Drummer Tomas Fujiwara’s new album with his band The Hook Up is called The Air Is Different (482 Music, 2012). In this interview, Fujiwara talks about his grandfather (pictured on the album cover) and his grandfather’s influence on his life; the addition of bassist Trevor Dunn to the band; his varying methods of composition; and finding balance on the bandstand. Learn more at tomasfujiwara.com and follow him on Twitter at @TomasFujiwara.

NOTE: This is Tomas Fujiwara’s second appearance on The Jazz Session. Listen to his 2010 appearance.

Anticipation (Capri Records, 2012) is the new CD by drummer Colin Stranahan, pianist Glenn Zaleski and bassist Rick Rosato. In this interview, conducted before the trio’s recent live show at Small’s in NYC, the three talk about their mutual appreciation of one another; the shared taste in music that animates their collaboration; and their individual paths into jazz. Learn more at myspace.com/wwwcolinstranahancom, glennzaleski.com and myspace.com/rickrosato.

Vocalist Maria Neckam’s latest CD is Unison (Sunnyside Records, 2012). In this interview, Neckam talks about finding her own musical path early in life; writing songs that don’t use traditional forms; her journey from Vienna to Amsterdam to Brooklyn; and the effects of Buddhism on her life and music. Learn more at marianeckam.com and follow her on Twitter at @MariaNeckam.

I’m taking The Jazz Session on the road across North America … and then maybe the rest of the world, too!

HOW YOU CAN HELP

1. Donate to the tour.
2. Suggest a place to go or a musician to interview.
3. Give me a place to stay.
4. Host a house party (any size) so I can read my poetry and maybe sell a book or two.
5. Suggest a venue (bookstore, performance space) in your town where I could do a poetry reading.

To do any of the above (other than donate) send me an email at jason@thejazzsession.com. To learn more, and to donate, visit http://thejazzsession.com/tour.

UPDATE: NPR’s A Blog Supreme did a story on the tour! “Crashing On Couches To Talk To Musicians”

UPDATE 2: I’ve reached my initial fundraising goal so I can buy my Greyhound tickets. But I’m still asking for donations. The more I raise, the more extensive the tour will be. You’ll get the thank-you gifts no matter when you donate. Even once the tour has started. Thank you.

DONORS

Carlos Ibanez, Daryl Shawn, Eric Hofbauer, Brian Wall, John Mason, Brian Davis, Devin Gray, Aaron Staebell, Ann Braithwaite, Patrick McCurry, Richard Kamins, Peter Varshavsky, James Osborne, Miles Okazaki, Kent Petersen, Eli Asher, Terri Hinte, Glenn Zaleski, Geoffrey Keezer, Michael Feinberg, Vicky Johnson, Ron Weinstock, Pete Zimmer, Steve Titmus, Chris Monsen, Jeff Albert, David Budbill, Brett Porter, Amy Cervini, Matt Wilson, David Winston, Marisa Leva, Nicky Schrire, Michael Falcon, Sunna Gunnlaugs, Tony Micelli, Ted Poor, Derick Dickens, Kim Santo, Jason Linnell, Mark Rini, Danny McCormick.

Saxophonist Steve Lehman’s new album is called Dialect Fluorescent (Pi Recordings, 2012). In this interview, Lehman talks about allocentric performance; what he learned from Jackie McLean about sound and evolution; the unlikely beginning of his current trio; and some of the touchstones in his own musical growth. Learn more at stevelehman.com and follow him on Twitter at @TheSteveLehman.

CONCERT NOTE: Lehman’s trio will be at The Jazz Gallery in NYC from June 7-9 with special guests David Virelles, Vijay Iyer and James Hurt.

NOTE: This is Steve Lehman’s second appearance on The Jazz Session. You’ll find our first conversation here.

Pianist George Colligan’s most recent album is Living For The City (Steeplechase, 2011). In this interview, conducted before an April show at Jazz Standard in NYC, Colligan talks about selling out vs. being relevant; trying his hand at writing songs with lyrics; Nicholas Payton’s outspoken blogging; dealing with online controversy; and managing a life of teaching, performing and fatherhood. Learn more at georgecolligan.com and follow his blog at jazztruth.blogspot.com.

Guitarist Anders Nilsson’s new solo album is Night Guitar (2012). In this interview, Nilsson talks about the influence of Frank Zappa, Deep Purple and others on his guitar playing; why he felt inspired to make a solo record; how he created a multi-layered guitar album that still allows for the element of surprise; and the busy year ahead. Learn more at andersnilssonguitar.com.

Pianist Dan Cray’s latest CD is Meridies (Origin, 2012). In this interview, Cray talks about moving to New York City at a later stage in his career than most people do; why he decided to focus on his own compositions on this album; the influence of his teachers on his musical career; and how he leaves room for surprise in the studio and on stage. Learn more at dancray.com and follow his on Twitter at @DanCrayJazz.

Multi-instrumentalist and composer Chris Brubeck’s latest CD is Live At Zankel Music Center with his band Triple Play. In this interview, conducted at the American Museum of Natural History in New York, Brubeck talks about his orchestral compositions; how he gets inside the lives of the people he writes music about; the history of the band Triple Play; and writing music with his father, Dave Brubeck. Learn more at chrisbrubeck.com and follow him on Twitter at @ChrisBrubeck.

Pianist Romain Collin’s new CD is The Calling (Palmetto Records, 2012). In this interview, Collin talks about the marriage of acoustic performance and sound design on his new album; how his classical training influences his approach to sound; his compositional process and why he sometimes leaves a piece unfinished for months at a time; and the benefits of his time at the Monk Institute and in New York. Learn more at romaincollin.com.

CONCERT NOTE: Collin’s New York CD release party for The Calling is at The Jazz Standard on Wednesday, April 25, 2012. Details here.

Joel Harrison’s most recent records are Search (Sunnyside Records, 2011) and Holy Abyss (Cuneiform, 2012), a record he co-leads with Lorenzo Feliciati. In this interview, Harrison talks about continuing the blend of classical and jazz influences that began with The Wheel; where he looks for inspiration as a composer and player; the current state of the common language of jazz; and his forays into big band writing. Learn more at joelharrison.com and follow him on Twitter at @JoelHarrisonGtr.

NOTE: This is Joel’s second appearance on The Jazz Session. Listen to our 2008 conversation.

Guitarist Terrence McManus’ most recent recording is Transcendental Numbers (No Business, 2011), with bassist Mark Helias and drummer Gerry Hemingway. Other recent recordings include Below The Surface Of, a duet session with Hemingway, and the solo album Brooklyn. In this interview, McManus talks about finding musical inspiration in the natural and industrial worlds; how he tries to free himself of his expectations and preconceptions before each performance; the importance of doing it right … and doing it wrong; and the many projects of which he’s a part. Learn more at terrence-mcmanus.com and follow him on Twitter at @TerrenceMcManus.

CONCERT NOTE: McManus is playing at the Brooklyn Conservatory of Music on Wednesday, April 18, 2012 at 8 p.m. Joining him will be Ellery Eskelin, Mat Maneri and Billy Mintz.

Drummer Devin Gray’s new CD is Dirigo Rataplan (Skirl Records, 2012). In this interview, Gray talks about finding space for surprise; his early years at the Maine Jazz Camp with the likes of Tony Malaby and Ethan Iverson; finding time and discipline for practice during a busy musical life; and his various projects as a leader and sideman. Learn more at devingraymusic.com and follow him on Twitter at @DevinGrayMusic.

CONCERT NOTE: Devin Gray’s quartet is playing tonight (April 12, 2012) at 8:30 p.m. at Cornelia Street Cafe in New York City.

Saxophonist Patrick Cornelius’s latest CD is Maybe Steps (Posi-Tone, 2011). In this interview, Cornelius talks about the new record as a continuation of his previous full-band writing, after a break for his trio record; why it’s important to him to tell stories during his live performances; his time in the artist diploma program at Juilliard; and the economics of jazz records. Learn more at patrickcornelius.com and follow him on Twitter at @PCorneliusMusic.

Pianist Myra Melford’s most recent recording is The Guest House (Yellowbird Records, 2012) with her collective band Trio M, featuring Matt Wilson and Mark Dresser. In this interview, Melford talks about the recent premiere of her multimedia work “Snowy Egret” in New York; the formation and continued success of Trio M; and how she balances a busy life as a performer with a full schedule as a professor. Learn more at www.myramelford.com.

Concert Note: Trio M is playing two East Coast CD release shows this week. On Friday, April 6, they’re at Firehouse 12 in New Haven, CT and on Saturday, April 7, they’re at the Kitano Hotel in New York City.

Previous Appearance: This is Myra’s second time on The Jazz Session. Listen to her 2009 episode.

Vocalist Melissa Stylianou’s new CD is Silent Movie (Anzic Records, 2012). In this interview, Stylianou talks about her accidental entrance into the world of jazz; the importance of storytelling; and how her training as an actor has impacted her musical career. Learn more at melissastylianou.com and follow her on Twitter at @sleepinbee.

CONCERT NOTE: Melissa Stylianou is performing two CD release shows in honor of her new album — at Jazz Standard in New York City on April 3 and at The Rex in Toronto on April 7. More details at melissastylianou.com.

Raya Brass Band’s new CD is Dancing On Roses, Dancing On Cinders (2012). In this interview, four of the five members of the band discuss its origins; the rhythmic underpinnings of Balkan music; the uses of improvisation in their performances; and how a movie caused one of the members of the band to quit his job and take up the accordion. Learn more at rayabrassband.com and follow them on Twitter at @RayaBrassBand.

Drummer Billy Hart’s new CD is All Our Reasons (ECM, 2012). In this interview, Hart talks about the “European sound” of this band; what he looks for in bandmates and why this band fits his needs so well; and what he believes powered Coltrane’s musical explorations. Learn more at billyhartmusic.com.

