Albums Featuring Instruments or Roles That Begin With - P
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CIMPFest 2009 live in Villach, AustriaMichael Bisio (Primary), John Carlson (Primary), Dominic Duval (Primary), Avram Fefer (Primary), Ken Filiano (Primary), William Gagliardi (Primary), Stephen Gauci (Primary), Lou Grassi (Primary), Jimmy Halperin (Primary), David Hofstra (Primary), John O'Gallagher (Primary), Jay Rosen (Primary), Kenny Wessell (Primary) Live On Tour 2008Trio X (Primary), Joe McPhee (Primary), Jay Rosen (Primary), Dominic Duval (Primary)CIMPOL 5015 live at COLGATE UNIVERSITY Hamilton, NY Our arrival on campus was timed to accommodate an 11 a.m. interview with Trio X conducted by Brendan Young on WRCU (Colgate University radio). The interview was perhaps most impressive for its thoughtful and well-prepared questions offered by Mr. Young and went far beyond the usual perfunctory surface chat that passes for the norm in the media. Immediately following the interview the trio was treated to a lunch, hosted by The Heretics Club. The subsequent informal Q&A session moderated by Mark Shiner (Office of the Chaplain) again demonstrated thoughtful inquiry and response, in this case in regard to the nature of being a creative person and the subjectivity of the spiritual rewards of both the giver and receiver. Particularly encouraging was the number and quality of follow-up questions from individuals who lingered, talking with the trio and Crew long after the formal reception ended. We then had about 80 minutes of downtime; most of us relaxed and traded jocularities, insults, and obscenities with one another while Dominic slept. Then it was over to Donovan’s Pub to set up for the 4 p.m. concert. The trio opened with Colgate Afternoon, a lengthy improvisation involving multiple references and moods and appreciated by an audience of some one hundred plus. Besides the music itself, this performance is notable because it was the opening for as well as the longest piece of the whole tour. Colgate Afternoon also contains the first reference of Brown Skin Girl, one of the most referenced (in variations) pieces throughout this tour. After a break, Jay came back with a three and a half minute percussion intro. Meanwhile, outside under darkening overcast skies, a sizable group of geese, on its way south to warmer climes, descended and engaged in a good deal of gawking and honking during its stay. Jay’s intro seemingly inspired Joe to reference “Secret Love,” at first rather tentatively but then with increasing boldness over the next 10 minutes. Take a Walk Through the Woods I think reflects the rainy twilighted ambiance, clearly visible through the windows, that had settled upon and engulfed the pub. Here is a fine example of how the trio, both individually and as a group, takes and develops a thread. The reflective mood continued and the trio closed the concert with Motherless Child, a continual favorite of the group, as evidenced by its many variations. Thanks in particular to WRCU, Mark Shiner and The Heretics Club, the divisions of University Studies and the Humanities, The Institute for the Creative and Performing Arts, Michael Coyle and the Department of English—all part of Colgate University. CIMPOL 5016 live in ANN ARBOR, MICHIGAN After the Colgate University concert we drove on to Ann Arbor, Michigan, to participate in Edgefest. The rain and cold followed us but it mattered little, what with the warmth and welcome of Deanna Relyea and her Edgefest crew. The Kerrytown Concert House is an “L” shaped space and serves as both concert hall and art gallery. At the time of our stay this space was nicely appointed with canvas and prints (by artists Charlie & Paul Hickman), and filled with a near-capacity audience, many seemingly familiar with and long-time supporters of Edgefest and its efforts. After a familiar and festive set of introductions by Deanna, Piotr Michalowski, me, and Joe McPhee, the trio opened in a very reserved and almost dour manner with The Ebb of Sorrow. Unresolved? Unrequited? Whatever. The trio then moves in another direction with Brownskin Funk, approaching it for the second time (Colgate University being the first) in as many days. But this time the reference comes from a completely different direction. Jay opened with a funky brush stomp and Dominic then picked it up with hand bass percussion. This produced a couple of reflexive claps, shouts of encouragement, and tenor cheers from Joe, and new heights for the music. They immediately launched into Motherless Child, which brought yet another change in mood. This reading of a Trio X favorite is both deep and different. The trio seemed to be all over the place emotionally, and they took off in the opposite direction with Brass Blast, a completely improvised structure of some excellence and possessing an abrupt conclusion. Joe continued on the flugelhorn (which, as well as his trumpet, was rarely used on the rest of the tour) for a Rainy Reference—quite reflective of the weather by this time raging outside. Note the different emotional colorings when he switches over to soprano. Joe may be leading on this piece, but it seems to me that Dominic, as is often the case, is directing. And then it was over. The trio, unlike the audience, seemed completely drained. After an extended ovation the trio returned