For Immediate Release: Tuesday, March 10, 2009

Dave Douglas & Brass Ecstasy Spirit Moves

"…a pivotal figure of modern music…"

-New York Times

"…one of the most adventurous sonic explorers in music today…" -NY Newsday

"…the most significant figure in jazz…"

-Pittsburgh Tribune Review On Tuesday, June 16, 2009, two-time GRAMMY Award-nominated jazz trumpeter/composer Dave Douglas will release Spirit Moves, his first studio album in three years and the debut recording of his project Brass Ecstasy. Featuring Douglas alongside Luis Bonilla (trombone), Vincent Chancey (French horn), Marcus Rojas (tuba) and Nasheet Waits (drums), Spirit Moves is set for release on Douglas’s own Greenleaf Music Label. Interviews and photos are available upon request. Internationally recognized as one of today's most prolific trumpeters and composers, Dave Douglas undoubtedly ranks amongst the top contemporary maestros in American music. He has earned lavish awards including trumpeter, composer, and jazz "Artist of the Year" by such organizations as the New York Jazz Awards, Down Beat, Jazz Times, JAZZIZ, and the Italian Jazz Critics' Society. In 2005, he was honored with a Guggenheim Fellowship, and after a successful recording career with Bluebird/RCA, Douglas continues to exclusively release his original music via Greenleaf Music. Over the past several years, Douglas has steadily honed his work with Brass Ecstasy with appearances at the 2008 Chicago Jazz Festival, which commissioned new music from the group, Willisau Festival, Reggio Calabria Jazz Festival, and The Festival of New Trumpet Music. Douglas introduces Spirit Moves as he pays homage to the brass instrument with eight new original compositions and three arrangements of classics by such disparate artists as Otis Redding, Hank Williams and Rufus Wainwright. Informed by the evolving spirit of brass music and by his multi-faceted career as the director of The Festival of New Trumpet Music, label head of Greenleaf Music, a renowned composer and artist, and record producer, Douglas pens an ambitious collection of lyrical songs with impressions of folk, pop and soul music. Spirit Moves unveils an idiosyncratic elegance in Douglas's indelible writing with performances by today’s great brass players. Brass Ecstasy captures a distinct cohesiveness and ease on Spirit Moves, as if it were the final set in a weeklong residency at the Jazz Standard in New York City. Recorded in a single room, Spirit Moves forsakes tradition with each player redefining their role while embracing divergent themes to amass a full brass ensemble sound. Douglas is known for carefully selecting artists for his ensembles. On Spirit Moves, the right line-up affords an opportunity to place each player in unforeseen situations where years of dialogue between the players shines with spontaneous brilliance. Brass Ecstasy’s compositional adaptability, and voyage in discovering innovative approaches to recorded music, is essentially the backbone of Spirit Moves. An arsenal of elements constructs the overall feel of Spirit Moves. Depending on the track, Douglas might be the feature, a select player might take the lead, or the entire ensemble might be highlighted. Each tune carries individual character. Songs shift in tempos and in lengths, moods and genres. The opening track, "This Love Affair" by Rufus Wainwright, stands as a longtime favorite of Douglas's. He has previously covered Wainwright ("Poses," The Infinite) and notes him as one of the greatest contemporary songwriters. Brass Ecstasy takes this dirge and rings every salty tear from the nooks and crannies of the piece. "Orujo," which refers to the clear Spanish brandy, marks one of the album’s standout successes. An explicit collective achievement, "Orujo" culminates with elaborate interweaving parts and improvisation of counterpoint, while staying within the form of the tune. Douglas comments, "It’s easy to lose the fact that there’s only a tuba and three horns on top." "The View From Blue Mountain" alludes to the bittersweet sight of Indian Point Energy Center from Blue Mountain Reservation in New Jersey. Close to where Douglas resides, Blue Mountain serves as a refugee from the fast-paced city. A romantic piece pierced by dark undertones, it points to the proximity of the three-unit nuclear power plant in relation to Manhattan (just 24 miles north of NYC). "Twilight of the Dogs" is a song of elation and sadness tinged with celebration. Inspired by the current transitional state of the U.S., "Twilight" sets forth a beautiful ballad of the times with heartfelt melodic lyricism.