Trumpeter Nate Wooley’s recent albums include the solo records The Almond and 8 Syllables and the quintet recording (Put Your) Hands Together. In this interview, Wooley talks about putting 100 trumpets on one solo (!) recording; why he was surprised when one of his albums made him feel good at the end; how he started playing solo trumpet; and how the death of his grandmother led to his recent quintet album. Learn more at natewooley.com and follow him on Twitter at @nate_wooley.

Pianist and vocalist Champian Fulton’s latest CD is The Breeze And I. In this interview, Fulton talks about the bebop record she listened to exclusively for months (starting the day she was born); her father’s influence and how his friendship with Clark Terry shaped her life; and her transition from student to working musician. Learn more at champian.net and follow her on Twitter at @ChampianFulton.

The Tierney Sutton Band’s latest CD is American Road (BFM Jazz, 2011). In this interview, Sutton talks about why the band chose to focus on Americana for this record; how the band functions as a collective in everything from song arranging to business; and how her Baha’i faith has influenced the way she approaches making music. Learn more at tierneysutton.com and follow her on Twitter at @TierneySutton.

Ottawa trumpeter Craig Pedersen’s new album is Days Like Today (2011). In this interview, Pedersen talks about how literature influences his musical compositions; why he gravitates toward the avant garde; and the nature of the improvised music scene in Ottawa. Learn more at craigpedersen.com and follow him on Twitter at @pedersencraig.

Vocalist Ed Reed’s new CD is Born To Be Blue (2011). Reed, now 83, has lived the kind of life about which movies are made. This interview charts the story of his life: his childhood in the Watts neighborhood of Los Angeles, where a young Charles Mingus was a frequent neighborhood visitor and the big bands were a constant source of entertainment; his time in the military, where he was introduced to drugs; his years in San Quentin and Folsom prisons, where he played in the prison bands with the likes of Art Pepper; his eventual rehabilitation after many attempts; and his turn to performing and recording in his 70s. Learn more at edreedsings.com.

Vocalist Amy Cervini’s new CD is Digging Me, Digging You (Anzic, 2012), a tribute to Blossom Dearie. In this interview, Cervini talks about her early exposure to Dearie and why she fell in love with her music; how she chose the songs for this album from Dearie’s large repertoire; why she favors working bands; and the itinerary of her upcoming tour. Learn more at amycervini.com and follow her on Twitter at @amycervini.

CONCERT NOTE: Amy is playing two CD release shows in New York on March 6 and 7, 2012, from 7-9 p.m. both nights at the 55 Bar, 55 Christopher St. She is also touring throughout North America. Visit her website for details.

Saxophonist Ochion Jewell’s debut CD is First Suite For Quartet (Mythology, 2011). In this interview, Jewell talks about his upbringing in a dry county in Appalachia; why he started his recording career with an ambitious multi-movement work; and how the piece took shape from inception to completion. Learn more at www.ochion.com.

The Jazz Session celebrates its fifth anniversary with one of the giants of the music, saxophonist and composer Jimmy Heath. In this interview, Heath talks about his early days as a writer and arranger; his Queens neighborhood and its importance to jazz history; why he loves the sound of a big band; and how he keeps himself moving forward and growing at this stage in his career. He also shares a fax of a 1947 concert poster, received the morning of the interview, with some hilarious text. Learn more at jimmyheath.com.

CONTEST: I’m giving away 55 CDs to celebrate the 5th anniversary of The Jazz Session. Listen to the show to learn how to win.

Composer Darcy James Argue’s latest work is a multimedia piece called Brooklyn Babylon. In this interview, he tells the amazing story of how he and visual artist Danijel Zezelj created the piece; goes behind the scenes of the composition and the technical aspects of producing such a large work; and also talks about a performance on March 9, 2012 at which his band Secret Society will play his works and the works of other composers. Learn more at secretsociety.typepad.com, see much more of Brooklyn Babylon at brooklynbabylon.com and follow Darcy on Twitter at @darcyjamesargue.

NOTE: This interview is part of a new monthly collaboration with JazzDIY, the online journal for the 21st century jazz musician. Visit JazzDIY.com to see a video interview with Darcy James Argue in which he talks about the business of music.

The Wee Trio is James Westfall (vibes), Dan Loomis (bass) and Jared Schonig (drums). Their new album is Ashes To Ashes: A David Bowie Intraspective. In this interview, the trio talks about why they chose David Bowie — and why they were initially reluctant to do so; how they managed an 8,000-mile tour across the United States; and what makes the trio work as a unit. Learn more at theweetrio.com and follow them on Twitter at @weetrois.

Drummer Aaron Staebell’s new CD is Bending and Breaking (2011). In this interview, Staebell talks about smashing different sounds and styles together to see what works; how a visit from John Hollenbeck caused him to finally perform his own compositions in public; why it’s important for him that his compositions have stories behind them; and why he likes living and working in Rochester, NY. Learn more at aaronstaebell.com and follow him on Twitter at @aaronstaebell.

Saxophonist Ben Wendel’s new CD is Frame (Sunnyside Records, 2012). In this interview, Wendel talks about composing the music for the album; his proclivity for long musical lines; and the many and varied writing projects he’s been involved in recently. Learn more at benwendel.com and follow him on Twitter at @benwendel.

CONCERT NOTE: Ben Wendel will be performing CD release shows for Frame at The Jazz Gallery in New York City on February 17 and 18. Details here.

Sue Mingus has been guiding bassist Charles Mingus’s legacy since he died in 1979. She is the author of Tonight At Noon (Random House/Pantheon, 2002), a memoir of her life with Mingus. In this interview, Sue Mingus talks about the fourth annual Mingus High School Competition and Festival, happening this month in New York; how to bring Mingus’s music to the current generation of musicians; why she feels differently now about going after music pirates; her memoir and the idea of memory; and what lies ahead for the music and legacy of Charles Mingus.

NOTE: See a complete calendar of the Mingus High School Competition and Festival and also the performance schedule of the Mingus ensembles.

Saxophonist Tim Berne’s new band and album are both called Snakeoil (ECM, 2012). In this interview, Berne talks about what he looks for in new band members; what inspires him to compose; and why he believes the digital era has harmed independent record labels. Learn more at screwgunrecords.com.

ON TOUR: Snakeoil is touring the US and Europe. Visit Berne’s site for tour dates.

Saxophonist Noah Kaplan’s new CD is Descendants (Hat Hut, 2011) with Joe Morris on guitar, Giacomo Merega on bass and Jason Nazary on drums. In this interview, Kaplan talks about his life-changing studies with Joe Maneri; why classical music theory was important to his musical development; and how he approaches collective improvisation. Learn more at noah-kaplan.com.

CONCERT NOTE: The Noah Kaplan Quartet performs Friday, February 3, 2012 at Douglass Street Music Collective (295 Douglass St. Brooklyn, NY) at 8 p.m.

Pianist Tom Wetmore’s new CD is The Desired Effect (Crosstown Records, 2012). In this interview, Wetmore talks about why he wants people to “really listen”; why he tries not to assign particular meanings to his compositions; and about his Tune-A-Day project. Learn more at tomwetmore.com and tomstuneaday.com and follow him on Twitter at @tomwetmore.

Saxophonist Bob Reynolds’ most recent album is A Live Life (2011) and he’s currently working on his forthcoming studio album. Reynolds is perhaps best known for his work with rock musician John Mayer. In this interview, Reynolds talks about the importance of good time (in the musical sense); how he’s learned to bring an audience along for the ride; and about his video lesson service. Learn more at bobreynoldsmusic.com and follow him on Twitter at @Bob_Reynolds.

Drummer Matt Wilson’s new album with his band Arts & Crafts is An Attitude For Gratitude (Palmetto Records, 2012). In this interview, Wilson talks about the inclusive approach of the band; why he likes the word “allow”; and how a difficult year for his family helped him put things in perspective and brought the idea of gratitude into focus. Learn more at mattwilsonjazz.com and follow him on Twitter at @mattwilsonjazz.

NOTE: This interview is part of a new monthly collaboration with JazzDIY, the online journal for the 21st century jazz musician. Visit JazzDIY.com to see a video interview with Matt Wilson in which he talks about the business of music.

Pianist Armen Donelian’s new CD is Leapfrog (Sunnyside Records, 2011). In this interview, Donelian talks about his approach to playing the piano and his philosophy of music; his years with Mongo Santamaria and Sonny Rollins; and his other career as an educator. Learn more at armenjazz.com.

Drummer Barry Altschul’s latest CD is History Of Jazz In Reverse (TUM, 2011) with the FAB Trio featuring Joe Fonda and Billy Bang. In this interview, Altschul talks about growing up in the South Bronx; his roots in the tradition and how he uses them even when playing “free”; and how he achieves a personal sound on the drums. Learn more at myspace.com/barryaltschul.

Drummer Deric Dickens’ debut CD is Speed Date, a series of duets with Matt Wilson, Ben Cohen, Jon Crowley, Kirk Knuffke, Jeff Lederer and Jeremy Udden. In this interview, Dickens talks about the DIY philosophy underlying the album; the sound of the drums (including a demonstration on the ride cymbal); and why he left a comfortable position as a band director to pursue a life as a professional jazz musician. Learn more at dericdickens.com and follow him on Twitter at @dericdickens.

Jack DeJohnette’s new album is Sound Travels (Golden Beams/eOne, 2012). In this interview, DeJohnette talks about the next phase of his storied career; his induction as a 2012 NEA Jazz Master; and the multiple projects he’s taking to the Newport Jazz Festival this summer. Learn more at jackdejohnette.com.

