Show #150! Crazy, ain’t it?

Multi-instrumentalist Sadigursky just released Words Project III: Miniatures (New Amsterdam, 2010), the third in his series of releases combining contemporary poetry with improvised and through-composed music. In this interview, Sadigursky talks about his decision to use poems as an inspiration for composition; which texts lend themselves to his work and why; and what the various vocalists on his albums bring to the music. Learn more at samsadigursky.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Roger Kellaway has always refused to be labeled. His career covers jazz and classical composition and performance, as well as work in the television and film industries. Kellaway recently released the 2-CD set Live At The Jazz Standard (IPO, 2008). In this interview, Kellaway talks about playing in a piano trio without drums; working in the film industry; and his ambitious new multimedia project “Visions Of America,” featuring Clint Eastwood and Patti Austin. Learn more at www.rogerkellaway.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Drummer and composer John Hollenbeck is a constant explorer of new sonic terrain. His large ensemble album Eternal Interlude (Sunnyside, 2009) is no exception. In this interview, recorded at the artists retreat Yaddo in Saratoga Springs, NY, Hollenbeck talks about his approach to composition for large ensemble; his mid-retreat trip to the Grammy awards; and several upcoming projects. Learn more at johnhollenbeck.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Chad Taylor is a very busy man, playing drums with his own band and with Digital Primitives, the Chicago Underground ensembles, Nicole Mitchell and many others. Taylor’s trio recording, Circle Down (482 Music, 2009) features bassist Chris Lightcap and pianist Angelica Sanchez. In this interview, Taylor talks about the idea of collective leadership in music; the many projects he’s been involved with in recent years; and why sometimes the simplest music is the most difficult. Learn more at myspace.com/rythmicnavigation.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

My most recent piece for The Island Packet newspaper on Hilton Head Island, SC, is a short profile of the Hammond organ and organists Jimmy Smith and Scott Giddens.

Read the article.

Pianist and keyboardist Erik Deutsch combines a love of groove and vintage keyboards with a keen ear for melody and orchestration on his CD Hush Money (Hammer & String, 2009). In this interview, Deutsch talks about his musical goals for this album; how he combined live performance and creative use of the recording studio to make the finished product; and his views on the jam band and jazz scenes. Deutsch spent several years with the popular band Fat Mama. Learn more at www.hammerandstring.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Today is the third anniversary of The Jazz Session, which started back on Feb. 24, 2007 with TJS #1: Grant Stewart. Here were are, 460,000+ downloads later and still going strong — thanks to YOU!

Drummer and composer Harris Eisenstadt’s album Canada Day (Clean Feed, 2009) is a strong statement by an inventive composer. In this interview, Eisenstadt talks about his compositional goals for the album; how this CD is both related to his past work and different from it; and also about his upcoming nonet project. Learn more at www.harriseisenstadt.com. NOTE: Eisenstadt and the Canada Day band will be at Ibeam in Brooklyn on Feb. 26 and 27, 2010. Learn more at ibeambrooklyn.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Chris Kelsey is both a jazz musician and critic – one of the rare people who straddles both worlds. His new CD is Not Cool (…as in “The Opposite of Paul Desmond”) (Tzazz Krytyk, 2009). In this interview, Kelsey talks about his approach to composition and performance; how his work as a critic has impacted his career as a musician; and how blogging has changed the way he writes about music. Learn more at chriskelsey.com.

Click here to purchase Chris Kelsey’s new album via CD Baby.

Seattle-based trumpeter Jason Parker has figured out how to make a living — and a life — with his instrument. Parker’s quartet has been together for a several years, a fact clearly in evidence on their most recent recording, No More, No Less (Jason Parker Music, 2009). In this interview, Parker talks about the band and what makes it work; his early adoption of social media and how it’s helped his career; and why he decided to give away his music for free. Learn more at oneworkingmusician.com. Follow Jason Parker on Twitter at twitter.com/1workinmusician.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

I found out Tuesday night that FootHills Publishing, an independent poetry press celebrating its 25th year, is going to publish a collection of my work. I really can’t believe it. Huzzah!

Watch jasoncrane.org for more details…

Coming up on The Jazz Session over the next couple months: Jason Parker, Chris Kelsey, Harris Eisenstadt, Erik Deutsch, Chad Taylor, John Hollenbeck, Roger Kellaway, Sam Sadigursky, Brandon Seabrook, Lionel Loueke, Dave Rempis & Frank Rosaly, Frank Kimbrough, John Ellis, Orrin Evans, Joe Locke, Tyshawn Sorey, Fred Ho, …Erik Telford, Stanton Moore, Matt Lavelle … and more!

Crazy, right?

Pianist Hiromi Uehara spends a lot of time on the road, traveling from gig to gig, from hotel to hotel, from city to city and country to country. Her new CD, Place To Be (Telarc, 2010), pays tribute to many of the places she’s visited. In this interview, Hiromi talks about life on the road; her emotional return to her hometown in Japan; and why she’s happy to meet new pianos. Learn more at www.hiromimusic.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Many thanks to Chris Rich of the blog Brilliant Corners for including The Jazz Session right at the top of his site.

If you’re not familiar with Chris, you should be. He blogs frequently and fearlessly about jazz as an art form and as a business, and I always find his take on the music refreshing and original. Chris also goes out of his way to build a community of jazz fans, musicians and writers, and that’s important work.

Back in November, Chris asked me to participate in his occasional profile series. Here are the results.

So thanks, Chris. The jazz world is better with you in it.

UPDATE: This short post prompted some nasty comments, which is too bad. But it also prompted an interesting post from Chris Rich, which is good.

Pianist Lee Shaw is living a fascinating life. From her childhood in Oklahoma in the 1920s to her early exposure to jazz in Chicago to her decades-long career as a jazz pianist, Shaw has been everywhere and played with just about everyone. In this interview, recorded at the Rotary Club of Albany, NY, Shaw talks about her early years; why she decided to become a jazz pianist rather than a classical accompanist; and the impulsive proposal that led to a lifetime of musical bliss. Learn more at www.leeshaw.org.

If you’d like to buy this album, you can supporting The Jazz Session by purchasing it via the link below:

Violinist Ben Powell made his festival debut this summer at the 2009 Tanglewood Jazz Festival, where this interview was recorded. Powell was raised in Cheltenham, England, the son of a cellist and a violin teacher. He released the album Light in 2008. In this interview, Powell talks about his musical upbringing; how a chance meeting with an American conductor led to a Berklee scholarship; and why he’s chosen to focus on music from the early days of jazz. Learn more at www.ben-powell.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Bassist Linda Oh was born in Malaysia to Chinese parents, grew up in Perth, Australia, and now plays the bass in New York City. Her debut recording, Entry (self-produced, 2009), is a strong trio statement featuring trumpeter Ambrose Akinmusire and drummer Obed Calvaire. In this interview, Oh discusses her decision to challenge herself on her first recording; her upbringing and how it influenced her decision to become a jazz bassist; and how she has dealt with stereotypes about Asian women as she’s forged her career. Learn more at www.lindaohmusic.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Congratulations to all the folks who won Grammy awards during the afternoon ceremony today, including the following former guests on The Jazz Session:

• Best Jazz Vocal Album: Kurt Elling, Dedicated To You (Listen to my interview with Kurt Elling)
• Best Improvised Jazz Solo: Terence Blanchard on “Dancin’ 4 Chicken” from the album Watts by Jeff “Tain” Watts (Listen to my interview with Terence Blanchard / Listen to my interview with Jeff “Tain” Watts)

Here’s the rest of the list of the awards given out thus far in the jazz category.

