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 AS TIME GOES BY.

Mirky Lawson
of the Yellowjackets.

le

A tough customer, that Rick. One never Of all the gin joints in all the towns in
knows what to expect next. The driving all the world he'll ever play. Rick will never
force behind Stevie Wonder. George use another stick, because as time goes
Benson. Al Jarreau and the Yellowjackets. by. Dean Markley quality remains
when they want great sound. they always essential.
come to Rick.
So do yourself afavor, go down and pick
And with Rick. it's still the same old up a pair at your Dean Markley dealer
story. Dean Markley makes his drum- today. If you don't. you'll regret it, maybe
sticks from only the finest select hickory, not today. maybe not tomorrow, but soon
then leaves the finish off for abetter grip. and for the rest of your life.
leaving only the great feeling of natural You know, this could be the beginning of
wood. Our special sealing process and low a beautiful relationship with Dean
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fectly balanced stick.

DEAN NIARKLEY DRUMSTICKS tisz,s(70 -f -rBIND. #4S, SANTA CLARA. CA ( 40S1 4S•-24ie
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i""
 t ott dore
.*q*ieete•
&emit» Skaran and Woo* M OW
on YO,&itifk
andYea/tall-a:I nia) 6000 deice tuanpeb.

The following is a conver- to it! The high G's were like

sation between two of the silk. And on the slow things
foremost trumpet players in where I'd always used a
the world. Marvin Stamm, fluegel, Iend up staying
one of the most respected with the trumpet 'cause it
studio players around can eve me the kind of full,
today, and Woody Shaw, dark sound Iwant. My
whose accomplishments in trombone player said,
jazz are legendary. "Woody, Inever heard you
sound like that before." I
said, "Me neither." Ireally
MS: Woody, thirty years love this horn.
ago, my dad gave me some MS: So do I. My reputation
good advice that I'll pass on as astudio player is based on
to my own kids. He told me versatility, and this new
whatever Ipicked to do for a horn from Yamaha is the
living, make sure Ireally epitome of versatility. It got
like it. Because I'll probably me to switch when I
be doing it for along, long thought Inever would.
time. For me, the answer
was music. And I've never WS: You're absolutely right,
regretted it. You know what horn Iused
WS: There's nothing like it. to play. Nothing was going
We're actually making aliv- to make me change but one
ing doing what we really thing. A better trumpet.
love. MS: You have to respect
MS: For sure. You can't beat it. energy to play. It's like they took Yamaha quality. Not just their
WS: And so many good things hap- all the best parts of the great trum- instruments, but the way they be-
pen to you. Like last Saturday in pets and rolled them into one. On lieve in giving back to the commu-
Newark. They gave aconcert for the European Tour Ijust finished, nity. They're sensitive to people
me and gave me an honarary degree several classical players came up to and to music, and they're dedicated
from Arts High. There were three me and asked about the horn ... to bringing out the best in life
great high school orchestras. Isaw throughout the world.
MS: They were hearing something.
my old trumpet teacher. Man, I WS: Amen to that, Marvin. Amen
WS: Yeah. And Iknow what they to that.
cried for half an hour.
were hearing. Because sometimes
MS: That's what music's all about.
it feels like Ican just reach out and
You don't explain it. Not really. touch the notes.
You feel it. It comes from deep in-
side. The trick is getting it out. And MS: Absolutely. Ican play asoft
if Idon't have the right horn, Ican't ballad. It responds. Ican play loud
do it. That's why I'm so excited and fast. It responds. Brilliant, fat, The new 6000 Series professional
about these new Yamahas. And it's rich sounds. It comes from the way trumpets from Yamaha. For in-
fun to be excited about ahorn these horns are made. formation, visit your authorized
again. WS: You said it. The very first time Yamaha dealer or write to Yamaha
WS: Right, You can play anything Ipicked up my Yamaha horn, it Musical Products, 3050 Breton Rd.
on them. And everything comes so was so on. The intonation's so per- S.E., P.O. Box 7271, Grand Rapids,
much easier. Idon't use as much fect, it took me aweek to get used MI 49510.

YAMAHA
 FEATURES
16 JOSEF ZAWINUL:
THE SIREN SONG OF SYNTHS
After a long voyage down the jazz mainstream, the Aus-
mu beat
trian- born keyboarder was seduced by the electronic
AUGUST 1984
Muse. Following now- famous studio sessions with Miles VOLUME 51 NO. 8
(including In A Silent Way and Bitches Brew), he co-
PRESIDENT
founded Weather Report, and the rest, as they say, is
Jack Maher
history John Diliberto explores Zawinul's electric odyssey.
20 32nd ANNUAL down beat EDITOR

INTERNATIONAL CRITICS POLL Art Lange

Lots of new stars powered their way to the top of the TDWR MANAGING EDITOR

lists this year, while a host of longtime favorites retained Charles Doherty
Established sovereignty. Check your choices against those Josef Zawinul EDUCATION EDITOR
of the critics. Dr. William L. Fowler
24 MY DINNER WITH CARLA ART DIRECTOR
Over plates of pasta, Carla Bley, the " queen of the avant Christopher Garland
garde," held court, and in the process covered such topics PRODUCTION MANAGER
as her composing, her bandleading, her instrumental Gloria Baldwin
chops ( or lack of), and commercial success ( or lack of).
CIRCULATION DIRECTOR
Don Palmer took notes between courses.

W PATRICK HINELYWORK-PLAT
Deborah Kelly
28 ANDREW CYRILLE:
CONTROLLER
PASSION FOR PERCUSSION
Gary W. Edwards
It's his feel for the drums that's held the dynamic Cyrille in
PUBLISHER
such good stead alongside such diverse musicians as
Maher Publications
Coleman Hawkins and Cecil Taylor. Howard Mandel pre-
sents a portrait of the multifaceted percussionist. RECORD REVIEWERS: Alan Axelrod, Jon Balle-
ras, Larry Birnbaum, Fred Bouchard, Jim
DEPARTMENTS Carla Bley Brinsfield, Owen Cordle, Paul de Barros, John
Diliberto, R. Bruce Dold, Lars Gabel, Elaine
6 On The Beat. by Charles Doherty. Guregian, Frank-John Hadley. Robert Henschen.
8 Chords & Discords Peter Kostakis. John Litweiler, Howard Mandel,
Terry Martin, John McDonough. Bill Milkowski,
11 News Frankie Nemko, Jim Roberts, Ben Sandmel, Bill
33 Record Reviews: Miles Davis; McCoy Tyner; John Shoemaker Jack Sohmer, Robin Tolleson, Pete
Welding.
Blake, Steps Ahead, Branford Marsalis; Marshall Vente;
Lou Rovner; Bob Moses; John Zorn; James Newton; Carla
Bley; Terence Blanchard/Donald Harrison; Robert Watson;
CONTRIBUTORS: Jon Balleras, Larry Birnbaum,
Dusan Bogdanovic; Roscoe Mitchell; Plas Johnson; Willis Bob Blumenthal, Tom Copi, Albert DeGenova,
Jackson; John Patton; Waxing On: Self- Produced Albums Lauren Deutsch, John Diliberto, Leonard
Feather, Andy Freeberg, Howard Mandel, John
(Brooklyn Conservatory Faculty Jazz Ensemble, Steve McDonough, Bill Milkowski, Paul Natkin, Herb
Cohn, Bill Dobbins, Jamey Haddad, Tim Hagans, Rich Nolan, Darryl Pitt. Mitchell Seidel, Pete Welding.

Halley, Steve Holt, Improvisational Arts Quintet, Alvin

Queen/Dusko Goykovich, Reverie, Stephen Roane, Paul
Stephens). CORRESPONDENTS: Albany, NY, Georgia Urban,
Atlanta, Dorothy Pearce: Austin, Michael Point:
51 Blindfold Test: Michel Petrucciani, by Leonard Andrew Cyrille Baltimore, Fred Douglass; Boston, Fred
Feather. Bouchard, Buffalo, John H. Hunt; Chicago, Jim
DeJong; Cincinnati, Bob Nave: Cleveland. C. A.
54 Profile: Robert Cray, by Larry Birnbaum. Colombi: Detroit, David Wild, Kansas City, Carol
56 Caught: David Sanborn, by Albert DeGenova; Bebop Comer: Las Vegas. Brian Sanders; Los Angeles,
Zan Stewart, Minneapolis, Mary Snyder:
And Beyond, by Michael Bloom; Johnny Winter/Roy Montreal, Ron Sweet man: Nashville, Phil Towne;
Buchanan, by Bill Milkowski. New Orleans. Joel Simpson: New York, Jeff
Levenson; Philadelphia, Russell Woessner;
Pro Sessions: Phoenix, Robert Henschen; Pittsburgh, David J.

60 "Josef Zawinul's Solo On Del Sasser—A Piano Transcrip- Fabilli; San Francisco, J. N. Thomas; Seattle,
Joseph R. Murphy; Toronto, Mark Miller; Van-
tion," by Joel Simpson. couver, Vern Montgomery; Washington, DC, W.
62 "Recording On A Budget: Lead Vocal Or Instrument," by A Brower, Australia, Eric Myers; Brazil. Chris-
topher Pickard: Finland, Roger Freundlich: Ger-
LAUREN DEUTSCH

Wayne Wadhams. many, Joachim- Ernst Berendt: Great Britain,

68 Pro Shop Brian Priestley: India, Vinod Advani, Italy, Rug-
gero Sbassi; Japan, Shoichi Yui; Netherlands,
71 City Jazzlines Jaap Ludeke, Norway, Randi Hultin; Poland,
Charles Gans; Senegambia, Oko Draime; Swe-
72 Book Reviews: The Freedom Principle: Jazz After den, Lars Lystedt
1958, by Larry Kart, Louis' Children, by Frankie Nemko.
Robert Cray
EDITORIAL OFFICES:

Cover photo of Josef Zawinul by Paul Natkin/Photo Reserve. ADDRESS ALL CORRESPONDENCE TO
EXECUTIVE OFFICE: 222 W Adams St.,
Chicago, IL 60606
down beat ( ISSN 0012-5768) is published Publisher assumes no responsibility for return of CHANGE OF ADDRESS: Please allow four weeks 1-312 346-7811
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ADVERTISING SALES OFFICES:
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MAHER PUBLICATIONS down beat. Up Beat.
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schptions add $4.50 per year Buyers Guide, Members, Audit Bureau of

gle Circulation Magazine PublIshers

Associatioii
1-212/243-4786

4 DOWN BEAT AUGUST 1984

 Plus Compact Discs
by such jazz artists as:
Oscar Peterson • Stan Getz
Billie Holiday • Clifford Brown
Bill Evans • Gerry Muiligan
Art Blakey • Dollar Brand
Dinah Washington
Sarah Vaughan • Jimmy Smith
and many more coming soon!

Plus these great

Compact Discs from
at

•DAVID MURRAY OCTET — Ming

BSR 0045 CD
•GEORGE ADAMS/DANNIE RICHMOND
Hand To Hand SN 1007 CD
•ART FARMER — Mirage SN 1046 CD
•MAX ROACH — In The Light
SN1053 CD
•RAY BROWN/SHELLY MANNE/JOE
SAMPLE — The Three 35 JD 1
•ART FARMER — The Summer
Knows 35 JD 5
•LAURINDO ALMEIDA — Concierto
De Aranjuez 35 JD 8

194 Polygram 1340

 O
NTHE B
EAT
ECM BY CHARLES DOHERTY
eure as birds got to fly and fish got to
swim, the International Critics Poll
dominates the August issue of down
beat. Now in its 32nd annual edition, 59
critics from around the land and across
the seas voted for their favorites in 35
categories; in 30 the critics selected win-
ners in both Established and Talent De-
serving Wider Recognition divisions.
CHICK COREA
Children's Songs Transgalactic bandleader Sun Ra rises
CHICK CORE Ét from the pack to enter the Hall Of Fame,
The rare and expressive beauty of Children's
4ng Songs will be familiar to those who have followed and the editors have selected world jazz
Chick Corea's compositions over the last 12 ambassador Billy Taylor as the recipient
years. Now, all 20 songs for solo piano are of our fourth down beat Lifetime
collected on one album of definitive perfor- Achievement Award. As for the other
mances by Chick Corea. Digitally Recorded.
winners, in the Established categories a
pantheon of all-stars continues to reign,
1/4-25005 with one new name at the top—John
Carter (Clarinet).
TDWR-wise it was adifferent story in-
deed, with 16 new first-time winners
JAN GARBAREK (echoing the original designation of this
Wayfarer division— New Star, a title that ran
For his latest album, Wayfarer, Jan Garbarek through the '62 poll), including: the Vi-
has brought together bassist Eberhard Weber, enna Art Orchestra ( Big Band); Sphere
drummer Mike DiPasqua and guitarist Bill Frisell
to create one of the strongest ensembles he's (Acoustic Jazz Group); Bob Moses, David
ever worked with. The group just finished avery Murray, and Mathias Rüegg (athree-way
successful U.S. tour (with new guitarist David tie for Arranger); Craig Harris (Trom-
Torn), and Wayfarer was recently named Jazz bone); Eddie "Cleanhead" Vinson ( Alto
Forum's Top Jazz Album by aEuropean Group.
Saxophone, in anarrow win); Branford
1/4 -
23798
Marsalis ( Tenor Saxophone); Henry
Threadgill ( his first Flute win, though he
has won Baritone Sax-TDWR four times
previously); Andy Narell ( Miscellaneous
Instrument, the steel drummer tied with
TERJE RYPDAL AND DAVID DARLING four-time MI-TDWR-winning cellist Ab-
Eos dul Wadud); Michel Petrucciani ( Acous-
Much of the fascination of Eos comes from the tic Piano); Jasper Van't Hof ( Electric
perpetual movement between the extremes of Piano, and an Organ TDWR winner in
silence and excitement, expressed by afeeling '78); Mino Cinelu ( Percussion); Tania
of openness. Terje Rypdal's guitar and David
Darling's cello produce asoundscape that Maria ( Female Singer); UB 40 ( Pop/Rock
doesn't fall into any sphere of music. They have Artist); and Buddy Guy ( Soul/R&B Art-
created their own orchestra—with little move- ist).
ments and grand sweeps, multi-layered textures Double winners include Charlie Ha-
1/4-23799 and infinite colors and tones.
den (best Acoustic Bass for the third
straight year and fourth time overall)
whose Ballad Of The Fallen ( ECM) copped
Record Of The Year honors; Josef Zaw-
inul ( Electric Piano, second straight,
fourth overall; Synthesizer, seventh
straight, eighth overall; hey, let's give Joe
atriple, as Weather Report posted back-
Call 1-800- HOT ROCK to-back Electric Jazz Group wins); Ron-
ald Shannon Jackson ( three straight
Your 24- hour music store. Use your
Drum-TDWR wins, and his Decoding
credit card or check for delivery to
your door. Order any 5 records or
Society has two straight Electric Jazz
cassettes and get one free. Group-TDWRs); and Mathias Rüegg ( he
arranges the Vienna Art Orchestra—see
Manufactured and Distnbuted by Warner Bros Records Inc
c 1984 ECM Records
above). Another double of sorts was
scored by Giovanni Bonandrini; though
this is his third straight Record Producer
honor, his Black Saint/Soul Note outfit
wins Record Label for the first time.
CONTINUED ON PAGE 71

II DOWN BEAT AUGUST 1984

 I •••

Roland's are known for packing them in. More features, ( and followers)
than you can count. But this time, the JUNO has outdone even itself. The lavish is
jammed with a record total of the latest sounds and features. It's more than doubled the
already potent JUNO - 60 memory to and fields a slew of new extras like
polyphonic portamento. The JUNO - 106 is also prepared for what tomorrow will bring, with
Tape Interface, as well as capability. And you get all of this for aprice its makers swear
they can make some money from. The JUNO - 106. So many features at such alow price, it'll
make you feel guilty. RolandCorp US, 7200 Dominion Circle, LA, CA 90040.

e
L
I
 C
HORDS & D
ISCORDS
Dream state Quality control "deebee" grace notes
I'm avoice student at Indiana University down beat has done awonderful job of We're very pleased and proud that Jeff
where, in addition to my classical studies, interviewing and featuring many new Knutson won the Classical Instrumental
Istill keep up with my jazz vocals in a jazz men who would otherwise go un- Soloist— High School of your recent
small quartet. Iwas really impressed with noticed by the general public. In doing "deebee" awards (db, June '84). down
your recent interview with Keith Jarrett so, however, Ifeel that you have given beat is to be congratulated for providing
(db, June '84) and with the emphasis on short shrift to some of our great living this kind of stimulus and recognition for
the "state" and bringing it on. So much of legends. Young jazz players are more America's young artists.
my own views about being an artist were interested today in their heritage than I've been alongtime subscriber, and we
expressed in that article that Ihad to ever before. Many fine jazz musicians I also have the magazine in our school
express to interviewer Art Lange and know in the army and navy jazz ensem- library; it's great.
Mr. Jarrett my appreciation for fearlessly bles are fascinated with my record collec- Ed Christianson Band Director
plunging into controversial waters. tion and make "discoveries" like the Gil North High School Fargo, ND
Iwas so impressed with Mr. Jarrett's Evans arrangements for Claude Thorn-
comments about choosing standards hill, the sax ensemble work of bands like Thank you for honoring our Jazz Cham-
with whose lyrics he was familiar so he Artie Shaw's ("didn't know anyone did ber Ensemble as best Jazz Instrumental
could pianistically sing! How many times things like that except Supersax"), the Group—College in your recent down
Ihave heard, both on recordings and in fact that aguy named "Wingy" Manone beat Student Music Awards competition
my own groups, improper and un- existed and that he did atune called Tar (db, June '84). The students and I, as well
creative instrumental solos which proba- Paper Stomp almost a decade before it as the whole school, consider this agreat
bly affected me that way because of my became In The Mood, etc. honor, and we wish to convey our appre-
knowledge of the lyric and the true me- The kids want to know where they ciation. As amusic educator Iespecially
lodic phrasing. came from; Isuggest that, before it is too want to commend down beat for spon-
Iwish to thank Mr. Jarrett for alesson late, you publish features about some of soring this excellent award program
in creative technique which had some- the giants that still tread this earth, along each year. It is awonderful reward for
how never been put to me in the way he with selected discographies. the hard work of talented students. It is
expressed it. I refer to "Step Two," Yours for continued success and a also agreat way for aspiring profession-
throwing away "Step One." My singing hope that you will put more emphasis on als to begin to garner national reputa-
will never be the same. quality rather than just "nee tion.
Rita DiCarlo Bloomington, IN Malcolm E. Holt Glen Burnie, MD CONTINUED ON PAGE 71

you can't
afford not to have
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for two reeds © 1983 YiezWer Corporation, Box 487, Sun Valley, CA 91352

8 DOWN BEAT AUGUST 1984

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 N
EWS
BMI honors 22 young composers
NEW YORK— Twenty-two young cisco; Ruth Meyer, 23, Dallas;
American composers ( including David Rakowski, 25, Princeton,
one South American) share the NJ; Alejandro Iglesias Rossi, 23,
32nd annual BMI awards to Stu- Buenos Aires; Daniel Spector, 21,
dent Composers. The winners, Kenmore, NY; Michael Torke, 22,
ranging in age from nine to 25, Wauwatosa, WI; Dalit Paz
were presented cash awards at a Warshaw, nine, New City, NY; and
recent reception in their honor at Alan Yim, 25, Cambridge, MA.
the St. Regis- Sheraton Hotel here. Composer William Schuman is
Sponsored by Broadcast Music permanent chairman of the judg-
Inc., the performing rights organi-

LAUREN DEUTSCH
ing panel. Consultant Ulysses Kay
zation, the ' 84 awards range from presided over the final judging
$500 to $2,500, and total $15,000. session this year. Judges included
This year's awards brings the num- T. J. Anderson, Gheorghe Cos-
ber of young composers honored tinescu, George Crumb, Paul Dun-
over the years to nearly 300. kel, Max Lifchitz, Richard Moryl,
NEARLY A SCORE: Trumpeter Don Cherry (pictured) was a special
The recipients include: Martin C. Kirby Pines, Robert Pollock,
guest at the Association for the Advancement of Creative Musicians 19th
Butler, 24 years old, from New York Christopher Rouse, William Sis-
Anniversary Festival held recently at Columbia College's Ferguson
City; Ronald Camarero, 21, NYC; son, Pril Smiley, Bruce J. Taub,
Auditorium in Chicago. The weekend event, sponsored in part by the
Wendy E Chen, 13, Brooklyn; Gerald Warfield, Frank Wig-
National Endowment for the Arts, Columbia College, the Illinois Arts
William E. Coble, 24, Brookline, glesworth, and Noel B. Zahler.
Council, and Meet the Composers/Great Lakes, also featured Douglas
MA; Andreas Dtirfler, 16, In- The official rules and applica-
Ewart's Clarinet Choir (An Brown, Mwata Bowden, Ernest Dawkins),
terlochen, MI; Mark Gustayson, tions for the 1984-85 BMI student
Anthony Braxton/Richard Davis, poet Amin Baraka, Steve McCall,
24, NYC; Daron Aric Hagen, 22, competition will be available in the
David Murray, Hank Drake, Rafael Garrett, and a burning AACM
Philadelphia; Aaron Jay Kernis, fall. Inquiries regarding rules and
Orchestra.
23, NYC; Timothy A. Kramer, 24, official entry blanks should be ad-
Pasco, WA; Todd Bennett Levin, dressed to James G. Roy Jr., Di-
includes Jamey Aebersold, Nick 22, Farmington Hills, MI; Ronald rector, BMI Awards to Student
MUS. ED. REPORT
Brignola, Jerry Coker, David Lieb- Lubetsky, 24, Longboat Key, FL; Composers, Broadcast Music
man, John McNeil, Slide Hamp- Martin Matalon, 25, Cambridge, Inc., 320 W. 57th St., NYC 10019.
Picks 8( sticks ton, David Baker Jim McNeely,
James Williams, Howard Roberts,
MA; John McGinn, 19, San Fran- —arch stanton

The National Guitar Summer Ed Soph, and Adam Nussbaum;

Workshops, a series of four details from Hans Gruber, Ad-
weeklong intensives, kick off 7/21 vance Music, Stadtlanggasse 9,
in South Kent, CT; rock, classical, D-7407, Rottenburg am Neckar,
jazz, bluegrass, finger-pickin', and West Germany.
bass tracts are covered; master
classes by Larry Coryell, Arlen The James Madison University
Roth, Rory Block, George Flute Choir, in cooperation with the
Gritzback, Eric Schoenberg, and JMU Music Dept., just announced
Dennis Koster are slated; open to its sixth annual Flute Choir Com-
intermediate to advanced ° layers, position Competition; the win-
high schoolers to adults, with ning composer receives a $300
some scholarships courtesy of prize and the piece will be pre-
Ovation Instruments Inc.; details miered by the choir at their spring
from David Smolover, Director, recital next year; instrumentation
NGSW, POB 222. Lakeside, CT must include eight flutes, and the
06758; ( 203) 567-8529. deadline is 10/1; more info comes
caw from Carol Kniebusch, Director,
The ' 84 Percussive Arts Society JMU Flute Choir, Music Dept.,
International Conventon, James Madison L., Harrisonburg,
skedded for 11/1-4 at thie University VA 22807; ( 703) 433-6197.
of Michigan in Ann Arbor, offers the
rhythm- minded classes, competi- A major jazz Cudies program
tions, workshops, and the world's leading to a Bachelor of Arts in
largest exhibit of percussion gear; Jazz Studies has been an- WOODWIND MUSEUM: Through the generosity of Leon Leblanc, the
master clinics wil be conducted nounced by Cincinnati's University history of woodwind musical instruments and their manufacture is
by Bill Bruford, Harvey Mason, Vic Without Walls and the Greater Cin- beautifully presented in a new museum in the French village of La
Firth, Vinnie Colaiuta, and ahost of cinnati Council for the Performing Courture-Boussey, about 90 minutes outside Paris. La Couture has
others; complete program, regis- Arts; the alternative education pro- been a leading center of woodwind manufacturing for centuries, a
tration, and housing info from PAS, gram is open to both musicians tradition that evolved from the making of spigots for wine casks.
POB 697, Urbana, IL 61801; ( 217) and non- musicians, and includes La Couture is still home to the Noblet family, woodwind makers since
367-4098. courses in music theory, history, 1750. Many of Leblanc's and Noblet's innovations in the development of
business management, and per- the clarinet family are on display in the museum (as pictured above), in
The second international Jazz formance; faculty includes top addition to priceless antique and exact reproduction instruments, rare
Workshop at Tübingen, West Ger- area jazz musicians, journalists, photos and other musical memorabilia, mouthpieces, ligatures, caps,
many 8/10-17 is the first of three in and historians; contact UWW and other woodwind accessories, plus a craftsman's old workbench
Europe this summer ( later work- Dean, Provident Bank Building, complete with period tools. The museum is open to the public. The G.
shops are slated for London and Suite 1010, Seventh & Vine Sts., Leblanc Corp., 7019 30th Ave., Kenosha, WI 53141 can provide further
Copenhagen); the teacKng staff Cincinnati, OH 45202. information for visitors.

AUGUST 1984 DOWN BEAT 11

N
EWS
HELPING HAND: Big Nick Nich- the Art Ensemble Of Chicago;
olas (pictured at right) entertains
BOOK BEAT packed with helpful indexes, it's
the crowd at WBGO-FM's Jazz- easily gotten in the U.S. from Ca-
athon in New York. The 12-hour
fundraising concert was broad-
Pix & discs dence, Cadence Bldg., Redwood
NY 13679, or Coda, Box 87, Sta-
cast live from the Savoy Cabaret.
Nicholas was joined on-stage by
jam shelves tion J, Toronto, Ontario M4J 4X8,
Canada.
Lionel Hampton, honorary chair- French lensman Jean Pierre
man of the event presented an- LeloIr has collected his most stun- Jazz- Realities has issued Sub-
nually by the Newark- based pub- ning shots from 25 years of jazz conscious- Lee, a 132- page
lic radio station. Among the photography, and Du Jazz Plein discography of Lee Konitz' re-
performers helping out were Les Yeux is available for 195 francs cordings, broadcast and private
Sonny Fortune, Rufus Reid, Ted l61 from Alternative, 36 Rue des Bour- tapes, from 1947-82; included are
Dunbar, Jon Hendricks, Jorge donnais, 75001 Paris, France. indexes of musicians and compo-
DaIto, Carrie Smith, and Ray sitions; $10 from the compiler, Mi-
Drummond. Last Gasp (▪
2180 Bryant, San Fran- chael Frohne, Sinkingerweg 11,
cisco, CA 94110) offers Nona D-7214 Floezlingen, West Ger-
Hatay 's experimental photo/art many.
NEA grants fund imaginative radio concept/interviews of and about
Jimi Hendrix: The Spirit Lives On lb Skovgaard and Ebbe Traberg
WASHINGTON, DC— Recogniz- odore Bikel, that highlights music . . . Volume 1; asoft $9.95. have collaborated on a 44- page
ing that radio reaches vast au- from around the world and ex- o w. Sonny Clark discography, inc.
diences in every corner of the plores the music's cultural Hugo de Craen and Eddy brief bio and reminiscences from
country and that it is acost-effec- sources; the New Orleans Jazz Janssens (with a Braxton disco musicians; $8.50 from Forlaget
tive means of bringing many art And Heritage Foundation, for pro- already under their belts) now offer MM, Frederiksberg alle 60 B,
forms to millions of people, the duction of a series of The Golden a114- page solo and group one of DK-1820 Copenhagen V.
National Endowment for the Arts Age Of New Orleans Rhythm &
has announced that 79 radio Blues; the Pacifica Foundation/
grants totaling $ 750,000 have KPFA-FM, for broadcast of six con-
been awarded to individuals and certs of American symphonic mu-
organizations in 24 states and DC sic; and the PA Public Radio As-
for fiscal ' 84—a dramatic rise from soc. Inc., for A Door In The Air, 20
the single radio grant of $6,250 three-minute audio modules con-
awarded in ' 71. sisting of environmental
Among the individuals who re- soundscapes, poet'y, and music,
ceived ' 84 grants are: David and musique concrete construc-
Eyges/Steve Rathe, for the series tions, produced by db contributor
Another Face Of Jazz, featuring John Diliberto.
solo and duet settings; Jim Luce, For programming in the arts,
The Voices Of Jazz, performance/ grants went to: the LA Jazz
interview programs; David Moss, Federation, for Jazztown, a series
Sound Sculptors, exploring artists on Louisiana jazz artists, recorded SING, SING, SING: The only Benny in attendance was:.named Benson,
who combine sculpture and live; MN Public Radio Inc., for pro- but some heavyweight warblers surprised Bobby McFerrin at the
acoustic elements; Karen Pearl- duction and distribution of A opening night of his engagement in NYC's Blue Note. Pictured from left,
man, Lullaby, aseries focusing on Prairie Home Companion, a McFerrin, Jon Hendricks, George Benson, and Al Jarreau.
the concept of " lull music" in world weekly live show featuring folk mu
cultures; and Ned Sublette, Disap- sic, jazz, light classical music, and Gordon Jenkins, prolific corn-
pear Into The Cracklin' Sound, fus- comedy; NV Public Radio/KNPR FINAL BAR poser/arranger/conductor/pianist,
ing rock & roll, c&w, and avant FM, for production and distribution died May 1in Malibu, CA of amyo-
garde contemporary music. of jazz programs originating from trophic lateral sclerosis at age 73.
Organization productions the Four Queens Hotel in Las Jenkins conducted and arranged
funded include: the American Vegas Newark ( NJ) Public Radio/ recordings by Frank Sinatra, Nat
Composers Orchestra, four con- WBGO-FM, for continued support King Cole, Louis Armstrong,
certs for national broadcast, of the Jazz Radio Consortium ot Peggy Lee, and others. He worked
directed by Dennis Russell Davies five stations from across the coun- in the bands of Benny Goodman,
and featuring works by Wolpe, try that produces weekly live or Paul Goodman, Vincent Lopez,
Thorne, and Wuorinen; Experi- live- on- tape jazz programs, to- Isham Jones, and Woody Herman.
mental Intermedia Foundation, a gether with features, from avariety He won a Grammy Award for his
series on new music, featuring of locales; Real Art Ways Inc., for a 0 ' 66 arrangement of Sinatra's It Was
works by Ned Rothenberg, Robert series featuring new music as per- uf A Very Good Year.
Dick, Douglas Ewart, Yura Adams, formed at the New Music America
and others; Group For Contempo- Festival in addition to specially
‘)ee Z. Z. Hill, blues/r&b artist, died
rary Music, docu-performance commissioned works; and again
Apr. 27 in Dallas of complications
programs on new music and to PA Public Radio Assoc. Inc. and
from a blood clot. He was 48. The
American composers; Guild Of producer Diliberto fer the second Ray Copeland, trumpeter with
Texas- styled guitarist/vocalist re-
Composers, 13 programs culled season of Totally Wired: Artists In Randy Weston, Thelonious Monk,
and others, died May 17 in Sun- corded for Malaco for the last four
from eight years of taped perform- Electronic Sound, fuither chronic-
derland, MA. He was 57. An author years.
ances featuring compositions by ling the history and development
Babbitt, Carter, Davidovsky, Rob- of electronic music ( this is the se- of a text on jazz improvisation,
ert Helps, Harvey Sollberger, and ries from which down beat has Copeland was also active as an Russell Sonju, trombonist in the
Sheree Clement; National Founda- gleaned the published interviews educator in MA, PA, and NJ high orchestras of Glen Gray, Art
tion For Jewish Culture, for One with :_ yle Mays, Karlheinz schools and colleges. Survivors Mooney, Charlie Spivak, Tony
People, Many Voices, aseries, nar- Stockhausen, Ultravox, and oth- include his son, drummer Keith Pastor, and others, died Apr. 15 in
rated by David Amram and The- ers). — bill carson Copeland, Philadelphia at age 62.