I spoke today at the JazzTimes DIY Crash Course in Manhattan, an event held in tandem with the Association of Performing Arts Presenters conference. This is the audio of my presentation, which was about podcasting and telling a story as an artist. There were graphics, too. As soon as I get the video, I’ll pass it along. Thanks to Lee Mergner of JazzTimes for inviting me and thanks to David Lee Joy from All Star Media for providing the audio. Lee Mergner is the first person you’ll hear in this audio clip. Thanks also to the wonderful Amy Cervini for assisting with my presentation.

UPDATE: Here’s video of the first half of my talk. Then my camera battery died. Thanks to Derrick Lucas for filming this. More video may be available later.

Saxophonist Pete Robbins’ new CD is Live In Basel (Hate Laugh Music, 2011) with his Transatlantic Quartet. In this interview, Robbins talks about the benefits of a working band; why his last three recordings have been live albums; and why his next project will find him traveling down yet another new musical road. Learn more at peterobbins.com and follow him on Twitter at @peterobbins.

Saxophonist Michael Pedicin’s new album is Ballads …searching for peace (Jazz Hut, 2011). In this interview, Pedicin talks about this influence of his father on his career; why he feels he had to work his way up to a ballads album; and how he came to terms with his place in the worlds of both jazz and medicine. Learn more at michaelpedicin.com and follow him on Twitter at @mpedicin.

NOTE: I’m reposting this 2009 interview with Sam Rivers to commemorate his passing on Dec. 26, 2011. Nate Chinen has collected many of the remembrances of Rivers on his blog.

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.

Pianist Enoch Smith, Jr.’s new album is Misfits (Music4mypeople, 2011). In this interview, Smith talks about growing up in the church in Rochester, NY; how he’s always felt like an outsider in the jazz world; and why he wanted his new record to get back to basics — groove and the voice. Learn more at enochsmithjr.com.

Trombonist James Hirschfeld has just released his first album, Two Medicine. In this interview, Hirschfeld talks about his life in music; the song-like quality of his compositions; and how a trip to Germany solidified his desire to pursue an artistic life. Learn more at jameshirschfeld.com and buy the record via jameshirschfeld.bandcamp.com. Follow him on Twitter at @jameshirschfeld.

Michael Bates’s new album is called Acrobat: Music For, And By, Dmitri Shostakovich (Sunnyside, 2011). In this interview, Bates talks about the appeal of Shostakovich the man and the composer; how he used Shostakovich’s music as a starting point for his own compositions and improvisations; and the new trio music he’s been working on. Learn more at outsidesources.org.

Trumpeter Amir ElSaffar’s new CD is Inana (Pi Recordings, 2011). In this interview, ElSaffar explains maqam music and his decision to spend five years studying it in depth; how he plays microtonal music on a standard Bb trumpet; and his particular combination of traditional Arabic music with jazz. Learn more at amirelsaffar.com and follow him on Twitter at @amirelsaffar.

Guitarist Mike Baggetta’s new CD is Source Materials. In this interview, Baggetta talks about his compositional process and how he writes for specific ensembles; his experiments with prepared guitar in both solo and duet formats; and how he approaches playing standards. Learn more at mikebaggetta.com and follow him on Twitter at @mabnotes.

Pianist Joan Stiles’ new CD is Three Musicians, featuring Joel Frahm and Matt Wilson. In this interview, Stiles talks about playing without a bassist; how visual art and music come together in her life; and her collage-based approach to playing standards. Learn more at joanstilesmusic.com.

Trumpeter Tim Hagans’ new CD is The Moon Is Waiting (Palmetto Records, 2011). In this interview, Hagans talks about his special relationship with his drummer of choice; how he worked with a choreographer to write some of the music on the new album; and how he’s evolved over the years as a composer for large and small ensembles. Learn more at timhagans.com.

Vocalist Andrea Wolper’s new CD is Parallel Lives (Jazzed Media, 2011). In this interview, Wolper talks about her unfettered and very personal approach to song choice and performance; how poetry influences her work; and her parallel life as an activist for social justice. Learn more at andreawolper.com and follow her on Twitter at @AndreaWolper.

Pianist Matt Mitchell has been making a name for himself in the bands of Tim Berne, John Hollenbeck and Darius Jones, among others. In this interview, Mitchell talks about finding his place in the bands of composers with strong visions; how a set of self-penned practice pieces became duet performance vehicles; and why he may finally be ready to record his first album. Learn more at mattmitchell.us and follow him on Twitter at @mattmitchellus.

Trumpeter Nicholas Payton’s new CD is Bitches (In+Out Records, 2011). In this interview, Payton talks about his outspoken presence on social media; why he thinks it’s important to bring groove and sensuality back to jazz; and how his New Orleans roots have shaped the way he approaches music and performance. Learn more at nicholaspayton.com and follow him on Twitter at @paynic.

Vocalist and guitarist Camila Meza’s most recent CD is Retrato (Vertice Records, 2009). In this interview, Meza talks about her early days learning guitar in her native Chile; how a teacher discovered she could sing and the effect it had on her life; and how she sometimes feels like two people at once when she plays and sings at the same time. Learn more at camilameza.com.

CONCERT NOTE: Camila Meza performs on 11/1/11 at 8:30 p.m. at Cornelia Street Cafe in New York.

Composer and bandleader Gerald Wilson’s new CD is Legacy (Mack Avenue Records, 2011). This is part two of a two-part conversation. (Listen to Part 1.) In this part, Wilson talks about his time in the Navy during World War II; his subsequent work as an arranger for record labels and Hollywood studios; the development of his own band; and his new CD.

Composer and bandleader Gerald Wilson’s new CD is Legacy (Mack Avenue Records, 2011). This is part one of a two-part conversation. In this episode, Gerald Wilson talks about growing up in the South and listening to music with his brother; his move to Detroit to attend an arts high school; his early days as a professional musician; his time with Jimmie Lunceford and his first arrangements; and the beginning of his time in the Navy. Learn more at mackavenue.com/artists/detail/gerald_wilson/.

Larry Goldings has two new CDs out: In My Room (BFM Jazz, 2011), a solo piano CD, and Live At Smalls (SmallsLive, 2011) with his organ trio featuring Peter Bernstein and Bill Stewart. In this interview, Goldings talks about approaching each piano on its own terms; how he first met Bernstein and Stewart; and his unplanned entry into the bands of Maceo Parker and James Taylor. Learn more at larrygoldings.com and follow him on Twitter at @LarryGoldings.

I was recently interviewed by JazzDIY, a soon-to-be-launched online trade journal for the 21st century jazz musician. You can follow them on Twitter at @JazzDIY and bookmark their site at JazzDIY.com. Actually, I should say “our” site, because right after this interview I agreed to serve as a contributing editor for JazzDIY. We launch on Oct. 17. To tide you over until then, here’s some bonus footage from my five-part video interview.

Andrea Wolper hosts the show and interviews me. Trust me, it was her idea. In this interview, I talk about how I make each episode; why I interview musicians and what about them interests me; and how poetry has become a major part of my life. Learn more at thejazzsession.com and jasoncrane.org.

Pianist Dalton Ridenhour is making his mark on the New York scene by playing ragtime, stride and New-Orleans-style piano. In this interview, Ridenhour talks about his childhood introduction to ragtime; how going to school for jazz changed his approach to the piano; and why, after a three-year hiatus, he’s returned to the styles he loves. Learn more at daltonridenhour.com.

Saxophonist Marcus Strickland’s latest recording is Triumph of the Heavy (Strick Muzik, 2011), a 2-CD set that features a live trio performance and a studio session by his new quartet. In this interview, Strickland talks about why he added piano to his band; his awareness that he’s playing for other people; and the difference between the tunes he writes in the fall and the tunes he writes in the spring. Learn more at marcusstrickland.com and follow him on Twitter at @marcustrickland.

Trumpeter Wadada Leo Smith’s newest album is Heart’s Reflections (Cuneiform Records, 2011). In this interview, he talks about his Ten Freedom Summers project, inspired by the Civil Rights Movement; how each ensemble is a model for a universe; and how meaning is communicated even without words. Learn more at wadadaleosmith.com.

From Camila Meza at Small's Jazz Club

I spent most of the day on the train yesterday, traveling back and forth between NYC and New Haven, CT. By the time I got back home to Brooklyn I was tired and planning to crash for the night. But I decided to see who was playing around town, just in case. I noticed that Chilean vocalist and guitarist Camila Meza was at Small’s Jazz Club. I’d never heard her music so I visited her site, listened to about two minutes of her singing, and hopped back on a train to Manhattan.

From Camila Meza at Small's Jazz Club

Meza has a rich voice that’s playful without being too syrupy. Her repertoire was straight from the Great American Songbook (with the exception of Ibrahim Ferrer’s “Silencio”), but she managed to make the music sound fresh with her obvious enthusiasm and her emotional connection with the songs.

From Camila Meza at Small's Jazz Club

Meza was joined by bassist Pablo Menares, another new-to-me player. Menares was equally skilled at holding down the bottom and making interesting harmonic choices throughout the range of his instrument. And his soloing was melodic and creative.

From Camila Meza at Small's Jazz Club

Meza’s guitar playing was equally impressive — and would have been completely at home in the 1950s. Her solos were fluid and well constructed without falling back on cliches. Several times she doubled her solos with her voice.

From Camila Meza at Small's Jazz Club

For the final song of the night (“But Not For Me”), Meza and Menares were joined by saxophonist Melissa Aldana, who fit perfectly with the old school vibe that was happening on stage. Aldana leads a regular jam session at Cafe Vivaldi and played with Greg Osby in August.

From Camila Meza at Small's Jazz Club

My only request for Meza’s next gig would be more songs in Spanish and from farther afield than the Great American Songbook. She’s playing in Berne, Switzerland for five nights in October, and then at several New York locations later this fall. Go see her.

