Ravi Coltrane Walks In Father's Giant Steps – By David Luhnow

EDINBURGH (Reuters) – Being the son of late jazz great John Coltrane and playing the tenor saxophone for a living has been compared to being James Joyce Jr. and writing fiction set in Dublin or following a father named Muhammad Ali into the boxing ring.

That is the size of the task that Ravi Coltrane, a budding saxophonist, faces as he walks in his father's "Giant Steps" – the name not only of a Coltrane standard but a symbol of his lasting impression on the jazz landscape.

"Immediately after picking up the horn... was the first time I got a dose of the John Coltrane son thing. Instead of being Ravi, all of a sudden I was John Coltrane's son. It was hard to deal with," Coltrane, 34, said in an interview.

Tito Puente energized at Birdland - Posted 8/24/99
Tito Puente (Latin jazz; Birdland, New York; 150 capacity; $30)

By Robert L. Daniels

NEW YORK (Variety) – Celebrating a 50th anniversary as a bandleader, Tito Puente fronted his orchestra in a performance that soared with uncommon vigor, complemented by highly charged virtuoso solos. The 75-year-old arranger-composer-percussionist was full of energy and impish wit, transforming the music room into a swinging Latin jazz carnival.

The engagement also celebrated "Live at Birdland – Danceamania '99," the RMM Grammy-nominated CD that pays homage to the legendary jazz club. A second volume, dedicated to the mambo craze of the '50s, was recorded during the band's recent stand.

Following the brief, familiar melody of the George Shearing theme "Lullaby of Birdland," the band bolted into "Machito Forever," a tribute to yet another master of Latin jazz. Heightened by the gritty trombone of Reynaldo Jorge and the imaginative trumpet of Kevin Bryan, Puente framed the piece with his relentless swinging percussive support on timbales and cowbells.

Clare Fischer's picturesque "Morning" featured a sweet jungle piccolo and alto flute intro by Mario Rivera. The piece showcased the versatility of the ensemble with turns by Mitch Brumack's biting tenor sax, a dazzling flugelhorn statement by Raymond Vega and trombonist Lewis Kahn, who also doubled with an infectious, lumbering jazz fiddle solo.

In a tribute to the dancing days of the Palladium, Puente recalled Mario Bauza's classic "Mambo Inn" with a gritty baritone sax solo by Pete Morando and another wailing statement by Brumack. The big band jazz mambo resonated with Birdland memories of Stan Kenton and Woody Herman, who often embraced Latin motifs and swung hard with them. Another Palladium recall was "Cayuco," an infectious cha-cha and a Puente original.

"Babahaiati," another foot-tapping mambo marked once again by a gutsy Morando bari solo, segued to the trademark finale, "Oye Coma Va," a Puente classic that again showcased the skillful percussive theatrics of El Rey and justified his title as the king of Latin music. "Play that Santana tune," fans often call out, while Puente reminds his flock, "I get the composer's check in the mail."

Puente and his band will perform Sept. 19 at the two-day Latin Jazz Festival being held at L.A.'s California Plaza. Bill also includes Eddie Palmieri and David Sanchez. On Sept. 18, Lalo Schifrin and his big band, Chucho Valdes Quintet, and Manny Oquendo's Orquestra Libre will perform.

Presented inhouse. Band: Reynaldo Jorge, Kevin Bryan, Mario Rivera, Mitch Brumack, Raymond Vega, Lewis Kahn, Pete Morando, Frank Morales, Sonny Bravo. Opened and reviewed Aug. 17, 1999, closed Aug. 22. Provided through the courtesy of Reuters/Variety

FIVE Palmetto ARTISTS PERFORM AT HMV RECORDS, NYC ON THURSDAY, AUGUST 26 - Posted 8/18/99
* Featuring The Matt Wilson Quartet; Ben Allison; Joel Frahm; David Berkman; Pete McCann *

HMV Records, 34th and Sixth Avenue, Herald Square, NYC will host five Palmetto Records artists in concert on Thursday, August 26 at 6 p.m.

Performing will be:

* The Matt Wilson Quartet whose brand new CD "Smile" shows very clearly why The New York Times calls Wilson's group "one of the best working bands in New York City." Drummer and composer Wilson has recently racked up honors as one of the "25 Rising Stars for the Future" in Down Beat magazine; and Best New Artist by the New York Jazz Critics Circle in 1997. The Quartet creates "a new genre – Garage Jazz" (Atlantic Monthly) which simultaneously challenges and entertains while showcasing Wilson's playful imagination, creativity and joyous spirit.

