DownBeat July 2008 [antikvár]

»1 I rhan l olk K ja// Scnsalion KJ BENHERT In Stores Now •• i I I «r L "High Bnergy funk and nythm-qnd'^es propulsion with a Jaz^^nsibility." -THENEWtORK TIMES Great rhythm A Ijeartfelt soul. -DR. LONNieSMITH May 27, Yoshi's, San Francisco, CA June 6-7, Harmony Festival, CA June 21, JVC Jazz Fesfivai, NYC July 11-20, Umbria Jazz Fest, iT July 19, Umbria Jazz Main Stage w/ Alcia Ke^ See full four schedules at Motema.com ANTONIO CIACCA RUSH UFE ^ w/ Kengo Nakomura i jB^ ~ - Rodney Green _Stacy Diftafd ^feä^ _ Ihtetngtionol ^ r-^^^e. Releas^.'. "x^Phine 24th '/'i "The name Antonio Clacca will soon be on fhe Hps of discerning Jazz fans throughout the world. It's Inevitable." - BENNY GOLSON June 2-5, Ronnie Scotis, l^ndoa UK July 21, La Speda, tT opening for H. Hancock July 5, Job imoge Festival, Rome First Take By Jason Koransky' mnránw"' New Voices Shout Out Loud This issue of DownBeat celebrates a new geneiiuion of jazz ;ulists establishing their musical identities. Tti some extent, this theme emerges in every issue. However, the colleclion ol lea-tures iliis month offers a strong dose of youth taking chargc in the music, introducing new veins of the art ihrough innovation and experimentation conducted ill a new paradigm. The cover story with Matthew Shipp. Jason Moran and Vijay Iyer is a concept that initially emerged after a conversation I had with Shipp. Honest discussions between artists can provide some of the most insightful perspectives on music. Rather than have a journalist talk to just one artist, a roundtable allows musicians to engage each other about the topics that impact their art. It's somediing we've done in the magazine numerous times before, and here, we pulled together three trailblazing pianists, each of whom has developed his own personal dialect on the instrument. When Ted Panken sat down with Shipp. Moran and Iyer at New York's Jazz Gallery, the conversation touched on many of the issues that impact improvising musicians today—from technology and education to race and Thelonious Monk's legacy. Shipp is a bit older than Iyer and Moran, and offered a slightly different perspective on the jazz scene. The conversation proved to be fascinating, and as Shipp said in the story, which begins on Page 28, "between us. we offer a good sense of how fertile modem jazz piano can be." Violinist Jenny Scheinman is making quite a statement. Rather than release one album, she has released two albums simultaneously—an adventurous instrumental date and an Americana-flavored vocal album. As Dan Ouellette writes in his feamre on Page 36. the albums don't sound like they come from two separate artists. Rather, the releases show an artist who has synthesized all of the music around her—cunent and historic—and developed her own style. "You can get e.\|X>sed to all sorts of random styles and it all comes out in ways you're not in conuol of," she said. This issue includes our second installment of DownBeat U. While the May issue fcvused on saxoplmiie. this issue features guitaiM. The lead story in ihis scction. which Ivgitis on Page 46. features Kurt Rosenwinkel. As David French writes in the sioiy, "Rosenwinkel is one of the most Ol iginal and inllueniial aiiists of his gener-alion and the new voice ot' ja// guilar," ^'ouue guitarists—and other instrumentalists—look to Rosenwinkel as a beacon of creativity. Rosenwinkel proved modest in the face of such praise, but did admit. "I've always felt like I've had my own voice." In his piece. French was able to get Rosenwinkel to divulge some of the tricks behind his signature musical voice. Other features in DownBeat U—Guitar School include an excerpt from Victor Wooten's new book. The Music Lesson. Stanley Jordan and Corey Christiansen master classes, a George Benson transcription and a guitar-centric "Toolshed." A story in "The Beat" by Jonathan Zwickel discusses how jazz has entered the "Radiohead era." Brad Mehldau began covering Radiohead songs in the late '90s. However, as Zwickel points out in the piece on Page 14. recent albums by the likes of Miirco Benevento and the Jacob Fred Jazz Odyssey have not simply included covers of Radiohead songs—they have used the band's esthetic {and producer) to create jazz refracted through a generation-specific prism. Despite die youth movement this month, we didn't forget the old guiuxl. John Murph caught up with soul legend W Green to discuss his "instiuit cUissic" new album. Uiy It Down 42). Interestingly, though, this piccc tlxused on how the album's panlucer, Ahmir "¦.\iostlovo" Tlioni|)son—Ivst know n as the dminnicr in the hip-hop band The Roots—civatcd the environment in w hich Green could record such an impressive album. So ev en the legends aiv getting help fivm a new generation, 'Hiis is what makes tliis music soexciling—it nowr stops e\olving. 06 i