs, Blu-rays and knick-knacks. If your goal isto clean up the mess but keep the focus on the music, its a great way to go. JT Some audiophiles HE vreferiokeop their medic racks in a state of mild chaos, with some shelves full and some partially empty, because a messy media rack can help break up sound reflections and prevent “flutter echo"— the rapid, annoying bouncing of sound back and forth between parallel walls. cking record stem by Mapleshace2 Sound advice The Fixer RICHARD CO! By Thomas Conrad he four volumes of Sonny Rollins’ Road Shows are the ‘most important archival jazz releases ofthe new millen: rium. Until Vol. appeared in 2008, our greatest living jaza musician had not issued a representative record: ing in 40 years. The Road Shows albums finally documented ‘what his devoted fans had been avowing for years: that on his greatest nights in concert, Rollins could reach transcendence, a realm beyond music. The tenor saxophone solo on the very first track of the series, “Best Wishes,” is maniacal and sublime. Rollins powers through its 12-bae form 35 times in eight minutes, in waves, in towering arcs, And he’ just warming up. There are 28 more tracks to come > Engineer Yet Road Shows is a crapshoot. It spans 33 years, nine countries and 21 different ensembles, Most of the material atic sources like soundboard tapes, cassettes airchecks and audience recordings, The per: son who made these albums publishable is engineer Richard Corsello, who has been with Rollins since the late 1970s. For Road Shows, Corsello’s responsibilities included recording, editing, mixing, assembly, coproduction and “sound design” He spent hundreds of hours in his home studio cleaning up the original "work tapes” ‘The first obvious question is, why was all this labor neces comes from sonically probler sary? Why were there no high-quality professional liveCE “SONNY HATES TO RECORD, PERIOD,” CORSELLO SAYS. “AS SOON AS HE KNOWS HE'S BEING RECORDED, HE'S IN A DIFFERENT MINDSET. HE CANNOT STAND TO HEAR HIMSELE HE DOESNT LIKETO DO SOUND CHECKS. HE DOESN'T CARE ABOUT SOUND. HE CARES ONLY ABOUT THE IMMEDIATE PERFORMANCE.” remote recordings from Rollins’ concerts? ‘Sonny hates to record, period,” Corsello answers. “As soon as he knows he’ being recorded, he’ in a different mindset. He cannot stand to hear himself. He doesnt like to do sound checks. He doesn't care about sound. He cares only about the immediate performance” In the late 1980s, Corsello got a major concession out of Rollins, Soundboard tapes—two-channel recordings from the soundboard mix, output to DAT—became standard pro: cedure a his concerts. "When the tape was always rolling! Rollins has said, “I stopped thinking about it” But even the soundboard tapes have required Corsellos he says, beginning to define "sound design: ent right be very bright, or very bass-y: The soundboard mix is a ‘mirror image’ Sometimes there is no bass on my work tape. So I have to bring the bottom end up. But there area lot of ‘other things that might come up with it: could be trucks on the highway; could be somebody coughing. You deal with ‘out-of: phase conditions, maybe from a bad mic cable, So | have to correct for phase relationships, work with equaliza tion, edit out background noises and try to make different sonic environments sound consistent. also have to edit, ‘overlong solos by sidemen, and blend in applause to connect the tracks, to make them sound like one concert” Some sources were worse than soundboard tapes. ‘Disco expert work. "A soundboard tape is a mix for the how: The enviro Monk on Vol 4, came from a cassette wth serious wow and flutter Things improved in 2010, when Corsllo began travel ing witha 24-channel Pro Tools rig and made mulitrack recordings off the soundboard. “Then I could go back in my studio and mix them he ays. But so far the series has not drawn much from these superior multitrack sources Corsllos achievement, aginst all odds, has been to make all ofthis material listenable: He made it possible to choose tracks based on performance, regardless ofthe original sound. And many of the performances are epic, including the historic 22 minutes with Ornette Coleman on “Sonnymoon for Two" (Vol. 2) the torrential 24-minute outpouring upon “Why Was I Born (Vo. 3), and the spiritual power of In Sentimental Mood” (Vol. 4) PPE hoe The best news: Richard Corsello is sitting on a vast archive of Rollins concert recordings. "There's thousands of songs” he Il need work, but there’ enough for many more Road Shows albums. | expect it will keep me busy the rest of my life? JT says. “They GOING LIVE INVALUABLE RECORDING ADVICE FOR DEVELOPING MUSICIANS RICHARD CORSELLO IS UNIQUELY QUALIFIED TO give advice fo musicians tying to make thie own live recording mnie 0 close o he says. mics, Ina clb That includes ing directs and contact if you have overhead cymbal mies and the bass player is close tothe deur have bass coming into mer, you'te going the cymbal mic mic‘ing on each instrument. Then, to capture the envionment —the audience, the applause— d mix the hwo together. For recording, as well as for mixing, editing cand “buling,” he says, “Gel yourself as much Pro Tools as you can, and get a Reamp. I have a 2échannel Pro Tools 12, but if you can't do tha, there are 16 ind 8-channel versions. The Reamp isessenial. You can record a dire any instument with o ickup, with ro ambience, and you have tot mix. And there are now azing software you go k all kinds of cheap, ot kages for your laptop. All you need is an interface soGearHead sums Yamaha THR100H/THR100HD Modeling Amps Yamaha launched is THR modeling amps with Suited for wing ties o earning leks in the patio Now wth the THIRIOOHD (8799 nln) and THRIOOH (659) heads (and thei sold separately cabinets, the ine a peletage cad suds commande: At NAMI, the THRIOOHD. thats D for Dal seriously seed on Bong trpen fe tbe ye tnd to tel independent amp in ne Do for Switching or blendingand nevntagetbe- New From Gretsch Think Gretsch guitars are only for rockers, rockabilly cats and Nashlle session aces? Then you might want to check. ‘ut Freddie Green, Sal Salvador, Mickey Baker, Harry Volpe, George Van Eps, Brad Shepik, Bucky Pizzarelli or any ofthe other jazz masters who've taken up the brand’ instruments at one time or another. ‘This year isa big one >The G6119T for Gretsch, sits desire to make its products available at Players Editon every price point, as well sits wish to offer vintage esse Re flavor, contemporary features or sometimes both, has resulted in a grip of new guitars. Serious pickers will be interested in the Vintage Select series ($2,399 ~ $3,799 online), which faithfully recreates a selection of classic