My latest mini-profile for the Island Packet newspaper on Hilton Head Island, SC, is about pianist Noel Freidline. Here’s the opening:

Noel Freidline was first exposed to jazz in the usual manner: via National Geographic.

Wait a minute, National Geographic?

“My mom was briefly a member of the National Geographic album club back in the late ’70s,” Freidline said. “One of the albums they sent her that she did not actually order was a compilation album of Dixieland jazz. One day, when I was about 11 or 12, I found the album and put it on. I was fascinated. Shortly thereafter a neighbor gave me a Dave Brubeck album called ‘Time Out.’ He was probably the only person in my little hometown of Clearwater, Kan., who even knew who Dave Brubeck was. Now I was hooked.”

Read the rest of the article.

Drummer Mike Reed is a mainstay on the Chicago music scene, both as a performer and a presenter. Reed and his band People, Places & Things have a new album called About Us (482 Music, 2009). It’s part of a trilogy showcasing the past, present and future of the Chicago scene. In this interview, Reed talks about the sometimes overlooked cultural contributions of the “third coast;” why he decided to record this trilogy; and how he went about finding the compositions and musicians he’s featuring in his current work. Learn more at mikereedmusic.com.

You’ll find even more hard bop from Chicago on this week’s Night Lights from WFIU: “Chicago Calling: Unsung Heroes of the City’s Hardbop Scene.”

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

“To me, music is an occult alphabet of frequencies and vibrations that are transmitted on an instrument.” So says pianist Matthew Shipp, whose new solo piano recording, 4D (Thirsty Ear, 2010) comes out on January 26. In this interview, Shipp talks about the joy of solo piano; the lessons he learned from David S. Ware and Roscoe Mitchell; and the origins of music itself. Learn more at www.matthewshipp.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Pianist James Weidman is well known as an accompanist to some of the most heralded singers of our time, from Abbey Lincoln to Cassandra Wilson. In recent years he’s travelled the world as a member of Joe Lovano’s band. On his new CD, Three Worlds (Inner Circle, 2009), Weidman leads an eclectic ensemble of improvisers through his own creative compositions. In this interview, Weidman talks about his early decision not to be pigeonholed; why he usually writes music away from the piano; and his recent trip to play jazz in Moscow. Learn more at www.jamesweidman.com.

If you’d like to buy this record, you can support The Jazz Session by purchasing it via the link below:

Vocalist Amy Cervini is one of a handful of jazz singers who are successfully taking their repertoire from outside the Great American Songbook. On Cervini’s new album, Lovefool (Anzic Records, 2009), she tackles everything from the Cardigans to Depeche Mode to Nellie McKay and makes it all work. In this interview, Cervini talks about how she chooses her repertoire; the response of jazz and pop fans to the music she sings; and how she’s managed to build both performing and artist management careers. Oh, and she’s having a baby, too. Learn more at www.amycervini.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Marty Ehrlich is everywhere. Since moving from St. Louis to New York in 1978, Ehrlich has established himself as both an in-demand sideman and a leader with a distinct and multi-faceted musical vision. His CD Things Have Got To Change (Clean Feed, 2009), finds Ehrlich leading his Rites Quartet through a program of music written by, or inspired by, saxophonist Julius Hemphill, with whom Ehrlich played. In this interview, Ehrlich talks about his pan-stylistic approach to composition; the influence of the St. Louis scene on his own playing and on New York; and how he approaches the distinct roles of sideman and leader. Learn more at www.martyehrlich.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

My recent interview with basketball writer Nathaniel Friedman is getting some exposure on the Interwebs. It will help to know that Nathaniel Friedman’s pen name is Bethlehem Shoals:

• SLAM, the premier basketball magazine: Bethlehem Shoals talks Basketball & Jazz
• The Atlantic: The Sounds & The Furies
• Stacheketball: Bethlehem Shoals a.k.a. Nathaniel Friedman guests on “The Jazz Session” to speak on the ineptitude of the Basketball-Jazz comparison.

Pianist and vocalist Michael Kaeshammer has spent more than a decade making music that’s both fun and smart. He draws on everything from James P. Johnson and Fats Waller to contemporary pop music on his new album, Lovelight (Alert Music, 2009). In this interview, recorded at the 2009 Tanglewood Jazz Festival, Kaeshammer talks about the nature of showmanship; how he came to love the early stride piano masters; and why New Orleans has become an important source of inspiration for his music. Learn more at kaeshammer.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below.

Drummer Kobie Watkins got his start in the world of gospel music in Chicago. He branched out into playing with guitarist (and Sonny Rollins sideman) Bobby Broom. That relationship led to Watkins himself joining Rollins’ band. Watkins has just released his debut album as a leader, Involved (Origin, 2009). In this interview, Watkins talks about the album as a snapshot of one point in his musical life; his audition for Sonny Rollins; and what playing every night with a living legend has taught him. Learn more at www.kobiewatkins.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Here are the responses to the survey question, “If you could book one artist for The Jazz Session, who would it be?” These are in the order received, and there are certainly duplicates. If the person has already been a guest on the show, I’ve noted that in bold type with the show number after their name. And for everyone else: I’m workin’ on ‘em!

(Two notes: 1. This post has a “Continue Reading” link partway through. Click on that link for the full list. 2. If you’re reading this at thejazzsession.com, you’ll see an alphabetical list of all the past guests on the left side of the page. Click on any name to hear the interview.)

• Tom Harrell
• Kurt Rosenwinkel
• Pat Metheny
• Miles Davis! Hehe … seriously, though … I can’t think of anyone – and actually appreciate learning abuot new folks rather than just hearing from folks I already know!
• Julian Lage – TJS #94
• Jeremy Davenport
• I’m afraid I’ll say one who has already been done!
• Carla Bley
• John Scofield
• One? In a perfect world, Wayne Shorter. But you do such a great job with artists that deserve more recognition, such as Joe Fonda, Mario Pavone, Vinny Golia, John Hollenbeck, etc
  – Hollenbeck is booked!
  