* Ben Allison, whose recent CD "Third Eye," has generated wide acclaim. "Third Eye" is the third album of original material from bassist and composer Ben Allison, and the second with his group Medicine Wheel. Allison has been steadily building a reputation as an individual voice and important organizational force in the New York City music scene. "Third Eye" showcases Allison's against the grain approach to music-making, and highlights the intuitive rapport among the group's members.

* Joel Frahm, whose debut "Sorry, No Decaf" has been widely praised as "confident and extraordinary music. Four-stars" - 52nd St. Jazz.

* David Berkman whose CD Handmade has earned wide critical acclaim including "1998 Critics Picks Top 5 Albums...a strikingly original project" - Bill Milkowski, JazzTimes; and "1998 Top Ten Critics Picks" – Jim Macnie, Jazziz.

* Guitarist Pete McCann whose recent Palmetto CD "Parable" has generated quite a buzz. "New artist to keep an eye on..."...a wildly eclectic set that ranges from poignant to provacative to poetic."

Founded in 1990 by Matt Balitsaris, Palmetto Records began as a means of delivering the artist's vision to the public completely independent of market pressures. Artist-based, artist-owned, and artist-oriented, Palmetto places less emphasis on genre classification and more on elements such as compositional integrity, musicianship and sonic quality.

Based in Greenwich Village in New York City, Palmetto continues to grow at an unprecedented rate, ever deepening their commitment to the uniqueness of the individual musician, the transformational power of quality music, and the freedom to express oneself with craft.

The 40+ titles in the Palmetto catalog range from jazz, blues, and world, to folk music. Many of Palmetto's critically acclaimed titles have been produced or co-produced by label-owner (and accomplished jazz guitarist) Balitsaris. The label recently completed construction of Maggie's Farm in Bucks County, Pennsylvania; a state-of-the-art-recording studio designed by renowned studio designer Francis Manzella.

The label has earned wide acclaim throughout this decade for its taste and quality: "As long as the artist has integrity and vision (and lots of it), they'll fit in at Palmetto." – Cover Magazine.
"There's plenty of fresh, original music happening in New York's Greenwich Village, and the folks at Palmetto not only revel in their surroundings, they are recording them beautifully." – Rapport Magazine.
"I am very encouraged by what's going on in jazz today...It seems to me that individuality has once again become the watchword in the post-Wynton phase, particularly when you look at some of the adventurous music coming out on smaller, independent labels like Palmetto..." – Bill Milkowski, All About Jazz.

Palmetto Records is located at 71 Washington Place, #1A, New York, NY 10011. Phone: 800.PALM.CDS / 212.673.9394. FAX: 212.533.5303. E-MAIL: palmetto@thorn.net. Website: www.palmetto-records.com.

CDs, b/w photos, and press kits available.

Contact: Ann Braithwaite / Brian Coleman (617) 629-0066
For Immediate Release Email: BandKComm@aol.com
Provided through the courtesy of Ann Braithwaite

Contemporary Fusion Masters Tribal Tech Announce U.S. Tour – Posted 8/18/99

Tribal Tech, featuring acclaimed guitarist Scott Henderson, bassist Gary Willis, keyboardist Scott Kinsey and drummer Kirk Covington announced their first U.S. tour in over four years. This three week tour will support the new album Thick (Zebra Records) which the group recorded in only 72 hours with unprecedented musical daring. They simply let tape roll and captured the moment, trusting their instincts and group chemistry to spontaneously shape the music. The result is their most freewheeling, exhilarating and provocative project in Tribal Tech's 13-year history. In the critical thick of it:

Album Network – "Highly improvisational and extremely inspired fusion."

All About Jazz – "Thick is jazz fusion excellence. The entire collection is awesome, daring and creative."

Amazon.com – "On Thick, the band jettisons the sugarcoating in favor of a more improvisatory approach, and the resulting energy is infectious enough to grab anyone."

CDnow – Tribal Tech maintains a strong grip as one of the premier fusion bands."

Chicago Reader – "In a time when the word 'fusion' describes instrumental rock and roll, Tribal Tech stands out like a diamond-back in a pile of cotton balls. In contrast to that other stuff masquerading as fusion, Tech's music has an urgency that has always distinguished the great players of jazz and rock."

City Link – "Thick is a serpentining soundtrack to a nightmare that's so good, you'll risk going back to sleep in hopes it will play again."

Down Beat – "Tribal Tech kick out the jams on Thick. Bubbling, quirky and haunting."