Gretsch instruments from the 1950s and 60s, Also of note is the new Gretsch Players Edition guitars ($2,199 $3,499), which modernize those ‘conic designs with selling points like shallower bodies for reduced weight and feedback, String-Theu Bigsby combo hassle. usa.yamaha.com tremolo systems for ess hassle and ‘more sustain, true-bypass tone pots that wont affect your signal, locking tuners and more sgretschguitars.com Roland Premium Accessories Aer ruling the keyboard, electronic drums and guitar effects markets, Roland recently announced a Tine of premium accessories: more than 100 products inall—everything feom two tiers of instrument, MIDI and mic eablesto keyboards bags and stands and even, aubarstool. Pechaps most important, the cables are guaranteed for life olandus.com Ernie Ball Music Man St. Vincent Signature Guitar Ernie Ball Music Man and indie-rocker St. Vincent—solo-guitar virtuoso Tuck Andress niece, FYI—may have created the first guitar whose design aims to accommodate the female anatomy. (As she weote on Instagram: "There is room fora breast. Or two”) We know, we know—but what is this ax doing in JazzTimest Well, St. Vincents monster chops lean toward prog and fusion flash, and this new instrument features the srt of quirky cool that has made the Fender Jazamaster and Jaguar a favorite among avant-jazz explorers. Digits African ma hhogany body, rosewood fingerboard with custom St. Vincent inlays, Schaller locking tuners, fve-way pickup selector with custom configuration and three mini-humbuckers. Hardshell ease is inluded. $1,899 online. musie-man.com saWee Sere POC RSMRevieWSauuaes 56 | Read our coverage of Pat Metheny/s historic concerts at the 2015 Detroit Jazz Festival > Art and entertainment: PAT METHENY THE UNITY SESSIONS (ne CUONG VU/PAT METHENY GUONG VU TRIO MEETS PAT METHENY oe Pat Metheny has long been IRUIEAS os MMA = £0" ist, but hes a guitar god with a definite and unabashed affinity for experimentation and the avant-garde, Two recent offerings from Nonesuch, The Unity Sessions and Cuong Vu Trio Meets Pat Metheny, veer toward ‘each pole of Metheny's identity while also underscoring the inside-outside thing he does. This nature of neatly ever isa complete mi The immersive DVD/Blu-ray program of the same name, rele Unity Sessions isthe audio of an d last year and recorded in a small New York theater sans audience, Think of it as live-in studio document that captures what was one of jaz’s best working units after a surplus of road experience. Metheny’s Unity Group, which flaunts some of the stadium-jazz ideals of the Pat Metheny Group while maintain: ing the elastic focus of a posthop band, boasts mighty personnel in saxophonist Chris Potter, bassist Ben Williams, drummer Antonio Sanchez, and utility man Giulio Carmassi, But the performances and sound provide the hooks here. (On tracks like “Roofdogs” its melody so strong it neatly seems visual, you can feel how thoroughly this group has learned to plot its drama, escal intensity and command a large house. Metheny is one of few jazz artists to program his shows with a veteran pop or rack ac nse of concert narra tive, and this double-disc follows suit, bookending powerhouse explorations with acoustic showcases like “Medley (listen forthe gorgeously refracted, teased-out take of “Last Train Home’) The auelo,at once airy and vita ike a live recording but centered and undis tracted like a studio one, is weirdly good; ‘on high-quality equipment The Un Sessions can come off lke the work of a boutique audiophile label. (On the second Nonesuch release, trumpeter Cuong Vu, a historically informed avant-gardist with a skill set wide enough for the Pat Metheny Group, invite his group with bassist Stomu Takeishi his former e ployer into and drummer Ted Poor. Moving from dissonance to consonance and from tedious to kinetic like the most effec: tive out-jazz does, Vu’ program shares Metheny’s knack for varied terrain— fom the sludge-metal evocations of ‘Acid Kiss” to the vibrantly ragged bop of "Not Crazy (Just Giddy Upping)* the new-music slog of “Tiny Little Pieces” and two fantastic examples of midtem- po siving with underground attitude, (On “Telescope” Metheny chases a solo with transcendently overdriven chords, like Sonie Youth in fll flower; on “Tune Blues” he caps the swaggering cut with a beautifully filthy, glitchy solo you'll need to rewind. EVAN HAGA GREG ABATE & PHIL WOODS WITH THE TIM RAY TRIO KINDRED SPIRITS: LIVE AT CHAN'S (ig ny) Depa 08 Ave. 11,2014, ite mote than a year before he PoP) exited our world, Phil | Woods got together with longtime colleague and fellow alto saxophone virtuoso G Abate at Chants in Woonsock: cut the tracks that make up this thoroughly entertaining two-disc live album. The emphysema that had dogged Woods for years was growing worse; you can see the oxygen tube running into his nose on the front cover photo, and the .on he doesnt play on two numbers: a lovely quartet version of “Angel Eyes anda droll trio take on Kurt Weill ‘Speak Low” —is because he just idait have the ang power for a fll set. Yet his m dampened. Betw songs, he even jokes to the audience that spirits hard his illness i “Mother Nature’ way ofsaying, ‘You've been playing too many goddamn notes. “The effusiveness of Woods’ soloing ‘on selections like “Steeple ddar’s Blues” indicates th: may have heard Mother Nature, he wasnit really listening. A similar torrent of ideas pours forth from Abate horn, and I cdo mean similar: Not only do the two players sound startlingly alike, but they also love repeating and answering each ‘others phrases, Pianist Tim Ray, bassist John Lockwood and drummer Mark Walker provide expert support and shine consistently in their solo spots. Something pleasant must have hap: pened between dises/sets one and two, because the mood of the album's second halfis lighter than the first There's an appealingly boozy imprecision to the {quintet readings of "ll Remember April” and “Moonlight in Vermont almost as if we were listening in on a party already underway. And why not celebrate? Phil Woods may be gone, but his big-hearted playing will always be with us, MAC RANDALL ANDY BROWN QUARTET DIRECT CALL sn) Thoroughly worthy ofits Johnny Hodges/Duke Ellington pedigree, in buoyantly swinging ways, “The Jeep Is Jumpin” kicks off guitarist Andy Brown's third recording for Delmark. There are several uptempo delights to come, enlivened by Brown’ fluid yet unfussy virtuosity. Swift propulsion and crisp breaks, courtesy of pianist Jeremy Kahn, bassist Joe Policastro and drummer Phil Gratteau, ‘complete the picture, In fact, throughout this session the supporting players provide alot more than routine