to the stage, made some comments pertaining to their energy and music, and Jay then engineered the foundation to what became Secret Love The Sequel. Secret, perhaps, but not unrealized. Another night of X surprises. This is the second time that Trio X has been documented at Edgefest. The earlier session, from 1999, can be found on Cadence Jazz Records 1144. CIMPOL 5017 live in CHAMPAIGN, ILLINOIS The Krannert Art Museum offered up a wonderful setting: a large room filled with an exhibition of the dimensional paper art of Kyoko Ibe. Its presence and use of three-dimensional space and light served as an inspiring backdrop, sidedrop, and frontdrop for the Trio’s sound art. The audience, which exceeded the seating capacity, was a good mix of ages and included a number of young children, perched expectantly on the front row seats. Kids don’t usually prejudge and an open essence radiated from the younger segment of this audience. The informal pre-concert gathering afforded our group a chance to exchange comments and something more than superficial pleasantries with many of the audience members. Trio X possesses uncanny empathy: not only do they listen and share an intuitive or, at the very least, cooperative direction, but they are also sensitive to their surroundings. If an audience is friends of the court, so to speak, all is good. But if this is not the case or the audience is indifferent, then the group sets to the challenge of converting it. The ambiance of this art space was obvious, almost sacred, as was the unspoken interaction of the audience. And there is the room itself. Trio X plays the room, be it The Spirit Room or the Krannert art gallery. The latter is a very large and live room with a hardwood floor, high ceiling, and little (other than the audience) to absorb sound. From the start you can hear how all three members play with sound, its reflection, and the space. Jason Finkelman, curator of the concert series, in his introductory remarks talked of how these events engage the artwork in different ways and how the music may respond to the artwork. Here is the Trio X response. Judge for yourself if the giving and receiving was successful, and if the consensus, held by a growing number, that Trio X is arguably the most dynamic combo in Jazz/creative improvised music is justified. Different strokes for different folks. For me these are strokes of brilliance. The trio seemed very formal during this concert—insistent yet pensive. Due to the time restrictions of the museum concerts, this recording presents the concert in its entirety. Quite a nice package, wouldn’t you say? Special credits and thanks to our sponsors: The Krannert Art Museum, Kathleen Harleman, Anne Sautman, The Edwards Foundation Arts Fund, WEFT-FM, and Jason Finkelman, who coordinated the event. His efforts, along with those of Kyoko Ibe and the audience, helped make this happen. CIMPOL 5018 live in WAUKEE and DAVENPORT, IOWA This was our second trip to Waukee, Iowa. The familial warmth and welcome was refreshing the first time and fondly received the second. Earlier in the day the trio took part in an informal gathering of area music students, answering questions, giving demonstrations, and engaging in a very informal jamette. After the students left the theater we gathered in a dining space in the Caspe Terrace and ate a supper especially prepared for us by Jackie Garnett, wife of Abe Goldstien—he being the force responsible for hosting Trio X. The concert began after almost 20 minutes of introductions and on-stage schtick between our host and me and the trio, and opened on high spirits with Waukee Hello Naima. The upbeat mood, along with some political discussion, continued during the intermission. This in turn inspired a notion to song and People Get Ready. The trio uncharacteristically chose to predetermine a piece and decided they would open with People Get Ready in the second half of the concert. They followed that with a lengthy improv, Joe on pocket trumpet and referencing the obvious on Old River Man. This is music to lose oneself in. . . . . . . . . . The music from the second half of this disc comes from Davenport, Iowa, about 250 miles east of Waukee. An easy drive, we arrived in good spirits and with an abundance of energy. Prior to the evening’s concert the trio hosted a clinic-type discussion and we all then ate supper. They hit at 6 p.m. with PolyRhythm Valentine, one of the few occasions on this tour that the trio referenced material from their previous 10 years. PolyRhythms is an outreach program established around 2005 and spearheaded by Nate Lawrence. Its mandate is to reach out to the community—to the youth in particular—and expose and nurture an appreciation of Jazz/improvised music in all its forms. The concerts take place in the Redstone Room and are part of the larger River Music Experience. So far it’s all an uphill grassroots effort; more impressive in its housing and accomplishments than commercial success—a familiar story in the artrepreneurial world. Thankfully the exceptional persist despite the lack of present rewards; any acknowledgement sometimes comes only decades later. I think it was this understanding, set in these rather pleasant surroundings (where are housed/displayed some wonderful archival artifacts of the area’s cultural involvement and contributions to the Jazz