• Maria Schneider.
• Charlie Haden
• some of the more modern jazz composers for larger groups, i.e. larger than a quartet
• Wayne Shorter!
• kurt rosenwinkel
• Wayne Shorter
• I’ll add two – Cecil Taylor (piano) and George Lewis (trombone)
• Ben Allison
• Ellery Eskelin
• robert glasper (TJS #99), dave holland
• Jeff “Tain” Watts – TJS #12
• I don’t think you’ve had Anat Cohen yet.
• Pat Metheny
• bassist Avishai Cohen
• Just one? Wayne Horvitz or Matt Jorgensen
• the librettist, pianist who wrote about the sports page and my attorney bernie. (Dave Frishberg)
• Done deal: Sam Rivers! :) – TJS #120
• Dr John
• Henry Threadgill – On the way!
• Dave Brubeck
• Victor Wooten
• Bobby McFerrin
• Dafnis Prieto
• Charles Lloyd
• Hmmmm, Greg Osby… Jason Moran (TJS #18). But avoid the surface and dig.
• The Bad Plus
• Jan Garbarek
• wynton Marsalis
• Hank Jones
• Eddie Gomez
• Jan Garbarek
• Paul Gonsalves!,..but from the Living,..Hilliard Greene,.Bass Player..
• Rudresh Mahanthappa
• Nicholas Payton
• I’d really like to have European jazz artists featured in the show. They are literary thousands of them out there and, unfortunately, all but missing at the moment in the show. I think it’d add a whole different (refeshing?) dimension to discussions about jazz and its future. Hey, it’s just a phone call, right? – TJS #3, 4, 24, 26, 32, 48, 54, 82, 89, 102, 103, 117. The preceding doesn’t include all the non-European, non-American guests from places like S. America, Japan, S. Africa, Australia, etc.
• Love being introduced to new artists, keep it up
• I think there’s a lot of mainstream stuff on the Jazz Session, which is fine, but it would be nice to see a little more on the fringes, which for me could just as well be Ruby Braff as it could Peter Brotzmann. But to answer your question, let’s say George Lewis.
• Are you short of leads? Joe Lovano? Martin Taylor’s funny. Can Bireli Lagrene speak english? Someone to talk about the scenes in Germany.
• Brian Jones
• David Binney
• david murray
• Ellington alumni Bassist John Lamb and Trombonist Buster Cooper in St. Petersburg FL
• Melody Gardot – she has an incredible story and sings like an angel
• bassist michael moore
• Charlie Parker, back from the grave. Just Kidding! How bout Erik Truffaz
• How about two: #1. Benny Maupin – loved Escondido from his last CD; #2. Buster Williams – kicked electric bassists out of a master class at Stanford but I still love him!
• Norah Jones
• Jacob William.
• Tough call – you do such a good job – Wayne Shorter, I suppose
• dead: mingus / alive: Massimo Sammi
• David Cutler
• William Parker
• Brian Blade, Kurt Rosenwinkel, Zsolt Kaltenecker, Brad Mehldau, Joshua Redman, Nils Wogram (sorry these were actually six)
• Wil Blades (SF Bay Area organist), Dave Douglas, John Zorn
• Nina Simone – deceased
• Bobo Stenson
• Zakir Hussain
• Kurt Rosenwinkel
• Soweto Kinch
• Jeff Kashiwa
• Nikolaj Hess
• Jacob Fred Jazz Odyssey
• Ahmad Jamal
• Rob Scheps
• Kenny Barron
• Alan Broadbent
• Frank Butrey
• Paul Motian (get him while you still can!)
• Marco Benevento
• Hard to say.The variety and quality of artists is quite good, and I have to catch up on some episodes I have missed!

Saxophonist Chris Potter’s new album, Ultrahang (ArtistShare, 2009), is an exploration of groove and melody. In this interview, recorded before Potter’s performance with Dave Holland at the 2009 Tanglewood Jazz Festival, Potter talks about how a middle-class kid in Columbia, SC, ended up liking Chicago blues; why he looks first to please himself with the music he makes; and how rhythm breaks down barriers with an audience. Learn more at www.chrispottermusic.com.

EVENT: Chris Potter’s Underground (Adam Rogers – guitar, Craig Taborn – Fender Rhodes and Nate Smith – drums) will be at the Village Vanguard this week from Jan. 5-10. More information is available at villagevanguard.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Before he began writing about basketball at freedarko.com and in FreeDarko presents The Macrophenomenal Pro Basketball Almanac: Styles, Stats, and Stars in Today’s Game, Nathaniel Friedman wrote about jazz. In this interview, he discusses the “basketball=jazz” meme; a popular jazz album that many people lost their virginity to; and the need to turn sports into art. Learn more at freedarko.com.

If you’d like to buy Nathaniel Friedman’s book, you can support The Jazz Session by purchasing it via the link below:

• Steve Kuhn’s kitchen
• The lobby of Vijay Iyer’s apartment building
• A trailer behind the stage at the Albany Riverfront Jazz Festival
• James Shipp’s minivan
• …and many more!

Read: The Jazz Session: Oh, The Places You’ll Go!

Saxophonist Eric Alexander has forged a multi-decade career out of one simple concept: “To thine own self be true.” In this interview, recorded before his September 2009 performance in Schenectady, NY, Alexander talks about his musical vision; his experience as a teacher at SUNY Purchase; and why he thinks it’s possible to point to one particular period of jazz as the greatest in the music’s history. Learn more at www.ericalexanderjazz.com.

The tunes in this interview come from Eric Alexander’s Nightlife In Tokyo CD. If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

What a way to end 2009! Thank you so much for your support. You make it all worthwhile.

Stay tuned in 2010 for many more interviews, including Sonny Rollins, Marty Ehrlich, Amy Cervini, Matthew Shipp, Lee Shaw, Tyshawn Sorey, Chad Taylor, James Wiedman, Mike Reed, Linda Oh, Hiromi, Jason Parker, Erik Deutsch, Harris Eisenstadt, Roger Kellaway, Sam Sadigursky and many more!

Saxophonist Sonny Simmons is the subject of a new documentary now in production called Just A Guy Who Knows. The filmmakers, Dan Scofield and Mike Ercolini, have so far produced a 20-minute trailer and are raising funds to finish a 45-minute short film on Simmons. The saxophonist has lived a remarkable life, moving from his days as a colleague of John Coltrane and Sonny Rollins to near anonymity as a musician on the streets of San Francisco. He’s now back in action again, and his wisdom and intelligence shine through in the documentary. Learn more at www.justaguywhoknows.com.

Here’s the short trailer for the film. Visit the Web site to get access to the longer version.

JUST A GUY WHO KNOWS trailer from Blind Escrow Productions on Vimeo.