accompaniments, asa brisk reprise of Johnny Mandel’ charmer “EI ajon” illustrates. A rhythmically nimble performance laced with quick exchanges, it ultimately proves a splen- did showease for Kahn, Ifthe quartet sounds like a working band, aware of its strengths and clearly practiced at the art of showcasing them, well, a lot of jazz fans in Chicago would be happy to confirm your suspicions Early on, though, Brown quietly reveals his gift for reviving ballads with lyrical warmth and blues-tinted lyricism while reprising “Prisoner of Love? with rng small assist from Policastro on arco bass. Familiar to admirers of his previous recordings, Brown's soulfully tender touch is also evident during other romantic interludes, notably Antonio Carlos Jobimis insinuating “Ela € Stil its not surprising that Brown chose Stéphane Grappell and Django Reinhardt’s “Appel Call (Direct Call)” as the album title track, since he takes such ‘obvious delight in its zigzagging lines, leaping intervals, Miles Davis-inspired ‘modulation and abundant verve, o say nothing of Gratteaus brush-stroke art istry: Appel encore! MIKE JOYCE BILL CHARLAP TRIO [NOTES FROM NEW YORK lisp!) Ws worth remembering that no artist is constantly obligated to reinvent the wheel, Sometimes, just ‘making a realy great wheel can be an accomplishment in itself. And while no one would say Notes From New York, the new outing from the Bill CCharlap Tro, represents a paradigm shift in the piano-trio canon, isan album of sich instrumental invention and brio that ‘teasily stands asthe year’s most purely delightful recording thus fa, Charlaps piano technique is sing lar and stunning in the way it weds ‘chiming, almost daint leaping, top-to-bottom keyboard a tack. If“muscular elegance” is not too ‘much of an oxymoron, isthe perfect phrase to describe the pianist’ ap: proach. His album-opening rendition of Tl Remember April” is a master class in fast-paced swing, drummer Kenny ‘Washington’ staccato rhythms driv- ing Charlap to ever-rising ingle-note explosions. “Tiny’s Tempo” bustles along with effortless flair, showeasing a bouncy solo from bassist Peter Washington, and. CCharlap lightly trips his way through "A, Sleepia’ Bee"; there, Kenny Washington’ shuafling brushes provide an unwavering companion on the journey But Chatlaps trio also brings consider able vitality and élan to Notes From New York’s moodier material. The pianists low-register block chords give “Make Me Rainbows" an admirable sense of ardor, with Peter Washington’ walking strings ‘adding just enough blues to the mis. There Is No Music” blends polished Se OR i a THUMBSCREW (Mary Halvorson, ‘Michael Formanek Tomas Fujiwara] Conal Tho werkof ee ooecve wh al hee players contin compestions od aking ‘equal esponsiiy for shaping the mis IPA, {ust Dia Say Something powerhouse Scandinavian quintet ploring the jogged onfous of x ‘hd feed eaung members of Atom The Tirg ond Mott THE CLAUDIA QUINTET ‘Super Petite ‘Ther eighlh CD pos the wit and vuoi Sslenes expec fam is caicall-aocaimed, proudly eccentc ‘nd no shri ime frames REZ ABBAS! & JUNCTION Behind the Vibration ‘Amodem, lc jazz album rm musicians ‘employing breath offences om jazz ‘Rbojond aswel os curen echnologies. Before you buy listn at: ‘cuneiformrecords.bandeamp.comReviews mums so refinement with a somber, minor-keyed | America), trumpeter-composer tenderness and darkly shimmering Etienne Charles sought out indigenous CCharlap glissandos. The whole affair people in the cities of San Jose in both closes with "On the Sunny Side of the ‘alifornia and Costa Rica, as well as St. Street” which Charlap, playing unac- Joseph (once called San Jose de Oruna) ‘companied, reinvents as a bittersweet in his native Trinidad, mining their ballad fll of longing and echoey empty respective musical cultures and spaces, But even when it’s tagging politcal histories. The common your heartstrings, Notes From New York thread—and inevitable theme of his is a luxurious, exquisitely pleasurable 12-song, 55-minute opus—is building experience. Charlap and his trio have community by retaining musical jgiven us a “wheel” that rolls on straight culture asa means of resistance to and true. MATT R. LOHR further conquest. In practice, for better or worse, ETIENNE CHARLES however, most of San Jose Suite is ‘SAN JOSE SUITE (uo Shat) not unlike previous Charles projects In theory, San Jose Suite is in its polyglot of progressive music pointedly geographical born out ofthe African diaspora, Armed with a grant from Experiencing happiness among the the Doris Duke Founda. residents on his visit to Cahuita, a tion (via Chamber Music 20 miles from San JD ALLEN AMERICANA: MUSINGS ON JAZZ AND BLUES (Soot) sits subtitle suggests, saxophonist-composer JD Allens Ameri- ‘cana has a distinctly personal slant, Nevertheless, this collection of trio performances, mostly inspired by Allens writing, is multifac- ted and richly hued. The pieces reflect a wide variety of blues and jazz traditions as well as pivotal connections, beginning with the reedimans evocative “Tell the Truth, Shame the Devil” Here Allen adroitly conjures the sound of early rural-blues guitarists who made a habit of introduc- ing tunes with a descending turnaround in thirds or sixths before reaching the tonic chord and embarking on a series of 12-bar choruses. Nearly all ofthe tunes ‘on Americana follow a harmonically skeletal outline, but asthe album unfolds it ‘becomes clear that Allen and his sessionmates are painting on a broad canvas, spacious enough to accommodate a colorful tapestry of sounds and moods, The latter encompass a sublimely soulful interpretation of Bill McHenry’s “If Youre Lonesome, Then You‘te Not Alone” and an expansive, emotionally cathartic rendering of Vera Hall’s vintage hit “Another Man Done Gone” Bassist Gregg August’ arco Iyricism and shadings are particularly expressive, and the support he and drummer Rudy Royston provide Allen never fails to inspire him or enhance the album’ power and al- Tre. Asa result, listeners needait be familia with Halls place in blues his. tory or recognize Ornette Coleman’ intermittent Influence to appreciate the deep resonance Allen and company bringto > "Power and allure JO Allen Americana, MIKE JOYCE Jose, enables Charles to pen another calypso, building intensity through braided percussion and Ben Williams rubbery bass. Odes to the indigenous tribes in Costa Rica ("Boruca") and California ("Muvekma") feature beguil- ing horn voicings beautifully permeated by Fender Rhodes (from Victor Gould), akin to what Charles did on his previous dise, Creole Soul. And depictions of his torial resistance—as on “Hyarima” and Revolt" —foster rumbling drums (from John