Drummer Ernesto Cervini’s new CD is There (Anzic Records, 2011), recorded on tour in 2010. In this interview, Cervini talks about the benefits of recording music on tour; his band and why it functions so well as a unit; and why he chose Toronto over New York City several years ago. Learn more at www.ernestocervini.com.

Saxophonist Avram Fefer’s new album is Eliyahu (Not Two, 2011). In this interview, Fefer talks about why this is his happiest sounding album yet; how the loss of his father changed the way he views the music on the album; and the influences of the music of a variety of cultures on his compositions. Learn more at www.avramfefer.com.

Bassist Chris Tarry has just released Rest of the Story, an ambitious project that combines an album of new music with a collection of his short fiction. In this interview, Tarry talks about creating in two very different worlds; how we was able to move from concept to creation of this large work; and why he feels that his writing informs his music more than the other way around. Learn more at www.christarry.com.

The Respect Sextet is celebrating 10 years together. In this interview, the band looks back on a decade of performing and recording since they formed at the Eastman School of Music in Rochester, NY. They take us on a tour through their recordings and give us a glimpse of what’s to come. Learn more at respectsextet.com.

Concert note: The Respect Sextet is playing two New York shows in the coming weeks. Tomorrow (9/16/11) at The Stone and then their 10th anniversary show at Le Poisson Rouge on October 11, 2011.

Special for The Jazz Session‘s listeners: Now through October 11, visit respectsextet.bandcamp.com and use the code “tjs” to get 50% off your purchase.

After putting his trumpet in the closet for several years, guitarist and trumpeter Rhys Chatham returns to the instrument in a new way on Outdoor Spell (Northern Spy Records, 2011). In this interview, Chatham talks about going back to the trumpet but playing it with fewer effects; how his attendance at a 1976 Ramones show altered the course of his musical life; and how his music has evolved over time while retaining a distinctive compositional identity. Learn more at www.rhyschatham.net.

NOTE: Chatham has a series of European shows over the coming weeks. His tour schedule is available on his web site.

Italian guitarist Marco Cappelli’s new DVD is In The Shadow Of No Towers, a multimedia project exploring September 11 and its aftermath. The project features an animated graphic novel by artist Art Spiegelman (Maus) and narration by actor John Turturro. In this interview, Cappelli talks about how this remarkable project came to exist; the interesting history of the band that made the music for the DVD; and how he came to play his current modified guitar. Also featured in this interview is music from Cappelli’s trio recording Les Nuages En France. Learn more at www.marcocappelli.com.

Tonight, after 12 hours of travel from Detroit to New York City, I decided to head back out in the rain to Korzo to see a solo set by pianist Matt Mitchell and a duo set by Matt and drummer Ches Smith. It proved to be a very good choice on my part, as it was an evening of music unlike I’ve heard before and played at the highest level.

From Matt Mitchell & Ches Smith at Korzo – 6 Sept 2011

Matt Mitchell said he’d never played tonight’s compositions in public. In fact, he said he’d never intended to play the music in the second set until Ches offered to learn it. At one point Matt turned to the audience and said, “I’d like to publicly thank Ches Smith for learning this fucking music.” We’re all lucky that happened.

From Matt Mitchell & Ches Smith at Korzo – 6 Sept 2011

The opening solo set was very, very intense. I don’t know if it was compounded by fatigue or a lack of food, but at one point I wrote a note to the friend who was with me that read, “This is making me sad/agitated.” That’s not a criticism. In fact, it’s a compliment. Music that causes an emotional reaction is my favorite kind of music. My friend responded by saying that it made her feel like breaking all the glasses in the restaurant. Sadly, she didn’t act on that feeling.

Another friend who was there described the pieces as “etudes,” which is apt. The compositions were a series of small, gem-like studies surrounded by layer upon layer of jagged, imaginative improvisation. Having never heard any of them before, I had no idea which bits were written and which improvised, and my guess is that Mitchell intended for that to be the case.

From Matt Mitchell & Ches Smith at Korzo – 6 Sept 2011

The addition of drummer Ches Smith took the agitated onslaught of the first set and hardened it into a precise chaos of pointed rhythms and surprising melodic invention. I think that sentence is probably crap, but I’m having some trouble telling you what I heard. I’ll just leave off by saying what I said on Twitter: “That was a hell of a show. If you missed Matt Mitchell and Ches Smith tonight, you really did miss something.”

From Matt Mitchell & Ches Smith at Korzo – 6 Sept 2011

p.s. — I also wrote a poem at the show.

I think I’ve talked about the weather in all four of these reports from the Detroit Jazz Festival. That’s because the weather has been crazy. Mid-90s on the first two days. Then big thunderstorms and lots of rain. And today it was cold enough that I was blowing on my hands to keep them warm and actually having trouble tweeting because my thumbs were cold. Oh, the humanity!

I saw a lot of good music today. I’m heading back to New York in the morning, where I do this kind of thing quite often from NYC clubs. (And I also interview people, which is the main point of this site. Look to the left for the list of past guests.) You can follow me on Twitter at @jasondcrane.

PRE-SHOW THOUGHTS
Looking forward to seeing @anthony__wilson live today for what I think is the first time. Hard to believe, but I think it’s true.
Wine lovers: Pls recommend good wines to hurl at @anthony__wilson while he performs. That’s jazz etiquette, right? Or maybe Blues Bros?
When I arrived at #DJ2011 on Friday it was 94 degrees. Right now, on the final day, it’s 60 degrees. Luckily I brought my snowsuit.

From 2011 Detroit Jazz Festival Day 4

Eating falafel while Gary Burton’s New Quartet plays “Afro Blue” on the stage below me.

From 2011 Detroit Jazz Festival Day 4

Burton band now playing bassist Scott Colley’s “Never The Same Way.”

From 2011 Detroit Jazz Festival Day 4

Both Gary Burton and bandmate Julian Lage have been on The Jazz Session. (Listen: Burton (2009), Lage (2009) and Lage (2011).)

From 2011 Detroit Jazz Festival Day 4

Gary Burton and Julian Lage snaking their way through “I Hear A Rhapsody.”
Ah, trading fours. How I’ve (not particularly) missed you.
Now some flashes of the countrified groove Gary Burton used to play back in the 70s.
In my opinion, it’s nearly impossible to not channel Pat Metheny while playing this music.

From 2011 Detroit Jazz Festival Day 4

Wow. Didn’t know this @anthony__wilson set was going to be an organ trio. Love it.
The trio is @anthony__Wilson, Larry Goldings and Karriem Riggins. What more do you need? And the sun just came out.

From 2011 Detroit Jazz Festival Day 4

This @anthony__wilson trio is down, dirty and fun as hell.

From 2011 Detroit Jazz Festival Day 4

Guy behind me just yelled, “Damn, baby, you’re in the pocket!” at @anthony__wilson.
Loving this mystical transition between songs.

From 2011 Detroit Jazz Festival Day 4

If a fiery beast burst forth from the stage right now, this music would be the perfect accompaniment.
Following that hellfire and brimstone tune, @anthony__wilson starts into “Body And Soul.” Which is actually a pretty good joke.

From 2011 Detroit Jazz Festival Day 4

@anthony__wilson now playing the title track from his gorgeous CD Campo Belo.

From 2011 Detroit Jazz Festival Day 4

Checking out @ChampianFulton and some slow-as-it-wants-to-be speakesy swing.

From 2011 Detroit Jazz Festival Day 4

Can’t hear this performance of “Tenderly” by @ChampianFulton without thinking of Nat Cole. Right, @carmenstaaf?
Also Nat-Cole-esque is @ChampianFulton’s position at the piano and ability to sing, play and smile at the crowd all at once.

From 2011 Detroit Jazz Festival Day 4

From 2011 Detroit Jazz Festival Day 4

@ChampianFulton now cruising through an up-tempo take on “Samba de Orfeu,” dedicated to family friend Clark Terry.
Just learned that @ChampianFulton’s drummer is Pete Zimmer, who’s been on The Jazz Session. http://bit.ly/ofH9sT.

From 2011 Detroit Jazz Festival Day 4

At Camptius Martius with @Mark_Stryker to see Karriem Riggins and Common.

From 2011 Detroit Jazz Festival Day 4

Karriem Riggins’ band would be perfect for Gil Scott-Heron. I’m excited to hear Common with them.
Two hours ago, Karriem Riggins was playing “Body And Soul.” A man of many parts.
Trumpeter Nicholas Payton chimed in to say: Man, @KarriemRiggins is like Aquaman. He belongs to both land and sea thus belonging to neither.
Karriem Riggins is wearing a bow tie. ‘Cause they’re cool.

From 2011 Detroit Jazz Festival Day 4

Roger Jones repping Flint on Fender Rhodes with @karriemriggins at #DJF2011. cc @MMFlint

From 2011 Detroit Jazz Festival Day 4

“You see white people with soul in Detroit, too. That’s how much soul y’all got.” Common at #DJF2011

From 2011 Detroit Jazz Festival Day 4

@Common with @KarriemRiggins. #DJF2011

From 2011 Detroit Jazz Festival Day 4

From 2011 Detroit Jazz Festival Day 4

Digging @Common at Detroit’s Winter Jazz Fest.

There was a bit more rain today for the third day of the Detroit Jazz Festival, but by and large the day went off without a hitch and the streets were once again packed with happy music lovers. The standout set for me today was Anat Cohen’s quartet, followed closely by Vinicius Cantauria’s band on the same stage. Remember, to get my tweets in real time, please follow me on Twitter at @jasondcrane and follow the hashtag #DJF2011.

From 2011 Detroit Jazz Fest Day 3

Spotted this and thought it was nice of someone to leave it there in case the baby comes back.

From 2011 Detroit Jazz Fest Day 3

Joe Locke now playing with the Airmen of Note
Another jazz media guy just told me that this Airmen of Note set with Joe Locke will be released as part of a 3-CD set next year.