One of Sonny’s recent albums is Ancient Ritual. If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Drummer and percussionist James Shipp is making music without borders. With his band Nos Novo, Shipp has just released Strange Sweethearts In America (Shippwrite Music, 2009), a fascinating and fun mix of traditional Irish melodies and rhythms with Brazilian music and collective improvisation. In this interview, Shipp talks about the genesis of the band; provides a guide to the varying ingredients on the album; and talks about what makes each of these styles so special to him. Learn more at www.jamesshipp.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Cooper-Moore is a musical renaissance man. He’s a pianist who also invents and builds his own instruments. He’s steeped in history and tradition, and refreshingly free from convention. In this interview, Cooper-Moore talks about his childhood days as the town musician; why he feels that playing music is far more than a profession; and how and why he began creating his own instruments. Learn more at www.hopscotchrecords.com/cooper.html.

Several of the tunes in this interview come from the new Digital Primitives album. If you’d like to buy this recording, you can support The Jazz Session by purchasing it via the link below:

You’d think that helping to invent a new genre of music and being the first person to play your instrument in a jazz setting would be enough to get you some headlines in the jazz history books. You’d be wrong. Meet Harry Babasin, the bassist who played on the very first recordings of what became bossa nova, and then became the first person to play pizzicato cello in a jazz group. He’s now largely forgotten. In this interview, his son Von Babasin talks about Harry’s life and accomplishments, and Von’s mission to film a documentary that will restore his dad to his rightful place in jazz history. Learn more at www.jazzinhollywood.com/harrythebear.html.

Harry Babasin’s band The Jazz Pickers features Harry’s cello work. If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below.

Drummer Ted Sirota is using his powers for good. On his most recent album, Seize The Time (Naim, 2009), Sirota once again chooses to make a political statement with his song titles and choices. In this interview, Sirota talks about making political jazz; why he’s not going to use liner notes again; and the fine balance between delivering a message and having that message overshadow the music. Learn more at tedsirota.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Willard Jenkins is a jazz broadcaster and blogger, and a consultant to jazz artists and festivals. Jenkins’ blog, The Independent Ear, is a constant source of news and views about the jazz world. In this interview, Jenkins talks about the diminishing influence of jazz in people’s home record collections and thus in the lives of their children; why jazz is no longer an integral part of the black community experience; and that jazz isn’t dead — but it does need to work on audience development. Learn more at openskyjazz.com.

Guitarist Rez Abbasi continues his rhythmic and harmonic explorations on Things To Come (Sunnyside, 2009). He’s joined on this album by pianist Vijay Iyer, saxophonist Rudresh Mahanthappa, bassist Johannes Weidenmeuller, drummer Dan Weiss, cellist Mike Block and vocalist Kiran Ahluwalia. In this interview, Abbasi discusses the Indian-Pakistani jazz scene in New York; how he incorporates Indian and Pakistani music into his compositions even without the use of traditional instruments; and why he feels his best compositions are combinations of craft and inspiration. Learn more at www.reztone.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Infernal Machines (New Amsterdam Records, 2009), the debut CD from composer Darcy James Argue’s Secret Society, is one of the most talked-about records of the year. In this interview, Argue reveals why he chose to write modern music using a big band as his musical vehicle; how he turned a simple blog into a social media juggernaut; and why the last thing he wants to be is nostalgic about music. Learn more at secretsociety.typepad.com.

If you’d like to buy this album, you can help support The Jazz Session by purchasing it via the link below:

Sam Rivers is a musical renaissance man. He’s performed in big bands, bop bands, R&B groups, blues bands and free-jazz ensembles. Rivers is currently composing adventurous large-ensemble music (such as is found on his 2006 CD Aurora) in an unlikely location: Orlando, Florida. In this interview, Rivers talks about his early days in Boston; how he was recruited by Jimi Hendrix while playing with Cecil Taylor; and how a tour with Dizzy Gillespie led to his relocation to Florida. Learn more at rivbea.com.

The music in this episode comes from Sam Rivers’ album Aurora. If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

These lists are always a bit ridiculous to compile, given the near impossibility of rating art and the sheer number of CDs released each year. That said, I compiled the list below for the 2009 Village Voice Jazz Critics Poll.

TOP 10
Artist – Album (Label)

1. Fay Victor – The FreeSong Suite (Greene Avenue)
2. Vijay Iyer – Historicity (ACT)
3. Darius Jones – Man’ish Boy (AUM Fidelity)
4. The Fully Celebrated – Drunk On The Blood Of The Holy Ones (AUM Fidelity)
5. The Respect Sextet – Sirius Respect (Mode)
6. Ted Sirota’s Rebel Souls – Seize The Time (Naim)
7. Digital Primitives – Hum Crackle & Pop (Hopscotch)
8. Terence Blanchard – Choices (Concord)
9. Steve Lehman – Travail, Transformation & Flow (Pi Recordings)
10. Kat Edmonson – Take To The Sky (Convivium)

TOP 3 REISSUES

1. Art Pepper – The Art History Project (Widow’s Taste)
2. Tony Bennett & Bill Evans – The Complete Tony Bennett & Bill Evans Recordings on Fantasy (Concord)
3. — not voting for a 3rd —

BEST VOCAL ALBUM

Fay Victor – The FreeSong Suite (Greene Avenue)

BEST DEBUT CD

Darius Jones – Man’ish Boy (AUM Fidelity)

BEST LATIN JAZZ CD

– not voting —

Guitarist Dom Minasi’s most recent recording, Dissonance Makes The Heart Grow Fonder (Konnex, 2009), features his string quartet in a program of adventurous composition and improvisation. In this interview, Minasi talks about how he spent the 20 years between his last Blue Note recording and his re-emergence as a leader; why Johnny Smith was a big influence on him, and why he let that influence go; and how a lifetime of playing, teaching and practicing has brought him to this prolific period. The Dom Minasi String Quartet plays on Thursday, Dec. 10, 2009 at Roulette in NYC. For more information, visit domminasi.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Luis Bonilla blends humor, adventurousness and a passion for his family on his new CD, I Talking Now (Planet Arts, 2009). In this interview, the in-demand trombonist talks about the use of humor in music; the effect of his time with Lester Bowie; and how thinking “beginning brass” was a shop class led to his life with the trombone. Learn more at trombonilla.com.

If you’d like to buy this album, you can help support The Jazz Session by purchasing it via the link below:

Pianist Eldar came onto the jazz scene as a child prodigy. Now in his early 20s, Eldar is expanding his repertoire as a composer and improviser. His new album is Virtue (Sony Masterworks Jazz, 2009). In this wide-ranging interview, Eldar talks about making music relevant to the present day; the nature of the jazz audience; and why many people respond to the “color” of music before anything else. Learn more at eldarjazz.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Trombonist Wayne Wallace brings a lifetime of jazz, R&B and latin playing together on his new latin jazz CD, ¡Bien, Bien! (Patois Records, 2009). In this interview, Wallace talks about his introduction to latin music and why it spoke to him; his years as a semi-pro soccer player and how that helped him navigate the communities in which latin music is played; and why he may just have the greatest wedding band in history. Learn more at walacomusic.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Paquito D’Rivera is equally at home in the jazz and classical worlds, a fact he showcased during his performance at the 2009 Tanglewood Jazz Festival. In this interview, D’Rivera talks about several of the pieces he performed that night: “Conversations With Cachao” and “The Panamericana Suite.” He also discusses “Fiddle Dreams,” a rare commission from the Library of Congress; and why he thinks the jazz and classical worlds can learn from one another. The music in this program is taken from his album Jazz Clazz (Termidor Music, 2009). Learn more at paquitodrivera.com.

