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What was Minstrelsy?
Charlie Christian Rocker
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 CINDY NICHOLS
Contents AUGUST/SEPTEMBER 2016

features
BASIC TRAINING:
WHAT WAS MINSTRELSY? 18
Lee Evans examines the beginnings,
evolution, and lasting impact of
the minstrel show on jazz and the
perception of African Americans in
popular culture.

SPOTLIGHT:
FRED HERSCH LIVING THE BIG
MOMENTS 20
JAZZed speaks with the eight-time Grammy nominee
and acclaimed pianist, composer, and educator about
the moments that have shaped his musical life and his
thoughts on jazz scholarship.

If I play a chord change I dont like,

FOCUS SESSION: nobody will die.
ROAD MAP TO LATIN JAZZ
STYLE INTERPRETATION 30
A step-by-step approach to arriving
at a more specific understanding of
Latin jazz.
departments
EDITORS LETTER ........... 4 GEARCHECK ..................38
OUTLIERS BLUES:
NOTEWORTHY ................. 6 CLASSIFIEDS .................43
CHARLIE CHRISTIAN
ROCKER 42 MARCOS VARELA Whats AD INDEX .......................43
Steve Futterman shares his love of on your Playlist? ............16
BACKBEAT .....................44
Charlie Christian, the guitarist who
JAZZFEST WORLDWIDE ..26
first introduced him to the world of
jazz. HOT WAX ........................34

Cover photo by Matthew Rodgers

JAZZed Volume 11, Number 4, August/September 2016, is published six times annually by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14-J, Las Vegas, NV 89119, (702) 479-1879, publisher of Musical Merchandise Review, School
Band & Orchestra and Choral Director. Standard Mail Postage Paid at Las Vegas, NV and additional mailing offices. Subscriptions to JAZZed are available through our website, www.jazzedmagazine.com/subscribe. JAZZed is distributed to the music trade
by Hal Leonard Corporation. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND MILITARY FACILITIES: send address corrections to JAZZed, PO Box 16655, North Hollywood, CA 91615-6655. The publishers of this magazine do not accept responsibility
for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. Copyright 2015 by Timeless Communications Corp., all rights reserved. Printed in USA.

2 JAZZed August/September 2016

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editorsletter CHRISTIAN WISSMULLER

Perpetuum Mobile August/September 2016

Volume 11, Number 4

I
n this issues Focus Session installment, James Dreier provides
an excellent primer on interpreting Latin jazz. Its a particularly
PRESIDENT Terry Lowe
timely piece, given the very recent launch of Mega Nova, Car- tlowe@timelesscom.com
los Santanas new group featuring no less than Herbie Hancock,
GROUP PUBLISHER John Pledger
Wayne Shorter, Marcus Miller, and Cindy Blackman Santana.
jpledger@timelesscom.com
While Im aware that some purists will understandably balk
at the notion that Santanas recorded and live output to this point Editorial
has ever truly been jazz, Latin or otherwise, I can anecdotally EXECUTIVE EDITOR Christian Wissmuller
attest that the early recordings of Santana (the band) absolutely cwissmuller@timelesscom.com

served as a gateway drug for many of my fellow students when I was at Berklee. MANAGING EDITOR Sharon Paquette Lose
Be it Carlos Santana or other artists who embrace Latin jazz and variations on that sharon@timelesscom.com
genre, what I find interesting and important is how relatable this particular form of jazz is
ASSOCIATE EDITOR Mike Lawson
to, shall we say, the uninitiated. mlawson@timelesscom.com

Art
We should all celebrate any movement or artist ART DIRECTOR Garret Petrov

gpetrov@timelesscom.com
which exposes the multitudes to jazz culture.
PRODUCTION MANAGER Mike Street
mstreet@timelesscom.com
As Steve Futterman writes in this issues Outliers Blues column, where he discusses
GRAPHIC DESIGNER Angela Marlett
how Charlie Christian was his portal to jazz and how, prior to that exposure, the music was amarlett@timelesscom.com
difficult to embrace: jazz was still downright scary. Despite the fact that Clapton et al were
also relying on improvisation as a primary tool, jazz seemed altogether mystifying to me. Advertising
Why is it that so many first become introduced to jazz via Latin jazz? Is it the even- ACCOUNT MANAGER Matt King
eighths rhythms, the emphasis on percussion? The ostinato patterns of Afro-Cuban jazz? mking@timelesscom.com
The popularity and familiarity of bossa nova and/or samba? The sense of perpetual mo-
ACCOUNT MANAGER Dave Jeans
tion conveyed by the strong, fast-moving rhythm? djeans@timelesscom.com
Whatever the case, and whatever the reasons, in this age of diminishing media expo-
sure (lets just concede that Whiplash was an anomaly) we should all celebrate any move- ACCOUNT MANAGER Matt Huber
mh@timelesscom.com
ment or artist even one who may seem mainstream which exposes the multitudes
to jazz culture. GREATER CHINA
All forms of music are constantly in flux, in motion. Judy Wang
Worldwide Focus Media
I bring the above points up because, as fascinated and excited as I was about this new C: 0086-13810325171
jazz-rock supergroup being fielded by Carlos and his pals, I almost immediately started E: judy@timelesscom.com
hearing from those who felt that it was some sort of money-grab on the part of the real
Business
jazzers (Shorter, Hancock) and that it, shouldnt be classified as jazz.
VICE PRESIDENT William Hamilton Vanyo
That type of close-mindedness prevents any growth of the culture and perpetuates the
wvanyo@timelesscom.com
notion of jazz musicians and aficionados as being aloof and snooty.
In a recent interview with Rolling Stone, former JAZZed cover-subject Herbie Hancock CIRCULATION MANAGER Naomi Crews
ncrews@timelesscom.com
explained: Carlos is a big jazz fan, a big supporter of the music. With his heart, he honors
jazz. But its not just words; its also his deeds. This is the kind of action that hes taken to
include jazz, because he has so much respect for it, and he respects Wayne and me as
we respect him: as a musician, as a storyteller in music. Nobody can deliver a melody like
Carlos.
If its good enough for Herbie, man, then its good enough for me. I look forward to 6000 South Eastern Ave., #14-J
hearing this new project and welcome any developments which bring new initiates into Las Vegas, NV 89119
the fold. 702-479-1879
Fax: 702-554-5340
Perpetual motion, folks

RPMDA
JAZZ EDUCATION NETWORK

Christian Wissmuller
cwissmuller@timelesscom.com
4 JAZZed August/September 2016
 HANDCRAFTING
GUA RA N T E ES
O L D -W O R L D C H A R M .
L AS E RS GUA RA N T E E
PERFECTION.

R E I N V E N T I N G C R A F T S M A N S H I P F O R T H E 2 1 S T C E N T U R Y.
 noteworthy
Sabian Names Chen as PASIC Scholarship Winner
Yang Chen of Toronto,
Ontario, has been named
winner of the 2016 Sabian/
PASIC Scholarship, which
offers full-time Canadian
percussion majors the op-
portunity to attend the Per-
cussive Arts Society Interna-
tional Convention (PASIC). In
addition to the all-expens-
es-paid travel to PASIC, Chen Yang Chen
will also receive a ticket to the PASIC Hall of
Fame reception, a PASIC T-shirt, and a one-
year membership to PAS.
Having recently completed her third year
at the University of Toronto, Chen is working
on a Bachelor of Music degree in percussion
performance. In addition to playing in the U
of T Percussion Ensemble and Wind Ensem-
ble, Chen has also played with the Toronto
Youth Symphony Orchestra, the Queens
Own Rifles, and has freelanced with sever-
al other Toronto based orchestras. She has
also been involved in musical projects such
Young Receives Oscar Peterson Award
Singer, composer, and guitaristKar-
en Youngis the winner of the2016Os-
car Peterson Award, presented by
the Festival International de Jazz de
Montral.
Young is the 28th artist to receive
the Oscar Peterson Award. The prize
was created on the 10thanniversary of
the festival in 1989 to salute a Canadi-
an musician who has made outstand-
ing contributions to jazz.
Young has embraced a number of
styles, languages, and eras in her art.
She grew up in Hudson, Qubec, and
was a member of The Bug Alley Band.
She and double bassist Michel Donato
created a number of projects, with the
duo winning a 1988 Flix award and
a JUNO nomination for Jazz Album
of the Year, Contredanse. In 2008, she
won the Flix for Best Classic Vocal Al-
bum forme, corps et dsirand the fol-
lowing year, she and sidekick ric Au-
6 JAZZed August/September 2016
as R. Murray Schafers Apoc-
alypsis with the Luminato
Festival in 2015.
Chen has a keen interest
in music education and has
taught at the Toronto District
School Board Music by the
Lake summer camp and at
the Mill House School of Mu-
sic, a Toronto-based music
school. As a soloist, Chen has
performed in masterclasses for renowned
percussionists such as Colin Currie, Dan
Moore, Nebojsa Zivkovic, and Alan Abel. In
the spring of 2016, Chen was a finalist in the
Orchestra Toronto Concerto Competition.
Chen will return to U of T in the fall to
complete her undergraduate degree and
begin auditioning for graduate percussion
programs. Outside of classical percussion,
Chen is very interested in ethnomusicol-
ogy and is currently pursuing tabla and
steel pan.
sabian.com
clairlaunchedlec-
tro-Beatniks, an
album crossing
jazz with spoken
word. Young has
also been part of a
number of groups,
including a jazz Karen Young
trio with Normand
Guilbeault and Sylvain Provost, a clas-
sical trio with Jose Lalonde and Vlad-
imir Sidorov, and a folk trio with Nor-
man Lachapelle and Paul Boudreau.
As recipient of the Oscar Peterson
Award, Young follows in the footsteps
of noted artists such as Jim Galloway
(2015), Diana Krall (2004), Kenny Wheel-
er (2003), Lorraine Desmarais (2002),
Moe Kofman (2001), Charles Biddle
(2000), Maynard Ferguson (1999), Guy
Nadon (1998), Vic Vogel (1992) and, of
course, Oscar Peterson (1989).
montrealjazzfest.org
Welcome JENs
New President
Jazz Education Networks (JEN)
new president Caleb Chapman,
posted a message in July on theJEN
website entitled, How I Joined and
Eventually Became President of
a Wonderful Organization called
JEN. In it he details his initial meet-
ing, seven years earlier, with JEN
co-founder, Mary Jo Papich.
Chapman
describes him-
self as a young
educator and
musician with
a specific per-
spective on
jazz music: To
me, jazz music
r e p r e s e n t e d Caleb Chapman
improvised music that embraced a
wide variety of styles and cultures.
While I loved the music of jazz leg-
ends, I also was very interested in
upcoming artists who pushed the
envelope of the music and rede-
fined the genre something that I
feel must be present for any art to
survive. In his journey to member-
ship with JEN he discovered that the
organization did not disappoint his
desire to reach a new generation of
listener and engage a thriving jazz
arts community.
Now, seven years later, says
Chapman in his letter, I find myself
enthusiastically assuming the office
of president for JEN, following the
awesome work of my predecessors,
Mary Jo Papich, Lou Fischer, Andrew
Surmani, and Bob Sinicrope four
of my heroes. To say I have big shoes
to fill is certainly an understate-
ment. They each have contributed
their individual talents which have
brought JEN to the place it is today
a global leader in jazz education
and advocacy!
jazzednet.org
noteworthy
ISC Announces Panel of Judges
The International Song-
writing Competition has an-
nounced its panel of judges
for the 2016 competition.
Included on the panel are re-
cording artists such as; Chris
Cornell, Lorde, Tom Waits,
Sara Evans, Bastille, Hardwell, India Arie,
Joe Bonamassa, Ziggy Marley, Ricki Lee
Jones, Donovan, and more.
Also included on the panel are pres-
idents, CEOs and A&R reps from Atlan-
tic, Warner Bros., Sire, RCA, Glassnote,
Island, Razor & Tie, Sony Music Latin,
Interscope, Concord Label Group, War-
ner Music Nashville, Alligator, Wind-Up,
Provident, Capitol, Black River, New
West, Virgin/EMI, Word, and more.
Entries are open now via ISCs on-
line platform or through the mail. ISC is
open to both amateur and professional
songwriters and offers 23 categories
for artists to enter. A total of 71 winners
share in more than $150,000 in cash and
prizes including an overall Grand Prize
consisting of $25,000 and much more
in merchandise and services.
Past winners have included: Vance
Joy; Bastille; Gotye; Lindsey Stirling;
Kimbra; The Band Perry; Andrew Bird;
Passenger; Gin Wigmore; Missy Higgins;
King Charles; For King And Country; and
more.
ISC sponsors: Adam Professional Au-
dio, Berklee College of Music, CAD Au-
dio, Celebrity Access, DAddario, Dark
Horse Institute, Disc Makers, Gauge Pre-
cision Instruments, Gig Salad, LANDR,
Lowden Guitars, Marshall, Musicians In-
stitute, Sessions, and SongU.com.
songwritingcompetition.com
Jazz Fest Honors Indianapolis
Native Wes Montgomery
The annual Indy Jazz Fest returns in
2016 with a 10-day lineup celebrating
Indianapolis native and Grammy Award
winner Wes Montgomery (1923-1968).
Indy Jazz Fest will be in venues all-
around town Sept. 15-24, featuring per-
formances at the IUPUI Campus Center,
the historic Madame Walker Theatre,
Indiana Landmarks Center, Christel De-
Haan Fine Arts Center, Indianapolis Cen-
tral Library, Main Street in Speedway,
The Jazz Kitchen, and Chatterbox Jazz
Club.
Wes Montgomery is a shining exam-
ple of Indianapolis rich musical legacy,
said Indy Jazz Fest director David Allee.
Wes music and innovations are a rite of
passage for any jazz musician and along
with his talented family and the commu-
nity of Indiana Avenue musicians, their
music brought forth a revolutionary
sound that is emulated and celebrated
worldwide to this day.
indyjazzfest.net

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8 JAZZed August/September 2016

of artistry and scholarship with deep
musicianship skills and entrepreneurial savvy.
Eastman graduates emerge as leaders in their
respective disciplines, have created their own
professional opportunities, and are shaping the
future of music.

