February 2006 | No. 46 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com

Gerald Wilson Kahil ElZabar Greenleaf Music ABC No Rio Event Calendar

NEW YORK

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MORDY FERBER Feb 27

SHARRIF SIMMONS Fri Feb 3

ERIC ROBERSON Sat Feb 4

DUB TRIO Fri Feb 10

TY CAUSEY Sat Feb 11

BILL WARE'S VIBES Fri Feb 17

SHAYNA STEELE Sat Feb 18

POOGIE BELL Fri Feb 24

CHRIS BERRY & PANJEA Sat Feb 25

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AllAboutJazz-New YorkA P u b l i c a t i o n o f A l l A b o u t J a z z . c o m

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ALLABOUTJAZZ-NEW YORK | February 2006 3

Going over our records for the past several months has revealed a fascinatingfact: our last three cover story subjects were either born, grew up or made theirname in Detroit, Michigan. This month, Barry Harris (pg. 9) makes four in a row!Perhaps we should change our name to AllAboutJazz-Detroit or at least set up asatellite publication there to honor one of Americas great jazz cities.

But another thing we can take from this trend is that New York is still thedestination of choice for jazz people from Detroit to Delhi, Michigan to Mexico.Even after the more-full-than-usual holiday jazz season and a successfulInternational Association of Jazz Educators Conference (where for a moment youalmost felt like jazz had more than a 3% market share), the bitter winds ofFebruary in New York cant keep good jazz down. Besides a week with BarryHarris, Los Angelino Gerald Wilson (Interview, pg. 6), who also grew up inDetroit, comes into town for three nights at Jazz at Lincoln Center. From anothergreat city - Chicago - we get a rare appearance by percussionist Kahil ElZabar(Artist Feature, pg. 7). Joe Wilder, a jazz veteran since the 40s, shows you canteach an old dog new tricks when he makes his first ever New York appearanceas a leader and at Village Vanguard no less!

On a sad note, we ask that you remember the legacy of one of the great international musicians - one who certainly opened up the boundaries of jazz overthe years - guitarist Derek Bailey, who passed away Christmas Day 2005 (InMemoriam, pg. 13).

Filling out this months coverage are profiles on two segments of the do-it-yourself school of jazz: Dave Douglas artist-run record label Greenleaf and thelow-tech but high quality performance venue ABC No Rio (both on pg. 8).

So we know its February and it should be freezing. Until it becomes so oreven after it does, take some time to listen to a new CD (weve got plenty of recommendations starting pg. 14) or see a show (browse our Event Calendarbeginning on pg. 32). Well be happy to join you...

Laurence Donohue-GreeneAndrey HenkinMichael RicciDavid R. Adler, Clifford Allen, Ty Cumbie, Donald Elfman, Sean Fitzell, Ken Franckling, Kurt Gottschalk, Thomas Greenland, Marcia Hillman, Terrell Holmes, Francis Lo Kee,Brian Lonergan, Russ Musto, Brandt Reiter, Joel Roberts, Andrew Rowan, Elliott Simon, Tessa Souter, Jeff Stockton, Celeste Sunderland, Andrew Velz, Florence Wetzel Ernest Barteldes, Rex Butters, George Kanzler,Matt Lavelle, Joel Levin, Suzanne Lorge, Marc Medwin, Greg Thomas

On the cover: Barry Harris, photo by Alan Nahigian

Correction: In last months CD reviews, Bigger was mistakenly called Slavic SoulPartys debut album; it is their second release.

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New York@Night4Interview: Gerald Wilsonby Rex Butters6Artist Feature: Kahil ElZabarby Kurt Gottschalk7

On The Cover: Barry Harrisby Andrew Velz9Megaphone VOX Newsby Matt Lavelle by Tessa Souter10Encore: Joe Wilderby Greg Thomas11Lest We Forget: Jeanne Leeby Donald Elfman

12 Listen Up! Jacob Garchik & Jordan Perlson

14 CD Reviews: Marc Johnson, Mark Murphy, Miles Davis, Ben Wolfe, Michael Attias, Cedar Walton, Billy Bang & more13 In Memoriam: Derek Baileyby Kurt Gottschalk

32 Event Calendar37 Club Directory39 Miscellany

Label Spotlight: Greenleaf Musicby Brian Lonergan8Club Profile: ABC No Rioby Kurt Gottschalk

In Memoriam Birthdays On This Day

4 February 2006 | ALLABOUTJAZZ-NEW YORK

NEW YORK @ NIGHT

With the albums Lay Up and Bigmouth (both on FreshSound), bassist Chris Lightcap has articulated a powerful two-tenor concept with the aid of TonyMalaby, Bill McHenry and drummer Gerald Cleaver.In recent months hes added pianist Craig Taborn tothis volatile mix. At Cornelia Street Caf (Jan. 6th), thegroup did its spacious funky thing, with Mark Turnertaking McHenrys place. Lightcap called several tunesfrom his two discs, giving Taborn the chance to colormusic that was previously piano-less, including theupbeat Neptune 66, the African-inspired Guinbri,the deceptively simple groover Lay-Up, the non-bluesy Blues for Carlos and the obscure OrnetteColeman piece I Heard It on the Radio. Tabornslines were brisk and detailed, his chording precise butnever stifling. Just as impressive was his instinct forsilence, which allowed the tenors to stretch. Asidefrom the opening Port-Au-Prince, the first set wasdevoted to newer pieces like Silvertone, with a rock-like 6/8 drawl; Two Face, syncopated andswinging but with an increasingly abstract beat; andDeluxe Version, a triple-meter affair informed byCleavers sticks-on-rims vivacity.

Malaby and Turner voiced Lightcaps heads inappealingly sour harmony. Solo-wise, Turner wasmore the gradualist, building rich and multilayeredstatements note by note. Malaby charged ahead anddrew on harsher timbres, often coaxing a similaraggressiveness from Cleaver. -David R. Adler

Rudresh Mahanthappas Indo-Pak project used toinclude guitarist Fareed Haque and tabla master SamirChatterjee. The revived group, which now featuresRez Abbasi on guitar and Dan Weiss (a brilliant trap-set drummer) on tabla, had its premiere at JoesPub (Jan. 12th). These three have made their marks onthe New York scene, approaching jazz and SouthAsian music from different angles. As a unit they areformidable - as one would expect - although their relationship is new and in process. Mahanthappashard-as-steel alto saxophone tone and brisk line playing brought jazz vocabulary and Indian double-reed timbres into scintillating contact. Abbasi beganand ended the set on a sitar guitar, displaying rhythmic command on blistering single-note flightsand making use of the instruments sympatheticstrings. But for the most part, he played a Guildacoustic guitar with a rounder and softer sound, well suited to the lydian pastoralism of the traditionalHymn to Ganesha. His splashes of Western harmony lent another dimension to the music, whichwas predominantly pentatonic and minor in mood.

The trios full potential was clearest duringAdana. Beginning with a lyrical melody,Mahanthappa then steered the group through a seriesof rhythmic pivots, while Weiss, whose tabla studyincreasingly informs his jazz drumming, was poisedatop a platform in Lotus position, tapping away withacuity and blinding speed. (DA)

Despite a particularly raucous East Village Fridaynight crowd at Detour (Jan. 6th), the premier of thequartet of guitarist John Abercrombie (always nice tohear in small venues), saxophonist Adam Kolker,bassist John Hebert and drummer Bob Meyer was asuccessful one. The set contained two Abercrombieoriginals, one each by Hebert and Kolker and an opening volley of Green Chimneys by Monk.

If we can assign a thread to the program after thefact, the quartet presented the material in somewhatstylistically chronological order, the Monk tune leading into an untitled waltz and then someadvanced Kolker postbop. The final tunes were thesets abstractions: Heberts Billy No Mates, an edgycontemporary piece set up by a melancholy sloweighth note melody and the very loose feel ofAbercrombies Stop and Go.

The instrumentation gave the evening a feel akinto Wayne Shorters later Blue Note works, particularlySuper Nova and especially on Green Chimneys whenKolker played his only soprano sax of the evening.Apart from the wide open Stop and Go (whichclosed with a gritty blues segment where Abercrombieturned into Eric Clapton), the tunes followed strictstructures but became particularly inventive duringthe group improvs after the theme restatements.Rarely did the music become quiet and introspectivebut that was no surprise given the short attention spanof the audience. - Andrey Henkin

Another quartet that had its premier last month wasthat of bassist Ben Allison at 55Bar (Jan. 16th). For theensemble, he brought together the not-often used frontline of guitar (Steve Cardenas) and trumpet (theunder-noticed Ron Horton), drummer Mike Sarin joining him in the rhythm section. Though the formatmight have been uncommon, it fit Allisons compositional ideas perfectly, the textures and tonesof the guitar and trumpet able to vary widely andadapt themselves readily to the wide stylistic rangeinherent in Allisons writing. The material was someolder tunes mixed with newer pieces, most likely toappear on the this quartets upcoming album forPalmetto. Tricky Dick was redolent of reggae whileWeazy was a cheerfully hokey modern rag.Emergency, perhaps inspired by the album by TonyWilliams Lifetime, was a bruising 70s arena rockworkout with clunking rhythms. This was followed upby the sole cover of the evening - the theme toMidnight Cowboy by John Barry, a loping Western ballad that included a lovely trumpet/guitar duetinterlude. Hey Man was inspired not only byCharlie Hadens West Coast greeting but also his signature motif of lilting melody over minimal quietgroove. The final selection was a new arrangement ofBlabbermouth (from Allisons 1998 album with hisMedicine Wheel Band with Horton), which found theband moving from the cinematic intro to a funk segment into spacy dissonance. (AH)

Feb. 2-5: DR. LONNIE SMITH

Feb. 8, 15, 22: MAHAVISHNU PROJECT

Feb. 9-12: JIMMY SCOTT

Feb. 16-19: MARK MURPHY

Feb. 23-26: CARMEN LUNDY AND THENEW SONGBOOK ARTISTS

Mar. 2-5: 4 GENERATIONS OF MILESMike Stern, George ColemanBuster Williams, Jimmy Cobb

