Albums Featuring Instrument or Role - Piano
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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. 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. 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 ... 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. 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. 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. 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. 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. 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.