DownBeat February 2006 [antikvár]

fn the spirit of Oliver Nelson and Ouke Ellington, composer ANTHONY BRANKER leads his ensemble (ANTONIO HART. RALPH 60WEN. CLIFFORD ADAMS, JONNY KING, RALPH PETERSON and JOHN BENITEZ) in a program of infectious songs blending culturally diverse musical styles with modal jazz harmony. Bvailableat: BORDERS. Cerlain compositions written with support from 'HECOMHISSIO« PROIECT Fostering creativity tlirougti music education tiy tirlnging students together with professional composers and performers .'?^viv.tcp-music.org THt COMMISSION PROJECT Also released in digital format only and for the first time, a 1980 set of original BranKer compositions featuring the earliest recorded work of guitarist available exclusively from; FOI IHC CKIIDMN sspcons domMld ontr !Tunes tOTV.M áliaVi'Kl-í First Taie Public Perception I don't usually write about jazz polls besides Down-Beat's. But the 2005 American Music Awards "Best of Jazz Music" poll on the ABC.com Web site was simply too absurd to ignoi-e. In late November, one of our contributors sent me an e-mail with a link to the site, more or less as a joke. But a disturbing underlying message existed: Lx)ok at where the general public's perception of what constitutes jazz stands today. The poll asked to choose the "best of jazz" from these five artists: Chris Botti. Michael Bubié, Jamie Cullum, Kenny G and Diana Krall. It presented a rather narrow cadre of musicians — some of whom we do cover, üiough, and Krall does regularly land toward the top of our polls. The winner of the American Music Awards poll, as of Nov. 28, with 46.6 percent of the vote was Kenny G. Vocalist Bubié was second with 22.4 percent, followed by Krall, Botti and Cullum. Oyvey. This result doesn't stand as a huge revelation. Rccord sales prove that these artists have attained popularity to the general public. But what disturbed me was the continued watered-down use of the word "jazz." 1 would have thought that a |X)1I that touts itself as representing "American Music" would at the very least include a popular straightahead instrumentalist such as Wynton Miirsalis. But no, we still get the smooth G man thrown under the jazz umbrella to misguide anotlioi- generation of casual listeners into false musical impi'essions. This makes our mission here at DownBeat all that more important to cover what's truly the best in jazz, blues and licyond. By the way. the same Web poll also had a "Best of Blues" category, in which our cover ai'tist, B.B. King, came out on top. But wilh Ilim. they got it right. At 80 years old. the blues-man still tours relentlessly. His singing voice offers worldly wisdom, and his guitar Lucille oo/cs bluesy soul. When we ivccived the invitation last year lo send a writer to Indianola. Miss.,lo Iv wilh King when plans were unveiled lor the B.B. King Museum ami Delta Inteqwiive Center, it was an offer we couldn't refuse. DownBeat's Associate Editor Aaron Cohen went to the Delta in June, following King in his hometown to a juke joint, university, major outdoor concert and the polid-cian-laden museum announcement. This up-close tour of the Delta with the octogenarian blues legend starts on Page 34. This issue also features our second annual special section on home recording. Technology has democratized the recording process. Without much equipment, basements and living rooms are becoming studios. Faster computers, coupled with affordable and powerful software, allow iutists to mix imd master their work at home or on the road iit iuiy time. The costs of recording has plummeted, and few jazz iire albums being recorded in large sw-dios any more. But has quidity gone up? Some would say yes, as iinisis are able to record when inspiration strikes, digitally capturing a moment. However, whem music hits the market without having gone through traditional filters, such as a producer, it Ciui lack focus. So, starting on Page 52. we delve into the home recording trend, first heading into Philadelphia bassist Gerald Vcasley's home "Soul Liib." whetv he was working on his piuts for a tnick for the upcoming Jaco Paslorius Big Band rele;isc. Tlic scction also featutvs iui inier-\ iew w ith Rudy Viui Gclder. tlio "original honw recorder." who lust engineered jazz recording sin his paivnls' New Jersey living iwm in the early '50s, a story with tips on using micav phones in a home stuilio and review s of several jMoees of ivcoaling softwaa' and h;u\h\;uv. DB 'i DOWNBEAT I «ibniiify ?TJOh