14 DOWN BEAT AUGUST 1984

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 The Siren Song
Of Synths

i
afl 11 U
B Y JOHN
u

DILIBERTO

"I studied the piano for years, and it's a great

instrument, but in my heart it was never it. To me it
always sounds the same; Idon't care who is playing
it. You hit anote, and it always sounds the same, just
louder or softer. You can talk about touch and
everything, but it's all bullshit. You touch the key-
board, and it's gonna hit the string, and it's a
mechanical matter:' —Josef Zawinul
In one brief statement Joe Zawinul says it all. He dismisses
those who'd claim his keyboard arsenal is impure in the jazz
tradition; he removes the piano from its "naturally" con-
structed acoustic pedestal; and he affirms his own love for the
hi-tech circuitry that has brought him and his group, Weather
Report, so much success. If there are any doubts, Zawinul
exuberantly adds, "The technology has arrived. There's no
question about it. The imagination doesn't have any more
limitations!"
The history of Zawinul and Weather Report has been one of
opening new doors of imagination, even when some of the
rooms, i.e. Mr. Gone, might have seemed better left unex-
plored. Weather Report and its members have been topping
down beat Critics and Readers polls since 1972, not to mention
nearly every other international jazz poll. They rode the crest
of the fusion wave in the '70s and have been its most consistent
surfers. While contemporaries like Chick Corea, Herbie Han-
cock, and John McLaughlin waffle in the backwash between
electric and acoustic music, jazz, rock, and pop, Zawinul and
company continue to shoot the tubes of electronic circuitry.
Each succeeding Weather Report record has been marked by
more electronics at Zawinul's hands. Paradoxically, Weather
Report also has evolved an earthy ambience, filtered through a
warm, pan-global exoticism. Weather Report is electronic, but
it has never been mechanical.
Born in Vienna, Austria in 1932, Zawinul studied at the
Vienna Conservatory from the age of seven and continued
music studies throughout his teen years. Though his training
was conventional and largely classical, he claims to have
PAUL NAIKIN/PHOTO RESERVE

yearned for the siren song of the synthesizer long before it

came into existence. " Iwas waiting for synthesizers without
even knowing what they were, ever since Iwas a kid," he
exclaims incredulously. " Iwas an accordion player all my life.
With the accordion you have these different registers that
change the sound continuously. Itook a piece of felt and
covered the sound holes and glued it in in different ways to

16 DOWN BEAT AUGUST 1984

-ty
give it anasal sound. It's like filtering, and it's the same as the some of the most cumbersome shit ever," says Zawinul. " It was
first ARP sounds I had, you know, these little woodwind little pegs that you stick in [matrix], and it was terrible. But it
sounds!' didn't discourage me because Iknew that something simpler
He also showed an early tendency to re-think the concept of was around the corner!'
his instrument, something that would define his whole ap- When Weather Report was formed in 1971, Zawinul was not
proach to the synthesizer. " Iused to do the accompaniment on performing or recording with the synthesizer. He didn't bring
the keyboard," recalls Zawinul, "and play the melodies with it to disc until their third LP, Sweetnighter. He was still
the buttons!' His own textural solos and use of inverted exploring the outer limits of the electric piano, stretching it
keyboards and alternate intervals were germinated in this way. beyond its tolerance, and distorting it some more with out-
Later, when he played in American servicemen's clubs in board gear. "On that live record [ ISing The Body Electric, side
France and Germany, Zawinul was introduced to the Ham- two] Istill didn't have asynthesizer," claims Zawinul. " Ionly
mond B-3 organ, one of the most expansive sound-making had an electric piano that Iprepared with different things and
instruments of its day, and itself a descendant of the first aring modulator that Carlos Santana had given me. Ibought
attempt at electronic sound synthesis, Thaddeus Cahill's turn- an ARP and didn't play it for along time because it was difficult
of-the-century Telharmonium. Although Zawinul is apercep- to get the patches, but eventually Iincorporated it."
tive and evocative improviser, he looks at his music more as a With Sweetnighter Zawinul almost instantly established him-
composer. He's aplayer of form, structure, and texture rather self as apremier synthesist, but more importantly, one who was
than individual lines and virtuosity. It was natural for him to devoid of the burgeoning synthesizer cliches of the day. He
gravitate towards instruments with more than one characteris- didn't play echoey Morse Code bleeps, space whooshes, or
tic sound, instruments that could move through avariety of wild pitch-bends. Instead, Zawinul developed reedy timbres
tonal colors and dynamics. Duke Ellington had his orchestra; that reinforced and doubled Wayne Shorter's saxophones. He
Josef Zawinul has his synthesizers. sculpted rich harmonic tunnels for the driving rhythm section
of drummer Eric Gravatt and bassist Miroslav Vitous.
Sweetnighter was also one of the last primarily improvised

H
is exploration of expanded sound spectrums was tem- Weather Report recordings. "On the first two albums we all
porarily short-circuited when he came to America in had lines of eight bars, and the rest was just played by the
1959, playing with artists like Maynard Ferguson and band," recalls Zawinul. "Sometimes we just had four bars, and
Dinah Washington, and putting in along tenure with Cannon- we went off. That was tiresome because when the magic was
ball Adderley. It was strictly acoustic then, but the maturing there, it was great, but more often than was comfortable, you
pianist was busy absorbing the native music of his adoptive have nothing because the connection wasn't there. You're just
country, playing with historical jazz stalwarts like Ben Webster swimming around and playing along time. I'm aconstructor,
and Coleman Hawkins. Zawinul recalls his experiences with
the enthusiasm of ayoung child whose grandfather had just
taken him to the circus. "Ben Webster and Iwould practice
. . . . .
too. From the fourth album on Ihad all these things on taper

T
everyday," he says happily. "There was atime when Coleman he synthesizer, coupled with computer memory and/or a
Hawkins was coming over everyday. It was Webster, Hawkins, multi-track tape machine, is the composer's ideal world.
and myself playing for hours and hours, trio. And those guys It's been said that improvisation is spontaneous composi-
cut each other up, man. Iwent down with Coleman in the tion. Zawinul takes that astep further in that his compositions
elevator and said, 'You know, Ben is hot on those ballads, man: are lifted from spontaneous improvisations. " I'm an improvis-
He [ Hawkins] said, 'Let's get together, you and me, and learn ing musician," explains Zawinul, "so what Iplay Iwrite down
some of those quick and fast changes, and Ican burn on him:" note for note and edit later. D Flat Waltz, Peasant, Black Market,
Zawinul laughs, " It's like acompetition they had. They had Birdland, all those tunes were originally improvisations. The
the greatest respect for one another, but they had this com- Mysterious Traveller album was the beginning of this. Nubian
petitiveness. Coleman was in his late 60s, early 70s at that time, Sundance was acomplete improvisation. The original cassette I
and Ben was up there. We used to play Come Sunday and stuff made is on the record, and we overdubbed on top of it. jungle
like that, and Coleman didn't want to mess with him, because Book Idid in my house with all the little instruments, the kids
when Ben played the ballads, he was the greatest ballad player, crying around and all that:'
the greatest melody player that Ihave ever heard:' While Zawinul readily admits that Weather Report has
Though Zawinul wouldn't begin recording with aWurlitzer moved away from freer improvisations, it must be understood
electric piano, loaned to him by Ray Charles, until he joined that the Weather Report concept has always been adeparture
Adderley, he ultimately composed and recorded Cannonball's from mainstream jazz considerations. In talking about jazz
biggest hit, Mercy, Mercy, Mercy on one in 1967. Electric pianos radio, Zawinul reveals that the music of Weather Report is
were still the province of pop groups and low-budget cocktail designed to avoid the formulas of jazz. "Ilove jazz as much as
lounges, but Zawinul heard the funkiness in it. "When Iwrote anybody," says Zawinul, indicating just alittle frustration. "But
Mercy with Cannonball," he recalls, " Ithought it would be hip it turns me off because they constantly play those old quartet
to do it on electric piano. They happened to have one at Capi- things—where you have atenor player, then you have apiano
tol, so we rehearsed it in the afternoon and recorded it that solo, bass solo, and then the drum fours—that same old
night:' formula. A formula is aformula, Idon't give ashit which level
Mercy, Mercy, Mercy was alight, funky tune, but it was the it is, it's still aformula:'
darker, tremulous textures of the electric piano, particularly Since Mysterious Traveller Zawinul has been avoiding formula
the Rhodes, that would inform his most influential and by taking his inspirations from the chameleon sounds of his
enduring compositions in the pre-Weather Report days he instruments. With the 10-fold increase in electronic keyboard
spent in the studio with Miles Davis. Pieces like Double Image, In development since his first Putney and ARP 2600s, Zawinul
A Silent Way, Pharoah's Dance seemed to take their shape and can better realize the infinite variety of sound and shapes
mystique from the reverberant sustain and pure tones of Za- within his imagination. Unlike many synthesists who simply
winul's electric piano. It was the pioneering work of artists like take the machines out of the box and play whatever preset
Zawinul, Corea, and Hancock, while playing with Miles Davis sounds the factory has provided, Zawinul does most of his own
in the '60s, who established the electric piano as an instrument synthesizer programming. It's like creating his own instru-
in its own right and not just acheap and portable substitute for ment each time. " Ido almost all my own programs," Zawinul
an acoustic grand. proudly claims. "There are some presets, but the sounds are
It wasn't long before Zawinul obtained his first synthesizer, a what they are, manufactured. To be an electronic person and
Putney suitcase model that he remembers ruefully. "It was to be amusician are two different things. There are very few

AUGUST 1984 DOWN BEAT 17

 who can really hear to make asound. On the really expensive
machines like the Synclavier and the Fairlight, there are some
really sad programs. But you can change it, and often it's a
really good fundamental sound that just needs alittle touch-
up to change the timbres and filters, and then you can get
somewhere."
Zawinul has always had an organic, natural sound to his
synthesizers, but with the newest generation of digital instru-
ments, it's becoming nearly impossible to tell where the
acoustic world ends and the electronic one begins, particularly
with instruments like the Emulator—akeyboard instrument
that records acoustic (or electronic) sounds and brings them
up on akeyboard. For instance, you can take anote blown on a
trumpet, or the sound of adoor slamming, record it digitally
on afloppy disc, and it will come back to you chromatically on
the keyboard so you could play aC Major scale of door slams.
Zawinul has his Emulator loaded with everything but the
kitchen sink—and as soon as that starts leaking, he may
include it. "Over the years I've collected hundreds of instru-
ments," says Zawinul. " I've put those instruments Ilike, like
the kalimba and pan flute, into the Emulator. Like in Peasant
there's ahigh flute sound. It's the pan flute my father had given
me. Ijust put one note in there, and Iplay it [on the solo]:'
And for those of you who have asked the question: Where's
Wayne? " Ihave Wayne's sound on the Emulator too, and it's
scary." Indeed! But don't think that Zawinul is an insidious
sound-scientist, creating an electronic version of Invasion Of
The Body Snatchers. Zawinul has played with some of the great
individualists of modern music— Miles, Hawkins, Webster,
Hancock—recognizes that individual personality is what
makes a great instrumentalist, and that Wayne Shorter is a
completely different individual from Joe Zawinul.
* * * .. *

B
JOSEF ZAWINUL'S EQUIPMENT ut if there is aside effect to the sophistication of electronic
On-stage Joe Zawinul is surrounded by seven electronic keyboards and a instruments, it will be that the creativity of the artist will
host of processing devices. He uses an Oberheim 8Voice synthesizer, an become more important than how virtuosic the artist
ARP Quadra, the E- Mou Emulator, and aRhodes Chroma electric piano. His
Prophet 5syntesizerhas been specially designed by his keyboard special-
might be on aparticular instrument. On Can It Be Done from
ist, Jim Swanson. "There's no other Prophet in the world like that," Swanson the LP Domino Theory, Zawinul plays all the instruments
claims. "The way it's hooked up now with the MIDI is polyphonically So when I backing the vocals, and except for the electronic percussion,
throw that switch, it shuts off the audio of voices one through four, takes its own they're all generated by his keyboards. It's apretty soapy ballad
control voltage out, and feeds it back to its control voltage in so that voice one
is making no noise but sending its control voltage and driving,voice five. So by singer Willie Tee and hardly seems avehicle for Zawinul's
that every new note you play, like on the Korg up here, will trigger anote on the wizardry, but it's a technical masterwork of craft. " It's only
Prophet and jump it around so you get that flute-on-top-of-strings effect." "rhe keyboards, and Ihave the drum machine playing the hi-hat,"
Korg that Jim mentions is an auxiliary keyboard that triggers aKorg Vocoder exudes Zawinul. "The string sound is incredible. Ihave anice
at the back of Zawinul's keyboard set-up.
Zawinul's newest keyboard is the Prophet T-tk an eight-voice synthesizer
bass sound on the ballad that's from the Fairlight."
with atouch- sensitive keyboard. " Ihave as much control as you can have," In addition to imitating other instruments and creating new
exclaims Zawinul. " It's velocity- and touch-sensitive so when you touch down, sounds—he had over 160 sounds on his first Prophet 5—
you can get your own vibrato; you can pre-progam your vibrato and speed." Zawinul has also re-thought the keyboard. Remember how he
Zawinul also uses a Linn LM- 1 drum computer, a Sequential Circuits
Polysequencer, and various haimonizers and digital delay units.
used to play the accordion? Well, he does the same thing with
In his home recording studio he has an Amek201613 24-track mixing desk, his synthesizers, albeit in a more sophisticated manner. He
an Ampex MM-1200 24-track tape recorder, and for mix-down an Cari often works with an inverted keyboard, adifficult conception
MX5050 two-Pack machine. He listens to his music through Yamaha and that he began with the ARP 2600 and continues with his
Tammy speakers. And despite his wealth of electronics, in the middle of it all,
sits aYamaha acoustic grand piano.
Prophets and even the small, portable Yamaha on which he
demonstrated the inversion. Zawinul explains, "The C is still
the C; the Di,is B; the D is Bb; the Et,is an A; the Eis an Ab ; the
JOSEF ZAWINUL Fis aG; and the DI is the same again. Then G, F, Ab, E, A, EL',
SELECTED DISCOGRAPHY Bb, D, B, DL', and C is then C [again]. On Black Market the
melody Iplayed was totally different, and it was hip. The filter
as aleader SWEETNIGHTER—Columbia 33210
ZAWINUL—Atlartic 1579 ISING THE BODY ELECTRIC—Columbia moves through it another way and you get those different
CONCERTO RETITLED--Atlantic 1694 31352 shadows and shades. It takes alot of thinking." It's almost like
RISE AND FALL OF THE THIRD STREAM— WEATHER REPORT—Columbia 30661
Vortex 2002 with Mlles Dada reinventing the keyboard on the spot.
with Weather Report IN ASILENT WAY—Columbia 9875 Zawinul also detunes his keyboards and alters the intervals
DOMINO THEORY— Colombia 39147 BITCHES BREW—Columbia 26
PROCESSION—Columbe 38427 LIVE-EVIL—Columbia 30954
in ascale. " Ido some detuning," says Zawinul, "and make a
WEATHER REPORT—Columbia 37616 BIG FUN— Columbia 32866 scale that has an octave with maybe six notes or one with 15
NIGHT PASSAGE—Columbia 36793 DIRECTIONS—Columbia 36472 notes. On my Oberheim I have eight modules, and each
8:30—Columbia 36030 CIRCLE IN THE ROUND— Columbia
MR. GONE—Columbia 26358 36278 module Ican tune to another note. When Igo through the
HAVANA JAM I—Columbia 36053 with Ben Webster scale on one note, Ican make it so each time Ihit C on the
HAVANA JAM il— Columbia 36180 SOULMATES—Fantasy OJC-109
HEAVY WEATHER—Columbia 34418 with Cannonball Adderley keyboard, the next note, will be another one, the third one, the
BLACK MARKET—Columbia 34099 COAST TOCOAST—Milestone 47039 fourth, et cetera—each one adifferent note. Then Ican add
TALE SPINNIN—Columbia 33417 JAPAAIESE CONCERTS—Milestone 47029
MYS7ERIOUS TRAVELLER— Columbia MERCY, MERCY, MERCY—Capito116153
with the other notes. This is quick thinking. Ihave different
32494 EEST OF .—Capitol 16002 set-ups with different intervals. The solo Iplay on Molasses
Run Ido with that."

18 DOWN BEAT AUGUST 1984

 CURRENT WEATHER REPORT: From left, Joe Zawinul, Mino Cine/u, Omar Hakim, Wayne Shoiter, Victor Bailey.

Weather Report has always been driven by a lively per- out of that sound comes atune. And Irecord it with that same
cussiveness and rhythm sections that can swing, rock out, and sound:'
trip through exotica, sometimes simultaneously. Recently, He likes to compare his musical reactions to those of aboxer,
however, Zawinul has begun working with rhythm computers a likely comparison for an improvising artist. " Ilike to be
and drum machines as a compositional tool. "The drum surprised and react like aboxer would react," crows Zawinul.
machine is for composing music perfectly," states Zawinul. "Everybody boxes differently, so you have to react to what's
"You can lay out achord, and you always have that click track. happening. Idon't really know what coming out, but when it
If you listen to the ballad Can It Be Done, it has aperfect hi-hat comes, Ireact to it and create alot of tone pictures:*
beat. It cannot be played better. And you can shape that note Zawinul's solo style is also like aboxer's. He punches and jabs
here and there. The bass drum on the Linn [LM- 1drum rather than creating single fluid lines. He moves from key-
computer], you can tune to any note. And once I put it board to keyboard, sound to sound, counter-punching with
through the Oberheim, Iget asound you wouldn't believe— himself, creating his own dynamic interplay of pointillism and
BOOM!—like abig military drum. You can stili play your little textures. The fact that there is less improvisation in Weather
percussion instruments next to it, and it's groovin'. You can Report today does not mean that there is none at all. Weather
overdub some real instruments later and leave it out, but for Report is still one of the most spontaneous and open electric
starting out it's ideal:' Lately, however, Zawinul has been groups playing. And Zawinul is one of the most lively perform-
leaving the electronic percussion in. "When you listen to ers, his skull-capped head bobbing over his instruments,
Domino Theory," he admits, "I have four or five different urging them and the band on. "It's alot of work," he sighs. " I
rhythms changing and coming back:' have seven or eight pedals, and they have to be coordinated.
For anyone who's heard the deluge of synthi-pop records The reason Iliked to play Bird/and was because it was such a
coming out of England, all with the same Linn drum patterns challenge. Ihad to play the entire band part with the left hand
and sounds, the idea of Zawinul and company using them and all the counter-rhythms and melodies with the right hand.
causes ashudder. Electronic percussion can't swing, can ir? " I And then the solo on top:' It seems like he'd run out of hands,
play my rhythms in natural time," claims Zawinul. "Idon't but he manages to do it.
correct them. On the Linn machine they have a thing to Zawinul may be at apenultimate point in the development of
correct whatever you play. Even if you play it out of time, it music. Hes an improviser who can turn his spontaneous
moves you into time. But if you have that rhythmic feeling and sounds into structured compositions. As asynthesist he can
you do it in real time, rhythmic time programming, then you realize his music from scratch and carry it to its full, orches-
get the same thing you would if you were playing with drums!' trated conclusion without using another musician. But as
Listening to Weather Report's recorded output, you can someone who is grounded in the rudimentsofjazz interaction,
hear how Zawinul's style has developed through the develop- he can still exchange ideas and concepts with other musicians
ment of keyboard technology, and how his playing style is one in the forum of ensemble playing and improvisation. Zawinul's
and the same with his composing. His music actually bends keyboards, his openness to new technology, and his multi-
and takes its shape from the sounds that it's written/taped with. facted jazz and classical background have brought him a
"When Iprogram, that's when Ido it," says Zawinul. "When I peculiar freedom, the ability to travel in any musical world,
have anice sound, Iturn the tape on and play the sound, and without ever leaving his keyboard cockpit. db

AUGUST 1984 DOWN BEAT 19

HALL OF FAME uals and groups of players at will. His loyal master improvisers,
if jappy Space Age to
11 Sun Ra II you!" was how Sun including (outstandingly) Ronnie Boykins (bass), John
8 Mary Lou Williams Ra once greeted db's read- Gilmore, Marshall Allen, and Pat Patrick (saxophones), rose to
7 Johnny Dodds ers. "The same to you, and the challenge, resulting in landmark performances such as The
7 Oscar Peterson
6 Jimmy Blanton more," we cheer back in Sun Myth and The Magic City. And Sun Ra himself began
6 Tadd Dameron 1984, as poet/prophet/key- neglecting the piano in favor of the electronic keyboards which
6 Gil Evans boardist / composer / band- he'd already pioneered in jazz. His dazzling synthesizer ex-
6 Sarah Vaughan leader Ra becomes the 59th travaganzas became centerpieces of Arkestra concerts, which
member of the down beat Hall Of Fame. themselves were multi-media supershows co-starring dancers,
This intergalactic traveler and translator of myths has singers, light displays, films, and up to two dozen sparkly
spanned most of the history of jazz, from pre-swing bands to costumed, highly energetic musicians.
utterly free improvisation, in the course of his half-century- In the 1970s he increasingly returned to the repertoire of
long career. He was born Herman Blount in Birmingham, earlierjazz eras (including Ellington, Monk, Henderson), and
Alabama about 1914, and in his childhood he fell deeply in love to the piano, in charming, wistful improvisations. His first
with music. As ayoung man he played piano in Alabama-based Saturn record contained his Instruction To The Peoples Of Earth,
bands before moving to Chicago in 1939 to perform, compose, beginning, "You must realize that you have the right to love
and arrange jazz and show music. His 1946-47 stint with beauty. You must prepare to live life to the fullest extent. Of
Fletcher Henderson at the famous Club DeLisa, scoring for course, it takes imagination. . . ." The human environment
floor shows and dancers, was important to his evolving compo- and humanity's relationships to it have changed drastically
sitional skills. Shortly thereafter he began leading his own several times over during Sun Ra's long career; his objective
bands, phonetically called Arkestras. has been to provide amusical and spiritual orientation as we of
Throughout the 1950s, then, Sun Ra and his Arkestra were the space age move into the future. The artistic results,
weekly attractions at Chicago music spas, performing music prolifically recorded, indeed reveal imagination, vitality, and a
with future-seeking titles—Plutonian Nights, The Others In Their special kind of beauty. Thank you, Sun Ra— may your best
World, A Street Named Hell—while wearing glittering robes and wishes for humanity's future all come true. —john litweiler
embroidered headgear. The sound of the Arkestra was
uniquely far out: bumptious rhythms on acoustic and elec- down beat LIFETIME ACHIEVEMENT AWARD
tronic instruments, bright, quirky harmonies and sound
colors and, for sonic power, duo baritone saxes. Ra's composi- Three years ago, the editors of down beat inaugurated the
tions included swinging hard-bop scores, pioneering modal ILifetime Achievement Award in order to recognize those
themes, mystifying atmospheric pieces, and highly colored, who have been pivotal in furthering the evolution of jazz
distinctively textured works like his important Ancient through basically non-musical means. To date, those honored
Aiethopia. Sun Ra began issuing the Arkestra's albums on his include John Hammond, George Wein, and Leonard Feather.
Saturn label, most of them featuring his own poetry on the This year, we are proud to add to the list the name of Dr. Billy
liners. Taylor.
An extraordinary transformation occurred when the Ar- Put simply, there's no more vocal, more visible, more
kestra moved to New York in 1961: collectively, it turned from successful spokesman for jazz today than Dr. Taylor. More
the outer limits of hard bop toward free jazz. Now Sun Ra than any other single figure, he personifies the movement to
abandoned both harmony and composition completely, creat- value the music's historical precedents and to carry them into
ing wholly improvised performances by simply cueing individ- the directions of the future, wherever they may lead, and in so

20 DOWN BEAT AUGUST 1984

 full-time residencies and as guest lecturer. He's authored the
book Jazz Piano—asurvey from historical and more technical
perspectives. A similar series, Taylor Made Piano, was broadcast
over National Public Radio and is available on cassette as a
teaching aid. Speaking of NPR, his involvement with the late,
lamented Jazz Alive! led to a Peabody Award for radio pro-
gramming—and Taylor's radio experience goes back to the
'60s, when he was jazz dj and later program director of WLIB
in New York.
As far back as the 1950s, Dr. Taylor hosted anational tv show
entitled The Subject Is Jazz, and currently he's aregular on CBS'
Sunday Morning, where he presents pieces on a variety of
musical subjects—one of which, aPortrait Of Quincy Jones, won
an Emmy. He is also working on a series of short spots for
Bravo (cable) tv. And he is founder and president of the
Jazzmobile—the peripatetic vehicle which brings music and
clinics to the streets and classrooms of NYC, this year celebrat-
ing its 10th birthday.
Just as valuable as his work in the spotlight—in the class-
room, on radio and television—is his behind-the-scenes lobby-
doing bring jazz ameasure of the recognition and respect it ing for grant money and funding from private business
deserves as one of America's foremost art forms. sectors and various state and governmental agencies. He
This is not meant, by any means, to ignore his own consider- served on the National Council of the Arts for six years, is a
able musical talents; whether touring the world with his trio member of the Rockefeller Foundation Board of Trustees, acts
under the aegis of the State Department or premiering one of as chairman of the board of the Creative Artist Public Service
his compositions for piano and orchestra (such as the Suite For (CAPS), and is co-chairman of the Arts and Business Council.
Jazz Piano And Orchestra, or his dedication t
oDr. Martin Luther What all this means is that due agreat deal to hard-working,
King, Peaceful Warrior), Taylor exhibits the same creative dedicated people like Dr. Taylor, jazz musicians who were once
sensibility which put him in good stead on 52nd Street in the thought of as second-class citizens now get the same funding
'40s, and continues to make him afavorite at festivals and clubs considerations as classical musicians (one look at the list of
today—when his schedule permits, that is. If he devoted all of grants awarded by the NEA and NEH over the last few years
his apparently boundless energy to performing, his renown will show what inroads have been made). Grassroots jazz
would no doubt be even higher than it already is. But the fact organizations have sprung up, and many receive local or
that so much of his time is spent crusading for the music he federal funding, thanks to Dr. Taylor's efforts. And this official
loves is the reason why we at db felt that we should honor him recognition is eventually felt throughout every level of the jazz
at this tinte. world, from the local club player to the world-touring artist.
Dr. Taylor's attempt to expand the audience and climate for For representing the music with such articulation, integrity,
jazz extends into every conceivable medium. He has been an and devotion, for striving to better the plight ofjazz musicians
important part of the jazz education movement since the '50s, everywhere, for helping to enlarge the audience forjazz and to
when he began campaigning to add jazz curriculum in the educate that audience, we are pleased to honor Dr. Taylor with
schools. He's taught at countless educational facilities, in both the db Lifetime Achievement Award. — the editors

CHARLIE HADEN RECORD LABEL ACOUSTIC

'T) OF THE FALLEN
15 Black Saint/Soul Note
JAZZ GROUP
CARLA BLEY
6 Gramavision
86 Art Blakey
DON CHERRY 4 Concord
85 Art Ensemble Of
SHARON FREEMAN 4 Fantasy
Chicago
MICK GOODRICK 4 Mosaic 47 Phil Woods
JACK JEFFERS 36 Wynton Marsalis
kICHAEL MANTLER
PAUL MOTIAN RECORD 26 World Sax Quartet
JIM PEPPER PRODUCER TDWR
DEWEY REDMAN 41 Sphere
STEVE SLAGLE 13 Giovanni Bonandrini 29 Henry Threadgill
GARY VALENTE 7 Michael Cuscuna 23 Wynton Marsalis
5 Norman Granz 23 World Sax Quartet
4 Manfred Eicher 21 Steps Ahead
RECORD REISSUE 3 Bob Porter
OF THE YEAR OF THE YEAR 3 Werner Uehlinger ELECTRIC
13 Charlie Haden
JAZZ GROUP
18 Thelonious Monk
The Ballad Of The Complete Blue BIG BAND 96 Weather Report
The Fallen (ECM) Note Recordings Of 85 Miles Davis
10 Wynton Marsalis Thelonlous Monk 91 Count Basle
56 Ronald Shannon
Think Of One (Mosaic) 87 Akiyoshi/Tabackin
Jackson
(Columbia) 13 Miles Davis 69 Sun Ra
52 Omette Coleman
7 Miles Davis Heard Round 50 Gil Evans
25 Pat Metheny
Star People The World 36 Rob McConnen Boss
(Columbia) (Columbia) Brass TDWR
7 Henry Threadgill 6 Dinah Washington 37 Ronald Shannon
Went Deserving Wider Recognition
Just The Facts And A Slick Chick Jackson
Pass The Bucket (On The Mellow Side) 41 Vienna Art Orchestra 15 James Blood Ulmer
(About Time) (Emarcy/PolyGram) 20 Bob Moses 10 Elements
4 Various Artists 19 Muhal Richard Abrams 10 Simon & Bard
6 David Murray
Murray's Steps Big Band Jazz 19 Sun Ra 10 Spyro Gyra
(Black Saint) (Smithsonian) 18 George Russell 10 UZEB

AUGUST 1984 DOWN BEAT 21

 TDWR
COMPOSER Timk
CLARINET 52 John Blake
56 Jane Ira Bloom
41 Branford Marsalis 44 Billy Bang
92 Carla Bley 92 John Carter
25 Evan Parker 25 Claude Williams
60 Toshiko Akiyoshi 86 Anthony Braxton
21 Ira Sullivan 23 L. Subramaniam
37 George Russell 53 BJddy DeFranco
17 Roscoe Mitchell 18 Charles Burnham
29 Anthony Davis 35 Alvin Batiste
17 Bob Wilber 34 Benny Goodman
28 Omette Coleman
MISCELLANEOUS
Timk ALTO SAX INSTRUMENT
40 Anthony Davis
21 Bob Moses 120 Phil Woods r'- ejeeleee' 80 Toots Thielemans
19 James Newton 73 Omette Coleman (harmonica)
18 David Murray 59 Lee Konitz 60 Howard Johnson ( tuba)
16 Roscoe Mitchell 51 Arthur Blythe • 45 Abdul Wadud ( cello)
16 Henry Threadgill 43 Benny Carter 28 David Grisman
(mandolin)
ARRANGER
TDWR
118 Gil Evans 21 Andy Narell
73 Carla Bley 0 00' f \jtkL o
(steel drums)
60 Toshiko Akiyoshi 21 Abdul Wadud ( cello)
30 George Russell 16 David Eyges ( cello)
15 Muhal Richard Abrams 3 12 Howard Johnson (tuba)
15 Bob Brookmeyer

TDWR
ACOUSTIC PIANO
17 Bob Moses TDWR
77 Cecil Taylor
17 David Murray 49 Perry Robinson
56 Oscar Peterson
17 Mathias Rüegg o 21 Dick Johnson
42 McCoy Tyner
15 Anthony Davis 20 Alvin Batiste
37 Tommy Flanagan
14 Muhal Richard Abrams 14 Eddie Daniels
33 JoAnne Brackeen
14 ChJck Hedges
TRUMPET 14 Phil Woods Tmvit
34 Michel Petrucclani
137 Wynton Marsalis TDvitt VIBES 27 Marilyn Crispell
73 Lester Bowie 24 Anthony Davis
31 Eddie " Clearhead"
47 Miles Davis 21 Adam Makowicz
Vinson
44 Don Cherry 19 Dave McKenna
30 Oliver Lake
39 Dizzy Gillespie 29 Paquito D'Rivera
TDWR 24 Marshall Allen ELECTRIC PIANO
51 Olu Dara 14 Henry Threadgill
74 Josef Zawinul
41 Terence Blanchard
34 Tom Harrell TENOR SAX 73
70
Chick Corea
Herbie Hancock
22 Leo Smith
52 Sun Ra
97 Sonny Rollins
19 Lyle Mays
TROMBONE 45
44
Johnny Griffin
Stan Getz TDWR
79 Jimmy Knepper 41 Zoot Sims 24 Jasper Van't Hof
66 George Lewis 39 Archie Shepp 23 Lyle Mays
59 Albert Mangelsdorff Stanley Cowell
58 Roswell Rudd 1
3
1 George Cables
36 Steve Turre / 13 Sun Ra

-ORGAN
117 Milt Jackson
92 Bobby Hutchersor 123 Jimmy Smith
89 Gary Bur:on 78 Sun Ra
39 Walt Dickerson 36 Jimmy McGriff
23 Liorel Hampton 31 Amina Claudine Myers
23 Jay Hoggard 27 Shirley Scott

TDWR TDWR
62 Jay Hoggard 42 Amina Claudine Myers
43 Mice Mainieri 36 Carla Bley
40 Walt Dickerson 29 Shirley Scott
22 Gunter Hampel 16 Clare Fischer
18 Khan Jarnal 13 Sun Ra

FLUTE SYNTHESIZER
rrInvit
e, 45 Branford Marsalis 157 James Newton 114 Josef Zawinul
37 Bennie Wallace 82 Lew Tabackin 68 Sun Ra
27 John Gilmore 44 Sam Rive-s 44 Herbie Hancock
.1 25 Chico Freeman 42 James Moody 28 Richard Teitelbaum
22 David Murray 40 Frank Wess 23 Chick Corea

TDWR Tim( TInvit

84 Craig Harris BARITONE SAX 33 Henry Threadgill 30 Lyle Mays
48 Ray Anderson 26 Sam Most 22 John Surman
40 Gary Valente 133 Pepper Adams 24 James Moody 21 Richard Teitelbaum
22 Steve Turre 97 Hamiet Bluiett 22 Ira Sullivan 15 Brian Eno
18 George Lewis 96 Gerry Mulligan 17 Franc Wess 13 Michael Beinhorn
33 Nick Brignola
32 John Surman
SOPRANO SAX VIOLIN GUITAR
TDWR
147 Steve Lacy 64 John Surman 142 Stephane Grappelli 73 Joe Pass
87 Wayne Shorter 33 Henry Threadgill 88 Leroy Jenkins 55 Kenny Burrell
49 Zoot Sims 32 Hamiet Bluiett 43 Billy Bang 55 Jim Hall
34 Jane Ira Bloom 30 Ronnie Cuber 38 John Blake 44 John Scofield
33 Bob Wilber 26 Charles Tyler 25 Michal Urbaniak 43 Tal Farlow

22 DOWN BEAT AUGUST 1984

 TDWR
41 Fred Hopkins
VOCAL GROUP
33 George Mraz
113 Manhattan Transfer
26 Aladar Pege
73 Hendricks Family
20 Marc Johnson
27 Persuasions
20 Cecil McBee
22 Rare Silk
21 Jackie & Roy
ELECTRIC BASS
TI) Wit
131 Steve Swallow 25 Rare Silk
80 Jaco Pastorius 22 Vocal Summit
70 Jamaaladeen Tacuma 12 Bug Alley
19 Stanley Clarke 12 Hendricks Family
19 Marcus Miller 11 Sweet Honey In The
Rock
Tintit
40 Bill Laswell
40 Jamaaladeen Tacuma
POP/ROCK ARTIST
22 Marcus Miller
20 Eberhard Weber
14 Gerald Veasley

DRUMS Tl)WR
44 Bobby McFerrin
85 Max Roach 32 Mark Murphy
37 Emily Bernier 68 Jack DeJohnette 25 Dave Frishberg
23 John Scofield 55 Art Blakey 23 Chet Baker
22 Bireli Lagrene 51 Ed Blackwell 17 Jack Bruce
18 Bruce Forman 46 Elvin Jones
16 Eugene Chadbourne
Tbwit
FEMALE SINGER
16 Kevin Eubanks
44 Ronald Shannon
134 Sarah Vaughan
Jackson
ACOUSTIC BASS 23 Ed Blackwell
93 Betty Carter
79 Sheila Jordan
22 Billy Higgins
58 Ella Fitzgerald
22 Steve McCall
26 Carmen McRae 40 Police
16 Pheeroan akLaff
16 Ronnie Burrage 37 Michael Jackson
37 Talking Heads
22 Stevie Wonder
PERCUSSION 18 King Crimson

111 Nana Vasconcelos TDWR

54 Airto Moreira 11 UB 40
50 Famoudou Don Moye 8 Laurie Anderson
29 Daniel Ponce 8 Dazz Band
22 Mino Cinelu 8 Talking Heads
8 Robert Wyatt
TDwR
26 Mino Cinelu
25 Jerry Gonzalez SOUL/R&B ARTIST
14 Famoudou Don Moye
13 Han Bennink 46 Ray Charles
13 Jerome Cooper 43 Stevie Wonder
z 40 B.B. King
34 Michael Jackson
MALE SINGER ° 18 Earth, Wind & Fire

123 Charlie Haden 74 Joe Williams 'rims Tinvit

69 Ron Carter 71 Mel Tormê 39 Tania Maria 20 Buddy Guy
50 Dave Holland 38 Bobby McFerrin 25 Jeanne Lee 13 Big Joe Turner
40 Niels- Henning Orsted 31 Big Joe Turner 21 Lauren Newton 10 Clifton Chenier
Pedersen 30 Al Jarreau 19 Shirley Horn 10 George Clinton
38 Ray Brown 30 Mark Murphy 19 Sheila , ordan 10 Johnny Copeland

THE CRITICS Paul DeBarros: contributor, db; Seattle Times; The

Weekly.
David Lee: editor, Coda.
Jeff Levenson: db correspondent ( New York); Hot
FoHowing is a list of critics who voted in db's 32nd Albert DeGenova: managing editor, Up Beat; saxo- House.
annual International Critics Poll. Fifty-nine critics phonist, The Tirebiters. John Litweller: contributor, db; author, The Freedom
voted this year, distributing nine points among up to John Diliberto: contributor, db; radio producer. Principle: Jazz After 1958.
three choices ( no more than five points per choice) in Charles Doherty: managing editor, db; drummer, Jeep Ludeke: db correspondent ( Netherlands).
each of two categories: Established Talent and Talent The Tirebiters, Terry Martin: contributor, db; Jazz Institute of Chi-
Deserving Wide Recognition. Selections in the Hall of Frederick Douglass: photojournalist. cago archives.
Fame and various record categories received single Jose Duarte: International Jazz Federation; Portu- John McDonough: contributor, db.
points for each vote. The participants were: guese radio; Jazz Forum, Bill Milkowski: contributor, db; Guitar World; Interna-
Joachim Berendt: author, The Jazz Book. Lofton Emanan: Chicago Observer; Cadence; tional Musician; Output.
Larry Birnbaum: contributor, db; Chicago Reader. WHPK ( Chicago). Mark Miller: Toronto Globe & Mail.
Fred Bouchard: contributor, db; Swing Journal; Jazz Leonard Feather: contributor, db; author, The Ency- Herb Nolan: editor, Up Beat.
Times; Boston Herald. clopedia Of Jazz. Doug Ramsey: Jazz Times; Texas Monthly; Chroni-
Michael Bourne: producer and critic, WFIU ( Bloom- Mitchell Feldman: freelance journalist. cles Of Culture.
ington, IN). Charles Gans: English editor, Jazz Forum ( Poland). Roger Riggins: Coda; Jazz Forum.
Pawel Brodowski: editor, Jazz Forum ( Poland). Frank-John Hadley: contributor, db; freelance writer. Jim Roberts: contributor, db; Advocate ( MA) news-
Roy Carr: New Musical Express ( England). Randi Huitin: db correspondent ( Norway); Jazz Fo- papers.
Chris Colombi: db correspondent ( Cleveland); rum; Aftenposten. Robert Rusch: editor, Cadence.
Cleveland Plain Dealer. Niranjan Jhaveri: critic; producer, Jazz Yatra India). Brian Sanders: db correspondent ( Las Vegas); mu-
Carol Comer: db correspondent ( Kansas City). Eugene Kalbacher: jazz columnist, Progressive Me- sician; KNPR.
Tom Copi: contributor, db; jazz photographer. dia. Chris Sheridan: contributor, db; Cadence; Jazz Jour-
Owen Cordle: contributor, db; Jazz Times; Raleigh Burt Korall: senior editor, BMI; Playboy; International nal; discographer.
(NC) News & Observer. Musician. Bill Shoemaker: contributor, db; Coda; Jazz Pules.
Francis Davis: contributing editor, Musician; Boston Peter Kostakis: contributor, db. Joel Simpson: db correspondent ( New Orleans);
Phoenix; Philadelphia Inquirer. Art Lange: editor, db; bassist, The Tirebiters Gambit; Wavelength. CONTINUED ON PAGE 52

