March 2008 | Vol. 6 No. 2

University of Southern California: Spectrum

Order Tickets Online at: www.usc.edu/spectrum • arts@usc.edu • 213 740 2167

LADYSMITH BLACK MAMBAZOFEBRUARY 26, 20087:00pm • Bovard Auditorium • Tickets $15

RUFUS WAINWRIGHTMARCH 5, 2008

7:00pm • Bovard Auditorium • Tickets $30

PONCHO SANCHEZ LATIN JAZZ BANDAPRIL 16, 2008

7:00pm • Bovard Auditorium • Tickets $20

For almost two decades as leader of one of the world’s most celebrated Latin

jazz bands, Poncho Sanchez has been an unswervingly passionate exponent of

the bedrock style of Afro Cuban Latin jazz pioneered half a century ago by such

legendary musicians as Machito, Tito Puente and Dizzy Gillespie.

Ladysmith Black Mambazo is a Grammy Award winning group from South Africa

that sings in the vocal style of isicathamiya and mbube. They were formed in 1960

and became one of South Africa’s prolific recording artists.

Affectionately referred to by Elton John as “the greatest songwriter on the planet” and

praised by The New York Times for his “genuine originality,” Rufus Wainwright has

established himself as one of the great male vocalists and songwriters of his generation

by carving out his own singular sound.

ROBERT F. KENNEDY JR.APRIL 23, 2008

7:00pm • Alfred Newman Recital Hall • Tickets $30

Robert F. Kennedy Jr. is credited with leading the fight to protect New York

City’s water supply, but his reputation as a resolute defender of the

environment stems from a litany of successful legal actions.

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rashid aliarthur rhames

On his latest ECM recording, Rabo deNube:

"I remember the night very clearly. Wewere in Basel, Switzerland. This was ourfourth concert of the tour and we werestepping it up. Our chemistry was coa-lescing, the vistas were expanding, andwe wanted to give the audience some-thing very special and uplifting. It's all inthe music. It was a night where the heav-ens opened up and we all took the jour-ney. Mother Earth is our home and weare all passing through here. It was a very poignant evening as we had justreceived the news that Jason's teacher Andrew Hill had just died. "LaColline de Monk" is tribute to Hill and Monk. As a young man in NewYork, I had been very close to Andrew. He had invited me to perform onhis first Blue Note recording, but the politics of recording in those days gotin the way. I was with Cannonball, who was very gracious and generouswith me and he did not think the situation for the recording was correct."

On his pianists: Brad Mehldau, Geri Allen, and currently, Jason Moran:

"Brad and I came together for a special project. We both knew that touringpossibilities would be little to none. As it turns out, we only gave two pub-lic performances, or was it only one? At any rate, we both recognized adeep connection in the music. I especially loved his tenderness in ballads.Geri Allen came to me to say she needed to play with me. We had firstplayed together at a benefit for Master Higgins at Lincoln center in 1996.She joined my group on a more full time basis around 2001, just after Billydied. I had invited her to do couple of festival concerts with me on the EastCoast a few years earlier. She stayed in the quartet for six years. As when Ichanged drummers from Billy Hart to Eric Harland, it was a schedulingconflict. I am not one to find subs, but I had met Jason at a Sangam concertin New York. He and Eric went to the same high school in Houston. I knewimmediately we would be able to make beautiful music together.So things keep opening up."

On the days of Forest Flower:

"The period you refer to was until 1969 when I disbanded the quartet andmoved to California. I didn't think of myself as a big star. I was burned outand needed to heal. There is a lot about that period that is a blur.Ultimately, the continuous travel, life on the road, drugs and excess, andthe tawdriness of the music business drove me into seclusion. I really don'tspend a lot of time looking back until a question like this comes to me, butin perspective, I have traveled the path of music with a number of giants,on and off the bandstand. Starting with my mentors in Memphis, PhineasNewborn, Irving Reason, Willie Mitchell and George Coleman, my bestfriend Booker Little, who left far too soon and was one of the truly greatestmasters to come through here. There was Duke Ellington, Billy Strayhorn,Johnny Hodges, Thelonious Monk, Dizzy Gillespie, Miles, Coltrane,Ornette, Coleman Hawkins, Benny Golson, Buddy Collette, CannonballAdderley, Chico Hamilton, Sam Jones, Louis Hayes, Gerald Wilson, BillEvans, Wayne, and in my own bands Master Billy Higgins, Don Cherry,Ron Carter, Richard Davis, Roy Haynes, Gábor Szabó, Albert Stinson, TonyWilliams, Reggie Workman, Scott LaFaro, Elvin Jones, McCoy, Herbie, JoeZawinul, Jackie Byard, Keith Jarrett, Jack DeJohnette, Cecil McBee, DaveHolland, John Abercrombie, Marc Johnson, Jon Christensen, AndersJormin, Pete La Roca, Paul Motian, Steve Kuhn, Bobo Stenson, Billy Hart,Michel Petruccciani, Palle Danielsson, Brad Mehldau, Larry Grenadier,Geri Allen, and today the deep souls of Jason Moran, Reuben Rogers, EricHarland, and Zakir Hussain. So, you see, it has been a fertile terrain. I donotice time moves faster now. I am still working on my sound, and it's abeautiful thing when I get closer because I know that what I am looking foris looking for me. It's just the creator of the universe has this carrot on astring and I must continue to work on my character and rise. It's all a med-itation. This moment of life is to prepare for the moment of death - to facethe mirror of my own inadequacies and step on through. As expressed inThe Water Is Wide, row my boat to the other side."

On his relationship with ECM and its founder Manfred Eicher:

"Manfred has always given me my independence and that is something Ivalue dearly. I also like the fact that ECM never discontinues a release. Sothe life of the music goes on."

On his inspiration to continue his pursuit:

"I am in service and in that service, I will always be at work until all men,women and children are free. Ever since I was a little boy, the set up of theworld has always troubled me. This world, Mother Earth, has been violat-ed and we must all rise to save her. As I have said many times, when I wasgrowing up music was my inspiration and consolation. I want to providethat to others if I can. So what inspires me? Life and the infinite."

On his identifiable sound:

"I think that comes from within, by cultivating the message you want toshare with others through the most direct form of communication: music.We all stand on the shoulders of those who came before us. I stand on theshoulders of Bird and Trane, Prez and Mr. Hawkins."

On the young members of his quartet:

"I don't think of it like that. Age is relative. I was just with Roy Haynes andOdetta a couple of weeks ago. We were like teenagers together. They areseemingly youths in this new group. But to me, they are old souls. In mypursuit, I am trying to finish up on the good foot - to reach that high whereI don't have to come back to this veil of tears. But while we are here, wemust be a full service orchestra of love. Eric and Jason and Reuben are oldsouls to me. The chronological age does not impede the flow of the ancientand modern. I am not trying to teach them anything. They teach me abouttext messages."

On his current favorites:

"Two of my favorite saxophone players are Wayne and Ornette. There area lot of great musicians out there."

On advice to younger musicians:

"Make music because you love it, because this is what you have to do.There are much betters way to earn a living if that is your goal. I wouldshare the advice that Booker Little shared with me when I got to New Yorkin the early '60s. It is about character. The most important thing to work onin life is your character. The more you work on it, the more it will be reflect-ed in your music."

Charles Lloydby Ollie Bivins

There are not many music fans that grew up in the'60s and '70s who haven't heard Tom Scott's instant-ly recognizable sax playing. The airwaves werefilled with songs by Carole King, Paul McCartney,George Harrison and Joni Mitchell, all of whichwere graced by Scott's signature sound. Almost 40years later, Scott has put together a dream recordingthat lays down irrefutable proof as to where hismusical heart really is. Teaming up with superstarsTerence Blanchard, George Duke, Marcus Miller,and Nancy Wilson, Scott put together a celebrationof someone who was probably the last jazz artist tosuccessfully mix artistic talent with public apprecia-tion: Julian "Cannonball" Adderley. Scott, fresh from clearing out the snow in front of hisCalifornia house, recalls with joy his first encounterwith Adderley's music. "I first got into him as a kid.I remember my next door neighbor - I was playingthe clarinet. I was about nine years old, and I had anext door neighbor who had the first Cannonballrecord that I ever heard, which was called Them

Dirty Blues, with his brother Nat. It had 'Work Song' on it and some of the funk-jazzthings that he was just bringing into vogue, and I just loved it. I took to it right away,particularly his aggressive and wonderfully humorous alto sax playing. He was quitethe mentor to quite a number of people."

Putting together Cannon Re-Loaded: An All-Star Celebration of Cannonball Adderleywas done the way most projects of this magnitude are created, combining hard workand good timing. "It came about because of Gregg Field. He was doing a gig a coupleof years ago and we played a Cannonball Adderley tune at The Vic with Shelly Berg,Chuck Berghofer, Gregg and myself. And Gregg said, 'We should see about making arecord of these great Cannonball tunes.' I said, 'Well, you've got the right guy. I'veadored Cannonball for years. He's been at the top of my list of sax players.' Gregg andI had to marshal our connections! Given the cats that we were shooting for; just gettingthem together for the same two day period was almost more of a challenge than therecord itself."

Getting musicians that are in such high demand took a lot of hard work andtenacity, which ultimately paid off. "Steve Gadd was the hardest one to book becausehe lived back East then, and he's always on tour with James Taylor, Eric Clapton, PaulSimon or whoever. He was a real toughie. But once we managed to get dates that weresatisfactory to all, we had the great pleasure of walking into the studio and seeing all ofthese wonderful talents together." The ringer for the session, however, was bringing inWilson, who made her name by being featured on the famous collaboration betweenher and Adderley almost 50 years ago. Scott remembers, "Cannonball introducedNancy Wilson to the scene by having an album called Nancy Wilson/Cannonball Adderley.It is a great disc. It was absolutely thrilling. It's impossible to have any more fun than Ihad during those two days of recordings with Nancy, who sounded fantastic."

The reason that Cannon Re-Loaded is called a celebration and not a tribute toAdderley is that the musicians decided to capture the feel and pulse of the infectioussoul music, and not just revisit each note and chord progression. Scott explains, "I fig-ure, we've got this great library of songs. We've got these great players. Let's take it andrun with it. Let's see what we can apply in our own style. We're not here to do a recitalout of a hymn book. We want to give it our own feel. What's really wild about it, andwhat struck me so much when I heard it played back for the first time on a CD from topto bottom, is that there is a real unity about it. This is one group of guys who attackedthis project with great zeal and individualism. It's really nice."