Davis), agitated horns by Charles, and alto saxophonist Brian Hogans, and. some Santana-like fusion pyrotechnics from guitarist Alex Wintz ‘Gold Rush 2.0" hurdles further into fusion jazz to portray contemporary San Jose, Calif, as a high-tech magnet for wealth and potential income dispar: ity Then the band steps back to the late 20th century for the final three tracks featuring the spoken-word rap-song of Dr. Harry Edwards, a beacon of resis tance to racial and economic injustice asa student and faculty member at San Jose State. The funky, soulful jazz-rock Duttressing Edwards’ agitprop is vari: ‘ously reminiscent of the Midnight Band behind Gil Scott-Heron, and “Shaft” as Wintz works the wah-wah before Edwards proclaims, “There are no final Victories” BRITT ROBSON CHRIS CHEEK ‘SATURDAY SONGS (Sunil) Gp] A history ofthe pedal steel “oupony| guitar in jazz wouldnt SIGS) make much of a book. Basically, no one besides Buddy Emmons, Speedy West and a handful of others has ever played anything remotely jazzy on the instrument, Maybe that’s because its tveangy timbre is so closely with country music, In any case, that very foreignness to what we usually consider jazz must have had something todo with why tenor saxophonist Chris Cheek chose to hire Spanish peda steel player David Soler for his new quintet. sa bold move that works like a charm, Admittedly, things do sound litle wacky when Soler first swoops in on Sat- turday Songs’ opener, “String Finger” but you can blame cultural conditioning for 4 good part ofthat reaction, Before long, all those plangent glissandi fi in just fine. Ithelps that Cheek has written a bunch sociated,of nifty zigzag melodies, ike “Ginger Something” and “Bucky's Blues, that are often reminiscent of Steely Dan—a band fond of jazz changes and the pedal stel—but truth be told, Soler’s clastic comping sounds perfect on An- tonio Carlos Jobims “Forever Green,” to0, performing roughly the same role that a Hammond organ would, The open vistas suggested by Soler bring out Cheek’s thoughtfial side, while guitarist Steve Cardenas and bassist Jaume Llombart keep the grooves percolating alongside drummer Jorge Rossy, who triples ‘on vibes and marimba. The latter's creative stickwork is heard to best effect on the exotic-sounding title track, which incorporates a theme ‘employing Olivier Messiaen’ nine- note Mode 3 scale—probably the frst time a pedal steels played that, too. (MAC RANDALL CYRUS CHESTNUT [NATURAL ESSENCE lig) CChordal jabs, light fingered tills, cascading runs, robust turn arounds—no question: Pianist Cyrus Chestnut isin delightfully animated form when this trio session opens with the Joe Henderson boogaloo “Mamacita” And Chestnut isnot alone in reviving the slippery funk groove with a mixture of spirit, wit and soul, alongside two veteran collaborators, bassist Buster Williams and drummer Lenny White In the liner notes, Chestnut recalls thatthe entize album was made in scant four hours, “the fastest of my recording career” Yet the trio's interpretations of three classic ballads eave another impression altogether. “ItCould Happen to You" is rendered with leisurely aplomb by the trio Even when the focus is on Chestnuts ‘teeming chromaticism, his touch is rhythmically assured, and Wiliams enhances the performance with a stik ing, mood-altering interlude” I Cover the Waterfront” follows sit, boasting a frictionless brand of blues-tinted swing, while “My Romance” is hauntingly reprised—a now tender, now dramatic recital, as alluring as itis spacious Chestnut’ spiritual excursions are always welcome departures. His "Faith Amongst the Unknown” a prime example, brackets a stirring crescendo with an insinuating melody and an undulating pulse, Williams and White also contribute noteworthy tunes. The bassist offers the playfully kinetic “Toku-do” while the drummer provides the complementary ballad “Dedication,” which further il- lustrates the geoup’s lyrica finesse. As for the brash finale, sparked by Gigi Gryce’s "Minority it adds a couple of exclamation points—the trio performing at its muscular, exhilarating best, MIKE JOYCE ROXY COSS RESTLESS IDEALISM (i) “Tenor saxophonist Roxy Coss isa protégé of trum. peter Jeremy Pelt, and on the 10 original compositions that make up Restless Idealism, it shows, Among other things she shares with Pelt (who appears on two tracks) are fondnesses for elaborate linear melodies and shifting times, and an eagerness to play \with short-form conventions. SUMMIT Not that Restless Idealism is far ‘out: Actually its quite straight-ahead postbop. Coss and guitarist Alex Wintz do frontline duty over a hard-swinging rhythm section (pianist Chris Pattishal, bassist Dezron Douglas, drummer Willie Jones I). Some tunes ("Dorit Cross the ‘Coss *Push’) are even in standard song form, but Coss more often experiments, The dark, mellow “Perspective” has five strains, not counting the two four-bar bass passages in the middle; “Waiting” has a bridge, among six different A sec tions. The experiments dont al within the composition itself." is intially anything but, a fun midtempo plece—the tricky part comes with Jones! subtle shifts of syncopation, ‘The playing is stellar throughout, Coss has a pretty sound, drawn from the Dex- ter Gordon schoo! (but with a husky un- destone) that excels at evoking complex ‘emotions; “Waiting” blends frustration with mystery and adrenaline. Pattishall seems to have creative energy to burn, plus a desire to push atthe harmonic ys lie PrTREN Mien er ae aan erty 6 The Tony Monaco Trio Z J Chuck Loeb, guitar and Harvey Mason, chums =) & © organissimo © Mury Seymour of Killer B5° documentary 1S 0 Concerts, clinics, workshops VIP events AZZIMES.COM. 89Reviews mums borders Pelt’s two slots (‘Push” and “The J) FREDDIE HENDRIX Story of Fiona’) are blowing sessions, JERSEY CAT (Sis and he brings bright lines of compact, “The initial blast that melodie phrases. launches Freddie Hendrix’s Coss does show some weaknesses on solo on “St, Peter's Walk Restless Idealism. Melodically, she is 100 ©} serves as a shout that indebted to Pelt. Tunes like “Recurring SE. means business. The Dream? with its six-bar Bstrain and trumpeter frst heard the song on a Louis feints toward repetition, practically Hayes album that featured Woody Shas, strive for the trumpeter’ style. She and Hendrix’ rapid and concise solo also shies away from any harmonic pus him in league with his predecessor. adventure; there’ nothing wrong with Tt also sets the bar high for what will conventional jazz harmony, of course, come on Jersey Cat. but it odd that Coss evinces no flex- A strong leader, Hendrix has actually ibility to speak of. Nonetheless, Coss’ _spent more