For application information visit

esm.rochester.edu/admissions
noteworthy
Juilliard Jazz Announces 2016-17 Season
Juilliard Jazz, under the leadership of
Juilliard alums Wynton Marsalis, director,
and Aaron Flagg, chair and associate di-
rector, has announced its 2016-17 season
featuring the Juilliard Jazz Orchestra in
five concerts, Juilliard Jazz Ensembles in
nine concerts, and the Juilliard Jazz Art-
ist Diploma Ensemble in two concerts.
Guest conductors and coaches this sea-
son include Bill Charlap, alumnus Etienne
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10 JAZZed August/September 2016
Charles, Dave Douglas, Jon Faddis, Vince
Giordano, Sherman Irby, Eric Reed, Frank
Vignola, Dr. Michael White, Juilliard Jazz
Director and alumnus Wynton Marsalis,
and Juilliard Jazz faculty members James
Burton III, Andy Farber, Carlos Henriquez,
and Dan Nimmer
Juilliard Jazz ensembles play more
than 50 on- and off-campus performanc-
es annually, including international tours
bruce langton
PHOTO BY JOE MARTINEZ
and perfor-
mances at Diz-
zys Club Co-
ca-Cola at Jazz
at Lincoln Cen-
ter and the Blue
Note. This fall,
Juilliard begins Wynton Marsalis
a new collaboration with the Zinc Barlo-
cated in Greenwich Village. Another add-
ed event on the Juilliard Jazz calendar will
be a piano master class series with pianist
Eric Reed, who will focus on accompany-
ing the jazz singer, and pianist and faculty
member Kenny Barron, who will focus on
solo and trio playing.
Juilliard Jazz continues its relationship
with Jazz at Lincoln Center (JALC), and
several JALC members will be joining Juil-
liards faculty, among them, saxophonist
Ted Nash, pianist Dan Nimmer, trombon-
ist Elliot Mason, drummer Ali Jackson, and
bassist Carlos Henriquez, an alumnus of
Juilliards Music Advancement Program
(MAP). Juilliard alumnus, drummer Ulysses
Owens Jr., will join Juilliard Jazz as an en-
semble coach. In addition, senior staff at
JALC will be teaching jazz business cours-
es to help Juilliard students learn about
the music business from the experts.
juilliardjazz.edu
Seventh Annual Sunset
Jazz at Newport
The producers of the Newport
Beach Jazz Party, Joe Rothman and
John McClure, together with The
Jazz Cruise
& The Con-
temporary
Jazz Cruise,
present
their 11-
week series
of Wednes-
day nights,
which began on July 6 and concludes
on September 14, at the Newport
Beach Marriott Hotel & Spa.
Taking place in the Rose Garden of
the Marriott, Sunset Jazz at Newport
will present performances starting at
6:00pm and concluding at 8:30pm.
sunsetjazzatnewport.com
 LETS GO JAZZ
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noteworthy
DAddario String Recycling at XPoNential Music Fest Lgre Contest to Award
DAddario re-
Limited Edition Mouthpiece
cently provided Kits to Five Schools
two string recycling Lgre is giving five schools 20
boxes backstage limited edition mouthpiece kits.
at WXPN/Philadel- Go to legere.com/win to enter as a
phias XPoNential bandmaster. Contest closes August
Music Festival pre- 31, 2016. Open to all bandmasters in
sented by Subaru the U.S. and Canada, excluding Que-
this July, allowing bec. One mouthpiece kit includes: ei-
all the artists to ther an alto sax or BH clarinet mouth-
deposit their used piece, either an alto sax or BH clarinet
strings on site. In Lgre synthetic reed, one premium
DAddarios quest to ligature, one mouthpiece cap, and
recycle 300,000 strings by the end of and upcycle instrument strings. Cur- one mouthpiece cushion. The value
2016 (having already reached 50,000), rently, municipal recycling systems of 20 kits is roughly $4,850 each for a
this will help get the word out to not in the United States do not accept total value of $24,250.
only the artists playing, but guitarists instrument strings because of the legere.com
nationwide. DAddario has been a pi- metals and alloys they are made from.
oneer in sustainability for decades. Approximately 150 million pounds
From environmentally responsible of strings end up in the landfill every
packaging to a robust tree re-planting year. However, with Playback, in part-
program, DAddario is further elevat- nership with TerraCycle, artists at this
ing their environmental commitment years XPoNential Music Festival were
in 2016 by introducing Playback, a able to recycle their used strings.
safe and independent way to recycle daddario.com

CAN A CITY
MENTOR
A MUSIC
STUDENT ?
Change begins
with a question.
What will you ask? At The New School, we question conventional music
education. Thats why we draw on a teaching network of
more than 400 leading musicians to connect students at
the School of Jazz with NYCs contemporary music scene.

Dissolving the boundaries between school and city,

students engage in internships and community
partnerships that empower them to experiment,
collaborate, and thrive as 21st-century performing artists.

Discover more at newschool.edu/jazz.

Photo by Michael Kirby Smith / Equal Opportunity Institution

12 JAZZed August/September 2016


1. Repertoire
Any recordings by Count Basie, Duke
Ellington, Buddy Rich, Stan Kenton,
Thad Jones and Mel Lewis, Sammy
Nestico, Jimmy Heath, and older
recordings by Benny Goodman or
Fletcher Henderson, one of Bennys
chief arrangers. Once your ensemble
has shown an ability to interpret
the masters in a convincing manner
its very necessary to have music by
contemporary composers and arrangers
in your book as well. Jim McNeely, Maria
Schneider, Bob Mintzer, me, etc. There
are too many great charts being created
and published today to mention. I think
its very important to have a balance of
the old and the new.
2. Instrumentation
I understand the desire is to be
all inclusive but, doubling parts is
counterproductive to your goals for the
understanding of blend, and individual
responsibility to the group sound. Its OK
that everyone cant be in the group. To
me, that promotes motivation to become
a part of what is a smaller and elite
ensemble.
Jazz Band
Essentials
with Bobby Watson
3. Style 5. Mouthpieces
Listening is the most important I feel that the saxophones need a different
component in learning how to swing or setup for jazz band more than the brass
how to play any style of music. I think players. Everybody is different, but, I
directors should encourage listening and play the new Vandoren V16 8S+ with an
spend time with their ensemble listening Optimum Ligature and JAVA Green #3s.
to the charts that they are working on, Brass players who play at a certain level
and classic recordings by the masters usually have a good fundamental sound
mentioned at the beginning of this article. that will transfer to a jazz ensemble.
There are books on articulation, Lennie Playing with dynamics, and concept is
Niehaus has some time-tested books on always the biggest hurdle.
swing articulation but nothing replaces
listening. It is really on the director to
lead the band into the areas of sound and
concept that most of the young folks today
are not so familiar with. Some things are
timeless and will benefit students for the
rest of their musical lives no matter which
direction they pursue. Listening to swing
is one of them. This applies to budding
soloists as well.
4. Time
While the rhythm is keeping time, even
on one chord, have the band pat their feet
on 1 & 3 together while snapping their
fingers or clapping their hands on 2 & 4.
We are told that the hip way to count is Vandoren V16 mouthpieces are
on 2 & 4 but that is only the top part of available for soprano, alto, tenor
the beat. Ive seen many great players over and bari saxophones. Java reeds are
the years that pat their foot on 1 & 3, the available for soprano through bari sax.
strong beat. It keeps you grounded and it Optimum ligatures are available for all
also helps with sight reading. The 2 & 4 is clarinet and saxophones.
still there.
noteworthy
Roland Hybrid Experience Summer 2016 NAfME 2016 Lowell
The Roland Hybrid Experience Sum- Mason Fellows
mer 2016 is an in-store experience that This past June, the National Asso-
allows drummers to learn about, explore, ciation for Music Education (NAfME)
and experience hybrid drumming first- honored five individuals as this years
hand. Roland U.S. worked in close con- Lowell Mason Fellows. This distinc-
junction with DW (Drum Workshop) and tion is designed to recognize the ac-
Sabian to place custom hybrid setups in complishments of music educators,
25 dealer locations across the U.S. Drum- music education advocates, political
mers can visit any of the locations to sam- leaders, industry professionals, and
ple hybrid drumming and ask questions. others who have contributed to mu-
rolandus.com sic education.

PHOTOS BY MARK FINKENSTAEDT

Vic Firth Launches #LiveToPlay
Vic Firths #LiveToPlay campaign aims
to bring the drumming community to-
gether by celebrating all aspects of music
making, including the many sacrifices and
hardships that might come along with it.
A short-form documentary and respon-
sive website inspire participation by high-
lighting relatable stories from everyday
drummers. The campaign will grow over
the course of the year to include partici-
pation from Vic Firths worldwide roster of
endorsers, as well as the companys own
employees. Drummers are encouraged to
show the world what being a drummer
means to them by posting their stories
using #LiveToPlay on Instagram. Vic Firth
will share their favorites with the drum- Arizona state executive Massachusetts executive
David Waggoner director Michele Holt
ming community. Follow the #LiveToPlay
movement online at www.vicfirth.com/
livetoplay and on Instagram under the
#LiveToPlay hashtag.
vicfirth.com

NAfME Deputy Executive Directors Jane Mell Balek and

Christopher Woodside

Jerry Bergonzi Ethan Iverson The 2016 Lowell Mason Fellows

Ran Blake Tony Kadleck are: Jane Mell Balek, NAfME deputy
Luis Bonilla Jerry Leake executive director, and Give a Note
Frank Carlberg Brian Levy Foundation executive director and
Anthony Coleman John Lockwood
CEO; Edwin E. Gordon (deceased),
Dominique Eade Cecil McBee
researcher, teacher, author, editor,
Billy Hart Donny McCaslin
and lecturer; Michele Holt, execu-
Dave Holland John McNeil
tive director of the Massachusetts
A faculty which will inspire, mentor, Music Educators Association; David
and collaborate with you. Waggoner, state executive of the Ar-
Jason Moran izona Music Educators Association;
Joe Morris and Christopher B. Woodside, NAfME
Rakalam Bob Moses deputy executive director.
Hankus Netsky
Bob Nieske
Ken Schaphorst, chair
Brad Shepik 2016 CD Baby DIY
Miguel Zenn
Musician Conference
CD Baby is holding a DIY Musician Con-
ference September 30 to October 2 in sup-
port of indie artists with panels such as,
How to Find Success On Your Own Terms
with CD Baby jazz artist Nicholas Payton.
Learn more about our jazz program at necmusic.edu/jazz-studies. They will be hosting an open mic for at-
tendees at Chicagos Bottom Lounge.
diymusiciancon.com

14 JAZZed August/September 2016

 noteworthy
Jazz at Lincoln Centers Coca-Cola Generations In Jazz
From September 1 through October 2, Dizzys Club CocaCola
will host the seventh annualCocaColaGenerations in Jazz Festi-
val featuring nearly 200 musicians. In keeping with tradition, the
festival will feature artists spanning three generations with pro-
gramming honoring iconic musicians and composers as well as
emerging artists and bandleaders. figures and showcase some classic, classy singers. Were also start-
This years festival features a plethora of jazz masters that ing a new series Big Band Mondays that will highlight some great
span the styles of jazz while showcasing some of our musics fin- large ensembles here in New York City. If you love jazz, youll want
est rising stars, said Jason Olaine, Jazz at Lincoln Centers director to be here many, many times in September.
of programming and touring. For 32 days, well salute legendary jazz.org

Perrico Presents Master

Class Featuring New
Phaeton Models
Las Vegas trumpet/flugelhorn artist
Dave Perrico and his ensemble, Pop Strings
Evolution, recently presented a master
class featuring two new Phaeton models at
Family Music Center in Las Vegas.
The two new Phaeton models featured
were the PHT-LV 1200 Trumpet and the
PHTF-LV 2800 Flugelhorn. More than 60
visitors, educators, and players were in
attendance. Perrico demonstrated both
horns and explained the new features of
each in detail.
DePaul offers an
out-of-the-classroom
experience that is
really essential to a
performing musician.

LEARN FROM THE WORLDS MOST

PROMINENT MUSICIANS.

Dana Hall / Director of Jazz Studies; Chad McCullough / trumpet

drums and cymbals
Bob Palmieri / guitar
Scott Burns / saxophone
Ron Perrillo / piano
Dennis Carroll / bass
Bob Rummage / drums and cymbals
Tim Coffman / trombone
David Perrico playing a Phaeton PHT-LV 1200 Trumpet Bradley Williams / history and theory
The LV trumpet, designed by Perrico, Bob Lark / trumpet
has a conical design whereby the bore Thomas Matta / arranging
size at the piston cluster starts at .460 and and composition
graduates to a .470 beyond the main tun-
ing slide. The PHTF-LV 2800 Flugelhorn GO TO MUSIC.DEPAUL.EDU/FACULTY-STAFF TO DISCOVER WHO WILL HELP YOU BUILD YOUR FUTURE.

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in a hand-finished brush brass and a cus-
musicadmissions@depaul.edu depaulschoolofmusic @DePaulSOM
tom designer case. Perrico has been an
endorsing Phaeton artist since 2010.
phaetontrumpet.com

August/September 2016 JAZZed 15

playlist MARCOS VARELA

WHATS ON YOUR PLAYLIST?

BY CHRISTIAN WISSMULLER

PHOTO: LAURA MERAZ

Bassist Marcos Varela is one of the young bright lights on Marcos Varelas
the NYC jazz scene. A native of Houston, he attended that citys striking debut record-
renowned High School for the Performing & Visual Arts, where ing, San Ygnacio (Or-
his fellow alumni include Jason Moran, Robert Glasper, Eric Har- igin Records), traces
land, Chris Dave, and Beyonc. his roots back to the
Varela arrived in NYC to continue his studies at the New historic Texas town
School, leading to performance opportunities with a wide where his family has
range of artists including George Cables, Billy Hart, Clifton An- lived and worked on
derson, Jason Moran, Geri Allen, The Last Poets, the Mingus Big the same ranch since
Band, Kendrick Scott, Billy Harper, and Tyshawn Sorey, among the 18th century. The
countless others. He has also composed music for several film powerfully compel-
and TV projects, including director Domenica Cameron-Scors- ling recording features Varela with
eses film, Roots in Water. Varela has performed at major jazz veterans George Cables, Billy Hart, and
festivals in Monterey, Belgium, Germany, Switzerland, Canada, Clifton Anderson alongside a crew of
Italy, Slovenia, and New York City, as well as at jazz clubs like exceptional younger players.
Dizzys Club Coca-Cola, the Jazz Standard, Birdland, The Blue Marcos Varelas debut album, San Ygnacio (Origin Records),
Note, and many more. was released on March 18, 2016. www.marcosvarelamusic.com

1. Kenny Barron Book of Intuition Joni Mitchell; I had been aware of it, but hadnt checked out
I love this record and I love this the music much. Jacos playing on Dry Cleaner from Des
trio, having had the pleasure of Moines really hit me on this record, as well as the version of
seeing them many times live both Goodbye Pork Pie Hat.
as a trio and with Dayna Stephens,
(who appears on my album San Yg- 4. Don Ellis How Time Passes
nacio). They are so tight and Kenny Ron Carter has been a mentor
has been one of my favorite pianists since I was a young mu- of mine for some time and recent-
sician and I listened thoroughly to his work with Stan Getz, ly I was going back through some
his Live at Bradleys record, and the Night and the City duo of his earlier work and I stumbled
record with Charlie Haden. across this record. It caught my at-
tention as it had Charli Persip on
2. Tony Williams Believe It it, as well. Charli was actually the person who introduced
I had listened deeply to Tony me to Mr. Carter after I had been working in Charlis trio
Williams work with Miles Davis, and big band. The pianist on the record, Jaki Byard, had
and his band in the 80s with Bill passed by the time I got to NYC, but I had known of Byards
Pierce, Wallace Roney, Mulgrew music and playing for some time after being introduced
Miller, Bob Hurst, and Ira Coleman, to his music during a clinic in my high school days by fel-
but I hadnt gone deeply into his low Houstonian Jason Moran. He was one of Jasons early
70s music and the lifetime band. Recently I played on a gig teachers in NYC. I have since become a huge fan of his work
with the great Antoine Roneys band and, to and from the especially his record Heres Jaki (with Ron Carter as well). I
gig, Antoine showed me this music and I was in awe. I loved had mostly known Don for being an avant-garde musician
Tonys writing, concept, playing, and how he put a band to- and film composer, most notably on the famous movie, The
gether. A deep study in a master of modern music. French Connection; Im a big fan of great films and scores,
and have composed for film myself, (Director Domenica
3. Joni Mitchell Mingus Cameron-Scorseses Roots in Water, John Carlinos Green-
Upon a recent viewing of the wich and 11 th). I thought it would be an intriguing [album],
new film, Jaco (thanks to my friend and it most certainly is. Compositionally its very interest-
and fellow bassist, Felix Pastorius), ing harmonically and metrically, at a time when I feel that
I was (re)introduced to the period wasnt a common experimentation in jazz. Everyone shines
in which Jaco worked a lot with and Jaki Byards solo on A Simplex One is simply amazing.

