DownBeat October 2008 [antikvár]

By Jason KoranskyCOMING 0Cn4ltinNewjazzConiposi'fsOctetThe New Jazz Composer's Octet has filled a certain vital role in Jazz, zeroing In on the hard-driving rhythm and deep harmonic thinicing of the 1960s Blue Note era while creating new music in its own voice. - David AdierCOMING NOV 11!!JAZZ THERAPY (VOL. 1): SAAILEA Benefif CD for the Dizzy Gillespie Fund at Englewood Hospitat Med. Center feohfflngGENE BERTONCINI RONI BEN-HURIn their debut recording os a duo Release Event on Monday, Nov 3 at Dizzy's Oub Coca-Colo, NYC Jazz at Lincoln Center - RSVP SuggestedANTONIO CIACCA! NOW IN STORES"Superb""Freih"Jau i Hut Report Newark tiar LedQtrA Lifetime of LearningYou ait holding in your hands the larges! issue of DownBeat ever. At 196 pages long, this month's magazine boasts the most pages that we have published in a single issue. We are proud of this accomplishment, and we hope that you find this magazine a compelling, infomiative read.The y6-page "Student Music Guide Where To Study Jazz 2009" accounts for about half of the magazine's heft. Starting on Page 85. this guide features listings of more than 170 college music programs, as well as stories about learning vocal jazz, competition in music education, advice from professionals about how to start a band, artists-in-res-idence and studying music abroad. This invaluable resource can assist students preparing to enter collegeas well as those already in school to take the right steps as they embark on their fonnal jazz studies.Thing is. jazz offers a never-ending learning process. Great artists know that if they ever become complacentstop or slow down their practice regime, and not absorb new music they encountertheir music will become stagnant. Music like this usually isn't satisfying for an artist, or for the listener.The iuiists featured in the rest of this issue have tiiken tliis lesson to heart, and have devoted themselves to a lifetiine of learning about jazz. Take our cover story on the Bill Frisell Trio. The guitarist has found a special rapport with bassist Tony Scherr and drummer Kenny Wollescn. who provide him a supportive environment from which he can launch his improvisatory explorations. Interestingly. Scherr and WoUesen iilso provide Frisell a pipeline for new musical ideas."Both Kenny and Tony ;uc like my teachers," Frisell told Ted Panken in the story that stiuls on Page 34. "In so many iireas I want to go into, it's like they know 20,000 times more than 1 do."William Parker may be 56. but this does not mean that he's re.sting on his lauivis as one of the stalwarts in New York's improvised music CDtninunity. Rather, as David French explores in his story on Parker on I'age 40. the bassist is immersed in a fertile period of creativity, luclcd hy his ini|iiisilivc miiul. "Itiuu 1972 up until IW2.1 was ni iraining." Parker said in the story. "I was in training lo learn how to rescind lo souml. to learn how Ut play w ithmany, many different people in many, many different situations."Jeff Coffm conveys similar sentiments in his feature on Page 54. The saxophonist always has his cars open to music from every comer of the globe, searching for ways to incorporate new-ideas into his playing. Also, as an avid teacher, he implores young musicians to focus on a five-liered pyramid of music fundamentals: dynamics. rhythm and time, harmony, articulation, and listening skills. When Coffm describes his teaching methods, he offers the clearest insight into his own musical processes. "The fundamentals are the roots of every discipline." he said. "Technique is the byproduct of all that stuff. If you read interviews with Ornette. Wayne Shorter. Lovano. Brecker. Coltrane. what are Uiey talking about? They're talking about tone. They're talking about the humanity of the music. They're not talking about how fast they can play, or how well they can play the changes. ; They're talking about tone, individuality and luim:mity."kCoffin pnicticcs what he prcachcs to his students. which allows him iIk facility on his hom to execute his iilcas ;uk1 gn>\s ;is ;in ;\rti.st."The struggle is all internai. " ho s;ud. "I'm fnistratcxl all the tinw witli stulT I miss. I wvn't Ivlittle myself or boat myself over iIk 1k\k1. Tnx' : gi>t to Iv my in\n judge and ivtltvi on how I'm i playing. Is il up to my standards.' If not. what i can 1 tlo to get il theiv ' I'm anitinually n-\ ing Iuul other wavs to do tlK nuisic,"Otmans''08 j A