time working as a support sophomore effort finds her building _ player, in settings that range from the ‘on her considerable promise. Count Basie Orchestra to pop-R&B (MICHAEL J. WEST singer Alicia Keys and most recently with JANE IRA BLOOM EARLY AMERICANS (lt) “ow in the world i this Jan Ira Blooms first trio record? Nearly 40 years and now 16 albums into her career, the soprano saxophon- Pe Md ist has the pellucid tone and timbre that merit the sunlight and. we scrutiny of spare ensemble. Yes, there are two duo recordings on her résumé, from 1978 and 84, But with two longtime cohorts this time out—drummer Bobby Previte and bassist Mark Helias—Bloom has recruited a dynamic pair consonant with her conceptual smarts. Their textural splendor glisten the seams of the stitched-together melodic ifs that frequently ‘comprise her impressionistic compositions. Bloom’ playfully cerebral approach allows for a wide spectrum of moods and tempos. “Nearly” isa short but luminous tribute to Kenny Wheeler, enhanced by electronics that create subtle, ghostly atertones on her clear soprano. “Other Eyes” leads with a deliciously supple bass vamp from Helias and recalls a Bloom comment about “carving silence like a sculpture” on some of her songs. But “Hips & Sticks” canters with a West African groove and "Rhyme or Rhythm’ locks into a Latin blues funk amalgam, both tweaked by the trio’ jazz sensibility. Helias, who has known Bloom since the "70s is pi quant both thramming and on arco, while Previte provides the intimacy of brushes and hand percussion along with big beats and angular accents. Bloom again asserts her status as the preeminent soprano in jazz, via such highlights as the birdlike modula- tions of “Dangerous Times” the dulcet, low-end cooing that initiates “Singing the Triangle” or her solo tour de force on the closing track and lone cover song, “Somewhere? from >A “playfully cerebral approach West Side Story. BRITT ROBSON. Jane ra Bloom saxophonist Billy Harpers sextet, Jersey Cat operates within familiar territory, specifically the upbeat style patented by Art Blakey's Jazz Messengers. Within that style, Hendrix shows great promise asa composer and arranger. The session featutes a four-piece horn section with trombonist David Gibson, tenor saxophonist Abraham Burton and alto saxophonistfut {st Bruce Williams. Drummer Cecil Brooks II stokes the rhythm section that includes bassist Corcoran Holt and pianist Brandon McCune, Rather than turning the songs into blowing sessions, Hendrix keeps things concise with justa horn or two joining him on different tracks. Everyone i utilized in the themes, which often have distinct harmonic color as a result, “The Jour ney Man is one of the most unique originals, with a theme that features three blues choruses offset with a smidle-eight release. Readings of ‘You Dorit Know What Love Is Fred- die Hubbard’ "Hiubtones” (revitalized via.a hip-hop beat) and Horace Silvers “Peace” provide updates on the jazz canon, but Jersey Cats best moments ar- rive with originals lke “Madeira Nights; in which the ong romantic melody reveals the power of Hendrix’ tone. MIKE SHANLEY KEEFE JACKSON/ JASON ADASIEWICZ ROWS AND ROWS (lin) sem The duet is one of the Bp ema) Purest expressions in BED 222: unfiltered, unsullied Nea 26 confidential by its very nature, Tenor saxophonist and bass clarinetist Keefe Jackson and vibraphonist Jason Adasiewicz—regulars within Chicago’ AACM- inspired improvisational music cabal—wear the format well on Rows and Rows. They've been circling each other for mote than a decade, both having contributed to cornetist Josh Berman's 2009 Old Idea, another Delmark release, but this dialogue puts both players in a different space than they Its evident from the first 10 seconds of Jackson's "Caballo Ballo” that there's an instinctual compatibility between them. Adasiewic7s vibes are, for a full half-minute, redolent of an inces- ‘re customarily heard,santly ringing doorbell; Jackson tries his damnedest to coax his partner out of the endless loop, then figures if ya cant beat ‘em, join em. A most unusual and beguil ing call-and- respon ddance that ultimately breaks down into e ensues, a playful a morass of deranged percussion and squeaks before finding its way back. There’ much kooky fan to be had in its uunexpectedness Both ply ets, but Adasiewiez in particw: lar, delight in messing with anticipation, The vibraphonist loves the openness he gets from sustain and incorporates it liber: ally; he sly in the way he slips easly from intense onslaught to delicate exposition, (On "Cannon From the Nothing Suit.” another Jackson composition, Adasiewicz lays down a bed of reverb, then kicks back, allowing Jackson to hover with unchecked abandon. "Where's Mine” one of three Adasiewica tunes, is living proof that a bass clarinet can swing even in a quasi-avant ‘environment, and the vibes man's “Thunder Cooker” isa classic case of mutual respect and understanding be perfect for modern noir film, Rows and Rows feels like ‘hearty handshake, JEFF TAMARKIN MIMI JONES FEET IN THE MUD Git Ti) Bassist-vocalist Mimi Jones is joined here by soprano saxophonist Samir Zatif, pianist Jon Cowherd and ‘drummer Jonathan Barber, settling into a comfortable groove pitched midway between "70s-styled urban funk-jazz and straight-ahead swing. The opener, “Mr. Poo Poo, sets the tone, with Jones’ alternating rhythmic conceits prodding Cowherd’ uptown. lounge Rhodes spicings. Jones’ solo summons a Blanton-like melodic and tonal richness peppered with Pettford ian sktters and an ability to evoke, rather than state outright, the rhythmic theme (a knack she tosses back and forth with Bar ber during their exchanges). The melody line of "The-Min-or Way” (that’s THE: lonious, MINgus and ORnette) reflects Monk’ influence, as do the rhythmic and melodic contours of Cowherd’ piano solo, but Zarif sounds more like Coltrane at his ‘most ebullient (think “The Inch Worm? or ‘Your Lady”) than the untamable Ornette, and Jones terous as i s, does not aspire to Mingus tumultuous virtuosity bass work, propulsive and dex Jones' lyrics may be an acquired taste. “American” hauntingly invokes a mythic and the ancestral spirits that continue to nurture and bless the land; “Happ though, is an anachronistic sounding ode to infatuation ("I cant live without you/I can't breathe without you"), and Jones’ new-agey breathy, awestruck delivery on “Elevate river dei cconceits and distract from the musical virtuosity on display. More effective is “Applause” an clegy for saxophonist Rebecca Bux: ton, who committed suicide in 2015 despite its its meditative, even serene, tragic backstory. Tn general, though, its the