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.

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.

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.

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.

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.

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.

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.

Adam Schatz is the founder of Search & Restore, which opened its doors in late 2007 and has since become a 501(c)3 non-profit committed to bringing the artists and audiences of new jazz and improvised music together in new ways. In this interview, Schatz talks about the musical components of the organization’s mission and his own pursuits as a performing musician. Learn more about Search & Restore at searchandrestore.com and about their current fundraising efforts at jazz2012.com. The fundraiser runs through Dec. 19, 2011.

NOTE: This interview is a companion piece to my video conversation with Schatz, which you’ll find at JazzDIY’s site, JazzDIY.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.

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.

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

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.

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.

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.

Matana Roberts has released two albums recently: Live In London (Central Control, 2011) and Coin Coin Chapter One: Gens De Couleurs Libre (Constellation, 2011). In this interview, Roberts talks about her Chicago roots and the mentorship of Fred Anderson; how she combined her musical practice with her passion for genealogy; and why working on your sound means being willing to take the slow road. Learn more at matanaroberts.com.

Tracks used in this episode: (from Coin Coin Chapter One: Gens De Couleur Libres) Rise; Pov Piti; Song For Eulalie; Kersaia; Libation for Mr. Brown – Bid Em In; (from Live In London) My Sister; Exchange.

Saxophonist Craig Handy is a member of The Cookers, whose latest CD is Cast The First Stone (Plus Loin, 2011). In this interview, Handy talks about playing with Dee Dee Bridgewater, Roy Haynes and other jazz luminaries; about his youthful experiences learning the craft of section playing and how to perform in service to the music; and about how he’s matured as a player over his decades on the professional scene. Learn more at www.craighandy.com.

Saxophonist James Carter is back with an ambitious new album, Caribbean Rhapsody (Emarcy, 2011), featuring the compositions of Roberto Sierra. In this interview, Carter talks about finding ways to connect with an audience; his collaboration with Sierra on the new compositions; and his view of an artist’s responsibility to the listener and vice versa. Learn more at jamescarterlive.com.

Saxophonist TK Blue’s new CD is Latinbird (Motema Music, 2011). In this interview, Blue talks about his decision to record an album of Parker’s music; his years in Paris and his early days in New York; and how his relationships with Randy Weston, Abdullah Ibrahim and Benny Powell have shaped his life and music. Learn more at www.tkblue.com.

Tracks used in this episode: Chi Chi; Si Si; He Flew Away too Soon; Visa; Bluebird; Barbados; Steeplechase; Buzzy.

Saxophonist Billy Harper appears on Cast The First Stone, the latest CD from The Cookers. In this interview, part of The Jazz Session’s “Cookers Mondays” series, Harper talks about his involvement with the band; recounts the story of his first night in NYC in the late 1960s; and tells about how persistence paid off when it came to sitting in with one of the most famous drummers of all time. Learn more at www.billyharper.com.

Tracks used in this episode: Cast The First Stone; Peacemaker; Looking For The Light; Croquet Ballet; The Seventh Day.

Saxophonist Jon Gordon’s most recent CD is Evolution (ArtistShare). In this interview, Gordon talks about adapting to a variety of musical situations; the importance of an artistic conception; and the composing and arranging work that led to his nonet project. Learn more at jongordon.artistshare.com.

Tracks used in this episode: Evolution; Shane; Currents; excerpt from Bartok’s Sonata for Solo Violin, 3rd mvmt, Melodia-Adagio; Bloom; Individuation.

Pianist Matthew Shipp and saxophonist Darius Jones have a new duo CD called Cosmic Lieder (AUM Fidelity, 2011). In this wide-ranging interview, Shipp and Jones discuss intergenerational collaboration; the “x factor” that caused Shipp to ask Jones to work together; and how Jones views Shipp’s musical language and career. Learn more at www.matthewshipp.com and www.myspace.com/blackdajones.

Tracks used in this episode: Bleed; Ultima Thule; Zillo Valla; Multiverse; Mandrakk; Ged-Jedollah.

CONCERT NOTE: Matthew Shipp and Darius Jones are playing two sets at Jazz Standard in NYC on April 27.

Saxophonist Noah Preminger’s new CD is Before The Rain (Palmetto, 2011). In this interview, Preminger talks about his musical upbringing; why he spend a lot of time planning the order of the songs in a performance; and the important of being respectful. Learn more at www.noahpreminger.com.