AUGUST 1984 DOWN BEAT 23

MVDinner
sider compromise after all these years as
one of the few contemporary musicians
whose work was unique, fresh, and
funny, and whose compositions helped
jazz players add to the vocabulary of
improvisation?
From the time she quit school at the

With Carla
age of 15 and took ajob in amusic store
selling sheet music, Carla Bley has
blended irreverence with innocence.
Her religious family in Oakland did little
to stunt that development, but her in-
volvement in the church did leave Bley
with aworking knowlege of religious and
spiritual music. She also claims that ajob
in her aunt's flower shop in Carmichael,
California, where she made and placed
sprays on caskets, provided some in-
spiration for her funereal music of later
years.
When she left California for New York
City in the early '60s, Bley had no prob-
lem working as a cigarette girl in jazz
clubs before integrating herself into the
full-time jazz scene. From 1964 on, Bley
was aprime force in the formation and
growth of the Jazz Composers Guild, its
orchestra, and eventually the Jazz Com-
posers Orchestra Association, a non-
profit foundation to support the or-
chestra and commission new works.
JCOA spawned another even more am-
bitious project, the New Music Distribu-
tion Service, which was Bley's attempt to
provide an outlet and distribution net-
work for new or non-commercial records
without depriving musicians of the own-
ership and control of their music.
Although her current involvement at
NMDS is limited to publishing anewspa-
per every two-and-a-half years, Bley still
gets "incredible satisfaction out of it.
When we and Mike Mantler started
JCOA, we only wanted to write for big
orchestras. We never had any gigs, so we
had plenty of time left over to tend to
business. Idid all the stamp licking and
envelope stuffing, but now Idon't have
time to sneeze. When you have so many
eirons in the fire," Bley pauses to check
the cliche, "Is that the word? You've got
to delegate responsibility among people
who you hirer
Since the mid-'60s Bley has enjoyed a
eslow but inexorable climb to the heights
of success, especially if measured in jazz
terms. She estimates she has written 300
By Don Palmer songs and 50 scores for her 10-piece
band. Bley has performed on dozens of
albums, and her own recordings have

TGodard,
oparaphrase film-maker Jean-Luc
here are two or three things
assimilationist pressures, and from received far more acclaim than scorn. In
within no less. addition, Bley's recent albums are dis-
you may want to know abut her—Carla Most of this is the sort of trivia one tributed by ECM via the Warner Bros.
Bley that is. HeF favorite color is green, might expect to get over adinner with conglomerate, and all her work is availa-
even though she says that she doesn't Carla, especially from a rambling con- ble by mail from the Mighty Mouse of
look good in it. She doesn't like official versation at an but comfortable alternative music, NMDS (500 Broad-
holidays. "When Ifinish apiece of music, Italian restaurant on New York City's way, NYC, NY 10012). Nonetheless, Bley
Ihave aholiday—well not aholiday, but a Lower East Side. But this last bit of seems torn by the notoriety and the good
celebration:' She doesn't like bright, information about Bley's music taking a fortune that homage- through- trans-
noisy restaurants with muzak. She felt turn towards the mainstream is surpris- figuration is not only hip, but acceptable
apprehensive about her first Japanese ing. Could Carla Bley, the queen of the and popular. So maybe the new musical
tour in late May. Her music is facing new avant garde composers, actually con- direction is Bley's typical iconoclastic,

24 DOWN BEAT AUGUST 1984

 alities more than music. I'm that way.
When a person plays, Idon't listen to
their notes; I listen to who they are.
That's what Imean by personality.
"I think I'm getting to be well known in
awider circle, so that people aren't really
music lovers. Ithink alot of people who
might come to aconcert now are sensa-
tion seekers, and Ican't provide that. I
can only provide the music:'
As Slagle later explained, Bley's con-
cern over the presentation of her music
was not just due to fear. The additional
preparation for her Japanese tour had
become necessary because Bley and the
band discovered that atwo-hour set was
more powerful and effective than two
one-hour sets, and the build-up, tension,
and subsequent release, which Bley's mu-
sic strongly generates for the audience,
was dissipated during the intermission.
But, in order to play for two hours
nose-thumbing response to the times On the eve of her first Japanese tour, nonstop, the band has to be "really tight:'
having caught up with her. Or maybe, as Carla Bley was in agood mood because
Bley states, her new release Heavy Heart is she "just had aburst of self-confidence

Athough
about Springtime and Love. about it. The apprehension Ifeel about Bley eschews the notion that
Japan could be what I'd feel about any- she is motivated by a desire to ap-

E ither answer coming from Bley the thing new, so it might be just fine after-
prankster could be ahalf-truth, but it wards:'
pease her newer and larger audience,
she has produced an album that is
is unquestionable that Heavy Heart tends Bley went on to explain, " In the last simpler, more streamlined and accessible
toward the sentimental excesses of the year I've become shy of getting on the than much of her previous work. Heavy
New York studio scene rather than a stage. And, if you figure I've had aband Heart should certainly get some radio
bluesy, quirky reply to love, fulfilled or for eight years and for seven of those airplay and attract more listeners, which
not This is not to say that Heavy Heart is years Ididn't know whether Iwas on- in turn could make Carla Bley a tad
as unctuous as David Sancious or as stage or off-, it just means I've been made wealthier and even more self-conscious.
vapidly, technically soulful as David San- to feel self-conscious recently." Her response? " Ididn't know Iwas
born, but most of the indelible Bley By whom? The audience? Well have gonna make that record. About a year
trademarks have been skillfully man- you ever been pelted? "Oh yeah, I've after Live, Itook the band into the studio,
icured or excised. The tunes are still been pelted. In France it was tomatoes; and we made afollow-up album with the
Bley-like, hip and exquisite; the harmo- in Italy it's cans and apricot pits or half- pieces I'd written. The recording wasn't
nies elongated under the fluid, piping eaten peaches. That doesn't bother me. I good, and Iknew it the next day when I
alto of Steve Slagle and the snorting, had played the Italian national anthem listened to it. Ithink what was wrong was
muscular trombone of Gary Valente (on and was just being irreverent in general. that the live album had worked, and we
Ending It); the solos and arrangements It took people seven years to get used to tried to reproduce it but in astudio with
always take an unusual turn aphrase or that, and now they don't throw things." no overdubs. We missed the audience—
two before becoming predictable; and Alto saxophonist Steve Slagle laughed that's all it could be. I'm not talking about
Bley's ethnic sensibility takes the form of and added, "Beer cans in Germany, but applause, I'm talking about the breath-
latin lilts and tempo-altering shuffles. In for no good reason:' Bley continues, ing that an audience puts into apiece of
short, Heavy Heart is afight, breezy album "And full of beer. Istopped the concert music.
without being formulaic, and one which and said, ' Iwant the guy who threw that "If you record in the studio, you have
fabricates jazz-pop from evocations of up on-stage: The audience ran after to use adifferent process; it's adifferent
the revived electric bands of Miles and him, but he went over afence. Iwouldn't art form. I'm always thinking, ' Iknow
Gil, Marvin Gaye sHere, My Dear, and continue until Icould pour acan of beer this,' so Isaid to myself, ' Iknow this,' and
assorted sultry, sensuous tunes. over somebody because that beer had decided to make astudio album without
Yet fans of the eccentric Bley, the key- splashed all over us. The promoter of- using the guys in my band. Iwas going to
boardistkomposer whose work can be fered himself, and Ipoured an entire can follow the procedures and start with just
rich and zany like Ellington's East St. of beer on his head. I love audience the rhythm section and add the other
Louis Toodle-doo, shouldn't despair, be- participation:' tracks later:'
cause her soundtrack for the French film Getting back to the point, Bley blamed Bley intended to use all studio mu-
Mortelle Randonnee is less soundtrack and the press for making her self-conscious. sicians, but she ended up with her own
more Bley recording than Heavy Heart. "They ask me things that Idon't even rhythm section plus percussionist Man-
Randonnee finds the imagistic Bley want to mention. They ask me questions olo Badrena and guitarist Hiram Bullock
calliope in full swing. Drunken melodies, that make me wonder why Iam doing as the add-ons. She also knew that her
staggered ensemble passages which are this, am Istrange, do Ilook funny, am I love for the saxophone dictated that at
part cacophony, part call-and-response, not qualified?" least one horn had to appear on the
and doleful, even dissonant harmonies Certainly Carla Bley's propensity to album. Her choice was Slagle because
abound in amelange of tangos, dirges, stray from the facts, to spin tales >and her he's a "romantic kind of guy:' Bley had
and mock marches. Like Musique Me- willful innocence work at cross purposes Slagle come to the session to play the
canique and European. Tour 1977, Randon- for her and the press. She's also said that melodies for the rhythm section, but he
nee is energetic, brassy, and full of weird critics are more interested in person- wanted to play in the main studio with
twists that'll make you perk up and even alities than music, which she amended. the band instead of being isolated in his
cackle. "I should say that humans like person- booth. The result was that Slagle's guide

AUGUST 1984 DOWN BEAT 25

 infrequent solos are expressive. On the
late Clifford Thornton's The Gardens Of
Harlem, Bley plays the introduction to
Gospel Ballade, and her halting style con-
jures alumbercamp/whorehouse pianist
playing the blues for the sanctified.
Bley claims that she has no direct influ-
ences on her writing or playing. "Ijust
hear something and it sticks. Anything I
like or hate comes out in the music. I've
never studied any kind of music, and
even if Iwere to attempt to duplicate
something, I'd fail horribly." She pauses,
gives an aw-schucks laugh and concedes,
"Okay, fail beautifully'
She continues by describing her solo
technique. "When Ido asolo and when
it's good, there's aword for every note I
play. I speak the solos while I play. I
played an organ solo on Heavy Heart [ the
title tune], and there's aword for every
CARLA CONDUCTS: Under bassist Steve Swallow's rapt gaze, Carla Bley fingers her mob.
note. They're all silly words, ordinary
tracks remained on the recording al- figure out acameo in the middle of the words, corny words so I'd never tell you
though initially they were to be erased, night, where I play something that I what they were.
with new horn parts dubbed in. Later prepared in advance and was real flashy. "I'm just a composer, and Iuse jazz
Bley added more horns, but not before Iwould love to be flashy, but Ihate to musicians because they're better. They
deciding to use her guys "because of prepare in advance. I couldn't repeat play better, they're smarter, and they can
sentiment and they play better:' Now she myself two nights in arow because Ihave save your ass in abad situation. If their
calls her attempt at astudio album half- an aversion to saying the same thing or music falls off the stands, they can make
successful and a "mongrel:' playing the same thing. But, next month it up. A classical musician, a folk mu-
Bley says that she wants to do another I'll play the same set every night. Idon't sician, or arock & roll musician is pretty
studio record, and she even talks about know if it'll happen, but I'm planning to limited in what they can do to help out
disbanding her group so that she can put do that:' the leader. Ineed all the help Ican get:'
more time into the effort. Surprisingly Though Bley is obviously no Cecil Tay- Not only does Bley think jazz mu-
she stated, " I might quit my band in lor or Oscar Peterson chops-wise, nor is sicians are better, but she finds classical
August for financial reasons. The band her economical playing as skillful as musicians are snobby, because they think
has been an obsession of mine. Iput all Monk, Basie, or Ellington, her brief and there's only one way to play. Nonetheless,
my copyright royalties into it, but the she had nothing but praise for the radio
band does not make money. It is alosing orchestra in Köln, Germany where she
proposition—any big band is." had just performed with fellow compos-
CARLA BLEY'S ers Michael Mantler and Mike Gibbs.
Whether from fatigue, momentary
EQUIPMENT "It's a good orchestra, and the string
disillusionment, or the desire to see if
we'll miss her when she's gone, Bley says Though she's better known for playing her mu- players aren't snobby. They played right
sicians than her keyboards, Carla Bley has a on the beat. You usually put your hand
that she's even soured some on leading a preference for BOsendorfer and Steinway acous-
band. "You should have aband and see tic pianos. Her preferred organ is aKorg BX3. down, and they come in a few minutes
what it's like. If you're not an extrovert, She's just begun experimenting with her new- later, so Iwas trying to match the time of
it's really hard, particularly if you're not a est instrument, aKorg Poly-61 synthesizer. " Igot it the orchestra by playing real late. At the
free, and Iget to play bass on it for one whole tune
virtuoso musician. If Icould take one end they were matching mer
so far. Its also the best of the analog synthesizers.
brilliant solo or something, and the au- It's good on the road because it's easy to program
How long does it take you to finish a
dience would scream with delight, my and isn't too big." piece for jazz musicians? "Two months.
presence on-stage would mean some- First Iwrite alot of material, then Istart
thing. Iwrote the music, but why am I gettin' rid of all of it. Then I've got a
CARLA BLEY rough copy, and I start working on a
even there? Ido acouple of handwaving
SELECTED DISCOGRAPHY score. That takes alot of time, and then I
things which Idon't do very well, and I
play an organ solo that has maybe two or as a leader have to copy the parts.
HEAVY HEART—Watt/ECM 25ool-1
three notes over aperiod of five minutes. MORTELLE RANDONNEE—Mercury/Phonogram 224 "I just wrote anew piece, and the way it
Ifeel like Ishould be in acage with asign LIVE—Watt/ECM 12 happened is interesting. Five days before
SOCIAL STUDIES—WatVECM 11
on me that says, She wrote the music:" MUSIQUE MECHANIQUE—Watt 9
Marvin Gaye died, Iwrote this piece that
Bley seems undaunted by Slagle's EUROPEAN TOUR / 977—Watt 8 sounded just like Marvin Gaye, but I
DINNER MUSIC—Watt 6
boast that she's agreat leader because she didn't want apiece like that. It was great,
3/4 FOR PIANO AND ORCHESTRA—Watt 3
gives musicians the freedom to express TROPIC APPETITES—Watt 1 but it was in a field Iwanted to leave
themselves within aframework. Like the ESCALATOR OVER THE HILL—JC0A-E0T14 behind me since Ihad done the Heavy
with Charlie Haden
great bandleaders such as Mingus, El- BALLAD OF THE FALLEN—ECM 23794-1
Heart album. It's abass solo first, for Steve
lington, and Basie, Bley knows how to LIBERATION MUSIC ORCHESTRA— Impulse 9183 Swallow because he's always raving about
write for and elicit strong performances with Clifford Thornton Marvin Gaye and says that's where he
THE GARDENS OF HARLEM--JCOA 1008
from her soloists. But she'll accept no with Nick Nation
learned his phrasing. It's for the 10-piece
comparison between her playing and FICTITIOUS SPORTS—Columbia 37307 band, but the bass has the melody and
that of the other great minimalists of the with Inched Mintier the solo. There are no other soloists,
SOMETHING THERE—WatVECM 23786-1
keyboards. MOVIES—Watt 7 which means that Iget to play the bass
"Ellington always had some little thing SILENCE—Watt 5 line all the way through on my synthe-
THE HAPLESS CHILD—Watt 4
he played on the piano that was startling NO ANSWER—Watt 2 sizer. That's more fun than I've ever had.
and wonderful. I really should try to Ithink Iwant to be abass player:' db

26 DOWN BEAT AUGUST 1984

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 ANDREW
66 Qometimes Ithink that the drums
U and Iare synonymous," says An-
drew Cyrille, not immodestly. "That's
how Isee the world—even though Isee a
lot of other things, too. But you know, I
am adrummer."

CYRILLE
Yes, you know. Because this compact
but powerfully built, serious yet good-
humored and inquisitive man walks,
talks, works, and thinks— not com-
pulsively, but perceptively— with his
mind on Time. "The definition of time
might be the duration of that which
changes," he suggests—and Cyrille has

PASSION FOR PÍRCUSSION

the concentration to attend to all sorts of
change: from the needs of asoloist to the
relations within arhythm section, from
the demands of an unaccompanied sit-
uation to the possibilities of several
By Howard Mandel
drummers together.
"That's my meat, that's what Ido— I'll
never stop doing that," he says of group
percussion projects like Pieces Of Time, was looking at me that way. Now 1know jority of them—from the time Iwas 18 or
the album he's lately released with bebop that they look at you to see if you know 19 years old through today:'
innovator Kenny Clarke, Sun percus- what they're saying, what they're doing. His good fortune actually started at St.
sionist Famoudou Don Moye, and the It's almost unconscious:' Cyrille, who's Peter Claver grammar school in Brook-
pan-rhythmic Milford Graves exploring collaborated with some of the most de- lyn, where drummers from the school
both personal and ensemble motives. manding creative musicians of our time, music program during the '40s returned
Cyrille has long been identified as an knows what he's doing. Perhaps that's to coach youngsters. Cyrille's family,
associate of pianist Cecil Taylor, but actu- what he was thinking when he entitled originally from Haiti, enjoyed music,
ally he's been at home among other his most recent quartet album The Navi- and he'd found the New York radio
drummers for nearly 30 years. gator. He's got both perspective and di- stations mixing tracks by Lester Young,
Not only did he start in aschool drum rection. Charlie Parker, and such jazz people with
and bugle corps, not only did he dare to the playlist staples of rhythm & blues.
ask What About? the drum kit as an or- 661 think there are three components Then drummers Lee Abrams, Willie
chestra in itself (recorded by BYG in that make great music," he explains. Jones, and Lennie McBrowne offered
Paris in 1969), not only did he create a "One, of course, is the technical, the their input, telling Cyrille about people
Dialogue of The Drums with Graves (as ability to translate what you want to do like Max Roach, Art Blakey, and Shadow
recorded on his own IPS label in 1974) into some kind of concrete audible Wilson.
and sometimes Rashied Ah, not only has sound. Two, you've got to have acertain "I knew Iwanted to play drums, and I
he worked with everyone from Muhal concept about how you're going to con- knew Icouldn't do all the things that they
Richard Abrams, Peter Breetzmann, and struct whatever it is you're playing, what did, so, like anybody who's interested in
Walt Dickerson to Coleman Hawkins, the systems you're going to use, whether it's learning something, Itried to learn how
Jazz Composers Orchestra, Leroy Jen- solo or in relationship to some other they did it," he says of his various prede-
kins, Grachan Moncur III, and James instrument. Then the last component is cessors and mentors. Philly Joe Jones
Newton to Nellie Lutcher, Richard the spiritual quality—how you commu- gave Cyrille much "practical experience"
Teitelbaum, and Mary Lou Williams— nicate on the human level, one person to during this period.
not only has he maintained a band another, Some musicians have atechnical "When you get one thing together, you
of his own, despite lean bookings in the grasp, and they may also have aconcep- go on to the next, and to the next, and to
states, for "younger musicians who are tual grasp on what they want to do, but the next, so you build this vocabulary. I
getting older"— Cyrille has come to nobody feels anything because they're think everybody is born with different
understand his experiences, and can ar- not communicating on aspiritual level. aptitudes; it was found, not only by me
ticulate them in away so as to educate us How that's done, from person to person, but by people who were teaching and
all. is debatable; Imyself try to feel what it is observing me, that Ihad anatural talent
"I remember a feeling Igot when I I'm doing, and when that happens, usu- for playing drums, and Ididn't know this
played alittle bit with Monk. .. the same ally Ican get other people to feel what until Ipicked up some drum sticks. But I
feeling Igot when Iplayed once with I'm doing, too:' was able to pick up some things faster
Coltrane, astrange feeling Iremember Leaving aside questions of spirit— than other kids who weren't slow, either.
from sitting in with Bud Powell one time unquestionably the most difficult matter I enjoyed learning how to put these
.. . Iwas doing a gig with Mary Lou to pin down with objective language—we things together, and one thing led to
uptown on Broadway and 126th St., note that Cyrille has almost always per- another. But even though I had the
where different musicians used to fall by. formed with people involved in seriously aptitude for it, the vocabulary of drum-
One night Monk came in, after every- advanced forms. Why? ming is so vast that Ihad to apply myself.
body had gone, and Iwas still sitting at He laughs. "That's the place where I'm You apply yourself according to how
the drum set, just doodling. He came interested in playing—on the edge; it's much you want to get into it, and it's an
over to the piano, and just played a exciting and adventurous. But it proba- ongoing process. Istill study today."
couple of chords. I'll never forget the bly also has to do with the people I've Cyrille met Cecil Taylor when he was
feeling I got from the sound of the been hanging out with most of my life. 17, introduced by trumpeter Ted Curson
chords, and the way he played that I've been fortunate that way; I've had the one afternoon at the Hartnett School of
rhythm. Ithink he was listening for the opportunity to associate with some of the Music. "Ted told me in advance that this
way Iwould relate to what he was doing. greatest people, the greatest thinkers in guy plays piano like nobody you ever
"Being young, Ididn't know why he the business—communicators, the ma- heard before. Iheard him and didn't

28 DOWN BEAT AUGUST 1984

have any kind of strong reaction, positive
or negative. Itook out my snare drum,
and he started playing piano, so Istarted
to play the drum. Iwas just relating to
what was going on. After Ted left, and
the school was closing, Iknew this place,
Pigalle, in Harlem, that had apiano, so
we went up there and asked if we could
sit down and play some music, and the
bartender said, 'Yeah.'
"Thereafter, Idon't remember play-
ing with Cecil again for awhile, but we'd
see each other and would talk. When I
started recording, with Walt Dickerson,
Abdul Malik, and Coleman Hawkins,
Cecil got those records and always voiced
interest in what Iwas doing. Then, in '64,
Sunny Murray left his band, and he
asked me if I'd like to play with him. I
said sure; that was the beginning of our
association on aformal level."
There are critics and aficionados who
consider Cyrille the best drummer Tay-
lor's ever had—and that puts him in the
company of Murray and Ronald Shan-
non Jackson. Cyrille is among the rhyth-
mists who have redefined the trap
drums, their role and their sound. On
the studio sessions Unit Structures and
Conquistador Cyrille is asplashing, slash-
ing presence, opening depths beneath
the pianist, shadowing the organic spread
of his phrases, shading Taylor's own
percussive flurries while establishing
strong guidelines for (and with) the other musk, music people can relate to," he provising musicians, whether you're
individualistic members of his Unit. avows, "but I'm acreative musician, so I playing swing, dixieland, bebop, what-
"I would play in association with most have to think about trying to do things ever, is how smart you are. how gifted you
instruments in terms of timbres, think- that are alittle different from what went are, how you can relate instantaneously
ing about what the sound of an instru- on before. Now, let me say Ithink people and convert what it is you hear through
ment was, and how Iwas going to play to who are playing for dances can be crea- all these processes that go on in our
make that instrument sound larger than tive, too"—he himself played for dance brains to give some sort of answer almost
it would ordinarily sound, give it another classes on adaily basis from 1964 to '70, simultaneously. For anybody to play any-
dimension, give the person who's playing and credits choreographers asking him thing," he insists as though sitting behind
it that feeling that they could play more, for inspiration with stimulating his solo his kit, "the first thing you have to play is
so they'd want to relate more, improvise performance concepts. "And for the mu- rhythm.
more," he states. Few albums from the sic we're playing now, Ido feel that you do "For instance, I remember this par-
'60s offer such broad dimensions and kind of know what's going to happen. ticular album Idid with Coleman Haw-
such complex networks of inter-rela- You are aiming at something that's not as kins, The Hawk Relaxes, back in '62. Speak
tionships as those two do; for all their open and as free as alot of people might Low— Ihad some idea of how the melody
density, it comes as something of asur- think. goes, but I'd never played it before; we
prise to find on relistening that these "Musicians all listen, and we all play, rehearsed it. [Pianist] Ronnell Bright
were more composed suites than blowing and we've all come through certain kinds played the introduction; we knew after
sessions ( for Taylor's Unit with Sam of set structures—blues, for instance— the introduction Hawkins was going to
Rivers, Jimmy Lyons, and Cyrille at high so there's acertain thing we can relate to play the melody, however it goes. Then, I
energy, check out The Great Concert Of when we listen to each other. It's the same had to figure out: am Igoing to play this
Cecil Taylor, formerly Nuits De La Fonda- with musicians who play creative music. in some kind of swing fashion—you
tion Maeght on Shandar, reissued by Pres- You go on, and listen to what the person know, in a 4/4, quarter note, dotted
tige). is doing, and yes, there are some associa- eighth, 16th—am Igoing- to use that kind
tions with past events in what you heard, of rhythm as apropelling rhythm, or will

W hen Cyrille, in his teens, was playing so you know when the guy or girl is really
"music people dance to—calypsos, cooking and doing something you can
Ido something else, maybe some kind of
latin rhythm? So what Idid was listen to
mambos, blues- type things with a say yeah to. that feels right, that you know what the other musicians were playing.
backbeat," at the same time "we were is right intellectually. As opposed to say- "Ron Carter was playing some kind of
trying to play Charlie Parker pieces, ing, weN, no, it's not really happening, latin bass figure, so playing dang-dinga-
George Shearing pieces, Horace Silver I'm not sure what you were doing then, dang-dinga-dang wouldn't fit with that. So
pieces, learning those forms, getting that or Ididn't feel good about that, or I Ithought, Ihave to play something latin,
vocabulary together," he remembers. couldn't relate to that. Those things too. Iplayed a rhumba, if Iremember
Mastering this common language had happen. but it's more an intuitive thing, correctly. Then Ronnell heard what Ron
everything to do with developing what's and that's based on some kind of analysis and Iwere playing, and began playing
been called free music, the style to which of information that you've already had his chords, or whatever— passages—
Cyrille is linked. and processed. how he was interpreting the music his
"I always like to 'swing,' and play good "What it comes down to for all im- way. Then Kenny Burrell on guitar

AUGUST 1984 DOWN BEAT 29

 would begin associating the same way. we've inherited—they're part of us, also.
Then Hawkins played the melody, and as Everybody, again, has their own experi-
amelody line, he related it to what the ences—so if something should happen
rhythm section was playing. And if I that's reminiscent of Africa, that's where
remember now, too, after we played the we'll go. If something is reminiscent of
head, it did go off into a4/4 kind of jazz bebop, that's what we'll do. On Pieces Of
feel." Time there's one piece, Drum Song For
The musicmaking process isn't mysti- Leadbelly, that Iadapted from Huddie
cal—it may be experimental, though the Ledbetter; it's like some folk or country
result may not be, as another example, rhythm. Istructure it so it has akind of
from Cyrille's recent tour of Europe with meaning and form which is, to me, typ-
clarinetist John Carter, reveals. ically American. Some of the other
"There's one piece Carter plays, Enter pieces might be more reminiscent of
From The East, where he asked me to play some of the more modern concepts of
something that was exotic, but free. The how time can be used, how you can assign
bassist was Santi DeBriano; Carter was time or fuse time signatures, how you can
doing most of the improvising, so Di- count, where you want to play certain
Briano and Ihad to play something we things on the instrument, how you want
could relate together and play so Carter to breathe with it."
ANDREW CYR LLE'S
could improvise over or move across it in Pieces Of Time is very consciously struc-
EQUIPMENT
whatever way he felt. The first few nights tured, and while it satisfies Cyrille's phys-
Andrew Cyrille plays Ludwig drums, A. Zitcljian ical enthusiasms (" I like working with
it didn't quite jell. So Ikept searching,
cymbals, and Latin Percussion. His kit contains a
6x14 Supersensitive Black Beauty snare, three and we talked about it. Iwas trying to people who are really versatile and well
8x12 rack -toms, a 14 x14 floor tom, and two find out how Icould get it open so it versed in what they do, who can really
14 x20 bass drums. His Ludwig hardware in- would flow, and at the same time would cook, because it prods me into getting
cludes two Speed King bass drum pedals. into myself; it's like acatalyst, and com-
be expressive, have the composition in it
His Zildlian cymbal setup is 14- inch light hi
hats, 18- inch flat ride, 20-inch medium ride, 10 in terms of the improvisations, and be petitive, but not a destructive competi-
inch splash, 18- inch swish, and 18- and 20- inch something that felt good. Finally Ifound tion—a constructive thing"), it also
Chinese gongs. that when the bassist played acertain line speaks to his historical goals. "The
Cyrille's LP gear includes Agogo bells, cow earlier generation—Art Blakey, Charli
Icould play it with him in unison, and
bells, maracas, African claves, vibra- slap, wood
blocks, tambourines, tamboura, and 7A drum open it up after that. Everytime he Persip, Philly Joe Jones—did some things
sticks. played this bass figure, I'd play it with in this light. Iremember how Iused to
'What I'd really like to do is get more into him, rather than a counter line. That listen to them when Ihung out in Bird-
electronics,' says Cyrille, who's been edit ng a land. When my generation began taking
opened the whole thing up, and from
tape he made with synthesizer innovator Richara
Teitelbaum for upcoming release. "Of course, l'a then on we had no problem at all." the music and playing it outside bebop
like to always be able to relate and play acous- Maybe the use of a unison doesn't forms, Ifelt initially that this should be
tically, but I'd like to embellish what Ido with seem radically creative, but Cyrille documented. When Ithought about it
electronics.' his own synth is yet to arrive
doesn't care. " I'll grant this: not every- years ago, Ithought of Milford, imme-
thing that's new and creative is good, but diately, and we went ahead, and had
ANDREW CYRILLE at least some people have to do it, or we'd Rashied Ali do some things with us. I
SELECTED DISCOGRAPHY be back in 707 A.D." knew we were all of like mind. I did
as aleader What has he done new and creative as something with Sunny Murray at Wood-
PIECES OF TIME— Soul Note 1078 adrummer, specifically? " Used different stock at one of Karl Bergers festivals,
MEETS PETER HROTZMANN IN BERLIN—FMP 1000
THE NAVIGAMP—Soul Note 1062 kinds of percussion instruments or de- and not long ago up at WKCR, Columbia
METAMUSICIAN'S STOMP—Black Saint 0025 vices to make sound. For instance, I University's radio station.
CELEBRATION-1 PS 002
DIALOGUE OF THE DRUMS-1 PS 001
might put a cymbal on a snare drum "I think people should begin to relate
JUNCTION— PS 003 head and play that; Imight play with to drums more as an instrument that has
WHAT ABOUT—Affinity 75
maracas or tambourines, or one in each myriad possibilities of sound and sound
THE LOOP—FS/Ictus 009
with Cecil Taylor hand. Sometimes I'll sing into the drum. variation. Many people don't like to think
UNIT STRUClUFIES—Blue Note 84237 Sometimes I'll use atowel on the snare of percussion instruments in terms of
CONQUISTADOR— Blue Note 84260
THE GREAT CONCERT— Prestige 34003 drum head, to deaden the sound, or on melody, because they say they have indef-
SPRING OF TWO BLUE J'S—Unit Core 30551 top of one of the toms. I've played the inite pitch, but it's only indefinite so far as
DLIUJ AKISAKILA KUTALA—Trio 3004
wall, played the floor—whatever it is that the diatonic scale goes. And some guys,
STUDENT STUDIES— Affinity 74
with Coleman Hawkins Ifeel might add to the music, and ex- like Joe Morello, can almost play ascale
MOONGLOW—Fkestige 24106 press something that might be a little on one of their drums, manipulating the
with Leroy Jenkins
unique. But at the same time keeping in head. Maybe he can't play in all the keys,
THE LEGEND OF Al GLATSON—Black Saint 0022
SPACE MINDS, NEW WORLDS, SURVIVAL OF AMER- mind that I'm part of atradition, which I but—okay. Drums don't have definite
ICA—Tomato 8001 see as acontinuum—in terms of meth- pitch, but you can get cymbals that have
with Jimmy Lyons
NUBA—Black Saint 0030
ods that are used— including African definite pitches, and you can tune the
OTHER AFTERNOONS— Affinity 34 and Western music. drums to get any intervals you want.
with 'Anhui Richard Abrams "The way Ifeel about it is that we're "There used to be a time when the
MAMA AND DADDY—Black Saki 0041
BLUES FOREVER—Black Saint 0061 playing American music; now, how that drummer took asolo everybody started
REJOICING WITH THE LIGHT— Black Saint 0071 American music comes out is another talking; it's time for that stuff to stop. I
SPECIAL PEOPLE— Soul Note 1012
thing. In terms of drums, we use rudi- feel, with the sophistication of the people
with Carla Way
EUROPEAN TOUR 1977—Watt 8 ments—if you listen to people like Baby who are playing the instrument now,
with Charlie Haden Dodds or Zutty Singleton, you hear rolls there's no need for somebody to say that a
LIBERATION MUSIC ORCHESTRA— Impulse 9183
out of a marching matrix, and they're drum solo is not as creative as a piano
with Michael limber
THE JAZZ COMPOSER'S ORCHESTRA—JCOA 1001/2 European. In traditional African music solo, or aviolin solo."
with Walt Dickerson you never had formations like you'd see Now you've heard atruly sophisticated
LIFE RAYS— Sod Note 1028
in the colonial marching bands, where drummer, acreative musician, Andrew
PEACE—SteepleChase 1042
UNITY—Chiamscuro 2011 they used the music to cadence them- Cyrille. Are you sure you've been listen-
selves, to move within time. Those things ing? db

20 DOWN BEAT AUGUST 1934

Try today's Sehner — better than ever:

t7:
°z'i1le The Selmer Company
Post Office Box 310. Elkhart, Indiana 46515
 EL011 IOU
's e

K IF THE NAME MEANS

NOTHING TO YOU,
PERHAPS THESE WILL:
THE CARLA BLEY BAND
BOB DOROUGH

pi&
GIL EVANS

A DONALD FAGEN
PETER FRAMPTON
JOHNNY GRIFFIN
r ht, r BARRY HARRIS
oi,
j ,
)0tia j
d 11
JOE JACKSON
«art. • &
rsY

Jo hn sti
)tE
,

,9e
DR. JOHN
ELVIN JONES
Ween Chetlie R
' e

STEVE KHAN
also:
C.arviee:
tle speckii STEVE LACY
/31neri, tea.•
BOBBY McFERRIN TERRY ADAMS
1'3n/A
ft (N ce er( NRBQ MARK BINGHAM
endif R4.
CHARLIE ROUSE ED BLACKWELL
TODD RUNDGREN BRUCE FOWLER
CHRIS SPEDDING SHARON FREEMAN
"That's The Way IFeel Now" features these artists WAS ( NOT WAS) SHOCKABILLY
and others who felt Monk's touch, playing the music RANDY WESTON STEVE SLAGLE
of one of the most important and influential jazz STEVE SWALLOW
GARY WINDO
innovators, ever. If ; tsounds interesting, that's because
and JOHN ZORN
it is— whether you own a thousand jazz albums or
none at all.
"THAT'S THE WAY IFEE6. NOW" SP 6600, A TRIBUTE TO THELONIOUS MONK
A 2Record Set Produced by Hal Willner for Deep Creek Productions Ltd.
AM
ON A&M RECORDS AND BASF CHROME CASSETTES. 1984 ARM Records, Inc. All Rights Reserved RECORDS

USE YOUR CREDIT CARD OR CHECK FOR DELIVERY TO YOUR DOOR. ORDER ANY 5RECORDS OR CASSETTES AND GET ONE FREE.