From 2011 Detroit Jazz Fest Day 3

Leader of the Airmen of Note is Sgt. Joe Jackson. #steppinout
The Airmen of Locke playing an arrangement of “El Gaucho” that Joe wrote for Gary Burton and the Scottish Natl Jazz Orch.

ANOTHER BIG CROWD

From 2011 Detroit Jazz Fest Day 3

From 2011 Detroit Jazz Fest Day 3

New-to-me Detroit pianist Keith Vreeland’s band is cooking in a late-60s fashion. Nice flute/soprano sax front line.
“Really enjoying the drive of Vreeland’s drummer.” (Jazz writer Mark Stryker later told me the drummer was Renell Gonsalves.)
The “Absopure Pyramid Stage” sounds like something from Logan’s Run.

From 2011 Detroit Jazz Fest Day 3

“…then a funk thing, and we’ll play it until we’re done.” Keith Vreeland’s announcement before the final two tunes.
Lots of odd-metered funk at #DJF2011. #hollandstyle last night, #vreelandstyle right now.

From 2011 Detroit Jazz Fest Day 3

Now it’s Amina Figarova’s sextet. Flute/trumpet/tenor plus rhythm section. Music from her album Sketches.

From 2011 Detroit Jazz Fest Day 3

From 2011 Detroit Jazz Fest Day 3

Amina Figarova now playing her post-Katrina tune “Back In New Orleans.”

From 2011 Detroit Jazz Fest Day 3

Heading over to see Anat Cohen.
Jason Lindner has the most interesting tiny back-of-head blue mohawk.
Anat’s band is Jason Lindner, Joe Martin and Daniel Friedman.

From 2011 Detroit Jazz Fest Day 3

I enjoy watching @Anat_Cohen wait for the perfect moment to play almost as much as I enjoy watching her play.
I find @Anat_Cohen incredibly compelling. She’s such a force, musically and in terms of her personality.

From 2011 Detroit Jazz Fest Day 3

Jason Lindner is such a fiercely exploratory player. Driving, questioning, unrelenting. Love him.
Via pianist Geoffrey Keezer (@88Keezer): “Jason Lindner is badass. 1 of my fave keyboard players.” To which I replied: Cosign. First heard him w/ Claudia Acuna 10 yrs ago. He keeps growing.

From 2011 Detroit Jazz Fest Day 3

We’re immediately back in the 60s as @Anat_Cohen switches to soprano for (I think) a classic Brazillian tune.
1.5 tunes in and this is easily my favorite set of the day.

From 2011 Detroit Jazz Fest Day 3

Jason Lindner, people. Get religion.
Holy Christ. Lindner just destroyed this place. I may need to go lie down.

From 2011 Detroit Jazz Fest Day 3

Lindner and Friedman look like they’re reading one another’s thoughts. They sound that way, too.
Anat just gave a shoutout to Paquito D’Rivera, also playing tonight. Said he’s one of the people who inspired her to play clarinet.
Thinking Lindner and Friedman may be part of an alien race who communicate using only their eyes. Amazingly in sync.

From 2011 Detroit Jazz Fest Day 3

Swing music as heard while traveling in the TARDIS.
Anat Cohen closing the set with Daniel Friedman’s anthem “All Brothers.”

From 2011 Detroit Jazz Fest Day 3

From 2011 Detroit Jazz Fest Day 3

Totally buzzing after @Anat_Cohen’s set. Brilliant. Just brilliant.

From 2011 Detroit Jazz Fest Day 3

Vinicius Cantuaria now taking the stage.

From 2011 Detroit Jazz Fest Day 3

From 2011 Detroit Jazz Fest Day 3

Finally, someone playing a laptop and sampler at #DJF2011. With Vinicius Cantuaria.
Guy is quadrupling on laptop, sampler, piano and trumpet.

From 2011 Detroit Jazz Fest Day 3

Thus far, this set by Vinicius Cantuaria is all about space and how much of it can exist without the song falling apart.

From 2011 Detroit Jazz Fest Day 3

Feels like the crowd is holding its breath.

From 2011 Detroit Jazz Fest Day 3

I wish I could tweet you the afternoon sunlight and the cool air and the swaying crowd.

From 2011 Detroit Jazz Fest Day 3

Off to get my dance on with Sammy Figueroa.
There’s a dance floor up front at Sammy Figueroa’s show and several people are dancing.

From 2011 Detroit Jazz Fest Day 3

The montuno reigns in Campus Martius park.
Dance floor is packed at Sammy Figueroa’s show. Sabroso!
Sammy just yelled “Sabroso!” Yes, I’m psychic.

From 2011 Detroit Jazz Fest Day 3

Sammy Figueroa wears his sunglasses at night. So he can…so he can…

STREET INTERLUDE

From 2011 Detroit Jazz Fest Day 3

Just heard an elderly guitar player on a street corner recite the opening poem from Days Of Future Passed.
Feeling a lot of civic pride … and this is my first time in Detroit. Well done, #DJF2011.

From 2011 Detroit Jazz Fest Day 3

The Jeff “Tain” Watts Quartet with Slash, Snooki and Barry Manilow is gonna be killin’ tonight!
Now at the amphitheater for Tain’s band. Apparently he had to get subs for Snooki, Slash and Manilow.

From 2011 Detroit Jazz Fest Day 3

Marcus Strickland sounds like a summer storm.
I’d watch Jeff Watts play in a silent film. Love looking at him.
There’s a woman up front at Tain’s show who is chair-dancing her ass off. And just as typed that, they put her on the jumbotron.

From 2011 Detroit Jazz Fest Day 3

Heading over to see @vijayiyer in a few minutes. I think that may do it for me tonight.

From 2011 Detroit Jazz Fest Day 3

There is a brain-melting buzzing noise coming from the PA at Vijay Iyer’s set. Hope someone figures that out quickly.

From 2011 Detroit Jazz Fest Day 3

God I adore Stephan Crump.

From 2011 Detroit Jazz Fest Day 3

Both @vijayiyer http://bit.ly/e47hl and Stephan Crump http://bit.ly/cJ2yaW have been on The Jazz Session
Very intense lighting for Vijay’s show. Feel like someone is going to ask where I was on the night of…

From 2011 Detroit Jazz Fest Day 3

@vijayiyer trio now playing Threadgill’s “Little Pocket-Sized Demons.”

It was crazy hot in Detroit today, but the streets and seats were still packed with happy festival fans who listened attentively when that was called for and danced in the aisles sometimes, too. A series of thunderstorms led to the evening acts being either cancelled or moved into the Marriott hotel. That didn’t dampen anyone’s spirits, though, as the music continued into the night while the lightning flashed outside. Here are my photos and tweets from Day 2. To get these in real time, follow me on Twitter at @jasondcrane and also follow the hashtag #DJF2011.

From 2011 Detroit Jazz Fest Day 2

“Checking out vibraphonist Warren Wolf’s surging WOLFPAC. I could easily take this guy in a fight.”
“By the way, WOLFPAC is not, so far as I know, the name of Warren Wolf’s political action committee.”
“Getting a very ‘Keith Jarrett & Gary Burton’ feeling from this piano-vibes duo with Warren Wolf.”

From 2011 Detroit Jazz Fest Day 2

“Just noticed Joe Locke in the wings watching Warren Wolf. #vibescommunity”
“Now a quartet ballad by Warren Wolf. By the way, the pianist is Lawrence Fields. Sorry if I misspelled his name.”
“Loving Warren Wolf’s ballad playing. Flowing like the Detroit River, which is just a few feet away.”

From 2011 Detroit Jazz Fest Day 2

“Now listening the gorgeous symbiosis of vocalist Luciana Souza and guitarist Romero Lubambo playing ‘Dindi.’”
If I’m about to die by spontaneously combusting in the heat, I’m glad Luciana and Romero will be the last thing I hear.

From 2011 Detroit Jazz Fest Day 2

“Souza and Romero are just overflowing with joy and mutual respect. God they’re good.”
“Romero Lubambo just said he loves Luciana Souza’s singing so much that she made him cry during their pre-gig rehearsal.”

From 2011 Detroit Jazz Fest Day 2

“I’d like to go through life with Souza and Rubambo walking next to me, playing”

From 2011 Detroit Jazz Fest Day 2

“So much spontaneous cheering from this slowly roasting crowd. They’re in love with Luciana and Romero.”

From 2011 Detroit Jazz Fest Day 2

“Curtis Fuller Sextet starting soon”

From 2011 Detroit Jazz Fest Day 2

“Curtis Fuller born in 1934 at Herman Keefer (sp?) in Detroit. Now receiving the Detroit Guardian award.”
“Good players in Curtis Fuller’s band. I’m just not a fan of the ‘everybody solos’ format in most cases. I know, I know.”

From 2011 Detroit Jazz Fest Day 2

“Mike Ledonne, Nat Reeves, Carl Allen are Curtis Fuller’s rhythm section. Next tune: ‘Up Jumped Spring’”
“Curtis Fuller joined in the front line by Josh Bruno on trumpet/flugel and saxophonist Eric Alexander.”

SEGWAY SEGUE

From 2011 Detroit Jazz Fest Day 2

From 2011 Detroit Jazz Fest Day 2

“Soul Rebels crushing Stevie Wonder’s ‘Livin’ For The City.’ Now we’re talking.”
“I know I say this all the time, but somebody remind me why I don’t live in New Orleans.”

From 2011 Detroit Jazz Fest Day 2

“Soul Rebels now crushing MJ’s ‘Rock With You.’ Damn.”
“Sousaphone.”

HOT CROWD

From 2011 Detroit Jazz Fest Day 2

From 2011 Detroit Jazz Fest Day 2

“Now Sean Jones, Orrin Evans, Obed Calvaire, Luques Curtis, Brian Hogans.”