Tracks five through seven are dedicated to three great trumpeters: Lester Bowie, Enrico Rava and Fats Navarro. While Douglas scribed material for the 2008 Chicago Jazz Festival, "Bowie" surfaced as an appropriate fit to acknowledge Bowie's legendary work with the Art Ensemble of Chicago. Abundant with buoyant harmony, swift comedic passages and diversifying changes, "Bowie" features the collective's singular horn interplay masterfully supported by drummer Nasheet Waits. One of Douglas's top picks, Waits is a shining example of the influential role drummers play in orchestrating modern jazz. Much of the sonic palette on Spirit Moves is directed by his craftsmanship. Upon a chance encounter with Enrico Rava at the Roccella Ionica Festival in Calabria, Italy last summer, Douglas sculpted "Rava" after an inspiring late-night hang session with the credited trumpeter, in which Rava spoke of his first concert seeing Miles Davis and Lester Young together in the early '50s. Douglas confidently takes the lead on "Rava" as he opens the piece with just Rojas and Waits, setting a somber tone before he invites a delicate harmony from Bonilla and Chancey. The song for Fats, simply titled "Fats," was composed so the band would intentionally seem much bigger than a quintet. Each musician switches between playing rhythm, melody and harmony, resulting in an arrangement reminiscent of a straight Monk tune. Douglas comments, "This is one where having Bonilla and Chancey was so crucial. Having spent a lot of years in Lester Bowie's band, they have a unique affinity of how horn parts of this nature can come together." Another piece commissioned for the Chicago Jazz Festival is "The Brass Ring." Encapsulating a feeling of pursuit and afterglow following a victory, its pensive mood acknowledges that even when triumphant there is still so much more to accomplish. Waits opens "The Brass Ring," which is succeeded by tightly composed horn lines. As the piece progresses, it begins to breathe with Douglas swinging atop three-part horn harmony and rockin' drums. Douglas confesses that Otis Redding's "Mr. Pitiful" features "one of the great horn lines in all of pop music." "Mr. Pitiful" is one of the first arrangements Douglas put together for Brass Ecstasy. Douglas notes, "I tend to gravitate towards all the tragic pop songs when I do covers. It's fun!" All the members of Brass Ecstasy take the spotlight on "Great Awakening." Recalling a strong sense of community, or being at church, "Great Awakening" climaxes with Bonilla's soaring solo while Douglas intermittently hits it out of the park. Spirit Moves is bookended by the famous Hank Williams song, "I'm So Lonesome I Could Cry." Douglas admits, "I've always loved this tune. I wanted to write an arrangement that took it to a completely different place. I could say that Gil Evans was the inspiration for this particular arrangement." Shying away from the too often heavy-hitting, showy, and virtuoso nature of brass music, Spirit Moves has a very different focus, one conveying the beautiful, soulful and ecstatic ways of life. After several years of showcasing much of this material to live audiences, Dave Douglas & Brass Ecstasy captures the essence of brass music in the 21st Century with their debut recording effort. Douglas applauds the emergence of new forms of American music and encourages utilizing the digital community as a way to directly reach music enthusiasts. An avid blogger via greenleafmusic.com and well-known digital purveyor of his live shows (posting music online within 24 hours of the performance), Douglas offers a poignant voice both compositionally and intellectually to his fanbase, and beyond. As a companion piece to Spirit Moves, Douglas will digitally release free video segments of the group recording the new album, captured by Jem Cohen (R.E.M.) and Christopher Green (Wilco). Videos will be available on greenleafmusic.com. Dave Douglas & Brass Ecstasy will tour this summer in support of Spirit Moves including appearances at Jazz Standard (NYC, June 18 - 21), Ottawa Jazz Festival, Jazz Showcase (Chicago, June 26-28), Umbria Jazz (Perugia, Italy: July 18), Festival de Jazz de San Sebastian (San Sebastian, Spain: July 23), Clusone Jazz Festival (Clusone, Italy: July 24) and Angel City Jazz Festival (Los Angeles, CA: September 6). Additional tour dates will be announced on www.davedouglas.com. Spirit Moves (Release Date: Tuesday, June 16, 2009) 1. This Love Affair 2. Orujo 3. The View from Blue Mountain 4. Twilight of the Dogs 5. Bowie 6. Rava 7. Fats 8. The Brass Ring 9. Mr. Pitiful 10. Great Awakening 11. I'm So Lonesome I Could Cry Media Contact: Jesse P. Cutler, JP Cutler Media, 415.655.3431, publicity@jpcutlermedia.com