—.Ab—
 R
ECORD R
EVIEWS
***** EXCELLENT **** VERY GOOD *** GOOD ** FAIR * POOR

,
MILES DAVIS
DECOY-- Columbia 38991: DECOY; ROBOT
415; CODE M.D.; FREAKY DEAKY; WHAT I TI S;
THAT'S RIGHT; THAT 'sWHAT HAPPENED.
Personnel: Davis, trumpet, synthesizers; Bran-
ford Marsalis (cuts 1, 3, 6), Bill Evans (5, 7),
soprano saxophone ; John Scofield, electric
guitar ;Robert Irving Ill, synthesizers, electronic
drum programming, synthesizer bass; Darryl
Jones, electric bass; Al Foster, drums; Mino
Cinelu, percussion.
* * * *
i>il .\\ *,
1\
Miles Davis' music often projects mystery and "NI) 1.11\I
menace, but the mystery of Decoy is: what
tape tricks will Miles deploy next, and whose
ideas are these anyway? The menace, mean-
while, whether provided by Mino Cinelu shak-
ing like arattler or synthesist Robert Irving Ill
floating dark motifs as a conspirator- in-the-
know, is leavened by Davie own high-spirited
playing. From the brilliant brassy blasts, irreg- TEKL\Cr. 131....\NCHARD
ular bass stride, and rusty- spring sound ef- DL )\ \
- 1,1) 1-1 ,
\RKsoN
fects over solid Foster rhythms that Miles darts
through on the title track, to the in- sync ensem-
ble energy which closes this fourth LP of Jean Pierre, plus Branford's piping and M.D.'s John 3lake's approach to his own material is
experiments with song form, recording tech- coiled attack feints, flurries, and slurs building quite unlike that of his current employer, Mc-
niques, new instrumentations, and new per- to apiercing point lack subtlety. Not at all— in Coy Tyner. It's a matter of emphasis: Tyner
sonnel since his '80s emergence from inac- fact, there's alot to listen to, and at six minutes stresses the rhythmic aspects of his music,
tivity, Miles is clearly having afine time. it's too long for asingle anyway. while Blake is more concerned with melodies.
You can most easily hear his devil-may-care Which leaves Freaky Deaky, the only cut Dimensions, Tyner's first album for Elektra
self-assurance and pride in his tough new Miles claims with composition and arrange- Musician, is comfortably familiar, in terms of
idiom on this production's second side. John ment all his own. He doesn't play trumpet, only both its modal harmonic material and its
Scofield's nimble figures and octave-divided synth, in astyle like the late Larry Young's, and headlong rhythmic drive In many ways the
edge on What It Is leads Miles to perform the Darryl Jones runs the voodoo down while album is alot like recent LPs by Sonny Rollins:
impossible— duet with himself! That's Right is Scofield plucks peculiar patterns. " Idefinitely the music is unpretentious and accessible,
a reprise of Star People's It Gets Better, the want to hear that back," Miles mutters at the with a mix of new tunes and standards; the
blues everyone raved about, and comprises a end of it, which is how I've felt every time Iget arrangements are fairly traditional ( head/
twisted soprano solo by Branford Marsalis— through aside of this astonishing album. I can't solos/head) despite afew nods in the direction
his debut with Davis may be hyped as the big quite grasp it any one time through, but Iknow of fusion; the rhythm section has a funky,
news on this LP, but while B.M. is very good it's there. So it's a Decoy— I'll take the good contemporary sound; and everyone—espe-
here and on Decoy ( the song), it may take him bait. — howard mandel cially the leader—gets achance to stretch out.
amoment to define his own voice as distinct Nothing earth-shattering, just pleasant middle-
from Bill Evans' in relation to the master. of-the-road jazz that seems to be consciously
That's What Happened— like What It Is, a intended to appeal to afairly wide market.
treated excerpt from afestival concert in Mon- McCOY TYNER The one real surprise is Tyner's solo version
treal— is fast hot fun. It's rumored Gil Evans had of Prelude To A Kiss. The Ellington tune gives
DIMENSIONS—Elektra Musician 60350: ONE
more to do with compiling these pieces than him the opportunity to explore some rarely
FOR DEA ;PRELUDE To AKISS ;PRECIOUS ONE; JUST
his co-production credit for That's Right allows, heard aspects of his style ( including stride),
INT IME ;UNDERSTANDING; UNCLE BURRA.
and if so, kudos to him for faithfully selecting and his playing here shows arange of expres-
Personnel: Tyner, piano ; John Blake, violin;
Miles' most exalted moments and setting them, sion and emotional complexity that is not evi-
Gary Bartz, alto saxophone; John Lee, electric
each separately, as songs. dent on the group numbers. The other tunes
bass; VVilby Fletcher, drums.
Irving, the multi-keyboardist and program- (one each by Tyner, Blake, Bartz, and Lee, plus
mer whose work dominates side one, is not * * * /
2
1 acongenial trio version of Just In Time) are all
nearly as faceless as Gil, though his contribu- well played but not especially noteworthy. The
tions are equally as fascinating. He dares, in one exception is Bartz' Uncle Bubba, abluesy
Decoy, to fade out everything but a triangle tribute to Monk that is pungently eloquent.
about two-thirds through, then bring up Sco's JOHN BLAKE John Blake's playing sounds abit confined
solo. This, after presenting adense and com- MAIDEN DANCE—Gramavision 8309: on the Tyner album, but that is certainly not a
plicated course for the band to maneuver CARAVAN OFDREAMS; MOVIN' UP; BEAUTIFUL problem on Maiden Dance. He is the featured
through, speaks volumes about Irving's crea- LOVE; T HE OTHER SIDE OFA WORLD; MAIDEN soloist on every tune, and he has more than
tive security. His duet with Miles, the barely a DANCE; FOR T OMORROW; T000s MIS NINOS, enough ideas to keep things interesting. As a
minute long Robot 415, is somewhat reminis- Personnel: Blake, violin; McCoy Tyner (cuts 2, composer and arranger, he has astrong per-
cent of something Bill Laswell's done, but 5, 6), Kenny Barron ( I, 3, 4, 7), piano; Cecil sonal vision that contrasts sharply with Tyner's.
overall Irving sounds like another original artist McBee, bass; Wilby Fletcher, drums, cowbell; Blake's album has a texture that is far more
whose freest thoughts Miles will absorb. Be- Leonard " Doc" Gibbs, percussion; Alan Blake, open and spacious than the dense sound of
sides Decoy, Irving is credited with writing and Lita Blake, vocals (4). Dimensions.
arranging Code M.D., my candidate for a One immediate tip-off to the difference in
* * * * *
single, simply because it's the most conven- Blake's work on :hese two albums is the sound
tionally plotted cut here, with the most obvious Aglance at the personnel listings for these two of his violin. On the Tyner album he plays with a
melody. Not to say the details from the per- albums would suggest that they sound similar. sharp, metallic edge Mat cuts through thethick
vasive synth signals and Scofield's quotes of In fact they are strikingly different, because group sound. On Maiden Dance, though, his

AUGUST 1984 DOWN BEAT 33

R
ECORD R
EVIEWS
tone is warm and woody. The beauty of this their minds. There is diversity here — a slow, and Kirkland are exceptional whether comp-
sound is matched by the deep lyricism of his pretty Self Portrait, a high-tech Radio- Active, ing or soloing. Moffett offers the most im-
playing. This is evident from the first few notes further mixtures of acoustic and electronic pressive bass work of the album on Waiting For
of Caravan Of Dreams, a moody, classically instrumentation— but it flows. Tain. Smitty Smith and "Tain" Watts are ajoy—
elegant piece that sets the tone for the album. And fortunately, the writing is rapidly catch- deft, exuberant, expressive — so bodacious I
Blake is an unabashed melodist, although ing up with the quintet's individual and ensem- want to call them the best drummers to come
certainly not asentimental one. He can be as ble abilities. Just as each composer has made along in 15 years.
warmly romantic as Stephane Grappelli (on certain sacrifices to the common good, there is As good as he is, Marsalis seems less than
Beautiful Love, for instance, which must have also less disruption in the segue between fully formed. Like so many players these days,
been intended as atribute to Grappelli), but his tunes by different writers. Modern Times is a he fills roles rather than playing from self. Even
style is wide enough to include the churning, solid effort in more of aunified direction, and it at his most impassioned ( No Backstage Pass,
angular phrases that swirl through the title not only marks the emergence of anew era for Solstice) there's a hint of distance. You want
tune. As a composer Blake combines ideas Steps Ahead, but it also marks them as aunit him to take that half-step forward. The biogra-
from the jazz tradition with classical concepts that could belie the old stigma about band phy which accompanies the album quotes
and other musical forms. His use of percolat- projects that are conceived for the studio. him: " I'm not interested in trying to achieve a
ing latin percussion to underpin the long, —robert henschen distinctive sound— that will take care of itself."
expressive lines of his melodies is particularly It probably will. — j. b. figi
striking.
Blake has also absorbed some ideas from
Tyner, something that can be clearly heard in
the rhythmic drive of Movin' Up and in his BRANFORD MARSALIS MARSHALL VENTE
exchange with Tyner on For Tomorrow. But he SCENES IN THE CITY— Columbia 38951: No NO-NET—MoPro 108: REINCARNATION OFA
keeps the emphasis firmly on melody, an " old- BACKSTAGE PASS; SCENES I NT HE C/TY; SOLST/CE; LOVEBIRD; Do SOMETHING; PATHOS 2.75; T HE
fashioned" approach that has, in this case, WA/TING FOR T AIN ;No SIDESTEPPING; PARABLE. WEAPON ;SPRING CAN REALLY HANG You UPT HE
resulted in music that is very progressive— and Personnel: Marsalis, tenor, soprano saxo- MOST; SUMMERTIME; JUST SQUEEZE ME; GIN-
very refreshing. — jim roberts phone; John Longo (cut 2), trumpet; Robin GERBREAD BOY.
Eubanks ( 2), trombone; Mulgrew Miller ( 2, 3, Personnel: Vente, piano, percussion (cut 3);
5), Kenny Kirkland (4, 6), piano; Ron Carter ( I, Rich Corpolongo, sopranino, soprano, alto sax-
3, 5), Ray Drummond ( 2), Charnett Moffett (4),
STEPS AHEAD Phil Bowler ( 6), bass; Marvin Smith ( 1-3, 5),
ophone, piccolo, flute, clarinet; Jim Massoth,
soprano, tenor saxophone, flute ; Chip
MODERN TIMES—Elektra Musician 60351- Jeffrey Watts (4, 6), drums; Wendell Pierce ( 2), Gdalman, baritone saxophone, alto flute, bass
1-E: SAFARI; OOPS; SELF PORTRAIT; MODERN T IMES; narrator. clarinet ; Nick Drozdoff, trumpet, flugelhorn ;
RADIO-ACTIVE; Now You KNOW; OLD T OWN. * * * * Merle Boley, trumpet, valve trombone; Steve
Personnel: Michael Brecker, tenor, soprano sax-
Berry, trombone, bass trombone; Frank Dawson
ophone; Warren Bernhardt, keyboards; Mike Branford Marsalis is one of those babyface
(8), guitar; Scott Mason, boss, electric bass; lsi
Mainieri, vibes, marimba, synthi-vibe; Eddie terrors from New Orleans. It's no coincidence
Perez, drums, percussion ;Anna Dawson (2, 5,
Gomez, bass; Peter Erskine, drums, percussion, that four of our finest young players — Branford,
7), vocals.
DMX; Chuck Loeb ( cut 6), guitar; Tony Levin ( 7), brother Wynton, Terence Blanchard, Donald
stick ; Craig Peyton, synthesizers, DMX drums, Harrison— hail from the Crescent City. New * * * *
Pro Iboss ( 5). Orleans has Marsalis pere, the Center for the
Creative Arts ( where all four schooled before
* * * *
graduating to another nurturing environ- LOU ROVNER
Here's a case of five well-known players form- ment— the Messengers of Papa Blakey), and a SMALL BIG BAND— Ill 007: FROZEN BEEF PIE;
ing aband which plays avery listenable brand uniquely stable sub - community of jazz crafts- POLICEMEN ARE YOUR FRIENDS ; WALTZ FOR
of jazz that the public wants to hear. You can men which actually encourages youngsters to QUASIMODO; SO WHAT; TRUTH AND VARIATIONS ;
envision people dancing to Oops. You can become musicians. SPORTS HEROES OF1927; RUTHERFORD 8. HAYES
almost see Lol Creme and Kevin Godley doing It obviously works. Wynton's LPs have made MEMORIAL BARBE QUE; COSMIC RADIATION FLUSH.
aRockit-type MTV video for Radio- Active. The him the hottest new property in jazz. Blanchard Personnel: Ernie Watts, soprano, alto saxo-
album will make it onto the jazz charts, no and Harrison recently gave us New York Sec- phone, flute ;Jack Nimitz, baritone saxophone,
question, just because of the quality of the ond Line ( Concord GW-3002). Now comes flute, clarinet; Chuck Findley, Bobby Shew,
personnel involved. Branford to confirm indications that he's one of trumpet, flugelhom; Bill Watrous, trombone ;
The usual supergroup approach rarely has the most promising saxophonists about, dis- Tommy Tedesco, guitar; Tom Garvin, piano ;John
enough of a consistent creative vision to rise playing chops, intelligence, and a loose, un- Patitucci, bass; Peter Donald, drums.
above a momentary sensationalism. But this forced style which can't help but invoke good
case may be an exception. Steps Ahead is will. If Wynton is fire, Branford is smoke— a
closing in fast on a group identity, a cohesive more elusive player with an obliqueness of One standard of excellence for nonet writing is
style and sound that transcends individual attack which can be perceived as either sub- Miles Davis' 1949 Birth Of The Cool album.
heroics. tlety or uncertainty. His tone on both horns is Arrangers Gerry Mulligan and Gil Evans
Safari and Oops open this album infec- pretty much off-the- rack modern but with a charted a new chamber jazz. Arrangers Mar-
tiously. Both tunes build powerful grooves hollow, conch- like sound and, when he goes shall Vente ( with assistance from Chip Gdal-
somewhat reminiscent of Weather Report or bravado on tenor, it's an effect of grit on sponge man on Just Squeeze Me and Gingerbread
Headhunters-era Herbie Hancock— there's a rubber. Boy) and Lou Rovner have been heavily influ-
folky, Third World simplicity to the basic mel- The title cut is a well- staged, smoothly nar- enced by Evans, less influenced by Mulligan's
ody and rhythms, use of nicely understated rated bit of Charles Mingus theater older than linear concepts, and lean more toward tradi-
synthesizer and vibes, good intensity but not most of these musicians. The remaining mate- tional big band writing ( as expanded by Thad
to the point of impatience. The tunes are well rial is mainstream modern; three tunes in the Jones and Bob Brookmeyer in the ' 60s) than
thought out; they go somewhere. Trane/Tyner mold, a run at Rollins ( No toward chamber jazz.
Solos here are less obtrusive, more intrinsic Backstage Pass), and a piece ( Parable) so Vente studied with Evans and David Mat-
to the goings on. For instance, Mainieri wrote pensive it almost disappears. thews, and his charts reflect their tight disso-
four of the seven songs, but those tunes are not The material may be routine; the playing nances and across- instrumental- lines block
dominated by his solos, and the same is true of isn't. The album is an exposition of young lions voicings. He writes with specific soloists in
the others. These guys now seem to be writing that augurs health for the decade. The various mind ( elsewhere the soloists are empathetic
and/or arranging with the band foremost in rhythm sections hunker down and fire. Miller enough to complement the arrangements),

34 DOWN BEAT AUGUST 1984

backing them with colors ranging from rhythm
combo to shouting full band.
Each track has something special: soprano
P
lygra.mfecial Imports
lead and out-of- Mingus bass solo on Reincar-
nation, a huge soul investment by tenor saxo-
phonist Jim Massoth on Ventes Pathos, beauti-
ful cluster chords hanging behind Anna
Dawson's vocal on Spring, afunk- rock feeling
and soaring trumpet work ( Nick Drozdoff) on
Gingerbread Boy . . . . Energy, work, brains, Downbeat Critic's Poll Winners
and feeling have gone into this album, and
these elements are returned to the listener. The Black Saint, Soul Note
soloists are not the slickest, but they make the
struggle interesting. Excellent writing and
#1 JAZZ LABELS
good soloists yield avery good album. Giovanni Bonandrini
Rovner's small big band displays ahigh level
of competence and aless-than-gripping level #1JAZZ PRODUCER
of involvement: studio players on a busman's
holiday in the studio. His horn voicings seem
Max Roach
anchored to Tom Garvin's piano part ( charts #1DRUMMER
conceived at the keyboard, but never tran-
scending it). Miles Davis' So What is the only Cecil Taylor
non-Rovner composition, and there are acou-
ple of lightweight ones ( Truth And Variations,
#1ACOUSTIC PIANIST
Hayes Memorial Barbe que) from Television
Theme Land.
Rovner shifts his Evans dissonances agilely
from horn group to horn group and integrates
the rhythm section parts with the horns. The
soloists are riddled with technique. Except for
the trumpeters, who project alittle magic, they
could be blowing on any chart anywhere.
Sorry, the ingredients were present, but the
album feels homogenized. - owen cordle

BOB MOSES
VISIT WITH THE GREAT SPIRIT-Gramevision
8307: F AN MAN ; DEEPEST BLUE ; MACHUPICCHU ;
VISIT WITH THE GREAT SPIRIT ; MONKTIONAL ;
CARINHO ; SUITE BAHIA.
Personnel: Moses, drums, repinique, timbales,
talking drums, hum drums, cuico, voice, wood
flute, synthesizer; Tiger Okoshi, trumpet, flu gel-
horn, electric trumpet; Bob Mintzer, tenor saxo-
phone, electric bass clarinet; David Liebman
(cuts 2, 4, 5, 7), soprano saxophone; George
Garzone (1-3, 6, 7), soprano, tenor saxophone;
David Gross ( 1, 2, 4, 6, 7), alto saxophone,
flute; Howard Johnson, baritone saxophone, SOUL NOTE 11001 (2LPs)
tuba, electric contrabass, clarinet; Tony Coe
(1-6), tenor saxophone; David Sanborn ( 5), alto
saxophone; John Dearth ( 4, 5), electric

Buck sAINT
trumpet; Michael Gibbs ( 3, 6), trombone;
Jerome Harris (1-5, 7), electric bass, guitar;
Lincoln Gaines (1, 3, 7), Steve Swallow ( 6),
electric bass; Eddie Gomez ( 4), bass; Steve Kuhn

SOUL NOTE
(2, 5), piano; Delmar Brown (5), Cliff Korman
(6), synthesizer ; Bill Frisell ( 1, 2, 4, 7), John
Scofield ( 6), guitar; Monoel Monteiro (3, 5-7),
Claudio Silva (3, 6, 7), percussion, voice; BM
Martin (3, 5-7), Ron De Francesco ( 5), Jahnet
Levatin (5), percussion; Danny Gottlieb (
gong; Hiroshi Hieda, Rayko Shiota, Kyoko
Baker, voice (3).
4),
NVfrZZFOr7IlgO's
* * * *

This is another ambitious outing from Moses, a polygram

musician's drummer if ever there was one. As special
on his last Gramavision release, When Ele- imports
phants Dream Of Music, Moses uses an out- Distrubtrted excluswely by PSI. 810 Serene Ave.. New York NY 10019
standing group of musicians, and uses them © 1984 PSI/Polygram Records. Inc

AUGUST " 984 DOWN BEAT 35

 New From R
ECORD R
EVIEWS
Rounder Records
well. who's who of New York's downtown music
The leader lays down a loose tom-tom scene, including dance dj scratchers, new
groove on Fan Man, sneaking talking drums in wave rockers, and free jazz players.
Johnny and out of the percussion collage. He is soon Imust say that in reviewing this record I've
greeted by some frenetic guitar and sax squal- gone through achange of opinion. Upon first
Copeland ling, a crisp, punchy bass slightly out-of- hearing the music sounds remarkably fresh
phase, and ahorn section that punctuates and and ambitious. However, the closer Igot to the
Texas music itself, rather than its concept, the more
fills out the holes in the original drum beat.
Twister Moses dedicates this album to Hermeto disappointment began to register. There is a
Rounder 2040 Pascoal, and he shows his love of Brazilian and sameness in each of the four groups' admit-
African rhythms on this cut. tedly exciting soundmaking that eventually
Here is lohnm's hottest album yet, matching strong
original songs with swinging arrangements. searing guitar What astrange brew he concocts. Swirling reaches monotonous clone- like proportions.
and impassioned vocals. With guests Stevie Ray Vaughan synthesizers provide the backdrop for age-old Once agroup's musical identity is introduced,
and Archie Shepp. percussion instruments. Lyrical horn arrange- each subsequent piece seems to repeat and
ments, like on Deepest Blue with an Ellington- reiterate that group's tendencies. Although in-
esque peacefulness, turn in an instant to a strumentation and personnel change on each
noisy cacophony a la Don Ellis. Moses is LP side, the improvisational group approach
eloquent to be sure, but he doesn't let it stop by all the musicians (except Whiz Kid, who
Archie him from having a good time with his music, sounds a little lost in this atmosphere, and
Shepp and including some real musical shockers. drummer Ikue Mori, who adds more music and
Monktional is ajokingly abrasive piece with finesse than anyone else) is so similar, the
The wildly dissonant, herky-jerky horn phrases, sense of timbre and tempo so strikingly close,
Good Life Moses' powerful, lurking drum cadences (a that my first impression was awe at what
sort of Buddy Rich on acid), acushion of exotic seemed to be telepathic empathy between the
Varrick VR005 percussion, and some jive political rappin' that players.
Astonishingly, here is Archie Shepp's first album for a brings to mind Gil Scott- Heron. The band But aside from the variety of instrumental
U.S. label in adecade. The saxophonist balances originals reaches back for some snappy blues, and color and texture, all too often the improvisa-
with standards like "Moose The Mooche" and ' Stompin*
David Sanborn blows a sweet but gutsy alto tional directions each group takes begin to
At The Savoy. '
solo. sound predictable. In too few cases does a
Aveliable at your local record shop, or by mail for $675 each (LP or The percussionists are again featured on single individual work against the group con-
cassette) from Roundup Records, P0 Box 154, Dept DR, Carinho, along with guest solo work by the fluid text, the chosen tempos, or the adopted sonic
Cambridge, MA 02140 Add $ 100 per order for handling bassist Swallow and the scratching, bending, angularity. Perhaps this was a goal, but the
distortion- rich guitarist Scofield. The album- results leave me wishing for individuality inside
ending Suite Bahia shows off the horns in a aform that emphasizes concensus leadership
somnambulic state and also features wistful and collective arrangements. In Zorn's notes
playing by Moses on wooden flute. he mentions that structure within the im-
Bob Moses has evolved into areal force to provised context is most important to him; sight
be reckoned with, not only as adrummer, but and hand cues from Zorn signaled arrange-
as acomposer, arranger, and conceptual art- ment changes, but Iwonder how many times
ist. — robin tolleson the others simply followed the changes and
went along the path of pleasing Zorn. In other
words, Zorn's emphasis upon structure seems
to have restricted the improvisational aspect to
JOHN ZORN the point where the performer's roles have a
LOCUS SOLUS Rift 007, BASS AND T HE TREBLE ; kind of mimicked monkey- see -monkey- do
THE ACQUISITION & CONTROL OFFIRE, HONEY- quality.
CAB; SWITCH ;JUAN T ALKS ITOUT OFHis SYSTEM ; My reservations are amile deep and amile
THE WISH; A CASE AROSE, T HE ELF, GETTING wide as to whether this music represents, in
CURLY; DON'T SWITCH; SMOOTH CHEEKS OFABIG Zorn's words, the " best elements of rock and
EGO; ADD WATER; Cow; FRIAR T.; Too ME; SELF- improvised music." The linchpin to all great
SATISFIED; DOT DOT, DOT; L IVER; HE1KE CIPHER rock is the beat, and underneath that beat
MYSTERY; JEDI MIND T RICK; MYSTERIOUS I SLAND; works aseries of finely crafted moments where
JAMES BOND T RILOGY; SIGN OFT HE FOUR; Locus a compressed musical space summarizes
SOLUS; WHERE ARE MYVICTIMS?; Disco VOLANTE; and enfolds all the intensity, directness, ambi-
KAISER I NBORNEO; T HE SAINT; T
HE VIOLENT DEATH guity, and personification of the song. If those
OFDUTCH SCHULTZ; T HUNDERBALL; WHITE ZOMBIE; moments are the music's saving graces,-why
THE SLAVES OFVESUVIUS. does Zorn ignore that aspect? Instead of look-
Personnel: Zorn, alto, soprano saxophone, ing into the idiom's intense focus, intensity here
clarinets, game calls; Christian Marclay (cuts is non-focused Climaxes come and go with-
1-8), phonograph, recycled records; Peter Bleg- out reason in relation to the song's construc-
vad ( 1-8), vocals; Arto Lindsay (9-18), guitar, tion.
vocals; Anton Fier ( 9-15), Mark Miller ( 15-18), Iadmire Zorn's playing and the chances he
lkue Mori (19-24), drums; M. E. Miller ( 25-32), takes. On the similarly electric LP by the
drums, vocals, Linn drums, congas; Wayne Hor- Golden Palominos (0A0/Celluloid 5002), he
vitz (19-24), organ, electronics; Whiz Kid was adventurous and sanguine. Here Ithink
(25-32), turntable. his daring was the idea of context rather than
its musical realization. For experimental music
* * * this is pretty tame stuff once you get past the
The premise of Locus So/us is improvisation — fascinating sound textures and colors. No-
brief, intense pieces by four different groups where within Locus So/us' sonic experimenta-
assembled and led by John Zorn, with each tion does this listener detect that moment
group occupying one side of this double- which is simultaneously new and eternal.
record set. The personnel listing looks to be a —jim brins field

36 DOWN BEAT AUGUST 1984

 :eee • 'eee • • • • • 'eeeee • • • " • • • • •
• • • • • • • •

• •

The Second Comings

:9 :e .
e fle
b
O • .

6:0:
1111111111111111

11
I Il

STEVE KAHN/Casa Loco - With THE HEATH BROTHERSIBrothers and ELEMENTS/Forward Motion - Album #2
Anthony Jackson on bass, Steve Others - Jimmy and Percy celebrate for Elements once again finds bassist
Jordan on drums, and Manolo he return of brother Albert "Tootie" on Mark Egan and drummer Danny
Badrena on percussion, this second drums and are joined once again Gottlieb writing and playing up a
outing for guitarist extraordinaire with longtime bandmember Stanley storm with cohorts Clifford Carter on
Khan and the Eyewitness band takes Cowell on keyboards. Guest players keyboards and Bill Evans on tenor
a more embellished view of the origi- inc ude Slide Hampton on trombone and soprano. The group has matured
nal Eyewitness concept. This is hot, and Joe Kennedy, Jr. on violin adding and solidified its direction and this
reverberating, rockin muslo a little sugar and spice ta one of the record proves it. Produced by Mark
Produced by Steve Kahn and Doug Heath's best straight ahead record- Egan, Danny Gottlieb, and Rich
Epstein. ings in years. Produced bei Orin Brownstein.
Keepnews and The- Brothers.

Antilles Jazz Series

Catalog# Artie Title

AN 1001 JOANNE BRACKEEN Special Identity

AN 1002 BIRELLI LAGRENE Routes to Djanjo
AN 1003 HEATH BROTHERS Brotherly Love
AN 1004 BEN SIDRAN Old Songs for the New Depression
AN 1005 ANTHONY BRAXTON Quartet-Six Compositions
AN 1006 PHIL WOODS QUARTET Birds of a Feather
AN 1007 AIR 80 Below 82
AN 1008 RONALD SHANNON JACKSON &
THE DECODING SOCIETY Mandance
AN 1009 BIRELLI LAGRENE 15
AN 1010 GIL EVANS Priestess
AN 1011 ZAHARA Flight of the Spirit
*AN 2001 ORNETTE COLEMAN Of Human Feelings
AN 1012 BEN SIDRAN Bopcity
AN 1013 PHIL WOODS QUARTET At the Vanguard
AN 1014 SWINGRASS '83
AN 1015 RONALD SHANNON JACKSON Barbeque Dog
AN 1016 THE HEATH BROTHERS Brothers & Others
AN 1017 MARK EGAN/DANNY GOTLIEB Elements
AN 1018 STEVE KHAN Eyewitness
'DIGITAL AN 1020 STEVE KHAN Casa Loco
RECORDING AN 1021 ELEMENTS Forward Motion

Available on A Division of Island Records

USE YOUR CREDIT CARD OR CHECK FOR DELIVERY TO YOUR DOOR. ORDER ANY 5RECORDS OR CASSETTES AND GET ONE FREE.
 Make music your life!
FIVE TOWNS COLLEGE
•Jazz Performance • Music Instrument Technology
R
ECORD R
EVIEWS
• Audio Recording ( 24-track) • Music Business
Call ( 516) 783-8800 or write:
Dept. DB 2165 Seaford Ave., Seaford, N.Y. 11783 phrases. On Dinner Music ( Watt 6) her haunt-
JAMES NEWTON ing, dark compositions survived an antiseptic
studio musician performance. On Heavy Heart
LUELLA—Gromovision 8304: NOT WITHOUT
the tunes still aren't as strong as her more
YOU; MR. DOLPHY ;ANA MARIA: DIAMONDS ARE
"serious" compositions, but the soloing is ex-
FOR FREEDOM; L UELLA (FOR MYAUNT).
hilarating.
Personnel: Newton, flute, conductor ( cut 5);
Bley is still indebted to the early influence of
John Blake, Gayle Dixon, violin ( 1, 5) ; Abdul
composer/arranger George Russell; she's a
subscriber, we must know your new Wadud (I, 2, 5), cello; Jay Haggard,
address six weeks before you move. master at constructing roadmaps for soloists.
vibraphone; Kenny Kirkland, piano; Cecil
You will then receive every issue without interrup- Light Or Dark has a facile, forgettable head
tion. Also enclose your current down beat address McBee, bass; Billy Hart, drums.
that would sit well on David Sanborn. Hiram
label. The numbers on your label are essential.
Send to: * * * Bullock starts a solo out of the lead, and Bley
down beat Subscribers Service deftly switches the funk- time to trance-time as
222 W Adams St. Chicago, IL 60606 James Newton's threnody in memory of his
Bullock slides notes down like a reverbed-out
aunt, Luella Scott, is the focal point of this LP: a
lengthy, porous work that plumbs the depths of divebomber. Just as skillfully, they move back
ZAFOON INTERNATIONAL to the theme which Slagle takes into a bluesy
quiet anguish and tears inside. Several listen-
BAMBOO SAX? ings did not bring it closer than arm's length for alto solo with Victor Lewis shifting into astuck-
"a must for every reed- man" in- the-groove rhythm that Bley charts so well.
me, however, until Ibegan to perceive it as a
slow dance of mourning, with violinist Gayle All of Heavy Heart is like that. Talking Hearts
MAUI ZAFOON Dixon as incandescent principal. is aballad in search of George Benson's voice.
Joyful Noise has Kirkland leading a rollicking
There is a terpsichorean aura to the whole
For less than the price of Crusaders- style rhythm vamp while Slagle
album, in fact, that moves the feet as well as the
a mouthpiece you can own takes a reckless flute run past the changes.
head. Having arhythmic bottom like drummer
The one track that departs from form is
this carefully crafted new Billy Hart and bassist Cecil McBee certainly
helps, but the dance mode is to the fore even in Starting Again, which dispenses with the
instrument.
theme entirely and starts in the middle of afull
the lines Newton writes and plays. His dynam-
• Produces two ics and phrasing imply steps more exotic than ensemble sprint, with Swallow laying out atwo-
chromatic octaves astaid foxtrot; choreography takes part in both note ostinato while Kirkland leaps across the
piano in a spray of melody that builds to
celebration and instruction.
• Strong lip - sensitive crescendo in a gathering of forces, tying it all
Not Without You, asumptuous " love ballad,"
tone together. It's unfair that Bullock has to come out
has agood stretch by violinist John Blake and
of the fray, as the piece breaks apart under his
• Range similar to a glowing variation by Newton's flute that
stands as his sole improvisation of substance choppy lead.
soprano sax - ( In the
While Bley's leads and arrangements are
on the date. Newton, afine player, is one of the
key of C) dry, the soloists run the emotional gamut. Gary
young instrumentalists who take more stock in
• Fits easily into composition than blowing on their own rec- Valente's torturous trombone mood swings lift
your pocket the gloomy Ending It ballad, but it's Bley's time-
ords.
stepping tick-lock rhythm that provides him
Mr. Dolphy moves very quick and light on
• Uses standard with the path. Valente moves from gruff bellig-
McBee's cat feet ( except during Hoggard's
tenor sax reed erence to poignant despair as he navigates
chiming solo cadenza) and cellist Wadud un-
Bley's dirge.
• Awarded U.S. Patent winds ascreechy scratcher. Diamonds builds
an aggressive vamp beneath ear- popping, Carla Bley is so skilled, so gifted, that she
• Satisfaction takes herself for granted. The forgettable tunes
angry overblows by Newton: a brief, caustic
guaranteed e. indictment of apartheid. Ana Maria, that " very of Heavy Hearts come too easy for her, and it
haunting" samba by Wayne Shorter for his shows. Fortunately, she still knows how to take
asoloist for a ride. — john diliberto
Brazilian wife, gets a handsome turn by
Kirkland but only minor embellishment by the
leader. Newton, playing with great beauty and
intensity, makes an eloquent statement for just
playing straight on agreat melody, one of the
TERENCE BLANCHARD/
most durable in the Shorter legacy. DONALD HARRISON
—fred bouchard
NEW YORK SECOND LINE— Concord Jazz
Already thousands 3002: NEW YORK SECOND L INE; OLIVER'S T
WIST; I
have been sold by word CAN'T GET STARTED; DUCK STEPS; DOCTOR DRUMS;
of mouth alone and CARLA BLEY ISN 'T I
TSO; SUBTERFUGE,
now for the first time Personnel: Blanchard, trumpet; Harrison, alto
HEAVY HEART—Watt/ECM 25003-1: LIGHT OR saxophone; Mulgrew Miller, piano; Lonnie Max-
the '• Zafoon is publicly DARK; T ALKING HEARTS; JOYFUL NOISE; ENDING IT;
ico, bass; Marvin "Smitty" Smith, drums.
available by mail order STARTING AGAIN; HEAVY HEART.
Personnel: Bley, organ, synthesizer ; Steve * * * *
Send to ZAFOON INTERNATIONAL Slagle, flute, alto, baritone saxophone; Hiram
RO. BOX t163 Bullock, guitar; Gory Valente, trombone; Mi-
PAIA, HAWAII USA 96779 chael Mander, trumpet; Earl McIntyre, tuba ; ROBERT WATSON
Please send me ZAFOON(S) Kenny Kirkland, piano; Steve Swallow, bass; JEWEL— Amigo 846: To SEE HER F ACE ;ORANGE
$35.00 plus $ 1.50 per for shipping Victor Lewis, drums; Manolo Badrena, percus- BLOSSOM; JEWEL ; KARITA ; You '
RE LUCKY To ME;
sion. AND T HEN AGAIN.
C] COD enclosed
Foreign orders must enclose payment Personnel: Watson, alto, soprano saxophone;
* * *
Name Mulgrew Miller, piano; Steve Nelson, vibes;
Heavy Heart is another Carla Bley album in Curtis Lundy, bass; Marvin " Smitty" Smith,
Address
which she ministers her compositional and drums; Dom Un Romao, congas, percussion.
City/State arranging crafts to lightweight funk. At times
* * /
2
1
Countryfbp Code she seems to revel in couching her composi-
DEALERS INQUIRIES WELCOMED tions in dry, middle-of-the-road funk jazz The leaders of these two sessions as well as

38 DOWN BEAT AUGUST 1984

several of their sidemen are current or former Altoist Donald Harrison has caught on to a Jewel, he's a fluent saxophonist, with clean
members of Art Blakey's Jazz Messengers, similar sense of controlled musical develop- articulation and, when the occasion calls for it,
and their presence, not unexpectedly, lends an ment. New York Second Line, Harrison's com- a pleasing, rawly infected sound. On a ballad
air of technical proficiency and polish to the position good-naturedly evoking New Orleans like Orange Blossom, his alto sings lyrically as
writing and playing present here. street parades, finds the altoist intoning delib- he squeezes nuances from held tones. The
New York Second Line, aconsistently strong erately sour phrases which, when prodded by piece builds, and his tone becomes appropri-
release, is headed up by the youthful team of Smith's pleasingly clunky drumming, become ately compressed as he colors his lines with
Terence Blanchard and Donald Harrison, both pleasantly noodly and disjointed. ICan't Get occasional high- register screams. On Jewel,
current Messengers and both former students Started, done in one brief chorus by alto and another ballad, he effectively uses occasion-
of Ellis Marsalis at the New Orleans Center for piano only, further reveals Harrison's control ally wide vibrato and crescendoing held tones
the Creative Arts. Their background shows. At and subtle sense of phrasing. He knows just set off with slight growls and smears. Playing
age 21 Blanchard is well on his way toward when to let aphrase build and when to let it trail soprano, Watson gets a taut, sinewy tone
formulating amature trumpet style. Compared off. which he's not averse to flavoring with slight
with the approach of his fellow New Orleanian The band Blanchard and Harrison head up quacking sounds. Throughout, his phrases are
Wynton Marsalis ( whom he replaced in the here equals more than the sum of its front line. precise and executed with rhythmic convic-
Messengers), Blanchard's tack is less out- In addition to such niceties as the call- and- tion.
ward, less extravagant. Like Miles Davis, he response figures behind the horns on Oliver's Unfortunately, Watson's clean, energetic
makes his point best by manipulating space Twist, Miller's confident, economical soloing lines are sometimes inappropriately foiled by
and utilizing short, pungent climaxes. On and Lonnie Plaxico's self-propelled bass lines, his rhythm section. Individually, Mulgrew Miller,
Oliver's Twist, for example, his sharp sense of there are also moments when the group flows Curtis Lundy, Marvin Smith, and special guest
timing leads him to stab purposefully at re- within itself, seeming to allow the music to Dom Um Romao are strong players, but to-
peated tones, then to follow through with brief, move effortlessly where it will. This feeling gether in this setting they sound thick and
economical ascending runs reaching effec- occurs especially throughout Doctor Drums, cumbersome. Their approach is too murky to
tively underplayed climaxes. On Duck Steps, a an ambiguous, impressionistic piece looking match Watson's rhythmically active outlook. At
clever tune with astop-time head neatly punc- back to the direction Miles Davis took with the times, as on Karita, a samba, the rhythm
tuated by Marvin Smith's witty drum kicks, Nefertiti band. The group, like Davis' band, players' work is downright baffling, as they
Blanchard dances through light, subtle handles time in afluid, expansive way, and all seem to be continuously running in place,
phrases, effectively using his horn's upper players catch the spirit of its leaders' economy expending much energy to generate only a
register for pointed emphasis. And on Isn't It and control. dull chug. Watson doesn't appear to know
So, a ballad by fellow Messenger Mulgrew Robert Watson, who worked some five years what to make of the ominous presence behind
Miller, he fashions compelling long tones foiled with the Jazz Messengers, also knows some- him, and vibist Steve Nelson manages better
by relaxed, controlled shorter phrases. thing about economy and control. Heading up by seemingly ignoring the situation altogether.