From 2011 Detroit Jazz Fest Day 2

“Haven’t seen Sean Jones in years and years. He sounds great and the band is really tight.”
“Tonight on this same stage: the Sun Ra Arkestra then Dave Holland. There’s a small (read: 100%) chance that I’ll be here.”

COUPLA GUYS

From 2011 Detroit Jazz Fest Day 2

THE STORM
“Break time is over. Heading back to #DJF2011 for Sun Ra, Jason Moran and Dave Holland. It’s a tough job.”
“Wind is really picking up and I see there’s a severe thunderstorm warning for Detroit. 70% chance of rain. Hmmm…”
“And there’s the lightning and thunder. I do believe there’s another episode of Doctor Who in my immediate future.”
“From my hotel window I can see whitecaps on the Detroit River. And also, sadly, Ceasar’s casino in Windsor, ON.”
“Here’s that rainy, er, night. And I can no longer see most of Windsor from the window.”
“Wow. This is one hell of storm. I can see about 100 yards out my window. Just to the edge of the Detroit River.”
“According to the radar, looks like there’s quite a bit of rain still coming at us.”

From 2011 Detroit Jazz Fest Day 2

From 2011 Detroit Jazz Fest Day 2

From 2011 Detroit Jazz Fest Day 2

“No electricty on main stage, but the Arkestra is still playing.”

THAT’S ALL, FOLKS … OR IS IT?
“It’s official: Detroit Jazz Fest cancelled for rest of night.”
“Walked back to the hotel with Jason Moran and his kids. He asked me to tweet his disappointment at not getting to play for us.”
“ALERT! 1.Jason Moran 9:30pm 2.Dave Holland Octet 10:30pm 3.Deacon Jones Blues Revue 11:30pm. Volt Lounge, Marriott, 3rd fl.”
“No Jason Moran tonight. Dave Holland in 15 minutes. Moran ‘not feeling it,’ according to WEMU’s Linda Yohn.”

VIDEO FROM THE VOLT LOUNGE

From 2011 Detroit Jazz Fest Day 2

From 2011 Detroit Jazz Fest Day 2

“My friends and I said we ain’t leaving Detroit until we play some music for you guys.” – Dave Holland. Hero.

From 2011 Detroit Jazz Fest Day 2

“Lightning flashing outside, but the real storm is inside.”
“Gary Smulyan ripping the air with his bari sax. Now Steve Nelson rides the lightning.”
“Thank you, thunderstorm. People need life – and music – to take a left turn from time to time.”

From 2011 Detroit Jazz Fest Day 2

“The crowd is going apeshit for Dave Holland. Technically speaking.”

From 2011 Detroit Jazz Fest Day 2

“Dave Holland is not fakin’ the funk. It may be in an odd meter, but it’s real.”
“Antonio Hart is making it happen with Dave Holland right now.”
“If James Brown had been born with one leg shorter than the other, this is the funk he would have made. #hollandstyle”
“Antonio Hart has this crowd in the palm of his hand.”

From 2011 Detroit Jazz Fest Day 2

“Mass orgasm now happening in the Volt Lounge. Hide the children. #DJF2011 #toofar?”
“Nate Smith is the truth.”
“The Dave Holland Brass Band, Street Choir And Funk Machine.”

From 2011 Detroit Jazz Fest Day 2

“Now a softer piece. Chris Potter’s ‘Sea of Marmara.’”
“Chris Potter exploring on soprano sax over the rhythm section.”
“There are people on the walkway outside the Volt Lounge windows, watching the show. It appears to be raining on them.”

From 2011 Detroit Jazz Fest Day 2

“This band has such a L A R G E sound. Very rich and deep.”
“Robin Eubanks soloing on ‘Ebb & Flow.’ I believe this piece is in 179/4. But I may have counted the beat wrong.”
“Chris Potter crushing a solo in about 19 different time signatures.”

From 2011 Detroit Jazz Fest Day 2

“These guys are terrible. Jazz sucks. Just ask the crowd of screaming people in this hotel bar.”
“Perhaps on Dave Holland’s planet, this is a common time signature. Or else he has eleven fingers?”

From 2011 Detroit Jazz Fest Day 2

“Ladies and gentlemen, the next mayor of the great city of Detroit … Dave Holland.”
“Lots of music still to come at Volt, but I’m going to end my night on the high of that Dave Holland show.”

After years of being invited and not being able to make it, I’m finally here at what radio guru Bobby Jackson calls “Jazz Disneyland.” I slept just 90 minutes the night (morning, really) before coming, because I was out till very late at the Tiny Resistors gig at 55 Bar. I tell you that to excuse my early departure from the festivities tonight. But I managed to see (and tweet about) quite a lot of music. If you’d like to receive my updates as they happen, please follow me on Twitter at @jasondcrane and also the hashtag #detroitjazz. You should also follow Josh Jackson at @checkoutjazz and Mark Stryker at @Mark_Stryker.

Without further ado, here are some photos and tweets from the opening night of the 2011 Detroit Jazz Festival.

From 2011 Detroit Jazz Fest Day 1

“Tain Watts and his drum club are rollicking and thundering here in Campus Martius park”
“Asked a security guard for directions to Campus Martius Park. He knew the part of Roman history that led to its name. Cool.”

From 2011 Detroit Jazz Fest Day 1

“Tain playing some Tainpani. Sorry.”
“Two sets of vibes. Tympani. Congas. Drum set. Yes please. #detroitjazz #tainpocalypse”

From 2011 Detroit Jazz Fest Day 1

“There are A LOT of people here. And they’re happy. Jazz don’t suck.”

From 2011 Detroit Jazz Fest Day 1

“Nice to see Joe Locke still has a painting of an elderly version of himself in his attic. #detroitjazz #dorianlocke”

From 2011 Detroit Jazz Fest Day 1

“This is like a dance rhythm for people with three legs of varying lengths.”
“Came all the way to #detroitjazz to hear Tain Watts play a song about a rainy day in Brooklyn.”

From 2011 Detroit Jazz Fest Day 1

“Drummer Tony Allen now joining the #tainpocalypse”
“I’m a sucker for the funk. Always have been, always will be.”
“‘The drums will bring your rain man home.’ – cameraman to me, moments ago.”

From 2011 Detroit Jazz Fest Day 1

“Amazing how this many percussionists can remain so unclouded. FOUR drum sets, congas, vibes. Crystal clear rhythmic intention.”

From 2011 Detroit Jazz Fest Day 1

“Guy in food line to panhandler who asked for sandwich: ‘I’ll give you $2, but you gotta spread your hustle.’ #usa”
“Just ate a bucket of grease disguised as french fries. The #vegan street food is a little sparse. Although there was free hummus earlier.”
”

VIDEO:

From 2011 Detroit Jazz Fest Day 1

From 2011 Detroit Jazz Fest Day 1

“Marvin Gaye’s Trouble Man soundtrack sounds so sweet on this summer night in Detroit.”
“Thousands of people on the streets at #detroitjazz. Still fewer jazz hats than Brooklyn.”

From 2011 Detroit Jazz Fest Day 1

“Starting now at #detroitjazz: Sing The Truth! with Dianne Reeves, Angelique Kidjo and Lizz Wright.”

From 2011 Detroit Jazz Fest Day 1

“Lizz Wright IS charisma.”
“If anything, I think the crowd has grown for the late set at #detroitjazz. Tons of people in the streets.”

From 2011 Detroit Jazz Fest Day 1

“Packing it in. Must sleep. 90 minutes last night. Need more tonight. Good night, #detroitjazz.”

Guitarist Gilad Hekselman’s new album is Hearts Wide Open (Le Chant du Monde, 2011). In this interview, Hekselman talks about expressing his emotions through music; his musical upbringing in Israel; and how he uses interesting rhythmic devices in his compositions. Learn more at www.giladhekselman.com and follow him on Twitter at @GiladHekselman.

Trumpeter Ben Syversen’s most recent record is Cracked Vessel (2010). In this interview, Syversen talks about the wealth of inspiration available in New York; how authors such as Roberto Bolagno have influenced his music; and why it’s important for him to write for specific musicians. Learn more at bensyversen.com and follow him on Twitter at @bensyversen.

Pianist Carmen Staaf’s most recent CD is a trio recording called Eye To Eye (2011). In this interview, Staaf talks about duo and trio playing; her travels to India; and how her music has been affected by everything from anthropology to meditation. Learn more at www.carmenstaaf.com and follow her on Twitter at @carmenstaaf.

Earlier today I started tweeting a series of snarky tips for musicians and music industry folks. They were retweeted quite a bit, so I decided to collect them all here. You can follow me on Twitter at @jasondcrane. Enjoy!

• Every time your web site begins playing music automatically, a puppy spontaneously combusts.
• Every time someone is forced to visit myspace to learn more about your music, a baby seal falls into a meat grinder.
• If you’re an active musician whose web site was last updated a few months ago, you’re causing global warming.
• Every time you send out a promo CD with no track titles or musician names, a butterfly flaps its wings and they fall off.
• Every time someone visits your gig calendar and finds it was last updated in 2009, Dick Cheney shoots a guy in the face.
• Every time your bio lists your “forthcoming CD” as one that came out 3 years ago, George W. Bush chops down a redwood.
• Every time you make me type your CD details into my music software because you forgot, Donald Rumsfeld has an orgasm.
• Every time you put a comment form rather than your email address on your web site, an old person loses their health care.
• Every time your bio is a long list of the people you’ve “shared the stage with,” more oil spills into the Gulf of Mexico.
• Musicians: If you have a Twitter account & haven’t tweeted in weeks or months, you don’t have a Twitter account.

Bassist Ron Carter’s 1973 CTI recording All Blues has just been reissued. In this interview, Carter talks about the making of the album and how he chose the band; why he thinks jazz schools need a broader vision; and why he supports labor unions. Learn more at roncarter.net.