heritage), that inspired the group on this particular evening. This understanding may have also influenced, by association, a program with greater direct referencing of the tradition throughout the concert. The trio ended their contributions to the land of Beiderbecke and riverboats with Going Home. Our thanks to Nate Lawrence and PolyRhythms. CIMPOL 5019 live at BOWLING GREEN STATE UNIVERSITY and HAMILTON COLLEGE After a night’s rest in Davenport, Iowa, we got up and drove east. We pulled into Bowling Green, Ohio, around 3 p.m. and checked in. With the exception of Dominic (who was feeling a bit under the weather and elected to stay and rest at the motel) we all went over to David and Linda Dupont’s house for some much needed relaxing downtime, conversation, and food. After the meal it was universally agreed that we all had eaten too much. We eventually pulled ourselves away from the food and conversation to go set up at the Wooster Street Center, a large octagonal teepee-like building on the Bowling Green State University campus. The concert contains yet another Old Man River reference. The piece, along with “People Get Ready” and “Brownskin Girl,” was turning out to be a trio tour favorite. This reference was perhaps the most circuitous and indirect of the whole tour. As with many of the musical references explored, it was the result of many hours of conversation while traveling in the big red van. As this was an historic—perhaps pivotal—election year, the politics of the time helped bring some topical color to music not always viewed as political. This concert also contains Pig Knuckles & Rice (unreferenced previously), bass and drum solo spots, and a new variation on “Secret Love” (which ended the concert). Traffic, the penultimate piece, is a wandering, free-associative creation, quite cathartic, and prompted a letting-go of emotions. One can almost hear the release of the mood in the following near jaunty reading of Secret Love Secret. Displaying a lightness uncharacteristic of much of Trio X’s work, this piece is most delightful. . . . . . . . . . As with the 2006 Trio X tour, we ended our trip with a concert at Hamilton College in Clinton, New York. Same site, same venue: the Café Opus. This time however our host, Doc Woods, had arranged to have the espresso machines and other electric noise-making devices at the adjacent coffee bar shut down during the sets. We had driven in from Bowling Green, Ohio—about an eight hour trip—and had enough time to get some food and rest before the 9 p.m. start. Of all the venues on this tour this one was the most nightclub-like. The audience was made up of hardcore listeners, who for the most part congregated up front, while in the rear were yappers, snackers, and transients either oblivious to the efforts of—or perhaps trying to compete with—the musicians for the soundstage. In spite of this, and perhaps playing to the focused attention the majority engaged, the trio opened strong. This set differed from the others in that Joe did not play either the flugelhorn or pocket trumpet as he felt the brisk coldness of the rainy fall night had had its effect on everyone. Perhaps so, but, as evidenced by this concert, his saxes lacked neither warmth nor power. Nor did Jay or Dominic. This is the essence of Trio X. After the break the trio stretched out on what is now called Joe’s Song for the Child, a wonderful example of the trio’s ability to make whole cloth out of threads of sound. -Robert D. Rusch - October 2008 Live at the Dirty DogErnie Krivda (Saxophone), Claude Black (Piano), Dan Kolton (Bass), Renell Gonsalves (Drums)The Dirty Dog Jazz Cafe is located in Grosse Pointe Farms, Michigan, a suburb of Detroit. Basically a highly rated restaurant with a Jazz policy, it was established in 2008 and presents a pleasant setting, either at the bar or the tables, for Jazz listening. And from my observations the Cafe also treats the musicians with respect, offering food, a reasonable playing area, and a pleasant and comfortable room for between-sets relaxation. Something musicians have learned to never take for granted and which should be the norm not the exception. Having issued recordings by Ernie Krivda (b.1945, Cleveland, OH) in a number of settings, I felt this was a good chance to record Ernie in a new setting in some different but familiar company. Claude Black (b.1932, Detroit, MI) is a veteran of the Midwest Jazz scene, one of those locals with whom all the circuit players choose to play. Claude was a contemporary of most of the Boppers who emerged from the Detroit area in the ‘50s and who eventually migrated to New York and became Bop headliners. Claude, originally a capable trombonist, chose to stay in the Detroit area for reasons of family. His earliest work included a brief stint with Billie Holiday and, in 1948 made his first recording with fellow Detroiter, Don Byrd. Later he toured for two years with Aretha Franklin before settling in as house pianist at Baker’s Keyboard Lounge in the ‘60s, ‘70s, and ‘80s. Since the mid ‘80s he has been playing at Murphy’s Place (Toledo, OH). Little of Claude’s work has been issued on recordings and so his discography is slight (even slighter as he is misidentified as Claude Blake on Oliver Jackson’s Paris recording [February 28, 1984] for the Black & Blue label —discographers note). Claude and