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cent success of "Modern name, address, and tele-
Times;' the newest album phone number on a 3x5
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1984 Elektra/Mustetan Records A Division of Warner CommumeatIons Inc •

AUGUST 1984 DOWN BEAT 39

R
ECORD R
EVIEWS
And Then Again, a piece evoking John Um Romao's congas snap into place. If only awe-inspiring. Then, again, Raguette is a
Coltrane's incantatory quartet explorations, these players' talents and energy could have pretty melody simply begging to be played
likewise gets caught on a rhythmic treadmill. been brought to fruition consistently through- with. This track is most typical of Bogdanovic's
Shifts to a walking meter don't help the out this release — jon balleras unique improvisational style.
bogged- down proceedings, as lots of well- The interplay between Newton and Bog-
meaning energy is expended but little is ac- danovic, and Haden and the guitarist is always
complished. Happily, Eubie Blake's You're
Lucky To Me brightens the mood. Watson
DUSAN BOGDANOVIC ear-tickling and heart-touching. On Runaway
Fugue guitar and flute go their seemingly
bounces through Swing Era riffs tinged with EARLY TO RISE— Palo Alto 8049-N, FURIOSO; separate ways, and yet remain extraordinarily
bop- like runs, Miller styles voicings straight JAZZ SONATA (2nd MOVEMENT) ;Jazz Sonata ( 4th together. Also, in Prelude, Bogdanovic takes a
from the Tatum/Wilson storehouse, and Dom MOVEMENT) ; EARLY To RISE; PRELUDE; RUNAWAY back seat, providing the lightest, airiest string-
FUGUE; RAGUETTE; COMPULSION; L ULLABY FOR ing, occasionally augmenting the flute in
ANGEL FIRE; NEW YORK AFTERNOON. unison or counterpoint.
Personnel: Bogdanovic, acoustic guitar; James The guitar solo tracks, though, are the most
4,111% Newton, flute ;Charlie Haden, bass; TonyJones,
percussion.
breathtaking, and with agood imagination one
can see long, slender fingers flying across the
* * * * * strings, almost independent of the rest of the
C.1Ne-14 ”‘Nt ,ízieNtio.1 body. For this experience, listen to New York
This is guitarist Bogdanovic's first album; he Afternoon. Aspiring guitarists are going to be
has been living in Southern California for the especially impressed with this master plectrist.
past two years, giving solo concerts and team- —frankie nemko
ing up with the likes of Charlie Haden ( heard
CONGRATI IATES on this album), Milcho Leviev, and other local
notables. His background is purely classical,
having studied and taught ( at avery early age) ROSCOE MITCHELL
JOHN CARTER at the Geneva Conservatory of Music; winning AND THE SOUND AND SPACE ENSEMBLES—
critics' poll winner dozens of European competitions; and giving Black Saint 0070: WORDS; You WASTIN' MY
astunning solo performance at Carnegie Hall TYME; VIEWS A,B, & C; L INEFINE L
YON SEVEN;
and when he was only 20 years old. VIEW D;VARIATIONS ONSKETCHES FROM BAMBOO.
His entry into the world of improvisatory Personnel: Mitchell, soprano, alto, tenor, bass
PRESENTS music was sparked by acasual listening to an saxophone, vocal (cut 2); Spencer Bare field,
album of African pygmy music, after which he guitar, percussion ; Mike Mossman, trumpet
could no longer hold true to his classical piccolo trumpet, flugelhorn, percussion; Jaribu
"CLARINET restraints. This album, then, is the result of an Shahid, bass, electric bass, percussion ; Tani
incredible fusion of all his influences. Some of Tabbal, drums, bongos; Tom Buckner, tenor
SUMMIT" the pieces reflect his Yugoslavian folk heri-
tage; others have strong classical overtones—
voice; Gerald Oshita, tenor, baritone saxo-
phone, contrabass sarrusophone, mezzoso-
aconcert recording with
especially those featuring flutist James prano Conn-O-saxophone.
Newton, whose modern classical approach
* * * *
JOHN CARTER has been well preserved in his own albums as
a leader.
AN INTERESTING BREAKFAST CONVERSA-
ALVIN BATISTE Bogdanovic's choice of Newton and bassist
TION- 1750 Arch 1806: AN I NTERESTING
Haden ensures distinction throughout. Haden
BREAKFAST CONVERSATION; L IVE ATT HE PUBLIC
JIMMY HAMILTON in this complementary role is strong but not
THEATER, I ;SVSA, SCENE I ;L IVE ATTHE PUBLIC
dominant, his solos positively radiant. Tony
THEATER, II ;SHAPES ;PHONICS ;JOURNEYS.
DAVID MURRAY Jones, heard on only a couple of tracks,
Personnel: Mitchell, soprano, alto, bass saxo-
nevertheless adds just the right measure of
phone; Tom Buckner, tenor voice; Gerald Oshita,
and "MORNING PRAYER", percussiveness.
alto, tenor, baritone saxophone, contrabass
anew CHICO FREEMAN release There is asense of lightheartedness pervad-
sarrusophone.
Inch., N.i g.i o ords ing the music, due mainly to the leader's
I
— Franklin 51, NY, NY 101113 whimsical sense of composition. However, he * * * *
Mad ( S8 95, pp gets pretty serious, too, and in the title track his
Where Roscoe Mitchell's own albums, begin-
flawless technique is ( pedantically speaking)
ning with 1982's Snurdy McGurdy And Her
Dancin' Shoes ( Nessa 20), suggested that the
Sound Ensemble was the prime outlet for
Mitchell's activities apart from the Art Ensem-

Autobiography
**** 1
2 Down Beat
/ ble Of Chicago, the current pair presents
-Howard Mandel Mitchell's energies more equally divided be-
tween his quintet and the trio Space. As in the
past, the scope of Mitchell's work is impressive;

Abdullah Ibrahim
that he so cogently unifies the diverse aspects
of his creativity on the single Black Saint disc is
startling.
Space has streamlined the more abstruse

Dollar Brand
aspects of its charter. The totally improvised
Order by mail:
framework of An Interesting Breakfast Conver-
sation prompts a more animated, free-wheel-
HAT COLLECTOR
ing banter than their compositionally based
Box 127B
solo piano
debut, New Music For Woodwinds And Voice
West Park, NY 12493 (1750 Arch 1785). Also, Mitchell and Gerald
Oshita more often employ high- registered sax-
(914)384-6433
ophones that smoothly blend with Tom Buck-
ner's crystalline voice. The stark blocks of

40 DOWN BEAT AUGUST 1984

sound generated by the low horns are all the of these trios or quartets can be heard and felt. players who have continued to work this vein of
more effective in smaller doses, especially on Such good-time music did not always hold up the jazz tradition throughout the eclipse, and
Journeys, which melds propulsive, pointillistic, in the sober light of day (or on record), but there have been caught here in afine live and lively
and lyrical passages. were exceptions. However, even those artful set— not, as of old, in Harlem or on Chicago's
As a result, Mitchell's inclusion of Space's miners of alien nostalgia, the Japanese, have South Side, but at that unlikely spot known
Words and aversion of Bamboo that combines failed to notice, for example, the Blue Note even to the most undereducated of wine im-
the two ensembles on the Black Saint album treasures of this genre amongst their excava- bibers, Chateauneuf du Pape. That does not
that otherwise features the Sound Ensemble tions. And nowadays how many jazz enthusi- lead to any false sophistication of the music
(that accentuates the jazzy playfulness of asts wonder about Baby Face Willette, Fred however, and the grease begins to burn from
Mitchell's music), is less problematic than ex- Jackson, et al.? the opening bars of Ya Understand Me. This is
pected. In fact, sequencing the languid, eth- Anyway, here are three records that will do asteaming Route 66-type blues, and Jackson
ereal Words ( lyrics like " Ipso facto/Tabula rasa/ you no harm— at least the first two, while gutsy, cooks along in grand style, grinding out the
Vicissitude" are tenderly elongated by will not hurt your head at all. In addition they obligatory honks and repetitive notes in just the
Buckner) with the wacky funk of You Wastin' My conveniently show some aspects of and ap- right places. Here as on The Head Tune and
Tyme, replete with adroll, rappy Mitchell vocal, proaches to the style. For example, as sug- More the tenorist demonstrates his consider-
has azen - like quality. Bamboo, however, delin- gested by the title, the first album represents able ability to construct solos of inescapable
eates asubstantial common ground between an attempt by some veteran West Coast play- momentum using standard phrases and ob-
the two ensembles—asense of subdued mel- ers to invoke earlier days. They are accom- vious quotes, but directed by asure sense of
ody, carefully attenuated dynamics, and pre- plished musicians, they swing, and Plas dynamics and propelled by unfailing rhythmic
cisely applied color—the crux of of Views A,B, Johnson has good tone, particularly on tenor. élan. In this he is abetted by his colleagues
& C and View D, two non-idiomatic Sound But . . . perhaps there is something alittle too who blend into just the right gravy to bring out
Ensemble improvisations. studied about the revivification process— the substance of the tenor statements which
Still, the Sound Ensemble's forte is the jaunty, maybe alive date would have found the partici- dominate the album— not that totally appropri-
jubilant frolic encapsulated by such earlier pants more loose and relaxed about being ate comments from guitar and organ are lack-
pieces as JoJar and Snurdy McGurdy. In the "greasy" and having fun. Despite these reser- ing. Apparently contingencies of timing have
present collection, this asset is well forwarded vations there are many things to savor: the led to one defect in the presentation of the
on Linefine, which serves as afine reminder of idiomatic organ, the slightly sour guitar tones, music—the placing of the two ballads side by
Mitchell's caustic sense of swing and Spencer and the leader's Swing-style tenor (with just a side is unfortunate, particularly as these are
Barefield's blistering runs. The piece is also a dash of bebop). The best moments are on relatively uneventful performances despite
fitting introduction of the considerable talents Cherry, As Time Goes By, and especially the Jackson's fine tone.
of Mike Mossman, who has the tall order of up-tempo All Of Me. The Patton record is something rather differ-
replacing Hugh Ragin. — bill shoemaker Willis Jackson and Groove Holmes are two ent and recalls the conservative yet innovative

PLAS JOHNSON
L.A. ' 55—Carell Music 101, THE GREASE PA-
TROL; M ONKEY BUSINESS; ALL OFM E; GEE BABY;
Off
CONFESSIN THE BLUES; As TIME GOES By; HARD

No° P'ied shdi

TIMES ; CHERRY
Personnel: Johnson, alto, tenor saxophone; Art
Hillery, organ; Billy Rogers, guitar ; Jimmy
i/f-GeGIM
Smith, drums.

* * *

KEITH JARRETT
WILLIS JACKSON JAN GARBAREK
"YA UNDERSTAND ME?"— Muse 5316: YA PALLE DANIELSSON
UNDERSTAND M E; BODY & SOUL; M Y ONE AND JON CHRISTENSEN
ONLY L
OVE; THE HEAD TUNE; M ORE. Belonging
Personnel: Jackson, tenor saxophone; Groove
Holmes, organ; Steve Giordano, guitar ; Roger Belonging marked the first performance collab-
Lee Humphrey, drums. oration between pianist Keith Jarrett and Scan-
* * * /
2
1
dinavian musicians Jan Garbarek ( saxophone),
Palle Danielsson ( bass) and Jon Christensen
(drums). Uptempo songs " Long As You Know
JOHN PATTON ECM- 1-1050 You're Living Yours" and " The Windup" became
widely known through this recording, but it was
SOUL CONNECTION — Nilva 3406: Sou; in the three ballads that these musicians
CONNECTION; PINTO; EXTENSIONS; SPACE STATION ; expressed arare and undeniable sense of
THE COASTER. Belonging.
Personnel: Patton, organ; Grachan Moncur Ill,
trombone; Grant Reed, tenor saxophone;
Melvin Sparks Hassan, guitar; Alvin Queen,
drums.
* * * * Ca111-800-HOT ROCK
Your 24.hourmus,c store Use your credo card or check Or delneery to
The popularity of sax/organ combos so preva- your door Order any 5records or cassettes and get one tree
lent in the mid-'50s through the ' 60s was
eclipsed during the following decade. No
ECM
Manufactured and Distributed by
longer are there numerous taverns in the major Warner Bros Records Inc c 1984 ECM Records
jazz cities where the often delightful activities

AUGUST 1984 DOWN BEAT 41

R
ECORD R
EVIEWS
sessions for Blue Note during the mid-' 60s in with that touch of pedantry which detracts from
which established and new players rubbed
shoulders on pieces that employed modes
his solos and gives distinction to his composi-
tions. He composed Space Station and The
WAXING ON
and altered song forms, but were not icono- Coaster— seek out the original version of the
clastic. Patton is a subtle but communicative latter on his Evolution album ( Blue Note
musician, long underrated, and it is apleasure 84153). Guitarist Melvin Sparks manages to
to be reacquainted with his warm style, one recall the contributions Grant Green used to SELF•PRODUCED
that glows rather than burns. While warmth and make to sessions like this, while avoiding
good feelings do predominate on this album, mimicry. His playing is fleet and elegant, and
ARTISTS
as on the others, the range and purpose of the nonetheless soulful due to an attractive
music is distinct— the soloists are permitted vibrato. Queen does all that he should for the BROOKLYN CONSERVATORY FACULTY JAZZ
more ambiguous emotions. They meet the task group effort, perhaps not surprising since he ENSEMBLE :BRIDGING THE GAP ( 360 LP 2002)
more than adequately and there are many fine produced the album and it is his label. One * * *
moments on all of the pieces. Grant Reed was complaint: the solos could have been longer STEVE COHN QUINTET :SUFI DANCERS ( White
unknown to me but turns in committed solos on most of the songs. Cow 1201) * * * *
that define what craftsmanship should be in Like many endangered species, jazz organ BILL DOBBINS QUARTET :LIVE ATPEAeoov's CAFE
jazz— on the basis of his work here, he has not records were once considered by many critics (North Coast Jazz 3)* *
created anew style, but he plays the adopted to be pests strangling the growth of more JAMEY HADDAD :NAMES (Ananda 101) * *
post- Coltrane language from the inside. Mon- artistic efforts. Well, nobody's perfect. TIM HAGANS :FROM THE NECK DOWN (Mopro
cur's playing is typically melodic and brassy, —terry martin 105) * * *
RICH HALLEY :MULTNOMAH RHYTHMS ( Avocet
100-1) * * *

CRITICS' CHOICE STEVE HOLT :THE LION'S EYES (Plug 3) * *

IMPROVISATIONAL ARTS QUINTET :No
COMPROMISE! ( Rx 9002) * * *
ALVIN QUEEN / DUSKO GOYKOVICH :A DAY IN
Art Lange HOLLAND ( Nilva 3407) * * * *
NEW RELEASE: Chick Corea, Children's Songs ( ECM). Reminiscent of Satie's solo piano
REVERIE :WATCH THE SKIES ( Encounter 1002) *
miniatures, these 20 pieces convey childlike innocence through sophisticated means. STEPHEN ROANE :KEEPING A SECRET (Mothlight
OLD FAVORITE: Marshall Crenshaw, Marshall Crenshaw ( Warner Bros.). Is Crenshaw the
28) * * *
reincarnation of Buddy Holly? Could be; this debut LP of afew years back combines evocative PAUL STEPHENS :NUBIAN KNIGHTS ( RPM 4)
rockers with sublime songs of tender, aching harmonies. * * *
RARA AVIS: Dave Brubeck, Octet ( Fantasy/OJC). Recorded in ' 46-49 and out-of- print for nearly
20 years, this reissue reminds us that Miles' nonet was not the only midwife at the Birth Of The
Musicians who produce their own recordings
Cool,
are scattered throughout the U.S., Canada,
SCENE: A host of interesting, informative, and entertaining moments at the Duke Ellington
and Europe. The music they produce is as
Society's annual conference at U. of Illinois ( Chicago), thanks to Martin Williams, Gunther
varied as their respective bases of operation,
Schuller, Jerry Valburn, and other devoted Ducal disciples from around the world.
as this year's selection of artist- produced re-
cordings reconfirms. If this selection reflects
Charles Doherty any trend, it is that the percentage of artist-
NEW RELEASE: Steve SmithNital Information, Orion ( Columbia). I'm a sucker for energetic, produced recordings of new forms is declining
drummer- led, electric jazz groups, and this one is finding its own eclectic voice—jazzier, somewhat, an indication that the market niche
funkier, funnier, and further out than on its eponymous debut. for more mainstream musics is being filled by
OLD FAVORITE: John Coltrane, Live In Seattle ( ABC/Impulse). With so many fine live Trane enterprising musicians. As is the case with the
tracks out, why is this my favorite? For Pharoah as the fiery foil? Perhaps it's just the two-fer's self- produced purveyors of the avant garde,
generous length. the self- produced bop, fusion, and mainstream
RARA AVIS: Tokyo Blade, Midnight Rendezvous ( Comb t). Obnoxious British heavy metal with artist competes favorably with their major label
a touch of tongue-in-cheek. counterparts, an assertion these recordings
SCENE: This Is Spinal Tap ( the movie). This sendup of " rockumentaries" is ascream; seek it out support.
(take a pass on the album though— it stinks). There are academians and there are aca-
demians. The Brooklyn Conservatory Fac-
Owen Cord le ulty Jazz Ensemble are academians in name
NEW RELEASE: Michel Petrucciani, 100 Hearts ( Concord). This gifted solo pianist makes every only. In spirit, they are a streetwise unit that
note pulse with avital elan. Shades of Evans, Garner, and Tristano, but mostly youthful genius. swings hard. Their original program of bop
OLD FAVORITE: Miles Davis, Sketches Of Spain ( Columbia). The trumpeter and Gil Evans extensions and modal excursions has a con-
combine to produce the ultimate in personal intensity and orchestral ecstasy. sistently sharp edge and is briskly paced. The
RARA AVIS: Pat Williams, Beelzebub's Big Band ( Hi- Life). Trumpeter/arranger Williams leading quintet ( Charles Haynes, winds; Enos Payne,
the Duke U. Ambassadors circa 1960, with drummer Bobby Harrison electrifying the piano; Randy Johnston, guitar; Benjamin Har-
ensemble a la Sonny Payne, Buddy Rich, or Louie Bellson. ris, bass; Wade Barnes, drums) comes off as
SCENE: Stephane Grappelli at the Paul Green Theater in Chapel Hill, NC. It don't mean athing knowing the tricks of the trade rather than
if it ain't got that . . . hot swing and uncynical sweetness which Grappelli personifies. simply being well-versed. Whether pushing
the cyclic changes of Payne's Proof Positive or
Michael Bourne leaning into Haynes' peppery Spike's Blues,
NEW RELEASE: Alive, City Life ( Alive). The all-woman jazz quintet's best outing to date; the B.C.F.J.E. confirm that, in jazz, technique
Rhiannon's voice is a rainbow. and theory don't mean a thing without the
OLD FAVORITE: Dave Brubeck, Time Out ( Columbia). Strange Meadowlark, in between the hits, aesthetic of swing. They practice what they
first turned me on to jazz. teach.
RARA AVIS: The Bobs, The Bobs ( Kaleidoscope). " New wave" acappella, funny and weird; San Franciscan pianist Steve Cohn cites
voices that echo in your head long after. numerous influences— Mal Waldron, Cecil
SCENE: The National Women's Music Festival in Bloomington ( IN). Their 10th anniversary this Taylor, Bill Evans, and Paul Bley only begin the
year— not only a great variety of music, but quite a liberating experience for a male ( and list— but, much to his credit, he rarely sounds
hetero) WASP to be, for once, in the minority. like any of them. On Sufi Dancers, Cohn occa-
sionally displays Waldron's deliberate sense of

42 DOWN BEAT AUGUST 1984

solo development, Bley's ability to make quirky most unassuming ones—the Ornettish Dirt (Holt is the first Jazz Performance graduate of
lines swing effortlessly and, also, the spiky Roads and the riveting Day Of The New Moon. McGill University and has studied with Kenny
comping style of Taylor's early years; but, As asaxophonist, he is fluent and fiery, spurred Barron), and the other to a sextet, displaying
overall, Cohn's is an amalgamated approach. on by a large revolving supporting cast that his composing and bandleading abilities. The
Compositionally, he follows the axioms of the includes reedist Denny Goodhew, trumpeter sextet side is, decidedly, the more successful.
Blue Note era in an orthodox manner, but with Richard Burdell, and pianist Gordon Lee as With acrack unit ( Bob Mover, alto saxophone;
patch-quilt results. He also provokes inspired featured soloists. Multnomah Rhythms reveals Steve Hall, tenor saxophone; Charles Ellison,
performances here from his more-than-able Halley to be an intriguing aspirant. trumpet; Michel Donato, bass; Camile Belisle,
cohorts (Warren Gale, trumpet; David Shrader, For his debut album, Montreal pianist Steve drums) and crisp charts, Holt produces gutty,
tenor saxophone; John DoneIly, bass; Larry Holt devotes one side to atrio format, so that bop- informed music. The trio side suffers from
Hancock, drums). Sufi Dancers is another his considerable technique can be displayed Holt's overloading the listener with cascading
cogent point in the building case that San
Francisco is one of the few vital centers for this

MILES
sub-genre in the U.S.
Sometimes the best efforts of committed
musicians fall short of creating memorable
music. Such is the case with Cleveland pianist
Bill Dobbins' mix of straightahead stylings.
The terrain covered by Dobbins and his quar-
tet ( Ernie Krivda, tenor saxophone; Chink Ste-
venson, bass; Val Kent, drums) has been
trekked countless times before—an uptempo
blues with a JATP groove; In A Sentimental

BEYOND
Mood; jaunty mainstream lines. But, with the
exception of Krivda's rambunctious tenor
solos, which rant and wheeze and chortle,
there are no new wrinkles here. The other
problem with Live At Peabody's Cafe is the
"three-dimensional stereo" recording, which
reduces Dobbins' piano to ametallic skeleton
On Names, Ohio percussionist Jamey Had-
dad attempts to add afew pop-ish hooks to a
jazz program. The net result is a debilitated
disc that could have been a real success,
given the caliber of the players ( Ken Werner,
pianos; Marc Johnson, bass; Bill Drewes and
Joe Lovano, saxophones; Bill DeArango,
guitar; Ramnad Raghavan, Indian hand
drums). If one can wade through 20-odd min-
utes of frenetic rock ostinatos, Weathered Re-
portage, and balladic bombast, one will find
some solid, satisfying music at the core of the
program. Werner contributes alovely Waltz For
Lorraine and the churning Bob Brookmeyer,
while Haddad and Drewes' For Joey Love
wraps things up energetically (and Haddad
exhibits some impressive chops). Haddad
should have left well enough alone.
A big band veteran at 28, trumpeter Tim
Hagans has the big sound needed to pierce
through layers of orchestration. Within the
quartet/quintet format of From The Neck Down,
he is acommanding presence. Hagans leads
his Cincinnati- based group (Steve Schmidt,
piano; Lynn Seaton, bass; John Von Ohlen or
Mark Wolfsley, drums; Sandy Suskind, alto
saxophone on one cut) through an original
program that ranges from the pungent ballad
Still Here to the scorching title piece. One can
dicker over the use of awah-pedal on the piano
here and the snappy latinate drum fills there
THE MAN WITH THE HORN MOVES INTO THE
but, on balance, Hagans proves himself to be
FUTURE W1 .
1111 SYNTIESIZED RHYTHMS AND
an engaging trumpeter (he also plays athick,
STATE OF-THE-ART MUSIC
creamy flugelhorn) and apromising composer.
Oregon composer/saxophonist Rich Halley JABBING URGENT INSPIRED. HIS FINEST
creates spirited, evocative music on Multno- RECORDED WORK ROBERT PALMER
mah Rhythms, peppering ethereal flute voic- THE NEW YORK TIMES
ings, exotic hand drums, and chant- like vocals
through an otherwise hard-blowing program. MILES DAVIS DECOY AMAJOR ADVANCE ON COLUMBIA RECORDS AND CASSETTES
Halley is firmly rooted in the new music of the
'60s; shades of Coleman, Coltrane, Dolphy, et
al are gleaned from even a casual listening. "Colurnblar ore trademarks d CES 1984 CBS Inc.

Halley's most interesting compositions are his

AUGUST 1984 DOWN BEAT 43

 Best From The Best
down beat Jazz Cassettes
lines that don't have enough breathing space.
6for only $8.95 With a stronger sense of " less is more," Holt
might become atop Canadian piano export.
This is not a Misprint The subtitle of No Compromise! gives a
succinct description of the Improvisational
Arts Quintet's work— New New Orleans Mu-
Introducing Cassingl's
sic. For the most part, the I.A.Q. ( Kidd Jordan,
Cassingl's are cassettes with asingle jazz hit on each side. saxophones; Alvin Fielder, percussion; Elton
Recorded on Super- Premium German Tape. Select your Heron, electric bass; Kent Jordan, flute; Clyde
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ancy traditionally associated with Crescent
51002 JOHNSON, PLAS/with THE GREASE PATROL - S1049 HENDERSON, BILL/SINGS - "Joey" & " Love City music with the exigencies of free music,
"The Grease Patrol" & " As Time Goes By" Locked Out"
particularly on Ettenro Ocelamn, a fine meld-
S1028 SHEW BOBBY/with BIG BAND - "All In Love Is S1051 ADDERLEY, CANNONBALL/THE JAll SUMMIT
ing of Colemanesque materials and dixieland
Fair/Livin' For The City" & " Evergreen" with FREDDIE HUBBARD, WYNTON KELLY -
51029 HOLLOWAY, RED/QUARTET - "Are You Ready" & "Awful Mean" & " Ease It" polyphony. Heron's electric bass adds color to
"Redondo" S1054 GREEN, BENNY/PART 1 & 2 - " Swingin' For the usual free music configuration of horns and
S1039 STITT, SONNY/with RED HOLLOWAY - " Part- Benny" drums and, in tandem with Fielder's power-
ners" & " Bee- Dee" S1058 MORGAN, LEE - "Terrible T" & " I'm AFool To house percussion, provides flashes of Prime
S1030 CLEVELAND, JIMMY/ECLIPSE Vocal JANET Want You" Time Decoded bottom. While all the I.A.Q. are
THURLOW CLEVELAND - " Eclipse" & " Blue S1064 EDISON, SWEETS/with STRINGS, arranged by intense improvisers, it is Kent Jordan who
Light" BENNY CARTER - " When Your Lover Has
stands out, as his work suggests that he is a
S1040 TOMPKINS, ROSS/SOLO PIANO - " My Old Gone" & " Honey Suckle Rose"
Flame" & " Don't Cry For Me Argentina" S1066 JACKIE & ROY - "Tiny Told Me" & " Waltz For future contender for James Newton's title.
S1041 TOMPKINS, ROSS/JACK SHELDON DUO - " So- Dana" Intentionally or not, drummer Alvin Queen
phisticated Lady" & " Mean To Me" S1071 BARTZ, GARY - "Ju lu Man" & " Chelsea and trumpeter Dusko Goykovich have put
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Again" & " Tenderly" S1073 KING, BOBBY/QUINTET featuring SHELLY mold of the early ' 60s Jazz Messengers. ADay
S1012 LOWE, MUNDELUQUARTET with SAM MOST - MANNE - " Outer Kingdom" & " Little John" In Holland is jazz fundamentalism from begin-
"A Waltz For Debbie" & " Stuffy" S1032 BRISKER, GORDON/QUINTET - " Somewhere
ning to end— simple, subtle, singing themes
S1005 HARMON, JOHN/FIRE & ICE - " Island Dancer" Along The Way" & "Walkin' My Baby Back
and direct, storytelling solos. Pivotal to the
& " Catcher" Home"
S1016 PERKINS, BILL/with PEPPER ADAMS - " Indoor S1034 WILSON, PHIUMAKOTO OZONE DUO - "These album's success is the Messengers- like bal-
Sports" & " Confluence" Are The Days" & " Blues My Naughty Sweetie ance of the quintet. Goykovich's bell- like horn
S1015 BRIGNOLA, NICK/QUARTET - " After You've Gave To Me" has afine foil in Sal Nistico's warm tenor, while
Gone" & " Sophisticated Lady" S1035 LESMANA, INDRAM NEBULA - " No Standing" Queen's clean, unobtrusive drums are well
S1038 MITCHELL, OLLIE/SUNDAY BIG BAND - " Blast & " Sleeping Beauty" complemented by Cees Slinger's Waldron- like
Off" & " Swing Your Thing" S1037 COLLETT, FRANK/TRIO - " I Thought About You" clarity and Fred Pronk's resonant bass. Though
S1020 DAUGHERTY, JACK/ORCHESTRA featuring & " Fat's Blues"
it may be pointedly derivative, ADay In Holland
CHUCK FINDLEY - " Solo Flight" & " Cleared S1003 JAMES, WOODY/HARDCORE JAll Ifeaturing
PHIL WOODS & CARL FONTANA - " Relaxin" is an unpretentious success.
For Take- Off"
S1019 McINTOSH, LADD/BIG BAND featuring JOE & " Nancy" By definition, fusion brings different musical
FARRELL - " A Little Left- Handed Groin S1011 MARSALIS, ELLIS/QUARTET - " Swinging At The forms together under, presumably, an elec-
Music, Pliz?" & " Transparencies" Haven" & " Little Joy" tronic umbrella. Reverie ( Mark Knox, key-
S1043 WRIGHT, PHIL/TRIO - " Shadow Dance" & S1018 HARRIS, CHIZ/SEXTET - " Gabe's Idea" & boards; Ed Yellin, saxophones, keyboards;
"Circle" "Magic Days" Gerald Veasley, electric bass; Jim Miller, per-
S1031 BOHANON, GEORGE/QUARTET - " Scorpio Son" S1006 ALEXANDER, ASHLEY/PLAYS THE MUSIC OF
cussion) takes the proposition an unfortunate
& " It's Not Enough" FRANK MANTOOTH - " Secret Love" &
51045 COLLETTE, BUDDY/ORCHESTRA - " Taboo" & "Prelude To AKiss" step sideways with a homogenizing process
"Singapore Sling" SI080 BRITT, PAT/with BRASS - " Don't Misunder- that results in muscle- less music. The genre's
S1046 CALLENDER, RED/ENSEMBLE - " Saints Go stand" & " Me & Mrs. Jones" staples are in evidence— bright, sunny
Marching In" & " Chris" themes; close-order delivery; voluptuous syn-
thesized palettes— but the sense of pilgrim
Any 6 For Only $8.95 ecstasy that was the genre's charter a dozen
Fill in the form below and mail today! Mlb years ago has been replaced with the joystick
rush of protracted adolescence. Yes, this is the
down beat Jazz Cassingl's • 222 W. Adams St. • Chicago, II 60606
Send me the following 6Cassingl's for only $8.95 ($ 1.49 each, shipping included) same Gerald Veasley who gained rave notices
with Odean Pope. Yes, he displays the same
ES1002 ES1041 ES1038 ES1046 ES1066 151037 massive chops. And, yes, this is awesome
ES1028 ES1013 ES1020 ES1049 ES1071 ES1003 music . . . if you're on anti- depressants.
ES1029 ES1012 ES1019 ES1051 ES1073 ES1011 New York bassist Stephen Roane is some-
thing of a reactionary. At a time when young
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content to issue aprogram of lightly swinging,
NAME
lyrical compositions that assume to be nothing
more than pleasing. Roane's set of originals—
STREET arelatively featherweight Naima is included—
achieves its modest goal. A nimble, melodic
CITY STATE ZIP
soloist, Roane never pushes his ensemble
(Richard Grando and Frank Strozier, saxo-
Charge my credit card E VISA E MasterCard TOTAL NO
phones; Noreen Gray, piano; Gerry Fitzgerald,
CASSINGL's
Credit drums) to the point of sweat- drenched in-
Card # TOTAL AMT terplay, but retains them at the brink of visceral
ENCLOSED exchange. In this regard, altoist Strozier is
Exp. Cardholder
Date Signature perfect.
(checks drawn on U.S.A. banks only)
Nubian Knights is an uneven album, but one
s. •
8408
that merits attention, nonetheless. A tenor and