Renée Yoxon is a vocalist from Ottawa, Ontario. Her debut recording, Let’s Call It A Day, is a duet album with guitarist René Gely. In this interview, Yoxon talks about the jazz scene in Ottawa; how she started singing standards and why she still does; and how her science background has influenced the way she approaches the physicality of singing. Learn more at www.reneeyoxon.com and follow her on Twitter at @reneeyoxon.

Pianist and keyboardist Jamie Saft explores his love for reggae, dub and improvisation on New Zion Trio (Veal Records, 2011). In this interview, Saft talks about the merger of those disparate musical elements; why he doesn’t write music on paper; and why he’d rather hear Slayer than “Stella By Starlight.” Learn more at www.jamiesaft.com.

We made the goal just before 2 p.m. ET. What can I say? I’m humbled and amazed. These last 24 hours have seen such a huge outpouring of support for this program. Here they are: The Jazz Session 100.

Thank you.

Jason Crane

P.S. — I can always use more members, so please keep spreading the word. You can join here.

For The Jazz Session’s 300th episode, a rare chance to sit down with four musical veterans: David S. Ware, William Parker, Cooper-Moore and Muhammad Ali. The four have just released Planetary Unknown (Aum Fidelity, 2011). This interview was recorded in the dressing room just after their performance at the 2011 Vision Festival. In this interview, they talk about the spiritual side of music; give advice to young musicians; and tell stories from their 100+ years as performers. Learn more at Aum Fidelity’s Planetary Unknown page.

NOTE: Today (August 11, 2011) is the final day of the “100 By 300″ membership campaign and I haven’t quite reached my goal. Please support the show by joining today for as little as $10 a month.

Tracks used in this episode: Passage Wudang; Shift; Duality Is One; Divination; Crystal Palace; Ancestry Supramental.

Three of the four members of this band have been on The Jazz Session before:

• Cooper-Moore
• William Parker
• David S. Ware

The last time I saw saxophonist David Binney‘s band at the 55 Bar in NYC, I made the mistake of getting there at 10:30 for a 10:15 set, which meant I was so far back I was almost outside on the sidewalk. That’s because Binney packs the place every time he plays. (David was on The Jazz Session earlier this year. Listen to the interview.)

From David Binney at 55 Bar – 8/9/11

Tonight I was smarter and got there in plenty of time to get a seat right next to the band. They did not disappoint. Binney was joined by Dan Weiss on drums, Eivind Opsvik on bass and Jacob Sacks on Fender Rhodes. It was a fantastic show and I had a front row seat. Here are some of my photos and tweets from the evening. If you’d like to get this content while I’m tweeting it, just follow me on Twitter at @jasondcrane. (P.S. — Thank you to the wonderful server at 55 Bar who charged my phone and thus allowed this post to exist. I don’t know your name but you’re fantastic!)

From David Binney at 55 Bar – 8/9/11

“@davidbinney notes: DB’s band started at a level of intensity at which most bands end their shows. A whirlwind.”
“Dan Weiss is wearing a shirt that says I Hate Mayonnaise.”
“Jacob Sacks is a very impressive Rhodes player who looks like Geddy Lee.”

From David Binney at 55 Bar – 8/9/11

“Eivind Opsvik’s groove is why the word ‘deep’ exists.”

From David Binney at 55 Bar – 8/9/11

“I love David’s sound. Like a sword wrapped in silk.”

From David Binney at 55 Bar – 8/9/11

“Very intense unaccompanied saxophone solo”
“@davidbinney is driving a steamroller into a crowded mall right now.”

From David Binney at 55 Bar – 8/9/11

“rhythm section stretching out”

From David Binney at 55 Bar – 8/9/11

“Zero pretense. Everything is in service of the music.”
“Dan Weiss. Goddamn.”

Tyshawn Sorey is a forward-looking, broad-thinking player and composer who refuses to be categorized. In this interview, he talks about his use of silence; interesting ways to set up the drums; and perceptions of African-American composers. Learn more at http://www.tyshawnsorey.net/.

Tracks used in this episode: (from Koan) Awakening; (from Paradoxical Frog) Homograph; (from Koan) Only One Sky; (from That/Not) That’s Blues, Right; Permutations For Solo Piano; (from Koan) Embed.

Saxophonist Ingrid Laubrock’s most recent album is The Madness Of Crowds (Intakt, 2011) with the band Sleepthief. She’s also part of the trio Paradoxical Frog with Kris Davis and Tyshawn Sorey. In this interview, Laubrock talks about her self-taught entry into improvised music; her collaborations with a variety of musicians; and why she went back to study standards even though she doesn’t often play them. Learn more at www.ingridlaubrock.com/pages/home.htm.

Programming note: Due to a technical problem, I lost part of this interview. My apologies to Ingrid. I’ll have her back on the show for a longer conversation.

Tracks used in this episode: Entraordinary Popular Delusions; You Never Know What’s In The Next Room; The Slow Poisoners; There She Goes With Her Eye Out; Hindsight Is Always 20-20.

An interview and performance with vocalist Kyoko Kitamura and trombonist Jen Baker, recorded live at Downtown Music Gallery in Manhattan. In this interview, Kitamura and Baker talk about collective improvisation; building a new vocabulary; and the structures of their compositions. Learn more at kyokokitamura.com and baker7jenz.com/home.html.

Trombonist Joe Fiedler’s new CD is Sacred Chrome Orb (Yellow Sound, 2011). In this interview, Fiedler talks about the evolution of his trio with John Hebert and Michael Sarin; his use of multiphonics; and why he needs his music to contain fun and humor. Learn more at www.joefiedler.com.

Tracks used in this episode: Occult; Next Phase; Sacred Chrome Orb; Ging Gong; Two Kooks.

Bassist Ken Filiano’s new album is Dreams From A Clown Car (Clean Feed, 2011). In this interview, Filiano talks about remaining present and free of preconceptions; how he switched from trumpet to bass a few weeks before graduating college; and what inspires him to read and listen eclectically. Learn more at myspace.com/kenfiliano.

Tracks used in this episode: (from Dreams From A Clown Car) Silhouette; Dog Days; Beguiled; (from Subvenire) water down stone; breathingdreaming; relay; (from Dreams From A Clown Car) Shinobu; Retronym.

Drummer Ches Smith is a versatile and daring player who finds himself in a variety of musical situations as a leader and sideman. In this interview, Smith talks about solo drum playing; his many projects; and how his early years influenced his current approach to music without boundaries. Learn more at chessmith.com.

Tracks used in this episode: (from Noise To Men) Noise To Men; (from Congs For Brums) Metal Vacation; (from Finally Out Of My Hands) Anxiety Disorder; Finally Out Of My Hands; (from Noise To Men) Turn Your iPod Into A Car; (from Finally Out Of My Hands) It Rained And The Tent Fell Down; (from Noise To Men) Omar.

Percussionist and composer Adam Rudolph’s latest album is Both/And (Meta Records, 2011). In this interview, Rudolph talks about making music that “sounds like itself”; how he uses harmonic and rhythmic challenges to find new musical directions; and the influence of mentors such as Yusef Lateef on his approach to making and thinking about music. Learn more at www.metarecords.com/adam.html.

Tracks used in this episode: Return of the Magnificent Spirits; Love’s Light; Tree Line; Blues In Orbit; Dance Drama Part 3; Dance Drama Part 4.

Vocalist Jay Clayton has long been known as both an accomplished singer of standards and a fearless adventurer in the world of electronics. In this interview, Clayton talks about those dual personas and how she brings them together; discusses her work with Sheila Jordan, Theo Bleckmann and others; and talks about her early days in the New York loft scene. Learn more at jayclayton.com.

Tracks used in this episode: (from In And Out Of Love) Falling In Love With Love; Freedom Jazz Dance; (from Circle Dancing) Circle Dancing; Sappho; Ditto; (from In And Out Of Love) Sunshower.

Thank you to the LA Times’ Culture Monster column for naming me as one of 25 arts & culture people to follow on Twitter.

• The article
• Follow my personal account (the one mentioned in the article) at twitter.com/jasondcrane and follow the show’s account at twitter.com/JazzSesh
• Follow the other jazz folks mentioned in the article: twitter.com/paynic, twitter.com/nextbop and twitter.com/blogsupreme
• Follow Culture Monster at twitter.com/culturemonster
  

  

  ]]> http://thejazzsession.com/2011/07/12/holy-canoli-the-la-times-just-named-me-one-of-25-to-follow-on-twitter/feed/ 0 http://thejazzsession.com/2011/07/11/the-jazz-session-291-satoko-fujii-and-natsuki-tamura/ http://thejazzsession.com/2011/07/11/the-jazz-session-291-satoko-fujii-and-natsuki-tamura/#comments Mon, 11 Jul 2011 17:26:58 +0000 Jason Crane http://thejazzsession.com/?p=3135

  

  Pianist Satoko Fujii and trumpeter Natsuki Tamura have been making adventurous music together for years. In this interview, they talk about the influences of Japanese folk music; the need for risk and fun in music; and why they’re involved in so many diverse projects. Learn more at satokofujii.com and natsukitamura.com.

  Tracks used in this episode: (from Watershed by Satoko Fujii’s Min-Yoh Ensemble) The Thaw; Whitewater; Soranbushi; (From Rafale by the band Kaze with Fujii and Tamura) Noise Chopin; (from ETO by Satoko Fujii’s Orchestra New York) Eto Suite: Rat; Eto Suite: Tiger; (From Rafale by the band Kaze with Fujii and Tamura) Marie-T; (from Watershed by Satoko Fujii’s Min-Yoh Ensemble) Estuary.