Fuse – "After twelve years and eight outstanding releases Tribal Tech have finally found the key to their success…Jamming. It's the obvious next step for these four world class players."

Guitar – "Perhaps the ultimate modern fusion guitarist is Scott Henderson. On Thick, Tribal Tech play molten blues rave-ups, experimental freeform and incendiary jazz-rock."

Jazziz – "Thick is a strong-yet-unpredictable, fiercely creative. Possibly Tech's finest work yet."

Jazz Times – "Thick is one of the year's more revelatory recordings."

Keyboard – "Thick is riveting and inspirational."

Vintage Guitar – "Marvelous playing and imaginative songwriting."

Sept 8 Fine Line Minneapolis MN
Sept 10 Gilly's Dayton OH
Sept 11 Magic Bag Detroit MI
Sept 13 Martyr's Chicago IL
Sept 15 Rhythm Room Cleveland Hts. OH
Sept 16 El Mocambo Club Toronto CAN
Sept 17 La Maison Theater Montreal CAN
Sept 21 S.O.B.s New York NY
Sept 22 Johnny D's Somerville MA
Sept 23 Ron's Guitars Groton Court CT
Sept 25 Van Dyck Schenectady NY
Sept 27 Ram's Head Annapolis MD
Sept 29 Club More Clearwater FL
Sept 30 Care Free Theater W. Palm Beach FL
Provided through the courtesy of Rob Evanoff

The Entertainment Never Stops at the Bermuda Jazz Festival; Chuck Mangione Kicks Off a Week of Entertainment - Posted 8/6/99
HAMILTON, Bermuda, Aug. 6 /PRNewswire/ -- Bermuda is pulling out all the stops to transform its pink shores into the world jazz capital.

Legendary trumpeter Chuck Mangione will help kick off six days of jazz-fueled festivities on October 12th with a concert that will set the stage for the Fourth Annual Bermuda Jazz Festival, October 15-16.

Patti Austin, George Benson and Al Jarreau will be the name attractions for the seaside concert, yet visitors can get their groove starting that Monday, October 11th as island hotels, restaurants and clubs feature live performances from local and international performers alike.

Two hotels, The Reefs and Stonington Beach Hotel, will feature calypso steel bands, jazz and rhythm and blues acts. Local pubs Flanagan's and the Pickled Onion offer up a selection of blues, reggae, soca and R&B for listeners' pleasure. Mangione will appear at the Ruth Seaton James Auditorium, to play Latin-flavored, smooth jazz tunes, many from a new album released this year after a ten-year hiatus.

Prior to the Saturday concert, visitors can spend the afternoon at a Bermudian party at the 2nd Annual Flatt's Village Festival, with live entertainment, ethnic food, historic exhibits and free admission to the Bermuda Aquarium.

Some events may have admission fees. For more information contact participating hotels and Visitor Service Bureaus. American Airlines is the official airline. Sponsored by ``Conde Nast Traveler," the festival's official hotel partners are Sonesta Beach Resort and Southampton Princess. HMV Record Stores is the Jazz Festival's official promotional partner. Jazz travel packages can be booked by calling 800-BERMUDA or your local travel agent. Tickets for the performances are $50 for general admission and $65 for reserved seating. For jazz lovers who have already booked travel, tickets can be purchased thorough Ticket Web at 800-965-4827 or ticketweb.com. For more information on the event or Bermuda, visit http://www.bermudajazz.com.

Provided through the courtesy of Bermuda Department of Tourism

Jazz Trumpeter Harry 'Sweets' Edison Dead At 83 - Posted 8/4/99
COLUMBUS, Ohio (Reuters) - Jazz trumpet virtuoso Harry "Sweets" Edison, a featured soloist for the Count Basie band who went on to accompany such singers as Frank Sinatra, Ella Fitzgerald and Billie Holiday, has died at age 83, his daughter said Wednesday.

Edison, who had been battling prostate cancer, died Tuesday at the home of his daughter, Helena, in his hometown of Columbus, where he moved from Los Angeles last December, she said.

In a career spanning seven decades, Edison played with many of the greatest jazz artists of his time and developed a distinct style whose phrasing was recognizable to fans for its simplicity and use of repetition.

Edison's big break came in the late 1930s, after he moved to New York and briefly joined the Lucky Millinder band. From there, he was hired by the Basie band, where he became a featured soloist and remained until the ensemble broke up in 1950.

It was during his years with the Basie band that famed saxophonist Lester Young knicknamed him ``Sweets" to describe the sound that came from Edison's horn.