DAVEDOUGLAS&BrassEcstasy“SpiritMoves”(Greenleaf)Abouthalfwaythrough“SpiritMoves,”hisfirstalbumwiththebandhecallsBrassEcstasy,thetrumpeterDaveDouglaspresentsatunebythenameof“Bowie.”Itbeginswiththehuffingofatuba,playedbyMarcusRojas,andtherudimentaryclatterofasnaredrum,playedbyNasheetWaits.Then,inquicksuccession:aharmonizedhornriff,aswingingtrombonesolo,afunkyFrenchhorninterludeandakindofcircus‐bandrefrain.Thetrackisanodtotheavant‐gardetrumpetheroLesterBowie,justasBrassEcstasyisanodtoBrassFantasy,agroupMr.Bowieledforhislast15years.(Hediedin1999.)Halfofthemuscularfrontlinehere—VincentChanceyonFrenchhornandLuisBonillaontrombone—weremembersofMr.Bowie’sBrassFantasy.AndjustasthatbandusedtotacklehitsassociatedwithMichaelJacksonandWhitneyHouston,Mr.DouglastrotsoutarrangementsoftunesbyRufusWainwright,HankWilliamsandOtisRedding.But“SpiritMoves”isn’tentirelyatributealbum,despiteevenacouplemorenamesakededications.(“Rava”paysbroodinghomagetotheItalianpost‐boptrumpeterEnricoRava;“Fats”isaspringlikesalutetothebop‐erahornmanFatsNavarro.)Mr.Douglas’slargerconcernseemstobefindingfreshwaystoorchestratethisblendoftimbres.Hemakesthemostofhispaletteonapiecelike“Orujo,”whichopensonaseriesofping‐pongingaccentsbeforesettlingintoaloping,streetwisegroove.Thefive‐pieceensemble,whichwillappearfromThursdaythroughJune21attheJazzStandard(jazzstandard.net),handleseachtunewithsoulfulaplomb.Mr.RojasandMr.Waits,bykeepingtherhythmastir,helpmakeasparsesoundfeellivable.AsforMr.Douglas,theformatbringsoutahintofloosenessinhim,thoughmaybejustahint:he’sstillamorefastidiousbandleaderthanMr.Bowie,morepronetofindingecstasyindiligencethanineventhemostrollickingbrandofhavoc.NATECHINEN

7/17/09 3:44 PMCD: Dave Douglas and Brass Ecstasy

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CD: Dave Douglas and Brass Ecstasy

David Wiegand

Sunday, June 21, 2009

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Jazz

Perhaps the only thing that isn't surprising about

"Spirit Moves," the new album from Dave Douglas

and Brass Ecstasy, is that it's full of tasty surprises.

You'll know that right off from the first cut, an

inspired arrangement of Rufus Wainwright's "This

Love Affair" that immediately evokes the sounds of a

New Orleans jazz funeral. The album's highlights are

the three compositions honoring trumpeters Lester Bowie, Enrico Rava and Fats

Navarro, each piece honoring the style of the other trumpet greats while demonstrating

Douglas' singular creativity. Otis Redding's "Mister Pitiful" is a joyful mashup of '60s

soul, '70s funk and anything else Douglas and company feel like tossing in. This is very

much an ensemble success, with superb contributions by Vincent Chancey on French

horn, Luis Bonilla on trombone, Marcus Rojas on tuba and Nasheet Waits on drums.

DAVE DOUGLAS AND BRASS ECSTASY

SPIRIT MOVES

GREEN LEAF MUSIC

$17.98

This article appeared on page R - 38 of the San Francisco Chronicle

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DaveDouglasandBrassEcstasy|SpiritMovesGreenleafMusic(2009)ByJONGARELICK|June16,2009DaveDouglasandBrassEcstasy|4.0StarsOneofthemostgenialCDsinDouglas'svastdiscographyisalsooneofhismostaccomplished.Theimmediateconnectionispop.SoRufusWainwright'sballad"ThisLoveAffair"becomesaNew‐Orleans‐brass‐bandfuneralmarch.TheformatalsoconnectstothelateLesterBowieandhisBrassFantasy(he'snamecheckedinthetitleofanappropriatelyeclecticandcomicDouglasoriginal).ThisoutfitissmallerthanBowie'snonet:Douglas'strumpetplustrombone(LuisBonilla),Frenchhorn(VincentChancey),andtuba(MarcusRojas)overtrapdrums(NasheetWaits).ButDouglas'svoicingsmaketheensemblesoundlargerthanitis,andthebebopswingoftheFatsNavarrotribute("Fats")isready‐madeforbigband.Thereareotherpoptouchstonesaswell:OtisRedding's"Mr.Pitiful,"withamachine‐gunchorusriffonthebridge,andHankWilliams's"SoLonesomeICouldCry,"withweepymutedtrumpetandtrombonesolos.Butit'sthewritingthatprovidesdepth.Despitethedeceptivepop‐songoutlinesandstronggrooves,justabouteverypieceemphasizestherichweaveofvoices,andonoriginalslike"TheViewfromBlueMountain"and"TwilightoftheDogs,"Douglasextendsformsyouthinkyouknowtotakeyousomeplacenew.