44 DOWN BEAT AUGUST 1984

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soprano saxophonist with a Coltrane- derived
fervor, Paul Stephens splits his program down
the middle— three tracks with and three tracks
new releases
without vocals ( Buddy Conner and Alicia
Daniels handily share the duty). The three
instrumentals are very good; the title piece has (Record Companies: For listing in the Bix, recreate the Beiderbecke Era's sound
astrong lyricism akin to Billy Harper's; Aquar- monthly New Releases column, send two and sense, COPENHAGEN. Red McKenzie/
ian Blue echoes the ' 70s organ jazz of Doug copies of each new release to Art Lange, Eddie Condon, issued tunes and outtakes
Cam; the propulsive Shades Of Trane is aptly db, 222 W. Adams, Chicago, IL 60606.) from a ' 44 World Broadcast, CHICAGOANS.
titled. The vocal tracks are where the pace Muggsy Spanier, ' 52 World Broadcast tran-
falters somewhat. It is not that the composi- scriptions by the hot trumpeter and sextet
JAZZOLOOY/OHR inc. Barrett Deems, RELAXIN' AT THE TOURO.
tions are weak— Perhaps You Care, par-
ticularly, is a fine ballad— but, at best, the Original Dixieland Jazz Band, second gen- Jim Dapogny, early ' 80s octet plays trad,
lyrical treatments are fifth wheels. Especially eration, that is, w/ Wild Bill Davison, Brad CHICAGO JAZZ BAND. Kid Sheik Cola, legend-

with the caliber of support Stephens receives Gowens, et al., from 1943. Gully Low Jazz- ary N.O. trumpeter and his peers from ' 61
(trumpeter Benjamin Jones, pianist Mark Little, band, ' 80 vintage revival group find them- local session, SHEIK'S SWINGSTERS. Charlie
and organist Danny Daniels head a long list), selves IN DREAMLAND. Eddy Davis, banjoist Booty/Ben Conroy, two- piano pairing play
all Stephens needs to do to produce excep- and aquintet inc. Jack Maheu and Don Ewell BOOGIE WOOGIE 8- TO- THE- BAR. Plano " Dr.

tional albums is play. — bill shoemaker make for aHOT JAZZ ORCHESTRA. The Sons Of Feelgood" Red, late ' 70s solo blues piano
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46 DOWN BEAT AUGUST 1984

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BILL EVANS, Trio 64, 815 057-2 ( Verve) 810 045-2 ( Verve) 814 587-2 ( Mercury)
ELLA FITZGERALD & COUNT BASIE, Ella ALPHONSE MOUZON, By All Means, DINAH WASHINGTON, Dinah Jams,
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TOMMY FLANAGAN, Giant Steps, 311212 GERRY MULLIGAN, Night Lights, BEN WEBSTER, Big Ben Time!, 814 410-2
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USE YOUR CREDIT CARD OR CHECK FOR DELIVERY TO YOUR DOOR. ORDER ANY 5RECORDS OR CASSETTES AND GET ONE FREE.
 Records, HEADS UP. his quartet, from Jugoton Records, GOA. Con not to be confused w/ Nina Schiller, sings and
Abdullah Ibrahim, South African expatri- Brio, quartet inc. Jerry Bergonzi and Mick plays piano w/ Dave Liebman and others,
ate pianist in self- penned septet program, Goodrick do their own stuff, from Plug Rec- from Plug Records, SECRET PLACES. Mike
from Ekapa Records, EKAYA ( HOME). Sathima ords, CON BRIO. Bill King, pianist premieres Campbell/Tom Garvin, second LP by West
Bea Benjamin, sings standards and her EP w/ quintet inc. saxist Pat LaBarbra, from Coast vocalist, w/ pianist Garvin in tow, from
original Liberation Suite, from Ekapa, MEMO- Night Passage Records, icE. ITI, BLACKBERRY WINTER.
RIES AND DREAMS. Dennis Gonzalez/John Don Sebesky, arranger resets six jazz Ingram Marshall, composes for combina-
Purcell, Texas free- blower and NYC reed classics for big band, from GNP Crescendo, tions of synths, acoustic instruments, and
guest perform all originals, from Daagnim, FULL CYCLE. Fullerton College Jazz Band, ambient sounds, from New Albion Records,
ANTHEM SUITE. David Liebman, solo LP Com- two LPs, from ' 83 and ' 84, of big band action, FOG TROPES/GRADUAL REQUIEM. Stephen
bines saxes, keyboards, and narrative, from from AM- PM Records, TIME TRIPPING and Scott, aided by the Colorado College New
PM Records, MEMORIES, DREAMS, AND REFLEC- PRIMARILY JAZZ. UNI Jazz Band I, Northern Music Ensemble, from New Albion, creates
TIONS. Jon Rose/Martin Wesley-Smith, two- Iowa's student big band alternates trad and NEW MUSIC FOR BOWED PIANO. Paul Dresher,
some of Australian violinist and composer progressive, from Jazz at Uni, CREATIVE COOK- compositions for various-sized ensembles,
present multiplicity of sounds, from Hot Re- ING. Guy FrIcano, Windy City trumper waxes from New Albion, NIGHT SONGS. ElodIe
cords, TANGO. Pam Purvis/Bob Ackerman, w/ some of Chicago's finest- astrong sextet Lauten, pianist plus taped accompaniment
vocalist/reedman team up for chestnuts and and 30- piece orchestra-from Forever Jazz of instruments and ghostly ambiance, from
newer tunes, from Daagnim, DAYDREAM. Bob Records, JAZZ INSIDE OUT. Jimmy Mosher, Cat Collectors' Records, CONCERTO FOR
Ackerman/Claude Johnson, quartet of Beantown bopper pans out nicely w/ quintet, PIANO AND ORCHESTRAL MEMORY. Lenny Mar-
originals play originals, from Daagnim, PHAR- from ITI Records, SATYRIC HORN. Lenny cus, Baton Rouge pianist plays nine of his
OAH'S GOLD. Carlson, West Coast guitarist and cohorts own pieces w/ trio, from LJM Records, BAT IN
Chet Baker, sensitive trumpeter and press an '83 session, from ITI, IN THE MUD. THE HAT. db
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Mbizo Dyanl, South African expatriate DREAMS.
If your local record store doesn't carry these
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solo to septet, from Dragon, BORN UNDER THE fers one side of duets and one side of 10012; Daybreak Express Records, POB 250
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look and sound clean, from Dragon, TIME QUARTET. Anita Moore, Ellington vocalist (for Roundup Records, POB 154, N. Cambridge,
UNIT. Burton Greene, longtime avant pianist Duke & Mercer) sings Rudy Stevenson orig- MA 02140; North Country Records, Cadence
leads quartet down Holland way, from Cat inals, from Zeus Records, THE LADY. Nina Bldg., Redwood, NY 13679; or call Hot Rock,

Records, ONE WORLD MUSIC. Tone Jansa, Schuller, sings and helps premiere Moby 1-800- HOT ROCK.

Yugoslavian reedman celebrates 10 years of Dick Records, STAY THE NIGHT. Nina Sheldon,

JAZZ PLAY-A-LONG SETS by Jamey Aebersold ENDORSED BY THE PROS!

new!
10 ORIGINAL JAZZ DUETS INA VARIETY OF STYLES!
new! Rhythm Section players can now play with the pros ... solo or comp!

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Play .a- long eti DAN RAERLE-Piano

Myth's:
7/07
JACK PETERSEN-Guitar
VOL. 30A - S9.95
TODD COOLPAAN-Bass
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with se itee
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f'ie=
VOLUME 29
$9.95 Jimmy Section teftee 9

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Raney e WORK-OUT
DRUMMERS: THIS VOLUME IS FOR YOU!
An entire record for you to play-e.lone with
and even trade 2's, 4's and 8»s.
TEN DUETS RECORDED IN STEREO VOL.30
can turn off
co you can play-a- long. You VOL. 30A - DESIGNED for KEYBOARD/GUITAR - $I%
either channel for practicing.
BOOK & RECORD SET BOOK & KLCORD SEE VOL. 3013 _ DESIGNED for BASS/DI1 M-

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$9.95 per set (LP & Book) unless indicated.
D VOLUME 7 "MILES DAVIS"-Int./Adv. level. Eight classics by (11 VOLUME 19 "DAVID LIEBMAN"-Int. level. Brite Piece, Lookout
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melody, modes, Blues scale, Pentatonic scale use, ear training, Bierach, Frank Tusa, Al Foster. $9.95
articulation, blues melodies, chromaticism, etc. Required scales VOWME 8 "SONNY ROLLINS"-Int./Adv. level. Nine classic jazz
and chord tones written in each measure. Blues in F and Bb, originals written by Sonny Rollins. Contains 9 of Rollins' most D VOWME 20 "JIMMY RANE1"'-Int. Level $9.95
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Vocalists. Contains Book, 2 stereo LP's, and a special 7" EP
originals by David Baker. One of the most prolific composers in jazz My Ideal, My Old Flame, Soon, The Nearness of You, Stella by
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covers ALL Major & Minor keys at comfortable tempos-30 Happen To You. Rhythm section is Dan Haerle, Ed Soph & Todd

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designed to help you gain confidence regardless of your ability. Use bie's greatest songs. Maiden Voyage, Cantaloupe Island, Water-
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D VOLUME 12 "DUKE EWNGTON"-Int. level. Nine all time favor- transposed for all instruments. Angel Eyes, But Beautiful, Every-
D VOLUME 21 "GETTIN' IT TOGETHER" For all musicians regardless thing Happens To Me, Heres That Rainy Day, IShould Care,
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cated Lady, Mood Indigo, ILet A Song Go Out of My Heart, In A
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hensive ( but exciting) method of practicing or improvising in all Personality. Rhythm section is Michael Weiss, piano; John
keys: Major, minor, Dom. 7th, Lydian, Sus. 4, Half-dim., Mel/Har. D VOLUME 13 "CANNONBALL ADDERLEY"-Eight songs made fa- Goldsby, bass; J. Higgins, drums ( Book & 2 LP's) $12.95
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O VOLUME 2 "NOTION' BUT BWES"-Beg./Int. level. 11 different This Here, Scotch & Water, Saudade, Sack of law. $9.95 [7 VOLUME 25-17 ALL-TIME STANDARDS. Lyrics and melodies
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D VOWME 14 "BENNY GOLSON"-Int./Adv. level. Killer Joe, Along
with. Rhythm section on LP grooves! Scales and chord tones are ber Song, Old Devil Moon, The Pare Over, My Funny Valentine,
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D VOWME 3 "THE 11/V7/I PROGRESSION"-I nt. level. Probably the Book, ICan't Get Started, Foolish Heart, Come Rain or Come
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jazz players! Supplement includes 11 pages of IIN7/1 exercises to progressions every dues-paying jazz great has played ... part and S. Gilmore, bass; B. Goodwin, drums. ( Book & 2 LP's) $12.95
be applied with LP 8 tracks to improvise with and practice in all parcel of the jazz repertoire. Based on standards! $9.95
keys $9.95 El VOLUME 26 "THE SCALE SYLLABUS" played by David Liebman &
D VOLUME 16 "TURNAROUNDS, CYCLES & 11/V7's"-Int./Adv. level. J. Aebersold. 2 LP's & supp. Hear soloing on ALL scales jazz
D VOLUME 4 "MOVIN' ON"-Int./Adv. level. A challenging collec- A 2-record set continuation of Vol. 3, but much more in depth. players use. You too can play along. $9.95
tion of Aebersold & Dan Haerle tunes. Book contains melodies and Covers all keys, most playing situations and common harmonic
needed scales/chords for all instruments. $9.95 formulae. Includes Joy Spring. $12.95 VOWME 27 "JOHN COLTRANE"-Mr. PC., Some Other Blues,
ID VOLUME 5 "TIME TO PLAY MUSIC"-Int. level. Similar to Vol. 4 Naima, Like Sonny, Spiritual, Blues Minor, Crescent, The Promise.
except the songs are much easier. Modal Voyitge, Killer Pete, VOLUME 17 "HORACE SILVER"- Eight songs. Song for My Father,
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VOLUME 6 "ALL BIRD"-Adv. level. 10 songs written by Charlie D VOLUME 28 "JOHN COLTRANE"- Impressions ( slow),
Parker. Ron Carter, bass; Kenny Barron, piano; Ben Riley on D VOLUME 18 "HORACE SILVER"-Int./Adv. level. Eight songs. Impressions (fast), Giant Steps(slow), Giant Steps(fast), 26-2, Up
Le
AIM
- drums. Record has excellent Bebop feel! Best way to learn these Strollin', Room 608, Nica's Dream, Mayreh, Ecaroh, Etc. Against The Wall, Dear Lord, A Love Supreme, Mr. Day, Countdown
famous tunes. $9.95 R. Carter, K. Barron, Al Foster. $9.95 (medium tempo). R. Carter, H. Mabern, A. Nussbaum. 510.95

JAMEY AEBERSOLD 1211-D AEBERSOLD DRIVE HOW TO USE: ... each volume includes aquality stereo record and acoordinated booklet with parts FOR ALL INSTRUMENTS. The volumes do not necessarily
get progressively difficult. Popularly termed The Most Widely Used Jazz Method On The Market! Suggested order of study. Vol. 24, 1, 21, 2, 3, 5. . .
NEW ALBANY, IN 41150 USA
 NEW ITEMS JAZZ SOLOS/TRANSCRIPTIONS BASS BOOKS
INSTRUMENUL JAZZ INSTRUCTION by J. Kuzmich/
L. Bash $22.95
D MIKE BRECKER SOWS off records
D DAVID LIEBMAN SOLOS- 2 transcribed tenor solos wicass.
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DI FUNK-E-TUBES for Electric Bass. Step by step approach to FREE
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ID JAZZ KEYBOARD by Jerry Coker. For basic tech $6.95
D ART FARMER TRPT. SOLOS Trans. by Don Erjavec $6.95
D CLIFFORD BROWN SOLOS 16 solos trans. by Ken Slone $8.95
D PHIL WOODS SAX SOLOS. 11 transcribed solos. $5.95
D PAUL CHAMBERS-20 Bass Solos by J. Stinnett .... 510.95
D LEFT HAND GYMNASTICS for ELECTRIC BASS by Scott Reed.
CLINIC BOOK
D MODERN WALKING BASS TECHNIQUE by Mike Richmond $ 10.00 D STAN GETZ SOLOS off records $5.95 Technique building book. ID #1, 11 # 2 @ $6.95 WITH EACH
D DRUMS: CUTTING THE CHARTS. Big band bk., C. Morey $4.95 D RED RODNEY TRUMPET SOLOS $8.95 DI RON CARTER BASS UNES off Vol. 6 record of play-a- long
D CARMINE CARUSO-Musical calisthenics for brass $9.95 D C. PARKER- 14 solos O C, D Eb e$6.95 series, wichord symbols. A must for bassists( $3.95 ORDER OF
D TRUMPET, MODERN TECHNICAL STUDIES by Pat Harbison. First D CHARLIE PARKER OMNIBOOK of 60 transcribed solos.
Book to incorporate all modern jazz scales into practical CI Concert key; D Eb; D Bb ea. $9.95
MONK MONTGOMERY ELECTRIC BASS METHOD $18.00
D THE EVOLVING BASSIST by Rufus Reid. An indispensable aid
$25
studies. A modern Herbert L. Clark! $9.95 D CHARLIE PARKER SOWS FOR Bb and Ckeys. 9solos tra nsc r ibed to developing atotal musical concept $14.50 OR MORE.
CI JAZZ/FUSION FAKE BOOK. Songs by C. Corea, H. Hancock, M. off records wipiano accompaniment $4.95 D EVOLVING UPWARD- Bass Book II by Rufus Reid- Book on
Tyner, W. Shorter, F. Hubbard, J. Pastorius, W. Shaw, E. D JOHN COLTRANE SOLOS in Bb key. Blue Train, M. Notice, Lazy thumb position for acoustic bass $7.50
Dolphy et al 80 composers- 484 pages $32.00 Bird & 5others by Don Sickler $5.95 D RAY BROWN'S BASS METHOD Spiral bound, 136 pages $12.95
D RAY BROWN'S BASS METHOD. Spiral bound. $ 12.95 G WIXIDY SHAW SOLOS 16 solos for Bb instruments. $6.95 DI RUFUS REID BASS LINES transcribed off records Vol. 1and 3of
D BILL WATROUS "TROMBONISMS" by Watrous/Raph $8.95 ED JOE HENDERSON SOLOS. 7original songs and transcribed solos play-a- long series. Exactly as recorded. $4.95
D LIP FLEXIBILITIES by Dr. Colin. D Trpt, CI TBone ... $8.50 in Bb key by Don Sickler $5.95 E HARMONICS for ELECTRIC BASS. by Adam Novick 57.95
D ARRANGING CONCEPTS "COMPLETE" by Dick Grove $31.95 O MILES DIS- 11 solos D C, ID Bb @ $6.95 7 NO NONSENSE ELEC. BASS. S # 1, D #2, D #3 @$5.95
D "K.137 30 KENNY DORHAM Songs for piano. $6.95 D T. MONK-8 tunes 8. solos (concert key) $8.95 "• BIG BAND BASS by John Clayton $8.95
D ANTONIO CARLOS JOBIM PianoNocal book $4.95 O BUD POV/ELL-6 transcribed solos $8.95 Di THE IMPROVISOR'S BASS METHOD by C. Sher. Endorsed by E.
D THE JAll EXPERIENCE by Joseph Levey $6.95 D 28 MODERN JAll TRUMPET SOLOS transcribed by Ken Slone Gomez, R. Reid, etc. Transcribed lines 8. solos ... $14.00
D LENNIE NIEHAUS-JAZZ CONCEPTION for SAX: Basic D#1, and edited by Jamey Aebersold. Solos are in Bb key with D BEBOP BASS acollection of bass lines and solos $4.95
$5.00 81. 0 Int. D Adv. $6.00@. 5 songs for Sax chord symbols. Bk # 1D; Bk # 2D ea. $5.95 D THE BASS UNE BOOK by Am Evans. Great book for
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D COMBO CHARTS by the "Jazz Messengers". Write for list ea. $ 10 off records by Dizzy with piano accomp. $8.95 D " DOUBLE VISION" Electric bass duets. Bk & cass 9.95
McCOY TYNER-"Inception To Now". Piano book ... $9.95 D LOUIS ARMSTRONG SOLOS in III) key only. 20 beautiful solos by
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Louie exactly as on records $4.95
A GUIDE FOR THE MODERN RHYTHM SECTION S. Houghton O SONNY ROLLINS SOLOS. D C; D Bb Each $8.95 CJ MAN'S ETERNAL QUEST by P Yogananda. 57 lectures $5.50

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DAVID BAKER BOOKS D BEBOP JAll SOLOS by David Baker. Correlated with 111 THERE IS A RIVER. The story of Edgar Cayce by Thomas
J. Aebersold's play-a- long records Vol. 10 & 13. Great way to Sugrue. The one book that has opened the door for millions of
7 ARRANGING & COMPOSING for SMALL ENSEMBLE $19.95 improve sight-reading and learn the language of jazz. people to an awareness of the spirit within. $2.50
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0 Concert, D Bb, DP Eb, t=1 Bass Each book $4.95
of JAll EDUCATION for teacher & student $19.95 Coker & D. Baker. GREAT book W/cassette $20.00
D TROMBONE, STYLES & ANALYSIS by David Baker. History of the
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trombone via trans. solos, 157 solos in bass clef off records
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7 J. J. JOHNSON MONOGRAPH by David Baker. In-depth study of DI REPOSITORY OF SCALES & MELODIC PATTERNS Yusef Lateef.
Baker. 125 transcribed and annotated solos $12.50
J. J.'s style. Transcribed solos, too. $5.95 Large spiral bound book, 270 pages with a wealth of
D C. PARKER MONOGRAPH by D. Baker. In depth study of " Bird" patterns, licks & ideas $25.00
includes 4transcriptions $5.95 ARRANGING S COPYING DI 87 TUNES FOR IMPROVISATION. Originals by D. Haerle,
7 JAZZ IMPROVISATION by David Baker. A practical theory book R. Matteson & J. Petersen. Lead lines combo bks. Order by
aimed at performance. Comprehensive method of study for D MODERN ARRANGING TECHNIQUES by G. Delamont . $20.00 instr. El C. Treble, D Bb, D Eb, DI Bass Clef Ea. . 59.95
jazz players. Spiral bound. Revised edition. $19.95 D "INSIDE THE SCORE" by Ray Wright. Revealing the jazz CI CASSETTES-PLAY-ALONG. 7 cassettes aligned with above
7 THE JAZZ SOLOS by David Baker. Correlated to Vol. 5 & 6play- arranging secrets of T. Jones. B. Brookmeyer & S. Nestico book $35.00
a- long records. Excellent sightreading. Can use with LP's. Book $ 25 Bk & LP $32.00 DI HOME RECORDING FOR MUSICIANS by Craig Anderton. Make
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D EAR TRAINING for JAZZ MUSICIANS book with 2cassettes by D. composing book w interviews $12.95 D BIRD LIVES by Ross Russell, Story of Charlie Parker $12.00
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of the blues D Treble 0 Bass @ $9.95 Rosecrans. Shows how to copy music $4.00 D CHARLIE PARKER 2 LP ALBUMS. Contains 30 songs, 22 or
] THE BEBOP ERA by D. Baker. (11 Treble or D Bass which are in the OMNIBOOK! Savoy 2201. $11.95

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D THE ART OF MUSIC COPYING by Clinton Roemer. Copyist Bible
:-1.Vol. 1. $8.95: :-.
3 Vol. 2, $8.95 D Vol. 3, $8.95 for composer, arranger, student, teacher $18.95 ID JIMMY HEATH-31 compositions $5.95
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books with cassettes. D # 1intervals, 71 *2 Triads, Three D THE PROFESSIONAL ARRANGER & COMPOSER by Russ Garcia. El CHESKY CONTEMPORARY JAZZ/ROCK PATTERNS
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GUITAR BOOKS
JERRY COKER BOOKS DI PATTERNS for IMPROVISATION by Oliver Nelson. Treble clef
book of 81 different patterns & songs $8.00
3 HISTORY of the GUITAR in JAZZ. 274 pages. $17.95 7 IMPROVISING JAZZ by Jerry Coker ( paperback). Excellent O ENCYCLOPEDIA of IMPROVISATIONAL RHYTHMS & PATTERNS.
3 JAZZ GUITAR TECH. in 4TH'S by Jack Grassell $7.00 introduction to jazz theory $4.95 Treble clef, D Bass clef $15.00
7 BARRY GALBRAITH "GUITAR IMPROV" Book and LP play-a- long D THE JAZZ IDIOM by Jerry Coker ( paperback). $2.95 D LOOKOUT FARM-Acase study of improvisation for small jazz
set. Volume 5 $11.80 ID PATTERNS for JAZZ by Jerry Coker et al. Excellent book for groups. By Dave Liebman & group. Two sound sheets and
3 BARRY GALBRAITH Vol. 3 "GUITAR COMPING". Transcribed daily practice. Teaches you to play in all keys and really helps transcribed solos. Excellent book! $9.95
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VINNIE COLAIUTA
A TEXTURAL APPROACH TO CYMBAL PLAYING between those notes on the
bell. Not even steady ride time,
Vinnie Colaiuta's endlessly "It's really a 'drum set' way of just broken- up things. Some-
inventive drumming has im- thinking, instead of just hearing timeslbreak them to make
parted aspecial kinetic en- rhythms. Especially those bi- them purposely sound jagged.
ergy to the music of Frank zarre rhythms you hear in your Other times I try to make them
Zappa, Joni Mitchell and head ... I know what sound sound fluid."
others. The basis for Colaiuta's source they're gonna go Colaiuta's definite opinions
approach is textural; he con- to right away I'll hear about playing cymbals that feel
nects to the sound sources different explosions exactly right are
around him by creating ashift- on the cymbal the reason why
ing panorama of unexpected that might fall he invariably
textures from his drums and into aplace chooses
cymbals. where no one Zildjian.
"I don't think mathematically expects it. I "Zildjian
when Iplay anymore. You don't think about cymbals are
count out what you do initially, the rules, just real personal to
but that becomes part of your how it's going me. They're all
vocabulary I'm not just dealing to sound. I'll play Vinnie's Live Set- Up consistent to a
with rhythms, I'm playing sounds. rim shots on the point— aMedium Ride is aMe-
I'm areactive drummer. 1listen tom toms; it's the wayl play" dium Ride— but at the same
to other sound sources and Playing the cymbals brings time, each one has its own indi-
respond with my own textures. Colaiuta's style into even greater vidual voice. When you hit a
relief. Signature techniques like Zildjian, the cymbal gives. It
"punctuating" on the bell of the doesn't feel like you're playing
ride cymbal let him maintain sheet metal.
the rhythmic pulse while "They sing. Zildjians have this
commenting on it. shimmer and asound that's real
"It's areal articulate musical to me. When you hit a
sound that doesn't Zildjian, it doesn't feel like it's re-
seem to wash out as sisting the stick. It's going with the
much for straight 8time stick. That enables me to play
as playing on the more musically more dimen-
body of the cymbal sionally" Avedis Zildjian Com-
does. I might play full pany, Cymbal Makers Since
8th notes on the body 1623. Longwater Drive, Norwell,
of the cymbal and in Mass. 02061, USA

The only senous choice

Vinnie Colaiuta is currently freelancing

and involved with anew band, Dog Cheese.

© Copyright Zildjian 1984

 B
LINDFOLD T
EST
fl JOANNE BRACKEEN . SONG FOR
HELEN (from Bsu EVANS—A TRIBUTE, Palo
Alto). Brackeen, piano, composer. Michel
Ithink Iremember the title of the song: I
Love My Wife. No? I think it's off the Petrucciani
second Bill Evans album, after Conversa-
tion With Myself. He played this song, New By LEONARD FEATHER

n ne of the
Conversation. It could be Chick Corea, a
long time ago, but Idon't think so, be- most talked-about ( and writ-
cause it's too much notes, and Idon't 11J ten-about) jazz artists since Wynton
think Chick ever did that. It sounded a Marsalis is pianist Michel Petrucciani. With
little like him though, and definitely a only a few albums out (under his own
young, excited guy. I would say three name on Owl and most recently Concord
stars for that; the composition is great. Records, and one as a sideman with
(Later) JoAnne Brackeen, wow! I Charles Lloyd on Elektra Musician), the
heard her about six years ago. She was French prodigy ( he was 21 last December)
playing in France. She was with Stan has amazed listeners on both sides of the
Getz, who Ithink discovered her. That Atlantic, and was named Acoustic Piano
was the first and last time Iever listened (TDWR) winner in the '84 db Critics Poll.
to her. Ididn't even listen to her when His name is derived from his Sicilian 50 pounds), Petrucciani made rapid prog-
she made that album— with Eddie grandfather. His father, however, was born ress. At 18 he came to the U.S. ; working
Gomez, Ithink, and Jack DeJohnette? in France; Michel is a native of Orange, with Lloyd and living in Big Sur, he learned
She plays alot of notes, but she sounds France. Studying classical music for seven fluent English very quickly and very collo-
years, he played in a family band, even-

FI
good. quially. He now divides his time between
tually concentrating on jazz and listening domestic and European concert tours.
extensively to Bill Evans and McCoy Tyner. This was his first Blindfold Test He was
JOHN LEWIS. I'LL REMEMBER APRIL
(from BILL EVANS—A TRIBUTE, Palo Alto). Despite arare bone disease that stunted given no information about the records
Lewis, piano. his growth (he is three feet tall and weighs played.
That was Bud [ Powell] and I'll Remember
April. It sounds like Bill, and you could one, but he doesn't deserve that much Bill Evans and Kenny Burrell. I'm bad at
tell Bill listened to him alot, because his attention. The tune is nice, though. Two this kind of thing. But I think it was
right hand really sounds like Bill. Not his stars, to be fair. Keith, Ithink Iheard alittle yell like he
chords and stuff, because Bill is more does too, when he's playing. It was great;
close, his fingers more close to each some other times, to me, he goes alittle
other. His chords are more extensive— GEORGE SHEARING. WALTZ F OR bit too far into outer space. In this album,
extended? Plus large. Ilove Bud. He died 4 DEBBY (from BILL EVANS—A TRIBUTE, Palo which Ithink is older, he played more
when Iwas five or six. Alto). Shearing, piano; Bill Evans, composer. centered to the chords and the composi-
LF: But he was an influence? tion, and listened to the other people too.
That was Waltz For Debby, and Idon't
MP: Oh yeah, pretty much. Ilistened Iliked him 20 years ago better than now.
know who was playing. The only re-
more to Bill Evans, but to Bud alot too. It's just a question of taste; but for in-
proach Ihave to say is, this guy plays
He played this song, There Will Never Be stance, when he was playing with Charles
older than Bill, his style. And this is aBill
Another You. Beautiful. He had this per- Lloyd, he played good, too. Five stars.
composition. I don't understand why
sonal thing with chords, he'd play very
people play a song, and instead of re-
soft, and then one chord, very hard. For
freshing it, they make it sound older. Or
one-half a second, bomp, like that, then
stop, and go really smooth again. Five
Icould really be making amistake and its
Bill along time ago, but Idon't think Bill
6 BILL
THE P
EVANS. NOELLE'S THEME (from
ARIS CONCERT, EDITION ONE, Elektra
stars. Musician). Evans, piano.
ever played like that. Just for that, three,

la JESSICA WILLIAMS .ON Suninres

SIDE (
from UPDATE, Clean Cuts). Williams,
but this is avery good piano player. But
it's aproblem. Iknow myself, when Itry
This is Bill Evans.
LF: Well, we've been talking about him
alot!
to play asong, Itry to refresh it.
piano, composer; Eddie Harris, tenor saxo- MP: He is the best, to me, the best.
phone ;John Witala, bass ;Dave Tucker, drums. So-200 stars! ( Laughter) No problem.
Hmm. Sounds like aMonk tune. Idon't
like it at all, don't like nobody in there. I
don't like the saxophone player, but what
si KEITH JARRETT. EVERYTHING THAT
LIVES LAMENTS (from GREAT MOMENTS WITH
KEITH JARRETT, MCA). Jarrett, piano, composer;
He got this thing— from all the piano
players we listen to from the time Iarrive
here, he's the only one who took the time
bugs me alot is the rhythm section, the Paul Motion, drums ; Charlie Haden, boss ; to make asound, and this is the hardest
drummer especially. He has this modern Dewey Redman, tenor saxophone. thing to do, especially when you're play-
sound, his drum is tuned up very low, like I think it's Paul Motian on drums, ing in front of people. You get excited,
rock & roll. Ithink it's no good for this Charlie Haden on bass, and Keith Jar- because you want to show technique or
kind of music, myself. The bass player rett, piano. That was a long time ago. something. you say, hey, the people paid
sounds like Ray Brown, but it's not. Like And the saxophone player sounded like to see me, they want to see something
he tries to make acopy. The piano player, Jan Garbarek, but Iknow it's not him. It's special. So you try to show off, show your
Idon't know who he is, sounds like many, probably a Keith composition, sounded technique. Bill didn't care about that,
many piano players, everybody. And no- like his kind of style. Iknow this saxo- man. He just takes the time ta make his
body. Maybe the saxophonist is the best phone player made an album once with piano sound so beautiful. db

AUGUST 1984 DOWN BEAT 51

POLL continued from page 23 Kip Hanrahan, Desire Develops An Edge (
Clave) - 3; James Newton, James Newton (
American
Gramavi-
Quartet- 14; David Murray Octet- 14; Jack
DeJohnette, Special Edition- 13; Old And New
sumplet eamormateememai sion)-3; Muhal Richard Abrams, Rejoicing With The Dreams- 11; Henry Threadgill Sextet- 11; VSOP 11-
Jack Sohmer: contributor, db; musician/teacher/ Light (Black Saint)- 2; Lester Bowie, All The Magic 10; McCoy Tyner- 9; Lee Konitz Nonet-8; Red
writer. (ECM)- 2; Continuum, Mad About Tadd ( Palo Rodney. lra Sullivan- 8; Steps Ahead- 8; Nat Ad-
Andrew Sussman: Fanfare; director, Music Book Alto)- 2; Ronald Shannon Jackson, Street Priest derley-7; Carla Bley-7; Woody Shaw Quintet- 7;
Society. (Moers)-2; Peck Kelly, Jam ( Commodore)- 2; Dameronia-6; Stan Getz- 6. TDWR: David Murray
Ron Sweetman: CKCU ( Canada). Sphere, Flight Path (
Elektra Musician)- 2; Jamaala- Octet- 12; Woody Shaw Quintet- 12; Continuum-
Frank Tenot: publisher, Jazz ( Paris). deen Tacuma, Showstopper ( Gramavision)-2; 11; Hal Russell NRG Ensemble- 11; John Carter- 8;
J. N. Thomas: db correspondent ( San Francisco); Weather Report, Domino Theory ( Co)umbia)-2. Dameronia-8; Jan Garbarek-8; David Grisman
Coda; City Arts. Reissue of the Year: Albert Ammons ,Meade Lux Quartet- 8; Dave Holland- 8; James Newton- 8;
Luis Vilas-Boas: producer, Cascais Festival ( Por- Rova Saxophone Quartet- 8; Chico Freeman- 7;
Lewis, Complete Blue Note Recordings ( Mosaic)- 3;
tugal). Ganelin Trio- 7; L.A. 4-7; Microscopic Septet- 6;
Miles Davis, At The Plugged Nickel ( Columbia)- 3;
Ron Welburn: Institute of Jazz Studies ( Rutgers);
Gil Evans, Svengali ( Atlantic)- 3; JATP, Bird And New York Jazz Quartet- 6; Old And New Dreams-
Jazz limes; Rockingchair.
Pres (Verve)- 3; Gerry Mulligan, Complete Pacific 6; Oregon- 6.
David Wild: contributor, db; Coda; Cadence; author/
Jazz And Capitol Recordings ( Mosaic)- 3; Bill Electric Jazz Group: James Blood Ulmer- 24;
pianist discographer.
Evans, Time Remembered ( Milestone)- 2; Coleman Jaco Pastorius-8; Return To Forever- 6. TDWR:
Russell Woessner: db correspondent ( Phila-
delphia); WXPN-FM; City Paper. Hawkinstester Young, Classic Tenors ( Dr. Jazz)- 2; Passport- 8; Jamaaladeen Tacuma-8; Material-
Scott Yanow: jazz editor, Record Review. Steve Lacy, Reflections ( Fantasy.Original Jazz Clas- 7.