16 JAZZed August/September 2016

5. David Bowie Black Star
Being a fan of Bowie since child-
hood it was a no-brainer for me to
get this the day it came out. Sadly,
Bowie died shortly after its release
I was actually listening to this record
when I heard the news. Such an influ-
ential human and musician, and this record doesnt skip a beat.
Every song is a gem, and its a classic record already. Also the
choice of musicians is top-notch. Bowie always picked some of
the best musicians on the scene to play on his records.
6. Don Sebesky Giant Box
Super interesting date with an all-
star cast of musicians with amazing,
beautiful arrangements that dont
let down. Freddie Hubbard is in top
form on Free as a Bird, and Paul Des-
monds beautiful sound on Sound to
a Seagull is haunting and gorgeous. I love the recorded sound
Creed Taylor gets of Ron Carters bass, and the playing and ar-
rangements are just top-notch.
7. Emily King The Switch
Ive been fan of Emily and her
family for some time. She comes
from a family of super-talented mu-
sicians and artists. This record, pro-
duced by Jeremy Most, is some of the
most beautiful music that is being
made today, in my opinion. Beautiful songs, lyrics, arrange-
ments high artistry is at work here. Dont miss out on this one!
JAZZed is the PREMIER MAGAZINE about jazz and jazz
education that you do not want to be without.
JAZZEDMAGAZINE.COM/SUBSCRIBE
8. Hamilton Soundtrack
Leslie Odom, Jr. (who plays Aaron
Burr in the Broadway production,
and is included on this original cast
recording) hired me to play with his
band prior to the opening of Hamil-
ton on Broadway, so Ive been aware
of the buzz around this musical for a while. Ive now seen the
show a couple of times, and I was blown away by the perfor-
mances and the songwriting, and by Leslies performance in
particular. Its by far one of the most inspiring musical theater
performances Ive ever seen but it even goes beyond that
genre. Its just an inspiring musical performance. If youre in the
NYC area dont miss out on your chance to see it with (most of )
the original cast.
9. Sam Cooke Tribute to the Lady
My dad was always a huge fan of Sam Cooke, so I have very
fond memories of hearing his music growing up. If youre a fan of
his, this tribute album to Billie Holiday is one to pick up. His phras-
ing, voice, and feel are just amazing, as always. I wish there were
more recordings of him singing the American songbook like this.
10. Logan Richardson Shift
This Blue Note debut of Logans is some of my favorite music
being made today. To me, Logans playing and writing is so for-
ward thinking and fresh, yet retains all the soul and history of
where the art form (jazz) comes from a reason I had to include
him on my record date. The all-star cast on his record includes
Jason Moran, Pat Metheny, Nasheet Waits, and Harish Raghavan
and they do great justice to Logans music, and this record will
be a classic for years to come.
GO ONLINE TO SUBSCRIBE:
August/September 2016 JAZZed 17
basictraining

What was
Minstrelsy?
By Lee Evans

he book JAZZ by Scott DeVeaux and Gary Giddins (W.W.

T
the entire system of segregation that was pervasive in the South
Norton) provides a succinct, clear explanation, insights, and at that time. Depicting blacks as natural-born musical talents did
an overall picture of minstrelsy, or the minstrel show. Any- at the same time, of course, demean them as individuals whose
one who has ever taken a course in jazz history has come across musical accomplishments, rather than being earned through as-
this fascinating topic, along with dance music referred to as cake- siduous and extensive practice, were inherited through some sort
walk. But I am of the impression that the general public hasnt the of mysterious black gene.
vaguest idea of that dismal mid-1800s period in American history
when minstrelsy emerged, especially shortly after the Civil War. A Double Deception
The only paying audiences for music being created by blacks As unbelievable as it may sound, after Emancipation, many
at that time were well-heeled whites, since blacks, in the main, black performers also wore blackface makeup as a kind of double
were so poor that they couldnt afford to hire black musicians to deception in the context of imitating whites who were imitating
play for them. As DeVeaux and Giddins put it, black people real- blacks.
ized that they could perform their blackness for money, so they
began dancing and singing and doing comedy skits in the streets The Image of the Happy Slave
for whatever coins might be thrown in their direction. White per- Incidentally, the cakewalk dance mentioned earlier in this ar-
formers closely observed these black performers and, accompa- ticle was a dance performed by black plantation slaves who were
nying themselves on banjo, began imitating them. mimicking whites dancing at their plantation parties; the best
In New York in 1843, a group of white musicians known as the black performers in this dance contest winning a cake as a reward
Virginia Minstrels began putting on shows that purported, to de- for their humorous expertise at mimicry.
pict the culture of plantation slaves. To more effectively achieve When minstrelsy finally died out after the first decade of the
that goal, these musicians wore blackface makeup that exagger- 1900s, vaudeville shows emerged variety shows that featured
ated facial characteristics they believed were typically those of singing, dancing, comedy, juggling, acrobatics, et cetera which
black people, such as large continued to depict blacks
mouths and eyes. (To get a Nobody seemed to care or even notice that these in a stereotypical manner,
clear picture of what that stereotypical depictions of blacks in effect constituted and featured such out-
may have looked like, one
need only rent the 1939 Al
racial slurs. standing black performers
as comedian Bert Williams
Jolson film Swanee River, in which singer Jolson wears blackface and the amazing tap dancer Bill Bojangles Robinson, among oth-
makeup. The movie itself is a fictional biography of early Ameri- ers. Also, movies depicted stereotypical black culture with such
can composer Stephen Foster.) Another popular 1840s minstrel well-known white stars as Mickey Rooney, Judy Garland, and Bing
group, The Christy Minstrels, have been credited with establishing Crosby performing while wearing blackface makeup, as well as Al
the typical song/dance/slapstick minstrel show format. Jolson in blackface singing the song Mammy in the 1927 film, The
Jazz Singer. Radio also presented black stereotypes, characters
Jim Crow who employed pseudo-black dialect, in the highly popular show
According to the Jim Crow Museum of Racist Memorabilia at Amos n Andy. Regrettably, these depictions were the principal
Michigans Ferris State University, a white minstrel show actor mechanisms through which white America viewed black culture.
named Thomas Dartmouth Daddy Rice (1808-1860) performed An article in Wikipedia says it quite well in the following: The min-
solo skits based on a stereotypical black character named Jim strel show played a powerful role in shaping assumptions about
Crow. Rices highly exaggerated performance manner was, mostly, blacks. However, unlike vehemently anti-black propaganda from
based on showing blacks as lazy darkies and as natural-born mu- the time, minstrelsy made this attitude palatable to a wide audi-
sical talents whose behavior was nonetheless childlike and buf- ence by couching it in the guise of well-intentioned paternalism.
foonish. The name Jim Crow eventually became the catchword for At the time, however, nobody seemed to care or even notice

18 JAZZed August/September 2016

 basictraining

that these stereotypical depictions of blacks in effect constituted Musical Precursors of Jazz
racial slurs. Even trumpeter Louis Armstrong, by consensus the Next, historically speaking, there emerged a social-dancing
most important creative figure in the entire history of jazz, pre- craze among the white population of America; featuring, for ex-
sented blacks in a negative image in a short-subject film with his ample, dances such as the Charleston. Syncopated songs for these
singing of the racially stereotypical song Shine while covered dances, as well as the music of ragtime, were unquestionably of
in soap bubbles and wearing a leopard skin. Some, however, in- African American origin, and were significant precursors of the art
cluding authors DeVeaux and Giddins, viewed Armstrongs per- and practice of improvised jazz. My article on The African Origins
formance as undermining from within. In their book JAZZ, they of Jazz in the March 2012 issue of JAZZed discussed this important
say: This may strike us as outrageous, but blacks of the time thor- aspect of jazz history in considerable detail.
oughly enjoyed Armstrongs inventive humor, knowing that the
sound of his trumpet and the witty authority of his vocal delivery Lee Evans, Ed.D., is a professor of
dispelled racist absurdity, turning it into something approaching music at NYCs Pace University.
an act of defiance. If stereotypes could not be exploded, they His most recent books are the so-
could be undermined from within. lo-pianoClassics With A Touch Of
All I know, however, is that when I show the extremely infor- Jazz (Hal Leonard), consisting of
mative biopic videotape, Satchmo, to my jazz history class every twenty-seven famous classical rep-
semester at NYCs Pace University, I cringe when that particular ertoire pieces to which Dr. Evans
scene comes on the screen; and I can only hope that my students has applied subtle jazz touches,
are able, during that scene, to view Armstrong and his unique and the acclaimed foundation the-
musical genius and gifts from the more positive angle of under- ory/performance workbook,Crash
mining from within, rather than his merely having succumbed Course In Chords (Hal Leonard).
to the realities of the movie-making business at that moment in Dr. Evanss next book, due to be
time when this film was produced; a time when blacks, if they ap- published early Fall 2016, isStarter Classics(Stipes Publishing.) For
peared in movies at all, did so exclusively in subservient roles. additional information, visit www.leeevansjazz.com.

August/September 2016 JAZZed 19

spotlight
Fred Hersch
by Bryan Reesman
E
ight-time Grammy Award nominee and jazz maestro Fred
Hersch is having some big moments in his life. It is late
May when I speak with Hersch, and the lifelong pianist
and composer has just won Pianist of the Year at the 20th an-
nual Jazz Journalists Association Jazz Awards (he also won in
2011) and was bestowed the week before with a Doris Duke
Artist Award. On the following weekend, he will receive an
honorary doctorate from Grinnell College, where he began his
undergraduate studies. On top of that, he feels that his latest
solo album, Solo, and the Fred Hersch Trio album, Sunday Night
at the Vanguard, are his best works in both of those formats;
this coming from a man who has released 32 albums (not in-
cluding duo or benefit efforts).
Life is sweet.
Its been a pretty intense couple of weeks here, Hersch
declares as his JAZZed interview commences. Hes particularly
stoked about the Doris Duke Artist Award. Short of the MacAr-
thur, its the biggest thing you can get. The $275,000 prize,
which includes $225,000 for unrestricted use, certainly offers
some renewed freedom for him to try some new things. It also
gives you a lot of confidence, and its a huge honor and very
humbling, he adds. Henry Threadgill got one this year, and
Wadada Leo Smith and Dave Douglas. These are really artists
that I admire.
During the previous week, Hersch played his annual week-
long series of shows with vocalists at the Jazz Standard in
Manhattan, including his first ever performance with Cecile
McLorin Salvant. This has been a decade-long tradition from a
pianist who, unlike many of his purely instrumental jazz peers,
likes to play with singers. I love the sound of piano and voice,
I love lyrics, he says. I have longstanding relationships with
a lot of vocalists Nancy King and Norma Winston and Kate
McGarry and Kurt Elling, Rene Fleming. But I only play with
a singer in a duo. I dont play a trio backing up a singer. I just
20 JAZZed August/September 2016
Living the Big Moments
dont do that anymore. Its not something that interests me.
Consistently the ever-elegant pianist who makes difficult
passages sound like second nature to him (they probably are
by now), Hersch seems game for good challenges. He prefers
duos because he can orchestrate and is not playing somebody
elses arrangements. As much as possible, he wants to be an
equal partner with a vocalist. I love duos in general, he says.
Ive been doing this duo series for 10 years with probably 45
artists [in total].
Enjoying the Ride
Whether working, for example, with vocalist Janis Siegel
from Manhattan Transfer in 1989 (Short Stories) or trumpeter
Ralph Alessi in 2013 (Only Many), Hersch feels that it is hard to
pull off a duo. You have to dig deep and be very resourceful,
he explains. You have to listen well, and you have to be com-
patible. Not everybody Ive played with it at the [Jazz] Stan-
dard in 10 years has resulted a great evening. Sometimes it was
cool to play with that person, but I dont really need to do that
again. You take a chance and try something. Its only two sets.
The worlds not going to collapse if it doesnt work so well.
This last statement is indicative of a shift in attitude towards
his performances over the last few years. Hersch was diag-
nosed with HIV at age 30, and in 2008 was placed in a medically
induced coma after being hit hard with a highly virulent, undi-
agnosed case of pneumonia. By the time I got to the E.R., I was
in septic shock with organ failure and near death, he recalls.
He was in the coma for two months. It took him a while to fully
recover afterward, but he did, which is an amazing testament
to his strong willpower. Since that time, he has softened his
personal musical approach and chooses not to micromanage
things anymore.
If I play a chord change I dont like, nobody will die, he re-
marks without a trace of irony. I feel very present when Im
 PHOTO BY MARTIN ZEMAN
PHOTO BY VINCENT SOYEZ
playing not that I didnt in years past but there is really
no chatter in my brain right now like there used to be. Judg-
ment chatter. I was trying really hard, and of course in my 30s I
thought every record I was going to make was going to be my
last and I would be dead in a year. Thats a lot of pressure. Now
Im 60, Im in good health, and it looks Im going to be around
for a while, so I can just enjoy the ride. Ive been extraordinarily
lucky, and hopefully my luck will hold.
After the harrowing coma experience, the pianist composed
My Coma Dreams with librettist/directed Herschel Garfein, and
the live performances featured Hersch, a drummer, a bassist,
a four-piece brass and wind section, a four-piece string sec-
tion, and actor/singer Michael Winther, who played the roles
of Hersch, his partner Scott Morgan, and his doctor Michael
spotlight
Ligouri. The 85-minute work, the pianists most ambitious to
date including an integrated multimedia element, premiered
in May 2011 at Montclair State University, and a March 2013
performance at Columbia University was captured for DVD
posterity. It combined jazz with a little classical, with Winthers
vocal style echoing his musical theater background.
Performing the piece while Winther portrayed Hersch was
completely trippy, admits the composer. There I am, some-
bodys speaking my words and playing me three feet away
from me, and Im playing music that by all rights I should not
be alive to write. You cant describe what happens to me emo-
tionally when I do something like that.
The various dreams he experienced were depicted in differ-
ent ways; some musical, some theatrical, and one done as a
song. Garfein came up with the idea of giving the piece a time-
line, specifically from right before Hersch was rushed to the
hospital to when he came out of recovery, and he suggested
the idea of one person playing both the pianist and his partner.
I was working from his script, but I decided how I wanted to
musically deal with each dream and also how to make it an
interesting show for people, delineates Hersch. It was a fun
collaboration and certainly the most personal thing Ive done.
I think Leaves Of Grass was super personal, but this one was
closer to home.
Good Things Happen Slowly
Herschs dynamic career and life story make for good life les-
sons for aspiring young jazz musicians, and both a forthcoming
documentary about him (years in the making) and a memoir he
is penning for Random House (tentatively titled Good Things
Happen Slowly) for release next year will explore that. The ac-
claimed pianist/composer currently holds an artist position on
the jazz faculty at Rutgers University, where he teaches four
master classes per semester to the entire jazz department and
privately teaches five students.
Students come in and play, and then we deal with what
happens, Hersch says of his approach. Its closer to a psycho-
therapy session. Of course, I deal with the mechanics of piano
playing, sound, connection, and all those kinds of things. Im
not like, Take this, and learn it in 12 keys. I dont really do that.
He also teaches, a couple of doctoral students in composition,
so Im not just teaching jazz piano.
Last year, Hersch retired from a position at his alma mater
the New England Conservatory of Music [NEC] in Boston, where
he taught on and off for 35 years. It started many, many years
ago as every week, he explains. Then it became seven times
a semester, and at the very end five times a semester. There
were also plane flights and longer days. The NEC experience
is far more intensive for jazz students in his estimation. New
England [Conservatory] is arguably the best school for jazz and
creative music in the U.S. Thats a whole different level.
The 60 year-old musicians own educational trajectory spans
his entire life. He began playing piano at age four and started
studying theory composition at eight, so Ive been writing mu-
sic for a really long time, he says. He attended Grinnell College
in Iowa in the fall of 1971 where he was initially pursuing a lib-
eral arts education. He played some chamber music and took
August/September 2016 JAZZed 21
spotlight