68 Time Out Chicago  Jun 25–Jul 1, 2009 TimeOuTCHiCAGO.COm

Mu

sic

Allstate Arena; Fri 26

The Windy City’s history of segregation likely kept members of Earth, Wind & Fire and Chicago from meeting in the ’60s. During the flower decade, a handful of white college boys did extracurricular work gigging in South Side blues clubs. By 1967, Marshall Chess had already initiated his (doomed) interracial soul-rock experiment, Rotary Connection, when a group of DePaul students formed the cover band that would become Chicago.

But, as it happened, the two greatest brass-heavy bands of the ’70s didn’t run into each other until both had relocated to L.A. by decade’s end. And it wasn’t until the 21st century that they decided to collaborate. Touring together in 2004, EW&F and Chicago wowed audiences playing separately and collectively, at times having a near-orchestra playing both groups’ songs.

Seventies-era musicians are in the minority among current rosters, but when the combined groups jammed, audiences saw a generous slice of pop legends on one stage, including EW&F bassist Verdine White and singer-percussionist Philip Bailey, as

well as Chicago keyboardist (and principal songwriter) Robert Lamm and trombonist James Pankow.

The tour led to a platinum DVD and plans to reunite when the time was right. That time is now. For any dreamers who want to imagine Richard J.’s city as a color-blind utopia, this is a chance to see some of the most ambitious musicians of old man Daley’s Chicago join together. Thankfully, in lieu of “Kumbaya,” they’ll be singing “Shining Star” and “25 or 6 to 4.”—Jake Austen

earth Wind & Fire + ChicagoFirst Midwest Bank Amphitheatre; Sat 27

Hip-hop long ago supplanted rock as America’s—and arguably the world’s—most predominant popular music, but when it comes to the hip-hop package tour, the template remains pretty faithful to the dusty rules set way back at Woodstock. Anchor the night with a couple of iconic cash-register ringers, spackle in the rest with some lesser-known hopefuls, and you’re golden, right?

Yet the annual Rock the Bells tour has always prided itself on overcompensation, featuring bills that encompass rap’s increasingly broad scope and bright talents. The 2009 tour, which kicks off in Chicago, is no exception, stuffed with maximum bang for the buck. Well, there is the sad fact that amid the 30-some acts, a single woman cannot be found.

In an ideal world, the Roots would put their Jimmy Fallon–honed backing skills to work supporting all the headliners: Nas & Damian “Jr. Gong” Marley, Busta Rhymes, Common, OutKast outcast Big Boi or even a reunited House of Pain. Fortunately,

all are proven crowd-pleasers by themselves, whether backed by band, DJ or pre-recorded tape.

Midway through the bill is where the dark horses lurk. Old-school wild cards—such as KRS-One, the redoubtable Talib Kweli reunion with DJ Hi-Tek as Reflection Eternal, and a large fraction of the Wu-Tang Clan—display the denser, brainier rhymes that keep them off the radio. Meanwhile, eccentric neon-colored newcomers the Knux, moody Minnesotans Eyedea & Abilities and the smooth Canadian flow of K’Naan chart the course for the future of rap. Hopefully, it’s one with some more female MCs.—JK

Rock the Bells

ttttt Spirit Moves (Greenleaf)

A veritable jazz journeyman, trumpeter Dave Douglas has mastered both the West Coast school of cool with the SFJAZZ Collective and the downtown NYC urgency of John Zorn’s frantic free-jazz troupe Masada. So when the 46-year-old composer was tapped to write a new piece for last year’s landmark 30th anniversary of the Chicago Jazz Festival, it was a perfect opportunity to meet the two halfway—both stylistically and geographically. The result, “Chicago Calling: Bowie, Barack and Brass,” was a reverent nod to Lester Bowie, the onetime AACM trumpeter and Art Ensemble of Chicago cofounder who blurred the lines between avant-garde and pop with his horn-heavy nonet, Brass Fantasy.

