all that jazz THE TOP 8 JAZZ CLUBS in NYC SF JAZZ 2014 Jazz Musician Awards The Two Masters of Jazz
Bill Evans & Miles Davis A Genious Jazz Pianist
Francesca Han
NO.1 FEBRUARY 2014
Contents 4 The Two Masters of Jazz SMiles Davis and Bill Evans by Ashley Kahn
10 The TOP 8 Jazz Clubs
SIntroduce most popular jazz clubs for New Yorker by Hank Shteamer
14 TOP Selling Album Reviews
Check out our list of Gotham’s most elegant jazz clubs by Thomas Conrad
16 Francesca Han Right Music, Right Time by IAN PATTERSON
30 SF JAZZ
San Francisco Jazz Festival, JAZZ Education by Rebeca Mauleón
ALL THAT JAZZ FEBRUARY 2014 1
“A lot of people ask me where music is going today. I think it’s going in short phrases. If you listen, anybody with an ear can hear that. Music is always changing. It changes because of the times and the technology that’s available, the material that things are made of, like plastic cars instead of steel. So when you hear an accident today it sounds different, not all the metal colliding like it was in the forties and fifties. Musicians pick up sounds and incorporate that into their playing, so the music that they make will be different.”
ALL THAT JAZZ FEBRUARY 2014 3
Miles Davis and Bill Evans The Two Masters of Jazz in Black & White by Ashley Kahn
K
ind of Blue is a album by
Association of America. It has been
pie, and Tadd Dameron. As with all
from Davis’s sextet to pursue his own
American jazz musician
regarded by many critics as the
bebop-based jazz, Davis’s groups
career, was drafted back into the
Miles Davis, released on
greatest jazz album of all time and
improvised on the chord changes
new recording project, the sessions
August 17, 1959, by Co-
Davis’s masterpiece.
of a given song. Davis was one of
that would become Kind of Blue.
lumbia Records. Recording ses-
The album’s influence on music,
many jazz musicians growing dis-
Kind of Blue was recorded on
sions for the album took place at
including jazz, rock, and classical
satisfied with bebop, and saw its in-
three-track tape in two sessions at
Columbia’s 30th Street Studio in New
music, has led music writers to
creasingly complex chord changes
Columbia Records’ 30th Street Stu-
York City on March 2 and April, 1959.
acknowledge it as one of the most
as hindering creativity.
dio in New York City. On March 2, the
The sessions featured Davis’s en-
influential albums ever made. In 2002,
In 1953, the pianist George Russell
tracks “So What”, “Freddie Freeload-
semble sextet, with pianist Bill Evans,
it was one of fifty recordings chosen
published his Lydian Chromatic Con-
er”, and “Blue in Green” were record-
drummer Jimmy Cobb, bassist Paul
that year by the Library of Congress
cept of Tonal Organization, which of-
ed for side one of the original LP, and
Chambers, and saxophonists John
to be added to the National Record-
fered an alternative to the practice
on April 22 the tracks “All Blues”, and
Coltrane and Julian “Cannonball”
ing Registry. In 2003, the album was
of improvisation based on chords
“Flamenco Sketches” were recorded,
Adderley. After the entry of Evans
ranked number 12 on Rolling Stone
and chord changes. Abandoning
making up side two. Production was
into his sextet, Davis followed up
magazine’s list of the 500 greatest
the traditional major and minor key
handled by Teo Macero, who had
on the modal experimentations of
albums of all time.
relationships of classical music, Rus-
produced Davis’s previous two LPs,
Milestones by basing Kind of Blue
By late 1958, Davis employed one
sell developed a new formulation
and Irving Townsend.
entirely on modality, in contrast to
of the best and most profitable work-
using scales, or a series of scales, for
As was Miles Davis’s penchant, he
his earlier work with the hard bop
ing bands pursuing the hard bop
improvisations : This approach led
called for almost no rehearsal and
style of jazz.
style. His personnel had become
the way to “modal” in jazz.
the musicians had little idea what
Though precise figures have been
stable: alto saxophonist Cannonball
disputed, Kind of Blue has been described by many music writers not
ideas,
they were to record. As described in
Adderley, tenor saxophonist John
Davis implemented his first modal
the original liner notes by pianist Bill
Coltrane, pianist Bill Evans, long-serv-
composition with the title track of
Evans, Davis had only given the band
only as Davis’s best-selling album,
ing bassist Paul Chambers, and
his studio album Milestones. Satis-
sketches of scales and melody lines
but as the best-selling jazz record of
drummer Jimmy Cobb. His band
fied with the results, Davis prepared
on which to improvise. Once the mu-
all time. On October 7, in 2008, it was
played a mixture of pop standards
an entire album based on modality.
sicians were assembled, Davis gave
such a certified quadruple platinum
and bebop originals by Charlie
Pianist Bill Evans, who had studied
brief instructions for each piece and
in sales by the Recording Industry
Parker, Thelonious Monk, Dizzy Gilles-
with Russell but recently departed
then set to taping the sextet in studio.
4 2014 FEBRUARY ALL THAT JAZZ
Influenced
by
Russell’s
While the results were impressive with
a means of getting away from the When you go this way, you can go on
fewer chords but infinite possibilities
so little preparation, the persistent
dense chord-laden compositions of forever.You don’t have to worry about
as to what to do with them.”
legend that the entire album was
his time, which Davis had labeled changes and you can do more
As noted by Bill Evans in the LP liner
recorded in one pass is untrue. Only
“thick”. Modal composition, with its with the melody line. It becomes a
notes, “Miles conceived these set-
“Flamenco Sketches” yielded a com-
reliance on scales and modes, rep- challenge to see how melodically
tings only hours before the recording
plete take on the first try. That take,
resented, as Davis called it, “a return innovative you can be. When you’re
dates.” Evans continues with an intro-
not the master, was issued in 1997 as
to melody.” In a 1958 interview with based on chords, you know at the
duction concerning the modes used
a bonus alternate track. The five mas-
Nat Hentoff of The Jazz Review, Davis end of 32 bars that the chords have
in each composition on the album.
ter takes issued, however, were the
“So What” consists of two modes: six-
only other complete takes; an insert
teen measures of the first, followed by
for the ending to “Freddie Freeload-
eight measures of the second, and
er” was recorded, but was not used
then eight again of the first. “Freddie
for release or on the issues of Kind of Blue prior to the 1997 reissue. Pianist Wynton Kelly may not have been happy to see the man he replaced, Bill Evans, back in his old seat. Perhaps to assuage the pianist’s feelings, and also to take advantage of Kelly’s superior skills as both bluesman and accompanist, Davis had Kelly play instead of Evans on the album’s most blues-oriented number, “Freddie Freeloader”. The live album Miles Davis at Newport 1958 docu-
Freeloader” is a standard twelve-bar
Kind of Blue isn’t merely an artistic highlight for Miles Davis, it’s an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius...