Renell Gonsalves (b.1948, Detroit, MI) often play with Ernie at Murphy’s. Renell also is little documented on record (Keith Vreeland trio, Sheila Landis-Rich Matle group) and, as the son of Paul, he is of a Jazz royal lineage. Dan Kolton (b.1958, Detroit, MI) also has an Ellington connection as he played bass in that band (under Mercer) for about a year and a half. Aside from that, he has based himself in various locales and has also been represented on few releases (sometimes misidentified as Don). The music on this CD comes near the end of the quartet’s residency at The Dirty Dog. The material is presented in the order it was played and comes from the first and third sets. I’ll Remember April was the last performance from the first set and the remainder of the recording documents the entire third set. The music speaks for itself: what you hear is what was played. What cannot be seen by the listener is Claude’s energized and enthusiastic clapping of time on A Blues By Any Other Name, spontaneously inspired during the part when Ernie and Renell are going head to head as Claude and Dan sat out. Good times. -Robert D. Rusch - March 27, 2009 Live at St. Nick'sSalim Washington (Tenor Saxophone), Donald Smith (Piano), Melani Dyer (Viola), Ku-Umba Frank Lacy (Trombone), Aaron James (Bass), Mark Johnson (Drums), Donna Cumberbatch (Vocals)Salim Washington, though well respected in the artist community, has recorded sporadically over the past 20 years. This powerful recording of his septet captures them at New York City's St. Nick's Club where Salim has been playing a regular Friday night gig since 2005. It's a favorite place for him and you can feel the connection—not just between the musicians but also with the audience. Very live, very hot intensive program, and a special and unexpected vocal by Donna Cumberbatch on the last performance on this special night. DuettoDiane Moser (Piano), Mark Dresser (Bass)Pianist Diane Moser has been a secret for decades. Composer, leader of a big band, and musicians' musician, here she shows her talents in the company of long-time friend and associate, Mark Dresser. Introspective and thoughtful, this duo essays eight original compositions and proves there is reason to improve upon the silence. Avenue of the AmericasDavid Haney (Piano), Mat Marucci (Drums), Doug Webb (Saxophone), Jorge Hernaez (Bass)David Haney is fearless and searching. He is joined here by masters of the Modern Mainstream. While David admits that "It wasn't exactly the music I had in mind," like any creative artist he allows himself to be informed by the music that is happening. The results: more than 14 exciting tracks. Another facet to the musical mind of David Haney. DiscoversCargo Cult (Primary), Tomas Ulrich (Primary), Michael Bisio (Primary), Rolf Sturm (Primary)This is Cargo Cult’s fourth recording (Cadence Jazz 1214, CIMPs 375, 380) and this trio is continuing to find interest in their ever evolving concepts: always musical. Their last release had them addressing covers/standards. This time out they all contribute originals, compositions strong enough in their musicality to stop you in your tracks. If you haven’t tested the Cargo Cult waters, do so and find out what has CIMP so excited. The ThroesNate Wooley (Primary), Taylor Ho Bynum (Primary), Ken Filiano (Primary), Tomas Fujiwara (Primary)Two horn players of the mid ‘70s who over the last decade not only have shown the stamina for the long run but also the skills and talent to be leaders in early 21st century creative improvising music. Here is Free music in a face-off between trumpet and cornet presenting what is obviously post 20th century Jazz, thankfully free of the rote and cliche of so much of today’s music. Everybody contributes compositions. Ken Filiano and Tomas Fujiwara keep a flow and edge to the always compelling music. The Hues of DestinyAndrew Lamb (Primary), Tom Abbs (Primary), Warren Smith (Primary)Andrew Lamb is contemplative. And this contemplation may be the reason why he has led so few sessions over the past two decades. This is second CIMP and the first part of an extended two-CD session (CIMP 389 will complete the concert) and follows five years after his first CIMP. The seven compositions offer structure that, though thoughtful, offer plenty of room for emotive improvisation and intensity. Pacing and passion mark Andrew’s work. This is just the latest of his carefully growing discography. EverlastingBrian Landrus (Primary), John Lockwood (Primary), Jason Palmer (Primary), Bob Moses (Primary)This recording follows up Brian Landrus’ Cadence Jazz (#1218) recording, “Forward,” a CD that received more than the usual notice from writers and listeners. For this, Brian brings back Jason Palmer, John Lockwood, and Bob Moses on a program of 13 Landrus originals that feature his baritone sax and bass clarinet. Brian put himself in some challenging situations, a gutsy move that led to music of consequence worthy of this “new horn in town.” In The AtticTim Siciliano (Primary), Dominic Duval (Primary), Brian Willson (Primary)CIMP has recorded a number of artists making their leadership debuts (and sometimes any kind of recording debut) in their 40s or 50s. Tim Siciliano was 50 when he recorded this disc. While his roots are in the later guitar Bop masters, his mentor was Attila Zoller. Producer Bob Rusch characterized