If you’d like to buy the album, you can support The Jazz Session by purchasing it via the link below:

Harpist Edmar Castaneda combines folkloric music from his native Colombia with jazz and other latin influences on his new album, Entre Cuerdas (ArtistShare, 2009). In this interview, Castaneda talks about his discovery of jazz as a teenager; his first attempts to sit in at descarga jam session … on the harp; and how he ended up with what is probably the only harp-trombone-percussion trio in the world. Learn more at edmarcastaneda.com.

If you’d like to buy the album, you can support The Jazz Session by purchasing it via the link below:

On his second album, Escaping Shadows (Concord, 2009), saxophonist Benny Reid continues to explore the musical path first laid down by Pat Metheny. In this interview, recorded just after Reid’s performance at the 2009 Tanglewood Jazz Festival, Reid talks about the influence of Metheny; why he chooses to compose everything from the melodies to the bass lines of his tunes; and how he navigates both the artistic and business sides of music. Learn more at bennyreid.com.

If you’d like to buy the album, you can support The Jazz Session by purchasing it via the link below:

Drummer Martin Urbach is a citizen of the world. His travels have taken him from his native Bolivia to New Orleans and then New York. His experiences along the way are expressed musically on Free Will (self-produced, 2008). In this interview, Urbach talks about his musical and cultural upbringing; his flight from New Orleans during Hurricane Katrina; and why after so many years playing instrumental music, he’s now writing songs with words. Learn more at martinurbach.com.

If you’d like to buy this record, you can support The Jazz Session by purchasing it via the link below:

The band Diverse consists of students from the University of Missouri at Kansas City. They all study with saxophonist Bobby Watson. They won a contest that included a recording contract with Origin Records, and the result is Diverse (Origin, 2009), a well-crafted selection of original music. In this interview, trumpeter Hermon Mehari talks about how the band got started; why they ended up playing some tunes in the contest that were written the same day as the performance; and what comes next now that they’ve made a record and opened for Roy Haynes. Learn more at diversejazz.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Bassist John Goldsby has worked in Germany for the last 15 years, playing in a state-sponsored jazz orchestra in Cologne. On his album Space For The Bass (Bass Lion, 2009), Goldsby explores the role of the bass in a variety of small-group settings. In this interview, Goldsby talks about why he’s chosen to make his home in Germany since the mid-90s; his view of the bass and its place in an ensemble; and how an improbable gig in Louisville, KY, put him on the bandstand with some of the great names in jazz. Learn more at goldsby.de.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Saxophonist Roger Lewis is one of the founding members of the Dirty Dozen Brass Band. Since the 1970s, Lewis and the band have played with everyone from Dizzy Gillespie to Elvis Costello. In this interview, Lewis talks about the formation of the band; how the Dirty Dozen decided early on to use all their musical influences to create their own sound; and why life on the road isn’t for everyone. Learn more at dirtydozenbrass.com.

The Dirty Dozen’s album What’s Going On? is a tour de force. If you’d like to buy it, you can support The Jazz Session by purchasing it via the link below:

The Dan Loomis Quartet currently features Loomis on bass, Eli Asher on trumpet, Robin Verheyen on saxophone and Jared Schonig on drums. This particular line-up of the band performed for the first time in Albany, NY, during the 2009 Albany Riverfront Jazz Festival. After the show, the four musicians talked about the freedom found in a band without a chordal instrument; how they approach complex rhythms and forms; and what makes the experience of collective improvisation such a joy. Learn more at danielloomismusic.com.

The previous incarnation of the Dan Loomis Quartet recorded an album in 2007 called I Love Paris (Jazz Excursion Records, 2007). If you’d like to buy the album, you can help support The Jazz Session by purchasing it via the link below:

Kat Edmonson is making a name for herself as both a smart interpreter of popular songs (both old and new) and as a musician who puts her values into practice in her art. Edmonson’s debut CD, Take To The Sky (Convivium Records, 2009) features creative reworkings of tunes by Carol King, The Cure and The Cardigans, alongside (un)expected versions of Cole Porter, George Gershwin and Henry Mancini. In this interview, Edmonson talks about her years of apprenticeship in Austin, TX; how she’s navigating the line between jazz and pop music; and how she turned a quotation from Gandhi into a hit YouTube video. NOTE: Edmonson is making two rare East Coast appearances this week: at Sculler’s in Boston on Tuesday (11/10) and at The Jazz Standard in New York on Wednesday (11/11). Learn more at katedmonson.com.

If you’d like to buy this album, you can help support The Jazz Session by purchasing it via the link below:

Pianist and vocalist Patti Wicks teams up with her Italian trio — bassist Giovanni Sanguinetti and drummer Giovanni Gulino — and guest saxophonist Scott Hamilton for Dedicated To… (Geco Records, 2009). In this interview, Wicks talks about how she dealt with her childhood visual impairment and learned to play by ear; her college days at the Crane School of Music and her early years in New York; and why Italy has become a home-away-from-home for her. Learn more at pattiwicks.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Saxophonist and composer Steve Lehman makes use of spectral harmony on his album Travail, Transformation and Flow (Pi Recordings, 2009). The result is a carefully crafted and emotionally engaging exploration of the physics of sound, played by a group of musicians who are seeking new ways to make improvised music. In this interview, Lehman offers a crash course in spectral harmony; discusses his compositional style and why he chose the particular musicians on the album; and talks about the influence on his life and music of Jackie McLean and Anthony Braxton. Learn more at

Ben Perowsky’s newest recording, Moodswing Orchestra (El Destructo, 2009), is an experiment is ambient improvisation. Perowsky has assembled an all-star cast of instrumentalists and vocalists, including everyone from Cibo Matto’s Miho Hatori and Brazilian vocalist Bebel Gilberto to turntable/laptop artist Markus Miller and tuba player Marcus Rojas. In this interview, Perowsky talks about his desire to embrace the spirit of jazz but avoid “jazz language”; and how the process of the recording was as much about improvisation as was the content. Learn more at perowsky.com and see the band live on Nov. 9 at 10 p.m. at the Nublu Jazz Festival.