blues form. “Blue in Green” consists of a ten-measure cycle following a short four-measure introduction. “All Blues” is a twelve-bar blues form in 6/8 time. “Flamenco Sketches” consists of five scales, which are each played “as long as the soloist wishes until he has completed the series”. Liner notes list Davis as writer of all compositions, but many scholars and fans believe that Bill Evans wrote part or the whole of “Blue in Green”
ments this band. However, the New-
and “Flamenco Sketches”. Bill Evans
port Jazz Festival recording on July 3,
assumed co-credit with Davis for
1958 reflects the band in its hard bop
“Blue in Green” when recording it on
conception, the presence of a Bill Ev-
his Portrait in Jazz album. The Davis
ans only six weeks into his brief tenure
estate acknowledged Evans’ author-
in the Davis band notwithstanding,
elaborated on this form of composi- run out and there’s nothing to do but
ship in 2002. The practice of a band
rather than the modal approach of
tion in contrast to the chord progres- repeat what you’ve just done—with
leader’s appropriating authorship
Kind of Blue. Kind of Blue is based en-
sion predominant in bebop, stating variations. I think a movement in jazz
of a song written by a sideman oc-
tirely on modality in contrast to Da-
“No chords ... gives you a lot more is beginning away from the conven-
curred frequently in the jazz world, of
vis’s earlier work with the hard bop
freedom and space to hear things. tional string of chords. There will be
the album.
style of jazz and its complex chord progression and improvisation. The entire album was composed as a series of modal sketches, in which each performer was given a set of scales that defined the parameters of their improvisation and style. This style was in contrast to more typical means of composing, such as providing musicians with a complete score or, as was more common for improvisational jazz, providing the musicians with a chord progression or series of harmonies. Modal jazz of this type was not unique to this album. Davis himself had previously used the same method on his 1958 Milestones album, the ‘58 Sessions, and Porgy and Bess, on which he used modal influences for collaborator Gil Evans’s third stream compositions. Also, the original concept and method had been developed in 1953 by pianist and writer George Russell. Davis saw Russell’s methods of composition as
Miles Davis and Bill Evans making Kind of Blue Photographed by Don Hunstein
ALL THAT JAZZ FEBRUARY 2014 5
“He looked like a Harvard professor on a Harlem street corner.”
E
vans’ more subdued playing
Street,” Miles turned and said, “Love
bit more, adding: “It makes me a
good,” he would say,“a great deal for
style did not help ingratiate
for Sale,” and kicked it off.
bit angry. I want more responsibility
my confidence.”
the young pianist to Davis’
Summer of ’58 found Evans in-
among black people and black
But it went deeper than mere
following any more than his
creasingly comfortable in the group.
musicians to be accurate and to
self-assurance. Evans’ immersion in
appearance did. He lacked the
He was no longer the youngest
be spiritually intelligent to say only
an integrated setting, surrounded by
drama Garland had delivered and
member but he remained the only
black people can play jazz is as
incredibly strong, creative individuals,
had generously supplied behind
white
continued
dangerous as saying only white
forced a change that transcended
the other soloists in the band. Davis
to tease him, but he had stood the
people are intelligent.” But in ’58, the
questions of white or black. “Being
adored Evans’ contrasting sense
trumpeter’s skewering and earned
pianist held his tongue, while the
with the band and the real honest
of space and subtlety, but a noisy,
Davis’ respect.
musician. Miles
pressures of touring the constant
personalities involved really helped
packed jazz joint was not the ideal
But the unease Evans faced in
travel, the long hours, the persistent
confirm my own identity, made me
location for “crystal notes or sparkling
certain venues grew. “It was more of
questioning of Evans’ presence on
realize that being myself was the
water cascading down from some
an issue with the fans. The guys in the
the bandstand mounted.
only place to be.”
clear waterfall,” as the trumpeter later
band defended me staunchly. We
Takes one to know one goes the
After a few festival and special
praised the pianist’s sound.
were playing black clubs, and guys
old schoolyard retort. By the end of
appearances recordings of which
With mixed emotions, Evans per-
would come up and say, ‘What’s
the summer, Davis knew Evans well
contradict Evans’ alleged inability
severed. He felt intimidated, though
that white guy doing there?’ They
enough to recognize, and identify
to “play fast hard enough” and a
challenged and ecstatic: “I thought
said, ‘Miles wants him there he’s sup-
with, certain personality traits. “Bill
few more weeks with the band, he
I was inadequate. I felt the group
posed to be there’.” Reverse or not, it
was a very sensitive person and it
departed in November. To Miles,
to be composed of superhumans.”
was a form of racism, and Davis and
didn’t take much to set him off; a lot
their joint destiny remained unful-
But the band began to find a new,
Evans were of one mind about it.
of people were saying he didn’t play
filled. A few months later, despite
smoother groove, as Adderley noted.
Miles: “Crow Jim is what they call
fast enough and hard enough for
having hired Wynton Kelly to take
“When he started to use Bill, Miles
that. It’s a lot of the Negro musicians
them, that he was too delicate,” Davis
over the piano spot, Davis called
changed his style from very hard to
mad because most of the best-pay-
recalled. Evans was fast approach-
Evans and set up studio time at Co-
a softer approach.”
ing jobs go to the white musicians
ing his professional limit; a decision
lumbia Records’ 30th Street Studio.
to depart seemed imminent.
In August 1959, the evidence of their
By the end of May, on Miles’ 32nd
playing what the Negroes created.
birthday, the sextet recorded a num-
But I don’t go for this, because I think
Davis sensed that there was an-
final effort together, and one more
ber of sides that leaned heavily on
prejudice one way is just as bad as
other factor propelling Evans to
compelling argument for a color
ballads, and revealed a certain ten-
the other way.”
leave the group. “On top of all this
blind approach to jazz-making, was delivered : Kind of Blue.
sion within the band.
Evans: “This is an age-old dis-
shit was the thing about wanting to
“Paul Chambers and Jimmy Cobb
proven theory that white men can-
form his own band and play his own
Jimmy Cobb notes that Davis’
were getting edgy having to hold
not play jazz. What people who are
music.” In an ironic twist, Evans’ per-
famous sextet was so talent-packed
back and wanted to cook on some-
talking that way might be saying is
sonal resolve and musical vision had
that it was fated from the outset to
thing,” Evans recalled. After record-
they want to get credit for develop-
been steeled in the fire of derision he
fracture into a series of powerful,
ing rather hushed versions of “Stella
ing the music as a tradition.”
faced almost nightly. Though he “felt
genre-defining bands. Within a year
exhausted in every way it did a lot of
of Evans’ exit, that’s exactly what
by Starlight” and “On Green Dolphin 6 2014 FEBRUARY ALL THAT JAZZ
Years later, Evans opened up a
The really good jazz musicians only respect musicians they feel are worth respecting. happened, each splinter group led
veracity, but the tendency to hold
more and more sidemen, the pianist
When Shirley Horn insisted in 1990
by a soloist initially hand-picked by
him to the exact letter of his words.
shook his head. Evans missed his lyri-
that Miles reconsider playing the
cal buddy, and blamed the change
gentle ballads and modal tunes of
on considerations of commerce.
his Kind of Blue period, he demurred.