  

  ]]> http://thejazzsession.com/2011/07/11/the-jazz-session-291-satoko-fujii-and-natsuki-tamura/feed/ 0 0:52:42 Pianist Satoko Fujii and trumpeter Natsuki Tamura have been making adventurous music together for years. In this interview, they talk about the influences of Japanese folk music; the need for risk and fun in music; and why they’re involved [...] Pianist Satoko Fujii and trumpeter Natsuki Tamura have been making adventurous music together for years. In this interview, they talk about the influences of Japanese folk music; the need for risk and fun in music; and why they’re involved in so many diverse projects. Learn more at satokofujii.com and natsukitamura.com. Tracks used in this episode: (from Watershed by Satoko Fujii’s Min-Yoh Ensemble) The Thaw; Whitewater; Soranbushi; (From Rafale by the band Kaze with Fujii and Tamura) Noise Chopin; (from ETO by Satoko Fujii’s Orchestra New York) Eto Suite: Rat; Eto Suite: Tiger; (From Rafale by the band Kaze with Fujii and Tamura) Marie-T; (from Watershed by Satoko Fujii’s Min-Yoh Ensemble) Estuary. jazz, interview, music Jason Crane no no http://thejazzsession.com/2011/07/07/the-jazz-session-290-kris-davis/ http://thejazzsession.com/2011/07/07/the-jazz-session-290-kris-davis/#comments Thu, 07 Jul 2011 09:00:51 +0000 Jason Crane http://thejazzsession.com/?p=3106

  
  

  Pianist Kris Davis is part of several ensembles, including her trio with John Hebert and Tom Rainey on Good Citizen (Fresh Sound New Talent, 2010) and a trio with Ingrid Laubrock and Tyshawn Sorey on the eponymous Paradoxical Frog (Clean Feed, 2010). In this interview, Davis talks about learning to leave space in the music; her studies of classical composition; and the many projects and recordings in which she’s involved. Learn more at krisdavis.net.

  Tracks used in this episode: (from Paradoxical Frog) Iron Spider; Paradoxical Frog; (from Good Citizen) Good Citizen; Where Does That Tunnel Go; Desert Prayers; (from Paradoxical Frog) Feldman.

  

  ]]> http://thejazzsession.com/2011/07/07/the-jazz-session-290-kris-davis/feed/ 1 0:50:02 Pianist Kris Davis is part of several ensembles, including her trio with John Hebert and Tom Rainey on Good Citizen (Fresh Sound New Talent, 2010) and a trio with Ingrid Laubrock and Tyshawn Sorey on the eponymous Paradoxical Frog (Clean Feed, 201[...] Pianist Kris Davis is part of several ensembles, including her trio with John Hebert and Tom Rainey on Good Citizen (Fresh Sound New Talent, 2010) and a trio with Ingrid Laubrock and Tyshawn Sorey on the eponymous Paradoxical Frog (Clean Feed, 2010). In this interview, Davis talks about learning to leave space in the music; her studies of classical composition; and the many projects and recordings in which she’s involved. Learn more at krisdavis.net. Tracks used in this episode: (from Paradoxical Frog) Iron Spider; Paradoxical Frog; (from Good Citizen) Good Citizen; Where Does That Tunnel Go; Desert Prayers; (from Paradoxical Frog) Feldman. Pianists, Podcast Jason Crane no no http://thejazzsession.com/2011/07/04/the-jazz-session-289-jim-snidero/ http://thejazzsession.com/2011/07/04/the-jazz-session-289-jim-snidero/#comments Mon, 04 Jul 2011 09:00:58 +0000 Jason Crane http://thejazzsession.com/?p=3089

  

  Saxophonist Jim Snidero’s new CD is Interface (Savant, 2011). In this interview, Snidero talks about the use of acoustic guitar on this record; his concept of “warm jazz”; and what makes music appealing to him both intellectually and emotionally. Learn more at jimsnidero.com.

  Tracks used in this episode: Interface; Fallout; Silhouette; Viper; One By One; Expectations.

  

  ]]> http://thejazzsession.com/2011/07/04/the-jazz-session-289-jim-snidero/feed/ 0 0:55:28 Saxophonist Jim Snidero’s new CD is Interface (Savant, 2011). In this interview, Snidero talks about the use of acoustic guitar on this record; his concept of “warm jazz”; and what makes music appealing to him both intellectually [...] Saxophonist Jim Snidero’s new CD is Interface (Savant, 2011). In this interview, Snidero talks about the use of acoustic guitar on this record; his concept of “warm jazz”; and what makes music appealing to him both intellectually and emotionally. Learn more at jimsnidero.com. Tracks used in this episode: Interface; Fallout; Silhouette; Viper; One By One; Expectations. jazz, interview, music Jason Crane no no http://thejazzsession.com/2011/07/01/the-jazz-session-288-jane-bunnett-and-hilario-duran/ http://thejazzsession.com/2011/07/01/the-jazz-session-288-jane-bunnett-and-hilario-duran/#comments Fri, 01 Jul 2011 09:00:32 +0000 Jason Crane http://thejazzsession.com/?p=3064

  

  Cuban Rhapsody (Alma Records, 2011) is a duet CD by saxophonist and flautist Jane Bunnett and pianist Hilario Duran. In this interview, Bunnett and Duran talk about the joys and challenges of duet playing; the deep history of the album’s repertoire; and the idea of music without boundaries. Learn more at www.janebunnett.com and www.hilarioduran.com.

  Tracks used in this episode: Lagrimas Negras; Almendra; Sherezad; Contradanzas; Longina; Son de la Loma.

  

  ]]> http://thejazzsession.com/2011/07/01/the-jazz-session-288-jane-bunnett-and-hilario-duran/feed/ 1 0:46:59 Cuban Rhapsody (Alma Records, 2011) is a duet CD by saxophonist and flautist Jane Bunnett and pianist Hilario Duran. In this interview, Bunnett and Duran talk about the joys and challenges of duet playing; the deep history of the album’s repe[...] Cuban Rhapsody (Alma Records, 2011) is a duet CD by saxophonist and flautist Jane Bunnett and pianist Hilario Duran. In this interview, Bunnett and Duran talk about the joys and challenges of duet playing; the deep history of the album’s repertoire; and the idea of music without boundaries. Learn more at www.janebunnett.com and www.hilarioduran.com. Tracks used in this episode: Lagrimas Negras; Almendra; Sherezad; Contradanzas; Longina; Son de la Loma. jazz, interview, music Jason Crane no no http://thejazzsession.com/2011/06/29/event-the-jazz-session-live-with-kyoko-kitamura-and-jen-baker/ http://thejazzsession.com/2011/06/29/event-the-jazz-session-live-with-kyoko-kitamura-and-jen-baker/#comments Wed, 29 Jun 2011 13:33:51 +0000 Jason Crane http://thejazzsession.com/?p=3070

  

  WHAT: Live taping of The Jazz Session
  with vocalist Kyoko Kitamura and trombonist Jen Baker
  WHEN: Sunday, July 10 at 7 p.m.
  WHERE: Downtown Music Gallery, 13 Monroe St., New York, NY 10002
  COST: Free

  ABOUT THE EVENT:
  Join Jason Crane for a live taping of The Jazz Session featuring vocalist Kyoko Kitamura and trombonist Jen Baker. If you’ve seen them perform together, you know how amazing they are. If you haven’t, you won’t want to miss it. The show is free and will be preceded at 6 p.m. by flutist Yukari with drummer Carlo Costa.

  ABOUT THE PERFORMERS:
  Kyoko Kitamura is a vocal improviser and composer residing in Brooklyn. She does weird things with her voice and is often a side-person for various amazing musicians. Her own songs have mildly disturbing content which may stem from her experience as a one-time war-reporter.

  Trombonist Jen Baker has performed internationally in ensembles spanning from orchestra to free jazz. Awarded a Meet the Composer grant, she commissioned and performed new solo works on the east and west coasts. Baker’s solo multiphonic project, Lyrical Vibrations, has been performed around the country and can also be heard on her solo album, Blue Dreams.

  ABOUT THE JAZZ SESSION:
  The Jazz Session is an in-depth, online jazz interview show hosted by Jason Crane. The 280+ episodes have been downloaded more than 1.2 million times and are available for free at http://thejazzsession.com. The show is member-supported and needs to recruit 100 members by the 300th episode on August 11. Memberships start as low as $10/month. More information is available at http://thejazzsession.com/join.

  

  ]]> http://thejazzsession.com/2011/06/29/event-the-jazz-session-live-with-kyoko-kitamura-and-jen-baker/feed/ 0 http://thejazzsession.com/2011/06/29/the-jazz-session-287-nadav-remez/ http://thejazzsession.com/2011/06/29/the-jazz-session-287-nadav-remez/#comments Wed, 29 Jun 2011 09:00:37 +0000 Jason Crane http://thejazzsession.com/?p=3060

  

  Guitarist Nadav Remez’s debut CD is So Far (Brooklyn Jazz Underground Records, 2011). In this interview, Remez talks about his musical upbringing in Israel; his willingness to let his music be beautiful; and the way he approached the recording session with a view to allowing openness and individual expression. Learn more at nadavremez.com.

  Tracks used in this episode: So Far; Pinchas; The Last Exile; Susu.

  

  ]]> http://thejazzsession.com/2011/06/29/the-jazz-session-287-nadav-remez/feed/ 0 0:45:32 Guitarist Nadav Remez’s debut CD is So Far (Brooklyn Jazz Underground Records, 2011). In this interview, Remez talks about his musical upbringing in Israel; his willingness to let his music be beautiful; and the way he approached the recordin[...] Guitarist Nadav Remez’s debut CD is So Far (Brooklyn Jazz Underground Records, 2011). In this interview, Remez talks about his musical upbringing in Israel; his willingness to let his music be beautiful; and the way he approached the recording session with a view to allowing openness and individual expression. Learn more at nadavremez.com. Tracks used in this episode: So Far; Pinchas; The Last Exile; Susu. jazz, interview, music Jason Crane no no