Since then, Douglas has jump-started his latest vehicle, Brass Ecstasy, a quintet featuring a four-horn-heavy front line doubling as the rhythm section. Though not an explicit tribute, Ecstasy carries Bowie’s anything-goes ethos, enlisting two members of Fantasy.

Anchored by nimble drummer Nasheet Waits, they all get behind Douglas on the group’s debut, Spirit Moves. Self-released on his Greenleaf label, the album has a track list that

reads like a string of influences, with tunes spanning burning postbop (“Bowie”), autumnal balladry (“Rava,” for Italian trumpeter Enrico Rava) and playful bebop (“Fats,” for brass pioneer Fats Navarro).

The brass-band tradition began in New Orleans, and a Big Easy vibe is in full effect on the lazy second-line shuffle “Great Awakening” and the deep groover “Orujo,” driven by Marcus Roja’s thumping tuba lines.

Three covers reveal a stylistic freewill, giving lip service to tunes by Otis Redding, Hank Williams and Rufus Wainwright. It’s all fair game for Douglas, who—despite his emphatic reverence for the past—remains a restless spirit.—Areif Sless-Kitain

Dave Douglas & Brass Ecstasy play the Jazz Showcase Friday 26–Sunday 28.

Dave Douglas & Brass ecstasyRavinia Pavilion; Wed 1

At one point in his career, King Sunny Adé (or KSA, as Nigerians know him) was touted as the next Bob Marley—by the reggae great’s record label Island, no less. But aside from musical heroism in the face of oppressive conditions, the two couldn’t be more different. Born to royalty, Adé chose a life in the rough-and-tumble juju scene and emerged as Nigeria’s No. 1 guitarist and bandleader during the ’70s.

Adé’s more streetwise funk has become increasingly smooth over the years. His recent, 119th album (no lie), Seven Degrees North, has everything Adé’s known for: deep layers of instrumentation, an international flair and upbeat lyrical nods to the Yoruban faith. This time out, he kicks out some Brazilian-inspired jams. With his hands in the pro-democracy movement and various efforts to do honest business in Nigeria, he doesn’t pass through too often.

The late Fela Kuti, Nigeria’s political funkster, has at least two musical progenies touring the globe at any moment. Eldest son Femi chased mainstream success with a forced pop crossover effort, Fight to Win. His younger brother, Seun, leads Dad’s band Egypt 80 in gruff classic Afrobeat that’s an eerily spot-on revival.

Sibling pressure may not be a bad thing for Femi. Last year’s Day by Day

is Femi’s most focused effort to date and his most political. Tracks like “You Better Ask Yourself” pose pointed questions about the economic divide, while “Demo Crazy” spells out Africa’s ongoing challenges with awesome stabs of percussion and organ.

Kuti, who surely won a few young fans as a radio host on the video game Grand Theft Auto IV, may not have his father’s fire, but he’s finally striking the right balance among a more cosmopolitan identity, conscious lyrics and Afrobeat’s rhythmic fundamentals. And he’s found a killer touring mate.—John Dugan

Femi Kuti and Positive Force + King Sunny Adé

Album reviews

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DAVE DOUGLAS & BRASS ECSTASY SPIRIT MOVES [GRE–1010]

Author: Shaun Brady

August 2009 As director of the Festival of New Trumpet Music over the past several years, Dave Douglas has evidenced a dedication to showcasing the varied potentialities of his instrument. His latest ensemble, Brass Ecstasy, expands that same impulse to the whole brass section, offering Spirit Moves as something of a CV for the modern brass band. Of course, not every similarly composed unit can display the multitude of sounds and identities offered by Douglas’ all-star quintet. From lurching second-line revels to intricate chamber-jazz complexity, military band precision to smoke-filled nightclub swing, Brass Ecstasy thumbs its collective nose at those who might suggest that a bunch of horns and a drum kit is a somehow “limited” configuration. The disc opens by transforming singer-songwriter Rufus Wainwright’s torch-song lament “This Love Affair” into a gin-soaked stumble home, dripping with bitter remorse even without the benefit of Wainwrights’ wry lyrics. It closes with a mournful take on Hank Williams’ “I’m So Lonesome I Could Cry,” howled as if by four cats on a fence under the moonlight. The third of the album’s pop tunes is a wish-fulfillment emulation of the famed Stax Records horn section on Otis Redding’s “Mr. Pitiful.” The rest of the album is made up of Douglas originals, deploying tightly interwoven horn lines to conjure both jaunty grooves (“Orujo”) and impressionistic storytelling (“The Brass Ring”). Making his advocacy more explicit are three tunes, situated at the record’s center, paying explicit homage to heirs and peers. “Bowie” is a lively example of the parade atmosphere and tongue-in-cheek humor favored by Lester Bowie; “Rava” evokes the ECM airiness of Italian trumpeter Enrico Rava; while on “Fats,” the band dons the convincing disguise of a hard-bop unit in honor of Fats Navarro.