Tracks used in this episode: Where or When; Quickening; Before The Rain; Abreaction; Until The Real Thing Comes Along; Jamie.

Saxophonist Sarah Manning brings her personal approach to the sound of the saxophone to her newest recording, Dandelion Clock (Posi-Tone, 2010). In this interview, Manning talks about how she focuses on sound in her playing; the way she assembled her band; and why she’s happy she took risks on this record. Learn more at sarahmanningmusic.com.

Tracks used in this episode: The Peacocks; Marble; The Owls (Are On The March); Through The Keyhole; Habersham Street; Dandelion Clock; Windmills Of Your Mind.

NOTE:: I wrote a poem based on something Sarah said in this interview. Read “Whale Song.”

The Jazz Session started four years ago today with episode #1 — an interview with saxophonist Grant Stewart. Four years, 243 episodes and 930,000 downloads later, The Jazz Session is still going strong. In the introduction to this show, I take a moment to thank all the people who’ve made it possible, before welcoming my guest…

Grant Stewart returns to help celebrate the fourth anniversary, and to talk about his new record, Around The Corner (Sharp Nine, 2010). In this interview, Stewart discusses the idea of excellence versus the trend toward originality; talks about his recent trips around the world to play jazz; and outlines his own approach to playing the saxophone and what fulfills him as an artist. Learn more at grantstewartjazz.com.

Tracks used in this episode: Get Happy; The Scene Is Clean; I Waited For You; That’s My Girl; Something’s Gotta Give.

Saxophonist Ralph Bowen returns with Power Play (Posi-Tone, 2011), his third CD in as many years. In this interview, Bowen talks about why he enjoys writing his own music; the importance of his bandmates in creating the right studio environment; and the lessons he learned from his time with Horace Silver. Learn more at ralphbowen.com.

Tracks used in this episode: K.D.’s Blues; Drumheller Valley; My One And Only Love; Two-Line Pass; The Good Sheppard; Bella Firenze.

Music writer and musician Hank Shteamer talks about Mosaic’s new Henry Threadgill boxed set, The Complete Novus & Columbia Recordings of Henry Threadgill & Air, for which Shteamer wrote the liner notes. In this interview, Shteamer talks about the two-decade period covered by the set; the amazing variety of Threadgill’s bands and compositions; Threadgill’s infectious humor; and how Threadgill differs from other musical iconoclasts. Get the boxed set at Mosaic’s site, and read more of Hank Shteamer’s writing at his excellent blog, Dark Forces Swing Blind Punches.

Tracks used in this episode: Card Five: Open Air Suit; Come Carry The Day; Salute To The Enema Bandit; Paille Street; Noisy Flowers; Sweet Holy Rag.

NOTE: Listen to Henry Threadgill on The Jazz Session talking about his Zooid project.

NOTE 2: A poem inspired by one of the tracks on the Mosaic boxed set: “Threadgill’s birds”

Saxophonist Jerome Sabbagh teams with guitarist Ben Monder and drummer Daniel Humair on I Will Follow You (Bee Jazz, 2010). In this interview, Sabbagh talks about the formation of this trio; his varying approaches to composition; and how his diverse musical choices make him difficult to label but more content as a player. Learn more at jeromesabbagh.com.

Tracks used in this episode: I Will Follow You; Monolith; The Clown; Comptine; Rahan; Come With Me; More; La Fee Morgane; Saloon.

Portuguese saxophonist Rodrigo Amado’s new album, Searching For Adam (Not Two, 2010), features Taylor Ho Bynum, John Hebert and Gerald Cleaver. In this interview, Amado describes how he chose his bandmates without having played with them before; talks about his decision to record freely improvised music; and tells the story of the amazing transformation of the jazz scene in Lisbon and Portugal. Learn more at www.rodrigoamado.com.

Tracks used in this episode: Newman’s Informer; Waiting For Andy; Renee, Lost In Music; Sunday Break.

Saxophonist David Binney is one of the most prolific composers on the jazz scene today. His most recent album is Graylen Epicenter (Mythology, 2011). In this interview, Binney talks about the origin of the band on this record; the interesting story behind the CD’s unusual title; and his opinion on the grant process for jazz composers. Learn more at www.davidbinney.com.