Davis while still young and largely
“If you were to take any number
unknown: Coltrane, Adderley, Kelly
of things he said out of context, you
and, establishing his own trio for-
could be completely on the wrong
“I would like to hear more of the
mat and returning to chord-based
track. Because he could say one
consummate melodic master,” Ev-
And yet, the Davis and Evans
explorations, Bill Evans. History did,
thing today, and the opposite tomor-
ans commented in the late ’70s.
dialogue never ended. As saxophon-
and continues to, look upon the
row for reasons that have to do with
“But I feel that big business and his
ist Dave Liebman recalls from his
nine month Davis and Evans union
momentary response or defense
record company have had a cor-
days with Davis at the height of Miles’
through the lens of race. Down Beat,
mechanisms or who knows what.”
“Nah, it hurts my lip,” was the excuse.
rupting influence on his material. It’s
electric period: “He said Bill was real-
in a 1960 profile on Evans, reported of
For one who never hesitated be-
tempting for the musician to preju-
ly the guy who opened the doors for
the “rumbles in some quarters that
ing outrageous or outspoken, Davis
dice his own views when recording
him musically. He said to me, ‘I used
the color of Bill’s skin automatically
must have been atypically talked
opportunities are so infrequent, but I
to call Bill up and tell him to take the
depreciated his value to the group.”
out when he confided to Playboy
for one am determined to resist the
phone off the hook. Just leave it off
And recently, in PBS’ 10-part opus
in 1962: “This black-white business is
temptation. “It just doesn’t attract
and play for me because I loved the
Jazz, the voluminous Ken Burns
ticklish to try to explain.”
me. I’m of a certain period, a certain
way he played.’”
compressed Evans’ significant con-
As the ’60s played out and musi-
evolution. I hear music differently,” he
As tempting as it is to sum up their
tributions to a few moments focused
cal fashion rocked ’n’ rolled, the pair
confessed, adding: “I mean, for me,
joint efforts with Kind of Blue, Davis
on the white guy in Miles’ band.
kept in touch sporadically. Davis kept
comparing electric bass to acoustic
and Evans were not all about melan-
bass is sacrilege.”
choly and moodiness. On Jazz at the
Even Davis, writing on his former
himself abreast of Evans’ music, while
pianist’s choice of sidemen after
Evans noted how apart they were
Davis felt as strongly as Evans. But
Plaza, a simple album Miles’ sextet re-
their split, saw Evans’ famous Scott
drifting musically. Davis’ new mid
to the trumpeter, blasphemy was the
corded live on Aug. 9, 1958, there’s a
LaFaro-Paul Motian trio not in musi-
’60s quintetincreased its reliance on
idea of remaining static stylistical-
version of “My Funny Valentine” fea-
cal terms, but as a return to a less
modal structures, unlocking and rec-
ly. He singled out the modal jazz he
turing Davis and Evans as the sole
than progressive, all white situation.
reating the jazz vocabulary.
had pioneered with Evans.
soloists; Trane and Cannonball both
“It’s a strange thing about a lot of
Meanwhile, Evans reembraced
“’So What’ or Kind of Blue, they
lay out. Muted trumpet and brightly
white players that after they make it
“functional harmony”, retracing his
were done in that era, the right hour,
stroked piano are alone to spar, at
in a black group they always go and
steps to and then from bebop. Over
the right day, and it happened. It’s
moments halting and punchy, then
play with all white guys. Bill did that,
the years, he created, and continued
over,” Davis told Ben Sidran in 1986.
playful and flowing. It’s a lightheart-
and I’m not saying he could have
to explore, a nuanced, texture-rich
He further declared, “What I used to
ed conversation between two mas-
gotten any black guys better than
sound that became his signature,
play with Bill Evans, all those different
ters, enjoying the composition and
Scott or Paul, I’m telling what I have
most often within an acoustic trio.
modes, and substitute chords, we
the company. It blasts apart any
had the energy then and we liked it.
misperception that the two were only
But I have no feel for it anymore. it’s
capable of creating sounds somber,
more like warmed-over turkey.”
serious and bittersweet.
seen happen over and over again.” Davis did not balance his comments with the fact that among
Watching as Davis introduced amplified
instruments
and
rock
rhythms into his sound, and added
many black jazz musicians whom Evans hired over the years, Philly Joe Jones consistently reappeared. Nor did he mention that Jack DeJohnette figured prominently in one of Evans’ most powerful lineups, alongside bassist Eddie Gomez, before joining Davis in 1969. But then the issue of race is often fueled by what appears, and seldom by what is. And Miles often approached the truth in an oblique way. “He is a very paradoxical, many-sided person,” Evans once commented, waving away not Davis’
From left to right - John Coltrane, Cannonball Adderley, Miles Davis and Bill Evans making Kind of Blue, Bill Evans making Kind of Blue.
ALL THAT JAZZ FEBRUARY 2014 7
From left to right - John Coltrane, Cannonball Adderley, Miles Davis and Bill Evans making Kind of Blue Kind of Blue is a studio album by American jazz musician Miles Davis, released on August 17, 1959, by Columbia Records. Recording sessions for the album took place at Columbia’s 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis’s ensemble sextet, with pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian “Cannonball” Adderley. After the entry of Evans into his sextet, Davis followed up on the modal experimentations of Milestones by basing Kind of Blue entirely on modality, in contrast to his earlier work with the hard bop style of jazz.
8 2014 FEBRUARY ALL THAT JAZZ
I
t was a deep rift that became
But no fanciful aspirations of
deeper as the decade wore on,
achieving “white Negro” status had
a rift Bill Evans could never have
him hoodwinked. Evans was not
known he would eventually be
looking for a “ghetto pass,” and felt
straddling. His approach to jazz had
disdain for those who romanticized
begun innocently enough in his
the jazz life: “They live their full lives
hometown of Plainfield, N.J. Still a
on the fringe of jazz and yet miss its
youngster in the ’40s, Evans fell under
essence entirely. They take the neuro-
the spell of Nat Cole’s piano and later
ses that are integral in every art and
found he could actually improvise
blow them up to where they’re the
on the sheet music before him. Music
whole thing.”
took him through high school and,
In early ’58, George Russell drove
like for Miles, was his ticket to college.