Mar. 8-12: JAMES CARTER ORGAN TRIO

EVERY WEDNESDAY:ED PALERMO BIG BAND

THE MUSIC OF FRANK ZAPPA

EVERY SUNDAY JAZZ BRUNCH BUFFET

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Chris Lightcap Quintet, Cornelia Street Caf, Jan. 6th

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John Abercrombie, Adam Kolker, Detour, Jan. 6th

The E.J. Strickland Project arrived at BAM Caf (Jan.7th) for an excellent set that balanced energy with control, intelligence with soul. Along with E.J. ondrums, the Project featured his twin brother Marcus(tenor and soprano saxes), Myron Walden (alto sax),Lage Lund (guitar) and Ugonna Okegwo (bass), whilejoining them on vocals was the young singer ChareneeWade. E.J.s contemporary-flavored Praise Song forMarcus inspired a soulful soprano solo from Marcusover the pieces ever-upward chord progression. Onthe groups cover of the Ellington-Strayhorn tuneDaydream, Wade introduced the packed audienceto her powerful and beautiful voice, which was strongwhen plunging deep and smooth when reaching high. E.J. prefaced his composition Lydian Fantasies byproposing that ones compositional flaws - the tendency to depend on something too much - was asign that the flaw was actually integral to ones voice.The pieces angular and quirky melody was fittinggiven its title, with E.J. at his most animated as he propelled Marcus searching tenor solo. The nightssecond cover was Stevie Wonders Ribbon in theSky, where E.J. showed great sensitivity on thedrums, picking up on the emotional crescendo ofWaldens alto solo, spurring him on while anticipating(but not announcing) the solos denouement, whichgave way to a flirtatious exchange between Wadesvocals and Waldens alto.

- Brian Lonergan

Later in the month, in front of a cramped audience at55Bar, guitarist Lage Lund moved from background toforeground to front his own quartet, featuringGeoffrey Keezer on Fender Rhodes, Matt Clohesy onbass and Ari Hoenig on drums (Jan. 17th). Contrary tothe ponderousness (albeit tongue-in-cheek)announced by a tune titled Incredibly ProfoundSong, each member of the quartet seemed to be having fun with Lunds composition and its constantly changing chords and heavily accented off-beats. Lunds good dose of reverb and Keezers quavering keyboard tones created a spacey feel attimes, but the group always returned at a momentsnotice to hit the accented kicks and Lunds solo progressed from hesitant, short phrases to long cascading lines. Thelonious Monks Eronel swungwell but didnt take off until Hoenigs extended drumsolo elicited laughs of astonishment from audienceand band members alike.

Lund seemed most at home during an originalballad in 4/4, with a three-note theme sequencedupward and shimmering harmonies taken at measured pace. His solo relaxed into a series ofassured and assertive statements, while also findingthe most flowing groove of the set, too. The guitaristsoriginal Vonnegut closed the set, a two-part composition moving from anxious to serene and featuring a heated solo by Will Vinson sitting in onsoprano sax. (BL)

Ravi Coltrane got this years IAJE Conference off to astrong start with a rousing concert (Jan. 11th). The saxophonist came out blowing hard on Ralph AlessisOne Wheeler Will, wielding his tenor with characteristic uncompromising strength, driven by E. J. Stricklands powerful drumming. Luis Perdomo followed with a thoughtful piano solo that first contrasted and then reignited the groups energylevel. The band segued seamlessly into the leadersFor Zo, a modal piece reminiscent of JohnColtranes Wise One, featuring the impeccable intonation of Drew Gress arco bass and Stricklandsmalleted toms laying down a soft bottom, on top ofwhich Coltrane and Perdomo played masterful solos.

Coltrane switched to soprano for his originalCoincide, which began as a duet with Strickland,who used his cowbell to set up the Latin groove.Perdomo joined in, beginning with Jarrett-ish introspection over Gress prominent bassline beforeforging straight ahead. Coltrane dug in, after a Gresssolo, weaving long intricate lines out of the prettymelody, displaying a bell-like tone on the straighthorn. He switched back to tenor for Gress Away,snapping off a brisk ballad tempo that gradually builtin intensity. Perdomo laid out for most of the saxophonists intense solo, saving his energy for hisown impressive outing, following which Coltraneintroduced the trio to the appreciative crowd, beforeblowing a warm flowing out chorus. - Russ Musto

Young brassmen Maurice Brown and Sean Joneswent toe-to-toe in an old fashioned after hours Nightof the Cookers session at Sweet Rhythm (Jan. 12th),that was an exciting testament to the enduring vitalityof the hardbop idiom. Joining an allstar ensemble featuring Donald Harrison, Mulgrew Miller, NatReeves and Louis Hayes, with special guest SteveNelson, the two trumpeters traded incendiary solos inan electrifying set, the likes of which has not beenheard since the days when Art Blakey regularly heldcourt in the room. Harrison stomped offConfirmation to start the second show and after thealtoist and Nelson set the blistering pace, Jonesweighed in with a mature articulate solo, followed byBrown, who played with his typical exuberance.Throughout the number Miller, Reeves and Hayesrelentlessly prodded the soloists to extreme heights.

After a short conference, Miller and Nelsonplayed the opening call-and-response melody ofMoanin and Harrison was off to the races again,with Hayes playing the classic Blakey shuffle rhythm.The horns riffed hotly behind Nelsons solo, beforeJones stepped out front blowing sweet and low. Brownfollowed, screaming and growling on his horn. On thesets ballad, Misty, he showed that he was also capable of tastefully restrained emotion. The set endedjust after 3 am with an uptempo rendition of Oleoon which everyone burned through the changes on topof Hayes Blues March-ing rhythm. (RM)

ALLABOUTJAZZ-NEW YORK | February 2006 5

We buy collections of Jazz, ModernClassical, Avant-Garde - CDs &LPs !!!

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Myron Walden, E.J. Strickland, BAMCaf, Jan. 17th

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Drew Gress, Ravi Coltrane, IAJE, Jan. 11th

INTERVIEW

At 87, Gerald Wilson casts a long shadow over the historyof jazz. His new collection In My Time sizzles with powerand joy, as a New York allstar ensemble ignites his dazzling arrangements. His musical associations andfriendships catalogue some of the best musicians of the last60 years: Duke Ellington, Count Basie, Ella Fitzgerald,Jimmie Lunceford, Cab Calloway, Benny Carter, DizzyGillespie, Dinah Washington, Ray Charles, Oliver Nelson,Zubin Mehta, the list is endless. He is also a writer,arranger, composer, trumpet player and a popular teacherat UCLA.

AllAboutJazz-New York: Hows the new record?

Gerald Wilson: Its doing good.

AAJ-NY: I see saxist Kamasi Washingtons on there.

GW: I took him with me. He didnt make the firstrecord with us (New York, New Sound), because he wasin school here. He just graduated this year. Hes only22 years old. But I took him to New York when weplayed Birdland. I had this big thing at Birdland, so Itook Kamasi with us ... We also took him to Detroitwith us this year. We played the Detroit festival thelast two years. They had a helluva band in Detroit.Rodney Whitaker, bass player, he was the contractor.He knew all the musicians to have. He had four or fiveguys in the band that played with the Lincoln CenterJazz Orchestra. Thats who Ill be conducting when Igo to New York. Ill be at Lincoln Center for threedays, which is an honor. You want to play in placeslike that, if you can. Id like to thank the peopleresponsible for that. Im sure Wynton Marsalis wouldbe one who knows whats going on there, so Im surehe would have helped me, because were good friends.His father [Ellis] and I are good friends, in fact I knewhis father before he was born. It pays to have friends.I met his father when he was in the marines. Theywere here doing work here in Hollywood. We all did abroadcast for a jazz show they had on ABC. I had himover to my home, my wife fixed breakfast for him andwe became friends. I met all of his boys, very niceyoung men. The twilight of my career is offering methe same kind of feelings I got in my early days.

AAJ-NY: Youve witnessed a lot of changes on bothsides of the bandstand.

GW: Jazz should get more credit for what it did forblack people. It was because of people like Duke andElla and Nat King Cole that got the door cracked for usto go in here and play in these places. Duke, Ella, Nat,Count Basie all played the Flamingo Hotel. Im the one who played the first night a black could walkin the front door. My band was the first black bandthat could go into the casino, that could eat in the coffee shop. The NAACP had been working on that for years. In Las Vegas, I played the Dunes, the Flamingo,

but at that time you couldnt go in the front door. Youcouldnt go in the casino at all. Dinah Washington atthe Sahara couldnt get dressed in the hotel, they put atrailer outside. Then, in 1955, I played with BennyCarters band. We opened up the first interracial hotelin Las Vegas, called the Moulin Rouge. Beautiful,brand new hotel, over in the black neighborhood.Everybody wondered what was going to happen,because Las Vegas was one prejudiced place. Firsttime I went there a black couldnt do anything or goanywhere. They didnt have a big black neighborhood,very small. I went into Las Vegas with Benny, weopened up, nothing happened. I stayed there threemonths, we played three months there. Finally, thehotel did close. I played the Dunes with Cab Callowaywith his quartet after the thing was over at the MoulinRouge. There was no need to be segregated anymore.The Flamingo made that deal with the NAACP andthat was 1960. Before Martin Luther King, before RosaParks, things were changing already. Theyd beenworking on it, not to belittle anything, because theystill had a long way to go. It wasnt just Las Vegas.

I played for Martin Luther King. This is after Iinaugurated integration at the Flamingo. They had oneof the biggest rallies they ever had at the Los AngelesSports Arena and they asked my band to play. I hadthe most popular black band in Los Angeles. I hadHarold Land. I had Charles Lloyd. I had Elmo Hope. Ahelluva musician, Lester Robinson. I had the cream ofthe crop. They had Herb Jeffries, Jackie Cooper, RobertCulp, Mahalia Jackson. Things were really moving. Iwas a member of the NAACP as a kid in Mississippi.