straight- forward instrumental outings, acces sible yet artfully realized, that exem: plify this disc’ strongest suit: unforced dexterity and rhythmic sureness, with Jones alternately striding, popping and shimmying with deep-pocketed ease asher bandmates dance and glide with her—a colle spirit-infused celebra tion of music and life. DAVID WHITEIS. KRAKAUER'S ANCESTRAL GROOVE ‘CHECKPOINT (ble) Jamies The checkpoint of the title is a reference to the city of Berlin, where East used to meet West. I still does in David Krakauer’ clarinet playing, which has deep klezmer roots and arresting avant-garde blossoms. As heard most dramatically in this album’ solo showcase, “Synagogue Wail, Krakauer specializes in squeals, tells and insistent repetitions of notes, fractured lines that wont rest until they've fully wormed thet your consciousness—and do so with way into great success Elsewhere on Checkpoint, Jeremy Flower (a.ka. Keepalive) backs Krakau: er intensity with an array of loops: sometimes Jewish cantors in full cry sometimes bubbly hip-hop beats, often both. Sheryl Bailey tears things up on guitar, bassist Jerome Harris keeps the bottom funky, and drummer Michael Sarin interacts brilliantly with Keepal ive’ samples. Special guests include John Medeski, who contributes greasy organ to "Tribe Number Thirteen’; guitarist Mare Ribot, whose raging wah-wah solo isa highlight of “Elijah Walks In’; and accordionist Rob who punches out some lively licks on ‘Border Town Pinball Machine The eight studio-recorded tracks here are excellent, perhaps giving us an idea of what Ivo Papasov and his Bulgarian ‘Wedding Band might have sounded like if they'd gotten into electronica. But the final two pieces, cut live at the Stone in New York, out, A second version of “Tribe Number ‘much further Thirteen” misses Medeski’s keyboard ETcaa ice) eked Y ~ Memes eee) CR ETALa Reviews mums stylings but makes up for it with a much harder beat, And Krakauer’ arrange ‘ment of John Zorn’ "Tandal” is a stun- rer, opening with clarinet shrieks and ‘working up to a dizzying pitch-shifted solo by Bailey. MAC RANDALL ‘MIKE MORENO LOTUS (dct) Between Billy Strayhorn and Woody Sha, the Indian lotus flower adorning guitarist Mike ‘Moreno’ fifth albu hi quite the history in jazz, But Moreno's ‘music therein has more in common with the mythological Greek lotus— when consumed, it evoked a pleasantly dreamy, lazy state Lazy is perhaps the wrong word for Lotus; much of itis slow and delicately structured, but the end result suggests romance and longing more than lazi ness. Melodies tend toward simplicity, like the short, gentle repeats Moreno and pianist Aaron Parks double on “The Hill of Kykuit” or the oblong but equally gentle variations of “The Empress” The rhythms (courtesy of bassist Doug Weiss and drummer Eric Harland) and moods, meanwhile, tend toward .. well, gentleness. “Lotus” and “Can We Stay Forever" have grooves that hold on firmly, but still never rise above a whisper. It so permeates the album that it’ the deviations from it that one notices Primarily this consists of “Hypnotic,” which is anything but—a snippet of melody, again doubled by Moreno and. Parks, has potential to entrance but is almost immediately subsumed by an antsy; hip-hop-inspired beat from Har. land and Wess. (ts agitation spreads to Moreno and Parks’ respective solos as well; Moreno graduates from the long tones ofthe theme toa 16th-note ‘marathon, and the pianist becomes downright manic by the end of his improvisation.) “Blind Imagination,” something of a mellow jam session, has a drum line whose determination belies the tunes mellowness. Less glar- ing isthe closing of “The Last Stand,” ‘on which Harland and Moreno trade fours with increasing tension (and fade ‘out without release). There's energy here, but it’s burned off sparingly. The containment, though, isthe art—and as such Lotus is Moreno’ strongest ‘work yet. MICHAEL J. WEST NATIONAL JAZZ, ENSEMBLE FEATURING GERRY MULLIGAN NATIONAL JAZZ ENSEMBLE FEATURING GERRY MULIGAN (Gt Tie agen) Wherever Gerry Mulligan went, he seemed to have a litle spring in his step. Think of the classic moment in the 1957 CBS TV show The Sound of Jazz when he was one of an all-star crew backing up Billie Holiday on her slow blues "Fine and Mellow.” To be ‘more accurate, ia slow blues until ‘Mulligan’ baritone sax enters the picture; as soon as his solo starts, the thythm section goes into double-time. ‘That could have been a pre-rehearsed ‘move, but I've always preferred to think it was a spontaneous reaction to the innate bounciness in hs playing. Twenty years later, when this ive date was recorded at the New School in [New York, Mulligan was sill boune- ing. As he barrels his way through the ‘opening cut, “Back atthe Barn” one ‘marvels anew at how an instrument pitched so low can instantly lift lis- tener’ spirit so high, His best moments come on minor-Key tunes like “Israel” and “Idle Gossip." when he can tug against the more sour tonality with ef fervescent lines, creating a sound thats the definition of suave, ‘As great as Mulligan’s playing is, the band behind him—Chuck Israels! ‘National Jazz Ensemble, in its third and penultimate year of existence— is better represented on the three tracks toward the middle of the disc where the bari man sits down, “Bird Tapestry? a rollicking medley of CCharlie Parker tunes complete with mock-bird calls, isa special standout. ‘Trumpeter David Berger points out in the liner notes that a repertory jazz ensemble was a novel concept in the 70s, and the NJE played a major role in pushing that concept forwaed, Its both valuable and fun to hear this direct antecedent of Wynton Marsa lis Jazz at Lincoln Center Orchestra captured in such fine form. MAC RANDALL NOLATET DOGS Tso ei ‘MIKE DILLON FUNCTIONING BROKE (Isl Fi) Nolatets moniker implies their central location in the Big Easy. While that isnt unusual, the distinction comes from members who span four generations (the oldest a septuagenarian),all bringing different facets of music to the fold, Drummer Johnny Vidacovich and bassist James Singleton have played together so long, and with legends like Professor Longhair, they've become known as the best rhythm section in New Orleans. Pianist Brian Haas leads the adventurous Jacob Fred Jazz Odyssey, though they techni- cally began two states away in Oklahoma He and vibraphonist/percussionist Mike Dillon joined forces in the Dead Kenny. Gs, while Dillon has also played in Gatage A Trois. Together the group incorporates everything from second- line beats to flights of freedom in a brief (30-minute) set of originals. ‘The opening bars of “Bongo Joo" {quickly reveal why Vidacovich and