this session as “a good get-together.” Music well worth the 50 year wait. In the hands of these three, it brings new life to the bopstream, swinging and free of cliches. Lonely House (Covers)Tomas Ulrich (Cello), Rolf Sturm (Guitar), Michael Bisio (Bass), Cargo Cult (Primary)Tomas Ulrich's Cargo Cult: certainly one of the definitive string groups of the 21st century and perhaps the most versatile and expansive. This latest release follows up CIMP 375 and Cadence Jazz 1214 with a recording that references a wide range of compositions. The inspirations here range from Leadbelly to Monk. Definitely an enchanting and fun listening experience. Porgy / Bess Act 2David Arner (Piano), Michael Bisio (Bass), Jay Rosen (Drums)Here is the companion to CIMP 374 as David Arner gives us his concluding takes of "Porgy & Bess." No rehash here. Just imaginative playing inspired by Gershwin. Familiar in its suggestions yet out on the edge. If you heard Act 1 (CIMP 374) then Act 2 will be an equally pleasant indulgence for the mind and ears. Mr. Fubar, I PresumeESATrio (Primary), Bill Gagliardi (Saxophone), Ken Filiano (Bass), Lou Grassi (Drums)Time and time again, people listen to Bill Gagliardi and wonder why he is not better known and why he waited until age 50 to record. This latest release won't answer any of those questions and in fact will only give new voice to the wondering. If a trio comprising Gagliardi, the remarkably full and inventive Ken Filiano, and the driving Lou Grassi suggests to you a full and stimulating listening experience, then you are correct. For the full experience, listen to the previous ESATrio release on CIMP 370. Porgy/Bess Act 1David Arner (Piano), Michael Bisio (Bass), Jay Rosen (Drums)Inspired by Miles’ and Gil Evans’ interpretations of Porgy & Bess, the genuflecting stops there. This is the first volume of a concert that will please listeners of post Bop piano trio music as well as fans of the Gershwin classic, but will not please the traditionalists and purists. An inspirational and accessible outing. Blue Flint GirlDavid Haney (Piano), Michael Bisio (Bass), Adam Lane (Bass)David Haney continues to impress and confound a listening audience. Totally unpredictable on this concert, there are shades of Dada, Old-timey, Avant, New music—all interwoven with two of the finest bassists in play. It’s hard to prepare (i.e., make assumptions) for a Haney recital. So here are nine cuts that come at you from all directions. Relax and enjoy the ride. And then there are those bassists ... KenbillouESATrio (Primary), Bill Gagliardi (Saxophone), Ken Filiano (Bass), Lou Grassi (Drums)The ESATrio is Bill Gagliardi's latest venture into his wonderful world of improvisation. And who better to team up with than his old partner, Lou Grassi, and the phenomenal bassist, Ken Filiano. With these three musical minds at play you can expect grit and wit as they set up, dig in, and mine. Music of substance—pure and hip. Conspiracy A Go GoDavid Haney (Piano), Dominic Duval (Bass), Andrew Cyrille (Drums)This isn't the first time David Haney and Andrew Cyrille have worked together, but these two sessions are the first time they have recorded together. With David, one can always expect the unexpected, whether it be Free Jazz, excursions, or an exploration of a traditional Blues. With Andrew one has come to expect simply the best in musical inventiveness. CIMP 367 is a duo; the addition of the substantial presence of bassist Dominic Duval changes the whole dynamic (as it should) on CIMP 369. To further emphasize the differences, five of the compositions appear on both the duo and the trio sessions. Hear and analyze this bracing and embracing music. ClandestineDavid Haney (Piano), Andrew Cyrille (Drums), Dominic Duval (Mallets)This isn't the first time David Haney and Andrew Cyrille have worked together, but these two sessions are the first time they have recorded together. With David, one can always expect the unexpected, whether it be Free Jazz, excursions, or an exploration of a traditional Blues. With Andrew one has come to expect simply the best in musical inventiveness. CIMP 367 is a duo; the addition of the substantial presence of bassist Dominic Duval changes the whole dynamic (as it should) on CIMP 369. To further emphasize the differences, five of the compositions appear on both the duo and the trio sessions. Hear and analyze this bracing and embracing music. Ota Benga of the BatwaDavid Haney (Piano), Julian Priester (Trombone)David Haney and Julian Priester have been working together the whole of the 21st century and their music is definitely 21st Century. For this recording, they bring their particular shading of light and dark to a series (13 parts) of improvisations inspired by the sojourns of Ota Benga (b.1884-1916) of the Batwa tribe. Pensive and reflective, the nuanced tension of this music is often breathtaking and always starkly original. Extensive program notes outline the events for this set that David calls "nonreferential music." The intricacies and involvement of this creative improvised music is powerful and remarkable. Retrospective 1961-2005: Solo Piano (Aug. 18, 2005)Burton Greene (Piano)This is the final release of the precedent-setting recording sessions with Burton Greene that documented this artist's music in quintet (#339), trio (#345), and now solo settings.