Stoichl Yul: jazz critic ( Japan). sics)- 2; The Quintet, At Massey Hall ( Fantasy Composer: Muhal Richard Abrams- 23; Gil
Raft Zabor: sole gorby of Nofnof. Original Jazz Classics)- 2; Sonny Rollins, Freedom Evans- 15; Chick Corea- 13; Henry Threadgill-13;
Dieter Zimmerle: editor, Jazz Podium ( Germany). Suite ( Fantasy Original Jazz Classics)- 2; Various Josef Zawinul-12; Anthony Braxton- 11; Wayne
Michael Zwerin: International Herald Tribune. Artists, The Jazz Singers, (Prestige)- 2. Shorter- 11; Sun Ra - 10; Roscoe Mitchell- 9; Philip
Record Label: ECM- 3; Palo Alto- 3; Colum- Glass- 8; Steve Reich- 7; Julius Hemphill- 6; Thad
MORE RESULTS bia- 2; Elektra Musician- 2; Muse- 2. Jones- 6; David Murray- 6. TDWR: Muhal Richard
Hall of Fame: Eubie Blake- 5; Teddy Wilson- 5; Record Producer: Jonathan Rose- 2, Abrams- 14; Ronald Shannon Jackson- 14; George
Baby Dodds- 4; Lionel Hampton- 4; Elvin Jones- Big Band: Carla Bley-30; Woody Herman- 22; Russell- 14; Dave Frishberg-12; Leo Smith- 9;
4; Red Garland- 3; Marvin Gaye- 3; Eddie Jeffer- George Russell- 19; Muhal Richard Abrams- 13; Mike Mantler— 7; Omette Coleman- 6; Chick
son- 3; Jo Jones- 3; Lee Morgan- 3; Artie Shaw- Liberation Music Orchestra- 12; Buddy Rich- 12; Corea - 6; George Gruntz — 6; Hal Russel)- 6;
3; Red Allen- 2; Dave Brubeck-2; Don Byas-2; Bob Florence- 9; Globe Unity- 8; Mel Lewis- 7. Horace Silver- 6; Ed Wilkerson- 6,
Kenny Clarke- 2; Chick Corea- 2; Milt Jackson- 2; TDWR: Carla Bley-14; Willem Breuker Kollektief — Arranger: Rob McConnell- 14; Sun Ra - 12;
Louis Jordan- 2; Scott LaFaro-2; Jay McShann- 14; Gerald Wilson- 14; Mel Lewis- 11; Liberation Quincy Jones- 11; Slide Hampton- 9; Bob Flor-
2; Herbie Nichols- 2; Don Redman- 2; George Music Orchestra- 10; Rob McConnell's Boss ence- 8; Gerry Mulligan- 7; David Murray- 7; Bill
Russell- 2; Sonny Stitt- 2; Muddy Waters- 2. Brass- 10; Saheb Sarbib-10; Vic Vogel- 10; Jaki Holman- 6; Thad Jones- 6. TDWR: Bob Brook-
Record of the Year: Anthony Davis, Hemispheres Byard-9; Matt Catingaub-8; Roomful Of Blues- 8; meyer- 13; Michael Gibbs- 12; Slide Hampton- 12;
(Gramavision)-5; Roswell Rudd Steve Lacy, Re- Artie Shaw- 8; AACM Big Band- 7; Dameronia-7; Butch Morris- 12; Gerald Wilson- 12; Matt
generation (Black Saint)- 5; Bob Moses, When Ele- Gil Evans- 7; Globe Unity- 7; ICP Tentet-7; Catingaub-10; Rob McConnell- 10; Kip
phants Dream Of Music ( Gramavision)-4; Phil George Gruntz-6; Peter Herbolzheimer-6; Chris Hanrahan-9; George Gruntz-8; Al Cohn- 7; Mike
Woods, Live At The Vanguard ( Antilles)- 4; Bill McGregor- 6; Savoy Sultans- 6. Westbrook- 7; Dave Dallwitz-6; Ernie Wilkins- 6.
Evans, Paris Concert, Vol. 1(
Elektra Musician)- 3; Acoustic Jazz Group: Sphere- 24; Modern Jazz Trumpet: Woody Shaw- 38; Clark Terry- 20;

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Chet Baker- 16; Freddie Hubbard- 16; Art Farmer- Shorter- 13; Bud Freeman- 10; Sam Rivers- 10; Ron McCroby (puccolo)-10; David Murray (bass
12; Olu Dara-8; Leo Smith- 8; Warren Vaché- 6; Lew Tabackin-10; Scott Hamilton-9; Dewey Red- clarinet)- 10; Clifton Chenier (accordion)- 8; Paul
Kenny Wheeler- 6. TDWR: Lester Bowie- 15; man-8; Michael Brecker-7; Joe Henderson- 7; McCandless (oboe)- 8; Pat Cloud ( banjo)-7; Andy
Baikida Carroll- 15; Red Rodney- 15; Kenny Bennie Wallace- 7; Charlie Rouse- 6. TDWR: Ricky Narell ( steel drums)- 7; Roscoe Mitchell ( misc.
Wheeler- 15; Bobby Bradford- 11; Bill Hardman- Ford-21; Jan Garbarek-18; Odean Pope- 17; Von reeds)- 6; John Surman (bass clarinet)-6. TDWR:
11; Tomasz Stanko-10; Ruby Braff-9; Art Farmer- Freeman- 16; Warne Marsh- 13; Archie Shepp-11; Ron McCroby (puccolo)-11; Diedre Murray (cello)-
9; Chet Baker-8; Don Cherry- 8; Joe McPhee-8; Ernie Krivda-10; Joe McPhee- 9; Jim Pepper - 9; 11; Tom Varner (french horn)- 11; David Grisman
Hannibal Marvin Peterson-8; Dizzy Gillespie-7; Sam Rivers-8; George Adams- 7; George Cole- (mandolin)- 10; Collin Walcott (sitar/tabla)-9; John
Terumasa Hino-7; Wynton Mersalis-7; Hugh man-6; Pat LaBarbera-6. Surman ( bass clarinet)- 8; John Clark ( french
Ragin-7; Jon Faddis-6; Enrico Raya- 6; Warren Baritone Sax: Henry Threadgill-24; Ronnie horn)- 7; Paul McCandless (oboe)- 7; Steve Turre
Vaché- 6. Cuber- 8; Charles Tyler- 7. TDWR: Nick Brignola- (conch shells)- 7; Gunter Hempel ( bass clarinet)-6;
itombone: Bill Watrous-25; Ray Anderson-22; 22; Pat Patrick- 13; Vinny Golia-10; Wallace Joseph Jarman ( misc. reeds)- 6; Vernon Reid
Bob Brookmeyer- 19; Curtis Fuller- 16; J. J. John- McMillen- 10; Cecil Payne- 9; Haywood Henry-8; (banjo)-6.
son- 16; Slide Hampton- 14; Al Grey- 11; Joe Charles Popasoff-8; Mwata Bowden- 7; John Pur- Vibes: Red Norvo-22; Mike Mainieri-9; Karl
Bowie- 9; Vic Dickenson- 7; Julian Priester-7; cell- 7; Howard Johnson- 6; Roger Rosenberg- 6. Berger- 8; David Samuels- 7. TDWR: Bobby
Craig Harris-6; Gary Valente- 6. TDWR: Slide Clarinet: Perry Robinson-28; Kenny Davern- Hutcherson- 16; Red Norvo-15; Bobby Naugh-
Hampton- 16; Albert Mangelsdorff-14; Al Grey- 19; Bob Wilber- 19; Phil Woods-9; Jimmy Giuffre- ton- 13; David Samuels- 13; Tito Puente- 10;
13; Rob McConnell- 12; Conrad Bauer- 11; Mark 8; Tony Scott-8; Eddie Daniels- 7; Johnny Mince- Bosco Petrovic-8; Karl Berger- 7; Steve Hunt- 7;
Levine- 11; Vic Dickenson-8; Lester Lashley- 8; 6. TDWR: Don Byron- 12; Theo Jorgensman-12; Carl Leukaufe-6; Hal Russell- 6.
Paul Rutherford-8; Joe Bowie-6; Gunter Christ- Gunter Hampel-11; Buddy Tate- 11; Frank Chace- Acoustic Plano: Kenny Barron- 21; Chick
mann-6; Roswell Rudd- 6; Eje Thelin-6. 10; Mwata Bowden-8; Putte Wickman-8; Douglas Corea - 21; Hank Jones- 18; Muhal Richard
Soprano Sax: Evan Parker-24; Dave Liebman- Ewart-7; Eiji Kitamura-7; John Zorn- 7; Hamiet Abrams- 17; Don Pullen- 16; Randy Weston- 14;
20; Roscoe Mitchell- 15; Ira Sullivan- 12; Branford Bluiett-6; Kenny Davern-6; Jimmy Giuffre- 6; Abdullah Ibrahim- 13; Dave McKenna- 12; Herbie
Marsalis-10; Sam Rivers- 8. TDWR: Jan Gar- Woody Herman-6; Johnny Mince-6. Hancock- 10; John Hicks-9; Keith Jarrett-9; Mar-
barek-15; Zoot Sims- 12; John Surman-12; Gerry Flute: Sam Most- 13; Henry Threadgill-9; tial SolaI-9; Jimmy Rowles-8; Art Hodes- 7; Jaki
Mulligan- 10; Lol Coxhill-9; Bill Evans- 9; Dave Hubert Laws-8; Bud Shank-6; Ira Sullivan-6. Byard-6; Anthony Davis- 6; John Lewis-6; Tete
Liebman-9; Jim Galloway- 8; Archie Shepp-7. TDWR: Lloyd McNeil- 16; Bud Shank- 13; Jeremy Montoliu-6. TDWR: Ran Blake- 17; Horace
Alto Sax: Paquito D'Rivera-35; Anthony Brax- Steig-12; Robert Dick- 11; Douglas Ewart-10; Tapscott-14; Randy Weston- 12; JoAnne
ton- 24; Richie Cole- 22; Jackie McLean- 13; Kent Jordan- 10; Hubert Laws- 9; Dave Valentin- Brackeen-11; John O'Neal-11; John Hicks- 10;
Henry Threadgill-10; Roscoe Mitchell-8; Julius 8; Jiri Stivin-7. Harold Mabern-10; Tete Montoliu-9; Jaki Byard-
Hemphill- 7. TDWR: Byard Lancaster- 13; Roscoe Violin: Didier Lockwood- 22; Jean-Luc Ponty- 8; Kenny Kirkland- 8; Stan Tracey- 8; Amina
Mitchell- 13; Julius Hemphill- 12; Zabigniew 22; L. Shankar-19; L. Subramaniam-16; Joe Ken- Claudine Myers- 7; Roland Hanna- 6; Dr. John- 6;
Namyslowski-12; Arthur Blythe- 11; Jemeel Moon- nedy- 6. TDWR: Randy Sabien-17; Svend Kirk Lightsey-6; Sun Ra- 6; Martial SolaI-6.
doc-11; Benny Carter- 10; Richie Cole- 10; Robert Assmussen-16; Didier Lockwood- 16; L. Shan- Electric Plano: Clare Fischer- 11; Kenny Bar-
Watson- 9; Tim Berne- 8; Sadao Watanabe-8; kar-16; Michel Urbaniak-14; Krzesimir Debski- ron-6; Ray Charles-6. TDWR: Paul Bley-10;
Lou Donaldson-7; Charles Tyler- 7; Donald Har- 13; David Prentice- 13; Joe Kennedy- 12; Bernie Kenny Barron-9; Joe Sample-9; Joachim Kuhn-
rison-6; Lee Konitz-6; Lanny Morgan-6; Steve Charles- 10; Leroy Jenkins- 9; Ramsey Ameen-7; 6.
Potts-6; Frank Wess-6. Darol Anger- 7. Organ: Count Basie- 16; Carla Bley-16; Groove
Tenor Sax: David Murray- 38; Dexter Gordon- Miscellaneous Instrument: Anthony Braxton Holmes- 13; Clare Fischer- 8; John Patton- 8;
20; George Adams-18; Chico Freeman- 15; Wayne (misc. reeds)- 14; Collin Walcott (sitar/tabla)-11; CONTINUED ON PAGE 59

How do we make music?

Haynes knows that making music, like making flutes, de- to enable him to concentrate on
pends on absolute precision and attention to detail. On the music and its expression.
stage and off, the standard of excellence rests on one thing We've designed the inno-
above all else— craftsmanship. vative Deveau scale
Even before you order your Haynes flute and anew head
or piccolo, we begin the intricate process joint
of tooling and drop-forging, hand-pad-
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that give
hand the more than 330 pieces
that comprise aHaynes you greater je result of our exacting crafts-
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before. You can depend quality, power, and range of the
chure plate is on superb tonal quality " Haynes sound."
meticulously
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Jean-Pierre Rampal
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the " greatest living
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artisan. The
I'd like to receive information about the Haynes music makers.
delicate African Please send me your free brochure:
blackwood with which
Name _ E Student Ill Teacher
we make your piccolo is
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your flute or piccolo is ready for the Mail to: The Wm. S. Haynes Co., Inc., 12 Piedmont St., Boston, MA 02116.
concert hall, studio, or practice room, we To place an immediate order, call Haynes at (617) 482-7456.

Haynes
perform arigorous test of playing excellence.
That's how we know your instrument is amasterpiece.
And that's precisely what you'd expect from Haynes.
Jean-Pierre Rampal expects afine flute to play with him,
THE MUSIC MAKERS. db 8/84

AUGUST 1984 DOWN BEAT 53

 P
ROFILE
Robert
Swan Silvertones, Dixie Hummingbirds,
Five Blind Boys of Alabama, and Five
Blind Boys of Mississippi. Deprived of

Cray
English-language television when the
family moved to Germany, Robert began
to explore his father's collection further,
and lay awake nights while his parents
A newcomer to the blues/r&b danced to the latest twist records.
It was while living in Germany that he
scene, this guitarist/singer/ took up his first musical instrument, the
songwriter combines piano. His father told him he sounded
like Ray Charles, but by the time the
traditional values with family had resettled again in Takoma,
Robert had found anew inspiration. "All
contemporary appeal. the kids in the neighborhood got guitars
when the Beatles came out," he recalls,
BY LARRY BIRNBAUM
"so when my dad went to Vietnam in '65,
Takoma, Washington is hardly the cradle Igot my mom to buy me aguitar. And
of the blues, but it has produced arising when Ifirst got my guitar, the preacher
young bluesman in Robert Cray, asuper- came over to the house when I was
lative singer, songwriter, and guitarist practicing, and Ihid my guitar, because
whose sound is at once original, authen- he wanted me to play in church and I
tic, and up-to-date. Although he is just 31 didn't. Iwish Iwould've gone, man— I
years old and his Pacific Northwest au- could've got a head start on my singin'
diences are mainly young and white, chops—but Iwas 12 years old and didn't
Cray's soulful approach places him want to go to church anymore."
firmly within the new mainstream of Cray joined his first high school band
"commercial" blues—a gospel-tinged in Newport News, Virginia. "We played
style introduced in the 1960s and re- rock & roll and r&b," he says. "We used to
cently re- popularized among older do ahalf-psychedelic, half-soul set: we'd
Southern and Midwestern blacks by the do an Otis Redding number, and then
late Z.Z. Hill. help it." we'd do aJimi Hendrix number, back to
Cray's West Coast following has grown Appearing recently at Biddy Mulli- back. It was in the days of hip-huggers
steadily since he first organized his band gan's in Chicago, Cray charmed the au- and stuff—'67, '68:' Back in Takoma he
adecade ago, and with the release last dience with a winning combination of joined another band and was searching
year of his second LP, Bad Influence musical prowess, geniality, and Sidney through his father's records for new ma-
(Hightone 8001), he has begun to attract Poitier-like good looks. His rhythm sec- terial when he discovered a pair of al-
national and international attention. tion (bassist Richard Cousins, drummer bums by Muddy Waters and Howlin'
Pete Welding, in his March '84 db review, David Olson, and keyboardist Peter Boe) Wolf. "All of asudden Isaid, 'Yeah, I'm
concluded: "One would be hard-pressed provided atight and sympathetic accom- diggin' this stuff," he remembers. "And
to come up with an album that more paniment as Cray performed material then I found some B.B. King records
perfectly illustrates the contemporary from Bad Influence and from his earlier that my father had, and Ijust got back
blues at its best, strongest, and most Whos' Been Talkin' album on the ill-fated into it. There was awhole wealth of blues
fulfilling:' The title track, written by Tomato label. Poised and confident on- records at the house, and Ifound out
Cray and former bandmate Mike Van- stage, he confessed after the set that he where all this other stuff was comin'
nice, is amodern soul classic with com- was still slightly awed (although it was his from. Ihad it all the time— Iwas already
pelling lyrics and anovel, 20-bar theme third visit to the Windy City) to be playing alot of it.
—redolent with tradition, yet utterly playing in the hometown of so many of "I was afanatic about Magic Sam in my
fresh. Another Cray- band original, his blues idols. high school days," he adds. "And Iliked
Phone Booth, a cleverly worded minor "I was born in Columbus, Georgia," he Johnny 'Guitar' Watson because of all the
blues a la Otis Rush, has already been recounts, "right outside Fort Benning wild stuff that he played. The same with
covered by Albert King. [on August 1, 1953]." His father, acareer Buddy Guy— Buddy does all that crazy
Besides his songwriting talent, Cray army man, was amusic enthusiast with a stuff, too. That intrigued me about the
possesses arich, supple voice— reminis- sizable collection ofjazz, blues, rhythm & guitar. Now all that crazy stuff is cool:'
cent of Bobby Bland and Little Milton— blues, and gospel records. " He told me His enthusiasm was contagious, and he
and a pungent, tastefully restrained he was raised up in Florida by Sister helped persuade his senior classmates to
guitar technique (on a vintage Fender Rosetta Tharpe. So he learned alittle bit book Albert Collins for their graduation
Stratocaster) that combines such influ- of guitar from her when he was coming party. Soon afterward he began working
ences as Albert Collins, Johnny "Guitar" up, and he serenaded my mom. But he with bassist Richard Cousins, and be-
Watson, Freddy King, Buddy Guy, and never really played much, and Inever came asinger when his band's lead vo-
Magic Sam into afully personal synthe- did learn anything from him, besides all calist quit in the middle of an audition.
sis. "Iused to sit and copy all the licks," he the records that were in the house:' In 1974 he and Cousins moved to Eu-
says, "but nowadays Ijust sit and listen Though not aregular church-goer, the gene, Oregon, and started agroup that,
without my axe. I'm trying to stay away elder Cray would play his gospel albums after several name changes, became the
from all those cats, but it still comes out. every Sunday. exposing his son to such Robert Cray Band. They took to the road
It comes out subconsciously—you can't famed vocal groups as the Soul Stirrers, in 1976, working first with Little Frankie

54 DOWN BEAT AUGUST 1984

 ANOTHER
Lee (the son of Texas bluesman Frankie RHODES SCHOLAR
SPEAKS OUT.
Lee Sims) in the San Francisco Bay area
and then touring up and down the
Northwest Coast with Albert Collins. "We
were his backup band off and on for a
couple of years," says Cray, "and Albert
taught us alot of the ropes. We were the
ones that dubbed him the Razor Blade
and the Master Of The Telecaster:' In
1977 John Belushi, in Eugene for the
filming of Animal House, caught Cray in
performance and cast him as the bass
player of the fictional Otis Day & the
Knights. Between shooting sessions Be-
lushi, with Dan Aykroyd in tow, fre-
quently sat in with Cray and harmonica
player Curtis Salgado (who was to join
the Cray band acouple of months later).
Shortly thereafter, Belushi and Aykroyd
debuted their Blues Brothers routine on
Saturday Night Live.
Also in 1977, Cray's band performed at
the San Francisco Blues Festival, attract- "It was there when it all started, and
ing the attention of producer Bruce it's still around. That's the mark of agreat
Bromberg, who signed them to his own
Joliet record label. Bromberg recorded instrument:'
the group the following year but decided
to sell the tapes to up-and-coming
Tomato Records. Tomato, however, be-
Rhodes
Makers offine keyboard instruments.
gan to suffer financial setbacks and did
not release the LP until 1980; six months
later the company folded, and Who's Been
Talltin' became an instant collector's item.
(Several out-takes from the album, along
with tracks Cray recorded with pianist
Floyd Dixon, were recently issued on the
Japanese P-Vine label.) Undeterred,
Cray and Salgado organized their own
blues festival in Eugene, booking Bay-
area artists like Sonny Rhodes, Sugar Pie
DeSanto, Charles Brown, and Lowell
Fulson. The Cray band maintained a
hectic schedule of West Coast appear-
ances and later opened for Willie Dixon
and John Lee Hooker on national
tours.
In 1982, with no record contract in
sight, Salgado departed, but the next
year Bromberg called again, and Bad
Influence, produced by Bromberg and
Dennis Walker, was issued on Hightone.
Its success has already led to tours of the
U.S., Europe, and Japan, but Cray,
standing on the verge of blues stardom,
remains modest. "I'm doing stuff Ienjoy
OliON Hot tom
doing and stuff I've enjoyed listening
to," he says, "and if Ican do that, it's cool.
LVE OIL VALVE 01
It's hard to get acceptance when you're /4 FL OZ. 11/
4FL OZ
young. It's hard for people to accept you
when they don't recognize all the songs
and stuff. But I'm gonna do what Iwant
to do anyway, and it involves all kinds of Now get more of the old smoothie, Holton oil, Still the
things—blues and gospel and stuff. I'm famous 1898 formulo, but now in LI
just happy to be out here, pushing a a new, economical 2 oz. bottle. I ROLTON
record, and getting good responses. I'm
c G Leblanc Corporation 1984 Ail rights reserved
thankful, man." db

AUGUST 1084 DOWN BEAT 55

 C
AUGHT
DAVID SANBORN
PARK WEST

CHICAGO— Calling David Sanborn an

emotional player is by no means arevela-
tion, but to be able to transfer, not merely
present, intense musical emotion to a
capacity crowd is an art. Sanborn is such
an artist. With every scream, with every
honk, with every crying blue note that
flew from his alto, the empathy between
musician and listener was strengthened.
But this was no solo show. Sanborn was
backed by an all-star, powerhouse
rhythm section. Guitarist Hiram Bul-
lock, bassist Marcus Miller, keyboardist
Don Grolnick, and drummer Buddy
Williams contributed equally and intrin-
sically to the overall impact of the per- Marcus 011er, David Sanborn, Hiram Bullock
formance.
This assemblage has been working to- licks, revealing where a portion of San- other horns and the sheer drive of the
gether for quite some time, both in the born's soulful saxophone style is rooted. rhythm section. His highly individual
studio and on-stage, and constitutes the If the intensity and energy of a lire sound was characterized by the skillful
basic Sanborn band. Beyond the obvious performance like this can be captured on use of the horn's upper register to pro-
chemistry between players, there was a tape, it'll show a side of the popular vide contrast and punctuation. Cables
certain looseness and spontaneity on altoist seldom heard on his carefully stepped out of his role as Most Valuable
stage, straying from the compositional to crafted studio albums. — albert de genova Comper to wrap it up with apercussive,
the improvisational side of the funky r&b crisp improvisation.
they laid down. The seeming "lets have Marshall's Super Trouper and Tusa's
fun and jam" stage atmosphere (an at- Moon Magic further demonstrated the
mosphere familiar to Sanborn with his BEBOP AND group's writing skills. The former, abop-
blues roots) led to extended solos by inflected romp, was a rhythmically pro-
Sanborn, Bullock, and Miller (Grolnick
BEYOND vocative vehicle for the soloists and a
and Williams, for the most part, stayed showcase for the drummer's all-around
out of the spotlight), fiery trading be- KIMBALL'S talents. The latter tune was "beyond." It
tween alto and guitar, and a good opened with aslow, out-of-tempo conver-
amount of dancing and clowning. SAN FRANCISCO— Bebop And Beyond sation between piano, bass, and drums
To the audience this was another night isn't just the name of aband; it's astate- which wafted across the room like an
of party-hearty entertainment; to the ment of purpose. This cooperative sex- otherworldly breeze. This open-sound-
band the gig was arehearsal of sorts for tet, made up of world-class Bay Area ing section evolved into a more struc-
Sanborn's upcoming live album. Judging musicians, is bop-oriented but not hul- tured segment featuring the horns be-
from the material selected for the show, it ked to that style—hence the "beyond.' fore dissolving to a captivating,
will be more or less agreatest hits LP. The They play classics, originals, and—best mysterious Tusa solo which explored the
set included performances of tunes from of all—good music. The roster for this subtleties of the bass. A high peint of the
six of Sanborn's eight albums, and no club date included saxophonists Mel night, Moon Magic painted asound pic-
new original songs were introduced, save Martin and John Handy, trumpeter War ture which lingered long after the music
an encore jam by Miller which Sanborn ren Gale, pianist George Cables, bassist had stopped.
impulsively titled Chicago. Frank Tusa, and drummer Eddie Mar- Classic bebop was well represented by
Hopefully the same inspiration will be shall. Thelonious Monks' Evidence and Tadd
at work when the tape recorders are The first set opened with Martin's Dameron's On A Misty Night. The Monk
rolling as it was this evening. High points Longhorn, dedicated to Art Blakey, after number—with it's maddeningly off-cen-
of the concert were Straight To The Heart whose band Bebop And Beyond is mod- ter stop-and-go head—is hard to play.
(from As We Speak) and Smile ( from San- eled. Not surprisingly, this medium-up- But Bebop And Beyond showed its met-
born), the latter featuring Sanborn at his tempo cooker was strongly reminiscent tle by swinging through it with all the
ballad best and ending with powerful of the Jazz Messengers' sound. Martin's nuances intact. Evidence sounded the way
riff-swapping between Sanborn's sweet- interpretation of his own tune was a aMonk tune should. Misty Night received
and-sour sax and Bullock's blazing wailing, logically constructed chain of alike treatment, with Handy as the out-
guitar. phrases. Next up was Gale, in the Hub- standing soloist. Both pieces were
A special extra was acameo appear- bard/Shaw mold, alternating machine enhanced by Martin's clean, straightfor-
ance by Hamish Stuart, of Average White gun- like runs with more melodic ward arrangements.
Band fame, who sang soulful renditiops passages. Alto saxist Handy, who was the Strong material, fine soloists, and an
of Love And Happiness and Jr. Walkki• most consistent soloist throughout the outstanding rhythm section make Bebop
Roadrunner. Sanborn didn't shy away night, took a joyously energetic sola, And Beyond worth hearing. Their debut
from copping some of Walker's original egged-on by the insistent rifling of the album, due soon from Concord Records,

56 DOWN BEAT AUGUST 1984

should spread the fine reputation they've bling on some mean blues harp. Later
made around the San Francisco area. Johnny took to the stratosphere with a
—michael bloom rowdy rendition of It's All Over Now . As an
encore, Johnny brought out brother
Edgar for the epic Tobacco Road, and the
two matched licks on guitar and alto sax.
JOHNNY WINTER/ Guitar hero Roy Buchanan preceded
ROY BUCHANAN Winter with a set that wasn't quite as
visceral but no less thrilling for guitar
enthusiasts. One of the great Telecaster
BEACON THEATRE
technicians, the sedate Mr. Buchanan
flashed uncanny chops with typical non-
NEW YORK— The French have asaying: chalance, rarely moving from his station-
"Blues is for the black man to play and ary stance as he unleashed all manner of
the white man to listen!' Johnny Winter harmonics, octaves, and pyrotechnic
has aresponse: "Bullshit!" Iconcur. picking on his axe. His most rousing
Of all de Gaul. No embittered, blinded offerings were the stirring slow blues of
Franco-critic can convince me that The Messiah Will Come Again and an ex-
Johnny Winter is faking. Or Stevie Ray plosive tribute to Jimi Hendrix on a
Vaughan, for that matter. Or Roy wicked version of Hey Joe. Though
Buchanan. These boys weren't exactly Buchanan can rock & roll and squeeze
raised in the lap of luxury, and they have blue notes with the best of 'em, his show
each had their share of heartaches and remains more suited to purists than to
pain along the way. Especially Johnny. party people.
Ostracized as a kid growing up in Message to French critics: listen to
Beaumont, Texas, hyped unmercifully raveups like Dr. John's Lights Out, the Johnny Winter and other heartfelt white
as a young man coming of age in the Stones' jumpin' Jack Flash, and the blues artists with your ears, not your eyes.
music business, institutionalized as a obligatory Johnny B. Goode. Bob Dylan's Then give your honest appraisal.
drug addict just four years after being Highway 61 Revisited saw bassist Paris dou- —bill milkowski
deluged with offers to " make him a
star"—you know Johnny has felt the
pain. And you feel his pain for real when
he plays, when he sings. At 40, Winter is
playing and singing with more authority
than ever. There's agruff, hoarse edge to
his voice now, which helps him deliver a
Why Perfectionists Play
blues lyric with more conviction and grit.
And his legendary guitar chops are still Fender Strings.
very much intact, with atouch of season-
ing added. For over .three decades, Fender strings have tradi-
Coming off his recent years of collab- tionally been the staple of the industry. Today, Fender
orations with the late great Muddy Wa-
ters, Winter seemed particularly in-
technology offers some exciting new alternatives. Like our
spired. Mixing in afew old favorites with new stainless steel roundwound electric strings. And the
material from his new Alligator album, terrific-sounding 80120 Bronze acoustic sets. The super
Guitar Slinger, his strongest in years,
high quality Super Bullets: And our new stainless steel
Johnny rocked this packed house of
youngish, white blues aficionados, who roundwound bass strings.
gave the gangly Texan several clench- Every set has the same brilliant sound and accurate
fisted standing ovations.
intonation as the last one. So you can spend more time
Sporting awide-brimmed cowboy hat,
shoulder-length angel hair, and mon- playing your instru-
strous tattoos on his naked, whiter-than- mentand less time
white chest, shoulders, and forearms, fiddling with it.
Johnny was a sight to behold on-stage.
Backed by his regular touring ensemble
Fender strings:
of bassist Jon Paris, drummer Moe Potts, now more than ever,
and pianist Kenny Saydak, Winter the perfectionist's choice.
opened with a hot Roy Milton instru-
mental called Succotash. His headless
Cort guitar (acopy of aSteinberger six-
string) added to the visual mystique.
ISmell Trouble found Johnny in astone-
slow blues bag, flaunting those famous
riffs and growling mightily. On the other
end of the energy spectrum were rockin'

AUGUST 1984 DOWN BEAT 57

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THE SCENERY.

n1L313SS
POLL continued from page 53 11; Dave Holland- 10; Rob Wasserman-9; Rafael Nana Vasconcelos-6.
111181Mffle48009te 460.8e54kal,, Donald Garrett- 8; Truck Parham- 8; Harvie Male Singer: Jon Hendricks- 24; Ray Charles-
Swartz- 8; Miroslav Vitous-8; George Duvivier- 7; 20; Jimmy Witherspoon- 20; Mose Allison- 9; Joe
Milt Hinton-7; Niels- Henning Orsted Pedersen-7; Lee Wilson- 9; Bob Dorough-6. TDWR: Mose
Eddy Louiss-7; Jack McDuff- 7. TDWR: John Pat- Rufus Reid- 7; Avery Sharpe- 7; Palle Allison- 14; Joe Lee Wilson- 14; Al Jarreau-11;
ton- 10; Jimmy McGriff-9; Count Basie- 8; Jasper Danielsson-6; Johnny Dyani-6; John Lindberg- Bob Dorough-10; Jon Hendricks- 9; Georgie
Van't Hof-8; Charles Earland-7; Groove Holmes- 6; Curtis Lundy-6; Red Mitchell- 6; Slam Stewart- Fame-8; Johnny Hartman-8; George Benson-6;
6. 6; Eberhard Weber- 6. Ray Charles-6; Stanislaw Soska-6.
Synthesizer: Lyle Mays- 21; Brian Eno- 10; Electric Bass: Eberhard Weber- 11; Bill Laswell- Female Singer: Jeanne Lee- 13; Lauren
Klaus Schulze- 9; George Lewis-8; Stevie Won- 9; Bob Cranshaw-8; Jerome Harris-6. TDWR: Newton-8; Anita O'Day-6. TDWR: Urzula Dud-
der- 7. TDWR: Sun Ra- 12; Laurie Anderson- 10; Miroslav Vitous-13; Bob Cranshaw-7; Amin Ali- ziak-17; Janet Lawson- 15; Karin Krog-11; Car-
Alvin Curran- 10; Mark lsham-8; George Lewis- 6; Victor Bailey- 6; Bunny Brunel- 6; Stanley man Lundy- 11; Dee Bell- 9; Susannah McCorkle-
8; Rainer Bruninghaus-7; Yousef Yancy-7; Wolf- Clarke-6. 9; Amina Claudine Myers- 9; Kim Parker- 9; Sat-
gang Dauner-6; George Duke-6. Drums: Billy Higgins- 34; Ronald Shannon hima Bea Benjamin- 8; Rhiannon-8; Carrie
Guitar: Pat Metheny-37; James Blood Ulmer- Jackson- 19; Tony Williams- 17; Billy Hart- 14; Roy Smith- 8; June Tyson-8; Betty Carter-6; Meredith
29; Derek Bailey- 25; John McLaughlin-22; John Haynes- 14; Philly Joe Jones- 14; Buddy Rich- 13; D'Ambrosio-6; Anita O'Day-6.
Abercrombie- 12; Larry Coryell-7; Jimmy Raney- Steve Gadd-9; Louie Bellson-8; Shelly Manne- 8. Vocal Group: Singers Unlimited- 16; Vocal Sum-
7; Ralph Towner- 7. TDWR: Philip Catherine- 14; TDWR: Bob Moses- 14; Famoudou Don Moye-14; mit- 15; Hi Les- 8. TDWR: Novi Singers- 10;
Doug Raney- 13; Steve Tibbetts- 11; Peter Al Foster- 12; Billy Hart- 12; Roy Haynes-10; An- Jackie & Roy-8; L.A. Voices- 8.
Sprague- 10; Ed Bickert-9; Joe Cohn- 9; Bill drew Cyrille- 9; Claude Ranger-9; Marvin Smith- Pop/Rock Artist: Joe Jackson- 17; Stevie Ray
Frisell-9; Vernon Reid-9; Derek Bailey-8; Pat 9; John Betsch-8; Daniel Humair-8; Cornell Vaughan- 15; Al Jarreau-13; Laurie Anderson- 11;
Metheny-8; Jimmy Ponder-8; James Blood Ul- Rochester- 8; Peter Erskine- 7; Milford Graves- 6; George Benson- 9; Elvis Costello-9; Miles Davis-
mer-8; Cal Collins- 7; Fred Frith- 7; Jim Hall- 7; Steve Hunt-6; Butch Miles- 6. 7; Madness-6; Frank Zappa- 6.
Rory Stuart- 7; Tal Farlow-6; Steve Khan- 6. Percussion: Tito Puente- 21; Paulinho da Soul/R&B Artist: Albert Collins- 17; Marvin
Acoustic Bass: Cecil McBee- 32; Eddie Costa- 11; Jerry Gonzalez- 11; Guilherme Franco- Gaye- 16; Gatemouth Brown- 15; Dr. John- 15;
Gomez- 27; Malachi Favors Magoustut-18; Fred 10; Ray Baretto-9; Mongo Santamaria-7; Dom Um Lionel Richie-13; Prince-11; David Sanborn- 10;
Hopkins- 17; Buster Williams- 16; George Du- Romao-6. TDWR: Gunter " Baby" Sommer- 12; James Brown- 8; George Clinton- 6. TDWR:
vivier- 11; George Mraz-8; Miroslav Vitous-8; Collin Walcott- 11; Kahil El'Zabar-10; David Moss- DeBarge-9; Dr. John- 8; Sweet Honey In The
Barre Phillips- 6; Reggie Workman- 6. TDWR: 10; Jose Rossy-9; Ed Blackwell- 7; Pierre Favre- Rock-8; Otis Rush- 8; Albert Collins-7; Lonnie
Buster Williams- 18; Brian Torff-13; Mark Helias- 7; Orlando " Pontilla" Rios- 6; Warren Smith-6; Brooks-6; Z. Z. Hill-6; Luther Vandross-6. db

N
Jon beat 49"' annual readers poll instructions
HALL OF FAME ( see rules) Vote for your favorite musicians in down beat's annual Readers
JAZZ MUSICIAN OF THE YEAR Poll. The Poll for 49 years.
POP/ROCK MUSICIAN OF THE YEAR Your favorites want your support. Vote! You need not vote in
NDIVIDUAL AWARDS

SOUL/R&B MUSICIAN OF THE YEAR every category. Cut out the ballot, fill in your choices, sign it, and
TRUMPET mail to down beatiRPB, 222 W. Adams St., Chicago, IL 60606
TROMBONE USA.
FLUTE VOTING RULES:
CLARINET 1. Vote once only. Ballots must be postmarked before midnight
SOPRANO SAX September 1, 1984.
ALTO SAX 2. Use official ballot only. Please type or print.
TENOR SAX 3. Jan, Pop/Rock, and Soul/R&B Musicians of the Year: Vote
BARITONE SAX for the artist who, in your opinion, has contributed most to jazz,
ACOUSTIC PIANO pop/rock, and soulir&b in 1984.
ELECTRIC PIANO 4. Hall of Fame: Vote for the artist- living or dead- who in
ORGAN your opinion has made the greatest contribution to contemporary
SYNTHESIZER music. The following previous winners are not eligible: Cannonball
GUITAR Adderley, Louis Armstrong, Albert Ayler, Count Basie, Sidney
ACOUSTIC BASS Bechet, Bix Beiderbecke, Art Blakey, Clifford Brown, Benny Carter,
ELECTRIC BASS Charlie Christian, Omette Coleman, John Coltrane, Miles Davis,
DRUMS
Paul Desmond, Eric Dolphy, Roy Eldridge, Duke Ellington, Bill
Evans, Ella Fitzgerald, Dizzy Gillespie, Benny Goodman, Dexter
PERCUSSION
Gordon, Stephane Grappelli, Coleman Hawkins, Fletcher Hender-
VIBES
son, Jimi Hendrix, Woody Herman, Earl Hines, Johnny Hodges,
VIOLIN Billie Holiday, Stan Kenton, Rahsaan Roland Kirk, Gene Krupa,
MISC. INSTRUMENT Glenn Miller, Charles Mingus, Thelonious Monk, Wes Montgom-
ARRANGER ery, Jelly Roll Morton, Fats Navarro, King Oliver, Charlie Parker,
COMPOSER Art Pepper, Bud Powell, Sun Ra, Django Reinhardt, Buddy Rich,
MALE SINGER Max Roach, Sonny Rollins, Pee Wee Russell, Bessie Smith, Billy
FEMALE SINGER Strayhorn, Art Tatum, Cecil Taylor, Jack Teagarden, Lennie
Tristano, Joe Venuti, Fats Waller, Ben Webster, and Lester Young.
VOCAL GROUP
BIG JAll BAND 5. Miscellaneous instruments: Instruments not having their
ACOUSTIC JAll GROUP (2to 10 pieces) own category, with these exceptions: valve trombone, included in
trombone category; cornet and flugelhorn, included in the
ELECTRIC JAll GROUP (2to 10 pieces)
a. trumpet category.
POP/ROCK GROUP
SOUL/R&B GROUP 6. Jan, Pop/Rock, and Soul/R&B Albums of the Year: Select
only LPs issued during the last 12 months. Do not vote for 45s or
JAZZ ALBUM OF THE YEAR
EPs. Include full album title and artist's name. If your choice is
POP/ROCK ALBUM OF THE YEAR
part of aseries, indicate volume number.
SOUL/R&B ALBUM OF THE YEAR
7. Only one selection counted in each category.
Your
Signature

BALLOTS MUST BE POSTMARKED BEFORE MIDNIGHT, SEPTEMBER 1, 1984.