Single- ton have earned such reverence. A crisp slapped bass ancl a beat straight out of ‘Mardi Gras parade give way toa piano line of Monk-like simplicity and verve. Behind it, Dillon colors the music further with an aray of percussion, including the tabla. A similar sprit shows up in “Mal- Jon Ball? where Haas plays his fingers in angular dissonance across the key, following a spirited vibes sol, The ack ‘of definite leader means that everyone’ personality comes acros in the music. But some ofthe compositions could use a litle more nuance or direction. Some- times Nolatet seems content to toy with stop-start dynamics when deeper writing could have inspired them further. Or they could have jst stretched outa litle more ‘on these songs Still, "Nails”is built largely ‘on abrief descending piano sketeh, and it allows them to devolve into a strong blast offre jazz, complete witha distorted upright bassline. If Dillon’ array of vibes, woodblocks and tablas sounds eccentric enough in Nolatet, he ventures even further on Functioning Broke, his solo album, He ‘overdubs vibes, marimba, timpani and anarray of other percussives on what must be the most unique set of jazz interpreta tions yet: six compositions by the late indie singer-songwriter Elliott Smith, Neil Young’s “The Needle and the Dam. age Done,” a Martin Denny chestnut and four originals. “The material by Smith adapts ver well to the setting. His songs take on a downright dreamy texture thanks tothe layers of shimmering notes, which at one point sound ke theyre emanating fom A Leslie speaker. IfDillon didnt bang the bars so firmly, Young’shaunting anti-drug message might also sound ike a Martin Denny track But his attack maintains the song’ urgency rather than going for irony. Of the originals, the multi-sectioned Bachelor Pad” is the wildest, proving that its possible to create exotica for modern times. The most refreshing aspect of Functioning Broke isthe way that Dillon ‘constructs dynamic songs, instead of simply adding layers of percussion on top of riff, MIKE SHANLEY 0z NOY WHO GIVES A FUNK Wo lg) x. ‘Oz Noy may be one ofthe most talented guitarists around, but its hard to i imagine a les vainglorious album than Who Gives a Funk. The Israeli guitarist invited a slew of Alisters to join his group for 10 straightforward funk/R&B tunes rooted inthe 70s, A party record with mad skills, it plays like an homage to James Brown and his contemporaries ys tight band covers Brownis 1 Got You (I Feel Good)” with the help of saxophonist Chris Potter and brings aboard JBs veteran trombonist Fred Wes ley for “Come On; a Brown-like number punctuated by the fattest bass percussion you've everheard. John Medeski turns in a greasy Wuslitzer organ solo on back a tune marked by slippery key changes and deliberately misplaced beats Robben Ford adds his own guitar solo to ce Man,” and Dweezil Zappa does the same to “Daman This Groove” Half of the compositions are Noy’ and the covers ae twisted so much that they axe nearly new: Chatles Mingus’ “Better Git It in Your Soul” is slowed down and fankified (Randy Brecker adds trumpet), and Thelonious Monk "Five Spot Blues (featuring guitarist Joe Bonamassa) is ash: thickened and played asstraightup blues J ONE FOR ALL rather than bebop. The band rendition of) THE THRD DECADE (Sc Seis) Sam Cooke’ "A Change Is Gonna Come! Twenty years on (the however is thful it is Noy’ soulful solo album ttle, abit ofa that distinguishes it. Corey Glover, lead misnomer, indicates that singer ofthe rock band Living Colour, they're entering ther third leads thrilling cover of Jimi Hendeix’s decade), the sextet One for ‘Little Wing’ with soaring, almost seream- All defines—as much as any outfit ing vocals, Despite all the guests, Noy’s today—the contemporary supergroup: vision and super’ musicianship keeps saxophonist Eric Alexander, trumpeter Who Gives a Funk together and moving. As Jim Rotondi, trombonist Steve Davis, you will be, STEVE GREENLEE pianist David Hazeltine, bassist John What inspires the people who inspire you? Tene ee eed ete re aC Oe CU Grammy nominated jaz pinis/vocaist Judy Carmichael talks with celebrated creative aris from Seth MacFarlane to Robert Redford about their love for Jar and how it inspires them, Deere dt a eC a HOM 0 ae) € sae CSB fore aeons Pers = Ce re Siu 1-800-TV-RADIO col prrceony 6Reviews mama Webber (the most recent addition—he joined a decade ago) and drummer Joe Farnsworth are all consummate pros who never lack for work; most are leaders in their own right. They don't attempt to reinvent the wheel, or anything else for that matte, but they dont need to Initially inspired by Art Blakey's Jazz Messengers, they've long since stood on their own, steadfast and ceaselessly pleasurable, if not particu larly innovative ‘The LI tracks on The Third Decade— remarkably, their L6th release in that 20- ‘year span, albeit the first since 2011— BRAD MEHLDAU TRIO BLUES AND BALLADS (loss) include compositions by each band ‘member, and a safe cover—Rodgers and Hart’ “Its Easy to Remember” There isnt cone in the bunch that’s executed less than ‘masterfully. The majority of tracks are imbued with requisite swing while nod- ding considerately to hard-bop conven: tion. The sole ballad, Alexander's "Ghost Ride” is soulful and debonair. The Third Decade offers up what One for Al recordings always have: artfully framed and efficiently performed solos, skillful arrangements and unforced cama raderie, When they cook, as they do most impressively on Alexander’ “Frenzy” and x Brad Mehldau is one of jaz’ most sensitive interpreters of son, ith a rare gift for puting his own stamp on a composition without betraying its soul. That gifts on ample display throughout Blues Brrr and Ballads, the frst new rel trio with bassist Larry Grenadier and drummer Jeff Ballard ein four years from the pianists Blues and Ballads’ seven tracks lean heavily in style toward the latter. Grenadier and Ballard provide “I Concentrate on You" with a bossa-nova backdrop over which Mehldau builds, almost imperceptibly, from a near: classical lilt to an impassioned plea, The pianist’ stirring just-behind-the- beat melodic reading gives “These Foolish Things (Remind Me of You)” a breath-catching power, and the trio brings similar majesty and warmth to a pair of Paul McCartney compositions. The Beatles’ ‘And I Love Her” pro. Vides grandly shifting dynamics, Ballard’s vivid intensity hand-in-glove with Grenadier’s almost hushed undertones, and on McCartney's "My Valentine? Mehldau evokes a clanging saloon piano before delivering an impossibly tender a cappella bridge. Ofte two blues tracks, Charlie Parkers “Cheryl” isthe album's most striking showcase