This trilogy is an important milestone in Burton's career, spanning five decades of defining and redefining his very distinctive artistry. In the undertaking of this project, CIMP affirms that Burton Greene was at the top of his form and focus. And this solo recital confirms the originality, humor, and emotional maturity of this unique artist. As is the CIMP method, extensive notes give insight to both the music and the occasion, setting, and preparation. Blues RoyaleDavid Haney (Piano), Mike Bisio (Bass), Adam Lane (Bass)David Haney: one of the most originally rooted improvisers and a true original, backed by two of the most probing, inventive bassists in this music: Mike Bisio and Adam Lane. Just the logistics and possibilities of this encounter will intrigue the seasoned listener. Now add in the program concept—Traditional Blues and other music of antiquity—and the challenge further intrigues. Involving and deeply soulful creative improvised music. Double DiploidSteve Swell (Trombone), David Taylor (Bass Trombone), Warren Smith (Percussion), Chad Taylor (Percussion)Whoa! Two trombones and two percussionists? What can this be? What it is is music of great rhythm, drive, humor, intensity, and downright fun. If you've come across the talents of either or both Messrs. Swell and Taylor, then you know the contrast of their brilliance. Add in Warren Smith (a senior percussion master) and Chad Taylor (no longer just in the underground) and you have a quartet of great capabilities—even of accomplishing the musical Double Diploid, and more the fun for it. Twice the pleasure just for the asking. Ins And OutsBurton Greene (Piano), Ed Schuller (Bass), George Schuller (Drums)This is the second of three consecutive recordings documenting the music of Burton Greene. (For background to this project, I refer you to CIMP 339.)
For the trio sides, Burton's plan was to work in a more "traditional swinging trio" format, further announcing (during the sound checks/warm up) that he was "feeling a bit funky this morning" (11:40 a.m.). The trio opened with Skumpy ("A ...
Signs Of The TimesBurton Greene (Piano), Paul Smoker (Trumpet), Russ Nolan (Saxophone), George Schuller (Drums)This is Volume One of the results of a 3-day recording project devoted to the artistry of Burton Greene. This first set features Burton's music as played by a quintet (the following sessions are trio and solo) that handles some difficult charts with ease and improvisations with inspiration. Unique and identifiable, this is the first documentation of a notable occasion from a veteran artist at the top of his form. Recorded Aug. 16, 2005. The MusicDavid Haney (Piano), Julian Priester (Trombone), Adam Lane (Bass)Chances are you've never heard of David Haney but this follow-up to his much acclaimed duo with Julian Priester (Cadence Jazz Records 1179) should convince you that his is an original musical voice deserving of some attention. Joined by the masterful bassist Adam Lane, these three work hand-in-glove in this exploration of Haney's world. There's nothing familiar about this music but it's still deeply satisfying. Recorded Aug. 12, 2005.
Tuba ProjectLucian Ban (Piano), Alex Harding (Baritone), J.D. Allen (Tenor), Bob Stewart (Tuba), Derrek Phillips (Drums)Prerelease press has already hailed this latest mixture of soul & savvy from the Ban & Harding juggernaut. It's the Tuba Project in reference to the inclusion of Bob Stewart, whose subtle shading and bottom work keeps things rolling throughout. As is usual with Ban & Harding, Tuba Project is an offering of fresh music to move and reward both the mind & soul. Recorded July 20, 2005. SanctuaryBobby Few (Piano), Hilliard Greene (Bass), Newman Taylor Baker (Drums), Avram Fefer (Saxophone)Messrs. Few and Fefer have been collaborating since the mid 1990's but this is the first time they have recorded in Quartet and the results are strong. As Avram Fefer writes, "…a great couple days… a great piano… stimulating company." Bobby Few has been on the scene since his Ayler days of the 1960's and he represents some of the best of the classic Free period. Avram Fefer began to make a name for himself among musicians in the 1990's; he represents the rich future of this music. Here is a finished work for the discriminate and mature listener. Recorded May 7, 2005. Isms OutBurton Greene (Piano), Roy Campbell (Trumpets), Adam Lane (Bass), Lou Grassi (Drums)Playing the music of Bill Evans, Jim Hall, Ali Akbar Khan, and its own originals, the Burton Greene-Roy Campbell 4tet goes pretty straight ahead but without compromise as four strong instrumental voices document their music following an East Coast tour. The expressions and themes are exceptional. It's been almost two decades since Burton recorded in quartet and over 30 years since he recorded with trumpet. This is Roy's first recording with Burton. Recorded June 29, 2004. Inside OutMary