AAJ-NY: Werent you involved with integrating theLos Angeles musicians union?

GW: I went to a lawyer friend of mine whos still here,hes right downtown. I said, weve been trying toamalgamate these unions. We didnt like the waythings were going. The agents were very mean to theplayers, money problems, we didnt know what wasgoing on with the union. He said slip in on a generalmeeting. Dont tell anyone youre coming. Take yourgroup down there and when they say, NewBusiness, raise up your hand. Make a motion, I movethat local 767 will have a special meeting for the specific purpose of discussing the amalgamation oflocal 767 to local 47. I had a guy right there to second,Percey Mack David, fine musician. After that, thingsbegan to change. We took the union over. The nextelection day, we were there. We voted one of our guysin as vice president. Fired the guy who was giving themusicians hell, fired him on the spot. Then we broughtBenny Carter in with his stature and reputation,brought him in with us. We got everything movingand it moved.

...I gotta give Detroit credit. Coming from thesouth, when I went to Detroit this was the way thingswere supposed to be. All the schools were integrated

in Detroit, Michigan. The union was integrated, theunion I belonged to, local 5. They made us join. Iplayed with a young band and we were so good weplayed in parks and in big ballrooms, they made usjoin the union. $5 and you start. Detroit gave me all Ineeded to carry me on. Because I always felt something was wrong here. What was it? I had a greatlife, my mother was a school teacher. She taughtmusic, she played music for the schools, she played forthe church. She was a college graduate. She started allof her children on piano. The day I played my firstsong on piano, my mother had taught me. I can go intothe piano here and get going and keep going. Detroitbrought back to me what it was supposed to be. Istayed in Detroit five years, there was no riot or nothing in my school. All of my teachers were whiteand they taught me well. So thats the way I thought itwas supposed to be. K

For more information, visit www.mackaverecords.com.Wilson is at Rose Hall Feb. 23rd-25th as part of Jazz atLincoln Centers Los Angeles: Central AvenueBreakdown and gives a master class at Jazz at LincolnCenter Feb. 25th. See calendar.

Recommended Listening: Gerald Wilson Orchestra - The Complete Pacific Jazz

Recordings (Pacific Jazz-Mosaic, 1961-69) Gerald Wilson Orchestra - Moment of Truth

(Pacific Jazz, 1962) Gerald Wilson Orchestra - Portraits

(Pacific Jazz-Capitol, 1963) Gerald Wilson Orchestra - The Golden Sword

(Pacific Jazz-Discovery, 1966) Gerald Wilson - Theme For Monterey (MAMA, 1997) Gerald Wilson - In My Time (Mack Avenue, 2005)

GeraldWilsonby Rex Butters

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6 February 2006 | ALLABOUTJAZZ-NEW YORK

ARTIST FEATURE

When Chicago percussionist Kahil ElZabar rolls intotown this month - a nicely more common occurrence inrecent years - it will be with one of his longest standing bands. And it will occur at an unusual, buthighly appropriate, venue. Rather than the usual jazzclub date he ordinarily plays, ElZabar will appear atS.O.Bs, the citys largest and best known club for so-called world music.

Its a ridiculous name for a genre, but an apt one for ElZabars blend of African rhythms andjazz freedom. His stage wear, the bells on his anklesand his big drums all create the appearance of - to borrow a phrase from the Art Ensemble of Chicago, aband with whom his career has long been interlaced -the urban bushman. And the simple melodies, builtfrom a few tones suggested by the drums, of his EthnicHeritage Ensemble not only represent some of hisstrongest work, but his commitment to maintainingrelationships and moving forward. The band has carried on for three decades, an anniversary theyremarking this year with a 30th anniversary CD to bereleased in May on Delmark Records.

Today its difficult to have bands that staytogether, ElZabar said in an interview last summer,when he appeared at the Lincoln Center Out of Doorsfestival with one of his newer bands, Tri-Factor, withBilly Bang and Hamiet Bluiett. When you think aboutColtranes quartet or Miles groups, relationships arean important part of warmth in music. Theres a quality in the music that you can feel.

Ethnic Heritage Ensemble dates back to 1976,when ElZabar was fresh out of his education withChicagos Association for the Advancement ofCreative Musicians. By that time, he had already spenttime apprenticing with the greats, having played withDizzy Gillespie, Gene Ammons, Eddie Harris andCannonball Adderley, among others. I paid my duesin what people call the straight ahead music waybefore Wynton and all of that, he said. Still, the group- a quartet then, with saxophonists Ed Wilkerson andLight Henry Huff and Yosef ben Israel on bass -opened to mixed reviews on a European tour wherethey opened for Joanne Brackeen. Although the ArtEnsemble (at bassist Malachi Favors suggestion) hadalready been playing in African clothing and facepaint, overt Afro-centrism was still new in jazz. AndEthnic Heritage - even further from what most peoplethought of as jazz than the Art Ensembles sound -were seen by some as pushing an agenda too far. Butthey carried on. When ben Israel left the band, theycontinued as two horns and percussion, solidifyingtheir sound as well, perhaps, as the ritualistic perception.

That instrumentation - now filled out by ErnestDawkins (leader of the New Horizons Ensemble) onsaxophone and Corey Wilkes (trumpeter in the mostrecent Art Ensemble lineup) - lasts through to today,although the S.O.B.s appearance will include guest guitarist Fareed Haque, who played on their 1999

release Freedom Jazz Dance (Delmark).The band released its first record in 1981, the now

out-of-print Three Gentlemen from Chicago, on theGerman label Moers-Music, and put out discs on twoother European labels, Leo and Silkheart (as well asone for the American imprint CIMP), before ElZabarestablished what has proven to be a fruitful relationship with the Chicago label Delmark. At thesame time he was leading the Ritual Trio and someless documented groups, such as Orchestra Infinity,and playing regularly with saxophonist DavidMurray. Throughout his various projects, the drumpatterns - often built from the cadence of a name orshort phrase - have propelled the projects and somethree dozen records as leader or co-leader.

Life has a way of cycling around, especially whenbands continue for decades. Ritual Trio - whichElZabar has led for more than 20 years - has survivedthe loss of Favors, with Yosef ben Israel now on bass.

Yosef goes with me all the way to the beginningsof our development and now it goes full circle,ElZabar said. His approach from a solo perspectiveis different than Malachis, but the earthy tone is a complement to the whole sound.

Israel appeared on the groups most recent recordLive at the River East Art Center. The trio is rounded outby the vastly underrated saxophonist Ari Brown andfor the date included violinist Billy Bang, anotherlongtime ElZabar collaborator. It marks a new soundfor ElZabar, at once softer with the addition of benIsraels more melodious playing, and rawer; seemingly untouched, the disc comes off like a bootlegaudience recording. Like his 2004 We Is: Live at the BopShop (recorded live at a record store in Rochester, NY)it doesnt have the best sound quality in ElZabarsdiscography but it does carry an exciting immediacy.

I like the atmosphere of the last records, its likean old Blue Note, he said. You hear the audience.There is a feeling that connects with people.

The River East show was released by Delmark asa CD and DVD and the latter is an important part ofdocumenting ElZabars recent approach to producinghis concerts. The setting features sculpture, projectedvideo art and a painter creating a mural of the latecomedian Richard Pryor. Young people are moreaccustomed to dance clubs and not chemical relativity with live music, he said. I didnt want people to sit and listen like at a concert. I told peopleto interact with the music, interact with the art, besocial.

We have to take responsibility and reinvent presenting, he added. No ones really questioningpresenting. Its just like Why are there less and lesspeople? [We need to] really address presenting andlook at it in a tolerant, nonbiased way, all lend ourselves collectively and deal with radio and dealwith webcasting and deal with TV. Theres a need foropening, theres a need for connecting. Thats howwell connect people and thats what Trane was

talking about, thats what Ayler was talking about. Allthese various transcendental gifts that go beyond thenotes to get to this, I mean, cmon!

But if at age 52 ElZabar is focusing on building ayounger audience, hes also suffering losses. Besidesthe deaths of bandmates Favors and Huff, hes seenthe passing of some other great Chicago players. Oneof his strongest records, Sacred Love (Sound Aspects,1985) featured the late Art Ensemble trumpeter LesterBowie. In 2002, Delmark released Love Outside ofDreams, a trio with Murray and bassist Fred Hopkins,who died in 1999.

Were just the last people of our generation, hesaid. Its been so difficult to sustain and survive.Lester Bowie was one of my best friends. MalachiFavors was like a father. Fred Hopkins I grew up with.Were the in-between cats. We were too old to be marketed as the young lions and we were too young tobe marketed as the masters. Our time has comebecause weve survived. K

For more information, visit www.kahilelzabar.com.ElZabar is at S.O.B.s Feb. 23rd. See calendar.

Recommended Listening: Kahil ElZabar - Sacred Love (Sound Aspects, 1985) Kahil ElZabar/David Murray -

Golden Sea (Sound Aspects, 1989) Kahil ElZabars Ritual Trio -

Renaissance of the Resistance (Delmark, 1993) Kahil ElZabar/Ethnic Heritage Ensemble -

Dance with The Ancestors (Chameleon-Elektra, 1993) Kahil ElZabar/Bright Moments -

Return of the Lost Tribe (Delmark, 1997) Kahil ElZabar - Live at the River East Art Center

(Delmark, 2004)

ALLABOUTJAZZ-NEW YORK | February 2006 7

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Greenleaf Musicby Brian LonerganWhen Dave Douglas and Michael Friedman first metat a recording session in New York in the mid 80s, theyoung trumpeter made an indelible impression on theyoung drummer. When Dave started playing, he galvanized the band and he had a certain presence anda freshness that is unforgettable, said Friedman, whowould go on to head Premonition Records in Chicago.Still, at the time it would have been hard for either toimagine that two decades later theyd be partners running their own independent, creative-music recordlabel.

