PlayersLogan Richardson; DeterminedConcerto DesignerA son of Kansas City, where the codes of swingblossomed during the 1930s, saxophonist LoganRichardson knows about that hard-to-describeentity known as the “jazz tradition.” But whilehe was playing standards like “Misty” at age 14,no such repertoire appears on Richardson’ssophomore release, Ethos, issued on GregOsby’s imprint, Inner Circle.On the disc, Richardson collages 15 compactoriginals into a quasi-concerto for alto framed byan ensemble, aligned in varying configurationsof voice, vibraphone, guitar, cello, bass anddrums. The proceedings demonstrate thatRichardson’s ties to the jazz lifeblood lie asmuch in his notion that “the tradition itselfmeans to move forward”—an ethos that linkshim to Charlie Parker, Ornette Coleman andOliver Lake, all referenced therein—as in hiscommand of the raw materials that such forebearsdeployed to fuel their musical production.“When we learn about Bird and JohnColtrane, we’re supposed to take in and drawfrom all their music, but also learn about ourselves,”Richardson said. “As a child, you naturallymimic whoever is around you—theirlaugh, the tone of their voice, how they saythings, their personality—and then branch offand start developing your own ideals. But manymusicians seem to think it’s cool to say backexactly what they were taught for the rest oftheir lives. That seems stagnant.”Richardson’s career has been anything butstagnant since 2007, when he released CerebralFlow (Fresh Sound), his similarly configureddebut. Recently home from a week in Spainwith Nasheet Waits’ Equality Quartet, he wasanticipating a springtime Minnesota engagementwith pianist Jason Moran, concerts with trumpeterAmbrose Akinmusire and pianist JesseElder, and summer work with vibraphonistStefon Harris. More consequentially, Richardsonwas a month removed from his firstEuropean leader tour, an eight-city Italiansojourn with Waits, Akinmusire, bassist JoeSanders and vibraphonist Mike Pinto.“The way the music transformed nightlyturned me on, and I decided to make changes,”Richardson said. Whatever label accepts his nextdocument will present a unit comprisingRichardson, Waits, Moran, Akinmusire, Sandersand fellow Missourian Pat Metheny, who contactedRichardson after hearing him on Moran’sBig Bandwagon debut at Town Hall.“It was the first time he’d seen me, but heknew about me from his brother, Mike, wholives in Kansas City, and he had my albums andliked them,” Richardson said. “It was like an e-mail from a peer, only it’s Pat Metheny. Hedoesn’t want to say, ‘OK, dude, I want to playwith you.’ So I was like, ‘What can I do to makethis happen?’”Pragmatically, Richardson is not of the mindsetto let opportunities slip by.“I’m an extreme optimist, a major dreamer,”Richardson said. “I was never someone to getdiscouraged. If someone dissed me or made mefeel bad, it made me come back stronger thenext day. That’s maybe an element of comingup how I did. The ghetto of Kansas City. Not toomuch to no money. My mom was extremelysupportive, and after years of showing my dedication—Ididn’t date or go to parties because Ithought it would interfere with my progressmusically—I finally got my own horn.”After briefly attending Berklee College ofMusic in Boston, Richardson moved to NewYork in 2001 to study at the New School. Histeachers included Mark Turner and SteveWilson, as well as Greg Tardy and JoeChambers, both early employers, along withWaits, with whom he developed, as Richardsonputs it, “a big brother scenario.” Until Waitsbrought him on the road in 2007, Richardson“made money and survived” as a woodwindrepairman and instrument-builder atManhattan’s Sam Ash Music store. Duringthose years, he read As Serious as Your Life,Valerie Wilmer’s collective biography of theindividualists of the ’60s whose spirit he seemsto channel.“She quoted Anthony Braxton that the nextmusicians will not only devise new musical systemsbut actually build their own instruments tobring forth new sounds and ideas,” Richardsonsaid. “It made sense because of what I was doingand made me think on a different scale. Youhave to get lost to find the most beautiful oasisthat nobody knows about. I spent so much timerestricting and not letting everything in. Now Ithink that everything is valid, it’s just a matter ofhow it makes you feel.” —Ted PankenELEKTRA CARRAS22 DOWNBEAT August 2009
Shaynee Rainbolt ; Golden Age VisitorWhen singer Shaynee Rainbolt took the JazzBakery stage in Los Angeles last fall, herinstrumental backing revealed a special format:a rhythm section with four trombones,conducted by Hollywood’s legendary RussGarcia. As Rainbolt sang Garcia’s songs fromher self-released Charmed Life CD, the composerhimself led the crack ensemble. It wassomething new, yet with an unmistakablesense of an earlier era.Rainbolt’s work with Garcia can be traced toher extensive background in the musical theater.When an injury laid her up for convalescence,she stumbled upon his music on the Internet.“His soundtrack for the movie The TimeMachine just blew me away,” she said. “Iresearched him and found out about his workwith singers and I knew I had to work with him.He had this backlog of material—often with hiswife Gina’s great lyrics—and it was the naturalprogression for me to sing an album of Garcia[material].”The 92-year-old Garcia was one of the busiestHollywood arrangers in the 1950s and ’60s. Hewrote for Louis Armstrong, Ella Fitzgerald, MelTormè and Julie London among many others.His arranging classes at the fabled WestlakeSchool of Music included students Bill Holmanand Jimmy Giuffre, and “Four Brothers”was written as a homework assignment forGarcia. He penned The ProfessionalArranger Composer Book, a groundbreakingtext for budding music writers.Engineer Andy Waterman, who recordedCharmed Life in his Umbrella Media studio,studied Garcia’s book.“It was an important part of my training,”Waterman said. “After I opened mystudio, I did a number of projects withRuss. When we did the album withShaynee, I was impressed with how controlledshe sang. She’s got this trained,legit voice. She could have belted, but sheunderstood the romance and drama of thesongs. Russ’ style evokes the film noir eraof Hollywood music—it has mystery,longing and darkness. He’s comfortablewith the minor 9th.”Rainbolt’s musical acumen isn’t theonly aspect that impressed Waterman. “She’srepresentative of our new music business,” hesaid. “She conceived this album and made ithappen. That’s a far cry from the days whensingers did what were they told by record labela&r men.”Garcia, who has been living in New Zelandsince 1965, felt that Rainbolt’s project wasworth interrupting his beatific lifestyle.“I work if I feel like it these days,” he said.“Shaynee sent me a tape and I liked it. She sangwith a beat and she sang the meaning of thelyrics, I liked that. I also like how beautiful hervoice is.”—Kirk SilsbeeJOHN ABBOTTAugust 2009 DOWNBEAT 23