Anne Driscoll (Piano), Paul Murphy (Drums)This musical partnership goes back over 30 years and it shows. This is a remarkably precise and explosive post Bop duo. These 16 tracks explore a number of themes, colors, and passions. It invites close-listening scrutiny as the more you listen the more you will be impressed. Recorded at Gilbert Recital Hall, Canton, NY, June 15, 2004. Celebration of the SpiritJazz Composers Alliance Orchestra (Group), Hiroaki Honshuku (Flute), Jims Hobbs (Alto Sax), Jeremy Udden (Alto Sax), Phil Scarff (Tenor&Soprano Sax), Hands Indigo (Bari Sax), Mike Peipman (Trumpet), Keiichi Hashimoto (Trumpet), Jim Mosher (French Horn), Bob Pilkington (Trombone), David Harris (Trombone), Jim Gray (Tuba), Richie Barshay (Drums), Winnien Dahlgren (Vibes), Soo-Jung Kae (Piano), Takaaki Masuko (Percussion), Rick McLaughlin (Bass), Norma Zocher (Guitar), Laura Andel (Composer/Conductor), Darrell Katz (Composer/conductor, dir. of Jazz Compose), Ken Schaphorst (Composer/Conductor), Warren Senders (Composer/Conductor)Here is an incredible combination: a big band full of exciting soloists playing the compositions of 5 composers recorded in real stereo, the CIMP way - with clarity, space and accurate dynamics. Everything about this recording will excite. You'll have to hear it to believe it. Recorded at The Tsai Performance Center at Boston University, Boston, MA October 5, 2003. Steve Swell's Suite for Players, Listeners and other DreamersSteve Swell (Trombone), Will Connell (Alto Sax, Flute, Bass Clarinet), Roy Campbell (Trumpet, Flute), Charles Burnham (Violin), Francois Grillot (Bass), Kevin Norton (Percussion)Over the 8 years Steve Swell has been recording for CIMP, he has produced a little less than a dozen projects, all of them distinct and purposeful. This latest effort may be his most ambitious to date, a large scale work that retains the intimacy and personality of a smaller work with the power and impact of the larger concept. A solid statement from a trombonist now considered to be a major talent on the post Bop, creative improvised music scene. Recorded July 16 & 17, 2003. Birds of BaghdadCharles Eubanks (Piano)This is Charles’ follow-up to his award-nominated first solo recording (CIMP 250). Over the 9 tracks here, Charles explores only 3 standards (Trinkle Tinkle/ Dig/ Cup Bearers) mixed in with his soulfully probing original narratives. Recorded June 24, 2003, Canton, NY. Somethin' HolyLucian Ban (Piano), Alex Harding (Baritone Saxophone)Those who have Alex's first trio recording (CIMP 246) will notice that he plays, in part, the music of Lucian Ban. Now composer/pianist and baritone saxman come together in duo. The ambience of this date is reflective of Wilber Morris, whose spirit is referenced and imbues this session with a moving, soulful profile. It's a low-down uplifting concert, and beautifully expressive. Recorded August 8, 2002. Poets of the NowUrsel Schlicht (Piano), Steve Swell (Trombone), Tom Abbs (Bass), Geoff Mann (Drums)For Schlicht and Swell, this is a follow-up to their very exciting Sound Quest recording on Cadence Jazz Records. Here the group moves more into composed structures with Ms. Schlicht, in particular, showing a softer side. But make no mistakes - this is post-Bop creative improvised music, and yet another fresh look at Steve Swell whose growing reputation is finally catching up to his talents. Form, variety, and passion combine here for meaty listening. Recorded July 18, 2002. CamoflageSteve Lehman (Alto Saxophone), Roy Campbell, Jr. (Trumpet), Kevin O'Neil (Electric Guitar), John Hebert (Acoustic Bass), Kevin Norton (Percussion)This is Volume 2 of the impressive debut from saxman Steve Lehman and his quintet: Volume 2, not leftovers; you know CIMP would never compromise the music. In this case, it is music out of the Jackie McLean – Anthony Braxton tradition, but roots, not retreads. Recorded May 14 & 15, 2001. Peace Beyond ConflictBurton Greene (Piano), Mark Dresser (Bass)This is surely one of pianist Burton Greene’s most playful and lyrical outings. A very engaging program with the formidable bassist Mark Dresser serving as both foundation and backboard to this delightful recording. Recorded July 19, 2001. New BeginningsCharles Eubanks (Piano)Charles Eubanks, veteran of the 60's Motown studios, respected sideman in bands and on recordings of Oliver Lake, Dewey Redman, Kevin Eubanks, etc., has never recorded as a leader prior to this. Now the world at large gets to hear why Mr. Eubanks, a musician's musician, is so highly respected. Here is the musing of a true Jazz eclectic in a style that may at times suggest a range from Jimmy Yancey to Mal Waldron and beyond. Narrative and impressionistic, he sounds like no other in a program as accessible as it is adventurous. Recorded June 19, 2001. Tools of the TradeNed Rothenberg (Clarinet), Denman Maroney (Piano)Denman Maroney's acoustic