John Abercrombie returns with Wait Till You See Her (ECM, 2009), another album of gorgeous, tuneful music from his quartet, featuring Mark Feldman on violin, Joey Barron on drums, and new band member Thomas Morgan on bass. In this interview, Abercrombie talks about how subtle movements in the audience impact a performance; the label “chamber jazz” and whether it applies to his band; and his role as the evil Donald Dastardly in the radio drama Harry Lovett, Man Without A Country, which also featured the voices of John Surman and Jack DeJohnette. Learn more at johnabercrombie.com. (On a personal note, John was on The Jazz Session #3, back when no one had ever heard of this show. I’m grateful for his early support of The Jazz Session, and it’s very gratifying to have him back here 100 episodes later.)

If you’d like to purchase this album, you can support The Jazz Session by buying it via the link below:

John Surman is a composer with a broad and multi-hued musical palette. He’s written for everything from solo saxophone to string quartet to choir with organ to contemporary dance. On Brewster’s Rooster (ECM, 2009), Surman reunites with longtime musical partners Jack DeJohnette and John Abercrombie (accompanied by bassist Drew Gress) for a quartet album that explores group interplay. In this interview, Surman talks about finding a place in his music for his disparate influences; why he writes for many types of ensembles; and why he doesn’t play in the U.S. more often. Learn more at JohnSurman.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Cymin Sawamatie was born in Germany to Iranian parents, and that mix of cultures informs the music of her band, Cyminology. On their third CD, and their first for ECM, Cyminology (ECM, 2009), the quartet explores the poetry of Rumi, Hafiz and Forugh Farrokhzad, combining these disparate poetic influences with a rich palette of composed and improvised music. In this interview, Samawatie talks about her culturally rich upbringing; the nature of her compositions; and why Cyminology can’t play in Iran. Learn more at www.cyminology.de.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

My grandfather was one of the biggest influences on my life, both in making me the man I am and in pointing me early on to the magic of music, and jazz in particular. To celebrate my 100th episode, I’m taking a break from the show’s normal format to share with you my remembrances of my grandpa and some of the music that he loved.

Here’s a photo of the band my grandfather played in. He’s in the exact center of the top row. This photo was taken in 1930:

Robert Glasper believes that improvised music can authentically incorporate hip hop rhythms — and he also believes that authenticity is a necessary quality to make the mix work. That kind of authenticity is what he’s striving for on Double Booked (Blue Note, 2009), the new CD featuring both his acoustic trio and his larger electric band. In this interview, Glasper talks about the influence of Herbie Hancock’s genre-busting music; why Glasper decided to feature both his bands on one album; and why he thinks John Coltrane might be mad if he came back today. Find out more at www.robertglasper.com.

If you’d like to buy Double Booked, you can support The Jazz Session by purchasing it via the link below:

The Industrial Jazz Group is a 15-ish-piece large ensemble that plays the inventive, challenging and often hilarious music of composer Andrew Durkin. That sentence, though, doesn’t come close to doing them justice. The band, made up of musicians fluent in jazz, classical and rock — and inspired by the free-for-all spirit of Frank Zappa — is a force of nature, slinking, striding and crashing through Durkin’s charts with an obvious love for the group’s collective sound. In this interview, Durkin talks about how the band grew from its original trio formation; how comedy works to the group’s advantage; and how he’s used social networking sites to expand the band’s audience. The Industrial Jazz Group is on an East Coast tour through 10/24. Dates and locations are available at IndustrialJazzGroup.com.

For more on the IJG, head over to Popdose and read my review of their show in Pittsfield, MA.

If you’d like to buy their album, Leef (Evander, 2008), you can support The Jazz Session by purchasing it via the link below:

Virginia-born saxophonist Darius Jones wants to tell his story, and he’s chosen as his vehicle his new album, Man’ish Boy (AUM Fidelity, 2009). This is an album born of economic poverty and emotional wealth. Joining Jones are multi-instrumentalist Cooper-Moore and drummer Rakalam Bob Moses. This powerful and beautiful album is an important statement by a voice that needs to be heard. Learn more at Darius Jones’ MySpace page.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Guitarist Joe Morris has spent three decades finding ways to contribute to the language of the guitar and to the literature of improvised music. He’s managed to stay true to himself and his sound during that entire time, even as he’s added the bass to his repertoire. On Today On Earth (AUM Fidelity, 2009), Morris continues to explore the place of the guitar in the world of free improvisation. In this interview, Morris talks about his early decision to play without effects; how the masters of the music create their own technique; and the innovative way he teaches his students to do what feels right with their music. Learn more at www.joe-morris.com.

If you’d like to buy this album, you can support The Jazz Session at the same time by purchasing it via the link below:

The Fay Victor Ensemble’s The FreeSong Suite (Greene Avenue, 2009) is a tour de force of writing, improvisation and performance. Victor and her band paint one fluid word picture after another, linking these composed sections with free playing that is smart, muscular and emotional. In this interview, Victor talks about why she needed a steady band to realize her musical vision; how she arrived at the mix of freedom and pre-determination that characterizes the album; and what the breakdown of Joe’s car says about human relationships. Find out more at

Guitarist Julian Lage was playing gigs when he was 5 years old. By age 7, he was the subject of a documentary. At age 12, he played on the Grammy Awards show, and shortly after began gigging and recording with Gary Burton. Now, at the ripe old age of 21, Lage has released Sounding Point (Emarcy Records, 2009), his debut recording. In this interview, Lage talks about his unlikely life; why he chose a band made of up cello, percussion and saxophone; and why he and his band are as likely to be jamming on Bach as on Bird. Learn more at JulianLage.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Composer and bandleader Dave Rivello is a man on a mission. For nearly two decades, Rivello has been writing original music for his large ensemble and performing that music in clubs in and around Rochester, NY, where he teaches at the Eastman School of Music. The result? Facing The Mirror (Allora Records, 2009), a CD of Rivello’s music that highlights his inventive compositions, and the talented members of his unusual ensemble. In this interview, Rivello talks about how hearing one record changed his life; how he cold-called one of his musical heroes and started a lifelong relationship; and why he chose his own particular instrumentation for his band. Find out more at DaveRivello.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

How do you sum up the career of one of the most distinctive saxophonists ever? For Laurie Pepper, spanning the breadth of her late husband Art Pepper’s career was both a daunting and joyous task, one she accomplished with great success on The Art History Project (Widow’s Taste, 2009). The three CDs cover Pepper’s career from the early 50’s to the early 80s, featuring both previously released and never-before-heard music. In this interview, Laurie Pepper talks about the evolution of Art as a saxophonist; why the Contemporary label wanted to erase tapes of Art’s playing; and why she’s changed her mind about fans recordings gigs. Learn more at StraightLife.info.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below. Please note that this is a link to Volume 1 of this 3-volume set.

Guitarist Mike Stern has played with everyone. And yes, that includes Miles Davis. After decades in the business, he could easily be resting on his laurels. Instead, he’s pushing himself into new territory, as displayed on his CD Big Neighborhood (Heads Up, 2009), which finds him in the company of everyone from Esperanza Spaulding to Randy Brecker to Eric Johnson to Steve Vai. In this interview, Stern talks about why he likes surrounding himself with fresh ideas; his rockin’ side and his lyrical side; and how guitarist Hiram Bullock once blew Michael Brecker’s mind. Find out more at mikestern.org.