for the band asa unit, Mehldau handles the jagged melody with verve, Grenadier answers with Insouciant funk, and Ballard constructs a bedrock of thuddingly insistent bass drum and hissing cymbals. "Since I Fel for You" offers arguably the purest blues Mehldau has ever played, dragging along with bittersweet grit over Grenadier’s round-bellied bassline. ‘And of course Mehldau is skilful enough to know when to stand back and let great songwriting do the work. For sometime Mehldau collaborator Jon Bri oni “Little Person, the pianist just gives us the melody, almost childlike in its simplicity, and wholly heartbreaking. Its impact isa testament not just toa great composition, but tothe taste and talent. of the man playing it. MATT R. LOHR > Among “jazz's most sensitive inter preters” Brad Mehldav, flanked by larry Grenadiar le) ond Jef Bollard Davis’ “Daylight” the sextet invariably finds the sweet spot where individual aptitude has no problem bubbling to the surface while the aggregate is laser-focused on crafting a fully formed ‘group statement. "For Curtis” Rotondi tribute to trombonist Curtis Fuller, naturally provides a showcase for Davis! ‘expertise on the instrument but goes beyond that to welcome solo spots by the other horn players and pianist Hazeltine. Webber and Farnsworth, contribute one composition each, Babataytay” and “Hey, Stevie Dy respectively te first of which brings a bit of fank and the latter a touch of the blues. They may not come around as often as they used to, but One for All still ha plenty to say. JEFF TAMARKIN ARUAN ORTIZ TRIO HIDDEN VOICES (a It would be easy for Arun Ortiz to take the well-trodden Latin-jazz 1] piano-trio path, and there ae times on Hidden Voices when he goes there. It seems nearly def though, a if the Cuban-born leader, working here with bassist Eric Revis and drummer Gerald Cleaver, wants listeners to know that he i well aware ‘of his roots but has no intention of being confined to them. Ortiz is too restless a composer and improviser for that. 1s telling that, ofthe non-original Ontiz tracks on Hidden Voices, one isa Thelonious Monk tune (Skippy") and the other a medley of two by Ornette Coleman (“Open or Close” found on the eponymous 1979 Old and New Dreams album, and “The Sphinx”) Apropos, because those fellows are Ortiz’ most obvious and consistent reference points the igzagging, shape:shifting rhythms the fractured harmonies; dynamic, helterskelter U-turns. Ortiz enjoys leading the rhythm section down a road, only to see where they go when he plls the rug out from under them. Invariably they're up tothe challenge, and just as adept at affecting deflections of their own, But isnot all about that, ether. Following the opening punch of the twisty “Fractal Sketches” the smol- t when he doesdering “Caribbean Vortex/Hidden Voices? the Ornette medley and the brooding "Analytical Symmetry” Ortiz breaks things up with the two-part “Arabesques of a Geometrical Rose,” the first a solo contemplation sub: titled “Spring” the second a largely ceven-tempered trio piece, "Summer, spotlighting Revis. “Joyful Noise something else altogether, the kind of freeform randomness, punctuated by much-appreciated spaces, that might ‘occur if you let a bunch of feral cats loose in your rehearsal room and allowed them to walk all over your instruments, “17 Moments of Liams Moments (or 18)” the most purely Latin-esque number (albeit less than two minutes of it) and another solo piano run, "Uno, Dos y Tres, Que Paso Mas Chévere” (the other cover, ered: ited to Rafael Ortiz), round out this grab-bag of good ideas consummated admirably. JEFF TAMARKIN THE POWER QUINTET HIGH ART tli) No new ground is broken here, but this set from trumpeter Jeremy Pelt, pianist Danny Grissett, vibraphonist Steve Nelson, bassist Peter Washington and drummer Bill Stewart—cast solidly in a straight-ahead postbop framework— is spiked with the pleasure that comes from music created by gifted improvis cers at the height of their powers, just as the musicians themselves obviously derived both joy and inspiration from being in one another's company. Pelt delivers his trademark blend of satin tone and blues-toughened linear thrust over the tightly wound swing of his bandmates; Nelson negotiates complex patterns, alternately circular and quickened with scurrying leaps, angles and switchbacks, propulsive yet relaxed. Stewart's drumming makes, judicious tse of space and silence as well as polyrhythmie dexterity, and. Washington lays down a steadying landscape, breaking free at appropriate times to contribute lithe, sure-fingered solo statements On the ballad "But Beautiful,” Nelson's dexterity and speed seem to enhance, rather than detract from, the contemplative moods Grissetts solo is structured primarily around chords that eventually break into a gently weaving single-note lin, finally giving way to Washington's resonant bass solo, Pelt evokes a stark romantic isolation, both creating and filling an otherwise uninhabited space. Things get alittle more taut and adventurous on “Sage,” on which Nelson prances and quicksteps like a tap dancer and Grissett, echoing Nel sonis percussive dexterity, supports his own single-note explorations with wide-spectrum chordal blends. “Mr Wiggleworm” is likewise challenging with its variegated rhythmic pattern and interweaving lines, as the in. strumental voices alternate between tunison and counterpoint, Plt, in full Mies-ian mode, turns up the heat so gradually you almost don't notice until it’ at full bol, his tone opaque and rounded as always but infused with smoldering fire. DAVID WHITEIS ALEX SIPIAGIN NEW PATH 2 (isa) In the 25 years since Alex Sipiagin emigrated tothe United States from Russia, he has become an Aclist New York trumpet player. As sideman or leader, his work is consistent. He aways brings it. On his new album he plays with typical fierce intelligence. But New Path 2 a failed experiment. ‘Many of today’s players think that difficult chord progressions and misplaced basslines and, especially, straight eighths, sound modern. It is teue that straight eighths, by foregoing conventional swing, can turn time abstract. But the issue with this record is not harmony or ‘meter. Sipiagin’s rhythm section (Misha Tsiganov/Boris Kozlov/Don. ald Edwards) generates powerful free energy without walking bass or swinging cymbals. Tsiganov speaks Fender Rhodes fluently. The problem is Sipiagin’ idea for a singer. He uses the voice of Hiske Oosterwijk as a second frontline instrument. Oosterwijk, from the Netherlands, puts Es Sipiagin’s tunes, Her stilted, grandi ‘ose lyrics sound forced into his lines. 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