PHOTO BY MARK NISKANSEN

a music class, but after a year and a half he left and returned to

PHOTO BY MATTHEW SUSSMAN

his hometown of Cincinnati where he began integrating him-
self into the local jazz scene and playing there for two years. He
briefly attended the University of Cincinnati College-Conser-
vatory of Music as a classical piano major before deciding to
enroll at NEC in the fall of 1975. He would graduate from NEC
in the spring of 1977.
There were five schools in the country that even acknowl-
edged jazz at that time, recalls Hersch. Of course, [pianist] Jaki
Byard was at NEC, so there was no doubt that thats where I
wanted to go. Once Byard heard some of his work, he was in.
It is important to note that much of Herschs passion for jazz
comes from his love of interacting with the different musicians
and characters that he encounters along with the ability to ex-
press himself in his own way.
Even when Jaki Byard was there, I did not go to New En-
gland [Conservatory] to learn how to play jazz, stresses Hersch.
I wanted to hang out with him and broaden my musical hori-
zons. Thats what I went there for, to be a better musician and to
open myself up. I was with an extraordinary class of musicians,
many of which have done very well Marty Ehrlich, Michael
Moore, Jerome Harris, and Anthony Coleman. We were all in
the same class. I learned as much from them as I did from some
of the teachers. Hersch and Moore have done many albums to-
gether in the four decades since. The latter lives in Amsterdam,
but they still find ways to reconnect and discover new ideas ing lessons, he reveals. I still bug people for a get-together at
through each others evolution. the piano. Theres always stuff to learn. Even while striving for
Hersch has a natural aptitude for learning and exploring. a good work/life balance, he has stretches of down time where
Until my 95-year-old teacher developed dementia, I was tak- he sometimes wished he had more gigs. Thats when Ill invite

22 JAZZed August/September 2016


people over to play or do casual playing or do some gig below
the radar just for fun.
The veteran composer admits that he has absolutely no
daily routine. I dont sit and practice technical exercises, says
Hersch. Ive never done that, not since I was very young. Ill sit
and play a tune for half an hour and see what happens. Thats
what Im more inclined to do. Or have somebody over to play. I
dont practice three hours every day. Sometimes I dont touch
a piano.
People are not Tough Enough
Hersch has earned the right not to rigorously practice every
day having worked hard throughout his career, and he comes
from a different background. I think now there are a million
jazz studies programs and a lot of information, and I think the
level at a lot of schools is not that high, he says. I think they
accept people with not particularly high levels of skill or talent.
They need to fill spaces. I think jazz education sort of says, Oh,
everybody can play jazz. I dont think everybody is cut out to
play jazz. I see even sophomore students at music schools still
reading tunes out of a real book. If you were a classical pianist
at any music school, youd be playing Beethoven sonatas and
Bach fugues from memory. Youre telling me you cant remem-
ber 32 bars of chords? I think its ridiculous. I think people are
not tough enough.
If you really want this, you have to be
dedicated and passionate about it.
The acclaimed pianist has certaily taught well-known players
including Brad Mehldau, Ethan Iverson of The Bad Plus, Sullivan
Fortner, Dan Tepfer, and Adam Birnbaum. He recently received
a lesson request from a member of Grammy Award-winning
blues-rock band Alabama Shakes.
Ive taught a lot of famous guys and still teach famous
guys, says Hersch. I dont sugarcoat it. I dont say, Yeah man, sic. Their hand is always on the wheel of the next thing they
you sound great. I try not to make people cry, but Im super
honest, especially when Im working with someone like Sulli-
van Fortner, whos already super, super gifted. Then its really
fun because Im working with somebody whos already really
accomplished and already out there. A lot of it is conceptual
and technical and a lot of mentoring as well. Thats a big part of
it. People mentored me, so I pass that on.
While he does offer words of wisdom and encouragement
and tries to find some positive things through teaching, I also
try to, in a gentle way, say that this is really not easy, stresses
Hersch. If you really want this, you have to be dedicated and
passionate about it. He notes that a student at a school like
Rutgers will have a demanding course load of general educa-
tion classes, required classes, and liberal arts classes, unlike a
conservatory environment that is mainly focused on music.
When asked if there is any advice that someone gave him
that really stuck with him through the years, he pinpoints a key
moment. One night I was down on myself, and Stan Getz said,
Look, did you play something different tonight than you did
spotlight
last night? recalls Hersch. I said, Im sure I did. He said, If you
paid attention to that and had some little a-ha moment, and
you have one or two of those a week, think of what you would
learn in a year. You dont have to reinvent the wheel every time
you play. That was a really great lesson. I spent many nights
hanging out with Tommy Flanagan, Jimmy Rowles, and Roland
Hanna at Bradleys in the late 70s and early 80s before the in-
stitutionalization of jazz, when everybody was accessible and
you could just hang out with somebody you were totally in awe
of and pick their brain. Lots of people said great things. You
observed things that you learned from. I was so fortunate to be
in that place at that time. It was really remarkable.
Bassist Sam Jones was a major mentor to Hersch, who says
he got a lot of cred for working with someone who was just
known as a complete badass. Jones recommended the pianist
to trumpeter/flugelhornist Art Farmer, who then recommended
him to tenor saxophonist Joe Henderson, who Hersch played
with for approximately a decade. I was young and just thought
that I deserved to play with all the greatest players, and there
werent young jazz pianists crawling out of conservatories or
music programs, muses Hersch. I was kind of a novelty. I knew
a lot of tunes, I could swing, I could accompany, I could write
charts for singers, and I could play different styles. The skill set
was very different. Now if youre a young musician youre ex-
pected to use computer notation software and audio technol-
ogy and produce your own records and write your own com-
plex compositions with your own band. I played so many years
with bands where there was no music on the bandstand or just
head charts, and now everything is completely different. I was
lucky to be in that place at that time.
Get More out of Less
Times have certainly changed. While technology has made it
easier for professional musicians and students to make music,
the wide availability of music across numerous online sites has
also created a habit of distracted listening with many younger
people, who as Hersch notes tend to graze through a lot of mu-
want to listen to, he says. Or they check out two minutes of
something and go on to something else. I tell them to listen
to one track seven times, just get more out of less. Youre not
going to learn anything otherwise.
Beyond classes and technological know-how, there is a hu-
man element that not everyone masters. A lot goes into a ca-
reer other than playing well, stresses Hersch. You have to be
somebody that some people want to work with. You have to be
a well-rounded musician, or really have your own voice thats
very clear from the beginning.
Getting a helping hand is an added bonus. Of course, that
can come from the factors just described. Over the years,
Hersch has been the recipient of numerous grants, endow-
ments, and residencies. The latter, both in America and Europe,
certainly have been quite enriching in terms of artistic expan-
sion. Youre given four or five weeks in a beautiful place and
just told you have this time, and they take care of you and you
dont have to worry about anything, he explains. Theres no
Internet access in your studio. Its a little intimidating. Usual-
August/September 2016 JAZZed 23
spotlight
ly the first week or so I spend thrashing
around and napping a lot and avoiding
things. With some residencies, Ive gone
there and hit the ground running, like I
want to write this piece and I might be
procrastinating for a couple of days, but
Ive got to put myself on a schedule or
its not going to get done.
Hersch has had seven MacDowell
residencies, and he says the first one
in 2000 changed his life. He believes
he was possibly one of the first jazz
composers to get one. You apply, and
youre not submitting a string quar-
tet, youre submitting something that
doesnt look like that much on the page,
unless youre a jazz orchestra composer
or something, he says. It was a lot of
validation to me.
The residencies have appealed to
him because they offer the gift of time
and the ability to get away from devices

PHOTO BY VINCENT SOYEZ

and the 24-hour news cycle. My partner
and I have a second home in Pennsyl-
vania, and theoretically I could go out
there without my computer and make
Copyright 2016 Arizona Board of Regents 0716
a little mini residency for myself. Ive
arizona state university done that before. Its a little crazy-mak-
ing, but I can do it. Of course, its not

school of music as fun as when you meet really inter-

The Arizona State University School of Music in
the Herberger Institute for Design and the Arts is
one of the top state institutions nationwide for
the study of music. Highlights of our innovative
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and scholars, more than 500 performances
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students learn invaluable musicianship skills
while being encouraged to become creative
leaders.
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studying with our outstanding faculty.
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Dom Moio, percussion Steve McAllister,
Jeff Libman, guitar trombone
Bryon Ruth, saxophone Dennis Monce, trumpet
Ben Hedquist, bass
music.asu.edu
480.965.5069
24 JAZZed August/September 2016
esting people at dinner. Ive made a lot
of friendships, people Ive collaborated
with, during the course of all these res-
idencies, so thats also a great benefit.
The monetary benefits of his recent
Doris Duke Artist Award are certainly al-
lowing him to contemplate some excit-
ing new projects, and it does give him a
sense of renewed freedom even though
he has already had a diverse career. At
the end of the day, his track record does
count in getting things done.
I do have a very devoted following,
I have to say, remarks Hersch. Its just
great. Im always touched when peo-
ple spend their money, come out and
hear a show, and say something nice
afterwards, that I moved them or they
really dug it. You dont take that for
granted. They couldve stayed home
and watched Roku or whatever. The
point is they took time out of their lives
to come and hear you and expect to get
something and be moved and have a
good time as well. Thats kind of what
its about. If you can do that, then youre
doing your job.
jazzfestivalsworldwide

2016 Montreal Jazz Festival

By Mark Keresman jazzfestivalsworldwide.com

T
here is a reason that the Montreal Jazz Festival is one of the
most revered and well-attended in the world. Montreal,
Canada is truly an international city as much as NYC and
Paris but the reason is likely because those organizing the Fes-
tival aim, intentionally or not, to make this experience somewhere
between two other iconic festivals, the Newport Jazz Festival and
the Montreux Jazz Festival. The former was host to a day that will
live in purist infamy Chuck Berry played there in 1958 and
the latter eclectic Montreux Jazz Festival host to performances by
Cecil Taylor and Marvin Gaye.
This years line-up is incredibly eclectic, with many of the im-
portant pillars in jazz and popular music represented. Jazz vocals
were represented by Gregory
Porter (and his hat), Stacey Kent,
Basia Bullat, and Lizz Wright. The
vocalist Cab Calloway. Their heirs and estates keep their bands
going the Calloway band is in fact led by his grandson Callo-
way Brooks. Each orchestra was set up on opposite sides of a large
stage, with each band alternating performances throughout the
evening. Each band was great in its own way and true to the spirit
of the originals Millers band specialized in a sweet, unabash-
edly sentimental style that features very distinctive voicings for
the reed and brass sections and swung in a very elegant manner.
Calloways ensemble was a virtual opposite, playing a boisterous,
irreverent, blues-charged brand of swing, with Brooks singing,
swaggering, and conducting in an assortment of flashy suits. Who
won the battle? The audience, naturally.
Ala.Ni From West London
(U.K.), Ala.Ni is a young singer with
a unique approach she ap-

INTERNATIONAL DE JAZZ DE MONTRAL

cutting edge of contemporary proaches jazz with a folk-like sim-

ALL PHOTOS BY DENIS ALIX/ FESTIVAL

jazz had Chick Corea Trio, Wadada plicity. Backed by a guitarist and
Leo Smith/Vijay Iyer Duo, Steve harpist (and sometimes accom-
Coleman and his Five Elements panying herself on guitar), Ala.
band, Charlie Hunter, Fred Hersch, Ni has a supple, clear voice with
Eric Truffaz, and Hiromi, while a slightly smoky undertone and
soulful mainstream sounds were an impressive range. Everything
carried by Joey DeFrancesco, comes from somewhere and Ala.
James Carter, and Kenny Barron. Ni is descended from young Billie
Blues? Oh yes: The legendary Taj Holiday (tone) and Judy Garland
Mahal, Duwayne Burnside, and Ms. Lauryn Hill (phrasing). At one point during a
The Campbell Brothers. Way out- song she walked offstage into the
side the jazz sphere, but delight- audience, continuing without a
ful nonetheless was The Beach mic, he voice ringing through the
Boys classic opus, Pet Sounds, per- entire club. Clich though it be:
formed in its entirety by a large Ala.Ni is a talent to watch.
band led by main Beach person Davina & The Vagabonds This
Brian Wilson. The roots of jazz? band (from the Twin Cities, Minne-
The Preservation Hall Jazz Band, sota) literally stopped this writer
The Hot Sardines, The Eagle Rock in his tracks walking from one
Gospel Singers. Something for concert to another, I heard this
nearly everyone, indeed. band from one of the outdoor
Marcus Miller Multi-instru- stages this BIG female voice
mentalist Marcus Miller has Rufus Wainwright and his sister Martha Wainwright delivered the raw soulful rasp of
played on more sessions than you, Dear Reader, have had hot Etta James, the assertive yet smooth sass of Bonnie Raitt, and the
breakfasts, but he is perhaps best known in jazz for his collabo- hard-won earthy wisdom of Bessie Smith HAD to stop and lis-
rations in Miles Davis later career arc (Tutu). Miller has found his ten. What was remarkable about the bands sound Davinas pi-
own spin on fusion, evocative of Miles (assorted eras), Weather ano, trumpet, trombone, bass, and drums was the way this lot
Report, and Billy Cobham without a hint of nostalgia. Miller plays bridged New Orleans traditions of jazz, blues, R&B, and rock & roll.
a sinewy, rippling bass, giving himself lots of solo space, and Nich- D&tV drew upon Louis Armstrong, the Preservation Hall Jazz Band,
olas Gunn plays some crackling trumpet with echoes of Miles in Fats Domino, Katie Webster, and Dr. John. Quoth the sportscasters
his phrasing. Miller plays a brand of immediate electric jazz with or yesteryear: The crown went wild.
overtones of funk and, more recently, African music (Millers 2015 Big Bad Voodoo Daddy Yes, this combo of swing revivalists
album, Afrodeezia) that drove the near-capacity crowd to frenzy. is still at it, and while the retro-based trend of neo-swing/lounge
Battle of the Bands: Glenn Miller vs. Cab Calloway For peaked a while ago, some of its exponents are still at it, too. Re-
younger readers: Big bands were once THE dominant force in gardless of how one might feel about the trend and some of its
American pop music, circa 1935-45, and two of the most popu- practitioners, the question is: Does the band deliver the goods?
lar in that period were those led by trombonist Glenn Miller and Yes, indeed do they have the chops and soul of a Count Basie