CDReview:'SpiritMoves'byDaveDouglas&BrassEcstasyFriday,June19,2009DAVEDOUGLAS&BRASSECSTASY"SpiritMoves"Kindredspirits:LesterBowie,TomHarrell,EnricoRavaShow:MondayatBluesAlley.Showsstartat8p.m.and10p.m.202‐337‐4141.http://www.bluesalley.com."SpiritMoves"islargelyinspiredbyDaveDouglas'sappreciationforfellowtrumpeterLesterBowie'ssweepingartisticvision.Bowie,whodiedin1999,notonlyinfluencedDouglas'sapproachtoplaying,composingandarranging,heobviouslytaughtDouglasathingortwoaboutdefyingboundaries."Inaway,hefoughtfortheequalityofallmusic,"Douglaswritesinthelinernotes,"alwayswithjoyousnessandgoodhumor."Thosesametraitsareevidentthroughout"SpiritMoves,"awittymixofNewOrleansswaggerandMemphissoul,vintagerefrainsandcontemporarypop.Whiletheensemble'sinstrumentation(trumpet,Frenchhorn,trombone,tubaanddrums)lendsitselftoCrescentCitysoundsandBowie'sbrandof"seriousfun,"Douglascastshisnetwide.BesidesfashioningtributestotrumpetersFatsNavarroandEnricoRava,theGrammy‐nominatedtrumpeterimaginativelyrearrangesRufusWainwright's"ThisLoveAffair"andOtisRedding's"Mr.Pitiful"enroutetothealbum'shauntingcoda,asoulfulrenderingofHankWilliams's"I'mSoLonesomeICouldCry."FansofBowie'sworkwithhisBrassFantasyensemblewillfindplentytoenjoyhere.Andsurelywithalittleexposure,BrassEcstasywillfinditsownloyalfollowing.‐‐MikeJoyce

In2003,trumpeterDaveDouglascelebratedhis40thbirthdaywithaweekofshowsattheJazzStandard,eachnightwithadifferentband:Balkan‐influencedtrio,stringensemble,acoustic‐jazzcombos,abstractelectrojazzseptetandmore.Thissortofmultitaskingisn’tunheardof,butDouglashasmanagedtoweaveallthosethreadsintoaunifiedbodyofwork,intheprocessinspiringanewgenerationofplayersandprovokingmuchcommentaboutjazzaestheticsinthenewmillennium.SpiritMoves,recentlyissuedbyDouglas’sGreenleaflabel,bringsanewbandforhisroster,andthusareasontoreturntotheStandard.BrassEcstasy—itsnameanodtothelateLesterBowie’sBrassFantasy—isanoffbeatunitinwhichDouglasisjoinedbyVincentChanceyonFrenchhorn,LuisBonillaontrombone,MarcusRojasontubaandNasheetWaitsondrums.Thesearetop‐shelfplayerswhoshareDouglas’sviewofjazzasinfinitelymobile.ThuswegetRufusWainwright,HankWilliamsandOtisReddingcovers;tributestotrumpetgreatsBowie,EnricoRavaandFatsNavarro;andastirring,melodicmiddle‐fingerfarewelltoGeorgeW.Bush(“TwilightoftheDogs”).BrassEcstasygrewoutofDouglas’sworkascocuratoroftheannualFestivalofNewTrumpetMusic(takingplaceJune26–28atCorneliaStreetCafé).DrawingonNewOrleansbrass‐bandtradition,soulandfunk,modernjazz,chambermusicandthingsnotquitenameable,thegroupwillridein,literally,onabreathoffreshair.—DavidR.Adler