piano and prepared piano reach a perfect co-existence and integration on this duet with multi reedist Ned Rothenberg. A combination of exciting improvs and compositions, this is music that is mature, expert and soul-warming while still challenging the intellect. New music, new maturity. Recorded June 5, 2001. RecitalDave Burrell (Piano), Tyrone Brown (Bass)Certainly one of Dave Burrell's finest recordings, a notable mix of standards and originals including an unforgettable essay on Shortnin' Bread. Recorded August 9, 2000. Rosella: A Good Place to StartRosella Washington (Vocals), Tyrone Brown (Bass), Bill Meek (Percussion)17 cuts put it all together and you have A Good Place To Start. Rosella Washington is blessed with a rich and emotive voice and she has the ability to make a song her own. Tyrone Brown is a lyrical, soulful bassist. Together they celebrate the music of Gershwin, Jobim, Strayhorn, Shorter, Rollins, Kern, and others. With Bill Meek adds percussion on 2 tunes. Recorded May 9 & 10, 2000. One World FamilyKahil El'Zabar (Percussion), David Murray (Tenor Saxophone)Much has transpired since Kahil El'Zabar and David Murray's first pairing on record back in the 1980's. Kahil's strong sense of community and the musical telepathy he feels with David Murray are displayed throughout this concert. Just a duo, with nowhere to hide. Like all CIMP dates, recorded live and direct to 2 tracks with no fades, no splices, no dubs; just musical talent and integrity. Recorded March 28 & 29, 2000. AnniversaryDominic Duval (Prescott Bass)A solo bass recording that is a celebration of the heart and mind. Enjoyable either in close dedicated listening or in more ephemeral surroundings, either way it's a joy. There is nothing tedious about this flowering of invention as it moves seemlessly over a dozen offerings. Recorded January 19 & 20, 2000. Open MusicJohn Bickerton (Piano), Wilber Morris (Bass), Rashid Bakr (Drums)Pianist John Bickerton likes to call his music Open Music. We'd call it lyrical, impressionistic and moving; something of a hybrid with runners to both Keith Jarrett and Cecil Taylor. Here at a concert grand, Mr. Bickerton is joined by Rashid Bakr and Wilber Morris on nine original and connective compositions. Changes&ChancesOdean Pope (Tenor Saxophone), Dave Burrell (Piano)A deeply deliberative duo collaboration between these two veterans of the creative improvising music scene. Complex, sometimes torturous, the music here is a journey of discovery and a celebration of the emotion of life through music. Recorded January 12, 1999. GalleryHugh Ragin (Trumpet), Marc Sabatella (Piano)Hugh Ragin and Marc Sabatella have been working in duo situations since 1991. Their intuitive interplay and bold use of space create music of great dynamism and impressionism. With Marc playing a Steinway concert grand in duets with Hugh's perfectly pitched trumpet, this recording is an audiophile stunner as well as music of real quality and depth. recorded June 23, 1998. TagYuko Fujiyama (Piano), Mark Feldman (Violin), Tomas Ulrich (Cello)The debut disc for this fine pianist, Yuko Fujiyama, finds her in the company of Mark Feldman (violin) and Tomas Ulrich (cello) in a stunning program of improvised music bridging the traditional worlds of North American and European New Music. Recorded June 16, 1998. 3 Plus 4 Equals 5Joseph Scianni (Piano), Mark Whitecage (Soprano Saxophone), Tomas Ulrich (Cello), Dominic Duval (Bass), Jay Rosen (Drums)Mark Whitecage has been a highly respected and inordinately creative NYC area improvisor for decades. Joseph Scianni is a legendary pianist almost unrecorded over the past 40 years. On this program they intermix their respective groups and explore the harmonies and tonalities of the music. The listening rewards are great as they fly without a net, with only their genius and musical sensibilities to support them. Recorded June 20, 1997. Night PeopleJoseph Scianni (Performer)Joseph Scianni first recorded for Savoy in 1963. He was avant garde then and he's still pushing the boundaries. This is the solo section of a fabulous concert (the trio sides are
CIMP 122) and the two are his first recordings in 30 years. Recorded July 23, 1996.
EssenceLee Shaw (Piano), Mike DeMicco (Guitar), Rich Syracuse (Bass)Lee Shaw is out of the tradition of Art Tatum and Oscar Peterson. What marks her work is an enthusiasm, swing, and over-all effervescence which is unsupressable. Add to this the fine bop sensibilities of her rhythm section and you have an everfresh program of standards and exceptional Shaw originals. Recorded Sept. 16, 1996.
Big OnionJoseph Scianni (Piano), Dominic Duval (Bass), Jay Rosen (Drums)An historic and musically magical occasion. This is Mr. Scianni's first recording in over 30 years. A contemporary of Cecil Taylor, Joseph Scianni presents compelling music with this brilliant free trio. Recorded July 23, 1996.