26 JAZZed August/September 2016

 jazzfestivalsworldwide
or Earl Bostic outfit? No, but they manage to distill the irrever-
ent lets-dance joie de vive of Louis Jordan, Louis Prima, and the
Treniers, and they perform without any cheesy/heavy-handed
would-be hepcat baggage. And yes, they had people dancing.
Squirrel Nut Zippers Superficially, this band is similar to Big
Bad Voodoo Daddy, as they mine similar influences and to a de-
gree share an audience. But the Squirrel Nut Zippers are more
eclectic and have a different approach to swing. Whereas BBVD
draw upon borderline-rowdy big band and jump blues styles for
their rhythm concoction, the SNZ are inspired by the hot jazz of
the 1920s; the small band swing of the 30s, especially that of Djan-
go Reinhardt and Stephane Grappelli, and include smatterings of
pre-electric blues, 20s-30s Tin Pan Alley pop, and klezmer. SNZ
had people dancing for sure, but there was a deeper feeling here,
a bit of schmaltz and a bit of pathos, and more soulful soloing.
Flying Horses A band from Canada whose Montreal Festival
performance was represented by the solo piano of member Jade
Bergeron. She played in a rolling style that strongly recalled Keith
Jarretts early ECM heyday (Facing You, The Koln Concert) melodi-
ous, rhapsodic, curt yet possessed of a stream of consciousness flow. Ala.Ni

Recent & Upcoming Jazz Festivals

Music Mountain Announces New Collaboration with
Catskill Jazz Factory
Music Mountain Summer Chamber Music Festival an-
nounced an new collaboration withThe Catskill Jazz Facto-
ry. Beginning Saturday, July 16, a variety of jazz musicians
brought their talents to Music Mountain for a five-week-
end concert series. Artists scheduled to appear includ-
edJoanna Wallfisch,Dan Tepfer, Peter and Will Anderson
Quintet, Chris Washburnes Ragtime Band, and Chris Pat-
tishall Octet.
To bring our jazz
program to Music
Mountain audienc-
es is both an hon-
or and an exciting
new step for us as
an organization that
values bringing our
premiere projects to
diverse audiences,
enthuses Piers Playfair, founder and artistic director of
Catskill Jazz Factory. Music Mountain is an intimate and
beautiful space to bring jazz, especially considering the
superb quality of their annual chamber programming as it
enters its 87th season. We cant wait to share our program
and play our part in this halls history.
Music Mountain has always been a place that support-
ed many of the most prominent string quartets from the
beginning of their careers. We are thrilled that, through this
auspicious collaboration, we can support the remarkable
artistry already flourishing in the new generation of jazz
artists. We believe in Piers and the Catskill Jazz Factorys vi-
sion, and look forward to a lengthy and fruitful relationship,
stated Music Mountain music directorJonathan Yates.
musicmountain.org
The Chris Greene Quartet Appearing at the Chicago
Jazz Festival
Saxophonist, bandleader, and composer Chris Greene
and his band, The Chris Greene Quartet (CGQ), has been
chosen to appear at The 38th annual Chicago Jazz Festi-
val, sponsored by the City of Chicago and produced by
theJazz Institute of Chicago.The CGQ will appear onSat-
urday, September 3,in theVon Freeman Pavilionfrom2:20
to 3:15 p.m..
The CGQ has been a part of Chicagos jazz scene since
2005, and has maintained a stable lineup from the begin-
ning, with the exception ofSteve Corley,who has held the
drum chair since 2011.The band also features Damian Es-
pinosaon piano and keyboards andMarc Pianeon acous-
tic and electric bass. Unique among Chicago bands, most

August/September 2016 JAZZed 27

jazzfestivalsworldwide
of whom feature, by necessity, constantly shifting personnel,
the CGQ has been able to develop a true group sound and feel,
harking back to bands from the classic age of jazz when groups
could stay together for long periods of time. While honoring the
tradition, the CGQ incorporates elements of funk, hip-hop, rock,
pop, the blues, and reggae, reflecting their diverse backgrounds.
chrisgreenejazz.com
Monterey Jazz Festival
2016 Next Generation
Jazz Orchestra Tour
Monterey Jazz Festi-
val 2016 Next Generation
Jazz Orchestra, the festi-
vals high school all-star
big band, features high school jazz musicians from around the
country. Twenty one high school musicians from six states com-
prise the Next Generation Jazz Orchestra, including Arizona,
California, Colorado, Illinois, New York,Texas,Virginia, and Isra-
el.California musicians include students fromAlameda,Contra
Costa, Fresno, Los Angeles, Marin, Monterey, Orange, and San
Diego counties. Three members of the orchestra returned for a
second time, including trombonistsJasim Perales(Berkeley High
School, Berkeley, California) and Ethan Santos (Buchanan High
School, Clovis, California); and trumpeterCarlos Ramos (Downey
High School, Downey, California).
The orchestra performed on a two week tour of Japan
throughout the summer and will perform at the10thJazz Leg-
ends Gala honoring Quincy Jones at the Inn at Spanish Bay in
Pebble Beach, California onSeptember 15, as well as the 26than-
nual free Concert for Kids at the Monterey County Fairgrounds
at the Garden Stage that same day. The orchestra will appear on
the Jimmy Lyons main stage at their traditional Sunday appear-
ance at the59thMonterey Jazz FestivalonSeptember 18with
2016 Artist-In-Residence,Terri Lyne Carrington.
montereyjazzfestival.org
27 Jazz Heroes Announced by Jazz Journalists Association
More than two dozen jazz heroesactivists of positive influ-
ence on their musical communitieswere recently announced
bytheJazz Journalists Association,a non-profit organization of
media professionals, in collaborations with grassroots groups
and supporters in 23 U.S. communities.
The jazz heroes joined the JJAs A Team of activists and ad-
vocates of jazz. This years roster of heroes reiterated the prom-
inence of women, the power of couples and partnerships, and
the individualistic diversity of people who devote themselves to
jazz. The JJAs Jazz Heroes campaign ran throughout Jazz Ap-
preciation Month in April culminating in International Jazz Day.
Among the 2016 Jazz Heroes were music presenters from
Albuquerque, Boston, the San Francisco Bay Area, Fayette-
ville (Arkansas), New York City, Syracuse, and Washington, D.C.;
28 JAZZed August/September 2016
broadcasters from Fort Bragg (California), Miami, and St. Louis;
philanthropists providing a safety net, performance opportuni-
ties, and generous financial aid; educators who established and
sustained community-based programs in Baltimore, Detroit,
Philadelphia, Pittsburgh, and Seattle, and musicians who pro-
moted activities beyond their own creative interests in Atlanta,
Boston, Chicago, New Orleans, and Tallahassee. Active perform-
ers among the heroes include Geri Allen (Pittsburgh), Germaine
P. Bazzle (New Orleans), Leonard Brown and Yedidyah Syd Smart
(Boston), Joe Gransden (Atlanta), Todd Marcus (Baltimore), Brad-
ley-Parker Sparrow and Joanie Pallatto (Chicago), and Bobby Tor-
res (Portland, Oregon).
jjajazzawards.org
23Arts Initiative 2016 Summer Music & Jazz Festival
The 23Arts Initiative and its regional jazz counterpart, the
Catskill Jazz Factory, kicked-off the 23Arts Summer Music & Jazz
Festival, a seven-week Tannersville, New York-based performing
arts series, in July.
The summer festival presented five jazz residencies and thir-
teen performances in the village of Tannersville taking place
across ten mountaintop venues including; the Mountain Top Li-
brary, Mountain Top Arboretum, Last Chance Antiques & Cheese
Caf, Villa Vosilla, Catskill Mountain Foundations Orpheum Film
& Performing Arts Center, Hathaway House, All Souls Church, All
Angels Church, Haines Falls Methodist Church, and Skip & Anne
Pratts Santa Cruz in Twilight Park.
Programs ranged fromThe Joy of Sax, a retrospective on
the 100 years of the saxophone, toFictions: Borges in Tango, a
tribute to Argentinian author Jorge Luis Borges through the lens
of Villoldos El Choclo, Piazzolla, Strauss and more. Performers
billed were Chris Washburne, Marc Cary, Chris Pattishall, Peter
and Will Anderson, and Sammy Miller.
catskilljazzfactory.org
Belgian Jazz Festivals Celebrated in New York City with a
Live Show
Le Poisson Rouge, a Manhattan jazz club, showcased Belgium
musicians on May 25, who appeared in the Gent Jazz Festival
(July 7-16) now in its 15thyear, and the 35-year-old Jazz Middel-
heim (August 12-15).
The event was hosted by Sven Gatz, the Flemish Minister of
Culture, Media and Youth. The performances from four of Bel-
giums jazz bands were accompanied by a sampling of culinary
delicacies created by Belgiums two-Michelin starred chef Viki
Geunes.

Belgian Jazz Festivals celebrated in New York City with a live show. Gent Jazz Festival took place July 7-16,
followed by Jazz Middelheim August 12-15.
First up at the Le Poisson Rouge show was Carate Urio Orches-
tra, a seven-member band from Antwerp led by saxophonist and
vocalist Joachim Badenhorst. Keyboardist and composer Jozef
Dumoulin and the Red Hill Orchestra followed after featuring
Americans, Ellery Eskelin (tenor saxophone) and Dan Weiss on
drums. TheRobin Verheyen NY Quartet, led by the Belgian-born,
New York-based saxophonist featured trumpeter Russ Johnson,
Drew Gress on contrabass, and Jeff Davis on drums. The final per-
formance of the night was from the Bureau of Atomic Tourism
(B.O.A.T.), a multicultural sextet with Teun Verbuggen on drums,
Tim Dahl on bass, keyboardist Jozef Dumoulin, Nate Wooley on
trumpet, Jon Irabagon (saxophone) and the Icelandic guitarist
Hilmar Jensson.
gentjazz.com
jazzmiddelheim.be
jazzfestivalsworldwide
Dixie Jazz Fest
This years 9th annual Dixie Jazz Fest took place July 7-9 in
Veliko Tarnovo, Bulgaria. The festival was headlined this year by
the Olev Kireyev Quartet made up of saxophonist Oleg Kireyev
(Russia), bass player Branko Markovic (Serbia), pianist Milovan
Paunovic, and percussionist Luka Jovicic.
Kireyev was a pioneer in world music and ethno jazz in Russia
in 2008 and was nominated for a Grammy award for his album
Mandala. He has performed on festival stages in Switzerland,
U.K., U.S., Serbia, and Poland. His new album, The Meeting, was
released on May 31, 2016 and was created in collaboration with
Tom Harrell (trumpet), Keith Javors (piano), Ben Williams (bass)
and E.J. Strickland (drums). Markovic has been a bass soloist of
the Big Band of Radio and Television of Serbia (RTS). He is the
co-founder and the artistic director of the North City Jazz & Blues
Festival in Kosovska Mitrovica and White Field Jazz Festival in Bi-
jelo Polje (Montenegro). During his career, he has played with
Chet Baker, Larry Koru, Horace Parley, Jori Vito Benny Golson, Ed-
die Henderson, Randy Brecker and Michael Brecker.
Other artists who performed were: pianist and composer Fed-
erica Colangelo (Italy) in cooperation with the Bulgarian musi-
cians Alexander Logozarov (guitar), Borislav Petrov (drums) and
Mikhail Ivanov (bass); Royal Dixie Band and their friends from
Alexandroff Ragtime Band; and Nadia Tontcheva and Hot Club
de Plovdiv with the Gypsy Jazz Project.
dixiejazzfest.com
August/September 2016 JAZZed 29
focussession

Road Map to

Style Interpretation
By James Dreier

L
atin. How often have jazz musicians and educators (New Orleans second line, funk, hip hop etc.). This pattern can also
opened up a big band score or lead sheet only to see be turned, so that the 2-side is first, and the 3-side is second (2:3).4
this vague and impossibly broad style indicator at the
top of the page? It can mean so many things and can often be
more confusing than helpful. This article, a revised excerpt from
a chapter of my book, Latin Jazz Guide, A Path To Authentic Percus-
sion and Ensemble Performance,1 intends to offer a step-by-step Brazilian Two-Bar Pattern: This term, a utilitarian but admit-
method for finding a more specific Latin style solution from the tedly awkward one fashioned by the author, describes a common
jungle of possibilities. This in turn will manifest a more cohesive, Brazilian rhythmic cell derived from the agog (or cuca) parts
authentic, and musically satisfying experience for musicians, stu- from the partido alto rhythm. This pattern shares some structur-
dents, and audiences alike. First, lets lay out some very brief and al characteristics with Cuban clave, but does not share the same
basic concepts that will be referenced in this article. codifying role. Like clave, it can appear in reverse, with the second
measure first and first measure second.
Three Spheres of Latin Jazz Influence
In my book, I organize 12 of the most common Latin jazz styles
into three spheres of influence:
Cuban, Clave-Based (mambo, cha cha ch, rumba, songo,
Afro Cuban 6/8, bolero)2
Brazilian-Based (samba, bossa nova, baio, partido alto) Caribbean-Based Big Three Pattern: This two-bar ryhthmic
Caribbean Sub-Sphere (merengue, calypso/soca) cell (the name coined by my UI colleague John Rapson) is a com-
By placing a chart or a tune in one of these three categories, mon figure with direct West African roots. In this context, this
additional decisions, such as Latin percussion choices, specif- common Latin pattern would best coincide with calypso/soca
ic rhythms and unifying rhythmic cells can then be made. It has style.
been my experience that clues exist, even in the most generically
arranged chart or bare bones lead sheet. I present these steps so
that a path to a specific Latin style can be embraced. It can some-
times be tricky (especially when dealing with music that is not sty-
listically consistent), but looking for the clues to make informed Now that some basic concepts have been established, the
decisions can lead to successful style-solutions.3 steps to identifying and establishing a coherent Latin style can be
followed.5
Organizing Rhythmic Cells
Each one of theses spheres of influence have unique rhythmic Step 1. Look at the Bass Part
cells that help to organize the music. Very briefly described here Check out the section of the chart where the bass is playing
to provide context for rhythmic examples below. consistent time and analyze the part as shown in the example
Clave. Son clave, as shown below in a forward, 3:2 setting, below.6 If the bass is pointing to a style from one of the three Lat-
is one in a family of two-bar clave patterns that organize and in- in jazz spheres, then percussion and even other rhythm section
form music from Cuba. This two bar pattern can also be found in parts can be easily changed to adhere to that style.7
any style that shares historical roots with Cuban musical traditions