Help support The Jazz Session by buying the CD via this link:

Trombonist David Gibson delivers another album full of melody and grounded in a strong sense of purpose on his new CD A Little Somethin’ (Posi-Tone, 2009). Gibson is a veteran of the Dizzy Gillespie All-Star Big Band, and a leader in his own right. In this interview, Gibson talks about the importance of melody in his writing; the sound of a working band; and why he chooses to focus on original compositions. Find out more at jazzbone.org.

Help support The Jazz Session by purchasing your copy of the CD via this link:

Dutch bassist Joris Teepe has lived in New York for the past 20 years, making a name for himself with everyone from Benny Golson to the late Rashied Ali. Recently, Teepe was commissioned to write music for both an orchestra and a big band in Europe. Those two experiences were so positive that he decided to start a big band in New York, and the result is the CD We Take No Prisoners (Challenge Records/Twinz Records, 2009). In this interview, conducted in Teepe’s back yard in Englewood, NJ, Teepe talks about how Don Braden helped him learn to arrange for large ensembles; how he approaches the bass in the very different bands of Golson and Ali; and why he decided two decades ago to follow the “New York sound” across the water. Learn more at www.joristeepe.com.

Help support The Jazz Session by buying this album via the link below:

Ellis Marsalis is more than the father of four famous sons. He’s an acclaimed pianist and educator in his own right, and his musical history has covered a lot of ground. Homecoming (ELM Records, 2009), his new CD, is a mix of old and new, combining a reissue of 1985 duet session with saxophonist Eddie Harris, and new music recorded in 2009 with fellow New Orleanian pianist Jonathan Batiste. In this interview, Marsalis talks about how his time in the Marines helped build his piano chops; how he got his gig with trumpeter Al Hirt; and what makes New Orleans “fertile ground” for a jazz musician. Find out more at EllisMarsalis.com.

Help support The Jazz Session by buying this album via the link below:

The American Federation of Jazz Musicians Local 802 is trying to win pension benefits for jazz musicians who play in New York City clubs. In 2007, Local 802 fought and won tax relief for NYC jazz clubs, with the expectation of state legislators that the clubs would use this money to provide pension benefit contributions for jazz artists. Now that the tax money has been made available, the club owners have yet to put the money towards benefits.

In this interview, Local 802 Jazz/Education Representative Todd Weeks lays out the history of the Justice For Jazz Artists campaign and talks about the importance of pensions and other benefits for the musicians — young and old — who play jazz.

HOW YOU CAN HELP: Visit the Justice For Jazz Artists Web site and sign the petition in support of pension benefits for jazz musicians. If you live in the New York City area, there’s a rally on Tuesday, September 29. Details are at the Justice For Jazz Artists site.

Local 802 has also produced this video talking about the campaign, featuring musicians such as Randy Weston, Benny Powell, Dr. Billy Taylor and many others:

Thanks for your help. Here’s the interview with Todd Weeks from Local 802:

Pianist Vijay Iyer navigates the stream of history on his new trio recording, Historicity (ACT, 2009). Joined by bassist Stephan Crump and drummer Marcus Gilmore, Iyer unravels and rebuilds compositions of his own, and those of a cast as diverse as Stevie Wonder, Andrew Hill, Leonard Bernstein and M.I.A. In this interview, Iyer tackles everything from mirror neurons to math jazz, Fibonacci numbers to the legacy of Roy Haynes. And he answers the question: Is it necessary to understand any of this stuff to appreciate his music? Learn more at www.vijay-iyer.com.

Help support The Jazz Session by buying this album via the link below:

Drummer Jason Marsalis turns to the vibraphone on his new record, Music Update (ELM Records, 2009). In this interview, Marsalis talks about the reason he chose to focus on the vibes; the process by which he recorded the drum ensemble tracks on the CD; and his view of the current state of recovery in New Orleans. Find out more at JasonMarsalis.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews guitarist Bobby Broom. Broom, a longtime member of Sonny Rollins’ band, has a new album of Monk tunes called Plays For Monk (Origin Records, 2009). In this interview, Broom talks about why he felt the need to tackle Monk’s material; the impact of choosing Chicago rather than New York as his base of operations; and how he recorded his one-and-only Hendrix-style demo after a phone call from Miles Davis. Find out more at BobbyBroom.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews bassist John Patitucci. On Remembrance (Concord, 2009), Patitucci uses the classic sax-bass-drums formation to pay homage to jazz masters past and present. Joined by Joe Lovano and Brian Blade, Patitucci is heard to great effect on both acoustic and electric bass. In this interview, Patitucci talks about his friend Michael Brecker, to whom the title track is dedicated; his varying approaches to playing the bass; and why his dining room has two pictures in it, one of his mother and one of a famous jazz musician. Find out more at www.johnpatitucci.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews vocalist Karrin Allyson. Her new recording, By Request: The Best of Karrin Allyson (Concord, 2009), showcases tracks from her 11 albums on the Concord label. In this interview, Allyson talks about the lucky break that led to her relationship with Concord; the intricacies of Brazilian music; and how her music is shaped by everything from her classical piano background to the singer-songwriters she heard on the radio when she was growing up. Find out more at Karrin.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews pianist Marian McPartland. For 30 years, McPartland has been the host of Piano Jazz, a weekly radio program featuring duets between McPartland and many of the great jazz players of the past several generations. In this interview, McPartland talks about the benefit of an unexpected visit from Bill Evans; why the Hickory House was a good jazz room in spite of itself; and why she chose to compose a piece for one of the most famous environmental activists of the 20th century. Find out more at the Piano Jazz Web site.

Jason Crane interviews guitarist Terrence Brewer. Brewer’s new album is called Groovin’ Wes (Strong Brew Music, 2009). After three albums of original music, Brewer uses his new record to explore music by, or identified with, Wes Montgomery. In this interview, Brewer talks about his early years in Pittsburg (not the one you’re thinking of); his decision to start his recording career by founding a record label and releasing two CDs at once; and why he chose to record an album of standards. Find out more at TerrenceBrewer.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews Sam Yahel. Yahel is best known as an organist who has performed and recorded with Joshua Redman, Bill Frisell, Norah Jones, Lizz Wright, Ryan Kisor, Madeleine Peyroux and many others. He started as a pianist, though, a side he showcases on his new album, Hometown (Posi-Tone, 2009). In this interview, Yahel talks about his decision to make a piano recording, how his organ playing has added to his piano playing, and the influence of Malian singer Oumou Sangaré (after whom he named one of the tracks on Hometown). Find out more at SamYahel.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews pianist Myra Melford. Melford is active with many groups and on many recordings, including this year’s Under The Water (Libra, 2009) with pianist Satoko Fujii. In this interview, Melford talks about her early contact with Leroy Jenkins, Henry Threadgill and other AACM musicians; her pursuit of an individual voice; and the role that her meditation and martial arts practices have played in her music. Find out more at MyraMelford.com.