It's that intuitive feel that made Scott such an in demand session player back whengood music actually ruled the airwaves. Asked why he was able to make it onto somany hit records, Scott laughs, "I was just that good! Seriously, the truth of the matteris that each one has a little story. There was a certain amount of word of mouth. I wasthe new, young commodity at that time, in an era when there was an open slot for a saxsoloist on a lot of pop records, and I was called to do many of them. I was very lucky.If there was one song that first propelled me into the limelight that way, it was CaroleKing's 'Jazzman.' People still think the song is about me and it's really not. It's aboutJohn Coltrane!" Scott continues, "Not long after 'Jazzman,' I got a call saying, 'Joni heardyour version of 'Woodstock' and would like to have you play on her next record.' That'show that started. I remember being home and the phone rings, and this guy says, 'Wegot your number because Paul McCartney's here and he wants you to play on a song!'So what do you say? 'No, I'm busy? You say, 'Yes, Mr. McCartney! I'd love to!'"

After so many years as a studio musician to the stars, a number of the jazz oldguard derided Scott for his lack of jazz loyalty. This recording, along with one done afew years ago, Born Again, were specifically made to answer those critics. Scott states,"The truth of the matter is, since I first started playing the horn in the '50s as a boy, I'vealways been drawn to jazz. Jazz is my first love. To me, it was a big deal to go back toit. I just haven't done it that much on record for awhile. It's has always been in my heart

Scott Beams Up Cannonballby George Harris

and it always will be."Scott also realizes that the music that he delivers is part of his

calling. While he acknowledges that it has given him a successfulcareer, he realizes that the talent is not all to his own credit. Scottemphasizes, "The whole artistic quest is that if you think that the artcomes from you, you're nuts. You don't get it because it comes fromsome place out there. It doesn't come from me. When I'm doing mybest, the music comes through me. I don't know why or how it works.If I did, I could sell it and retire! It's pretty obvious that there is some-

thing about our universe that we don't know."So, be it having his tunes played over the AM and FM airwaves,

or whether he is jamming in a small Los Angeles club or outdoor the-atre in Europe, or putting out an album with jazz all-stars in tribute toa musical hero, it all has the same purpose for Scott. "Anybody whotells you that they don't enjoy the idea of making people happy, pro-viding happiness for people in some way, they're nuts! It continues tobe one of the great joys that I can manifest my talents in some way thatgives people joy! How cool is that?" Pretty cool indeed.

Chick Corea & Gary Burton The New Crystal Silence

Concord Recordsby John Kelman

The circumstances that led to pianist Chick Corea andvibraphonist Gary Burton collaborating on Crystal Silence are the definitionof serendipitous happenstance. Neither thought the record would have wideappeal, yet it's gone on to become not only a classic for the label, but for bothartists, who have since built large discographies with plenty of individualmilestones. Recording infrequently as a duo, they've played together everyyear since that first meeting, with some significant globe-trotting in 2007 tocommemorate their thirty-fifth anniversary together. The double-disc TheNew Crystal Silence documents that celebration with performances culledfrom dates in Australia, Norway and the Canary Islands.

The duo revisits material from Crystal Silence through to their mostrecent and fifth recording, Native Sense, in addition to a new Corea tune andthree standards. The second disc, from the Norway and Canary Islandshows, finds the duet on their own and in top form. The "new" comes withthe first disc, where Corea and Burton have a silent third partner in TimGarland. Garland doesn't perform, but was recruited by Corea to arrangefive tunes from the duo's repertoire for the pianist, Burton and symphonyorchestra - in this case, the Australian Sydney Symphony. His orchestrationof "Crystal Silence" is more reverential, although there are moments of unex-pected power during a tune that has always been more of a tranquil tonepoem. It's to Garland's credit that he finds the perfect blend of orchestrationand improvisation. While there are open-ended sections that allow Burtonand Corea to go where they will, Garland has turned Corea's compositionsinto miniature concertos, where the symphony weaves in and around soloand duet sections. Just how different the approach can be is clear with thetwo versions of Corea's Spanish-tinged "La Fiesta" included - a more form-based version with the orchestra on disc one and a looser, more fully extem-poraneous duet version on disc two.

That Corea and Burton are in-tandem improvisers capable of takinggreat risks while consistently delivering near-perfect performances is whatmade their first recording a classic. It's hard to live up to Crystal Silence'siconic stature. Still, The New Crystal Silence proves that, as with any commit-ted relationship, these two are never at a loss for fresh and relevant dialogue.The addition of Garland's orchestral arrangements only provides an evenmore expansive context around which Corea and Burton can continue tobuild and strengthen a pairing that's destined to last a lifetime.

Concord on the web: www.concordrecords.com.

Track Listing: Brasilia/ Crystal Silence/ La Fiesta/ Duende/ Love Castle/ NoMystery/ Senor Mouse/ Sweet and Lovely/ I Love You Porgy/ Bud Powell/Waltz For Debby/ Alegria

Personnel: Chick Corea- piano; Gary Burton- vibraphone; Sydney Symphony

Trio X AIR: Above and Beyond

CIMPoL by Derek Taylor

The "X" can now do double duty as a Roman numeral inreflecting this improvising trio's decade together as a unit. On this latestoffering, they cop a page from the Ken Vandermark playbook. Four out ofthe seven pieces carry dedications to fellow musicians. The extended open-er "Fried Grapefruit" celebrates Henry Threadgill, starting as a porous cham-ber music dialogue between drums and bass. The mood turns heated withthe entry of Joe McPhee's tenor (fitted with a bass clarinet reed), but eventu-ally scales back again with another turn into somber balladry. The closingminutes settle on a sliding funk groove as underpinning for honking andbleating tenor, several facets of Hemphill's irrepressible personality translat-ed into sound. "Jump Spring" for William Parker, sketches a similarly aptaural portrait, pivoting on Dominic Duval and building from the sort ofsoulful ostinato so often the province of the bassist honoree. "2128 ½Indiana," commemorates an address that perceptive jazz fans will recognizeas the former digs of the Velvet Lounge. Fred Anderson is the figure of adu-lation at that storied establishment and McPhee pays homage with a woolyextemporization that is as melodically astute as it is rhythmic on the tail ofJay Rosen drum preface that mixes similarly compatible properties.

A Trio X outing wouldn't be complete without at least one spiritual."Close Up" covers that base in the combination of Duval's grainy arco andMcPhee's raspy tenor. Rosen holds silent, eventually returning withrestrained brushwork to bracket McPhee's Ayler-informed musings. Thedrummer also sidelines himself for "Here's that Rainy Day" and the ensuingtenor and bass duo points to the remaining pair's concert the previous day(also released as a CIMPoL set). Ellington is the recipient of the last auralencomium with the powerful "Give Us This Day." McPhee bites hard on hisreed to create another spate of sustained gravely cries that periodically ven-ture over into vocalized polyphonics. His colleagues cobble a comparablyimpassioned context around him. "A Valentine in the Fog of War" findsMcPhee in oratory mode, his words muffled, but his ensuing tenor linespeaking with audible force before tapering into a melancholic interpolationof "My Funny Valentine," another Trio X staple. All in all, it's memorable setand a fitting precursor to an even more momentous offering rumored forrelease later this year.

CIMPoL on the web: www.cadencebuilding.com.

Track Listing: Fried Grapefruit/ Jump Spring/ 2128 1/2 Indiana/ Close Up/Give Us This Day/ Here's That Rainy Day/ Valentine in the Fog of War

Personnel: Joe McPhee- tenor sax; Dominic Duval- bass; Jay Rosen- drums

Horace Silver Live at Newport '58Blue Note Records by Greg Camphire

Blue Note continues to bless fans with hidden gems fromdeep in its vaults with Live at Newport '58, a previously unreleased set catch-ing Horace Silver in the midst of his ascent as a major creative force.Featuring a transitional line-up of the pianist's revolving quintet as theyheadline the famed festival, the band can be heard drawing the hard bopblueprint that would be emulated for generations after. The four extendedtunes are all Silver originals: an unusually structured composition ("TheOutlaw") from what was then Silver's most recent album (FurtherExplorations), a little-known B-side ("Tippin'"), the quintet's recurring themesong ("Cool Eyes") and Silver's best known hit ("Señor Blues"). The band is

in top form, playing with fire on tunes that are crisply defined and enjoyablyaccessible.

Silver's signature blues and gospel flavorings are infectious and joy-ous. Thoughtful poise, elegant inventiveness and tasteful restraint mark thefluid expression found in each successive chorus of Silver's solos and accom-paniment. The keyboardist's dramatic single-note runs, with a keen sense ofrhythmic placement and space, reveal the influence of Thelonious Monk andDuke Ellington as well as a supremely original concept. Silver's bandsparkles with the sleek drive of Detroit-based players Louis Hayes, GeneTaylor and the underrated Louis Smith, whose blazing solos reach an inten-sity worthy of the great lineage of Silver Quintet trumpeters that includesDonald Byrd and Blue Mitchell. Taylor's elastic yet steady bass support isfelt throughout, his sturdy lines often knotted closely in tandem with Silver'sleft-hand patterns. As with saxophonist Junior Cook's tactful, refined choiceof notes, the musicians are notable for their desire to eschew flashy tech-niques in favor of a sizzling, interlocked group sound. Surprise comes in thesubtle details that abound, such as the uniquely accented head arrangementon "Cool Eyes," or the conversational interaction between Cook and Hayesduring the former's fierce solo on the same tune.

"Señor Blues" is, of course, a highlight of the album. Hearing this liverendition before an animated audience makes one realize how a classic jazzcomposition could also be a bona fide pop hit. The tune is a perfect encap-sulation of the era, and it oozes with Silver's idiosyncratic style. The tempois held to a perfect medium simmer, slinking along with a greasy bounce,propelled by Hayes' steady cymbal-bell pattern, Silver's chunky chords andthe familiar horn blasts of the melodic hook. Kudos go to producer MichaelCuscuna for an album that is sharply recorded, remastered and packaged,with informative liner notes and eye-catching artwork. It's enough to leavefans wondering what Blue Note will dig out of its vaults next.

Blue Note on the web: www.bluenote.com.

Track Listing: Tippin'/ Outlaw/ Señor Blues/ Cool Eyes

Personnel: Horace Silver- piano; Louis Smith- trumpet; Junior Cook- tenor sax;Gene Taylor- bass; Louis Hayes- drums

Peter Brötzmann/Peeter Uuskyla Born Broke

Atavistic by Troy Collins

German multi-reedist Peter Brötzmann, the grandfather ofEuropean free jazz, and Swedish drummer Peeter Uuskyla have been play-ing together in various line-ups for the past 10 years. Although Brötzmann'sdynamic range has expanded considerably since his early days as the fire-breathing author of the seminal Machine Gun, he hasn't lost any of his viva-ciousness. Guided by the stalwart rhythmic focus of Uuskyla, the duo findsample territory to explore throughout this double disc set. Brötzmann's blastfurnace intensity is legendary, and there are plenty of opportunities to bearwitness to his acerbic testimonials over the course of these discs.