30 JAZZed August/September 2016


Example I-1: Bass Part Excerpts
A: Bass line A above suggests a Brazilian-based approach (bos-
sa nova, samba).
B: Bass line B above suggests a Cuban, clave-based approach
(mambo, cha cha ch).
C :
Bass line C above suggests a Caribbean-based approach (ca-
lypso, soca).8
If the bass part is not conclusive enough, then continue to the
next step.
Step 2. Look at the Drum-Set Part
Look for any evidence of a style-specific rhythm cell in the
drum parts, as given in the example below:9
Example I-2: Drum Set Excerpts from Three Different Styles
A: Drum set pattern A above has both a conga imitation
cross-stick and tom tom as well as a cascara-like hi-hat pattern,
which suggests a Cuban, clave-based approach.
B: Drum set pattern B above features the tell-tale Brazilian bass
drum part found in bossa nova and samba, which suggests a Bra-
zilian-based approach. Brazilians would write the two-bar pattern
in 2/4 meter using 8th notes and 16th notes, so a strong use of
16th notes would also be a clue that it is Brazilian in nature.
C: Drum set pattern C above outlines the Big Three rhythm
focussession
between the bass drum and the snare, and therefore would sug-
gest the Caribbean-based approach.
If the drum-set part, along with the bass line, is not conclusive
enough, then continue to the next step.
Step 3. Look at the Other Rhythm Section Parts
Look at the piano and guitar comping patterns. These rhythmic
patterns may suggest one of the following:
Example I-3: Rhythm Section Excerpts
A: Piano part A above would suggest a montuno pattern,
therefore it would be a Cuban, Clave-based approach.10
B: Piano or guitar comping patterns similar to the one shown in
B above, suggest a variation of the Two-bar Brazilian Rhythm and
therefore a Brazilian-based approach.11
C :
C: Comping patterns in the rhythm section that outline the
Big Three rhythm, as shown in C above, suggest a Caribbean ap-
proach.
After following these suggested steps and using the informa-
tion presented here, a specific Latin-jazz style should be found.
From this point, using reference books, recordings and other
widely available publications and online information, other musi-
cal and instrumental considerations can be made.
On a final note, here is a simple rule of thumb: when in doubt,
try calypso. Experience dictates that when a chart is written in a
genetic Latin style, the bass line will often be closer to a Caribbe-
an style, and therefore moving the percussion and RS to calypso
will make an otherwise divergent chart have some continuity and
authenticity.
Latin jazz is a vast and dynamic musical landscape that can en-
compass as many styles as there are plants in the Amazon forest.
Those presented here are a mere sampling. All deserve thoughtful
research, concentrated listening and when possible, body motion
(its all derived from dance music after all). But every journey be-
gins with the first step. Here we can begin the process by turning
the generic Latin chart into the joy of playing more authentic
Latin jazz.
Endnotes
1. James Dreier, Latin Jazz Guide, A Path To Authentic Percussion and En-
semble Performance (Distribution by Hal Leonard, Milwaukee, WI, 2015)
2. The music of Puerto Rico is included in this sphere only because of
the importance of clave as a unifying rhythm cell. Indigenous Puerto Rican
August/September 2016 JAZZed 31
focussession
can styles, such as plena and bomba, as well as countless other styles from
around South America and the Caribbean are not included here for purpos-
es of efficiency and focus. This has no reflection on the importance, sub-
stance or quality of those styles
3. The following examples are meant to show parts that might appear in
published scores and are not necessarily meant to be examples of authentic
style parts
4. For a comprehensive exploration into the history and science of Cu-
ban clave, see David Pealosa, The Clave Matrix: Afro-Cuban Rhythm: its Prin-
ciples and African Origins, (CreateSpace Independent Publishing Platform,
paperback 2012)
5. For a more thorough description of these rhythm cells, see Dreier, p.
24, 94, 132
6. Sometimes a chart will have mixed signals. For example, it might show
a Brazilian bass line, but Cuban-based percussion parts. In this circumstance,
it is best to change the percussion parts to fit the rhythm section parts
7. Please see www.latinjazzguide.com for a complete list of Latin jazz
resources, method books, recommended Latin jazz arrangers and other
resources
8. Often times a bass line for calypso/soca styles, as well as merengue
from the Dominican Republic, will feature prominent disco-like half note
bass lines. This is also a current popular feature in Latin dancehall music
9. Remember, any of these patterns presented here can appear in the op-
posite direction first bar second, second bar first. Keep your eyes and ears
open to the direction of the clave or any two-bar rhythmic cell. See Dreier,
pp. 153, Wheres the Clave, Finding the Proper Clave Type and Direction for
more information on this topic
10. The Cuban montuno attern is a clave-based harmonic arpeggio fig-
ure in Cuban music usually played by the pianist (or guitarist) in mambo,
cha cha ch and other popular and jazz styles. This pattern is derived from
the guajeo pattern played by the Cuban string instrument, tres from the son
music tradition
11. Brazilian styles such as samba and bossa nova are often written in
2/2 meter in commercial published charts, using eighth notes and quarter
notes to make them easier to read. However, Brazilian musicians almost
exclusively write music in 2/4 or 4/4, using sixteenth notes and eighth
notes
James Dreier is a drum set-Latin percussion
specialist, educator, clinician, and perform-
er. He holds a Bachelor of Music degree from
Berklee College of Music and a Master of Arts
degree in music theory from the University of
Iowa. As a full time lecturer at the University
of Iowa, Dreiers duties include teaching Jazz
Improvisation for Drum Set, Jazz Cultures in
America and Abroad, directing the Latin-jazz
Ensemble and the Hawkeye Big Band. Dreier published his book, Lat-
in Jazz Guide, A Path To Authentic Percussion and Ensemble Per-
formance (Hal Leonard Corp.) in October, 2015.

First Prize and Audience Prize, Jazz Solo Piano Competition, 2005 Montreux Jazz Festival

The sound of what could be a Cuban neighborhood dance party takes on

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 hotwax albumreviews
Larry Young
In Paris: The ORTF Recordings
(Resonance)
Larry Young organ, piano
Nathan Davis, Jean-Claude
Fohrenbach tenor saxophone
Woody Shaw, Sonny Grey
trumpet
Jack Dival piano
Jacques B. Hess - bass
Billy Brooks, Franco Manzecchi
drums
Jackie Bamboo percussion
Some music
critics have been
known to wax
effusive over
certain albums
by calling them
events. In this
case, if the shoe fits, kick yourself with it
this collection of previously unreleased
music of the late organist Larry Young IS
such an event, especially as the discogra-
phy of Mr. Young (1940-1978) as a leader
is not that large. Further, as Fate would
have it, this music is excellent.
While rooted in the classic soul jazz
organ tradition exemplified by Jimmy
Smith and Charles Earland, Young stood
apart from the pack he applied the
modal and burgeoning free ethos to
the organ in the mid-1960s. Young was
less bluesy and more an improviser in
the vein of McCoy Tyner. After leading
some great sessions for Blue Note, in
1969 Young moved on to fusion, playing
on Miles Davis iconic Bitches Brew and
forming The Tony Williams Lifetime with
drummer Williams and fellow Davis grad-
uate John McLaughlin, and later would
record with rock guitarists Jimi Hendrix
and Carlos Santana.
Like many American jazz players seek-
ing more work and appreciation than
the USA could then provide, Young was
situated in Europe, in this case Paris, for a
time. These recordings were recorded by
and for broadcast on French radio one
group was under the leadership of Ameri-
can expatriate saxophonist Nathan Davis;
The Jazz Aux Champs Elysees All Stars, an
assemblage of mostly French musicians,
and other lineups were fronted by Young.
This two-CD set is a stone delight
34 JAZZed August/September 2016
throughout, but particular highlights
include Zoltan, whose march-like tem-
po and Young pulsating organ kick off
some breathtakingly brilliant solos from
the underrated Davis (a cry evoking the
great Booker Ervin and some mighty out/
skronking flurries here) and the young
Woody Shaw, who bristles with the fierce,
in-your-face intensity of Lee Morgan and
the envelope-pushing fluidity of Don
Cherry and Booker Little. This piece goes
on for over 20 minutes and never stops
roaring and cooking for a moment. Young
chugs fervently throughout, buoying the
soloists with his irrepressible swing and
spiky playing his chords are curiously
driving yet provide a cushioning counter-
point for the fire of the horns.
Youngs sound on those 88s had the
same richness as Smith and Earland, just
expressed in a very different manner. But
rejoice, fans of groove jazz dig Disco-
theque, a mellow jam with the Champs
Elysees All Stars. That same configuration
goes to town on La Valse Girls, mixing
that Saturday night groove of Smith and
McGriff with some sparkling bebop. The
cherry on the sundae, the closing track
of disc two, Larrys Blues, features Young
on piano in a blues-shaded recital of The-
lonious Monk-ian proportions of percus-
siveness and tasty, wry, tangy sparseness.
The recording quality is excellent
throughout and the booklet within is
practically worth the price of admission
by itself. There are several entrees of lin-
er notes, including essays by McLaugh-
lin and Youngs son Larry Young III and
interviews with Dr. Lonnie Smith, Young
acolyte John Medeski, and protean bass-
ist/producer Bill Laswell, plus photos
of Young and companys Paris stand.
Youngs time with us was brief (he was
38 at the time of his passing) but he left
us SO much distinguished music. (Mark
Keresman)
Behn Gillece
Dare To Be
(Posi-Tone Records, 2016)
Behn Gillece vibraphone
Nate Radley guitar
Ugonna Okegwo bass
Jason Tiemann drums
Bruce Harris trumpet (tracks 2,
5, 7)
As crazy as
it may sound,
learning how to
be your true self
doesnt happen
overnight. It
takes quite a while
for musicians to get comfortable in their
own skin, find their real voice, and dare to
move forward toward their musical ideal.
For vibraphonist Behn Gillece, that level of
comfort is now a reality and the moment
is right and ripe for such a move.
After releasing a series of well-received
albums in collaboration with saxophonist
Ken Fowser and making waves with his de-
but Mindset (Posi-Tone Records, 2015)
Gillece returns with a new band and vision
for his stellar sophomore outing. Using the
great Gary Burtons Duster (RCA, 1967) as
model and touchstone here, Gillece con-
venes a piano-less quartet that focuses
on the combination of his vibraphone and
Nate Radleys guitar. The two complement
each other in every way. If one takes off on
a solo flight, the other is there with firm yet
cushiony comping; if one needs a boost,
the other digs in the spurs; and if one is
looking to move in a different direction,
the other is always right there to make
that a reality, amplify the intentions in the
music, or, if needed, cut against the grain.
Its a perfect pairing, pushing the music to
great heights at every turn.
The majority of Dare To Bes ten tracks
are originals that speak to the leaders
openness, cleverness, and melodic soul.
Camera Eyes moves from a dreamy vibes
and guitar rubato zone to full band swing,
with bassist Ugonna Okegwo and drum-
mer Jason Tiemann driving the car; Am-
ethyst strikes the perfect lazy and loping
pose, as bluesy and woozy thoughts carry
the day; Live It one of several tracks to
bring guest trumpeter Bruce Harris aboard
delivers a highly catchy and cheery mel-
ody over a straight eighth foundation;
and Trapezoid cooks with high heat and
delivers one of Gilleces strongest solo
showings on the date. The two covers
Same Shame, a husk of a Bobby Hutch-
erson vehicle that leaves plenty of room
for exploration, and A Time For Love, a
Johnny Mandel and Paul Francis Webster
ballad classic that closes the album sit
well in the mix, but Gilleces own music is
the real draw here. (Dan Bilawsky)
 ro-Cuban, and Middle Eastern influences;
later, Mann in the vanguard of that feral
Herbie Mann thing called fusion in the late 1960s and
Live at the Whiskey 1969: The Un-
released 1969 Masters early 70s. Like the bands of Mingus and
(Real Gone Music) Miles, Manns bands incubated talent on
Herbie Mann flute this set of previously unreleased live re-
Steve Marcus tenor saxophone cordings from 1969, his band included fu-
Roy Ayers vibes ture stars-to-be Miroslav Vitous, Roy Ayers,
Sonny Sharrock guitar and the late icon of free jazz electric guitar,
Miroslav Vitous bass Sonny Sharrock.
Bruno Carr drums In 1969, Atlantic Records released Live
Linda Sharrock vocals at the Whisky a Go Go, culled from an ear-
(two tracks only) ly June engagement at the legendary Los
Angeles club. Live at the Whisky 1969 con-
sists of previously unissued recordings
Herbie Mann from then while not repeating material
(1909-1980) was from the aforementioned album (so Mann
one of the first fans, youre not paying for music you al-
jazz players to ready have). This two-CD is a veritable
specialize in the treasure trove (CDs hold lots more mu-
flute. He some- sic than those flexible LPs did) capturing
times gets short Manns working band at the time at one
shrift from the critical establishment, as of their peaks Steve Marcus, tenor sax;
Mann had the audacity to make record- Sharrock, guitar, Ayers, vibes, Vitous, bass,
ings that were accessible to those out- Bruno Carr, drums, with special guest Lin-
side of the jazz sphere. In the early and da Sharrock, Sonnys wife and a vocalist
mid-60s, Mann incorporated Brazilian, Af- that can give tres avant singers Yoko Ono,
STE P I N TO YO U R G R E ATN E SS
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professional support and a chance to get nominated as a U.S. Presidential Scholar in the Arts.
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Diamanda Galas, and Patty Waters a run
for their money.
Theres plenty of gregarious R&B-in-
spired groove jazz, such as the punchy
Saturday night strut of Oh Baby, wherein
Sharrocks riffs are razor-sharp and Marcus
engages in some fierce but hearty agitat-
ed playing. Vitous injects some pliant, sin-
uous throb and Carr lays down a heavy fat-
back beat, and Ayers crystalline but sturdy
tones both complements and counterbal-
ances Manns bittersweet melodicism and
Marcus boisterousness. Conversely, Scar-
borough Fair yes, the Simon & Garfun-
kel hit adapted from a traditional British
Isles folk song gets a pensively beautiful,
elegiac reading by the duo of Mann and
Sharrock (alone worth the price of admis-
sion), the former going to the low end of
flute, the latter the wistful ringing of a dis-
tant bell.
Disc two begins with the Sharrock
composition Black Woman, also the title
track of his debut as a leader (originally
released on Manns own Vortex label in
1970). Linda Sharrock contributes some
soulful, orgasmic vocal gyrations that,
N AT I O N A L
PREMIER SPONSOR
August/September 2016 JAZZed 35
albumreviews
depending on the mood and/or frame
of reference of the Listener, will provide
a searing catharsis or drive said Listener
out of the room. Another highlight is a
Miles Davis All Blues, here given a some-
what free treatment, mostly dispensing
with the classic, eternally catchy melody
until near the end. It swings merrily and
mightily, until Sharrocks wiry, nervy solo
tosses in a gleeful monkey wrench (while
the band still swingin, to be sure). That
most romantic of devotional ballads If I
Were A Carpenter (writ by Tim Hardin,
hit versions by Bobby Darin and Johnny
Cash) is transmuted into a cousin of The
Doors The End via an eerie, spacious, in- hold a more im-
tro (Sharrock contributing terse, ominous
tones evocative of pre-1970 horror films)
before some folk-flavored swing from
Mann, surging bop-ery from Marcus, and
a probing solo from Vituous before it, alas,
runs out of steam. But the lads bounce
back with a rousing Rufus Thomas funk of
Philly Dog, Ayers especially shining here
in a masterful soul jazz mold and Sharrock,
bless him, contributes a blistering out solo
(as in Albert Ayler, or a cross between Jimi
Hendrix and Derek Bailey). Linda Sharrock
returns for some more joyfully outrageous
vocalizing with Marcus following her lead
as the band slips into a bubbling West Afri-
can-style groove.
Simply put: This is groove jazz with
avant-garde tendencies and overtones of
folk and funk from a band that was both of
its time and ahead of it. Darn near essen-
tial, says this critic. (Mark Keresman)
Thad Jones/Mel
Lewis Orchestra
All My Yesterdays: The Debut
1966 Recordings At The Village
Vanguard (Resonance Records)
Thad Jones flugelhorn
Mel Lewis drums
Hank Jones piano
Richard Davis bass
Sam Herman guitar
Jerome Richardson alto
saxophone, soprano saxophone,
clarinet, bass clarinet, flute
Jerry Dodgion alto saxophone
Joe Farrell tenor saxophone,
clarinet, flute
Eddie Daniels tenor saxophone,
clarinet, bass clarinet
36 JAZZed August/September 2016
Pepper Adams baritone
saxophone
Snooky Young trumpet
Jimmy Owens trumpet
Bill Berry trumpet
Jimmy Nottingham trumpet
Bob Brookmeyer trombone
Jack Rains trombone
Garnett Brown trombone
Cliff Heather trombone
There are
few groups that
portant place
in the annals of
jazz than the
Thad Jones/
Mel Lewis Orchestra. Its an ensemble
that created a signature sound by mar-
rying raw passion and the spirit of the
blues with compositional sophistication,
blending low-down testifying and high
art in a way that was hitherto attempt-
ed. And its the band that put Monday
nights on the jazz map in New York.
Now, as the Vanguard Jazz Orchestra is
about to celebrate fifty years of those Mon-
day night performances twelve years
with Jones and Lewis at the helm, another
twelve under Lewis name without Jones,
and twenty six years (and counting) in its
current state Resonance Records is re-
leasing a trove of material from the groups
earliest days at New Yorks most storied
venue. All My Yesterdays is made up of
music from two different performances
the orchestras opening night at the Vil-
lage Vanguard, on February 7, 1966, and
another Monday there six weeks later. The
sound quality is remarkably good, and we
have George Klabin to thank for that: the
president of Resonance Records recorded
both shows himself when he was nineteen
years old, capturing the dawning of this
now-legendary ensemble for posterity.
The first of these two discs presents six
numbers from the orchestras inaugural
night at the Vanguard. The opening track
a bluesy, brash, and bold Back Bone
that swings hard for more than thirteen
minutes is simply astounding. Theres a
Mingus-like rawness and passion in the
way the individual voices react to one
another and express themselves, but the
intensity of the swing is something else
entirely: Lewis and bassist Richard Davis
create a tremendous rhythmic current
that cant help but suck in everything in
its path. From there, the orchestra slows
things down with All My Yesterdays,
presenting a manicured sound that in-
cludes muted brass backing and silken
saxophones at different points. Its a short-
and-sweet number that stands apart from
the rest of the high-energy fare that fills
out the disc. In that department theres
two takes of Big Dipper, a piece uplifted
by buoyant swing and enlivened by play-
ful soloists who yelp, howl, and deliver
sputtering phrases; Mornin Reverend,
a number that mixes exotica, the church,
and blues notions in semi-Ellingtonian
fashion; and a lengthy performance of
The Little Pixie that highlights this or-
chestras unique ability to shift from small
group focus to full band roar in a variety of
ways over the course of a number. Theres
an elusive energy at play here, as infor-
mality is balanced out by some very seri-
ous blowing and locomotive swing. The
Thad Jones/Mel Lewis Orchestra was just
getting started, but youd never know it.
The second disc, presenting a show from
March 21,,1966, is a far longer affair
more than seventy-five minutes in length,
as opposed to the sub-fifty minutes on
the first disc and a slightly tidier one at
that. Back Bone, All My Yesterdays, and
Mornin Reverend appear again, along
with eight other expertly driven num-
bers. Early on theres a lets-get-going
take on Low Down a beautiful Lover
Man (Oh Where Can You Be?), a soulfully
swinging Ah, Thats Freedom, and the
bossa-based, flute-lined Dont Ever Leave
Me. Then theres an ominous and woozy
Willow Weep For Me that presents with
moaning chords and muted colors, a glee-
ful Mean What You Say, a charged and
thrilling Once Around, and an elegant,
piano trio-focused take on Polka Dots &
Moonbeams. By the time the orchestra
gets through those numbers and ends
the set with the three aforementioned
return pieces, its completely clear from
todays vantage point that something ex-
citing and new was stirring here. The Thad
Jones/Mel Lewis Orchestra would forever
change the face of big band music, and
this release tells the story of how it all be-
gan. (Dan Bilawsky)