MAIL TO down beat/RPB, 222 W. Adams St., Chicago, IL 60606 USA
here's your ballot

AUGUST 1984 DOWN BEAT 59

P
RO S
ESSION
But as with any instrument, each voice in
Recording On A Budget: a studio situation will have certain
strengths, certain flaws, and these should
Lead Vocal Or Instrument be treated without adding additional
problems due to misuse of the studio or
BY WAYNE WADHAMS
its equipment.
Wayne Wadhams toured and recorded as lead singer/keyboardist for the It is widely assumed that one should
Fifth Estate and other rock groups on Jubilee, U.A., and other local labels reserve the most expensive mic in the
from / 965-70. Moving to Boston, he formed Film Associates, which has studio, generally aNeumann condenser
produced tv spots, documentaries, and worked on feature films. In 1974 he
type, for the lead vocalist. Not so. If the
opened Studio- 8Inc., a16- track facility which later became the home base
vocalist has afull, rich vocal tone without
of the regional label, Boston International. Since 1979 Wadhams has
produced LPs for 8.1., CBS, Portrait, Casablanca, MMG, and others.
any heavy sibilance, fine. If not, the
condenser mic may overemphasize just
I t is difficult to say which, if any, sound is the lead is what he or she will still be those aspects of the vocalist which we
the most important when making a humming ... hopefully want to control. On the other hand, don't
budget recording. Since time spent The human voice is certainly the most assume that the mic which the vocalist
equals money spent in studio terms, it difficult instrument to record. Although uses for p.a. purposes will work as well
has certainly been worthwhile to put 20 it has neither the volume level nor the for studio recording. Instead, set up a
or 30 minutes into getting adecent bass low frequency content of drums, nor the few different mics, clustered in the same
and drum sound as discussed in my dense chordal possibilities of the grand spot, and let the singer do afew phrases
earlier Pro Sessions (db, Apr. & July'84). piano, the human voice is the one sound of the tune, recording the output of each
In my opinion, however, if you could to which the human ear is most critically mic on aseparate track. Then, listening
afford only enough time to get the right sensitized. We hear voices, spoken and to the playback of each track, select the
sound on one instrument, it should be sung, almost all day, every day, especially mic which, without any processing, sounds
the lead vocalist or instrumentalist. in the music business. Thus it is easy for best. It's worth the few minutes this
Why? Simply because the lead is the us to tell when avoice is poorly recorded. procedure will take. And don't forget to
tune. It carries melody and lyrics, and Obviously, there are as many types and write down what mic you've selected for
after asingle listening (which is all you qualities of voice as there are people, so future recording purposes.
may get out of aclub owner or a&r rep) there is no one vocal sound to emulate. Although the range of sounds among
various tenor saxes or flutes will be much
less than a variety of voices, the same
procedure might be followed for any
acoustic lead instrument, except perhaps
piano. There are many opinions as to
where to mike asax or flute, and it is a
good idea to fiddle abit with mic posi-
tioning on such instruments if they are to
be overdubbed. However, leakage from
other instruments in aone-pass record-
ing will probably dictate fairly tight mik-
ing, so the biggest variable you will have
is the choice of the mic itself. Cardioid
will most likely be imperative, but the
choice of dynamic, ribbon, or condenser,
and specific brand and model should be
left to your ear alone. Positioning for a
vocal mic will generally be at the height
Runyon - The Originator - The Innovator - Has Changed Saxophone Technology of the singer's eyes, nine inches to afoot
From The " Dry Sound" To The " Live Sound." Additional Tone Frequencies Have from the mouth. Placing the mic slightly
Been Added To The Basic Saxophone Tone By Means Of A Seconaary Reed. A above the singer's mouth will accomplish

1
Previously Unheard Of Mouthpiece Concept. two things. First, it cuts down on the
A SECONDARY REED, INSIDE The Tone Chamber Of The Mouthpiece, Vib- wind-blasts from percussives such as "p"
rates In Sympathy With The Usual Cane Reed. and "b." In addition, the throat projects
Intensity Of Tone, So Essential To The Sound, Becomes Almost Automatic With most of the upper midrange frequencies
"THE SPOILER!" The First Double Reed Saxophone And Clarinet Mouthpiece upward as they pass the lips. Thus, amic
Makes Possible: located abit above the singer's mouth will
pick up the most intelligible sound. The
• Extreme Dynamics • Beautiful Subtone With Ease.
singer needn't crane his or her neck, but
• Fantastic Altissimo Notes • Great Intonation
just sing straight ahead, ignoring the
mic. If the singer is used to "swallowing"

(iÇanyan) "WE HAVE THE EDGE" amic live, set up adummy mic which can
be held, "swallowed," or whatever makes
the singer feel at home with his or her
P. 0. Box 1G18 performance.
PRODUCTS, INC. Opelousas, Louisiana 70570 The voice has an enormous dynamic
range, and an emotive singer may use

62 DOWN BEAT AUGUST 1984

everything from the softest whisper to a resonance that appears as alumpiness in signal level at which the compressor be-
full-throated scream. Thus, compression the lower midrange, so try moving singer gins working on various frequencies.
of some sort is almost always necessary, and mic first, just afoot or two in either The de-essing circuit boosts highs by up
even for a cappella recordings. The direction. Ringing can often result when to 20 dB internally, causing the com-
fuller the instrumental backing, the sound bouncing off amusic stand hold- pressor to react to sibilants, for instance,
more compression which will be needed ing lyrics gets into the vocal mic and at minus 20 dB incoming level, where it
to keep every syllable clear and present. reinforces some upper midrange fre- would take an "aah" coming in at zero dB
The faster the attack the better. Com- quencies. Try angling the stand, moving to cause areaction. The net effect is to
pressors such as the UREI 1176, with at- it left, right, or further from the mic. quickly reduce obtrusive sibilants and
tack times down to microseconds, are the Physical adjustments such as this can smooth out the intelligibility of the vocal
best choice. Since lyrics may end with often clear up alot of problems mistak- sound. Using the de-esser liberally, one
hard "t" sounds, then start up with other enly ascribed to the voice itself. can often get away with less overall com-
percussives, a fast release time is also One problem, however, which is often pression on the voice, and again, in my
called for, in the one- 10th- to one-quar- present in the voice is excessive sibilance. book less is more!
ter-second range. As with the bass, the High frequencies such as "s" and soft "e" If the studio doesn't have ade-esser, or
amount of compression should be no sounds do not produce much level in the a compressor with a de-essing circuit
more than necessary to prevent overload console, and will probably not budget the built-in, any fast attack compressor can
and maintain fullness and dominance of compressor. A full-voiced "aah" may be made to de-ess very simply. Make a
the vocal. The softest lyrics should not cause the compressor to reduce gain by multiple of the vocal signal from the
touch the compressor at all. Similarly, to 15 dB or more. Thus, in the output of the console, send the original signal straight
allow some expansion of volume even in compressor, the sibilants will effectively through the compressor as 'usual. Take
the louder passages, alow ratio of per- be emphasized by 15 dB— hence adevice the multiple and feed it into agraphic
haps four-to-one would be preferable to called ade-esser. If the studio has one, equalizer, boosting the high frequencies
strict limiting of top vocal level. use it instead of the normal compressor. in asmooth curve, by 15 dB in the 10 kHz
If the voice has apuffy or ringy sound, A de-esser is acompressor with an equal- range. Also, dip the midrange and bass
hold on before equalizing. Sometimes izer built into its control channel. This in aslow curve that reaches minus six dB
the placement of the mic and singer equalizer does not actually process the or so in the bottom octave. Feed the
within the studio itself can cause aroom incoming vocal signal, but it alters the output of this equalizer into the corn-

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AUGUST 1984 DOWN BEAT 63

 pressor's control channel, and voila! You If we need to control level without
Subscribe to may have to tinker with the graphic EQ reducing power, perhaps abroad dip in
curve to achieve the smoothest overall the midrange will do the trick. Reducing
down beat effect, but you have just created a de-
esser from scratch.
aone-half to one-and-a-half octave-wide
range in the 400 Hz to one kHz span will
today! Although most horn or wind lead in-
struments will not need de-essing, all the
effectively reshape the whole sound of
the lead lines, "boosting" the highs and

SAVE 44%
other techniques discussed for a voice lows without introducing peaks that
can be applied quite effectively, and shriek or boom. Exactly where you dip
quickly. Mic selection, room resonances, the midrange is quite important. Male
music stand "ringing," compressor treat- vocalists or aban isax may need dipping
off newsstand price ment of transients, etc. are all problems centered around 400 Hz, while a so-
encountered in various acoustic leads. prano sax, flute, or higher sounding lead
Every month, down beat brings you:
Our discussion of voice and instruments will be smoothed out with the dip cen-
• In-depth interviews with today's top
alike has focused on how to quickly elimi- tered at one kHz. Once you get the sound
contemporary musicians. defining their
music and equipment .. . nate problems in the source or signal. right, don't change it as more instru-
After that is done, final equalization, the ments are added. The tendency will be to
• Fascinating profiles on new talent . . .
amount and type of reverb or effects, is boost mid-highs in the lead to keep it out
• Comprehensive record reviews . . .
really amatter of taste. Often, however, in front. Instead, stick with your best lead
• Tips and how-to features from the pros when the problems are gone, the sound sound, and tame down everything else.
is clear and full enough that heavy effects Recording means making compromises,
• Expansive music news, reports and would only detract. Let the music do its so be prepared to do that.
commentary . . .
work. If the piece is well written and sung By the way, in deciding how much
• Music product reviews or played well, it won't need a lot of reverb to put on a lead, listen to the
• Plus, blindfold tests, performance processing and gadgetry to make its whole mix on Auratones (or any other
"caughts," business of music funda- good four- to six-inch, full-range, near-
emotional power plain as day.
mentals, transcriptions and lots more
A few words of caution on equalizing a field monitor speakers) in mono. Reverb,
lead vocal or instrument. Many engi- because of the random nature of its
neers believe that intelligibility, or clarity vibrations, tends to cancel when heard in
of notes played, is the primary criteria for mono. Thus, put enough reverb on so
judging the equalization. This would that the sound is still warm and ambient
lead one to boost highs like crazy. The in mono. If it sounds abit much in stereo,
ear most accurately defines pitch by over- it's probably because the control room
tone structure; if we have de-essed to acoustics are so dead. It's pretty much
prevent overload, why not boost the guaranteed the reverb will be much less
highs? Simply because this is equivalent noticeable when listening at home.
to cutting lows. Acoustic "weight" or Next we'll discuss recording piano/
"dominance" comes not with shrieking electric piano, a trouble spot that can
highs, but with commanding lows: in a consume much session time. Here, as in
male vocalist about 150 Hz; in afemale, every aspect of arecording project, de-
perhaps around 300 Hz; ban ior soprano fining your wants and maintaining open
sax, lower and higher, respectively. The communication with the engineer will
"chest tone," or fundamental frequency save time, spare nerves, and buy the time
range, gives the performance its power. for that extra, perfect take. db
Keep up with everything and everyone who
is making things happen in music—with a
subscription to down beat.
Fill in the coupon and mail today! HIGH SCHOOL MUSICIANS
down beat/subs The 1984-85 Arts Recognition and Talent Search (ARTS) offers cash awards (ranging from
222 W. Adams St., Chicago, II 60606 $500 to $3,000 each) and scholarships for talented young musicians nationally.
Yes, send me 12 issues of down beat Applicants must be high school seniors in the 1984-85 school year, be U.S. citizens, and
for just $ 12.00! must not be enrolled full-time in apostsecondary institulion.
E $ 12.00 1year E $ 24.00 2years
For subscriptions outside U.S., postage is Categories in which ARTS applications are accepted:
$4.50 additional per year. Classical
E Payment enclosed Ill New 1:1 Renew (keyboard instruments, voice, orchestral instruments)
Charge my Visa Master Charge Jazz
Card No Popular
Exp. Date Composition
Cardholder
Signature For further information and ARTS registration forms, write to ARTS Recognition and
PLEASE PRINT Talent Search, P.O. Box 2876, Princeton, NJ 08451-2876 or call (609) 734-1090.
Name Registration deadlines are May 15, 1984 (regular registration, $20) or
October 1,1984 (late registration, $30).
Address
City ARTS is aprogram of the National Foundation for Advancement in the Arts, Miami, FL.

State
Zip
(Offer expires 8/1/84) NATIONAL FOUNDATION FOR ADVANCEMENT IN THE ARTS
(checks drawn on U.S.A. banks only) 8408

64 DOWN BEAT AUGUST 1984

 ,\ N.

2Deb,." is Army notation for asoldierle4 equipped ,‘..vi,t,i, erench homAn an Army
Band,
and en cliity to play full-time. (About 40 perfrjasamonth, in factYrciu won't be playing
the sa ither. There are marchingiaconcert and dance bands, as well as combos
ther profecaaal cip unities include the opportunity to continue your music
educan instt'uments with other first-rate musicians. Even fewer let you
serve yo best stilt. your talents. So if it's not 02 Delta, it might be 02 Hotel.*

*Oboe
For more informan ';"eOpp9rtur,s, RO. Box 7715, Clifton, NJ 07015
 P
RO S
HOP MUSIC and SOUND PRODUCTS

KEYBOARD COUNTRY hooking up an external equalizer, plus their 2002 Series three new cymbals de-
built-in chorus with achorus output jac veloped specifically to meet the needs of
for hooking up asecond amp for stereo contemporary drummers. The 2002
chorus effect (there is even aconvenient Power Ride cymbal has alarger bell for
chorus foot-switch jack). Other features better penetration and abrilliant, domi-
include afull complement ofjacks, high- nating "ping" without the build-up of
performance 15-inch speakers mounted unwanted overtones; the Power Ride is
in a tuned-bass reflex enclosure, and available in 20- and 22-inch sizes. The
strong polycarbonate corner guards for 2002 Heavy Crash offers more power
protection and stacking ease. and volume than standard crashes, pro-
viding explosive attack and long sustain;
Heavy Crashes come in 16-, 18-, and 20-
PERCUSSION SHOP inch sizes. The 2002 Splashes display
characteristic splash sounds with bright
Yamaha's PortoSound MK-100 attack and quick decay in 8-, 10-, and 12.
inch sizes.
Recently unveiled by the YAMAHA SPE-
CIAL PRODUCTS DIVISION ( Buena Park,
CA) is the PortaSound MK- 100 keyboard FLUTE LAND
that features a " Multi-Menu" system
which brings professional program-
mability, flexibility, and memory capacity
to the home keyboard. The " Multi-
Menu" system is based on a built-in
memory chip with 3.2 kilobytes of ran-
dom access memory. Thus each of the
tone selections can be customized to suit
the individual taste, and arrangements
Selmer's Bundy II 1236SB Flute
can be stored digitally on acassette tape
for later recall or reprogramming, giving
The SELMER COMPANY ( Elkhart, IN) re-
the user full, flexible, creative rein over Drum Workshop's Inner Lock Stands
cently announced the latest arrival in
literally thousands of sound combina-
tions. The MK- 100 also features 49 keys, their Bundy II line of top-quality student
Just introduced by DRUM W ORKSHOP
flutes—the Model 1236SB. The new
12 preset instrument voices, 12 popular INC. (Newbury Park, CA) is arevolution-
flute offers all the features and benefits
preset rhythms, tempo lamp (a visual ary line of "Inner Lock" cymbal stands.
found on the popular Model 1236S with
metronome), fill-in bar (provides actual The " Inner Lock" system requires no
the addition of alow B foot joint.
drum solos of any desired length), Auto external memory clamps, because they
Bass Chord (for easy, automatic accom- "remember" their height internally.
paniment), Melody Plus selector (to add Thus drummers need no longer code GUITAR WORLD
harmony notes), lightweight portability, their stands to find the right sections,
and three-way power (batteries, AC, or and the DW stands telescope for easy,
car lighter). compact pack-up. The cymbal stands
have been designed with amodular up-
BASS STATION per arm, enabling service as straight,
mini-boom, or full, telescopic-boom by
merely interchanging the upper arm sec-
tions. Also new from DW is a smooth-
action, heavy-duty hi-hat stand with a
special base that can be rotated to allow
closer placement to double bass drum
pedals. All stands have wide base, dou- Ibanez' Lone Star Series
ble-braced legs, and other DW refine
ments including strip-resistant, steel IBANEZ ( HOSHINO USA I NC., Bensalem,
wing screws. PA) has just reinforced their acoustic
guitar line with the introduction of the
Lone Star Series. Offering a sleek, 41 -
mm-at- the- nut, fast- playing electric
Roland's BN Bass Amp neck, and easy-to-operate, six-in-a-line
tuning machines on atraditional acoustic
New from the ROLANDCORP US (Los body, the Lone Stars are available in a
Angeles) are two bass amplifiers de- variety of selected wood materials and
signed for the modern player. Both the finishes at a price range to suit every
BN-100 ( 100 watts RMS) and BN-60 (a individual taste. Pictured above (from
60-watter) are equipped with four-band Paiste's New 2002 Cymbals left) are Lone Star models LS300,
active equalizers with an equalizer bypass LS300BK, LS300MS, LS305TV, LS370,
switch for non-equalized sound or for PAISTE AMERICA (
Brea, CA) has added to and LS380. db

88 DOWN BEAT AUGUST 1984

 SOME THINGS
YOU JUST CAN'T BUY
Y MAIL-
nMarch 25 this year, the he hopes will provide areturn.
night before she was to com- sical instruments not locally but Laurin Buchanan may have saved
pete in the State Solo and by mail order. money had she bought her wood-
Ensemble Festival, Laurin Low overhead, the direct result wind through the mail. And Don
Buchanan dropped her pic- of asystem devoted exclusively to Stevenson would have fixed it just
colo. The accident knocked several selling with little or no provision as well, just as fast — that's the way
keys out of alignment; the instru- for service, makes it possible for he is.
ment was unplayable. these direct marketing operations But as discount mail order
Fortunately, her local dealer in to undercut the local dealers' price houses make it increasingly diffi-
Kalamazoo, Michigan, was open as structure. In point of fact, the local cult for local dealers to operate in
usual the next morning. And two dealer's overhead is higher because the " black," the situation may well
hours after she'd brought it in to he does agreat deal more than change. And then one day, Heaven
him, just two hours before Laurin simply warehouse merchandise; forbid, the morning after you drop
was scheduled to perform, Don he must first develop and then your instrument, the Don Stevenson
Stevenson completed his repairs. maintain the musical interests in in your community just might not
For Laurin, this story has ahappy his community. be open as usual.
ending: her well-regulated instru- His business must provide many This issue is areal concern to the
ment allowed her to win State different services for school music editors and publisher of down beat
honors. programs, private teachers, com- magazine. We ask you to support
For people like Don Stevenson, munity and church groups, and in- your local music dealers because of
the story isn't over. Every year, terested individuals. All this re- the support they provide to you.
more and more band directors and quires alocal dealer's investment Something like that you just can't
consumers are tempted to buy mu- of time and money, an investment buy by mail.

o
wn beat
-
[The Contemporary Music Magazine]
 db music shop
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70 DOWN BEAT AUGUST 1984

 CHORDS & DISCORDS cont from page 8 ON THE BEAT cont. from page 6 800K REVIEWS cont. from page 72
4CWALUmaxterreadffitimusaniiersaist

Thank you for all your work in support Grace notes: James Newton ( Flute) instrument of musical expression, then
of jazz and music education. racked up the largest vote total ( 157) and Leslie Gourse has done a magnificent
Rick Wan Matre Director the largest margin of victory (75). Upset service in putting this aspect into per-
Jazz/Studio Music U. Cincinnati Of The Year: John Carter (Clarinet) top- spective. The very title indicates that she's
pling Anthony Braxton after seven years aware of the unique contribution made
at the top. Comeback Of The Year: the by trumpeter Louis Armstrong, beyond
Reader sings the blues
Count Basie Orchestra, best Big Band his influential horn playing.
Come on fellas! Not an issue goes by for '84 and absent from the top since Her concept that Louis was the daddy
without you oozing with praise over some their four straight wins in '54-57. Hottest of all the "hip" jazz and blues singers
young white "blues artist." Michael Race: Electric Bass-TDWR—Jamaala- runs as a thread throughout the book,
Bloomfield, Duke Robillard, Stevie Ray deen Tacuma copped this honor from held together by the affirmations of
Vaughan, et al., receive praise as some '80-82; Bill Laswell won last year; this other singers over the years. Cab Cal-
kind of Messiah of Blues. Get real, Jack! year they tied. Longest Winning Streak: loway, in the 1930s, admitted that Louis
Even the greatest black bluesmen only get 21 straight Organ nods for Jimmy Smith; was one of the main influences in his
lukewarm enthusiasm in your pages. he has won every year since the category career and that "Louis got me freed up
Sure, there are some ( few) whites was coined (though Sun Ra gave him a from straight lyrics to try scatting." Years
worthy of attention, but let's show some scare with atie in '82, his victory margin later another trumpeter, Clark Terry,
restraint—give more time to young black the last two years has been comfortable). who also has his voice as his double, is
cats struggling for recognition, or change Longevity Award: Milt Jackson (Vibes), quoted as saying: "Louis Armstrong was
your name to "Teen Beat"! 24 times at the top. Other durables: it's my main inspiration. . . . " Many others
The Growler Hunt, WV two straight and 14 overall for Sonny echo this sentiment.
Rollins (Tenor Saxophone); 10 straight Gourse has done afine job of assem-
Did you miss the blues Waxing On (where and 11 overall for Sarah Vaughan ( Fe- bling what she considers to be some of
reviewer Pete Welding gave four-and-a-half male Singer); four straight/11 overall for the premier singers of this century.
stars to Albert King and Robert Cray, a Phil Woods (Alto Saxophone); and Max
There are 35 chapters, divided into four
measure of enthusiasm between very good and Roach (Drums) and Joe Williams (Male parts—Part I: Prelude (which oddly in-
excellent) and the Son Seals Caught (where Singer) have both notched five straight cludes the young, contemporary Bobby
reviewer Jonathan W. Poses describes Seals as and 10 overall. McFerrin along with the old, old-timers);
"awesome")? They were both in the Mar. '84 So the critics have had their roar for Part II: The Big-Band Era; Part III:
db, along with the Robillard Profile. Maybe '84; now it's your turn. The ballot and Singers On Their Own; Part IV: The B-
you dug the Albert Collins feature last month; voting instructions for down beat's 49th Natural Generation, "They Reflect The
Cray is profiled this month.—Ed. annual Readers Poll are on page 59. Use Times They Live In" (with an extremely
the critics' choices as aguide to what you in-depth look at who Gourse considers to
may have missed, but please vote for the be the freest of jazz singers, Betty
Secrets of the Sun best that you have heard during the last Carter). The book opens with Cousin Joe
Congratulations to John Diliberto for his year. Vote early (deadline is September 1) of New Orleans, and Louis, and the
fine article on John Gilmore ( db, May'84) but please, not often (one reader/one curtain comes down on NYC vocalist
and the excellent discography that was vote, and we tire of culling the ballots for Janet Lawson and the Brazilian stylist
printed with it. 1can truly appreciate the ringers). Results will be published in the Tania Maria. In between thére's packed
amount of work that went into this com- December issue. Thanks. db much information in addition to
pilation. It is the type of thing which humorous and touching anecdotes.
consistently sets db apart from other
publications. As a fan of Gilmore's re- CITY JAZZLINES Some of the various singers' sage re-
marks will no doubt be especially inter-
cordings, Ihave assembled some com- AMSTERDAM, NETHERLANDS: Jazzline (020) 267764 esting and educational to aspiring vo-
BALTIMORE: Left Bank Jazz Society Jazzline (301) 945-2266
ments. calists, such as Hendricks explaining that
BOSTON: Jazzline (617) 262-1300
Corrections: Some Blues . . . ( Saturn BUFFALO: Jazz Society Jazzline ( 716) 875-3397 bebop is intellectually inseparable from
747) and My Favorite Things ( Saturn CHICAGO: Jazz Institute of Chicago Hotline (312) 666-1881
his religion and that "Music is divided
CINCINNATI: WNOP Jazzline (605) 581-6873
1014077) are the same LP; Gilmore does CLEVELAND: NE OH Jazz Society Jazzline (216) 421-2266 into melody, harmony, and rhythm—
not play on Aurora Borealis ( Saturn COLUMBUS, OH: Jazzline (614) 965-9229
concord produces peace, discord means
DALLAS: Jazz Society (214) 744-2267
10480, asolo piano disc), and God Is More DETROIT: Jazz Center (313)962-4124; Jazzline (313) 871-5267 disease, and rhythm is the emotions:'
Than Love Can Ever Be ( Saturn 72579, a EDMONTON, CANADA: Jazz Society (403) 433-5720 And Bob Dorough (referred to as a
HALIFAX, CANADA: Jazzline (902) 425-3331
trio date); Sun Ra And His Cosmic Swing HARTFORD, CT: Jazz Society (203) 246-9374 "Boite singer") describing the way he
Orchestra ( Saturn 7976) is the same LP KANSAS CITY: Jazz Hotline (816) 333-2227 gets asong the way he wants it: " Itry, I
remixed and released by Inner City as LAS VEGAS: Jazz Society (702) 734-8556
try. Ijust try and try and try... Ilisten for
LOS ANGELES: Hotline (213) 879-5540
Live At Montreux. MIAMI: Jazz Hotline (305) 382-3938 good diction, good pitch, agood tune...
Additions: The Rose Hued Mansion Of MILWAUKEE: Jazzline (414) 964-3690 good pitch is more sophisticated than the
MINNEAPOLIS/ST. PAUL: Music Dateline (612)546-2022; Twin
The Sun ( Saturn 91780); Beyond The Pur- Cities Jazz Society (612) 292-3222 other two:'
ple Star Zone ( Saturn 123180); Journey NASHVILLE: Jazz Hotline (615) 242-4310 Gourse has puta lot of herself into this
NEW ORLEANS: Jazz Hotline (504) 242-2323
Beyond The Stars ( Saturn 72881); and Ann NEW YORK: Jazzline (212) 463-0200 project, and an obvious love of both
Arbor Blues AndJazz Festival 1972 ( Atlantic ORLANDO, FL: Jazz Alliance Hotline (305) 788-2327 music and the human voice comes
SD 2-502 0698), which contains aSun Ra OTTAWA, CANADA: Jazzilne (613) 232-7755
through frequently. Iwas only slightly
PHILADELPHIA: Jazz Society (215) 876-0761
cut featuring Gilmore. PHOENIX: Hotline (602) 254-4545 disappointed that some of the artists
New Releases: Ra To The Rescue! ( Sat- PITTSBURGH: Jazz Club Mus- Line (412) 687-5463
were not interviewed personally, and she
RICHMOND, VA: Jazz Society (804) 321-1972
urn-Gemini 1983-220); Just Friends . . . SAN FRANCISCO: Jazzline (415) 521-9336; Boy Area Jazz resorted to past and present accompa-
(Saturn-Gemini 1984); and The Sun Ra Society (415) 540-6345 ex. 172 nists and/or managers for her data.
SEATTLE: Jazz Hotline (296) 624-5277
Orchestra Meets Salah Ragab In Egypt SPRINGFIELD, MA: Jazzline (413) 737-9209 Sarah Vaughan is acase in point. Be that
(Praxis Greece CM 106), which features TUCSON: Jazz Society Hotline (602) 623-2463 as it may, the book will surely appeal to
Gilmore and the Arkestra on side one. VANCOUVER, CANADA: CJAZ-Ankorline (604) 685-5483
singers and listeners alike.
WASHINGTON, DC: Trod Line (202) 532-8723
David K. Smith San Francisco —frankie nemko

AUGUST 1984 DOWN BEAT 71

 B
OOK R
EVIEWS
THE FREEDOM PRINCIPLE: JAZZ on the passage of life, says Coleman
implicitly. Are these solos slices of life,
AFTER 1958 by John Litweiler ( New
like the songs bluesman Sleepy John
York Morrow, 1984, 324 pp.,
Estes draws from awell of tragedy? Cer-
$15.95, hardcover). tainly not in statements as closely unified
The first thing to be said about this as Free, or even in Forerunner, in which
remarkable exercise in hands-on, all- vast change is the only constant. The
stops-out criticism is that John Litweiler organization of these Coleman solos
has written ajazz book, for The Freedom makes clear that uncertainty is the con-
Principle works in much the same way tent of life, and even things that we take
(and on much the same level) as the for certainties (such as his cell motives)
music Litweiler is talking about. are ever altering shape and character. By
"Probably the most important distinc- turns he fears or embraces this ambigu-
tion to be made about modern jazz," ity; but he constantly faces it, and by his
Litweiler writes, is that between " Free- example, he condemns those who seek
dom and freedom?" "Genuine freedom"
(the quest for which "appears at the very
e resolution or finality as timid:'
Important, too, in abook that covers a
beginning of jazz and reappears at every Don Cherry & Omette Coleman, circa ' 58: large body of material, are Litweiler's
growing point in the music's history") facing ambiguity. choices of emphasis—the amount of at-
occurs "when the artist can communicate tention he pays to such vital artists as
most intimately with the materials" and (and of course this is true of the music as Roscoe Mitchell and the almost forgot-
thus "reveal what cannot be revealed in well) extends tendrils of thought into the ten Herbie Nichols versus the way he
any other way," while "innovations that rest of the world (e.g. that distinction deals with any number of minor figures
do not increase the artist's capacity for between "anaive kind of innocence" and (Bill Evans, Herbie Hancock, Chick
communication" lead to "Freedom with an innocence that wants to be free of Corea, Keith Jarrett, Arthur Blythe) and
a capital F," a stylistic tag for a music guilt). aesthetic dead ends ( Miles Davis'
whose " harmonic/rhythmic features If what's been quoted so far seems post- 1968 music). One can argue with his
have been anything but liberating to overly impressionistic (though I don't stern but unmalicious judgments, but his
many musicians:' think it is), rest assured that Litweiler's technical/emotional insights would
The point then—examples will fol- critical arabesques always take off from seem, at the least, to have established the
low—is that Litweiler makes intimate solid ground. In his excellent chapter on basis for further discussion.
contact with the materials and writes in John Coltrane, he explains that for Col- Best of all perhaps, and part of what
such a way that he increases the music's trane "the rhythmic inner life of bop—its makes The Freedom Principle ajazz book, is
ability to communicate. Sure in his grasp unending restlessness, its nervous multi- the yeasty wit of Litweiler's prose, which
of how and why the music he discusses plicity of phrase shape (and of harmonic often crests in images that are downright
actually works in detail, he never fails to suggestion, too); in sum, the idiom's rich, hilarious. ShhIPeaceful from Davis' In a
move on to questions of meaning— abundant, neurotic emotionality—was Silent Way, with its "dissipated" solos and
which is, after all, what one naturally becoming irrelevant. In its place Col- its "electric pianos tinkling in and out," is
wants to do in the aftermath of any trane discovered harmonic insecurity at "a performance with all the enduring,
important aesthetic event. times so vast that the only security in his debilitated stimulation of a three-day
Here, for instance, from the book's music was in symmetry and rhythmic drunk on white port wine: sickly sweet
initial, scene-setting chapter, is one of insistence; reiteration is his defense and effective:' And "the Victorian senti-
Litweiler's compressed gems of exposi- against utter desolation... . Henceforth ment of [Ayler's] quavery vibrato is heart-
tion: "The relaxed, subdued atmosphere [i.e. after 1958] his art would exist in an felt, a dusty lithograph of faithful Old
of West Coast jazz had ahealthy accept- unending condition of jeopardy." Shep dying on alace curtain."
ance of stylistic diversity and innovation, At the heart of The Freedom Principle are Unsolemn but dead serious, passio-
but it also accepted the emotional world the chapters devoted to Coltrane, Or- nate yet free from special pleading, Lit-
of pop music at face value; even original nette Coleman, Albert Ayler, and Cecil weiler walks right alongside the music, as
themes are treated like more hip, more Taylor. Each of them is, in a sense, an much apart of the experience he bears
grown-up kinds of pop music. In bop's exploration of multiple mysteries— witness to as any of the other partici-
freest flights it could not escape reality, those of the music itself (especially com- pants. And his readers, should they
but these Californians were not aware of plex in the case of Taylor) and the mys- make asimilar commitment, are certain
the conflict of values that was the source teries of what might be called "career to become participants as well.
of bop:' shape" (most acute in the cases of Ayler —Larry kart
Or this about Sun Ra, which follows a and Coltrane).
discussion of apiece from aWalt Dicker- Working in the first mode mentioned LOUIS' CHILDREN: AMERICAN JAZZ
son/Sun Ra album: " In such asolo, or in above, here is Litweiler on circa- 1959 SINGERS by Leslie Gourse ( New
the disillusioning parable of The Magic Coleman: " In these solos and in his York Quill, 1984, 366 pp., $ 12.95,
City, Sun Ra's music seemed to wish for a thematic improvisations, Coleman re- paperback).
state of innocence, not a naive kind of veals anew meaning to the very idea of
innocence so much as an absence of soloing. As the faint, lingering shadow of This is avery comprehensive and infor-
guilt—the guilt that follows cruelty, vio- chorus structures disappears, classic nar- mative book about that segment of the
lence, inhumanity, the guilt that Sun Ra rative form (Lester Young's 'asolo should musical world which is sometimes re-
does not wish to participate in himself" tell a story') become irrelevant. That's ferred to as the "natural instrumentalist:'
For me this is writing that crystallizes because music with abeginning, middle, If it's true that the voice was the first
the meaning of the music while it also and end imposes the structure of fiction CONTINUED ON PAGE 71

72 DOWN BEAT AUGUST 1984

«Ma,

Goes to school days, works Tonights.

Anybody who's heard his Energy Force Band, caught one of his guest solo
appearances, or watched the Tonight Show knows Ed Shaughnessy is abrilliant player.
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Playing and teaching. Ed Shaughnessy is one person who does both well.
And he does both on Ludwig.

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For acopy of the full -

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