The Ayler-esque folkiness of "Beautiful But Stupid" yields stretches ofunflagging turbulence; Brötzmann wails with fervent abandon on tenorwhile Uuskyla flails like a whirlwind, every limb in motion. Trading veloci-ty for volume, the bluesy swagger at the core of "Ain't Got The Money" isjust as severe as the circuitous assaults that bookend "Dead And Useless."With a conversational acumen years in the making, their subtle asides andinterjections are proof of their acute listening abilities. The duo's finely tunedrapport manifests most clearly during the occasional introspective passage.As the second half of the title track subsumes to a hushed cry, Uuskyla'sbrushes waft over his snare, accompanied by gentle pulses from his bassdrum, while Brötzmann unfurls muted multiphonic cries from his clarinet,invoking an air of melancholic discontent. Uuskyla's structural aestheticallows Brötzmann a series of formal constrains to improvise within andagainst. Their artistic temperament forms a virtual yin and yang balance;Uuskyla reins Brötzmann in, while Brötzmann pushes Uusklya. The creativetension between their approaches makes this session one of Brötzmann'smore compelling and accessible releases.

Brötzmann has played with more apocalyptic ear-splitting frenzy else-where, but not with as much clarity and diversity. Full of visceral beauty,passion and pathos, Born Broke is a prime example of contemporary freeimprovisation and a perfect introduction to one of the innovators ofEuropean free jazz.

Atavistic on the web: www.atavistic.com.

Track Listing: Born Broke/ Beautiful But Stupid/ Ain't Got The Money/ Deadand Useless

Personnel: Peter Brötzmann- tenor sax, clarinet; Peeter Uuskyla- drums

David "Fathead" Newman Diamondhead

HighNote Recordsby Derek Taylor

The minting of fresh David "Fathead" Newman recordshas been an annual HighNote event for seven years straight. This latest entrycontinues the streak and is meant as a celebration of the saxophonist'simpending seventy-fifth year on the planet. Newman's spent a good portionof that lifespan immersed in the jazz life. He gigged with Ornette as ateenager in Dallas before helping make music history as prominent sidemanin the bands of Ray Charles and Aretha Franklin in later years. Forays intopop, blues, funk and orchestral settings proved lucrative moves, but in everysituation he wore his Texas tenor roots proudly and still does. In light ofsuch protracted productivity, he's an easy player to take for granted. Thissession as much as any other in his voluminous catalog demonstrates thefolly of assigning him placement on the periphery.

Band instrumentation for the date recalls the Jazz Crusaders and theprogram limns a songbook similar to the one favored by that venerableensemble. Boogaloo tunes like the title track and "My Full House" are some-what staid in construction, but from the start the session's more about howthe musicians play rather than what they play. Pianist Cedar Walton andtrombonist Curtis Fuller are old friends of Newman as well as contempo-raries. Fuller sounds a shade slowed by age, but his lubricous slurs andslides are still an effective frontline foil. Walton betrays some subtle HoraceSilverisms from the piano bench, but he's long past copying anyone and cer-tifiable hard bop royalty in his own right. Bassist Peter Washington anddrummer Yoron Israel are younger in years, but just as amenable to the sax-ophonist's unequivocally populist designs.

Newman cycles deftly between tenor, alto and flute evincing authori-tative voices on each. His sound on the large horn is full and buttery on theballad "Skylark," hard and soulful on "Cedar's Blues," while alto naturallyencompasses a more lissome approach on "Can't We Be Friends." The crisp

and nimble flute work on "Mama Lou" references the kind of whistlingvocalized intensity of Roland Kirk with Newman engaging in some hair-raising chases with Walton's keys. The first and third axes factor into aneffective reading of Billy Joel's "New York State of Mind" and bring surprisejazz tenability to that slushy slice of '70s pop. Newman's pretty much seen itall in a musical sense and the switch from corpulence to precious stone insobriquet, at least for the purposes of this record, feels more than warranted.

HighNote on the web: www.jazzdepot.com.

F O R T H E R E C O R D

Track Listing: Can't We Be Friends/ Cedar's Blues/ My Full House/ It's Youor No One/ Mama Lou/ New York State of Mind/ Skylark/ Star Eyes/Diamondhead

Personnel: David Newman- alto, tenor sax, flute; Curtis Fuller- trombone;Cedar Walton- piano; Peter Washington- bass; Yoron Israel- drums

Bill Dixon With Exploding Star OrchestraBill Dixon With Exploding Star Orchestra

Thrill Jockey by Troy Collins

The arrival of a new recording featuring an extremely rareappearance by legendary trumpeter Bill Dixon is reason enough for celebra-tion. When said album also features cornetist Rob Mazurek's Exploding StarOrchestra, the rewards are twofold. Dixon came to prominence organizingthe '64 October Revolution in Jazz, while simultaneously co-founding theJazz Composers Guild, featuring fellow visionaries like Paul Bley, Sun Ra,

and Archie Shepp. Despite his seminal beginnings, Dixon's discography hasbeen sporadic, due to his lengthy professorship at Bennington College,which limited his touring and recording. Retiring in '96 to run independentworkshops and master classes, he recently received the 2007 Vision FestivalLifetime Recognition award, raising his profile after years of relative obscu-rity.

After meeting at the Guelph International Jazz Festival in Ontario,Canada in 2006, Dixon and Rob Mazurek decided to collaborate on largescale pieces featuring Mazurek's all-star Chicago-based Exploding StarOrchestra. Epic in scope, the album unfolds gradually, featuring two varia-tions on a long-form composition from Dixon and a single extended piecefrom Mazurek. This expansive studio recording blends the driving assault ofcounter-weaving harmonies and propulsive cross-rhythms featured on theOrchestra's debut, We Are All From Somewhere Else, with their newfound roleas monolithic sound generators for Dixon's cryptic meditations on soundand space. Looser and more dynamic than their previous effort, the sessionvacillates from dense chromaticism to ethereal pointillism. Dixon's two vari-ations progress with an almost glacial severity, slowly intensifying beforesteadily undulating and drifting into the ether. Balancing brief individualstatements with collective improvisation, the compositions largely eschewextended solos, favoring nuanced segments that highlight the myriad elec-tro-acoustic timbres of the Orchestra.

Dixon's singular voice emerges as a beacon throughout, unfurling alanguid series of spectral, brassy glisses, acerbic whinnies and low gutteralmoans, delivered with his distinctively raspy timbre and breathy attack.Exploring the many permutations offered by the Orchestra, Dixon veersfrom plangent lyricism to textural abstraction and beyond. A rare but wel-come addition to Dixon's discography and a highpoint in the budding careerof Mazurek, the powerful and multi-layered Bill Dixon with Exploding StarOrchestra is a classic that will be studied for years to come.

Thrill Jockey on the web: www.thrilljockey.com.

Track Listing: Entrances/One/ Constellations for Innerlight Projections/Entrances/Two

Personnel: Bill Dixon- trumpet; Rob Mazurek, Josh Berman- cornet; NicoleMitchell- flute; Matt Bauder- bass clarinet, tenor sax; Jeb Bishop- trombone; JeffParker, Matthew Lux- guitar; Jim Baker- piano; Jason Adesewicz- vibes; JasonAjemian- bass; Mike Reed, John Herndon- drums; Damon Locks- vocals

Free Form Funky Freqs Urban Mythology: Volume One

Thirsty Ear Recordings by Troy Collins

Guitarist Vernon Reid, bassist Jamaaladeen Tacuma anddrummer G. Calvin Weston are Free Form Funky Freqs. Their debut, UrbanMythology: Volume One, is an impromptu session unveiling new possibilitiesin the no-mans-land between improvisation and popular music. Withdiverse jazz and rock backgrounds, the trio uses their collective experienceto add their own spin to the dreaded "f" word - fusion. With only two unre-hearsed live shows under their belt, this recording documents their thirdever performance together. Based on the success of those gigs, Reid took thetrio into the studio to capture their newfound rapport. Recorded live, withno overdubs, they demonstrate an amazingly fluid sense of synchronicity,constantly transforming the tunes in real time.

The epic opener, "A Tale of Two Bridges" is definitive, seamlesslyshifting through an endless cycle of moods, tempos, rhythms and texturesover the course of twelve minutes, ranging from thunderous stadium rock tosurreal alien soundscapes. The trio grooves hard on funky numbers like"Don Cheadle," the deconstructed disco of "Nappy Hour" and the guitar-synth dominated "Doing Within." Bursting at the seams, "Over and Under"is relentless, with blistering bass, palpitating drums and eviscerating guitar."A Lost Way Found" shows euphonious restraint, exploring droning spacerock, while the Southern-fried "Chump Champ Chunk" doles out hard-edged cyber-blues. "Street Corner Prophecy" closes the album on a futuristicnote, surging with fractious enthusiasm. Using loops and EFX units thatexpand his sound to orchestral levels, supported by a killer rhythm section,Reid shreds his fret board unfettered, offering some of his most incendiaryplaying on record.

A rollicking affair, Urban Mythology: Volume One is an intense sonictrip for those willing to make the journey.

Thirsty Ear on the web: www.thirstyear.com.

Track Listing: A Tale of Two Bridges/ Don Cheadle/ Ghost Sign Crossroad/Over and Under/ A Lost Way Found/ Nappy Hour/ Chump Champ Chunk/Get Your Legs On/ Doing Within/ Street Corner Prophecy

Personnel: Vernon Reid- guitar; Jamaaladeen Tacuma- bass; G. Calvin Weston-drum

Eric McPherson Continuum

Smalls Recordsby Derek Taylor

An onion analogy is especially apt when describing theNew York jazz scene. Layers exist within layers with players routinely mov-ing between them as collaborative ventures expand and ebb. Drummer EricMcPherson is a member of the Smalls circle, that loose cadre of creativemusicians that operated out of the eponymous club in the '90s. His musicalactivities also included a 15-year apprenticeship with Jackie McLean and abriefer tenure with Andrew Hill just prior to the pianist's passing.McPherson also helps run MPI Studio, a performance/recording spaceowned by Nasheet Waits that also serves as the disc's birthing place. MPIstands for Multi-Percussion Instrumentalist and it doubles as a fitting encap-sulation of McPherson's approach to the drumkit, polyrhythmic, with a fluidtouch that consistently merges power and grace. His rhythms and fills feelfull without miring in unnecessary clutter or resorting to attention-grabbingbashing. All of the aforementioned experiences funnel positively into thisdebut disc as a leader and suggest that the date was well past due.

