Feb 3, 2025 10:49 PM
The Essence of Emily
In the April 1982 issue of People magazine, under the heading “Lookout: A Guide To The Up and Coming,” jazz…
Saxophonist Greg Ward, left, gets a lesson in how to wear the blindfold before journalist Michael Jackson administers the test.
(Photo: Alfie Jackson)Alto saxophonist Greg Ward’s win in this year’s Critics Poll Rising Star category, at age 42, was a long time coming. But, given his prolific activity in myriad aggregations and his work as a composer/arranger, such recognition was inevitable. Notwithstanding recent tenure as an associate professor at Indiana University’s Jacobs School of Music, Ward has maintained a hectic schedule freelancing with The Occidental Brothers, drummer Makaya McCraven, bassist Linda May Han Oh, drummer Mike Reed’s groups and singer Alyssa Allgood, as well as leading his own band, Rogue Parade. This was his first Blindfold Test.
Kenny Garrett
“For Openers” (Introducing Kenny Garrett, Criss Cross, 1984) Garrett, alto saxophone; Woody Shaw, trumpet; Mulgrew Miller, piano; Nat Reeves, bass; Tony Reedus, drums.
That’s Brother Garrett from the ’80s! He was 24 at the time, and I remember thinking, “I want to have my debut album out at 24, too.” I caught up with him later during the “Song Book” era, but found this interesting when I first heard it in my 20s. He was still polishing, discovering, and that tone, already one of the greatest and most inspirational sounds on alto. 4 stars.
Mostly Other People Do the Killing
“So What?” (Blue, Hot Cup, 2014) Moppa Elliot, bass; Peter Evans, trumpet; Jon Irabagon, tenor and alto saxophone; Ron Stabinsky, piano; Kevin Shea, drums.
This isn’t the MOPDtK version of Kind Of Blue, is it? Jon is amazing and does a great job here, but there’s something about Cannon’s articulation. MOPDtK have a lot of fun and humor in their music, and it’s great to have Jon back in Chicago. 4 stars.
Cannonball Adderley
“74 Miles Away” (Phenix, Fantasy, 1975) Adderley, soprano saxophone; Nat Adderley, cornet; Michael Wolff, keyboards; Walter Booker, bass; Roy McCurdy, drums; Airto Moreira, percussion.
Gary Bartz? Trying to catch the tone … someone influenced by Wayne [Shorter]. Is that Freddie [Hubbard]? It’s not Courtney Pine or something? [after reveal] Ah, this is Phenix, then. I’m hip to Inside Straight (Fantasy, 1973) and late Cannonball. 4 stars.
Jan Klare
“Confirmation”(Solo, Poise, 2017) Jan Klare, alto saxophone.
Is this Julius [Hemphill]? Andrew D’Angelo? Oliver Lake? Bunky Green? Jimmy Lyons? It’s wild, I like it! 3½ stars.
Warne Marsh/Lee Konitz Quintet
“Two Part Invention #13, Allegro Tranquillo” (Live At The Montmartre Club–Jazz Exchange Vol. 2, Storyville, 1975) Konitz, alto saxophone; Marsh, tenor saxophone.
That’s one of those live recordings with Warne and Lee. The sound concept and melodic development, the fragments and displacement. One of my students has a book about Warne’s processes for exploration. I need to check it out. 4½ stars.
Earl Bostic
“Don’t You Do It?” (The Very Best Of Earl Bostic, Collectables, 1950) Bostic, alto saxophone; Count Hastings, tenor saxophone; Jaki Byard, piano; Gene Redd, vibes.
Wow, I don’t have many growlers in my library. Fathead [Newman]? Louis Jordan? Cannonball used to get that growl now and again. Believe it or not, I had a phase as a freshman, sounded like a jump-blues saxophonist. I made third place in the Fish Middleton jazz scholarship competition in Maryland one time. The judges were Buster Williams, Steve Kuhn and Houston Person. Buster commented, “That’s a very interesting sound you are going for, but Cannonball did it a little differently.”
Maria Schneider Orchestra
“Data Lords” (Data Lords, ArtistShare, 2020) Soloists: Dave Pietro, alto saxophone; Mike Rodriguez, trumpet and electronics.
Is that Darcy [James Argue]? Avishai [Cohen, trumpet]? Clarence Penn on drums? Rudresh [Mahanthappa] on alto? [after reveal] It sounds more modern than I was expecting from Maria, but obviously I don’t know all her music. It unfolds without repeating; patient introduction of each instrument, organic, intentional, not a moment wasted, the form grows within the solos. 5 stars.
Paul Giallorenzo’s GitGo
“Force Majeure” (Force Majeure, Delmark, 2014) Gaillorenzo, piano; Mars Williams, alto saxophone; Jeb Bishop, trombone; Anton Hatwich, bass; Quin Kirchner, drums.
[commenting on the alto saxophone solo] [Nick] Mazzarella? [Ernest] Dawkins? [Dave] Rempis? It sounds like [Ken] Vandermark on alto. Is it Mars Williams? And who’s the bass player? He has that hump like [Jason] Roebke. It’s not Nate McBride, not Kent [Kessler]. Ah, Anton. 4 stars. I liked the comping, and that was really grooving. A fun, Sun Ra-esque jam.
Kris Davis
“Trip Dance For Tim” (Duopoly, Pyroclastic, 2016) Davis, piano; Tim Berne, alto saxophone.
Brother Steve Lehman? [Greg] Osby? [hint: it’s a “downtown” cat] Tim Berne! Is that Matt Mitchell on piano? [Craig] Taborn, Vijay [Iyer], Danilo [Perez]? Oh, Kris Davis, and this is on her Pyroclastic label. I did one gig with her in a medium-size ensemble with Tony Malaby at the Stone in New York. Great interplay here, I don’t know what is composed and what is improvised — I admire that aspect in any group. 5 stars.
Bunky Green
“Be” (Another Place, Label Bleu, 2004) Green, alto saxophone; Lonnie Plaxico, bass; Jason Moran, piano; Nasheet Waits, drums.
Is this later Jackie Mac? Ah, Bunky. Is this the French one Steve Coleman produced? Raw, distinct, exciting and aggressive. Bunky is such an original voice, I wanted to learn from him to discover my own voice. After initially inviting me to audition in North Florida he told me to go to New York City. Steve [Coleman], Greg [Osby] and Branford [Marsalis] learned from Bunky, so I asked Branford, “Did he help you find your own voice?” Branford said, “Just master your craft and your voice will find you.” 4½ stars. DB
The “Blindfold Test” is a listening test that challenges the featured artist to discuss and identify the music and musicians who performed on selected recordings. The artist is then asked to rate each tune using a 5-star system. No information is given to the artist prior to the test.
“She said, ‘A lot of people are going to try and stop you,’” Sheryl Bailey recalls of the advice she received from jazz guitarist Emily Remler (1957–’90). “‘They’re going to say you slept with somebody, you’re a dyke, you’re this and that and the other. Don’t listen to them, and just keep playing.’”
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In the April 1982 issue of People magazine, under the heading “Lookout: A Guide To The Up and Coming,” jazz…
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