Evans over to the Colony Club in the
But unlike DavisEvans traveled to the
black, Bedford-Stuyvesant section of
Deep South and diligently finished
Brooklyn to sit in with the sextet. Evans
four years of music courses at
knew it was an audition and that if
Southeastern Louisiana College.
he played his cards right, one of the
Davis had already been in town
most prestigious positions in the jazz
for 10 years when Evans first stepped
world could be his. Davis and Adder-
into the New York jazz scene in 1955.
ley had already spoken of the pianist
Evans immediately discerned a stiff-
and had agreed he was well worth
er, more formal code of cross-racial
a listen. By the end of the night, Miles
communication than he had expe-
told Bill that he’d be playing their next
rienced in Louisiana. Contrary to the
engagement in Philadelphia.
general assumptions of Southern
Evans was swept away in a flurry
racism, Louisiana had been a pock-
of gigs, the majority in black night-
et of racial ease.
clubs like the Colony. Though Evans
New York City helped snap Evans
had begun to make a name for him-
back to a black/white reality. He im-
self in New York circles, it was a tough
mersed himself in jazz culture, taking
and unwelcoming audience he en-
a variety of sideman gigs. He dabbled
countered on the road. Red Garland
in third-stream projects, recording
was a tough act to replace. The dy-
with forward-looking groups led by
namic pianist had been one of the
George Russell and Charles Mingus.
popular sparkplugs in Davis’ hard-
His lifestyle also took a turn away from
charging rhythm section for almost
the mainstream. His first long-term
three years.
romance was with a black woman named Peri Cousins. He experimented with narcotics and by the late ’50s was hooked on heroin.
ALL THAT JAZZ FEBRUARY 2014 9
THE TOP 8 JAZZ CLUBS in NYC
OUR EDITOR’S RATING! Check out our list of Gotham’s most elegant jazz clubs, perfect for impressing visitors or your next date.
Fat Cat Dizzy’s Club Coca Cola
Iridium Fat cat is a cultural institution featuring live music, games, art space
Hailed as “the best jazz room in the
Iridium lures upscale crowds with a
and innovative educational pro-
city,” by none other than jazz icon
lineup that’s split between household
gramming. Our musical offerings
Tony Bennett, Dizzy’s Club Coca-Co-
names and those known only to the
highlight emerging artists and leg-
la is Jazz at Lincoln Center’s one-
jazz-savvy. The sight lines and sound
ends of genres ranging from jazz to
stop shop for some of the best live
system are truly worthy of celebra-
latin, classical and world music. we
jazz and sophisticated soul food this
tion. Long the site of a Monday-night
sustain the tradition of late night-
Since its inception in 1981, Blue Note
side of New Orleans. With 140 seats,
residency by guitar icon Les Paul,
ly jam sessions which makes New
has become one of the premier jazz
the club is open year-round and
the club now hosts a steady stream
York the jazz capital. these sessions
clubs in the world and a cultural in-
also features stunning views of Cen-
of veteran pickers who perform in
allow young musicians to earn their
stitution in Greenwich Village. Owner
tral Park and the Manhattan skyline,
Paul’s honor. Long the site of a Mon-
chops alongside veterans, and pro-
and founder Danny Bensusan had a
an acoustically impeccable per-
day-night residency by guitar icon
vide pages for a living musical lan-
vision to create a jazz club in Green-
formance space, world-class jazz
Les Paul, the club now hosts a steady
guage to be rewritten.
wich Village that would treat deserv-
artists at an affordable price, and a
stream of veteran pickers who per-
casual late-night scene. world-class
form in Paul’s honor. Long the site of
jazz artists at an affordable price, and a casual late-night scene. • Address:10 Columbus Cir #5,
• http://jalc.org/ • Pre-Reservation is required
ing artists with respect, while allow• Address: 82 W 3rd St
ing patrons to see the world’s finest
a Monday-night residency by guitar
New York, NY 10012
jazz musicians in a close, comfort-
icon Les Paul, the club now hosts a
• Tel : (646) 820-9452
able setting. Artists who had stopped
steady stream of veteran pickers who
• http://fatcatmusic.org
playing in jazz clubs decades before,
perform in Paul’s honor.
• Pre-Reservation is required
such as Sarah Vaughn, Lionel Hamp-
Manhattan, NY 10019 • Tel : (212) 258-9595
Blue Note
ton, Dizzy Gillespie, Stanley Turrentine, • Address: 1650 Boradway
Oscar Peterson, and Tito Puente.
New York, NY 10058 • Tel :(212) 582-2121 • http://iridiumjazzclub.com • Pre-Reservation is required
• Address: 131 W 3rd St New York, NY 10012 • Tel : (212) 475-8592 • http://bluenote.net
10 2014 FEBRUARY ALL THAT JAZZ
aside the giant velvet curtain. Considering its 150 people capacity, Zinc Bar is quite spacious, unlike many jazz clubs in the city. The tables are comfortably spread apart and, most important, you can see the stage clearly from any seat. • Address : 82 W 3rd St New York, NY 10012 • Tel : (646) 820-9452 • http://shapeshifterlab.com
Smoke Jazz and Supper Club Birldland
Smoke has augmented its reputation as one of the most distinguished jazz venues in New York City with an
The Birdland jazz club, located in
addition very uncommon to jazz
New York City, is a historic jazz venue
clubs great food. Smoke serves in-
that has been in the city since 1949.
novative American Bistro fare devel-
Despite experiencing a series of clo-
oped by critically acclaimed exec-
sures, re-openings, and several relo-
utive chef Patricia Williams. Smoke is
cations throughout its long history,
proud to be New York’s only boutique
the club has resided in Manhattan’s
Jazz & Supper Club with an award
Theater District since 1986, close to its
winning chef.
original location.
Shape Shifter Lab • Address: 2751 Broadway
• Address : 315 W 44th Street
New York, NY 10025
New York, NY 10036
• Tel : (212) 475-8592
Jazz bassist Matthew Garrison’s slick
• Tel : (212) 581-3080
• http://smokejazz.com
Gowanus performance space hosts
• http://birdland.com
nightly performances of live experimental music. During the day, the joint provides state-of-the-art rehearsal, recording and exhibition space to the neighborhood’s artists. • Address: 18 Whitwell Pl Gowanus, Brooklyn 11215 • Tel : (646) 820-9452 • http://shapeshifterlab.com
by Hank Shteamer
J@LC
Zinc Bar If you’re looking for a unique experience, Zinc Bar is your best bet. To enter, take a few steps down upon arriving, open the door and move ALL THAT JAZZ FEBRUARY 2014 11
2014 BEST SELLING ALBUM REVIEWS By Hrayr Attarian Abrams is the voice of rea-
Robert Paredes, lends some
but he expands the group to
son, picking his spots, spilling
respectability to Styx’s bom-
a septet: In addition to trum-
beautiful, or comprehensible
bastic “Grand Illusion” and
peter Peter Evans, saxophon-
effusions
the Carpenters’ sappy “Bless
ist John Irabagon and drum-
around
Mitchell
and Lewis.
the Beasts and the Children”
mer Kevin Shea, we’ve got
In these stark sonic land-
by emphasizing the melodic
Ron Stabinsky on piano, Da-
scapes, there are almost no
strengths of both tunes. But
vid Taylor on bass trombone
melodic, harmonic or rhyth-
the banjo, over enunciated
and Brandon Seabrook on
mic plotting points. MoWt of
vocals
banjo and electronics.