Nevertheless, fast-forward to 2006 and Douglasand Friedman are doing just that with GreenleafMusic. Launched just a year ago, Greenleaf hasalready had an auspicious start: Douglas Keystone,one of four records to date in the Greenleaf catalog, isup for a Grammy this month in the category of BestContemporary Jazz Album.

One of the things thats most exciting to meabout Greenleaf Music is being with Dave Douglasand talking with him about the business, saidFriedman. Hes as creative in his business thinking ashe is in his music.

Well, Friedman paused, maybe not quite as creative.

The name Greenleaf comes from Douglas ancestry on his fathers side, dating back centuriesthrough the American colonies to the Old World,

according to the trumpeter. I also picked it because itwas kind of positive, said Douglas. I feel like whatwere trying to do is grow something new in the creative-music world.

The duo started Greenleaf at an opportune timefor each of them - for Douglas, it was the end of hisassociation with Bluebird/RCA, for which he recordedseven albums, and for Friedman, the end ofPremonitions term as an imprint of Blue Note. It hasalso been a time of upheaval in the record industry,with the decline of CD sales and the ascendancy of theInternet as a means of file-sharing and independentdistribution.

Were now in a revolutionary period of what therecord business is and what its going to be, saidFriedman. The brick-and-mortar thing is really kindof undoable in many ways. Its really a tough equationfor labels such as ours that are doing creative musicoutside the mainstream.

Greenleaf began its life more traditionally, with adistributor and a shelf presence in brick-and-mortarmusic stores for its first two records, includingDouglas Mountain Passages with his Nomad ensemble.But as 2005 progressed, Friedman sensed that onlineretail - the right to which he reserved in Greenleafscontract with its distributor - was increasingly the waymost effectively to reach Greenleafs audience. Thestrange result is that the Grammy-nominated Keystonebecame available in stores only subsequent to its nomination.

Besides Mountain Passages and Keystone, the othertwo records in the Greenleaf catalog are Kneebodysself-titled debut and the Douglas quintets Live at the

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8 February 2006 | ALLABOUTJAZZ-NEW YORK

LABEL SPOTLIGHT

ABC No Rioby Kurt GottschalkThe first time saxophonist Blaise Siwula played atABC No Rio - the vaguely anarchistic quasi-legalLower East Side building where hes run a Sundaynight improv series for the last eight years - was in1990. At the time, he recalled, it was a run-down building in a questionable neighborhood.

They didnt really have walls then, he said.There was a hole in the floor and leaks everywhere,but people would show up. It was pretty tough inthose days. Dealers would stand outside the door andshout names of drugs. Nowadays theres restaurantsand French boutiques.

Back then, few would have predicted the changesthe neighborhood has seen in the last few years. And ifrenovations in the building itself have been comparatively modest, even fewer might have predicted the changes the building will undergo bynext year.

Under a deal with the city, ABC No Rio - an official nonprofit organization - is expecting to buy thebuilding at 156 Rivington for $1 at the end of thismonth. This fall, they will close their doors for an estimated nine months to undergo a $600,000 restoration, according to ABC Director StevenEnglander, the sole paid staff member of the

organization.It will be the first time in close to a decade that

Silwula has had more than the occasional Sundaynight off. He has organized the open music seriesC.O.M.A. for eight years, hosting two or three acts anight for a mere $3 donation. All the money goes to themusicians (Siwula pointed out that his only paymenthas been a few cold feet and some sniffles) and theonly real requirement to play there is to ask.

Its not really meant for the indie rock scene orthe folk singer scene, but I dont tell them no, hesaid. I usually let that sort itself out. I dont want tobe the guy that says No, that wont work. I just saythink about it. Some people dont like what I do, they

(CONTINUED ON PAGE 38)

CLUB PROFILE

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During a recent conversation, Barry Harris (75) wasasked about his plans for the future. It evoked aninstantaneous explosion of laughter from him beforehe replied, Dont ask me that! The life I lead is the lifeI lead. The recipient of an Honorary Doctorate fromNorthwestern University, in person Dr. Harris is aphysically unprepossessing 5 6. Yah, put da halfin there, he remarks, punctuating it with one of hisfrequent chuckles. Talking with this warm, diminutivegiant, legendary pianist, composer and educator isakin to being treated to a one-on-one master class.Hes devoted his life to the advancement of jazz and isa seminal living link to the origins of bebopand the music of Charlie Parker,Thelonious Monk and Bud Powell.

Harris career, which has extendedover more than six decades, began in hishometown, Detroit, Michigan, where hebegan playing piano at age four. He creditsthe school system there with having beenan especially nurturing force. Out of itemerged many first-rank musicians andlifelong friends such as Kenny Burrell,Tommy Flanagan and Hank, Thad andElvin Jones.

Warming to the subject of musical education, which has for decades been amajor part of his life in settings such asweekly classes at the New York City JazzWorkshop, he considers whats mostdemanding in teaching. Hmmm. ...Really,how to improvise. Thats the biggest challenge. I want [students] to be proficienton their instruments. ...You have to find away to teach all this kind of stuff. Its hard....They have to have the means and themeans is the technique. You have to havethat. [Im not] really teaching bebop orsomething like that. Im just trying to teachhow to improvise.

An unexpected example of improvisation whichHarris refers to is Johann Sebastian Bach. ...You gottathink, if Bach was alive and all those cats were alive,where would they be playing? They would be playingin a bar. Because symphony halls play dead peoplesmusic. You gotta be almost dead to be played there.

Clearly touching on a favorite theme he continues, Bach had gone to see this great organist, agreat cat. And it really messed him up a little. Bachcame back and he was doing stuff and the singers werehaving a fit. He ended up having to go to a saloon toplay because he was doing too much in the church.Here Harris takes on a hilariously strangled tone in hisvoice. The people said, Bach, youre doing too much.Bach! Dont do so much!

From Harris point of view, hes bringing toEurope what Americans have added to music. ...We[in the US] were a conglomerate of people. ....See,these other nations, France and England and all themplaces are just now feeling the things we wentthrough. (Chuckling) Theyre just getting used to people from all over the world getting in their house.

Along with Johann Sebastian Bach, among Harrisgreat mentors have been Charlie Parker, Bud Powelland Thelonious Monk. Of Monk he says, Well, youknow that Monk was an individual. Monk was a creature who must have said one day, Im not goingto play like anyone else. And so he commenced to doit and his solos werent like anybody else and hissongs werent like anybody else. Now Bird and them,they incorporated some of his music into their music....We think of bebop, we include Monk, but Monk wasnt so much a bebop man. Monk was an individual. I tell people there are very few of thosewho wake up and say, Im going to be entirely different. [He quickly adds, there] aint nothing wrongwith sounding like someone else until you find yourself. Youre not supposed to end up divorcing

yourself completely from your beginnings. When Harris wanted to learn soloing, it was Bud

Powell and the recording Web City with Sonny Stitt,Fats Navarro and Max Roach on drums that he listened to. I slowed that record down...It ended upwhere I started listening to him. He was the best one ofall of them as far as this music was concerned. ...CootieWilliams must have been a helluva nice leader becausehe let him, Bud Powell, solo all the way through someof his records.

As he recalls listening to Powells Iz Or Iz YouAint My Baby for the first time, Harris enthusiasm isas ebullient as it must have been a half century ago....Suddenly! in the background, and here Harrisvoice grows hushed as he remembers that moment. Icould hear this piano player playing all these minorthings and I said, WHO IS THAT, SO!... So you see,thats how you get turned on. You hear these cats playand you say ummmm. Every one of us was trying tolearn how to solo and play and it looked like we weredevout...devoted or whatever to the bebop. You know,Fats Navarro, Bird, Diz and the bebop was a lot of people. Pres, Coleman Hawkins, all of them, they werelike at the beginning of it. But then Bird came in andhe changed the rhythm of it. ...Its the rhythm mostlythat Bird did... ...Bird was the leader.

Asked to define bebop, Harris replies simply. Ithink bebop was mostly syncopation. You haveto...uhhh, its hard. Now I am beginning to feel youhave to feel six against four. And you have to feel theands of the beats as much as you continue with the1,2,3,4. Thats the beats, but the other half of the 1,2,3,4is one and two and three and four. The drums lost it.They dont play 4/4. They cut the time most of them.You have to make them aware of it. They dont eventhink four.

Among those with whom Harris has had a longtime working partnership is drummer LeroyWilliams, with whom he will be appearing at theVillage Vanguard this month. About Williams, hesays, In some kind of way, I feel the ands with him.

I feel the syncopation. For his part, Williams remembers when he first heard Harris playing withPaul Chambers over 40 years ago, before even meetinghim, and thinking of Harris music, ...Thats it! OfHarris himself he says simply, Barry goes deep youknow. A lot of piano players are good. But Barry,because of his love of music, he goes deep like thegreat ones. ...Hes a music man, Barry. A thousandpercent all the way.

Music history comes to life as Harris recallsColeman Hawkins, with whom he played for severalyears in the 60s: Oh, that was beautiful. That was a

good experience. ...Coleman Hawkinsmade Bird come down off of the pedestal Ihad put him on. Because I could see theplaying was not limited to Bird. Bird is thegreat influence when it comes to rhythm.He changed drums. He changed everything. But Coleman could play. Pres[Lester Young] could play.

By contrast, Harris observes unhappily that too often musicians todayjust like sitting around playing patterns,as if learning patterns is going to makethem learn to play. He bemoans many ofthem sounding alike and that quality wentout the window and was replaced by quantity. They play a lot of notes,but...just imagine someone who talkedincessantly. Then they take a big gulpingbreath and they come right back in andstart talking again. And that would be sickening to listen to!

See what it is, he continues. Weretalking. Were pausing. These pauses arentnecessarily silence. These pauses are foremphasis. These cats dont even pause.They think the more notes you play, theythink the longer you play, not only do theywant to play more notes, they want to play

forever. They cant even write a short story, how [are]they going to write a novel? When they cant evenmake a poem. A little short poem.

