Albums Featuring Instrument or Role - Trombone
View the complete list of instruments and artist roles.
Live in MontrealGebhard Ullmann (Clarinet), Steve Swell (Trombone), Hilliard Greene (Bass), Barry Altschul (Drums)This quartet came together in 2004 and we first recorded it in June 2004 (CIMP 315). At the time I wrote “This is a tough group,” speaking about the group’s musical character but the fact that four years later they are still functioning as a group speaks to another toughness or resilience. Between these dates each member of the group has been active with a number of other projects, both as members and leaders. As for Casa del Popolo, it is one of the most continuously supportive outlets for creative improvised music in Canada and a venue where, in 2005, CIMPoL made its first recordings (CIMPoL 5001 and 5003). The venue is small—about 16’ by 60’ with a 10’ by 10’ bandstand at its end, a bar, and tables at the other (street) end. A relaxed and respectful environment is both encouraging of the artist, and, in this case the CIMPoL crew as well. The first set opened around 10 p.m. In his opening announcement, Steve Swell (b.1954, Newark, NJ) noted it was hockey night in Canada, May Day the next day, but tonight would be mayhem and with that they were off and running with Box Set. Earlier, in discussing the calculated risks of recording on location, Barry Altschul (b.1943, NYC, NY) modestly told me that if we didn’t get (the material) for a great recording it was our fault as “this band has been amazingly strong” for the whole tour. In a phone conversation a few days earlier, Steve had suggested to me basically the same thing. All this I think was confirmed right from the opening on Box Set, which if the opening mayhem doesn’t give you pause, surely Gebhard Ullmann’s (b.1957, Bad Godesberg, Germany) driving tenor solo will. The second piece, Don’t Touch My Music, is interesting in that the heart of the piece is made up of two duos, stop time with Steve and Gebhard and in time with Barry and Hill Greene (b.1958, Logansport, IN) giving further evidence of the robustness of this group. On Improv/ For Grachan, it’s not duologues but monologues that distinguish this composition. Both Hill and Barry have distinguishing solo conversations in the performance, a piece seemingly made up of many pieces, many conversations, and many wonderful moments and movements. Slammin’ Textures/ Kleine Figuren and Composite #1 both come from the second set. Again, the former displaying a structural development built along a series of solos and duos and rhythmic variances covering everything from madrigal-like Third Stream sounds to backbeat Blues. The final performance of the night, Composite #1, develops off a typical Swell stomp riff and eventually deconstructs into a minimalist dialogue then gathers its passionate conversation for some improvisatory fellowship and finish. Hockey night in Canada rarely sounded so good. Robert D. Rusch - April 30, 2008 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. 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. 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. 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.
Not Just...David Taylor (Trombone), Steve Swell (Trombone), Billy Bang (Violin), Tomas Ulrich (Cello), Ken Filiano (Bass)Gad. Two trombones and strings! But when the trombones are Dave Taylor and Steve Swell and the strings are Bang, Ulrich, and Filiano, you know this is going to be fun. A five-sided circle that is everything you'd expect from this meeting of fertile musical minds. Over 270 cumulative years in the making, its listening pleasures should last easily that long. Recorded January 5 & 6, 2005. The Drum is Honor EnoughPatrick Brennan (Alto Sax), Steve Swell (Trombone), Hill Greene (Bass), Newman Taylor Baker (Drums)Listening to Patrick Brennan's music is a bit like looking at a bowl that has been shattered and reassembled but whose fit isn't quite right?you know what it is when looking at it, but it requires some reassessment to take it all in. Extensive Artist and Producer Notes may take you one listen just to get through, another listen to digest, but by the third listen the joy and genius of this concert should be evident. A valuable addition to this veteran's slight but growing discography. Recorded February 17 & 18, 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. Nine Songs TogetherMark Dresser (Bass), Ray Anderson (Trombone)Here’s a fun combination that produces so much from so little. Thirteen tracks that, as the Producer’s Notes point out “is really a set of assured inventions, deftly handled and masterfully performed. Humor, joy,hipness?” Recorded September 25 & 26, 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. Opportunities and AdvantagesElliot Levin (Tenor Saxophone, Curved Soprano, Flute), Marshall Allen (Clarinet, Alto Saxophone), Tyrone Hill (Trombone), Howard Cooper (Bass), Ed Watkins (Drums)Check out that front line. Levin: one of the most robust tenor stylists around. Allen: the legendary sax man whose short-circuited improvisations are too infrequently featured in small combos. Hill: an inventive lyrical trombonist with a distinct sound. Put them together with longtime buddies Cooper and Watkins and you have simpatico and a fun date. Real music, warm and challenging. Philadelphia Pride indeed! Recorded September 24 & 25, 2002, The Spirit Room, Rossie, NY.
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. Recollections of Darby HicksBob Washington (Voice), Steve Swell (Trombone), Dominic Duval (Bass)This date is essentially a "brother's" narrative of growing up in America from the pre- WWII years. It's a story funny, funky, and poignant, and delivered with improvised surroundings which suggest some parallels to the collaboration between Charles Mingus and Jean Shephard on "The Clown." A good tale, well told with outstanding improvisations. Recorded April 23 & 24, 2002. ComPOsedLou Grassi (Drums), John Tchicai (Tenor Saxophone), Paul Smoker (Trumpet), Art Baron (Trombone), Perry Robinson (Clarinet), Wilber Morris (Bass)The latest from Lou Grassi's PoBand. This time the guest artist is John Tchicai. This concert by the PoBand is unique for a number of reasons (besides the always-fresh improvisations and presence of guest John Tchicai) in that, for the first time it deals with a compositional framework; Art Baron joins the band; and, sadly, this was the late Wilber Morris' last outing with the band that he helped establish in 1995. Thankfully, Wilber's spirit and voice (instrumentally and vocally) is well represented on the date. Eight wondrous cuts. ObbligatoMary LaRose (Vocals), Jeff Lederer (Reeds), Steve Swell (Trombone), Dominic Duval (Bass)Integrating material from a broad idiomatic range including Charles Mingus, Duke Ellington, Randy Newman, Jimi Hendrix, Ornette Coleman, Claude Thornhill, Albert Ayler and others, vocalist extraordinaire Mary LaRose leads a strong improvising quartet. Out of the tradition but clearly of today and tomorrow, this is music as challenging as it is sensual. Lucille's Gemini DreamAvram Fefer (Clarinet), Steve Swell (Trombone), Wilber Morris (Bass), Igal Foni (Drums)Following up his trio's well received debut recording on Cadence Jazz Records, reedman Avram Fefer brings the dynamic trombone of Steve Swell into the mix and the quartet addresses 7 original compositions, including the title track, a particularly evocative and lyrical ballad. Interplay, composition, depth, and complexity all propel this to a dynamic listen. Recorded Jan. 11 & 12, 2001 Serious FunNils Wogram (Trombone), Konrad Bauer (Trombone)Konrad Bauer is acknowledged as one of the post-Mangelsdorff fathers of the improvised trombone. Nils Wogram, young enough to be his son, is quickly rising in the ranks, from inside music music to outside music. The setting: a trombone duo. The strategy: extemporaneous improvisation. The results: 16 tracks of rewarding invention with the usual clear CIMP dynamic detailing that the listener can either follow from one side or the other, or just enjoy the whole in a concert of joyful interaction. Recorded Sept. 12 & 13, 1999.