Jason Crane interviews jazz journalist Marc Myers about saxophonist Bud Shank’s early influence on bossa nova. Although largely forgotten by modern bossa nova fans, Bud Shank’s band with guitarist Laurindo Almeida was at the forefront of the Brazillian-folk-jazz movement. Their early records ended up in Rio de Janeiro, where Antonio Carlos Jobim, Joao Gilberto and others listened to them and turned them into bossa nova. Find out more at Marc Myers’ excellent site, jazzwax.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews vocalist Kurt Elling. Known for his affinity for the music of John Coltrane, Elling’s new album, Dedicated To You (Concord, 2009), is his most explicit tribute yet. The album features the music of the classic Impulse recording John Coltrane & Johnny Hartman, performed here with saxophonist Ernie Watts, the Laurence Hobgood trio, and a string quartet. Elling discusses the genesis of the project, how he adapted this famous repertoire, and his role as an interpreter of the music.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews pianist Steve Kuhn. Kuhn’s new album, Mostly Coltrane (ECM, 2009), pays tribute to John Coltrane, with whom Kuhn worked for several weeks in the early 60s. In this interview, Kuhn talks about Coltrane, the Lenox School of Jazz, his composing methods, and the support he received early on from Bill Evans. He also discusses the sacrifices he made in pursuit of his musical vision.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews bassist Avery Sharpe. Sharpe’s album, Autumn Moonlight (JKNM, 2009) is an exploration of the piano trio by a man who played bass in one of the most famous such trios in recent memory, that of McCoy Tyner. In this interview, Sharpe talks about why he likes to perform in the trio format, how he chose between insurance adjusting and the bass, and the night he left Art Blakey for McCoy Tyner. Find out more at AverySharpe.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews composer Nicholas Urie. Urie’s fascinating album, Excerpts From An Online Dating Service (Red Piano, 2009) combines lyrics taken from online dating sites with complex and creative music for a large band. Citing Kurt Weill as a major influence, Urie has made an album that explores what Weill might have been like if he’d had a Facebook account. Find out more at NicholasUrie.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews pianist Bill Anschell and saxophonist Brent Jensen. Their new album, We Couldn’t Agree More (Origin, 2009) is a duet session. In this interview, Anschell and Jensen talk about how the album came to be, the particular qualities of duet playing, and the question of standards versus new music.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews organist Gene Ludwig. He tossed a coin to decide whether to be an engineer or a musician. With that out of the way, Ludwig came on the scene in the late 1950s and has made a living playing the organ ever since. He’s been in the bands of Sonny Stitt and Arthur Prysock, and has played opposite everyone from Dizzy Gillespie to Cannonball Adderley. The musical samples in this interview are from Ludwig’s recording Hands On (Blue Leaf Records, 2003). Learn more at GeneLudwig.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews trumpeter Terence Blanchard. A standard-bearer for his home city of New Orleans, Blanchard turns his musical spotlight on the positive changes that have occurred since Katrina with his new CD, Choices (Concord Records, 2009). In this wide-ranging interview, Blanchard talks about the cultural rebuilding of New Orleans, the ability of music to stand up in the face of tragedy, and his dedication to the growth and maturation of the musicians he employs. Find out more at TerenceBlanchard.com.

Help support The Jazz Session by buying this album via the link below:

Jason Crane interviews drummer Carl Allen. He and Rodney Whitaker have just released their second CD for Mack Avenue Records, titled Work To Do. Allen has been on the jazz scene since joining Freddie Hubbard’s band in college, and he’s served as the mentor for many jazz musicians, most notably Christian McBride. In this interview, Allen talks about why he and Whitaker chose the music they did for the new CD, his relationship with McBride, and whether the academy can replace the bandstand. Find out more at CarlAllen.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews bassist Christian McBride. McBride returns to the acoustic realm with his new record, Kind of Brown (Mack Avenue Records, 2009). The album is a reunion of players from McBride’s career — drummer Carl Allen, pianist Eric Reed, saxophonist Steve Wilson, and vibraphonist (and former student of McBride’s) Warren Wolf, Jr. In this interview, McBride talks about Freddie Hubbard, Tony Reedus, his evolving role as a mentor, and “checking in at home.”

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews drummer and composer E.J. Strickland. Strickland’s new album is called In This Day (Strick Muzik, 2009). E.J. and his twin brother Marcus grew up in Miami, sons of a musical father. They knew early on that they wanted to be musicians, and they’ve pursued that path with a single-minded devotion. On In This Day, E.J. Strickland’s vision is realized not just from the drum chair, but compositionally as well. He wrote or co-wrote every tune on the record.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews pianist, composer, arranger and bandleader Arturo O’Farrill. He won a Grammy for his 2008 recording Song For Chico (ZoHo, 2008), named for his father, composer/arranger Chico O’Farrill. In this wide-ranging interview, O’Farrill talks about the forgotten roots of jazz, the need to embrace hand-drumming, and how jazz can only move forward by learning about its past.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews guitarist and composer Miles Okazaki about his album Generations (Sunnyside, 2009). The album finds Okazaki mining some of the same territory from his debut record, Mirrors, but this time with a focus on in-depth exploration and group improvisation. Featuring standout work from saxophonists Miguel Zenón, David Binney, and Christof Knoche; along with vocalist Jen Shyu, drummer Dan Weiss, and bassist Jon Flaugher. In this interview, Okazaki talks about the philosophy behind the album, and why the music also stands on its own.

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Jason Crane interviews singer/songwriter Kate Schutt about her album Telephone Game (ArtistShare, 2009). Schutt has walked a different path than the average musician. She went to Harvard, where she played Division I lacrosse and hockey. She also went to the Berklee College of Music to hone her jazz chops. She speaks Chinese because her high school offered it. She’s an American, but she lives in Guelph, Ontario, a place she describes as the “Austin, Texas of Canada.” And on Telephone Game, she let her fans contribute to the songwriting process. Learn more at KateSchutt.com.

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Jason Crane interviews the members of the Respect Sextet. Their new album, Sirius Respect (Mode, 2009), explores the music of composers Karlheinz Stockhausen and Sun Ra. Formed nearly a decade ago at the Eastman School of Music, the Respect Sextet combines freewheeling improvisation with driving rhythms and a sense of humor. The members of the band have wide-ranging musical tastes and a fearlessly collaborative aesthetic, which leads to one-of-a-kind performances. In this interview, the members of Respect talk about the formation of the band, how they approach performance, and the use of humor in their music. Find out more at RespectSextet.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below: