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DB Buyers Guide Thanks for supporting advertisers in this month’s issue! COMPANY PAGE # WEBSITE COMPANY PAGE # WEBSITE Abstract Logix 10 abstractlogix.com All Parts 61 allparts.com Allegro Music 25, 66 allegro-music.com Alma Records 67 almarecords.com Anguilla Jazz Festival 89 anguillajazz.org Anzic Records 23 anzicrecords.com Artistry Music 83 artistrymusic.net Bernie Kenerson 68 berniekenerson.com Blue Bamboo Music 67 bluebamboo.com Cagoots Records 66 craigrusso.com Cheap Lullaby Records 82 cheaplullaby.com Chicago Jazz Festival 72 chicagojazzfestival.us Chicago Symphony Orchestra 91 cso.org Columbia College Chicago 4 colum.edu Compass Records 82 compassrecords.com Concord Records 9 concordrecords.com Delmark Records 80 delmark.com Disney Magic Music Days 100 disneyjazzcelebration.com Eagle Rock Entertainment 67 eaglerockent.com Earthworks 55 earthworksaudio.com ERAKI Entertainment 67 eraki.com Five Towns 40 fivetowns.edu Fra Fra Sound 66 frafrasound.com Georg Breinschmid 69 georgbreinschmid.com Heads Up 41 headsup.com Herb Harris 68 herbharrismusicco.com ICP Orchestra 84 icporchestra.com Jamey Aebersold 42–43 jameyaebersold.com Jazz Cruises LLC 15, 17 jazzcruisesllc.com JazzKat Amps 51 jazzkatamps.com JazzNet Media 69 jazznetmedia.com Jeff Jones 68 jeffjonesmosaic.com JSR Productions 76 koorax.com Kawai 11 kawaius.com Kurzweil 7 kurzweilmusic systems.com Liberty Hill Music 54, 67 patcoil.com Lisa Hilton Music 47 lisahiltonmusic.com Los Angeles Jazz Collective 69 lajazzcollective.com Maxwell Music 70 shawnmaxwell.com Michael “Shoehorn” Conley 71 shoehornmusic.com Motéma Records 8 motema.com Music Dispatch 57 musicdispatch.com Music In The Vines 66 sonomajazz.org Neoga Music 71 neogamusic.com New Horizons Tour & Travel 31 nhtt.com New School 51 newschool.edu Pazz Productions 68 gracekellymusic.com Percussion Power 70 louiebellson.com Phoenix Rising 71 andreabrachfeld.com PJB Creatives 69 pjparker.net Planet Arts 70 planetarts.org Pritchard Amps 61 pritchardamps.com Pro-Mark 63 promark.com Push LLC 69 gregoryjames.com PVR Records 69 martysheller.com Radio I-Ching 67 myspace.com/ radioichingnewyork RBMC Jazz 71 rbmcjazz.com Rico 27 ricoreeds.com RKM Music 47 rkmmusic.com Sam Ash 60 samash.com Samson 65 samson.com SFJAZZ 33, 86 sfjazz.org Sonaré 37 sonarewinds.com Sunnyside Records 77, 81, 85 sunnysiderecords.com The Many Colors of a WOMAN 86 themanycolors@aol.com Tippin’ Records 57 tippinrecords.com Tom Heasley 71 tomheasley.com Tudo é Jazz Festival 12 tudoejazz.com.br Unity Music 71 unity-music.net Universal Music Group/ECM 3 ecmrecords.com University of North Carolina at Wilmington 88 uncw.edu Vandoren 5 vandoren.com Virgin Megastores 2, 21 virginmega.com Virginia Commonwealth University 86 vcu.edu WBGO-88.3FM/My Source 87 wbgo.org William Paterson University 46 wpunj.edu Yamaha 99 yamaha.com Zoho Music 79 zohomusic.com September 2008 DOWNBEAT 97
Blindfold Test By Ted Panken “I take small bits of information from everyone, and make up my own paragraphs,” pianist Robert Glasper remarked on the occasion of his debut release, Mood (Fresh Sound/New Talent), in 2004. Nowadays, Glasper has maintained his penchant for descriptive storytelling through notes and tones on In My Element (Blue Note) from last year, as well as through discussing music when he sat for his first “Blindfold Test.” Joe Sample “Shreveport Stomp” (from Soul Shadows, Verve, 2004) Sample, piano. That’s some ragtime stuff, and he sounds cool, but not comfortable. He’s not trying to push the envelope. The point is to play like within that time period, the Scott Joplin-type style. It’s the kind of thing Marcus Roberts would do, but Marcus makes you believe he lived in that time period. Here, it sounds like he’s trying to play a transcription. He hasn’t digested the whole thing yet for real. The timing is strange, and in the ragtime stuff his right hand is worked out but his left hand is not as comfortable. 2 stars. Kudos to him, though. I can’t play ragtime. Robert Glasper Jason Lindner “Monserrate” (from Ab Aeterno, Fresh Sound/New Talent, 2006) Lindner, piano; Omer Avital, bass; Luisito Quintero, cajon, percussion. I like the concept of the tune, but his touch is a bit strange. I like the percussion. It doesn’t sound like a cohesive band. I don’t feel the compassion from his playing that I want it to have—it sounds almost forced. There’s an uneasiness to it, jagged and forced when the point is to be free-flowing. Rhythmically, it just wasn’t there. 2 stars. The Bad Plus “Mint” (from Prog, Heads Up, 2007) Ethan Iverson, piano; Reid Anderson, bass; Dave King, drums. Many sections. I get lost in the sections. You probably can’t hum the melody of the tune when it’s over. The touch, sound, chops and writing conception is definitely of Latin descent. I’m thinking Gonzalo Rubalcaba—or maybe I’m wrong. Good, cohesive band, though. Organized randomness. The right hand tells me he’s definitely checked out Jason Moran, and it’s the kind of composition that Moran would write—that same cohesive randomness that makes Jason’s group so different. At first I thought it was Jason, but it’s not. I don’t know this cat’s playing very well, but is it Vijay Iyer No I wouldn’t come home and put it on. 3 stars. The Bad Plus They’ve definitely been influenced by Bandwagon. James Hurt “Eleven Dreams” (from Dark Grooves–Mystical Rhythms, Blue Note, 1999) Hurt, piano; François Moutin, bass. The pianist has a nice touch. I’m not buying the bluesiness of it, though. He sounds more into the composition. Once he starts swinging, trying to get the blues thing, he’s definitely out of his element. Sounds pretentious. Everything else sounds great. I’m not sure of the point of the solo, how he’s putting it together. It sounds like he’s warming up. He should take a few breaths. He sounds European. The composition was beautiful, but once it got to the solo, it was strange. 3 stars. Eric Reed “I.C.H.N.” (from Here, MaxJazz, 2006) Reed, piano; Rodney Whitaker, bass; Willie Jones III, drums. This feels great. They’re all comfortable in what they’re doing. The pianist has a nice, laid-back touch. He knows he’s swinging. He sounds like he has a cigarette in his mouth, hanging out the side, and a glass of cognac on the top of the piano. The bass and the drums have a good hookup. It’s great to hear something that doesn’t sound pretentious when it swings. You can tell the pianist listened to a lot of old cats, but at the same time he sees the light at the end of the tunnel. 4 stars. Antonello Salis “La Dolce Vita” (from Pianosolo, CamJazz, 2006) Salis, piano. He had a beautiful touch, and his chops were off the chart. A lot of chops, very clean. At the same time, I could hear the sincerity in his playing. He’s creative. He made my eyebrows raise once. That was good. You could tell that he checked out some early Keith Jarrett. At first listening, I wanted to say Gonzalo Rubalcaba, but going on, I don’t know who it is. 4 stars. Matthew Shipp “Invisible Light” (from Harmony And Abyss, Thirsty Ear, 2004) Shipp, piano; William Parker, bass; Gerald Cleaver, drums; FLAM, synthesizers. I liked that. I liked the interlude, whatever you want to call it. That tune was cool. They were playing free, separately, sparse and random, but at the same time it was together, even though there was nothing written. They were all acting like raindrops, but everything fit together, like a typewriter typing fast. 4 stars. I can appreciate that type of playing. You probably will never catch me checking it out at the crib, listening to it. Solo piano wise, I’ll do some stuff that’s kind of like that, on a Cecil Taylor vibe. That’s the tune! DB The “Blindfold Test” is a listening test that challenges the featured artist to discuss and identify the music and musicians who performed on selected recordings. The artist is then asked to rate each tune using a 5-star system. No information is given to the artist prior to the test. EARL GIBSON 98 DOWNBEAT September 2008
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