McPherson sequences the program like a lean LP, keeping the musiccorralled to the span of two vinyl sides. The relative economy still leavestime enough to pack in a manifold summary of his interests starting with thetwo-part "3rio Suite" in the company of saxophonist and childhood friendAbraham Burton and bassist John Hebert. Burton's soprano almost soundslike a musette voicing slithery modal patterns against the surging oceanicbackdrop built by Hebert and McPherson. Hebert seizes on a deep groove inthe piece's second part, the gritty snap of his strings heightening to intensi-ty of the interplay. "Misako" nods to Hill in its dark chordal structure and theaddition of second bassist Dezron Douglas. The tandem makes a secondappearance on the disc closing "De Javu Monk" stoking a fair bit of pizzica-

to steam beneath Burton's slowly boiling Wayne Shorter-inspired phrasings.Rounding out the program are "Black Pearl," which teams McPherson's kitwith Trevor Todd's yirdaki (didjeridu) as accompaniment for an anecdotalspoken recitation in memory of the drummer's mother, and a rundown ofthe McLean tune "The Collective Expression" that carries fusionary touchesin the presence of Rhodes and a patina of electronic echo around Burton'salto. A lengthy gestation period makes for fully mature work andMcPherson's album certainly proves such to be so.

Smalls on the web: www.smallsrecords.com.

Track Listing: 3rio Suite/ Misako/ Black Pearl/ Collective Expression/ DeJavu Monk

Personnel: Eric McPherson- drums; Abraham Burton- tenor, alto, soprano sax,flute; David Bryant- piano; Dezron Douglas, John Hebert- bass; Trevor Todd-yirdaki

Irvin Mayfield and Ellis MarsalisLove Songs, Ballads and Standards

Basin Street Recordsby George Harris

I know that Wynton and Branford Marsalis generally getall the notariety and accolades, but the fact remains that I end up listening tofather Ellis' releases more often than any of the other Marsalis family mem-bers. The elder Marsalis just knows what songs to select, and has a historyof jazz touch to the piano that is clearly audible and is undeniably attractive.On his latest release, Love Songs, Ballads and Standards, Marsalis is joined bytrumpeter Irvin Mayfield for a series of duets, quartets, and orchestralarrangements that are never less than glistening. What is so wonderful aboutLove Songs, Ballads and Standards is that not only is Marsalis able to bring upstandards like "My One And Only Love" and treat them with delicacy andcharm, but he's also able to take tunes that his sons grew up with and makethem sound like logical inclusions into the jazz canon. Marsalis andMayfield take Stevie Wonder's "Blame It On the Sun" and "Superstar" andmake them cogent and enthralling masterworks. And who knows why noone's ever taken the soundtrack tune "Mo' Betta Blues" out for a ride before;it's a beauty! Two lovely versions of The Beatles' "Yesterday" serve as won-derful bookends to Love Songs, Ballads and Standards that will definitely getmore listenings than anything put out by the vaulted Lincoln Jazz Orchestra.Once again, it turns out, father knows best!

Basin Street on the web: www.basinstreetrecords.com.

Track Listing: Yesterday/ Superstar/ Romeo and Juliet/ My One and OnlyLove/ Mo' Betta Blues/ Round Midnight/ Don't Know Why/ In a SentimentalMood/ Come Rain or Shine/ Like a Star/ Blame It On the Sun/ House Is Nota Home/ You and I/ Yesterday

Personnel: Irvin Mayfield- trumpet; Ellis Marsalis- piano; Neal Caine- bass; JazSawyer- drums; Louisiana Philharmonic Orchestra

New York Art QuartetNew York Art Quartet

ESP Diskby Derek Taylor

The trappings on this classic album practically screamavant-garde pretentiousness, from the ensemble name, to the charcoaldrawn cover portrait, to the advertised guest appearance by beat poet AmiriBaraka reciting his militant manifesto "Black Dada Nihilismus." The spa-cious, improv-friendly compositions of Roswell Rudd, the lone Caucasian ina color-conscious crew, go a long way toward counterweighing them.

Rudd's brazen trombone pops the buttons off the band's pictured suit jack-ets, simultaneously tapping the visceral tailgate vernacular while striking inbold new directions informed by twentieth century chamber music and thethen nascent new thing. His underlying jocularity proves a valuable leaven-ing agent, particularly on the rambunctiously funky "Rosmosis." JohnTchicai's dry alto comes on like a lysergic variant of Desmond's shot throughwith Dolphy, twining with and peeling off from Rudd in graceful swoopsand arcs that also carry bite. Teamed with the powerful dervish drummingof Milford Graves, bassist Lewis Worrell fares a bit like Jimmy Garrison inthe Coltrane quartet, recessed and somewhat embattled, but still integral tothe group dynamics. His arco solo on the opening "Rudd" and extended pizzstatements on "Untitled" and Tchicai's "No. 6" give evidence of a near paritywith his subsequently more storied partners. Points tally too for ESP Disk'snew slim-line cardstock packaging, which artfully reproduces all thealbum's essentials without adding any dross. The rep of this as a touchstonein any respectable library of free jazz remains ironclad. Now, as at the timeof its pressing, the music looks beyond such celebratory canonization andstands on its own terms. It's a short jaunt, but one with lots of aural sceneryto take in.

ESP on the web: www.espdisk.com.

Track Listing: No. 6/ Rosmosis/ Short/ Sweet/Black Dada Nihilismus

Personnel: Roswell Rudd- trombone; John Tchicai- alto sax; Lewis Worrell-bass; Milford Graves- percussion; Leroi Jones- vocals

Steven BernsteinDiaspora Suite

Tzadik by John Kelman

Leaving behind the West Coast cool of 2004's DiasporaHollywood, Steven Bernstein travels 350 miles north along the Californiacoast to Oakland for the edgier, left coast avant of Diaspora Suite. It's thefreest, most aggressive disc in the trumpeter's Diaspora series, which beganwith Diaspora Soul and continued with Diaspora Blues, all four discs a part ofJohn Zorn's Radical Jewish Culture on Tzadik. Every Diaspora disc has hadits own premise, and Suite is no different. Instead of blending original mate-rial with reimagined traditional Jewish music, Bernstein has written all themusic on Suite. It's also the loosest, least arranged music in the series.Recorded in a single six-hour session, with 12 of the session's 15 tracks find-ing their way onto this 65-minute set, Bernstein recruits a group of oldfriends to include a horn section, two electric guitarists, electric bass and twodrummers.

If that sounds like a potential for some seriously joyful noise, it is -especially when the tentet includes Nels Cline, whose predilection for trans-forming his guitar, at times, beyond all recognition is one of Suite's manydefining points. He introduces "Levi" deceptively, with spare lines gradual-ly morphing into near-noise with a host of gradually layered effects. Withguitarist John Schott and drummer Scott Amendola onboard (who is one-

third of Cline's Singers, along with also-present bassist Devin Hoff) andBernard added later, it's nearly a reunion of mid-'90s group T.J. Kirk.Amendola and drummer/percussionist Josh Jones ensure an omnipresentpulse, ranging from the hand drum-driven "Reuben," and funkier "Simeon"and "Issachar" to the turbulent rubato of "Judah," densely polyrhythmic"Dan," darker maelstrom of "Gad" and near-metal "Benjamin." It's the collec-tive interplay that makes Suite so exciting. Whether it's Bernstein andGoldberg trading off on "Reuben," Cline and Schott in tandem on "Dan" or"Naphtali," where all the horns are in the pool while periodically coalescinginto form throughout, Bernstein has created a context where there's alwayssome form of underlying structure to hang onto, while still allowing every-one as much freedom as possible.

It's hard to imagine Bernstein's Diaspora series getting better with eachnew installment, but the proof is in the pudding with Suite. Each release hasits own charms, but Suite's more in-the-moment documentary nature, vis-ceral energy and improvisational freedom, all built around Jewish-tingedthemes that take the music farther away from direct reference than everbefore, leave where Bernstein will go next a good question. The only cer-tainty is that it'll be well worth finding out.

Tzadik on the web: www.tzadik.com.

Track Listing: Reuben/ Simeon/ Levi/ Judah/ Dan/ Naphtali/ Gad/ Asher/Issachar/ Zebulon/ Joseph/ Benjamin

Personnel: Steven Bernstein- trumpet; Jeff Cressman- trombone; PeterApfelbaum- tenor sax, flute; Ben Goldberg- clarinet; Nels Cline, John Schott,Will Bernard- guitar; Devin Hoff- bass; Josh Jones, Scott Amendola- drums

Richard Allen Williams, M.D.The Doctor Is In!

SP Recordsby George Harris

This medical doctor sure filled out his prescription perfect-ly! Trumpeter Richard Allen Williams has put out his shingle for classic bopon a wonderful The Doctor Is In! Dedicating this recording to the seventy-fifth birthday of jazz legend Clifford Brown (a close friend of Williams), the

good doctor has delivered a fitting tribute. His cheerful tone leads a stellarquintet that gracefully jaunts through tunes generally associated withBrownie. Classics like "Dig" and "Joy Spring" are sutured together with awell-timed rhythm section of bassist Henry "Skipper" Franklin and drum-mer Fritz Wise. Williams is perfect in his diagnosis in determining how tocreate a warm ballad as well. His tone on "I Remember Clifford" and thehauntingly beautiful "Delilah" are radiant. Tenor saxophonist Justo Almariois a perfect partner, delivering excellent second opinions on Parker's slinky"Confirmation." There will be no malpractice suits with this release. Take ittwice a day for two weeks, and any ache will go away.

RAW Sugar on the web: www.rawsugarjazz.com.

Track Listing: S'Wonderful/ On the Trail/ Confirmation/ Delilah/ Dig/ IRemember Clifford/ Joy Spring/ Jitterbug Waltz

Personnel: Richard Allen Williams- trumpet; Justo Almario- tenor sax, clarinet,flute; Henry "Skipper" Franklin- bass; Fritz Wise- drums; Nate Morgan- piano

Adam Rudolph's Moving Pictures Dream Garden

Justin Time Recordsby Derek Taylor

As with previous Adam Rudolph projects, rhythm lies atthe root of this new outing. Stacked and often percolating profusely withpolymetric complexity, the disc's 14 tracks pull from a plentitude of ethnicsources and instruments. Rudolph's percussive arsenal alone includesthumb pianos, gourds, caxixi (basket shakers), carcaba (metal castanets),naccara (Turkish drum) and tarija (goblet drum). The mighty Hamid Drake,no newcomer to Rudolph's rhythmic peregrinations, joins him on drum kitand frame drum and the result is a match made in drum maven heaven.Where the session deviates from some past efforts is in the strength of theother participants, particularly the horn section of Graham Haynes, NedRothenberg and Steve Gorn. The latter two players divide much of their timebetween Asian wind instruments like shakuhachi and bansuri flutes andWestern reeds, mainly clarinets. Haynes' brass brings another authoritativeedge and it's apparent from the onset that horns are not intimidated by the

assemblage of powerful. A third ensemble contingent consists of stringswith Ken Wessel asserting a voluble presence on electric and acoustic gui-tars and Brahim Fribgane, the former acoustic and electric guitar BrahimFribgane plucking oud and doubling on additional percussion.