Being a peripatetic traveling teacher, Harris hasbeen known to land in New York after a lengthy tourof Japan, look at his watch and remark, I have time togo teach my class. Its being with people all over theworld as a teacher that Harris feels keeps him centeredin his life. Theyre like one big family. I have homesall over the world...

What would he like listeners to get out of his ownmusic? I wish I could give them the feeling that Birdgave me when I first heard him. Oh Lord!... When Iheard Bird with strings for the first time in person... Ithink he was really a spoiler, because when I go tohear somebody, I expect to get that feeling. Its adrag.

As a final bit of sage thought he adds, Well thisis my conclusion, that you have to give that feeling toyourself. And then maybe you can pass it on to someone else. So some kind of way, you have to makeyourself feel this thing. K

For more information, visit www.BarryHarris.com. Harrisis at Village Vanguard Feb. 7th-12th and is honored Feb.27th at The Pierre Hotel as part of the New School 2006Beacons Award Gala. See calendar.

Recommended Listening: Barry Harris - At the Jazz Workshop

(Riverside-OJC, 1960) Yusef Lateef - Eastern Sounds (Prestige-OJC, 1961) Lee Morgan - The Sidewinder (Blue Note, 1963) Barry Harris - Live in Tokyo (Xanadu, 1976) (Various) - Interpretations of Monk:

Live From Soundscape Series (DIW, 1981) Barry Harris - Live at Maybeck Recital Hall, Vol. 12

(Concord, 1990)

ON THE COVER

ALLABOUTJAZZ-NEW YORK | February 2006 9

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10 February 2006 | ALLABOUTJAZZ-NEW YORK

MEGAPHONE

VOX NEWS

The Courage to Really Play...by Matt LavellePeople have dedicated their lives, suffered and diedin pursuit of becoming one with a music that, at itscore, is a music that makes being a human being really mean something.

This music can save lives. People hold on tomoments in this music when there is nothing left tohold on to. These moments are something that you canhold right in your hand, right in your heart and onceheard, they can never be taken away. Tranes Live atthe Village Vanguard has helped me get through difficult periods in my life and although I wasntthere, Ive sat on the stage with Trane many times.

Everyone deeply involved in this music has thesemoments. A great musician once said that when youreabout to play, you should feel like youre about tochange someones life. Maybe you can open their heartand get them to ask themselves questions they havealways been afraid to ask. Maybe even better, you canhelp them through their fear. Could be any kind offear: fear of being themselves, fear of loving or fear ofbeing loved.

How many of us today are playing music to upliftothers? So many of us are afraid to really play, mostlyafraid of ourselves and what we might find inside.Many of us have no story to tell so we try to tell someones elses story - its safer that way. When thepeople that are afraid to listen believe in the peopleafraid to play, we get a kind of mass denial no

different than someone thinking that Britney Spearsmight really be on to something.

Theres so much intellectual music and past recreation going on because its safe for the playersand the listeners. Some are at least being honest. If thefeeling aint there then its just not there. It has neverbeen more difficult to have your own sound and beyourself than in todays jazz world. To stay on thatpath and never give up - though it may take years - isan honorable quest indeed. Whats out is when peoplewithout their own thing are celebrated at large.Another helping of adversity for todays jazz player.

One thing that the musicians can count on is thatthe real history and the real experience of this musicbelongs to us. Listeners and writers will never knowwhats its like to have your sound filling up a roomand going right into the hearts of those presentthrough their ears. Listeners and writers will neverunderstand the countless hours of dedication to ourcraft and the eventual musical and spiritual dividendsthat follow. Ours is a perspective they see, but neverreally feel. The real history of this music belongs to thepeople making it and the people who gave their livesin pursuit of being a branch on the great tree. Listenersand writers can look at the tree and talk about whetherthey like the tree or not but they are not, or ever willbe, a part of the tree. Trees like to grow.

What we need now, more than ever is the courageto REALLY play. K

For more information, visit interjazz.com/mattlavelle.Lavelle is at Caf Grumpy Feb. 4th. See calendar. His newalbum is Embracing the Tide on Utech Records.

by Tessa SouterJanuary was an interesting month - one of the highlights being fellow Brit Christine Tobin, who Idnever seen before, at Joes Pub. She was fantastic, witha wonderful smoky Bonny Raitt-like voice, interestingarrangements and superb originals with amazinglyrics. Also interesting is a beautiful new CD, A Glance(LoNote Records) by Maryanne De Prophetis, whichshe recorded with her husband pianist FrankKimbrough and Ron Horton on flugelhorn. It featuresvery simple and beautiful songs - all composed andarranged by her - which perfectly suit her rather delicate, fragile voice. Pyeng Threadgills all-originals, kind of quirky (in a good way) CD Of the Air(Random Chance) is also perfectly suited to her vocalinstrument, which makes sense since she wrote mostof the songs. And speaking of interesting, I really wantto check out cabaret queen Barb Jungr - often called aBritish Piaf - who will be singing the songs of Elvis atJoes Pub (Feb. 5th).

This month promises to be just what we need tocheer up wintry February with three amazing vocaljazz legends - Jimmy Scott, Mark Murphy and AndyBey - performing within days of each other. Iridiumpresents Billie Holidays favorite singer Scott (Feb.9th-12th) followed by a favorite of Ella Fitzgerald,Verve recording artist and six-time Grammy nomineeMurphy (Feb. 16th-19th). Recent Grammy nomineeBey (who shared the stage with Sarah Vaughan andDinah Washington before he was even 18) will be partof the Tuesday night series at Sweet Rhythm to celebrate Valentines Day (Feb. 14th). I will definitelybe there to worship all three of them. I also want to gohear Carmen Lundy, vocalist and composer, atIridium (Feb. 23rd-26th), in support of her wonderfulnew double CD of original songs recorded live (thebest way to experience this singer) in Los Angeles, Jazzand the New Songbook: Live at the Madrid Theater(Afrasia). See you there.

SHORT CUTS performing in the Sweet Rhythmvocal series this month, dont miss Gloria Cooper(Feb. 7th), Andy Bey (Feb. 14th), vocal group MondayOff (Feb. 21st) and Christiana Drapkin (Feb. 28th),who will be introducing little-known compositions byEllington and Strayhorn as well as words by WilliamShakespeare set to Sir John Dankworth songs JazzStandards Voices and Songs series continues everyMonday in February with Joan Crowe (Feb. 6th), IlonaKnopfler (Feb. 13th), Jay Collins (Feb. 20th) and ErinBode (Feb. 27th) ... At Blue Note, Afro-jazz soul singerSomi will be bringing in Valentines Day (Feb. 13th),followed by saxophonist/singer Curtis Stigers (Feb.14th-19th) and Allan Harris (Feb. 20th) with his CrossThat River Band Manhattan Transfer-ite CherylBentyne appears at Birdland (Feb. 1st-4th) VerveRecords has reissued all seven of Nina Simones recordings for Philips - Broadway - Blues - Ballads, InConcert, I Put A Spell On You, High Priestess Of Soul, LetIt All Out, Pastel Blues and Wild Is The Wind - as a commemorative boxset while Legacy Recordings hasbegun issuing Simone compilations Judi SilvanosWomens Work Quartet will be Enzos Jazz (Feb. 3rd)with an all-woman trio: Janice Friedman (piano),Jennifer Vincent (bass) and Bernice Brooks (drums) So will one of my favorite live performers, guitarist-singer KJ Denhert (Feb. 8th). In fact, Enzos is awashwith singers this month, including Kendra Shank(Feb. 10th), Giacomo Gates (Feb. 15th), a new (to me)young singer DeeAnne Gorman and her Trio (Feb.22nd) and Barbara Sfraga & Center Search Quest (Feb.24th). California-based singer, Daria, has a new CD,Feel the Rhythm (Jazz M Up Records). K

Tessa Souter is a vocalist, journalist and author and produces the weekly Tuesday vocal series at Sweet Rhythm.Souter is at 55Bar Feb. 10th. Her debut CD, Listen Love(Nara Music), is available at CDBaby.com and at TowerRecords, Lincoln Center. For more information visitwww.tessasouter.com.

Musicians in their own words...

In Celebration of Black HistoryPanel Discussion How Collective Black Artists, Inc. managed the business of music in 1970s New York. With Reggie Workman, Cobi Nartia, Jimmy Owens, Don Moore and others.

Free and Open to the Public February 22, 8:00 p.m.

The New School Jazz Performance Space 55 West 13th Street, Fifth Floor

February at Sweet RhythmFrom Charlie Parker to Herbie Hancock a look at the cultural contributions of African-American musicians6 Music of Charlie Parker

directed by Dave Glasser

13 An Evening of the Blues directed by Junior Mance, featuring readings by students from The New School for Drama

20 Music of Herbie Hancock directed by Peter Zak

27 Art Blakey & the Jazz Messengers Repertory directed by Charles Tolliver

SWEET RHYTHM, 88 Seventh Avenue (between Bleecker and Grove) Sets at 8:00 p.m. and 10:00 p.m.

Please visit www.jazz.newschool.edu or call 212.229.5896 x4591 for more information.

Tuesday, FEBRUARY 28, 8:00 p.m. Joe Chambers and the Outlaw Band JOE CHAMBERS

DRUMS AND VIBRAPHONE

WITH MISHA TSYGANOFF PIANO DWAYNE BURNO BASS JAVON JACKSON TENOR SAXOPHONE LOGAN RICHARDSON ALTO SAXOPHONE WOODY SHAW III DRUMS

The New School Jazz Performance Space55 West 13th Street (btw. 5th & 6th Aves.) $10; Free for students and seniors

JAZZPresentsSPRING 2006

ALLABOUTJAZZ-NEW YORK | February 2006 11

Joe Wilderby Greg Thomas

Joe Wilder, a true living legend of thetrumpet, is at long lastgetting what fellowbrass great RoyEldridge used to callhis screen credits.

After 60+ years of superlative support work in bigbands, Broadway pit orchestras and commercials,Wilder is finally headlining his own quartet at theVillage Vanguard.