the whirring and murmur-
tempos
come
The music on Red Hot, the
Roscoe Mitchell Quartet
ing on “Tnoona” cannot be
off like attempts at cheap
band’s sixth studio album, is
Live at “A Space” 1975 (2013)
identified by any instrument.
laughs. Then there’s the mix
warped almost literally. Many
Genres: Modern Jazz
Yet there are moments of
of electronic backdrops and
of these songs, all of which
Wadada Leo Smith & Tumo Occupy the World
epiphany,
irrational
clean clarinet lines in “Hel-
Elliott composed, sound like
Genres: Modern Jazz
Only the most modern of
gestures, emerging from si-
lo It’s Me” and “Tie a Yellow
someone’s stack of Jelly Roll
listeners will be able to get
lence, gain access to previ-
Ribbon Round the Ole Oak
Morton and Louis Armstrong
As he did in last year’s Pulit-
with the 38 year-old music. Its
ously inaccessible regions of
Tree,” which cross over into
78s that had been left out in
zer-nominated Ten Freedom
barriers to entry are extreme.
the subconscious. Some of
easy-listening territory. These
the sun for a few days. On
Summers, trumpeter com-
It comes from two nights in
the experiments fail: “Olobo”
stark sonic landscapes.
“Zelienople,” for instance, the
poser Wadada Leo again
1975 at A Space, an artist-run
simply lays there, inert, an in-
Mike Shanley
piano starts and stops, the
melds social concerns with
gallery in downtown Toronto
terminable 10 minutes trom-
banjo is plucked maniacally,
deeply personal statements.
which, is still open for busi-
bone solo.
the drumming is deliberate-
TUMO, the ensemble Smith
ness. Four of the eight tracks
Mike Shanley
when
and too
double often
time
ly arrhythmic and the horns
leads and conducts here, is
were released on the Cana-
solo over one another with
a 21 piece Finnish improvisa-
dian Sackville label, on LP in
little regard for melody and
tional orchestra consisting
1976 and on CD in 2002; four
none for harmony. The title
of players who prove equal-
tracks are previously unis-
track begins with 48 seconds
ly fearless tackling Smith’s
sued. The band is Roscoe
of computer-generated sine
challenging
Mitchell; George Lewis in
wave followed by a few ban-
launching
his debut recording; Muhal
jo strums and more electron-
both solo and collective,
Richard Abrams and Spencer Barefield. In 1975, Mitchell’s primary affiliation was the Art Ensemble of Chica-
juxtaposing the title compo-
in traditional jazz. And then,
sition a meditation on the
weirdly, the band engages
Occupy movement with trib-
in a very cool tune that in-
utes.
Genres: Modern Jazz
terpolates wait for it songs
If you thought the comic
And then, weirdly, the band
classical avant-garde. Lew-
Genres: Modern Jazz
avant-garde free-jazz quar-
engages in a very cool tune
is’ blats in the right channel
by the Red Hot Chili Peppers.
tet Mostly Other People Do
that
sound entirely disassociat-
Rearrangements of the pop
the Killing went off the deep
lates wait
ed from Mitchell’s chirps in
hits from the 1970s usually
end years ago, it just found
for it
the left. It is startling when
come with a heavy dose of
a deeper spot. Last year’s
songs
seemingly
utter-
irony, but it’s hard to tell if vi-
bizarre album Slippery Rock
by the
the
braphonist Dan Moore had
found bassist Moppa Elliott’s
Red Hot.
two arrive at rough unisons.
that in mind when assem-
group using smooth jazz to
Steve Greenlee
Barefield does not “play” the
bling this album and the
inform its oddball merrymak-
guitar but occasionally in-
Misfit Toys. The ad-hoc group,
ing. This time he goes all the
serts motivational strums or
which includes Matt Wilson,
way back to 1920s through
vivid configurations of color.
Paul Elwood and the late
1930s hot jazz. Not only that,
ances
random
coincide
and
12 2014 FEBRUARY ALL THAT JAZZ
improvisations
ic noises that have no place
the European and American
has more in common with
and
Mostly Other People Do the Killing Red Hot (2013) Misfit Toys Does Anybody Really Know What Time It Is?
go. The quartet at A Space
scores
interpo-
Smith places a strong em-
trumpeter’s debut with Ger-
to know how much of 1/1
Festival. The quintet was wrap-
phasis on group statements,
man
instrumentalist
was preplanned and how
ping up a European tour, and
yet
even
during
multi-
ensem-
and influential techno pro-
much was in-the- moment,
their extended takes on the
ble passages each voice
ducer Moritz von Oswald
but there are moments, es-
five compositions they served
is limned so precisely that
and his nephew, Laurens. The
pecially during “Transition,”
up in Soho were tight.
the dichotomy between the
trio’s debut performance at
where everyone seems in
The Wisconsin raised, in
“individual” and the “col-
Kristiansand, Norway’s 2013
perfect synch: it’s not always
London based Janisch calls
lective” virtually disappears.
Punkt Festival, while strong,
the trumpeter following the
things to order with a soulful
Despite the epic sweep of
was largely misleading; the
von Moritzs’ synth colors and
bass intro to his own “Precise-
his themes, Smith also avoids
show
occupied
harmonies; there are times
ly Now,” punctuated by the
grandiosity: the solos of alto
some of 1/1’s more ethere-
when the keyboardist’s ap-
saxophonist
Inna-
al territory, but Molvær and
pear to respond to Molvær
nen and tenor saxophonist
his partners also traveled to
Fredrik Ljungkvist are tender
far more beat-driven, and
and
danceable terrain.
pure, there are effects.
Mikko
querulously
barking;
flutist Juhani Aaltonen’s ex-
certainly
Better, perhaps, for live per-
occasional clinking of diners’
as well. While the trumpet-
Nils Petter Molvaer & Moritz von Oswald 1/1 (2013)
er’s tone is largely clean and
Genres: Modern Jazz
dy, which Colom and Osby fol-
cutlery. Ortiz and Royston briefly set up the unison horn melolow with blistering solos. Osby,
That Molvær is comfort-
It could turn out that the best
whose live album Banned in New York possibly inspired this
otic, bird like flutters are re-
formance, but being a studio
able enough in his own
live jazz album released in the
deemed from preciousness
concoction, 1/1 is consider-
skin to avoid virtuosity for its
U.S. this year will be one re-
one’s title, provides a masterly intro of the same length to
by the earthy growls and
ably darker, and all the bet-
own sake instead, focusing
corded at a British pizza joint
chirps that emanate from
ter for it. Molvær has been
heavily on tone, melody and
in 2011.That was when pianist
Fats Waller’s “Jitterbug Waltz,”
playing a lot more unpro-
the responsive demands of
Aruán Ortiz and bassist Mi-
then returns after Colom’s
cessed horn lately, though
participating in a trio is part
chael Janisch brought their
quick read of the melody with a solo. Janisch’s bass quiets
the orchestra behind him. “The Bell 2” is a sequel to a Smith composition that was
here it’s often drenched in
of what has made him so
co-led quintet an internation-
originally included on Antho-
reverb to expand its place
much successful. He pos-
al ensemble featuring estab-
to a steady heartbeat as Ortiz
ny Braxton’s debut on Del-
in the soundscape. On the
sesses chops-a-plenty, and
lished star Greg Osby on alto
begins his solo soft and slow,
mark, and Smith has struc-
opening “Noise 1,” a dark
the sophistication of his me-
saxophone, Barcelona’s Ray-
The piano then building in
tured this piece as a dialogue
synth undercurrent provides
lodic ideas suggests a deep-
nald Colom on trumpet and
abstraction and intensity un-
among groups, not just indi-
the spare context over which
er harmonic or rythmic lan-
versatile veteran Rudy Royston
til Ortiz exits with a snippet of
viduals. “Mount Kilimanjaro”
Molvær improvises, leading
guage.