Rudolph divides the program into longer tunes and shorter intersti-tial pieces. "Oshogbo" exudes a heavy African vibe via shakers, talkingdrums, pulsing bass and hard riffing horns and winds. Wessel weavesthrough the resulting thicket leaving behind a trail of metallic amplified

strums. Barely over a minute in length, "Violet Hour" exchanges percus-sion for the chamber blend of harmonizing horns and strings while themore expansive "Twilight Lake" serves as a framework for Fribgane's fib-rillating oud blues. The snippet "Scintilla" sounds like an ideation forciblyextricated from the mind of Chadbourne in its blend of prickly string riff-ing, bent thumb piano pecking and restless clarinet interlocutions. Thembiras of the street band sounding "Happiness Road" are more inviting,braiding with flute and shakers in a syncopated shuffle that skillfully

bridges melodic and rhythmic concerns. It's territory trampled ineven greater garrulous fashion on the raucously polyphonous track"The Sphinx."

Parts of other pieces are equally deserving of explication, par-ticularly Rothenberg's stunning shakuhachi improvisation on"Cousin of the Moon" answered in kind by a blistering cornet solofrom Haynes and a drum deluge by Drake. In the interest of pre-serving a sense of surprise though, perhaps its best to skip to set'sconclusion. "Walking the Curve" brings the band gloriously full cir-cle, coupling Fribgane's dancing oud with sintir, frame drum, bassclarinet, cornet, bansuri and guitar in a funky North African strutthat serves as fitting capper to what just might be the finest album ofRudolph's career.

Justin Time: www.justin-time.com.

Track Listing: Oshogbo/ Violet Hour/ Twilight Lake/ Scintilla/Happiness Road/ Cousin of the Moon/ Mood/ Vision of PureDelight/ Mystery/ Spectral/ Helix/ Dream Garden/ Sphinx/ Walkingthe Curve

Personnel: Adam Rudolph- percussion; Brahim Fribgane- oud, tarija;Graham Haynes- cornet, flugelhorn; Hamid Drake- drum set, framedrum; Kenny Wessel- guitar; Ned Rothenberg- shakuhachi, bass clar-inet, bass flute, alto sax; Shanir Blumenkrantz- bass, sintir; Steve Gorn-bansuri, clarinet, Pakistani oboe

Enrico Rava/Stefano Bollani The Third ManECM Records

by John Kelman

With the diminishing role of mentoring in jazz, it'sgratifying to not only watch a young artist emerge from under thetutelage of a more senior master, but to become a musical equal.Italian pianist Stefano Bollani may have been drawn into the worldof jazz at the age of 24 by veteran trumpeter Enrico Rava, but in theensuing 12 years he's become a distinctive voice in his own right, cul-minating in the near-encyclopedic breadth of Piano Solo. While it's byno means a case of the student surpassing the teacher - Rava is stilltoo vital and, at 68, refuses to stand still - with The Third Man it's clearthat both now have plenty to learn from each other. A series of duetswritten largely by Rava, The Third Man is an ideal setting, allowingfor maximum freedom and intimate interaction. Nothing is as itseems, as Bollani and Rava also approach far-from-literal readings ofsongs by Brazilians Jobim and Santos, and fellow Italians Martinoand Brighetti. Jobim's "Retrato Em Branco y Preto," heard here in twovery different but equally rubato and spontaneous versions, is bare-ly recognizable, with Bollani's abstract impressionism and Rava'seconomical lyricism taking the song to unexpected terrain. The over-all mood is introspective, and oftentimes skirts the edges of unset-tling dissonance, but the duo's approach is largely defined by deli-cate, spontaneity and unorthodox beauty.

Duets may provide the opportunity for maximum freedom,but they also expose completely bare their participants. That Ravaand Bollani can create an album as thoroughly instinctive and stark-ly compelling as The Third Man - where every note is meaningful,every phrase implicative - speaks to Rava's continued importanceand Bollani's relentlessly increasing prominence.

ECM on the web: www.ecmrecords.com.

Track Listing: Estate/ Third Man/ Sun Bay/ Retrato Em Branco yPreto/ Birth of a Butterfly/ Cumpari/ Sweet Light/ Santa Teresa/Felipe/ In Search of Titina

Personnel: Enrico Rava- trumpet; Stefano Bollani- piano

Sam PhippsAnimal Sounds

Wondercap Recordsby George Harris

Recorded in Los Angeles back in '80 and '82,Animal Sounds was recorded by onetime Oingo Boingo saxophon-ist Sam "Sluggo" Phipps, and the then member of the newwave/Ska group was in a definite experimental mood. Each songon Animal Sounds has its own searching personality. Moods andcolors range include the long drawn rubato/cacophonic sax workon "Mystery," contrasted with Noah Young's edgy bass and SteveLarantz's multidirectional drumming. In stark contrast is the hardhitting title piece which has a wide array of horns clucking andfluttering in and out of sync, sounding as if one were eavesdrop-ping on multiple conversations at a cocktail party. In completevariance is Phipps' explorative acapella performance on "Woke UpClipped," which includes a range of blues wailing, growling andhonking. John Larkin's dramatic and percussive piano draws rem-iniscence of McCoy Tyner during the boppish duet on "No End."Intense, free and barring no holds, Phipps and friends put out athought provoking recording that still carries a sharp edge 25 yearslater. Thanks to Wondercap Records for bringing this gem back toBoingo fans and improv fans alike.

Wondercap on the web: www.wondercaprecords.com.

Track Listing: Elevation/ Mystery/ Decision/ One on One/ AnimalSounds/ Woke Up Clipped/ T.O. Too/ No End/ Lark in the Wind/Silent Night

Personnel: Sam Phipps- tenor sax; John Larkin- piano; Noah Young-bass; Steve Larantz- drums

Richard BoulgerBlues Twilight

b-1 Musicby George Harris

If you ever wondered whatever happened toFreddie Hubbard, here is the answer: he's transformed into an

inspiration for trumpeters like Richard Boulger, who first met the elderHubbard when Boulger was a student at The Jackie McLean Institute ofJazz. Blessed with a sound that harkens back to Hub's modal days, Boulgerhas put out Blues Twilight, a delightful recording that is full of smolderinggrooves and fiery solos. Featuring legendary pianist John Hicks on thelion's share of the album's tracks, Blues Twilight is filled with originals thathave imagination and drive. Most of the songs are in a quintet setting witheither Kris Jensen or David Schnitter filling the tenor saxophone chair. Thehard driving title piece and the mournful "Tears" are perfect displays ofBoulger's searing trumpet work. The energetic duet with drummer Victor("YA-YAH") Jones on "Perceptions" is a sonic tour-de-force. Fresh andfeisty, Blues Twilight is an oasis for late '60s Blue Note bloomers. It is alsoa fine introduction into the imaginative playing and prowess of RichardBoulger, who has certainly done Freddie Hubbard proud.

Richard Boulger on the web: www.richardboulger.com.

Track Listing: Eternal One/ Blues Twilight/ Letting Go/ For Souls Past/Miss Sarah/ Flower for Mary/ Perceptions/ Have You Met Mr. Jones/Tears/ Other Side/ From the Night/ Time Flies

Personnel: Richard Boulger- trumpet; David Schnitter, Kris Jensen- tenor sax;John Hicks, Anthony Wonsey- piano; Victor Jones- drums; Dennis Irwin-bass

Nik Bärtsch's Ronin Holon

ECM Recordsby John Kelman

While Nik Bärtsch's 2006 ECM debut, Stoa, was a power-ful first shot across the international bow, garnering a place on many jour-nalists' "best of" lists for the year, the Swiss pianist had, in fact, been hon-ing his self-proclaimed "Zen Funk" since the beginning of the decade,starting with the equally descriptive Ritual Groove Music. Holon capitalizeson the success and innovation of Stoa, again featuring his Ronin quintet,proving the value of ongoing musical partnerships, especially when creat-ing music that's paradoxically as rarified and visceral as Bärtsch's. Withreturning clarinetist/saxophonist Sha, bassist Bjõrn Meyer, drummerKaspar Rast and percussionist Andi Pupato, the overall textures remainthe same. Still, Holon finds Sha bringing back his alto, while Bärtsch staysstrictly with piano, though that does nothing to reduce the sonic breadthas he explores not only the full range of the keyboard, but inside the boxas well.

The rhythmic and contrapuntal complexity of Bärtsch's "Moduls," auniform, numbered way of titling his compositions that avoids creatingany kind of preconception about the music, belies the way in which themusic ebbs and flows in a purely natural and uncannily organic fashion.Repetition may be a fundamental part of the music, but not in the coldlymathematical fashion of some early minimalism. Instead, there's a directemotional resonance, as the group winds its way through the largely ethe-real "Modul 42," where drums and percussion drop out at the three-minute mark for a delicate piano/clarinet/bass trio, and the longer, morepotent "Modul 41_17," where Bärtsch meshes new music with existingrepertoire, and places Meyer in an uncharacteristically forward role beforethe entire band kicks in with its fiery pulse.

With Holon, Bärtsch and Ronin continue to hone an unmistakablemusic. Cerebral in conception it may be, but this is music that remainsalmost Jungian in its near-archetypal physicality.

ECM on the web: www.ecmrecords.com.

Track Listing: Modul 42/ 41_17/ 39_8/ 46/ 45/ 44

Personnel: Nik Bärtsch- piano; Sha: bass, contrabass clarinet, alto sax; BjõrnMeyer- bass; Kaspar Rast- drums; Andi Pupato- percussion

David BrandomNo Way Out

Blujazz Productionsby George Harris

Here's a gentleman that you need to hear more about.David Brandom has played the flute, tenor and soprano saxophone foryears for Frank Sinatra, besides doing work here and there with RandyBrecker, Bill Charlap and Maria Schneider. So Brandom is no slouch. Thishighly attractive recording features him leading a pair of rhythm sectionsthrough some undeniably intriguing originals and a few jazz ringers. Hismelodies are well crafted, embracing and quite memorable. His solos arealmost as well conceived with a Bach-like logic to them that is refreshing

and alluring. Many of the compositions, like the title track and "SpruceGoose," which also feature the crystal clear trumpet work of Scott Wendholt.On these performances the boppish rhythm smoothly glides by as the frontline weaves sophisticated, yet accessible lines, as if they were clouds floatingover the roaring ocean. Brandom's soprano saxophone is sweet and serene,as evidenced on McCoy Tyner's whimsical "Blues on the Corner" andShorter's dark "Ana Maria." No Way Out is definitely a disc worth searchingfor. There are lots of great ideas floating around from this guy. Keep an a onhim.