Recap:DaveDouglasatBluesAlleyTheWyntonMarsalisofprogressivejazzchannelshisinnerOrnetteColeman

byMichaelJ.WestJune23,2009You’dneedacompasstofollowallofthemusicaldirectionsDaveDouglashastakenduringhiscareer.Thetrumpeterdabblesinmyriadstylesofjazz—andeveninventedafewofhisown.(Balkanfusion,anyone?)Recentworkfocusesondigitalelectronics,folkforms,andnewsoundtracksforsilentmovies,butDouglasfirstbeganmakinganameforhimselfinJohnZorn’sMasada:thinkclassicOrnetteColemanplayingJewishmusic.Coleman’searlyquartetisactuallyamajortouchstoneforDouglasnomatterwhichwayheturns;it’sintheloosenessofhiscompositions,thefreedomofhissolos,andtheunpredictabilityofhisnextmove.Who,forexample,wouldhavethoughtthatDouglaswouldfollow2007'sMoonshine,atributetoBusterKeatonandFattyArbuckle,withabrassbandon2009’sSpiritMoves?TheBrassEcstasyensembleisinspiredbythelatetrumpeterLesterBowie,whosimilarlyranthroughthegamutoftraditionalNewOrleansjazz,marchingband,funk,soul,bebopandfreejazzasDouglas’band.Bowie’shumoranddaringrunsthroughtherecordingitself,butDouglasbroughtBrassEcstasybackaroundtothatlodestar—OrnetteColeman—lastnightatBluesAlley.Nottosaythatheconcentratedtheband—trombonistLuisBonilla,FrenchhornplayerVincentChancey,tubistMarcusRojas,anddrummerNasheetWaits—onchannelingOrnette.OpenerandRufusWainwrightcover“ThisLoveAffair”wasstraightoutofaNewOrleansfuneralmarch,withDouglasplayingamournfuldrawl.ButthereweresubtleallusionsinthetrumpettonetoColeman’slegendarytrumpeter,DonCherry,andthemelodyresembledColeman’s“JustforYou.”BebopperFatsNavarroostensiblyinspired"Fats,"butDouglas’solosunmistakablyborrowedCherry’shighpitchandgnarledmelodicphrasing.DouglasandBonillareplicatedtheColeman‐Cherrypartnership(thetwowereallegedlytelepathic)throughout,tagteamingastheytriedtooutrunthetrumpeter’scompositions.Rhythm‐sectionpartnersRojasandWaitshadablastfollowingeachotherandthefront‐liners:RojablowingmadarpeggiosandWaitspiercingcymbalsasthoughwithaspear.Chancey,however,wasthewildcard.HekeptonefistjammedintohisFrenchhorn,creatingamutethatwassometimesmorelikeastrangle,sothathistimbreandtonewerethemostdaringofthebunch.Butonhisfewsoloshewasalsothemostlyrical,andhisaccompanimentontheclosing“TwilightOfTheDogs”wasoneofthenight'sstandoutmoments.Chancey,Douglas,andeverybodyelsekepttheiroriginalityintact,butonthisnight,inthisset,Colemanwasthecenterofgravity.Themaestro’sspiritualpresenceinarambunctious,Bowie‐inspiredbrassbandshowedhowdenseDouglas’artistrywas—andhow,evenwithhugediversity,amusiciancan’tcompletelyshakehisinspirations.