He says in fact that its the first time hes ever leda group in New York City under his own name. Along-time Harlem resident, Wilder is no stranger toplaying in town however. I used to jam at Mintons inthe 50s. And there was a club on 110th and 8thAvenue, I think called The Flame where Big NickNicholas led a group. Everyone loved him. Hot LipsPage and other great musicians from across the country would come in and jam.

Wilder was born in Colwyn, Penn. on February22nd, 1922 into a musical family including his fatherCurtis, a bassist and bandleader in Philadelphia.Curtis Jr., Wilders older brother, also played bass. OnJuly 1st, 2004, as the guest of the Jazz Museum inHarlems Harlem Speaks series, Wilder explained thatalthough he was initially attracted to the trombone, hisfather bought a cornet for him and began to take himto some of his dance jobs. Wilder recalled overhearingthe orchestras first trumpeter, Fred Beckett, grumble,Oh my God, here comes Wilder with that damn kidagain!

His fast progress led to a regular feature on aweekly childrens radio program in Philadelphiacalled the Parisian Tailors Colored Kiddies of the Air. Theyoungsters were backed by bands appearing at theLincoln Theater, including Duke Ellington and CabCalloway. I would be playing the first trumpet part ofsome popular tune - just reading it note for note. Andthese bands would be playing backgrounds for us!Wilder had an early encounter with Louis Armstrongon one of these occasions. He was awfully nice to me.He gave me a pass and said, You come and see Louisevery day. Pops remembered the young trumpeterfrom the broadcast in later years: He always encouraged me and I think he was proud of the factthat I made it in the studios, Wilder recalls.

He studied at the Mastbaum School of Music inPhiladelphia. Early on he was drawn to classical musicbut soon realized that a career in the symphony was

not a realistic goal for a black musician coming of agein the late 30s. So Wilder began playing in big bands,leaving home in 1941 at 19 to join Les Hites band.

I remember my mother standing there at the sideof the bus all loaded with strangers and saying: Now,you behave yourself and dont you do anything to disgrace the family! She had nothing to worry aboutbecause Wilder is known as one of the most dignifiedgentleman in the business. In fact, when he was withthe Lionel Hampton band in the early 40s, fellow bandmembers would offer him ten bucks if he wouldsimply say one profane word. He politely refused.

Wilder was one of the first thousand blacks toserve in the Marines during World War II, workingfirst in Special Weapons then gaining an assignment tothe headquarters band for which he became theAssistant Bandmaster. He played in the orchestras ofJimmie Lunceford, Herbie Fields, Sam Donahue,Lucky Millinder, Dizzy Gillespie, and Noble Sissleduring the 40s to the early 50s.

His last big band gig was with the Count BasieOrchestra in 1953, after which his career remainedclose to home - hes a devoted husband, father of threedaughters and a grandfather too. He started playing inhit productions such as Guys and Dolls and ColePorters Silk Stockings, the touring company of whichhe joined in late 1953. They went first to Mr. Porterand asked if he had any objection to a black musicianplaying first trumpet, Joe recalls. All he asked was,Can he play my music? When they told him I could,he answered, Well, thats all that matters.

He earned a secure place in the studio scene as afirst call musician and served on staff at ABC from1957 to 1974. A lot of times you just went in and werecompletely surprised, he recalled. We took pride inbeing able to sight-read anything that was put beforeus and in playing any type of music as well as the people who specialized in that particular style.

Ed Berger, staffer at the Institute of Jazz Studies atRutgers University currently working on a biographyof Wilder, says that in addition to his busy studioschedule, Joe continued to build a reputation as ahighly original jazz soloist through his own albums for Savoy and Columbia and countless sessions as asideman with Hank Jones, Gil Evans, Tadd Dameron,Michel Legrand, Benny Goodman and many others.He also became a favorite of vocalists, such as BillieHoliday, Lena Horne, Carmen McRae, HarryBelafonte, Johnny Mathis, Tony Bennett, Helen Humesand Johnny Hartman, who found their own work to begreatly enhanced by Wilders sympathetic obligati.

He went back to school in the 60s, earning a bachelors degree at the Manhattan School of Music.Wilder played on several occasions with the New YorkPhilharmonic and in 1968 he became principal trumpet

for the Symphony of the New World, which he characterized as the first fully integrated symphonyorchestra in the United States. He also recorded hisown album of classical trumpet pieces, fulfilling hisoriginal dream.

Hes the only surviving member of the CountBasie All-Star Orchestra seen in the classic 1959 filmThe Sound of Jazz, soloing on the tune Fast and HappyBlues. Then as now, Joe Wilders trumpet and flugelhorn playing are as elegant and sophisticated asthe man, his approach unique and soulful like the veritable sound of jazz. His rare appearance at theVanguard is not to be missed. K

Wilder is at Village Vanguard through Feb. 5th. See calendar.

Recommended Listening: Joe Wilder - Wilder N Wilder (Savoy, 1956) Joe Wilder - The Pretty Sound (Columbia, 1958) Joe Wilder - Jazz From Peter Gunn

(Columbia, 1959) Helen Humes - Helen (Muse, 1980) Joe Newman/Joe Wilder - Hangin Out

(Concord, 1984) Joe Wilder - Along With Just My Dreams

(Evening Star, 1991)

ENCOREBack in the spotlight...

Jeanne Lee (1939-2000)by Donald ElfmanThe inventive and innovative vocals of Jeanne Leewere described as the first new approach to jazzsinging since Sarah Vaughan. She emerged from thenew music scene of the 60s and stayed true to her aesthetic for her entire career. She made use of the natural qualities of breath to create a style that couldgo from atonal wordlessness to the bluesiest blues andnever fail to tell a story.

Jeanne Lee was born in New York in 1939. Shestudied dance as a teenager as well as singing. In theearly 60s she met Ran Blake who had come out of thethird stream in New England to create a sort of minimalist poetry of the keyboard and together the

two made the now legendary album The Newest SoundAround for RCA in 1961 and toured Europe in 1963.Jeanne moved to the West Coast in 1964 and then wentback to Europe in 1967 where she met, married andcollaborated with vibraphonist and composer GunterHampel, a mainstay of the European avant garde.They did many albums for his Birth label in the 60s-70s as she came to be celebrated by new musicianseverywhere. A partial list of players she workedand/or recorded with includes Lester Bowie, CharlieHaden, Carla Bley, Sheila Jordan, Rahsaan RolandKirk, Archie Shepp, Mal Waldron and Gary Bartz.

In 1989 she reunited with Ran Blake for YouStepped out of a Cloud on the Owl label and continuedto join forces with the giants of modern music. From1976-1978 and again in 1992 she toured with the JohnCage Bicentennial Concerts and performed with the

New York Philharmonic and with the Boston,Cleveland and Chicago Symphony Orchestras. Inrecent years she concentrated on writing pieces thatcombined dance, poetry and song. The woman quitesimply had a breadth of expression and an astonishingvocal instrument.

The best place to start to explore the wonder ofJeanne Lee is with the Ran Blake collaboration that puther (and him) on the map. She is heard to great advantage on Marion Browns noted ECM outingAfternoon of a Georgia Faun and on Carla Bleys monumental Escalator Over the Hill. Her 1994 Owlrecord of standards with Mal Waldron - After Hours -is stunning as is her beautiful 1979 Black Saint sessionNuba 79, with Andrew Cyrille and Jimmy Lyons.

Jeanne Lee died after an illness on October 25th,2000. K

LEST WE FORGETGone but not forgotten...

50s 90s

12 February 2006 | ALLABOUTJAZZ-NEW YORK

Jordan Perlsondrums, percussion

Perlson was born and raised inthe suburbs of Philadelphia. Hestarted taking drum lessons at 10and played in school bands,garage bands and ensemblestaught at other music schoolsaround the city. He always played

along to whatever CDs and tapes he could get hishands on (he remembers playing along to Ice-Cube,then Peter Gabriel one afternoon). Then, when he was15, he attended Berklee College of Musics summerprogram. He was already quite interested in Berklee,but the experience there only solidified his desire tostudy there when finished with high school. Aroundthis time, he began playing with the cult progressiverock band Echolyn. He was very fortunate to learn allabout writing and make a record with them becausethey were all very, very experienced and talentedmusicians. After graduating high school, while attending Berklee, Perlson had many more wonderfuloppurtunities. He performed many styles and withincredible musicians from all around the world, aswell as with visiting artists. As a student, he had thehonor of performing with Pat Metheny, MichelCamilo, Abe Laboriel, Sr. and many others. Since moving to New York about a year and half ago, he hashad many more wonderful experiences and has grownso much as a musician since arriving in the city.

TEACHERS: Adam Issadore, Joe Morello, Ian Froman,Jon Hazilla, John Ramsay, Jamey Haddad, Hal Crook.

INFLUENCES: Jack DeJohnette, Tony Williams, PaulMotian, John Bonham, Abe Laboriel, Jr.

CURRENT PROJECTS: Daniel Kelly Group, GianTornatore Group, Matthias Lupri, East-West Quintet,Tiger Okoshi Group, Lalo, Talat, Janek Gwizdala andothers.

BY DAY: Practicing, putting up shelves (I just moved),rehearsing, playing sessions, trying to survive just likeeveryone else! I teach a little, but it isnt something Ivebeen able to pursue in an ongoing/consistent way.

I KNEW I WANTED TO BE A MUSICIAN WHEN...I heard the opening drum fill in Cult of Personalityby Living Colour.

DREAM BAND: Bill Carrothers, Loren Stillman, NateRadley, Matt Pavolka and me.

DID YOU KNOW? Even though we share the exactsame last name, ex-Knitting Factory executive MarkPerlson and I are not at all related.

FOLLOW UP WITH:info@jordanperlson.comwww.jordanperlson.com

Perlson is Redds Feb. 2nd with East-West Quintet; JazzGallery Feb. 16th with Janex Gwizdala; The Stone Feb. 18thwith Talat; and 55Bar Feb. 21st with Bobby Avey. See calendar.

LISTEN UP!