Blujazz on the web: www.blujazz.com.

Track Listing: No Way Out/ Spruce Goose/ Corbin Mill/ Clever Shoes/ DidShe Happen to Ask About Me/ Blues on the Corner/ Ana Maria/ BarrenMind/ TM/ Quasimodo

Personnel: David Brandom- tenor, soprano sax, flute; Scott Wendholt- trumpet;Jay Azzolina, Steve Cardenas- guitar; Gary Versace- piano, organ; DaveAnderson, Mike McGuirk- bass; Adam Cruz, Ron Vincent- drums

Søren Kjærgaard/Ben Street/Andrew CyrilleOptics

ILK Musicby Peter Sanchez

Winner of the Young Nordic Jazz Comets prize and recip-ient of the Danish National Radio Jazz Award, Søren Kjærgaard has quicklymatured into one of the most original voices to come out of Denmark inyears. A year ago, Kjærgaard traveled to New York to record with AndrewCyrille and Ben Street. Their collective outing is packaged as Optics, anenchanting soundscape that explores the complexities of Kjærgaard's eightcompositions. The title track, "Optics," is an unhurried, melodic mediation.Kjærgaard's trademark knotty chords make way for a more reserved, delib-erate imagination. Street plays along well, employing a similar treatment,establishing a solid foundation for Kjærgaard's efforts. Street's unwavering,propulsive pulse punctuates Kjærgaard's "Cyrille Surreal." Cyrille's ridecymbal reinforces Kjærgaard's hypnotic cadence. Kjærgaard's imagination isclearly audible on "Work of Art." Kjærgaard is equally harmonious and dis-sonant, lyrical and jagged, accentuating his statements with rapidity andforce that is reminiscent of Misha Mengelberg. Kjærgaard is aware of hisoriginality and seems determined to mine his own territory. Optics is arelease that invites structure, but satisfies creative freedom. It really paystribute to Kjærgaard's vision and caliber of musicianship. He has realizedthe promises his early awards alluded to. The young Dane also has a duetrecord in the can with Torben Ulrich, the father of Metallica drummer LarsUlrich. Curiosity will get the best of this listener and it will be a definite pur-chase.

ILK on the web: www.ilkmusic.com.

Track Listing: Optics/ Dear Mr. Sear/ Cyrille Surreal/ Elegy/ Mallets/Gyamtso/ Work of Art/ Radio House Requiem

Personnel: Søren Kjærgaard- piano; Ben Street- bass; Andrew Cyrille- drums,percussion

Jamie CraigThe Lost Dream

Craig Sound Productionsby George Harris

I've always been intrigued by musicians who have per-formed all the instruments on their releases. Artists ranging from rockers

like Todd Rundgren and R&B geniuses such as Stevie Wonder to jazz mas-ters going back to Sidney Bechet have put out some captivating one manband productions. Jamie Craig has joined the list, not only being the onlymusician, but composed and arranged all of the beautiful music on his TheLost Dream release, as well as using eight (count them) different basses onthese sessions. The music itself was created to convey the various joys andpains in life, and is quite encompassing in its range. "Stereo Five," for exam-ple, has a panoramic and pastoral beauty to it, as if overlooking a valleyfrom an overhanging cliff. His elastic electric bass mixes with a choralsounding sax and chiming piano on the title track, "The Lost Dream" to amajestic effect. The luminous keyboards and chiming/funky bass blendcohesively in the pensive, yet plucky "The Power & Glory." Another thoughtprovoking mood is evoked on the closing "Take the High Road," with themoody guitar segueing into the organ and strings to quite dramatic effect.Thoughtful and thought provoking, The Lost Dream is sure to get you to cre-ate visions and imaginations with each listen. Get lost with Jamie Craig's TheLost Dream. It is gorgeous music that will enhance your day.

Jamie Craig on the web: www.myspace.com/craigsounds.

Track Listing: Lost Dream/ Steel Wheel/ Stereo Five/ Power & Glory/Movement/ Contemplate All/ One Thirty/ Lost Dream/ Did You Have toAsk?/ Our Lost Dreams/ Take the High Road

Personnel: Jamie Craig- instruments

The Paul Hemmings Trio with John TchicaiLetter From America

Leading Tone Recordsby Peter Sanchez

Student meets teacher on a bravely original outing fromJohn Tchicai and his former pupil Paul Hemmings. Heavily amplified andclearly inspired by indie rock, Hemmings' recording is part Zu and partBitches Brew. And while such a combination may not play to the hearts orears of the jazz standard, Letter From America's contents are delightfully cre-ative adventures. The harsh and jagged "Radio Free America," with its radiotuning static, is in stark contrast to Hemmings' melodic opening "Under aNew Mexico Sky," a selection that wouldn't be out of place in Bill Frisell'scatalog. But that is just how Hemmings seems to roll. Seagulls introduce"Venice Beach Boardwalk," a showcase for drummer Adam Issadore, whoreally puts some Beach Blanket Bingo into his intro solo. The remainder isTchicai going tropical, doing his best Sonny Rollinsesque calypso. The jaun-ty, upbeat "Ous Ous" is another opportunity for both Tchicai and Hemmingsto display their respective imaginations. "Ous Ous" is a propulsive joy frombeginning to end. It is difficult to remember Tchicai playing this impas-sioned in years. An extended "Code (R)ed" gives Hemmings and Tchicaiample room to tweak and scrutinize with deliberate pace. The new genera-tion's Frisell, Hemmings' mixture of cultures, influences, and genres explor-ing the edges of harmony and rhythm is remarkably fresh and a completesuccess. Like another forward thinker, Ken Vandermark, Hemmings ispushing the boundaries of convention and structure, seducing jazz' moderntemper and molding his very own profound form and style in the process.Letter From America is certain to be one of the year's best albums.

Paul Hemmings on the web: www.paulhemmings.com.

Track Listing: Under a New Mexico Sky/ Radio Free America/ Venice BeachBoardwalk/ Battle of New York City/ Conversation in Central Park/ LadyDynamite/ Pollack Galaxy/ Ous Ous/ Code (R)ed/ Under a New Mexico Sky

Personnel: John Tchicai- tenor sax; Paul Hemmings- guitar; Adam Issadore-drums; Gaku Takanashi- bass

Barbara PerryShow Me Your Heart

Barbara Perryby George Harris

Vocalist/composer Barbara Perry has put out Show MeYour Heart, an attractive release that hearkens back to the day whensinger/songwriters ruled the airwaves. Expertly produced by Chris Davis, itfeatures Perry's soft, sweet voice with clear enunciation and clarity. Easycoasting tunes like "Baby Come Back" has Perry's vulnerable voice support-ed by sympathetic keyboard and guitar work. Catchy refrains abound onShow Me Your Heart, as on the title piece, and the exotic and enchanting "LikeYou Love Me." The joyfully warm "The Boy" includes some breezy flute thatblends well with her optimistic tone, and the cabaretish "Lonely Girl"includes some moody sax work. The latter tune highlights Perry's ability toconvincingly tell a story in the context of her song. Whether in the context ofa nightclub tune, or with an easygoing R&B vamp as on "I'm Gonna LoveYou," her voice is always assured and yet comforting. If you're looking for afresh and refreshing singer, look no further than Barbara Perry.

Barbara Perry on the web: www.barbaraperry.net.

Track Listing: Baby Come Back/ Show Me Your Heart/ Like You Love Me/Boy/ Samba De La Playa/ Let You Down/ Do We Have To Call This Love/ I'mGonna Love You/ Her Man/ Lonely Girl/ In Your Eyes/ This Time

Personnel: Barbara Perry- vocals

Taeko FukaoOne Love

Flat Nine Recordsby George Harris

Japanese vocalist Taeko Fukao has successfully attemptedthe daunting challenge of bringing the great American songbook back to itsnative country with a fresh and unique interpretation. Her sweet and deli-cate voice has a great range, and keeps everything in tune, as she demurelyfloats through pristine versions of "It Could Happen To You" and "I Hear ARhapsody." Her liquid cool vocals is heartfelt on the embracing treatment ofBob Marley's title piece, which effectively opens and closes One Love. Herpastoral treatment of Jobim's "Dindi" sheds an intriguing and heretoforeunseen dimension of this yearning tune. The band, comprised of some of thetop flight musicians from New York, includes Dwayne Burno, DougRichardson, and Harry Whitaker is quite impressive. In particular,Whitaker's keyboard work throughout One Love sets a fragile ambience tothe entire atmosphere that keeps the music buoyant. Taeko as the gift to con-vey the feeling that she is carrying her heart on her sleeve for the entirerecording, making you feel as if she is making herself vulnerable for yourears alone. That emotion alone, so rare in singing these days, makes One Lovea recommended experience.

Taeko Fukao on the web: www.songbirdtaeko.com.

Track Listing: One Love/ It Could Happen To You/ Dindi/ Would YouBelieve/ I've Never Been In Love Before/ Hoshi-No Love Letter/ I Hear aRhapsody/ Trav'lin' Light/ People Make the World Go Around/ Little B'sPoem/ One Love

Personnel: Taeko- vocals; Misha Tsiganov, Harry Whitaker- piano; DwayneBurno, Gaku Takanashi- bass; Doug Richardson- drums, piano

TOM SCOTT

TERENCE BLANCHARD

GEORGE DUKE

MARCUS MILLER

STEVE GADD

LARRY GOLDINGS

DAVE CARPENTER

and NANCY WILSON

An all-star gathering of today’s jazz icons join to celebratethe legendary Cannonball Adderley, featuring a special

guest appearance by Nancy Wilson.

Includes “Mercy, Mercy, Mercy”and “Save Your Love For Me.”

Produced by Gregg Field and Tom Scott

www.concordmusicgroup.com

CD NOW AVAILABLE

A L L - S T A R C E L E B R A T I O N O F C A N N O N B A L L A D D E R L E Y

CANNONRE LOADED

The Jazz Event of the Year!

For Paul Murphy improvisation is akin to going on ajourney. "Improvisation," he affirms, "coupled withundaunted diligence and study leads one to invention,innovation and spirituality. If you study something longenough, you develop your own ideas through absorbingwhat has gone before you and around you in the presentday. That will lead to you inventing your own self,which in my case means I have invented my own styleand concept of playing. Once that has developed, italmost becomes a sphere and you become able to viewthe spiritual and physical aspects of everything that issurrounding you. Whether it's in a room, the planet, theuniverse, God, Buddha or wherever you want to take it.That is what I feel about what I play."