Tracks used in this episode: All Of Time; Graylen Epicenter; Home; Equality At Low Levels; Everglow; Waking To Waves.

Soprano saxophonist Jane Ira Bloom delivers yet another excellent record with Wingwalker (Outline, 2011). In this interview, Bloom talks about her use of movement in performance; why she doesn’t feel the need to “script” much of the recording process; and how some solos can only be played amidst great silence. Learn more at http://janeirabloom.com.

Tracks used in this interview: Her Exacting Light; Life on Cloud 8; Ending Red Songs; I Could Have Danced All Night; Freud’s Convertible.

Saxophonist Christine Jensen is at the helm of a big band for her new album, Treelines (Justin Time, 2010). In this interview, Jensen talks about why she formed a big band; her special musical rapport with her sister, trumpeter Ingrid Jensen; and how she takes her compositional inspiration on this album from the natural world. Learn more at www.christinejensenmusic.com.

NOTE: This is Christine Jensen’s second appearance on The Jazz Session. Click here to listen to her May 2007 episode.

Multi-instrumentalist Kali Z. Fasteau continues to experiment with the nature of sound on her new album, Animal Grace (Flying Note, 2010). In this interview, Fasteau talks about how she pushes past the perceived limits of the instruments she plays; how her experiences traveling the world inform her music; and the system of balance she finds in music and in life. Learn more at www.kalimuse.com.

Woodwind player Jason Robinson released three albums this fall — solo (Cerberus Reigning), duo (Cerulean Landscape) and full band (The Two Faces of Janus). In this interview, Robinson discusses his use of electronics and computer manipulation in his solo saxophone playing; how the music of Duke Ellington and Cecil Taylor inform his duets with pianist Anthony Davis; and how he very carefully selected the members of his Janus Ensemble. Learn more at www.jasonrobinson.com.

Saxophonist Patrick Cornelius has put together a “chordless” ensemble for his new album, Fierce (Whirlwind Recordings, 2010). In this interview, Cornelius talks about his particular approach to composing for a band with no chordal instrument; his various musical projects at home and abroad; and his travels in the music from his home in Texas to Boston to New York. Learn more at www.patrickcornelius.com.

Saxophonist Rudresh Mahanthappa teams up with fellow saxophonist Bunky Green for Apex (Pi Recordings, 2010), an album of original compositions featuring Jason Moran, Francois Moutin, Jack DeJohnette and Damion Reed. In this interview, Mahanthappa talks about his first exposure to Bunky Green’s playing; why this all-star cast feels like a working band; and the thought process behind the compositions on the album. Learn more at rudreshm.com.

The Either/Orchestra is celebrating 25 years of making music with their new CD, Mood Music For Time Travellers (Accurate Records, 2010). In this interview, founder and leader Russ Gershon talks about how the band got started; how it has survived for 25 years; and the music on the new album, which returns to the “classic” E/O sound after several years working with Ethiopian musicians. Learn more at either-orchestra.org.

David S. Ware’s new album is Onecept (Aum Fidelity, 2010). In this interview, he talks about the decision to make a completely improvised trio recording; and the ideas of yoga and philosophy that underlie his music. Learn more at www.davidsware.com.

Saxophonist Jon Irabagon continues his exploration of extended improvisation on Foxy (Hot Cup, 2010). In this interview, Irabagon talks about his study of the tenor saxophone lineage; the physical and mental challenges of the continuous 87-minute improvisation on this album; and why he felt Barry Altschul was the perfect drummer for this project. Learn more at www.jonirabagon.com.

Saxophonist Howard Wiley explores the music and conditions at Angola prison in Louisiana on 12 Gates to the City. This CD is the follow up to The Angola Project, which was based on Wiley’s research on the prison. The new album was inspired by Wiley’s visit to Angola. In this interview, Wiley talks about conditions at the prison; modern-day slavery; and why he felt compelled to document his experiences musically. Learn more at www.howardwiley.com.

Saxophonist Geof Bradfield traveled to several African countries in 2008. His new album, African Flowers (Origin Records, 2010), is a musical chronicle of that journey. In this interview, Bradfield talks about the places he visited on his trip; how he chose to musically interpret his experiences; and the varied projects with which he’s currently involved. Learn more at http://geofbradfield.com.