on drums to the Pizza Express
Waller’s theme.
is an expansion on Smith’s
to a final repetitive motif im-
Susan Milly
Jazz Club for the London Jazz
Bill Beuttler
earlier “Africana World,” pri-
bued of both the trumpeter’s
marily a showcase for its
intrinsic lyricism and beauti-
honoree, bassist Lindberg.
fully pure tone. “Step By Step,”
“Crossing
Southern
on the other hand, is more
Road” is another tribute, this
pulse-driven, initially predi-
time to the late saxophonist
cated on a simple synth bass
Marion Brown.
line and some spare elec-
Alex Grimwade
tronic percussion. More hyp-
The Best
Hardcastle VII
notic than dance-inducing,
Concord Jazz
Trippin’ ‘N’ Rhythm
on
a
TOP 10 Chart For FEBRUARY, 2014
1
BONEY JAMES
6
PAUL HARDCASTLE
as the von Moritzs gradually build the track with nearly imperceptible additional lay-
2
DAVE KOZ AND FRIENDS
7
STEVE COLE
ers, Molvær patiently builds a
Summer Horns
Pulse
thematic overlay, providing a
Concord/CMG
Artistry/Mack Ave.
clear focus all the more compelling for the long spaces he leaves, creating a terrific
Nils Petter Molvaer & Moritz von Oswald 1/1 (2013) Genres: Modern Jazz
3
JEFF GOLUB
8
VINCENT INGALA
sense of tension released
Train Keeps A Rolling
Can’t Stop Now
only when he reenters.
eOne
vincentingala.com
The set’s longest track, “Transition,” returns to more brooding terrain. There’s a
4
BRIAN SIMPSON
9
EUGE GROOVE
pulse, yes, but soft and subtle,
Just What You Need
House of Groove
buried within the synth wash
Shanachie
Shanachie
With the breakup of his trio
that provides the shape and,
responsible for the superb
for Molvær the context. It as-
Baboon Moon, it’s been a fair
sumes even more form as
question to wonder: what’s
a deep bass line emerges,
In the Moment
Soul Quest
next for Nils Petter Molvær?
though
Shanachie
Shanachie
One possible answer is cer-
harmonic center still retains
tainly 1/1, the Norwegian
a somber mood. It’s hard
the
composition’s
5
PIECES OF A DREAM
10
KEIKO MATSUI
ALL THAT JAZZ FEBRUARY 2014 13
Francesca Han Pianist Francesca Han’s music contains a certain duality. She’s a classical and improvising jazz pianist with one foot in the jazz tradition and the other wedged firmly in the door of contemporary jazz. An established jazz musician in South Korea, Han acquired new vocabulary studying and playing in New York, where she also collaborated with composer Jeff Fairbank’s experiment in fusing Korean traditional music with jazz.
H
by Ian Patterson
ans debut was a mixing standards
left-hand dishes out bold chords sparingly, maxi-
and originals, whereas Illusion presents
mizing their impact. She exudes energy, and even
all-originals.
Alessi
the numerous islands of pause that mark her so-
brings beefy solos to a number of com-
los notably on “Delusion”—act as highly sprung
Trumpeter
Ralph
positions. The heads are clearly signposted, but
launching pads for further exploration.
the rest is a thrilling ride, with drummer Justin
The impressionistic vignette “Subtle Bitterness”
Brown and alternating bassis’ts Drew Gress and
bristles with the slightly oppressive atmosphere of
Corcoran Holtenjoying tremendous freedom with-
storm brewing; an effect heightened by Brown’s
in clearly defined parameters. There’s a palpable
rumbling drums. It gives way to the melodic “Sha-
sense of the musicians feeding off each others’
olinish,” a Brad Mehldau-esque number which
energy and intuitive moves, whether in tentative
grows from a simple to-and-fro between Han
passages, the trio feeling its way into “Study 34”
and Holt into an expansive dialogue of depen-
during the intro, or in the rhythmically charged
dence and independence, with Brown anchoring
exchanges that dominate the session. Alessi not
the trio. “Castalia” is a haunting interpretation of
only brings added fire to numbers like “Study 34”
an elegiac Frederic Chopin Etude. Han’s quietly
and “Count Yourself,” but interacts sympathetically
stated blues lyricism is buoyed by Gress’ beauti-
with Han in their little dovetailing gestures, in the
fully weighted bass lines. In Greek mythology, the
duo’s tightly spun hard bop unison lines and in
nymph-turned fountain Castalia inspired poetry in
the bolder give-and-take of extended soloing.
those who listened.
Whether as a trio or quartet, the musicians make a strong unified statement.
The trio improvisation “Gravity” closes an absorbing set in angular mode, yet even when
Han’s playing draws from a deep well of ideas.
playing free jazz the trio sounds perfectly attuned.
Her dynamic runs, with “Contemporary” and
After only two recordings, Han already sounds like
“Hypatia” providing highlights, are punctuated
the finished article. Solos to a number of compo-
by little tangential flurries and accents here and
sitions. The heads are clearly signposted, but the
there, kernels of ideas that, over the long course,
rest is a thrilling ride, with drummer Justin Brown
color her improvisations like knots in polished
and alternating bassists Drew Gress and Corcor-
hardwood—striking but essential parts of the
an Holtenjoying tremendous freedom within
overall contours. A deft two-handed player, Han’s
clearly defined parameters.
14 2014 FEBRUARY ALL THAT JAZZ
Korea has never been more fashionable, lead-
Though destined to become a jazz pianist, Han
ing the way in technological advances and dic-
didn’t turn her back entirely on classical music:
my art. Meeting musicians with the same affinity
tating hair styles, television viewing, eye shape
“Fortunately, thanks to my college professor I de-
Han absorbed the music historical greats like
and pop music trends across Asia and beyond.
veloped an interest in Bartók. I enjoyed playing
pianists Bud Powell and Thelonious Monk, and dis-
The mindboggling response to singer PSY’s song
their music,” says Han. “After I got into jazz I played
covered in New York great modern pianists such as
“Gangnam Style,” with over a billion hits on You
with many opera singers and string players.”