Dave Anderson
Dave Andersons Blue Innuendo
(Label 1)
Dave Anderson tenor and
soprano saxophones
Pat Bianchi organ
Tom Guarna guitar
Matt Wilson drums
Minneso-
ta-bred New
York-based sax
fellow Dave
Anderson has
played with Mel
Torm, Matt
Wilson, and Clark Terry. For his second
platter as a leader, Anderson has as-
sembled an ace quartet for a program
mostly originals (except for one com-
position) of soul jazz-flavored bebop.
Anderson has a buttery, smooth-but-
not-slick sound on the soprano and a
hearty but unsentimental (though not
cold) sound on tenor, evoking Joe Hen-
derson in his 1960s heyday. The opener
Urban Dilemma is a medium-paced
cooker, with organist Pat Bianchi laying
down some funky Charles Earland-ish
organ chords while Andersons soprano
and Tom Guarna engage in some pert
union playing. Drummer Matt Wilson
is, as usual, his swingin self, combining
the fabulous technique of a jazz drum-
mer and the immediate whomp of the
best rock/funk drummers he buoys
and percolates while never overplay-
ing, stimulating the soloists. Guarna is
a solid stylist in the Kenny Burrell mold.
The only non-original here is the
slightly angular 22 Doors, a curiously
spare funky strut that admirably takes
from the Thelonious Monk less-is-less-
is-more ethos. Here, Burrell breaks
away a bit from the Burrell influence for
some slightly thorny, witty, and genially
pointed playing while Wilson crackles
like mad, dad, and Bianchi makes with
the fulsome funky flourishes, thick and
tasty as the densest BBQ sauce. The
track closes with some eerie shimmery
touches from Guarna and lava-overflow
from Bianchi. Stuck is a poignant bal-
lad, Andersons soprano in spots achiev-
ing the deep, woody resonance of an
albumreviews
oboe or English horn. Guarna takes a AUGUST 15
measured, cautious solo (where the Joe Caploe
Hero of the piece is musing whether Hearsay (CD Baby)
the Heroine is worth all the grief ), and
Anderson is the voice of reason. Julia Rich
The Phantom (for Joe Henderson) Moonshine in
is a rollicking hard bop tune, Bianchi Nashville (CD Baby)
sounding a bit like a percussive pia-
NDambi
nist here, Wilson making a Blakey-like
Little Lost Girls Blues
ruckus, and Anderson tipping his hat to
(CD Baby)
that tenor master with a surging, wide,
and wise tone. The title tune is another Rob Dorn
mid-tempo gem, Bianchi turning up the Im Wishing
heat a bit from simmering to scorch- (CD Baby)
ing (albeit with enticing restraint) and
finds Anderson putting on his favorite Skinny Williams
Jacquet (the one from Illinois), making and Erwin Helfer
St. James Infirmary
with some jolly romantic (and slightly
(The Sirens)
breathy) swagger.
Blue Innuendo is a slightly unusual Chico Hamilton
album in that on one hand its immedi- Twelve Tones of Love
ate grooves, deceptive simplicity, and (CD Baby)
joie de vive is perfect for bars and clubs
where juke boxes still have jazz 45 RPM Steve Clarke
records within (in other words, Saturday Can U Hear Me Now?
night music), and on the other hand (CD Baby)
features creative, unpredictable tunes
Miles Donahue
and musicianship. Its a little brainy, its
Bounce (CD Baby)
a little boisterous, and an engaging lis-
ten throughout. (Mark Keresman) Benny Goodman
Camel Caravan 7
(Kipepeo Publishing)
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COMPOSER & ARRANGER
Two-Time Grammy Nominee
Published by Jazzzlines Publications,
Walrus Music & Kendor Music
JfnYbb@Aol.Com | (718) 626-0434 | 2270 46th st. AstoriA, nY 11105
August/September 2016 JAZZed 37
gearcheck
BRASS & WOODWIND
Phaeton PHT-2060 Trumpet Cool Wind ABS Horns
The Phaeton PHT-2060 Cool Wind horns are the next
comes with an adjustable generation of plastic wind instru-
weighted mouthpiece receiv- ments. These instruments offer
er which replaces all existing all-metal high-precision valves,
mouthpiece add-on weights. surprising tonal fidelity and ex-
This feature includes three screw-in inserts of select alloys: stain- cellent reliability. Cool Wind wind
less steel, aluminum, and bronze; each of a different weight.The instruments are available in five
PHT-2060 comes standard in black/copper antique finish. Specs different models, including a trombone with F attachment (F trig-
are: .462 bore, 128mm one-piece rose brass bell with fast taper ger), trumpet, euphonium, tuba and piccolo trumpet. Each model
lead pipe. Advertised selling price: $2,785 is available in five different colors.
phaetontrumpet.com playersmusic.com

PIANO & KEYBOARD FRETTED

Hammond XK-5 ORGAN
Hammonds new ver-
sion of its flagship porta-
ble organ is designed on
the original blueprints
of the classic Hammond
B-3. It includes a new sound engine that combines modeling and
sampling to reproduce the electro-mechanical tone wheel gener-
ator plus a keyboard action that duplicates the heft, bounce, key
travel, and multi-contact behavior of classic Hammond console
organs. Further features include four full sets of drawbars plus
pedal drawbars, a controls layout identical to a B-3, a Digital Les-
lie effect, and the ability to duplicate individual organs down to
the model, year, condition, and serial number, with downloadable
tone wheel profiles from famous Hammond organists. Price:
$3,695
hammondorganco.com
Kawai CS11 Hybrid Digital Piano
The CS11s cabinet is the very
one used by the Kawai Profession-
al Upright Pianos. Classic lines, tra-
ditional leg and toe block design,
plus an authentic fallboard create
a traditional appearance. The CS11
employs the Soundboard Speaker
System which uses a real wooden
soundboard to create the organic sound of an acoustic instrument.
The CS11 employs Grand Feel II action, an action that features ex-
tra-long wooden keys and a mechanical design closely emulating
that of Kawais grand piano actions. Additionally, the front key
pivot length of the GF II action is precisely the same length as that
of Kawais acclaimed RX grand pianos keys, providing a greater
amount of control and nuance to the player. For tone, the CS11
relies upon Kawais signature Harmonic Imaging XL with 88-note
piano sampling. Plus, the CS11 now features samples of the Shigeru
Kawai EX concert grand and the SK5 chamber grand pianos.
kawaius.com
Breedlove Concert Moon Light
This concert guitar is handcrafted in Bend,
Oregon and designed as the lightest guitar
body by Breedlove to-date. The Moon Light
features an Alaska Sitka spruce top, made
from wood salvaged from downed trees in
the Tongass National Forest. The Honduran
mahogany used for the back, sides and neck
are harvested in the Custosel Concession in
the Mayan Biosphere of Guatemala. The guitar
is designed with thinner tops, thicker backs,
and a smaller sound hole to create a textured
big sound. Coming in at just 3.5 pounds, the
Breedlove USA Concert is almost 25 percent
lighter than the Breedlove Premier Concert
Mahogany, which is crafted with the same
wood pairings. Available for $1,999 MSRP or $2,132 MSRP with
electronics.
breedlovemusic.com
DRUMS & PERCUSSION
DAddarios Evans Drumheads
UV1 Drumhead Series
DAddarios Evans Drumheads
have a newly patented UV-cured
coating. The UV1 Series is designed
for durability, warmer tonal charac-
teristics, and resistance to stretching
and denting. The drumheads include
Evans Level 360 Technology, and a
new logo.
Designed with an increased surface texture to be responsive
to brush playing.
The UV1 series ranges from sizes 10 inches to 16 inches. The 14
inch heads will be available in stores August and September. The
rest of the sizes will ship in October.
daddario.com

38 JAZZed August/September 2016

 gearcheck
DRUMS & PERCUSSION
On-Stage Cajon
You can sit comfortably on this
Promark ActiveGrip drum while you play and take it any-
ActiveGrip is a heat activated grip coating that is formulated to where in the included gig bag. Two
become tackier as a players hands sweat and their body tempera- fixed snare systems and the 412
ture rises without restricting range of movement or technique. hole produce crisp snare and deep
Forward Balance models feature a front-weighted feel designed bass tones. Comes with wrench to
to optimize power and speed. Rebound Balance models feature a adjust snare wire. Birch wood with
rear-weighted feel designed to optimize finesse and agility. Avail- nonslip rubber feet. Price:$89.99
able on Forward and Rebound 7A, 5A, and 5B Acorn models. on-stage.com
promark.com

PRINT & DIGITAL

Hal Leonard Jazz Guitar Fake Book: Volume 1, Real
Book: Volume 6, Play like Jaco Pastorius, and Jaco Pastorius
Bass Play-Along
Jazz Guitar Fake Book: Volume 1 is collec-
tion of lead sheets for 200 jazz standards,
including melodies, chord symbols and
professionally arranged chord diagrams.
Some songs include: At Last, Beyond the
Sea, Come Sunday, The Girl from Ipane-
tions based on the original recordings. The
melody and lyrics are included in the book
in case players also want to sing or to simply
help them follow along. Songs included are:
Birdland,Bright Size Life,Come On, Come
Over, Continuum, The Dry Cleaner from
Des Moines, 4 A.M., Harlequin, and Teen
Town. Price: Price: $17.99
halleonard.com