In the 1950s, he performed with the Nelson Riddle band and Frank Sinatra and can be heard on numerous Sinatra albums, including 1956's "Songs for Swingin' Lovers."

He had several reunions with Count Basie in the 1960s and often teamed with saxophonist Eddie "Lockjaw" Davis in the '70s. During that period, he also scored music for television shows and movies, and recorded a critically lauded duo album with pianist Oscar Peterson.

He continued to perform well into the 1990s, including an appearance at the White House in 1997, before succumbing to ill health.

Provided through the courtesy of Reuters

John Coltrane, who died of liver cancer in 1967 at the age of 40, dominated jazz during the 1960s. His technical mastery bordered on the superhuman and he was also jazz's premier philosopher, adding a celestial touch to music often seen as more befitting a bordello.

He is now a cultural icon. His image was used recently in a Jeep commercial in the United States and there is a church in San Francisco that sometimes worships to his music.

BLAZING HIS OWN TRAIL

Ravi Coltrane, named after legendary Indian sitar player Ravi Shankar, has been described as perhaps the only jazz musician who can fill a hall with people largely there to see another man. But the soft-spoken Coltrane, like his philosophical father, takes it all in stride.

"If I saw Miles Davis's son with a trumpet I'd have the same impression. I can't fault anybody," Coltrane, who was just three years old when his father died, said after a performance at the Edinburgh International Jazz Festival.

"But I don't have those ideas. If I had grown up around my father more as a young adult and tried to emulate him and saw him as a person I had to live up to, in my own mind I'd have that weight, I'd be trying to be somebody that I wasn't."

After recording nearly 30 albums as a sideman, Coltrane released his first album as a bandleader -- "Moving Pictures" – last year. It was well received by critics for a debut album and raised the inevitable comparisons to his father.

Ravi grew up in a musical household. His mother Alice, an accomplished jazz pianist and harpist, is the only person with whom he will play certain of his father's songs, including the intensely spiritual anthem "A Love Supreme."

He said he merely dabbled in music as a "normal" teenager in suburban California but was drawn back to his father's music as a young adult, first out of curiosity and then because he, like many before him, developed a passion for it.

"I was meeting a lot of people who were asking me questions about it and I felt I needed to know some of these things," he said. "After a while, I started to hear the music differently. It started to have a thing for me and I started to have a thing for it. I thought maybe I should try to pick up the horn."

After enrolling in music school, where he says most people realized he was "an average guy trying to learn just like them," he went to New York and was invited by his father's former drummer Elvin Jones to join his quintet.

Jones wanted to mentor the young Coltrane. "I told him I wasn't ready. I knew it would be a distraction for him, for the audience, having a Coltrane in the band," he said. "But Elvin said 'I just want to help, get you ready.' And working with him allowed me to do the majority of things I am doing now."

Although he was approached by several record companies to do solo recordings in the first few years of his career, Coltrane refused until he felt he was ready. ``I kept running into types who heard 'Coltrane's son' and got dollar signs in their eyes. I always took a hard left at that point," he said.

GIANT FAN OF HIS FATHER'S MUSIC

While the younger Coltrane is determined to make his own way in the world of jazz, he says he has not gone out of his way to sound different from his father or avoid his influence.

"I'm a giant fan. Like most sax players it's music that we take from -- it's the canon," he said. ``You can't ignore and you don't want to."

Every once in a while sounds of his father's music creep into his improvisations, like the distinctive chords of "Giant Steps" during the Edinburgh show. But he chose not to include any of his father's songs on his first record, opting instead for six of his own and several others from greats like Wayne Shorter and Horace Silver.

"If I play 'Giant Steps' at a gig, it's one thing. But I would never record it because the definitive recording's been done," Coltrane said about whether he would ever commit any of his father's songs to an album.

"Doing it live is OK because you can let it go. But in a recording you have to be more serious about an idea, a direction, to add something to this giant library of recorded music."

He shares the view of his constantly experimenting father – that was how he met Shankar – that jazz should be forward-looking and not a rehash of the past. "I like to think about being progressive, looking toward the present and future as opposed to recreating jazz," he said.

"To be 20 and say I'm going to play a guy who played 30 years ago and did it better is a waste of talent. Anybody talented enough to copy it verbatim is talented enough to do something different."

While Coltrane was pleased with the reception of his first record, he hopes his second – due in the next year – will take his music to the next level. "I tried not to do too much in the first record, show every side or angle or tempo or mood. I wanted it to be like steps ... kind of tiptoeing into this world of documenting music," he said.

Maybe the young Coltrane's small steps will someday add up to something approaching the size of his father's giant ones.