Kenny Kirkland, Jason Moran and Craig Taborn: “I
Tube, epitomizes the phenomena of the so-called
Though Han rarely gives classical piano recitals
took some lessons from Jason Moran and learned
“Korean Wave.” Fewer people, inevitably, are
these days, she is quick to acknowledge that her
so much from him about composition and impro-
aware of the depth of Korean jazz talent, amply
classical training has provided a good technical
visation,” Han relates. Another musician who had
demonstrated on the essential compilation Into
foundation in terms of jazz: “Ultimately, to make
a significant influence on Han’s development was
the Light Traditional Music and Korean Jazz. And
beautiful music some technical skills are required,”
trumpeter Ralph Alessi: “Studying with Ralph Ales-
whilst Korean jazz may not make US President
she states. At the same time jazz has helped Han
si challenged me in many ways,” acknowledges
Obama, UK Prime Minister Cameron or UN Chief
gain a better appreciation of classical music:
Han. “I had to deal with lots of space, meaningful
Ban Ki-Moon strut their funky stuff as they have all
“Jazz has definitely led me to a better understand-
space. I was thinking differently about improvising.”
reputedly don e to Gangnam Style, it’s enjoying
ing of classical music, particularly with regards to
vibrant growth as perhaps never before.
harmony,” she says.
was great. It satisfied my thirst.”
In New York Han played in a variety of settings, with singers, in her own trio and regularly with
One of the most impressive jazz talents to have
Han talks of the “humanity” in classical music
composer Jeff Fairbanks Project Hansori’ Jazz Or-
emerged from Korea in recent years is pianist or
but that jazz is her main idiom Han is in no doubt:
chestra. Fairbank’s Jazz Orchestra experimented
composer Francesca Han, whose technical com-
”Jazz satiated my thirst and liberated my soul to
with a fusion of jazz and Asian music, incorpo-
mand of her instrument is matched by a bold
some degree,” Han explains. “I believe that jazz is
rating Korean traditional music and dancers. For
improvisational style that draws from traditional
a tool that draws out the inner urge to make real
Han, the fusion was quite a natural one: “Korean
roots of jazz and more contemporary influences.
communication with myself as a musician.” This
traditional music is a pure improvising form of art.
At times, Han’s improvisations veer towards mod-
classical-jazz duality can be heard on Han’s very
I see the possibilities of combing jazz with tradi-
ern-classical but it’s a rhythmically vibrant jazz
personal interpretation of Chopin’s Etude in E-flat
aesthetic that dominates her playing. The Great
minor Op. 10 No.6 on her solo album, Ascetic,
American Songbook, saxophonist John Coltrane
though as Han explains, it is something of a mu-
and pianists Bud Powell and Brad Mehldau inspire
sical departure for her: “It was not my usual taste.
her in equal measure, but her voice is her own.
I am not interested in playing classical pieces
2012 was a big year for Han; she returned to her
in jazz mode, but in this piece there were simple
native South Korea after eight years in New York
rhythms and harmonies, which intrigued me so I
and released two CDs. The first of these, Illusion is
decided to play it quietly but passionately.”
a trio/quartet recording bristling with energy and
Quietly but passionately could well describe
intuitive interplay. The second, Ascetic is Han’s first
Han’s journey as a jazz musician thus far. Han
solo piano recording, whose emotional range and
made a name for herself at home but in 2004
technical finesse further underlines the pianist’s
she left her native South Korea to take a Master’s
wealth of ideas.
Degree in Jazz Performance at Queens College,
Han gained a BA in classical piano perfor-
New York. Han combined studying with performing
mance, though as she relates it wasn’t exactly a
around the city and her debut recording, Frances-
labor of love: “Honestly speaking, I was not really
ca Han—a mixture of original compositions and
into classical music at all during my college years,”
reworking of jazz standards—featured top New
Han admits. “Perhaps I didn’t like to play exactly
York musicians, bassist Corcoran Holt and drum-
what’s written.” As a teenager, Han listened to
mer Jerome Jennings.
American and British pop and rock and her natu-
The transition from South Korea to New York was,
ral inclination towards freer forms of music led her
however, not an easy one at first: “It was difficult to
to join a rock band as a keyboard player whilst at
adapt, of course, not only for the language but
college: “I was just working out what type of music
culturally,” says Han. Though Han describes herself
I liked to play.”
as a somewhat unconventional South Korean the
Music always comes to me without planning. I'd say just being myself at any time would be my plan."
Han was in the rock band for three years. It
move to New York was still a culture shock: “It was
tional Korean music. I do want to explore more the
was Deep Purple keyboard player Jon Lord who
not as easy as I thought it would be,” admits Han.
possibilities of Korean traditional music,” says Han.
turned Han onto improvised music: “I heard Jon
“I remember the first shock was the different way
“I have a concert in July 2013 which is this kind of
Lord’s improvisations in concert. I’d mimic the jazz
of caring. For example, the straightforward way of
project. Let’s see where it goes!”
sounds. It made me curious about improvisation
speaking, people expressing their emotions hon-
Han’s two recent CDs see the pianist explor-
and jazz.” The first jazz CD that Han listened to was
estly, etc. With time and patience I adapted okay.
ing original compositions, though she hasn’t yet
pianist Bill Evans’s You Must Believe in Spring, a gift
Many good friends helped me out obviously.”
turned her back on jazz standards: “I like writing
from a friend. It was a pivotal moment in shaping
In spite of the initial difficulties of adapting to
my own music and shaping standards into my
Han’s musical direction: “That Bill Evans album has
a foreign language and culture, She reflects. “In
own style. I still like to play standards at club gigs
quite crucial meaning for me,” Han affirms. “Its lyri-
Korea I was burning with curiosity and it was my
but on Illusion and Ascetic I just wanted to play
cism and emotional content totally blew me away.
passion for improvisation that led me to New York.
my own music. It’s not a question of confidence or
It touched a deep sensibility within me. The right
I learned bebop and started playing at jazz clubs
a lack of confidence; it’s simply interesting to work
music came to me at the right time and changed
and was meeting so many great musicians from
out my own language,” says Han. “‘Delusion’ on Il-
my whole life.”
whom I could get lessons anytime. I learned about
lusion is by Bud Powell, but I rearranged it so much ALL THAT JAZZ FEBRUARY 2014 15
Han was invited to perform at JIJF 2010, and was impressed by the scale of the event and the organization behind it that ensures its smooth running.
I
had to change the title. For now, I want to do
It’s difficult to discern too many obvious influ-
my own music, but playing standards in differ-
ences in Han’s playing, with the exception of the
ent ways is always so much fun. Maybe the
track “Shaolinish,” which has echoes of pianist
next album will be full of standards.” For Illusion,
Brad Mehldau’s lyricism. Han acknowledges her
Han once again turned to bassist Corcoran, who
debt to Mehldau: “I started jazz seriously because
shares the bass duties with Drew Gress, and drum-
of Brad Mehldau’s music and all the stories it tells.
mer Justin Brown. Ralph Alessi contributes strong
It’s obvious that his music affected me for a long
trumpet lines to several tracks. Listening to Illusion
time,” says Han.
the musicians seem to enjoy a lot of freedom
After eight years in New York, Han decided
within the framework of Han’s compositions. Han
the time was right to return to South Korea. “I was
concurs: “What I was aiming for was being myself,
lucky to learn all I did there,” she says of New York.
without doubts. I wanted to have real freedom
“I absorbed everything around me and got clos-
so I invited Drew, who plays with Ralph a lot, and
er to the core of what it means to be an artist.