Jacob Garchiktrombone

Originally from San Francisco,trombonist and composer JacobGarchik has been a busy freelancer in NYC for over 10years, becoming equally comfortable in a wide variety ofstyles and genres. His newly

released CD Abstracts, with Dan Weiss (drums) andJacob Sacks (piano), gives three of the busiest and mostversatile young players in New York plenty of space toexplore their creative imaginations through his intricate original compositions which are used asspringboards for improvisation and group interplay.

TEACHERS: In San Francisco my first tromboneteacher was Doug Thorley, whom I studied with everyweek for 7 years. At Manhattan School of Music, I had4 intense months with Steve Turre, then a year withDavid Finlayson of the NY Philharmonic, then 2years with Dave Taylor, who illuminated the physicalaspects of trombone playing.

INFLUENCES: I enjoy listening to a wide variety ofmusic from all over. I actually own too much musicand I havent listened to it all. Id have to say my ownplaying and group leadership is influenced by MilesDavis, John Coltrane and Joe Maneri.

CURRENT PROJECTS: I lead my own bass-less triowith Jacob Sacks (piano) and Dan Weiss (drums). I alsocontribute arrangements and compositions to the collectively-run bands 4inObjects, the Four Bags andSlavic Soul Party. And I fulfill sideman duties in abouta dozen other bands including the Lee Konitz NewNonet (which recently recorded live at Jazz Standard),the Steve Swallow/Ohad Talmor sextet, the JohnHollenbeck Large Ensemble, the Ben GersteinCollective, Judith Berksons East River Orchestra andFrank Londons Klezmer Brass All-Stars. I also playgigs on accordion, bass trombone, trumpet, tuba, computer and piano.

BY DAY: In addition to a desk job in a small recordcompany, I accompany preschool music classes as apianist, teach beginning piano classes at an adult college, teach a few trombone students, do occasionalFinale engraving jobs and build and maintain websitesfor friends.

I KNEW I WANTED TO BE A MUSICIAN WHEN...I saw my brothers middle school jazz band play anddaydreamed about playing a purple saxophone withthem.

DREAM BAND: I dont like to fetishize the past toomuch. Therefore my dream band consists entirely ofmusicians not yet born. You cant imagine what kindsof things they would play!

DID YOU KNOW? I envision a future in which all living creatures generate electricity by powering portable generators.Theyll pull them around all day and then swap outthe freshly charged batteries for empty ones.

FOLLOW UP WITH:www.jacobgarchik.com

Garchik is at 5C Cafe Feb. 3rd, Crossroads Caf Feb. 11th,Barbs Feb 12th with Gondwanaland, Feb. 26th with theFour Bags and Tuesdays with Slavic Soul Party; and at TheKitchen Feb. 17th-18th with John Hollenbeck. See calendar.

G. MMORATTI ARTIST MMANAGEMENT

Personal MManagement ffor:Don FFriedman - PPianoSayuri GGoto - PPiano

Daniela SSchaechter - PPiano/VocalsMamiko WWatanabe - PPiano

Harvie SS - BBassMike DDiRubbo - AAlto SSax

Karolina SStrassmayer - AAlto SSaxRandy JJohnston - GGuitar

Susana DD - VVocalsBenny PPowell - TTromboneSteve SSwell - TTromboneDrori MMondlak - DDrums

(Straight CCircle)For bbookings oof aany oof tthe aabove

musicians ccontact:

Gino MMoratti 86-220 PPark LLane SSouth

Woodhaven, NN.Y. 111421Phone 7718 8805-11078

e-mmail gginom@worldnet.att.netwww.ginomoratti.comEach month, AAJ-NY spotlights two musicians that we think you ought to know about. To suggest someone who deserves a listen, email some information to ldgreene@allaboutjazz.com

ALLABOUTJAZZ-NEW YORK | February 2006 13

Arguably one of the most significant developments inmusic in the 20th century was the breaking down ofthe idea of musicianship; expressiveness surpassedfinesse as the reason for playing an instrument. And,arguably again, it was Derek Bailey who was a primary instigator of this evening of playing fields.

Which in a sense is to damn the British guitar phenom - who died on Christmas Day, 2005 - withhigh praise. Bailey was a remarkable talent, a dexterous player who could maintain several linearthreads of pure abstraction at a time and build a coherent, deeply personal statement. He created a language that seemed inclusive, even inviting, as if tosay, Come along, pour your soul out on the stringslike me, you can do it. Of course, you couldnt, notreally, but thats a different story. For what Bailey peddled during a career that spanned six decades wasnot technique - not the ability to play Villa-Lobos or tocompose great somethings - but to be completely inthe moment, to pull notes from his heart and the etherand to make the listener intimately there, with him.

The genre of music that most embraces that freedom in most peoples eyes is jazz - a form Baileystarted in and, even while playing at various timeswith the likes of Steve Lacy, Paul Motian, TonyWilliams and Pat Metheny, spent much of his careertrying to disassociate himself from. With his typical,understated grace, Bailey authored a book in 1980called simply Improvisation, for which he interviewedclassical, rock and other musicians about the role ofimprovising in their music. The point - never overtlystated - was that improvising doesnt make one a jazzmusician and that Baileys music was not jazz.

I dont think its done any good for free improvisation, generally speaking, to be coupled withjazz, Bailey told Nick Cain in 2000, in an interviewpublished in Cains online magazine Opprobrium. Butmy view of jazz is that it died about 1956. It staggeredon in some quite interesting ways into the early 60s,and then it was resurrected in a rather ghoulish manner in the 1980s. But this is also a personal thing.It was partly to do with my own dissatisfaction with itand my decision, around the age of 23, that I was nevergoing to be Charlie Christian.

Bailey was born in Sheffield, Yorkshire, onJanuary 29th, 1930. His uncle played guitar and, alongwith those Charlie Christian records, was an earlyinfluence to his picking up the instrument. By 1950, hewas working jazz club circuits in England, movingfrom town to town for extended pub gigs. His talent asa jazz guitarist led to bigger gigs and eventually tomeeting drummer Tony Oxley and bassist GavinBryars. In 1963, they formed the Joseph HolbrookeTrio, named by Bryars for an obscure British composer who died in 1958. Though they earned littlenotice, together they began exploring non-idiomaticimprovisation.

We were aiming for the opposite of drivingbecause everything was like that - this was the OscarPeterson time - it was all about getting it on, as Tonyused to say, Bailey told his biographer Ben Watson.Thats one thing we had in common. An impatiencewith the gruesomely predictable. Another thing wewere interested in [] was that we liked silences.

If not the very foundation, the trio was clearly oneof the bases for the free improvisation movement thatbegan to gain a commercial foothold in the 70s. ButBailey was never one to take credit for starting a movement. Prior to Holbrooke, he had the occasionalencounter with open improvisation and speaking toWatson remembered an earlier experience in Glasgow:Laurie [Steel], me and another guy individuallyretuned our guitars and played. The results? Cantremember. We didnt try it again. But that kind ofexploratory episode, while uncommon, happened nowand then, and my guess is that it has always happened.Nobody invented Free Improvisation.

During the explosion of music, jazz, rock andbeyond, in the late 60s and early 70s - when corporaterecord labels had no idea what might sell - a surprising breadth of records were being released. Atthat time, Bailey participated in a few major label sessions - notably Oxleys The Baptised Traveller (CBS,1969) and 4 Compositions for Sextet (CBS, 1970). Thenew movement was getting noticed. Drummer JohnStevens Spontaneous Music Ensemble (with Bailey,saxophonist Evan Parker and bassist Dave Holland)recorded for Island in 1968 and Marmalade in 1969. In1970, the fledgling German label ECM released arecord by the Music Improvisation Company, withBailey, Parker, Hugh Davies (electronics), Jamie Muir(percussion) and Christine Jeffrey (vocals). But thatsame year, CBS dropped Oxleys third record and heapproached Bailey to start a label together. Theysecured financial backing and invited Parker to be athird partner. In a split that created a rift in the Britishimprov scene and has been the source of rumors andspeculation ever since, Oxley and Parker left the labelwithin a few years. Bailey kept the business runningfor the rest of his life and while he was featured onmany of the releases - more than 50 in all - Incus ismore than a vanity label. With his wife KarenBrookman, Bailey built one of the most importantlabels documenting free music in Britain.

But more than his place in history as an innovatorand label head, what was of course important aboutBailey was his playing. He was a remarkable solo performer, challenging the listener the way that few -perhaps only Cecil Taylor and Roscoe Mitchell - can,

with overlaid systems of logic and trains of thought.His playing cant be analyzed, only absorbed. And yet,Bailey didnt like giving solo concerts. From Cainsinterview:

To me, the way I play is the musical equipment Ibring to the event. The way I play is what Im going towork with. But the music, for me, is brought by theother people. There isnt any point in playing withsomebody unless theyre going to bring music. Imsometimes accused of ignoring people I play with,which has always struck me as strange, because I findother people very necessary. I dont, for instance, likeplaying solo, and Im not that interested in playingsolo - doing it or listening to it, or anything. Althoughmost of the gigs I get are solo. I kind of feel that whatI do is not complete unless Im playing with somebodyelse. They do more than complete it, they provide thebasis for whatever were doing. It starts with the otherpeople.

While it would be a mistake to think Baileyignored the people he played with, its an understandable one to make. He didnt set out to complement his fellow players, not in the usual sense.He circled them, questioned them and sometimesstabbed at them, and made the listener hear them in avery different light. In his Derek Bailey and the Story ofFree Improvisation from 2004, Watson wrote, Like atruly interesting conversationalist, Baileys guitar-playing does not flatter the musicians he plays with, orattempt to make them sound good in a facile way: heattempts to understand what they are playing by contradicting them. The source of his spikiness isthis interest in reparte; his negations are productivebecause they are grounded in musical comprehensionof his interlocutors logic.