Saxophonist Dave Liebman is celebrating an amazing year full of recordings and awards. In this interview, Liebman talks about his lifelong commitment to education; the various honors bestowed upon him recently, including an NEA Jazz Master Award; and why he enjoys playing not only his own music but also the music of giants such as Ornette Coleman and John Coltrane. Learn more at www.daveliebman.com.

Saxophonist Beth Schenck’s fascinating approach to rhythm is one of the standout features of her debut album, What Shock Heard (Inayat Records, 2010). In this interview, Schenck talks about rhythm; her diary-like approach to composition; and why she decided she needed a working band. Learn more at bethschenck.com.

Sonny Rollins turns 80 today. Sonny has been on The Jazz Session twice:

• Election Day 2008: http://thejazzsession.com/2008/11/04/the-jazz-session-49-sonny-rollins/
• April 2010: http://thejazzsession.com/2010/04/26/the-jazz-session-163-sonny-rollins/

Sonny will be at the Beacon Theatre in New York this Friday for a special 80th birthday concert with Jim Hall, Roy Hargrove, Christian McBride and more. More information at www.sonnyrollins.com. I’ll be there!

Two weeks after Hurricane Katrina hit the Gulf Coast, Andrew Lamb’s trio went into the studio to record a response, the album New Orleans Suite (Engine Studios, 2005 & 2010). Now that album has been remastered and reissued to mark the fifth anniversary of the storm and the engineering disaster that flooded New Orleans. In this interview, Lamb talks about his personal connections to New Orleans; the experience of making the record in the days immediately after the storm; and why he feels musicians have a responsibility to make music that talks about social and political issues. Learn more at www.myspace.com/andrewtheblacklamb.

Steve Coleman leads his band Five Elements through another thought-provoking set on Harvesting Semblances And Affinities (Pi Recordings, 2010), his first American-label release in nine years and his first new album in four years. In this interview, Coleman talks about a wide range of topics, from seeing Sonny Stitt play a student horn in a motel room in Chicago to the philosophy and research underlying his musical explorations. Learn more at www.m-base.com.

When one thinks of free jazz, one of the first names that springs to mind is that of Merle Haggard. And so, it’s perfectly natural that saxophonist Bryan Murray would have assembled a band to play free versions of Haggard’s songs. The result is the very engaging Pretend It’s The End Of The World (Hot Cup, 2010). In this interview, Murray talks about the inspiration for the record and how the band made the songs work in such a different context. Learn more at www.myspace.com/bryanandthehaggards.

Art Pepper is my favorite alto saxophonist and one of my favorite musicians, period. I wrote this while listening to Stuttgart May 25, 1981 – Unreleased Art Vol. V. Art’s wife, Laurie, has been on The Jazz Session twice. If you’d like to learn more about Art, please listen to her appearances in 2007 and 2009.

Photo (c) Laurie Pepper

Read “The Truth About Art Pepper”

Sam Newsome made a decision nearly 15 years ago to switch exclusively to the soprano saxophone. His most recent album, Blue Soliloquy (self-produced, 2009) is a solo exploration of that instrument. In this interview, Newsome talks about his pattern of intensive periods of study; the musical goals he had for the new record; and also about other projects with which he’s involved, including a dance performance and a collaboration with a Romanian pianist. Learn more at www.samnewsome.com.

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

Multi-instrumentalist and composer Henry Threadgill has always followed his own particular muse, and his new album, And This Brings Us To, Vol. 1 (Pi Recordings, 2009), is no different. In this interview, Threadgill discusses the musical language he’s developed, and the demands it places on the musicians who play with him; why he constantly searches for new ways of writing and playing; how cell phones and other digital technology are changing the way we interact with music and with each other; and the changes in the New York scene since the days when he arrived in the city. Learn more at www.pirecordings.com/artist/Henry_Threadgill.

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

“Jazz is as relevant today as the yearning of people to be free.” That’s how Sonny Rollins describes the state of the music in this interview, recorded in late 2009 during his European tour. He also talks about his early decision to choose music over painting; his choice from his earliest days to record controversial songs such as “The House I Live In;” and his theory about why the world is full of strife. Learn more at www.sonnyrollins.com.