And with 50 years as a professional drummer, Murphy has played with musicianswhose calling card has been improvisation, invention, innovation. The list includes WilliamParker, Joel Futterman, Ran Blake, Kidd Jordan, and Hamiet Blueitt. He was also a memberof Jimmy Lyons' band. One of his longest and most rewarding musical associations, though,is the present one with pianist Larry Willis. Their latest duet release, Excursions is a 12 song,74 minute conversation between musical soul mates. "We've been playing together for thepast 12 years, off and on, in different venues," Murphy states. "The album is the height of ourplaying and the most free I have felt playing since Jimmy Lyons transitioned in 1986. I havenot had such fluid communication other than Larry since I played with Jimmy. It's almostteleconnectic with Larry, whether it's something as far back as the late 1800s type of music,or all the way out into what people call the avant-garde and following and flowing throughbop as well as standards. The album was recorded in about five hours. To me, it's a verybeautiful rendering of my understanding of music and relating it to the listener as best weknow how. My whole heart and soul are in this album. I believe it is the best CD I have beenon." An added bonus to Excursions is the exceptional sound quality that fully captures theroar and whisper of Murphy's drum kit and the decay of the piano notes of Willis.

The traditional setting for a drummer in jazz has been any aggregation ranging froma trio to an orchestra. An entire album of duets with a piano, or any other instrument, forthat matter, is rare. For Murphy, though, it all comes down to what the players bring to thesession or bandstand. "I actually don't believe there is a real difference in playing in a duetand in a larger setting," he maintains. "What is really apparent and inherent is that the musi-cianship has to be there, whether in a duo scenario or trio, quartet, quintet or big band. Youcan have a big band that sounds one way and then you can have Count Basie's band andthat's another whole ball game. And what is separating all that is the communication abili-ty of the players. And Larry and I seem to able to completely absorb ourselves within themusic and just play. We're not having to presuppose what we're going to do. We don't eventalk about what we're going to do. We just go into the studio and play. No written heads. Nopreconceived ideas."

And although Murphy's rep and respect as a drummer is largely based on his associ-ations with musicians who play more "out," he has also had collaborations with players whoare considered more mainstream such as Clifford Jordan, Woody Shaw, and Billy Taylor.Comparing and contrasting playing "outside" and "in," Murphy upholds that the "outside"requires more intensity in the playing as far as physical intensity. "In the avant-garde, mostof the time, the music is going 20, 30, 60 minutes at a clip without a break. To sit in there andtry to act in a setting like that is completely different than interacting with Clifford Jordan,for example. With Clifford, I'm interacting as emotionally as I possibly can and also stayingwithin his framework. Whereas, most of the outside stuff is not really locked into a tightstructured framework that has been written out. With Larry, though, on Excursions, there area few tunes that are definitely free and what I would consider the avant-garde and they arevery intense, but they flow really smoothly. That's the kind of flow that at the apex of play-ing in Jimmy Lyons' group also happened in the avant-garde when it was really succinct andreally locked up. But there's few people who are playing at that level. Hamiet Blueitt, KiddJordan, and William Parker are. And that's what I loved about it. I was sold on all of that."

Born in Worcester, Massachusetts and and growing up in Washington, D.C., Murphy,now 59, began playing drums at around the age of three. At age five, he got to play for GeneKrupa. "This happened in a club. Gene said, 'So you play drums?' I said, 'Yes, sir.' He said,'Show me what you play.' He just spun the chair around and handed me a pair of sticks. Ijust sort of froze and then started beating away at 'Sing, Sing, Sing.' He just started talkingto me and showed me some things with the sticks. From there, anywhere Gene was, I wasthere." And what did he learn from the famous drummer? "In the times I was able to spendwith him, he taught me that you have to know the melody and play to the melody as anoth-er instrument, not as a timekeeper," Murphy elucidates.

Other longtime friends that have left an indelible imprint on Murphy were drummersRashied Ali and Louie Bellson. "Rashied Ali basically took me in off of the street," he fond-ly recalls. "I arrived in New York City years ago in a 1964 Oldsmobile, living in it. RashiedAli listened to a cassette of myself and Mary Anne Driscoll and gave the both of us jobs inhis jazz club. I was the manager. I spent seven days a week listening to the most beautifulmusic I've been surrounded with. What Rashied gave to me is love and love of the music andthe people who play it and the audiences who listen to it." Bellson is credited with givingMurphy a great deal of direction in technique and the phrasing and usage of the drum set."I was just blown away at his brilliant technique. He was so fast, clean and smooth. And hisaccents were just deafening. I was honored to play at his wedding reception when he mar-ried his wife Francine, where I was the premier soloist of 14 drummers, which was a high-light of my life."

Still, one of his dearest and most missed associations was that with bandleader JimmyLyons, who also spent some 26 years with Cecil Taylor. "Jimmy Lyons was one of the mostsensitive people I have ever met. His love and devotion to music just enamored me. Theother person that was just like that, however, not as quite well known was trumpeter DeweyJohnson. I spent thousands of hours with Jimmy, Dewey and Rashied Ali and all those catsare about is the music."

For Paul Murphy, it's about giving it your all, being true toyourself and finding your own voice as a musician. "If you are notplaying straight out of your heart and you haven't really put in thetime to try to absorb as much as possibly can, then you are not real-ly playing anything that will become what is known as innovationbecause innovation is what is separating your concept and stylefrom many others that are out there. I have studied a lot of drum-

mers: Gene, Louie, Max Roach, Papa Joe Jones, Philly Joe Jones,Rufus Jones, who blew my mind when I met him in the EllingtonBand. I tried to learn as much as I could about everybody's style. Itried to assimilate their styles, but I also knew that to play some-body's style on the bandstand, well, you might as well just go andbuy the record."

Murphy’s Lawby Ollie Bivins

The number of jazz musicians who are also medical doc-tors are few and far between. There's Eddie Henderson,Danny Zeitlin, and the recently deceased Art Davis (clini-cal psychology). Dr. Richard Allen Williams is also part ofthat elite coterie. As he is given to say: "My two mistressesare medicine and music. I've spent my whole life devotedto both. I'm a professor of medicine and cardiology atUCLA. Medicine has really dominated me, taking most ofmy time and effort. Most of the rest of my time, I've spentin music." Dr. Williams is also author of the groundbreak-ing book, Textbook of Black-Related Diseases.

It was in his hometown that a teenage Williams wastaken under the wing of one of the soon-to-be-giants of themusic. "I started at Howard High School in Wilmington, Delaware,"Williams recalls. "I was an underclassman behind Clifford Brown in theband in the early '50s. He was two or three years my senior. However, Istarted playing trumpet when I was about eight years old. He taught me theappreciation of jazz and some techniques on the trumpet." Williams andBrown subsequently became close friends. Besides his warm, inviting toneon trumpet, Brown was also legendary for being one of the sweetest personsin the jazz world. "He was one of the nicest, most brilliant people I've evermet," Williams fondly remembers. "Parenthetically, many people don'tknow that he was a brilliant mathematician. After high school, he went tocollege to study math. He didn't finish because of his musical career.Clifford was down to earth and very accommodating. Even at the height ofhis greatness, he was very humble, and very willing to take time to spendwith you."

And as fate would have it, on June 25, 1956, Williams was one of thelast people to talk to the trumpet titan. "The night before he was killed in theauto accident, I was a pre-med freshman at Harvard. I was writing a paperon jazz and jazz musicians. I wanted to interview him. We spent about anhour in a one-on-one interview and then finally he said, 'I've got to get onthe road in the morning. I've got to go and get some sleep. I'm meeting MaxRoach in Chicago. I'm going to drive up there with Richie Powell and hiswife.' And that was the last I saw of him," Williams sadly reflects.

Another musician that Williams made an early connection with wasMiles Davis who he first met when he was just 16 years old and a student incollege. Williams admits, "I had been intrigued and mystified by the way heplayed and the type of music he played. I wanted to emulate some of thethings he did. Of course, that took a great deal more technical expertise thatI had at the time. I got to know him very closely over the years. I spent agreat deal of time with him and his wife Cicely Tyson. I absolutely admiredhim and his ability to come back after some very challenging medical issuesthat he had. I also had an opportunity to be his doctor."

Just as Brown was known for his gentle manner, on the opposite sideof the personality spectrum, Davis was infamous for his surliness. Williamsbelieves that was a defense mechanism on his part. It seemed everybodywanted a piece of Davis, or to at least to try and get next to him. Williamsasserts, "Miles was not very comfortable around a lot of people. One of theways that he shunned people was to be gruff. I can remember particular

incidents when I was in his presence and young musicianswould come up to him and he would push them off. I canremember one particular instance when a young alto saxo-phonist wanted to talk to him and Miles moved away fromhim. I appealed to Miles to talk to the young man. He didand gave him an autograph. And then afterwards Milesgave me a lecture. He said, 'Don't ever do that again! I needto be able to choose the people and the circumstances underwhich I'm going to talk to someone.' He was a very sensitiveperson and I thought somewhat shy. His reaction to peoplewas to pull away. It was a matter of wanting to maintain hisprivacy. He was very protective of his identity. I reallybelieve that all that stuff of his turning his back on audiencesand so forth was kind of an expression of his shyness and hisattempt to protect himself from people."

Williams' group, RAW Sugar Jazz Quintet, consistsof some of the area's finest musicians: Justo Almario, Nate

Morgan, Fritz Wise and Henry "The Skipper" Franklin. For The Doctor Is In,his first recording as a leader, Williams and his band play eight tunes, allcentral to the jazz language. The songs, Williams says were chosen "prettymuch off the top of my head, but also because they represent a mixture ofvarious genres which give an indication of my various interests. Forinstance, 'Confirmation' is a tune written by Bird and it's very challengingtechnically and I wanted to use that to show how a difficult piece like thatcan be used to express one's feeling and show technical aspects of one's per-formance. And there are tunes such as 'Delilah,' which I've always loved. Ialways admired the way Clifford Brown played it. It's a very soothing tunewith an unusual rhythm. It's appeal is very appealing to people who like themore sensuous aspects of music."

Williams is a firm believer in the healing power of music."Absolutely!," he asserts. "Music is both a sedative and a stimulus. And wetalk about those things in regards to medication. There are certain medica-tions that some people take to stimulate them. Others take medication thatwill provide a sedative effect. And music can do both, depending on one'sneeds. It can have a calming effect, and it can also be very exciting in regardsto stimulating the juices, so to speak. And so it has medicinal value. Beyondthat, there is also medical proof in studies that show the calming effect ofmusic, not only on humans, but on animals. Dr. Andrew Weil, the guru ofwhat's called alternative and complimentary medicine, has written exten-sively about this and has done work with musicians regarding the compli-mentary effects of herbal medicine and music in treating patients."