Bailey continued to perform and record solo upuntil motor neuron disease robbed him of the ability toplay. His final release, Carpal Tunnel - issued byTzadik just five months before his death - featured himboldly exploring his debilitating illness. The first 10-minute track features Bailey speaking about losingmuscular control in his hands as he plays. The five following tracks were recorded at three-week intervals, the suggestion being to document his deteriorating ability. Close listening does reveal a lossof finesse, but thats easily overshadowed by the emotive quality. As ever, Baileys playing is arresting.Its not so simple as to be melancholy or celebratory. It resonates at a much deeper level, transcending lyricism and suspended in time.

In 1976, the magazine Musics asked 30 musiciansto respond to the question What happens to time-awareness during improvisation? While someanswers stretched to more than a page of text, Baileyresponded simply The ticks turn into tocks and thetocks turn into ticks. Like his playing, Bailey lives on,existing outside of time. K

I N M E M O R I A M

Derek Bailey - 1930-2005 by Kurt Gottschalk

Photo by Peter Gannushkin/DOWNTOWNMUSIC.NET

Pete Zimmer QuintetFeaturing:

Michael Rodriguez Trumpet Joel Frahm SaxophoneToru Dodo Piano David Wong Bass

Pete Zimmer Drums

Performing and Recording LIVE @:Jazz Standard

(***LIVE RECORDING for Tippin Records***)Tuesday, February 7th

Sets at 7:30pm and 9:30pm Tickets $20116 E 27th Street (b/w Park and Lex)

(212) 576-2232 www.jazzstandard.netwww.petezimmer.com

www.tippinrecords.comPete Zimmer is endorsed by SABIAN Cymbals www.sabian.com

14 February 2006 | ALLABOUTJAZZ-NEW YORK

Although both these CDs from top bassists containprimarily newly composed material and feature strongtenor men, Shades of Jade immerses one in a remarkablywarm and pensive musical world while Back StabbersBall is a coolly swingin twin tenor treat.

Marc Johnson is that rarefied musician who canpull together a band to portray perfectly his compositional vision. With Shades of Jade he has chosenexceedingly well and each of these works fit togetherlike an elegant puzzle. There is a gentle grace asJohnsons bass and Joey Barons brush and cymbalwork instill a thoughtful atmosphere. The mood isthen just ripe for Joe Lovanos tenor, John Scofieldsguitar or the brilliant touch of pianist Eliane Elias toengage in group discourse or soft soliloquy. Elias isthrilling, whether discreetly adding just a touch ofAsian air to the title cut, laying back a bit for Lovanosheartfelt interpretations of her own melodic In 30Hours or giving an emotional rendition of lovely self-composed ballads like Snow or All Yours.Blue Nefertiti is a bluesy take on the Queen begunby Scofield that all others join while Dont Ask ofMe is a soulful arco version of an Armenian songwith organist Alain Mallet providing the backdrop.

Neal Caine and tenorist Ned Goold are integralparts of Harry Connick Jr.s Orchestra but this is a farcry from that. Instead, drummer Jason Marsalis andreedman Stephen Riley have joined with this duo topresent a timely take on everything from CorporateJazz, complete with semi-plodding beat and airytenor, to free formish interludes of WMD and anintriguingly mysterious portrait of DEA, the chordprogression not the agency. Caine is so good and so insynch with Marsalis that they draw you into the moodof most of these pieces with but a few introductoryplucks and taps. The two horns can sweetly double, as on the initial tenor/alto clarinet round ofWMD, or strike out on their own modern solo adventures. Caine is a powerful bassist and he is up inthe mix but the tenors are equal to the challenge.

Bassists always set the pace but on each of thesereleases by two of the best, their distinctive musicalpersonas are thankfully allowed to shine.

For more information, visit www.ecmrecords.com andwww.smallsrecords.com. Johnson is at Dizzys Clubthrough Feb. 5th. See calendar.

Back in the 80s, Vinicius Cantuaria wrote the lullaby-like Leaozinho, which became a major hit forCaetano Veloso and prompted him to embark on a solo

career as a sophisticated pop musician. Although thegamble didnt quite work in Brazil, here he found anaudience for his bossa-nova inflected tunes. Today,like many other of his fellow expatriate musicians(Bebel Gilberto, Flora Purim are some that come tomind), his talents are more recognized abroad than inhis native land.

On Silva, which is the most common surname inBrazil and also part of his own name, he collaborateswith legendary percussionist Arto Lindsay, who co-wrote several of the original tunes on the album,venturing even further into his bossa roots and emerging with a very personal view of the genre, looking back whilst managing to move forward at thesame time. In The Bridge, he claims that Everyonesays that bossa nova is this/bossa nova is that/it justis what you want to be and he backs that by addingelements of Northeastern Brazilian and electronicsounds into it. In Pena de Mim(Pity on Me), he begsan estranged lover to feel for him, for he cannot suffer like this anymore. The instrumentation issparse, with a string quartet and subtle percussionbacking Cantuarias guitar.

The only cover on the album is A Felicidade(Happiness), a Jobim/Moraes composition originallyfeatured in the movie Black Orpheus. Pay close attention to the English-language Reentry, a semi-psychedelic tune about a love affair that is over butneither part wants to call it quits. Also very interestingis Saudades de Voc (Longing For You), in whichCantuaria reverts to the simplicity of the early days ofbossa nova, a time when almost every lyric spoke ofnothing but love, smiles and the blossoms of spring.

For more information, visit www.rykodisc.com. Cantuariais at Jazz Standard through Feb. 4th. See calendar.

If ever there was evidence of a prejudice againstEuropean jazz players, it is the fact that trombonistAlbert Mangelsdorff (1928-2005) never before had atribute album done in his honor. Even more damningis research showing that his compositions - over a hundred - have never been played without him.

Trombonist Joe Fiedler has ended this sorry streakwith a wonderful homage to an under-appreciated-in-this-country musician. The only bittersweet thingabout the disc is its recording date: November 2003.Released now it serves as reminder of a great loss forjazz rather than as an accolade to the living.

The only explanation for the dearth ofMangelsdorff in standard jazz repertoire is that he wastoo much of a unique voice. To play his tunes requiresmastery of full-bodied, warm lyrical playing and aharmonic sense exceeded by no other trombonist. So todo a tribute would be to scale an insurmountablemountain. But Fiedler is not here to recreateMangelsdorff. He is his own player with his own abilities who is paying a long-owed debt by anyone who plays the instrument.

Fiedler chooses the trio format fromMangelsdorffs two most known albums (The WidePoint with Elvin Jones and Trilogue with JacoPastorius) with bassist John Hebert and drummerMark Ferber. The material is drawn from the 60s quintet to the 80s duo with Wolfgang Dauner. Fiedler,

while not copying Mangelsdorff, brings that amazingsonority he had; Hebert often sounds like Gnter Lenzfrom Mangelsdorffs early groups; and Ferber recallsboth Mangelsdorffs postbop and postfusion periods.

Of course there is the solo trombone piece anddemonstrations of Mangelsdorffs multiphonics. Butthis album is not a technical exercise. It ftes whatmade Mangelsdorff such an enduring presence: hiscomposing. These are timeless, sparkling themes thatdeserve more than one more go around.

For more information, visit www.cleanfeed-records.com.Fiedler plays Mangelsdorff at Barbs Feb. 15th. See calendar.

Plays the Music of Albert MangelsdorffJoe Fiedler (Clean Feed)

by Andrey Henkin

SilvaVinicius Cantuaria (Hannibal-Ryko)

by Ernest Barteldes

Shades of JadeMarc Johnson

(ECM)

Back Stabbers BallNeal Caine

(Smalls)by Elliott Simon

C D R E V I E W S

Omer Avital - Asking No Permission: The Smalls Years Vol. One (Smalls)

Bill Frisell - Further East/Further West(billfrisell.com)

Sam Rivers/Ben Street/Kresten Osgood - Violet Violets (Stunt)

Gregory Tardy - The Truth (SteepleChase) Assif Tsahar/Cooper-Moore/Hamid Drake -

Lost Brother (Hopscotch) Mary Lou Williams Collective -

Zodiac Suite Revisited (Mary Records)-David Adler NY@Night Columnist, AllAboutJazz.com

Omer Avital - Asking No Permission: The Smalls Years Vol. One (Smalls)

Ab Baars - Kinda Dukish (Wig) Miles Davis - The Cellar Door Sessions 1970

(Columbia-Legacy) Ras Deshen Abatte/Yitzhak Yedid -

From Ethiopian Music to Contemporary Jazz (AB) John McNeil - East Coast Cool (OmniTone) Stephen Riley - Inside Out (Steeplechase)-Laurence Donohue-GreeneManaging Editor, AllAboutJazz-New York

Jeff Arnal/Nate Wooley/Reuben Radding/Seth Misterka - Transit (Clean Feed)

Eddie Gale - Vision Festival X, NYC (s/r) Vinny Golia - Sfumato (Clean Feed) Manuel Mengis Gruppe 6 -

Into the Barn (Hatology) Tisziji Munoz - Love At First Sound

(Anami Music) Ray Russell - Goodbye Svengali (Cuneiform)-Bruce GallanterProprietor, Downtown Music Gallery

R e c o m m e n d e dN e w R e l e a s e s

ALLABOUTJAZZ-NEW YORK | February 2006 15

These three CDs by trumpeter Kenny Wheeler provide a glimpse of one of this planets greatest musicians; all also feature the under-appreciatedpianist John Taylor.

Certainly Song for Someone will be an exciting findfor Wheeler enthusiasts. A big band record that has aunique sound from the opening moments (withNorma Winstones wordless vocals in front) onlybecomes more intriguing as it progresses. Recorded in73, its fascinating to consider that Tony Oxley andguests Derek Bailey and Evan Parker would go on tobecome European free improvising icons. Wheelerscomposition work is astonishing as it effortlesslybridges the sounds and styles of modern jazz to freeimprovisation in a way that does not sound eitherforced or nave. Wheeler states in the brief liners: Theidea behind this band was to try and get special musicians from and into different areas of jazz to playtogether and to try to write music especially for them.

The Good Doctor is an excellent example, starting off with Parker and Bailey improvising in thestyle for w