Justin for the delicate sounds I love to hear. They
Perhaps the most significant thing I learnt was to
are amazing musicians. All I needed to do was
accept differences.”
to enjoy playing without worries. We just trusted
The jazz scene in Korea that Han returned
ourselves and went for it with big energy, I believe.”
to was quite different to that of a decade ago:
It’s certainly a steaming session and much of
“When I left in 2004 there were around 10 jazz
the credit goes to drummer Brown, who brings tre-
clubs in Seoul, but now there are more than 20
mendous energy and inventive drive to the mu-
clubs. There was one college with a jazz program,
sic: “I do love his playing,” affirms Han. “He brought
now there are many colleges running jazz pro-
such delicate sensibility and dynamics into this al-
grams. There weren’t so many jazz musicians a
bum. I had seen him playing in Gerald Clayton’s
decade ago so I was lucky to play club gigs a
trio. We had a duo rehearsal before the recording
lot. However, now many people who have studied
and it turned out great. He is such a beautiful mu-
jazz in the USA or Europe have returned to Korea.
sician. I like playing with dynamic drummers,” Han
So, I see jazz is becoming popular and the jazz
continues, “I think they can draw a much bigger
scene is getting bigger.”
painting. Who does not like dynamic drummers?”
Han, however, bemoans an imbalance in the
Han’s approach to composition and improvi-
type of jazz groups popping up: “There’s little diver-
sation could be described as impressionistic: “I
sity in the music; there are many pianists but not
usually wait until the music comes up and then
enough horn players and this might hold back a
I imagine sounds and color; then I start creating
growing market,” she says. An abundance of pia-
the whole painting. When I improvise I try to re-
nists and piano trios doesn’t appear to have held
member the original sounds I imagined. Mostly
back the growth of the audience for jazz if the-
each tune has very particular color so it’s not easy
Jarasum International Jazz Festival is anything to
to change all the time. For sure, bebop colors my
go by. The 2012 edition was attended by 200,000
playing but I’m focused on creating my own lan-
young Koreans, and it’s an audience that’s both
guage so I can see in and out at the same time.”
passionate and knowledgeable.
16 2014 FEBRUARY ALL THAT JAZZ
ALL THAT JAZZ FEBRUARY 2014 17
Han was invited to perform at JIJF 2010, and
an album highlight. Han, unsurprisingly, is a fan:
was impressed by the scale of the event and the
“I love his music. He writes beautiful music,” she en-
organization behind it that ensures its smooth run-
thuses. “He’s a very talented young musician. He’s
ning: “I didn’t realize how big this festival had be-
flexible and dynamic and I have great respect for
come because it started the year I moved to New
his vast musical language.” The other track that
York. I was very happy to be performing at home.
Hwei plays on is the album closer “Spontaneous
It was great to know the Jarasum family, especial-
Essay on Nothing,” which, as the name suggests,
ly director J.J. In. The people at Jarasum work so
was a purely improvised piece.
hard and with these kind of people I’m sure jazz will grow a lot more in Korea,” says Han.
Han’s eight composition or improvisations have a distinctly contemporary feel, though stem-
Han’s second CD release of 2012 was the solo
ming from jazz roots: “Green in Blue” has some
piano offering, Ascetic, a technically brilliant and
relation with “Blue in Green,” explains Han. “Also,
emotionally beguiling work.“I’ve practiced solo pi-
“Why is This Thing Called Love” was based on
ano for a while but this recording just happened
“What is This Thing Called Love.” But I didn’t play
without a map,” explains Han. “I am not sure if the
heads on any of these tunes so I can change the
music has been with me or not. It just came out of
titles. It was just improvised music.” Though Han
nowhere. So yes, it was a big leap to the next step
has given classical piano recitals in the past the
of exploring my music.”
approach to Ascetic was something new: “This recording was the first time I’d played solo piano for two hours. It was very challenging and yet not impossible.” It has been a highly rewarding experience for the pianist: “I have some very special memories of making this album,” admits the pianist. “I am not satisfied with my more composed works, but there were some moments that I can’t even remember what was consciously done. I think those moments were totally beautiful.”The experience of improvising and recording Ascetic has seemingly given Han even greater confidence to express herself: “After I recorded Ascetic I decided to play more solo concerts.” Both Illusion and Ascetic are out on Audioguy. The quality of the recordings is excellent, as is the attention to detail in the packaging of the CDs, so it’s little wonder that Han is full of praise for the independent label: “They are very good people. It’s not a big label but it has a good reputation
Though predominantly recorded in Seoul, the
for recording and mixing,” says Han. “The cover
seeds for Ascetic were planted while Han was still
designs look like a bit like ECM but Audioguy uses
in New York: “While recording Illusion, just for fun I
strong, unique color for its work. They believed in
played “Countdown” solo and found some inter-
me on these projects and I really appreciate their
esting ideas. Then I decided to play three more
work and concern.”
solo tunes for Illusion. When I came home in early
After eight years acclimatizing to New York, it’s
2012 I recorded three tunes at a studio and the
little wonder that a certain amount of readjust-
producer asked me if I could just improvise some-
ment was needed on returning to Korea: “Adapt-
thing. So, I kept on playing and it turned out to be
ing myself once more to Korean culture has been
around ten tunes.”
quite stressful,” Han admits, “but it’s getting better
Eight of those tunes born of extended improvi-
now.” With plans to explore and adapt Korean
sations made it onto Ascetic. The other two tracks
traditional music Han will connect on a deeper
Han describes as “bonus tracks,” and feature Ma-
level with her roots in a way she hadn’t before
laysian violinist Fung Chern Hwei.
and the prospect excites her.
Hwei is a member of the Sirius String Quartet
There are a number of solo concerts coming
in New York and Han first came across him whilst
up but beyond that Han is content just to go with
both were studying at Queens College: “He’s a
the flow: “Maybe my plan is not having a plan,”
good friend of mine and we joke all the time” says
she says. “Music always comes to me without
Han. “He plays all kinds of music with so many
planning. I’d say just being myself at any time
great musicians like Uri Caine, Tony Bennett and
would be my plan.”
Bobby McFerrin, Ryuichi Sakamoto and Ivo Perelman, among others. We recorded his first CD From the Heart Produced, and we recorded again.” Hwei’s playing on the self-penned “Ceili” provides 18 2014 FEBRUARY ALL THAT JAZZ
ALL THAT JAZZ FEBRUARY 2014 19