Besides playing with musicians such as Rahsaan Roland Kirk andHubert Laws over the years, some of Williams' fondest memories are thoseinvolving playing with artists when he was just barely getting started. Oneof his most unforgettable experiences was sharing stages with Billie Holidayand Ben Webster. Recalling that time with Lady Day he chuckles, "It's hardto believe, isn't it? That anybody around today might have played with her?I don't want to give the impression I was part of her musical entourage. Iplayed with her almost by accident. I was playing with a group headed byLou Donaldson in a Newark club in the '50s. I was still in college and whilevisiting my sister, I got a one-time chance to play a gig there. And on thatparticular evening Lou Donaldson said, 'Gentlemen, we have a surprise foryou and for the audience. I'm not going to tell you who it is until she comesout, but she's a singer.' And so we played a warm up tune and out comes

this lady with a white gardenia in her hair. I had never seen or heard herbefore in person and I was absolutely shocked. It was Lady Day. And shedied the next year. And so that was my entree to Billie Holiday. And alsoBen Webster, who was also playing in Newark. Almost the same thing hap-pened with him. And I really didn't know very much about how great BenWebster was. He was playing in a small club. He invited me to play withhim. Somebody later told me, 'Did you know you just did a gig with thegreat Ben Webster?' I was fortunate to be able to do that at that time."

Clifford Brown, though, is never far from the thoughts of Williams. "Ireally feel that I owe everything to what I'm trying to do now as represent-ed on the album to the legacy of Clifford Brown. I can't say enough abouthow wonderful that man was in encouraging me and other young people.He is still encouraging people today through a festival which is held yearlyin our hometown of Wilmington, Delaware. I played there in 2006. I dedi-cated this album to him. The next CD, which we will record next month, willbe called I Remember Clifford, which we feature tunes that he wrote andplayed."

A Doctor’s Healing Handby Ollie Bivins

Saturday, March 1

Barbara Morrison Steamers Jazz Club & CafeJoshua Redman Trio Catalina Bar & GrillArturo Sandoval Big Band Yoshi's, San FranciscoSherwood Sledge Quartet Spazio

Sunday, March 2

Chris Dawson Trio SpazioZane Musa Quartet Charlie O'sJoshua Redman Trio Catalina Bar & GrillJose Rizo All-stars Steamers Jazz Club & CafeArturo Sandoval Big Band Yoshi's, San FranciscoLuciana Souza The Jazz Bakery

Monday, March 3

Bill Cunliffe Trio SpazioClare Fischer Big Band The Jazz BakeryJoshua Redman Trio Kuumbwa JazzRoger Wood Big Noyz Band Steamers Jazz Club & Cafe

Tuesday, March 4

Ron Kobayashi Trio Steamers Jazz Club & CafeJohn Pisano Guitar Night SpazioCarl Saunders Sextet Charlie O'sSunny Wilkinson/Tom Garvin The Jazz Bakery

Wednesday, March 5

Holly Cole Quintet Catalina Bar & GrillDr. John Yoshi's, San FranciscoPeter Erskine/Alan Pasqua The Jazz BakeryTony Inzalaco/Benn Clatworthy Charlie O'sKevin Kanner Steamers Jazz Club & CafeCarl Saunders Quartet Spazio

Thursday, March 6

Pete Christlieb Big Band Charlie O's

Ron Eschete Trio Steamers Jazz Club & CafeDr. John Yoshi's, San FranciscoPeter Erskine/USC Jazz The Jazz BakeryJoyce Marie Partiste Latin Jazz SpazioLizz Wright Yoshi's, Oakland

Friday, March 7

Nik Bärtsch's Ronin Yerba Buena CenterAlan Broadbent/Gary Foster The Jazz BakeryDr. John Yoshi's, San FranciscoWayne Horvitz Cafe MetropolDave Mackay Trio SpazioLizz Wright Yoshi's, Oakland

Saturday, March 8

Francisco Aguabella Latin Band Steamers Jazz Club & CafeDr. John Yoshi's, San FranciscoJohn Fedchock Quartet Charlie O'sBill Henderson Quartet The Jazz BakeryWayne Horvitz Cafe MetropolKeith Jarrett Standards Trio Nob Hill Masonic CenterJack Sheldon Big Band Catalina Bar & GrillBill Watrous Quartet SpazioLizz Wright Yoshi's, Oakland

Sunday, March 9

Julie Kelly Quartet Charlie O'sJohn Leftwich Trio SpazioJack Sheldon Big Band Catalina Bar & Grill

Monday, March 10

Joyce Collins Tribute The Jazz BakeryGordon Goodwin Big Phat BandCatalina Bar & GrillJohn Proulx Trio SpazioGonzalo Rubalcaba Yoshi's, San Francisco

Tuesday, March 11

Bill Cunliffe The Jazz BakerySally Kellerman Catalina Bar & GrillJohn Pisano Guitar Night SpazioGonzalo Rubalcaba Yoshi's, San FranciscoJack Sheldon Quartet Charlie O's

Wednesday, March 12

Steve Carr Quartet SpazioBilly Harper Quintet The Jazz BakeryGonzalo Rubalcaba Yoshi's, San Francisco

Thursday, March 13

Francisco Aguabella Quintet SpazioBruce Eskovitz Jazz Orchestra Charlie O'sBilly Harper Quintet The Jazz BakeryGonzalo Rubalcaba Yoshi's, Oakland

Friday, March 14

Paul Brown/Marc Antoine Yoshi's, San FranciscoRobben Ford Catalina Bar & GrillSusie Hansen Latin Jazz SpazioBilly Harper Quintet The Jazz BakeryZane Musa Quartet Charlie O'sSean Nowell Quintet Pasadena Jazz InstituteGonzalo Rubalcaba Yoshi's, OaklandMcCoy Tyner Trio Davies Symphony Hall

Saturday, March 15

Paul Brown/Marc Antoine Yoshi's, San FranciscoRobben Ford Catalina Bar & GrillBilly Harper Quintet The Jazz BakeryGonzalo Rubalcaba Yoshi's, OaklandTeka New Bossa Quartet SpazioDoug Webb Quartet Charlie O's

Sunday, March 16

Paul Brown/Marc Antoine Yoshi's, San FranciscoAlison England Quartet The Jazz BakeryRobben Ford Catalina Bar & GrillCharles Owens Quartet Charlie O'sScott Peters Trio SpazioGonzalo Rubalcaba Yoshi's, Oakland

Monday, March 17

Dan Berry Quartet The Jazz BakeryErnie Draffin Trio SpazioEliane Elias Kuumbwa Jazz

Tuesday, March 18

Kenny Garrett Quartet Yoshi's, San FranciscoMike Melvoin/Tony Dumas The Jazz BakeryAlex Pinto Catalina Bar & GrillJohn Pisano Guitar Night Spazio

Wednesday, March 19

Denise Donatelli Quartet Charlie O'sEliane Elias/Marc Johnson The Jazz BakeryKenny Garrett Quartet Yoshi's, San FranciscoTateng Katendig Trio SpazioNew York Voices Yoshi's, OaklandDave Weckl Catalina Bar & Grill

Thursday, March 20

Norman Brown Yoshi's, San FranciscoPete Christlieb Quartet Charlie O'sEliane Elias/Marc Johnson The Jazz BakeryKenny Garrett Quartet Yoshi's, OaklandRobertito Melendez Latin Jazz SpazioEvan Stone Steamers Jazz Club & CafeDave Weckl Catalina Bar & GrillBen Wendel Trio Pasadena Jazz Institute

Friday, March 21

Norman Brown Yoshi's, San FranciscoBobby Caldwell Septet Catalina Bar & GrillRegina Carter Quintet Herbst TheatreEliane Elias/Marc Johnson The Jazz BakeryKenny Garrett Quartet Yoshi's, OaklandBill Henderson Quartet Charlie O'sBob Sheppard Quartet Spazio

Saturday, March 22

Norman Brown Yoshi's, San FranciscoBobby Caldwell Septet Catalina Bar & GrillJudy Chamberlain Quartet SpazioEliane Elias/Marc Johnson The Jazz BakeryKenny Garrett Quartet Yoshi's, OaklandAzar Lawrence Quartet Charlie O'sDenny ZeitlinFlorence Gould Theatre

Sunday, March 23

Norman BrownYoshi's, San FranciscoBobby Caldwell SeptetCatalina Bar & GrillGaea Schell TrioSpazioDwight Trible T h eJazz BakeryDoug Webb QuartetCharlie O's

Monday, March 24

New West Guitar Quartet The

Jazz BakeryTom Rizzo/Pete Christlieb Spazio

Tuesday, March 25

Jennifer Leitham Trio Charlie O'sJudy Niemack The Jazz BakeryJohn Pisano Guitar Night Spazio

Wednesday, March 26

Kenny Garrett Quartet Catalina Bar & GrillTerry Harrington Quartet SpazioDavid Sanborn Yoshi's, OaklandPharoah Sanders Quartet The Jazz BakeryJack Sheldon Quartet Charlie O's

Thursday, March 27

Estrada Brothers Latin Jazz SpazioKenny Garrett Quartet Catalina Bar & GrillDavid Sanborn Yoshi's, OaklandPharoah Sanders Quartet The Jazz BakeryDr. Lonnie Smith/Jeff Watts Yoshi's, San Francisco

Friday, March 28

Kenny Garrett Quartet Catalina Bar & GrillCharles Lloyd Quartet Herbst TheatreDavid Sanborn Yoshi's, OaklandPharoah Sanders Quartet The Jazz BakeryDr. Lonnie Smith/Jeff Watts Yoshi's, San FranciscoLuis Villegas Quartet Spazio

Saturday, March 29

Kenny Garrett Quartet Catalina Bar & GrillDavid Sanborn Yoshi's, OaklandPharoah Sanders Quartet The Jazz BakeryHowlett Smith Trio SpazioDr. Lonnie Smith/Jeff Watts Yoshi's, San FranciscoRickey Woodard Quartet Charlie O's

Sunday, March 30

Benn Clatworthy Quartet Charlie O'sMatt Gordy Trio SpazioCharles Lloyd Quartet Catalina Bar & GrillJames Love Ensemble The Jazz BakeryDavid Sanborn Yoshi's, OaklandDr. Lonnie Smith/Jeff Watts Yoshi's, San Francisco

Monday, March 31

Toshiko Akiyoshi Trio Yoshi's, San FranciscoJohn Beasley Trio SpazioFrank Capp Juggernaut Charlie O'sDiane Schuur Kuumbwa JazzJ.D. Walter Trio The Jazz Bakery

E V E N T C A L E N D A R