The music in this interview comes from the Sonny Rollins album Roadshows, Vol. 1. If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Baritone saxophonist Charles Evans and his longtime friend, pianist Neil Shah, recently released Live At Saint Stephens (Hotcup, 2009), a duet recording that showcases Evans’ amazing tone and inventive compositions. In this interview, Evans discusses his focus on the bari sax; his relationship with Neil Shah and how it impacts their music; and his plans for … bass fishing. Learn more at charlesevansmusic.com.

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

Baritone saxophonist and composer Fred Ho made Celestial Green Monster (Mutable Music, 2010) because he thought he’d be dead soon. Ho’s amazing fight against multiple instances of cancer, and his lifelong pursuit of social justice and musical adventure, informs much of the music on his new album. In this interview, Ho talks about making music while fighting cancer; his passion for large ensembles; and how he chooses to make a political statement through instrumental music. Learn more at www.bigredmediainc.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via this link: Fred Ho: Celestial Green Monster

Saxophonist John Ellis & Double-Wide return with an expanded instrumental line-up on their new CD, Puppet Mischief (Obliq Sound, 2010). This interview was recorded in Albany, NY, right before Ellis’s show at Red Square. In this interview, Ellis talks about the addition of harmonica and trombone to the band; how he approaches recording sessions; and Ice Siren, his hour-long, song-based narrative collaboration with writer Andy Bragen. Learn more at johnaxsonellis.com.

NOTE: This is John Ellis’s second appearance on The Jazz Session. You can also hear him talk about the first Double-Wide album on TJS #37 from 2008.

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

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:

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.

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:

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:

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:

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:

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:

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:

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:

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:

I interviewed Sonny Rollins tonight for the second time. Before the interview, I asked my wife Jennifer, who’s a casual jazz listener, what one question she’d ask Sonny if she were interviewing him. She said she’d ask him whether jazz is still relevant. So I asked him, and this is what he said:

“I think that the relevance of jazz depends on what you think jazz is. For instance, if you think that jazz is a piano trio playing in a small nightclub — they’re good musicians, maybe have a girl singer — and you come in and there are people smoking and sitting at tables … if that is your conception of jazz then of course jazz is not relevant, because that refers to a time and place. Jazz is something which is much bigger. Jazz has to do with freedom of expression. So is jazz still relevant? Of course, because there are always people trying to express themselves in music. I think of jazz as having the big umbrella, so that a lot of styles of music that have merged over the years all fall under the umbrella of jazz. The act of trying to create something musically and spontaneously is something that is a part of life. It’s like the weather — it’s always there. Jazz as something that fits into a narrow little remembrance, no, that kind of jazz is not relevant. But jazz is as relevant today as the yearning for people to be free. That’s how relevant jazz is.”

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 stevelehman.com.

If you’d like to purchase this album, you can help 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:

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:

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:

My new piece for the online pop culture journal Popdose.com is a review of the terrifyingly beautiful new CD from saxophonist Darius Jones. It’s called Man’ish Boy, and it comes out on October 13 on the AUM Fidelity label.

• Popdose.com: The Blazing Fire Of A Man’ish Boy

Here’s a video of Darius Jones with Cooper-Moore on diddley-bow, Michael Hardin on keyboard and Cleve Pozar on drums. Cooper-Moore is on Jones’ new CD.

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.

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 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 saxophonist David Sanborn. Sanborn is one of the few jazz players whose name is known even outside the jazz world. It’s fitting, then, that he’s using his new album Here & Gone (Decca, 2008) to bring a lesser-known jazz saxophonist into wider awareness. Here & Gone celebrates the music of Hank Crawford, a saxophone player and the principal arranger for the Ray Charles “little big band” of the 50s and 60s. Crawford’s playing had a huge impact on Sanborn, and Sanborn repays the favor with this thoughtful and soulful tribute.

Jason Crane interviews saxophonist Sonny Rollins. He’s just released Road Shows Vol. 1 (Doxy Records, 2008), a compilation of live performances spanning 20 years. Gary Giddins calls it “one of the finest Sonny Rollins albums ever released.” In this interview, recorded on Election Day 2008, Sonny talks about everything from the prospect of an Obama presidency and the crisis of global warming to the mystery and beauty of jazz improvisation. Find out more at SonnyRollins.com.

