DownBeat March 2006 [antikvár]

SONS OF SOUND.featured albumedcftbodfi paulHOFMANNQ^capadeIIpaulHOFMANNInspired by the performances of Jim Hall with Bill Evans and Nat "King" Cole with Oscar Moore, Bob Snelder and Paul Hofmann keep the duet tradition alive with their thoughtful arrangements and impressive instrumental technique.!Tuneslor Vac and Wiixin"Tlie central key to the achievement of Interconnection is their unusual atiility to realize seamless, unified execution." **** "A similar kind of chemistry to that demonstrated by Evans Hall on their 1960s albums Undercurrent and Interplay."fit COMMISSION PROJECT Certain compositions written witli support tromepgcgffiin^lilRqiEeT.Fostering creativity Ihrough music education bybringing students together will) professional composers and pertormers "lifi^First TakQBy Joson KoranskyRoy Hargrove: jam savvyAlways Ready To PlayAI Grey once taught me a great lesson about being a jazz musician. Five or six years ago at the Lionel Hampton Jazz Festival in Moscow. Idaho, the lale trombonist wanted to know what instrument I played. I told him trumpet."So, Where's your horn?" he asked as we were sitting at one of the late night receptions/jam sessions at the festival hotel.1 didn't have it. Actually, 1 didn't travel with my hom then, and 1 don't do so today. I once did. but unfortunately I play increasingly less. My chops aren't strong these days, and I don't consider myself a player any more.Grey gave me a good-natured jab, saying something like, "Man, then you don't really play. If you're a jazz musician, you always have your hom with you."He then proceeded to give me a great lesson on breath control. He was such a generous man and phenomenal artist.How does this story from several years ago relate to this issue of DownBeat? Roy Hiirgrove was at the Lionel Hampton Festival that year he plays there most years and he sat in on tmmpet and piano at the jam sessions. At every jazz festival where I've crossed paths with Hargrove be it in Monterey. Montreal or Moscow he always shows up and plays at the jam sessions. It's virtually a given: If there's a jam going on, Hargrove will be there. He's a throwback, someone who seems to walk the eartli for the sole sake of playing music, always ready to play.Hargrove is a jazz star, performing at the biggest clubs and fe.stivals around the world. But when we dccided to put Hargrove on the covcr of this issue, we knew that to capture Hargrove's musical soul in the story, we'd have lo catch him al a jam session.So, on a cold winter night in New York, writer Jennifer Odcll went wilh Hargrove to ihe Zinc Bar. the small Greenwich Village club whcie the iruinpctci olten heads to jam at Monday night sessions Icil hy guitarist RonAffif when he's home, and spent time with him : at the jam. The story, which also discusses the trumpeter's two new albums set for release in April one a straightahead quintet date and the other a funk/soul session with his band RH ; Factor starts on Page 34.jAlso in this issue, a special section focuses i on the digital future of jazz. This is nol a: "Where to Find Jazz on the Internet" guide. Rather, we lake a look at three issues impacting how music is distributed and made in the digital world. Tlie iPod has made carrying enomious quantities of music around possible. But what if almost every song ever recorded were available with a wireless device, such as a cell phone/music player? Thai's becomitig a realit>. and we look at this wiih the the sior>' "Jazz Goes Wireless" on Page 56.However, ihe question about ihe leg;ilily of wireless or regular Inlernel downloads still looms, as piracy is an enormous issue con-tmnilng ihe ivcord indu,sir\'. We ex;unine this in "Download Dilemmas" on Page 58.Finally, digital lechnology and the Internet has revolutionized the tvcoaling piwcss. Artists can collabt>r.ite somciinies cvoti in tval titiK - f^KMu difYorciu sides of ihc uorkl. The world has Ivcome a studio. aKnii which wo iv|X>rt m "Vitinal Rocotxling" on Page WVDB8 DOV/NBEAT Mdrch ?'OOD