S H
ma (Garta De Ipanema), Ill Be Seeing
You, Witchcraft, and many more. Price:
$29.99

SUPPLIES.
Real Book: Volume 6 includes a collection
of 400 jazz tunes and jazzy arrangements
of pop and show standards with no dupli-
cation of titles in earlier volumes. Volume 6
highlights major jazz and pop composers of
the last 60 years with special attention given FOR STUDENTS WHO DO
to the 1960s and 1970s and features works
of Chick Corea, Tadd Dameron, Nat Adderly,
THEIR BEST WORK AT
Miles Davis, Vince Guaraldi, as well as a vari- PLAY TIME.
YOUR A+ PICKS FOR JAZZ!
ety of newer artists. Price: $39.99

Play like Jaco Pastorius is written by Jon Li-

ebman, and includes the trademark songs,
Van Gogh Versa-X
lines, and tones of Jaco. It provides detailed
analysis of his gear, techniques, styles,
songs, riffs, and more. The book features
music spanning his entire career, includ-
ing five full songs: Birdland, The Chicken,
Donna Lee, Portrait of Tracy, and Teen Platinum
Town. Excerpts from many other signature
tunes are also included. Price: $19.99

Jaco Pastorius Bass Play-Along includes eight songs with sound-

alike audio tracks so players can follow the tab in the book, listen
to the audio to hear how the bass should sound, then play along Covered by one or more U.S. patents. See website for details.
using the separate backing tracks. The charts feature transcrip- www.rovnerproducts.com
August/September 2016 JAZZed 39
gearcheck
PRINT & DIGITAL
Berklee Press Announces New Jazz Guitar
and Bass Titles
Berklee Jazz Bass is written by a power team of past and
present Berklee instructors (Rich Appleman, Whit Browne,
and Bruce Gertz), who have 120+ years of teaching experi-
ence between them. This new title will help students learn
the intricacies of playing jazz by expanding basic tech-
nique to create interesting and grooving bass lines and
melodically interesting solos. The book includes access to
166 online audio tracks of demonstrations and play-alongs,
featuring a jazz combo playing bass lines and solos over
standard jazz progressions. Price: $19.99
Contemporary Jazz Guitar Solos by Michael Kaplan teaches 12
contemporary jazz guitar solos from six great artists: Jim Hall,
John Scofield, Pat Martino, Kurt Rosenwinkel, Birli Lagrne and
Mike Stern. Each solo includes a technical introduction with an-
alytical insights and references to its classic recording. The tran-
scribed solos include traditional notation and tablature. Songs
include All the Things You Are, Days of Wine and Roses, Oleo, etudes.
St. Thomas, and more. Price: $16.99
Jazz Guitar Fretboard Navigation From Bach to Bebop by
Mark White helps students develop a fingerboard facility that
fuses the great navigational conception of the classical guitar
tradition with the improvisational, on-the-fly, solo content/lan-
guage of the modern jazz guitarist. The result is a comprehen-
sive approach to the guitar fingerboard that combines vertical
orientations mixed with side-to-side and diagonal phrasing. The
accompanying online recordings include demonstration and
play-along tracks, including guitar duets and jazz combos. Price:
$19.99
Play the Drums
Alfred Music announces the release
of Play the Drums by London-based
educator and performer Felipe Dra-
go. Play the Drums presents a new
approach to learning the drum set for
beginners, containing grooves, fills,
reading concepts, and core rhythms in
a simple and clearly organized format.
This easy-to-use book and CD kit
covers quarter-note, eighth-note, six-
teenth- note, and triplet grooves, fills,
and reading exercises. In addition, the data CD provides 62 MP4
videos of the author demonstrating the examples and 30 play-
along MP3s for practice. It has everything you need to start play-
ing the drums with real-world beats and fills as quickly as possible.
Drago has road-tested all the material with large numbers of
students in his teaching studio, the WizDom Drumshed in London
the first such franchise of Dom Famularos teaching studio fran-
chise in the U.K. Play the Drums is now available for $18.99.
alfred.com
40 JAZZed August/September 2016
Jazz Swing Guitar by Jon Wheatley is for the guitarist looking
to master the rich and varied world of jazz guitar. These 47 les-
sons and etudes present a comprehensive course of study to
facilitate rapid progress with harmonic sensibility, fingerboard
scholarship, essential repertoire, and stylistic nuance. These gor-
geous, performance-quality etudes are rooted in the timeless
jazz swing tradition for solo, duet and soloing over ensemble.
The accompanying recordings demonstrate performances of the
The online audio also features PLAYBACK+, a multi-functional
audio player that allows you to slow down audio without chang-
ing pitch, set loop points, change keys, pan left or right avail-
able exclusively from Hal Leonard. Price: $19.99
halleonard.com
PRO AUDIO
Mackie ProDX Wireless Digital Mixers Now Shipping
Mackie ProDX Series is
a line of compact digital
mixers with wireless con-
trol. The line features two
models, the 4-channel
ProDX4 and the 8-chan-
nel ProDX8 with wireless
streaming and control,
processing, and a control
app for iOS and Android. Both mixers are equipped with Mackies
Wide-Z mic preamps that can handle a mic or guitar with no gain
adjustments.
Wireless control via MixerConnect allows the user to wirelessly
control the mixer, play music or backing tracks from a Bluetooth
capable device, and store the mixer out of sight.
Performers can attach their phone to a mic stand for fast chang-
es to their mix without interrupting the performance to go to the
mixer. Both models feature an integrated control bridge, offering
a convenient place to set a phone or tablet.
The Mackie ProDX4 and ProDX8 are now shipping to dealers.
ProDX4 has a MSRP of $259.99 and the ProDX8 has a MSRP of
$389.99.
mackie.com
 gearcheck
ACCESSORIES
Vandoren V16 Jazz Alto Mouthpiece String Swing Mic Stand Tablet Holder
The Vandoren V16 This tablet holder can be positioned with its
mouthpiece is the S+ wing screws allowing the assembly to move easily
chamber for alto saxo- or lock it in place. It utilizes a low-profile adhesive
phone. The S+ chamber coupler which remains attached to the back of your
is designed to optimize device or its cover. The coupler has a magnetic attachment point designed not to affect the func-
airflow to allows play- tionality of the device. While only 0.2 inches thick, the coupler provides a secure hold on large
ers to use more air than tablets, and also works with smartphones. The powder coated steel arm secures a grip on mic,
typical small chamber music, and cymbal stands ranging from a half-inch to one-inch in diameter. As with all of String
mouthpieces. The V16 Swings products, the Mic Stand Tablet Holder is covered by a lifetime structural warranty.
aims to create a sound stringswing.com
with more body, depth,
and flexibility. The S+
chamber takes the Carousel Multi-Guitar Stand
place of the current alto S series mouth- Carousel Multi-Guitar Stand enables guitar enthu-
piece and is available in all V16 alto fac- siasts to store up to 12 guitars on one display/storage
ings, A5 through A9. stand that occupies only three feet of space. The Car-
dansr.com ousel Stand features a rotating base which allows easy
access to all the guitars while displaying them from
all angles. It features nitrocellose-safe wool felt at all
Kyser Quick-Clip Magnetic & contact points and soft supports for the guitar bodies
Chromatic Tuner to provide ultimate cushioning and protection for a
The Kyser wide variety of guitars. The stand features ribbon-stripe
Quick-Clip fea- sapele mahogany and herringbone wood inlay as well as solid maple support cradles with
tures an easy to cushioned supports and soft wool felt at all contact points. The bottom tier (base unit) is
use and accu- 36 wide x 36 deep x 31 high and holds up to six guitars. The optional Expansion Tier
rate chromatic (which can hold six more guitars) is 36 wide x 36 deep and adds 46 to the total stand
tuner which height. The Expansion Tier can be purchase along with the base unit, or it can be pur-
seamlessly at- chased at a later date as the customers guitar collection expands.
taches to ex- guitarstorage.com
isting full-size
Kyser Quick-

ffrom Sher MuSic co. the finest in Jazz and Latin music
Change capos
magnetically.
This combo eliminates the need to have

Inner
multiple items clamped on your guitar.
An all in one device, the Kyser Quick-Clip
is designed to keep you in tune if you are
using the capo on a fret or if the capo is
simply parked on your headstock. Resid-
INNER DRUMMING
DrummIng
ing on the capos rear boot, the tuner sits
hidden behind the guitar neck when the
by George Marsh
capo is in use or hidden behind the gui- ENDORSED BY
tars headstock when the capo is not in
use. The Quick- Clip tuner is held in place
Matt Wilson, Dave Garibaldi,
by a powerful magnet while being adjust- Joey Baron, Roy Burns, etc.
able by 360 and the screen can flip to ac-
commodate left-handed guitarists. Also, DRUMSET EXERCISES FOR Also new Michael Spiros
DEVELOPING BODY/MIND AWARENESS
the tuner is easily detachable from the THE LANGUAGE
capo when not needed.
INCLUDES
DVD
OF THE MASTERS:
The Kyser Quick-Clip will be sold by it- Transcriptions and Etudes of
self at MSRP: $21.95 or as a combo with 10 Great Latin Percussion Artists!
a new black Kyser Quick-Change capo at
MSRP $39.95.
kysermusical.com See for yourSelf at SherMuSic.coM
August/September 2016 JAZZed 41
outliersblues
Charlie Christian: Rocker
A
ll who love jazz have much to thank
Charlie Christian for, but I feel I owe
him even more than most. Not that Im
ever going to be able to personally express
my gratitude to him; the father of modern
jazz guitar has been dead for 75 years. But ev-
ery time I hear a note of jazz my thoughts can
return to him because it was Christian who
brought me to the music in the first place.
As an adolescent in the early 70s I listened
to rock, the more guitar-oriented the better.
Eric Clapton, Jeff Beck, and Jimi Hendrix were
my musical lodestones, the melodic lyricism
of their solos no matter how frenetic com-
bined with the ramped up instrumental
tone that virtually identified the
genre, spoke to me with a
beguiling force that
no previous music
had before. Rock was
the very air I breathed,
yet, for me, jazz was
By Steve Futterman
still downright scary. De-
spite the fact that Clapton
et al were also relying on
improvisation as a primary
tool, jazz seemed altogether
mystifying to me. How did one
decipher the relationship of the
polyrhythms to the advanced
harmonies to the serpentine con-
tours of the solos? To comprehend, let alone
enjoy, that idiom seemed as unlikely as taking
a shine to advanced calculus. And then came Charlie
Christian.
My father, who spent his adolescence in the midst
of the swing era, owned a few jazz albums, all of which
appeared to be feature Benny Goodman. A Goodman
greatest hits collection on Columbia Records contained,
in addition to a swath of big band numbers (includ-
ing my fathers favorite, Lets Dance, probably the
first jazz-related piece I ever heard), a selection by the
King of Swings early sextet. I must have found Chris-
tians name bandied about in some rock publication
and grown curious, besides, he played electric guitar
and that gave him all the cultural cache I demanded
Christians abbreviated moment of fame is as worthy
of timeless celebration as that of any jazz luminary.
42 JAZZed August/September 2016
at the time. Flying Home, from 1939, finds room for a
32-bar improvisation from the 23-year-old Oklahoman
guitarist who Goodman had introduced to the wide
world earlier that year. Christian doesnt do anything
fancy in his compact solo. No finger flying heroics, no
daring harmonic substitutions. Yet in those forty-seven
seconds of improvisational bliss, his supremely relaxed
demeanor, melodic wisdom, judicious use of space, and
unabashedly bluesy phrasing made the picture snap
into focus. He offered the key, the door opened, and jazz
instantly made sense to me. May all of lifes questions be
answered so effortlessly and with such pleasure.
He offered the key, the door
opened, and jazz instantly
made sense to me.
A little over two years after
that revelatory recording was
made, the brilliant guitar-
ist was gone, a victim of a
tragic combination of tu-
berculosis exacerbated
by a careless lifestyle.
Still, Christians abbre-
viated moment of fame is
as worthy of timeless celebration
as that of any jazz luminary. Theres not a
solo in his contained recorded legacy, no matter
how brief, that isnt chock filled with brio, clarity, and
logic. Its often said, given the evidence of the extend-
ed, off-the cuff 1941 recordings of Christian jamming
in Harlem nightspots with such proto beboppers as
Kenny Clarke, that the guitarist was right on the verge
of a major stylistic breakthrough before his death, his
most important work just about to emerge. I dont hear
it that way. For me, Christian is one of the supreme mas-
ters of the jazz le mot juste, his modest improvisations
with Goodman (and Edmond Hall and Lionel Hampton,
in the all too few recordings he made with other lead-
ers) pure gems of aphoristic genius and compressed
delight.
He made jazz come alive for me, and, I imagine, quite
a few others. Thanks Charlie, we all owe you big-time.
 Classifieds
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August/September 2016 JAZZed 43

Backbeat By Sharon Paquette Lose

Mic Gillette
1951-2016

P
opular funk brass player Mic Gillette died January 17, passion for music to his
2016 of a heart attack. He was 64 years old. Gillette was daughter Megan McCar-
the founder and first trumpet player of Tower of Pow- thy Gillette. He founded
er, who toured with Santana, The Rolling Stones, and many The Mic Gillette Band
others. He also played flugelhorn, trombone, and tuba, was a (MGB), which showcased
noted session player, a member of Bay Area funk bands, and Megan as lead vocalist.
an adored music educator and supporter of music school pro- My father was a pillar of
grams in his later years. strength, the brightest
Gillettes musical endeavors were inspired by the work of light in any room and
his father, trombonist Ray Gillette. Ray Gillette made a name most genuine soul of
for himself withHarry James,Tommy Dorsey, and other bands anyone I will ever meet,
during the big band era. Mic Gillette began playing and read- and I am lucky enough
ing music as a young child and eventually joined his first band, to be his one and only
the Gotham City Crime Fighters, at the early age of 15 years child, she wrote on the
old. bands Facebook page.
In 1966, the Tower of Power came into being, evolving from Gillette did reunite
Gillettes aforementioned group. Tower of Power and their with Tower of Power for
horn section rose to prominence and began touring with pop- a tour in 2009 for about
ular funk acts of the seventies. They had developed a unique a year, but spent much of his time and effort on music educa-
brass-abundant style that eventually led to the group signing tion in local Northern California schools in his later days. He
on with Warner Brothers. During this time, they created hits was a guest clinician at various middle and high schools and
such as So Very Hard to Go,and What is Hip?. In 1984, he left involved in the fundraising of money for music departments.
the band to raise a family but continued to work as a session Gillette was a man of great talent and commitment to his
player. craft. That devotion and spirit of excellence was also evident
Gillette played with other prominent groups including Cold in the relationships that carried over with his bandmates, his
Blood, Sons of Champlin, and Blood, Sweat, & Tears. family, and his community. He will be greatly remembered
In keeping with the family tradition Gillette passed on his through his work and the legacy he has passed on.

coming next issue t

KEITH CARLOCK
Dont Miss the October 2016 Issue of
ROB SHANAHAN

Keep an eye out for our next issue, which

ry
includes an in-depth profile of legenda
drummer, Keith Carlock.

44 JAZZed August/September 2016

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