DaveDouglas:'HighSpeedAndBroadbandReady'byDaveDouglasTrumpeter,composer‐‐andavidblogger‐‐DaveDouglas.DaveDouglasisoneoftoday'smostcelebratedjazztrumpeters.HisnewalbumSpiritMoves,thefirstwithhisBrassEcstasyband,isouttoday.He'salsooneofthejazzworld'sgreatbloggers.AndaswecontinuetodevelopourlittlesliceoftheJazzInternet,weaskedDave,anotedearlyadopterofmanymusicaltechnologies,tocontributeafewguestpostsabout"JazzInTheDigitalAge."Here'shisfirstentry,amanifestoofsortsaboutwhyimprovisedmusicisperfectforournewmedialandscape.‐‐Ed.‐‐‐‐‐Jazz:'HighSpeedAndBroadbandReady'LastweekIplayedoneofyourmorecuriousgigs.Acrosshighspeedinternet,thankstosoftwaredevelopedbyChrisChafeatStanfordUniversity,IimprovisedinrealtimewithmusiciansinBanff,Canada;SanDiego,Calif.;Troy,N.Y.;andBelfast,NorthernIreland.Theothermusicians,amongthemMarkDresser,MichaelDessen,andPaulineOliveros,werevisibleonlybyvideoiChat(miserablyslowcomparedtotheaudio).Theremarkablethingwashoweffortlesstheimprovisationfelt.IhaveplayedmanygigsstandingrightnexttoMarkDresser,sotherewasinstantlyafamiliarfeeling.ButIhadneverplayedwithanyoftheothermusicians.Assoonaswewereimprovising,therewerenobarrierstothecommunication.Thefluidityofimprovisationandjazzmakesit100%readyforthese21stcenturytechnologies.Ihesitatedcallingtheseguestposts"JazzintheDigitalAge"forseveralreasons,notleastbeingtheongoingdiscussionofhowtodefinejazz.Butmoreimportantly,intheageofwidespreadbroadbandtheideaofisolatinggenreisoutdated:everythinghastogotogether.It'snotaquestionparticularlyofhowjazzworks;it'showthenutsandboltsofhumanculturecoexist.Morethanever,thetechnologydemandsthatwebeopentothat.Intheearlyradioage,therewerebandsthatdidnotwanttobebroadcast.Theythoughtlistenerswouldstealtheirsound.Itjustsohappensthat‐‐forthemostpart‐‐thosearetheverybandsthatwehaveneverheardof.Theyarelosttohistory.

Sothequestionis:howdoesthisbroadswathofmusiccomingoutofjazztakeadvantageoftheopportunitiespresentedbynewtechnologywithoutlosingitshumanessence?Bloggingisbiginthejazzworld,andgrowingfast.(I'vegotaablogatgreenleafmusic.com,andhereIamguestblogging...)Inaway,blogginginthejazzworldhasbecomelikehavingliving,breathinglinernotes.Butbloggingisnotgoingtomovethemusicforward.It'sjustthemegaphone,albeitagoodone.MusicapplicationslikeProTools,AbletonLive,Max/MSPandevenGarageBandenablenewmusicandhomerecording.Thisisabigchange.My14‐year‐oldrehearseswithhisbandviaiChat.Lotsofthingsarepossiblethatwe'dhaveneverimaginedevenfiveyearsago.Thinkofwherewe'llbefiveyearsfromnow.Still,jazzandimprovisedmusic‐makinginrealtimedemandsacertainlevelofmusicianship.Theboxeswillneverdoitforyou.Evenpiledupwithfreeapps,youriPhonecanonlygetyousofar.Butthereisnodoubtthatthetechnologyhasenteredthemusic,andthatitwillcontinuetodoso.Maybethemostpervasiveinfluenceisindistribution.TheInternetisreadytoembraceallformsofmusicandculturalexpression.World‐widedistributionisinstantaneous.It'sachangedlandscapeforlistenersandartistsalikewhentheyknowtheycanhaveawindowintoeachother'sday‐to‐dayworkings.Listenersareincreasinglyfreeoffiltersaswell.Notsubjecttoplacementinrecordstoresandmagazines,musiccanreachanyonewillingtofollowhisorhercursor.Commentatorsbemoanthedeathofprintjournalism.Iwouldsay,lookatitfromtheotherside:ratherthanpost‐magazine,post‐store,youcoulddescribeitasapan‐magazine,pan‐store,pan‐artistenvironment.Contentisavailableeverywhere‐‐lookatPandora.Musiciansareindeedaffectedbybeingabletoheareverythingatonce,andknowingtheycanpublishtheirworkatonce.Theybegintooperatedifferently,awareofthesenewvariables.Thisisagoodthingforjazzandimprovisedmusic,astheyarethemostadaptableandfluidofforms.It'sstillhardworkmakingthemusic‐‐butnow,thegatewayofreleasingitisnowalwaysathand.Andthewaywereleaseourmusiccanbeinfinitelyflexible.Technologyknowsnolimitsastowhatthecontentis.Thehighspeed,broadbandenvironmenthasnoprejudicesastostyle.Improvisedmusicisideallysuitedtothisage.Ittakeswiseandfairusetoapplyit,andattheendofthedaytherewillalwaysbegoodmusicandbad.Butthebarrierstocreatinganddocumentingmusicanddistributingitarerapidlycomingdown.Canweashumanslearntobeasopen‐mindedasthetechnologythathasgrownuparoundus?