Jason Crane interviews saxophonist Kenny Garrett about his new CD, Sketches of MD (Mack Ave Records, 2008). This album features the paired saxophones of Garrett and Pharoah Sanders, who’ve performed together many times but never recorded live. Garrett wrote all the tunes on the album, each of which draws inspiration from a sideman or groove concept associated with the Miles Davis band (the “MD” of the album title). Find out more at kennygarrett.com.

CONTEST: Win Sketches of MD! I’ve got three copies of the CD to give away. To win, send an e-mail with the subject line “KENNY” to contest@thejazzsession.com. (Note: If you’ve won in the past 30 days, please sit this one out. Thanks!)

Jason Crane interviews saxophonist Javon Jackson. On his new recording for Palmetto Records, Once Upon A Melody, Jackson pays tribute to the people and songs that have influenced him, from Wayne Shorter to Sonny Rollins to Ramsey Lewis to Corinne Bailey Rae. During this interview, Javon leads a track-by-track tour of the record, and you’ll hear excerpts from every composition. He’s joined on the album by pianist Eric Reed, bassist Corcoran Holt and longtime musical partner Billy Drummond on drums. Find out more at javonjackson.com.

CONTEST: WIN A COPY OF JAVON JACKSON’S CD, Once Upon A Melody. To win, send an e-mail to contest@thejazzsession.com with JAVON in the subject line. Good luck!

Jason Crane interviews saxophonist Adam Niewood about his new 2-CD set, Epic Journey: Volumes I & II (Innova, 2008). Niewood is the son of famed woodwind player Gerry Niewood, but he has stepped firmly out of his father’s shadow with this new release, which features both composed and free-improvised music. Niewood’s writing skills are as strong as his playing, and the albums surprise and delight with repeated listening. In this interview, Niewood talks about the making of Epic Journey, the 90s scene in NYC, and his kindergarten-era tour with Simon & Garfunkel. Find out more at niewood.com and download tracks at www.myspace.com/niewood.

Jason Crane interviews clarinetist and tenor saxophonist Eddie Daniels in the first of three Jazz Session shows recorded live at the 2008 Tanglewood Jazz Festival in Lenox, MA. Daniels played the fest with many of the same musicians who appear on his 2-CD live album Homecoming (IPO Recordings, 2007). Daniels got his start as a saxophonist with the Thad Jones & Mel Lewis big band, and then launched a successful solo career that took the clarinet to new heights. He started performing on saxophone again in 2005 and now uses both instruments in his sets. During the interview, you’ll hear Daniels receive a fateful phone call that changes the nature of his performance at the festival.

CONTEST: Win a copy of Eddie Daniels’ Homecoming: Live At The Iridium! To win, be one of the first three people to send an e-mail to contest@thejazzsession.com. Please put “Eddie” in the subject line! (Note: Listeners who’ve won in the last 30 days need to sit this one out. Thanks!)

Jason Crane interviews saxophonist and composer Donny McCaslin about his new record, Recommended Tools (Greenleaf Music, 2008). The new album is McCaslin’s statement in the saxophone trio format, and he’s joined by two of New York’s finest — bassist Hans Glawischnig and drummer Johnathan Blake. McCaslin shines on this album of original compositions, plus Billy Strayhorn’s Isfahan. (NOTE: McCaslin was on The Jazz Session #29 last year in an interview that featured an in-depth look at his life and work.)

Jason Crane interviews saxophonist John Ellis. After making a name for himself during his five years with guitarist Charlie Hunter, Ellis has emerged as a leader and composer in his own right. His new album, Dance Like There’s No Tomorrow (Hyena Records, 2008) is a celebration of the sousaphone (yes, the sousaphone!) in a funky stew of creative and fun tunes, all penned by Ellis.

Jason Crane interviews Laurie Pepper, wife of the late alto saxophonist Art Pepper (1925-1982). Laurie has recently put out two sets of previously unreleased live recordings by Art Pepper — Unreleased Art, Vol. 1: The Complete Abashiri Concert — November 22, 1981 (Widow’s Taste, 2006) and Unreleased Art, Vol. 2: The Last Concert (Widow’s Taste, 2007). Both concerts show Pepper at the height of his emotional expression, and still very much in command of his instrument. In this interview, Laurie Pepper talks about the concerts and the process of releasing them, and also gives insight into the troubled and triumphant life of her husband.

Jason Crane interviews saxophonist Donny McCaslin. One of the busiest saxophonists in the business, McCaslin plays with Maria Schneider, Dave Douglas and many others. He also fronts his own groups, including the band on his new CD, In Pursuit (Sunnyside, 2007). A follow-up to his critically acclaimed record Soar (Sunnyside, 2006), In Pursuit features compositions commissioned for a Chamber Music America grant. McCaslin talks about his father’s influence, playing with Gary Burton, and the life of an in-demand musician.

Jason Crane interviews saxophonist and composer Brian Patneaude. His new quartet album is called As We Know It (WEPA Records, 2007). Patneaude was born and raised near Albany, NY. He’s chosen to make his musical stand in Albany, and the choice is paying off. Patneaude is a busy musician, whether it’s his weekly residency at famed Albany jazz club Justin’s or his continuing gig with Grammy-nominated Alex Torres and His Latin Orchestra. As We Know It features seven strong compositions by Patneaude, and some inspired playing by his regular working band and guest pianist Dave Payette.

Jason Crane interviews saxophonist Joel Frahm. Frahm is one of the busiest saxophonists on the scene today. You’ll find him on recordings with pianist Brad Mehldau, vocalist Jane Monheit, trumpeter Avishai Cohen, drummers Matt Wilson and Pete Zimmer, and the Waverly 7. His fourth record as a leader, We Used To Dance (Anzic Records, 2007), brings together a classic rhythm section that played with Stan Getz on some of his final recordings: pianist Kenny Barron, bassist Rufus Reid and drummer Victor Lewis. Frahm wrote many of the tunes on the record and also paid homage to those Getz recordings with tunes such as “Joanne Julia.” Frahm calls himself a musical chameleon, but his own personal tone and approach shines through on We Used To Dance.

Jason Crane interviews clarinetist Don Byron at the 2007 Rochester International Jazz Festival. Byron performed two sets with his Ivey Divey trio featuring pianist Jason Moran and drummer Billy Hart. Byron has covered a lot of ground in his musical career, from the Ivey Divey project (honoring Lester Young) to the music of Junior Walker, Raymond Scott and Mickey Katz. Byron talks about Lester Young, his next project, and the influence of African-American religion on African-American speech. Find out more at DonByron.com.

Jason Crane interviews saxophonist and composer Christine Jensen. Based in Montreal, Jensen has recorded three albums. Her most recent project is Look Left (Effendi, 2006), the result of a half-year spent studying and writing in Paris. The Globe and Mail called Jensen “one of the most important Canadian composers of her generation.” Find out more at Christine Jensen’s MySpace page.

Jason Crane interviews saxophone and clarinet player Victor Goines. Goines has made quite a name for himself with such seminal groups as the Wynton Marsalis Septet and the Jazz At Lincoln Center Orchestra. In addition to touring the world with the those bands, he’s also an accomplished leader in his own right, and the director of the jazz program at Juilliard in New York. Goines has a new CD called New Adventures (Criss Cross, 2006).

Jason Crane interviews saxophonist Wayne Escoffery about his life and his new album, Veneration (Savant, 2007). Escoffery was born in London and moved to New Haven, Connecticut as a child. He sang in a boys choir and then got introduced to the saxophone. Choosing the latter, Escoffery moved into the orbit of legendary saxophonist Jackie McLean, eventually attending McLean’s Artist Collective and his jazz program at the Hartt School of Music. In addition to his own band, Escoffery currently performs with the Mingus Big Band, Tom Harrell, Ben Riley’s Monk Legacy Septet and in a band with his wife, singer Carolyn Leonhart. Find out more at EscofferyMusic.com.

It’s here — the first episode of The Jazz Session, a jazz interview podcast hosted by Jason Crane. In this show, Jason interviews tenor saxophonist Grant Stewart. Stewart has been in New York for the past 16 years, since moving there from his native Toronto. He’s played with quite a roster of jazz artists, from Curtis Fuller, John Hendricks and Clark Terry to Brad Mehldau, Larry Goldings and Jimmy Cobb. Stewart’s new album on Sharp Nine Records is In The Still Of The Night (Sharp Nine Records, 2007). You can find out more at GrantStewartJazz.com.