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Beginning to See the Light

How does one, in reality 'see the light?' For many it is a spiritual element, while others have an epiphany or revelation about an aspect of life or relationships with something they may suddenly discover, have known all along and finally accept, or experience an event that changes them forever. In the case of Metro-Detroit's up-and-coming jazz singer Jesse Palter, she is seeing the light while concurrently being surrounded by it. As the past few years of her young life have progressed, she is continually spreading the aura of her musical being to listeners in local night clubs, concert halls and festival performances. Her rising star has been meteoric, as anybody can quickly recognize her clear, natural talent for transforming a well worn song into one all her own, and enchanting listeners in ways few vocalists can. Recently Palter has been duly recognized for her effort, winning the prestigious Detroit Music Awards for Best Jazz Vocalist. It's no small feat in a marketplace dotted with great singers and role models such as Bettye LaVette, Ursula Walker and of course the all time Queen Of Soul, Aretha Franklin. Jesse Palter is a product of the well respected West Bloomfield school district in Oakland County, north of Detroit. Singing publicly since age 5 and playing piano at 6, she took up trumpet and oboe, instruments with completely different timbres & techniques, and a stark indication of her versatility. Her music studies at Abbott Middle School, West Bloomfield High School, and the University Of Michigan served as a prelude to becoming a jazz singer that has all the background and is gaining experience to reach lofty flights of swinging improvisational fancy. In fact, Jesse held a unique place at U-Michigan in that she was accepted as a vocal student in their classical and jazz programs devoted solely to instrumentalists. There she toiled under the tutelage of ex-Count Basie trombonist Dennis Wilson, and veteran Detroit saxophonist/bandleader Donald Walden. This debut CD demonstrates Jesse Palter's flexible, poignant, attractive vocal instrument, complemented by unique arrangements that surround that sweetest of sounds. What immediately grabs you though is that she challenges herself by using charts that are a departure from the norm. Check out the title track, using mixed meters, mostly in 7, or the 5/4 'Zing Went The Strings Of My Heart.' She absolutely tears up 'There Will Never Be Another You' starting in a quick waltz, moving to hard bop, and back again. Jesse scats with the verve and vigor of a vocalist wise beyond her years on several of these selections. She can sing succinct ballads as 'It's Not Easy Bein' Green' and 'One For My Baby' with ease and equal aplomb as her loping, soulful take on The Turtles pop tune 'Happy Together,' the funky original 'Lovesick,' or a delicate version of 'Taking A Chance On Love.' She'll break your tears into thin, misty dewdrops on another original 'Change Of Heart' and the classic 'Some Other Time.' Her yeoman peers/accompanists need to be mentioned in spades. Pianist/musical director Mike Jellick, bassist Ben Williams, and drummer Nate Winn are strong, supple & sensitive players who seem to be inside the pulse and at the heartbeat of Jesse's every phrase, nuance and quirk. They seem virtually telepathic in their ability to frame, shade and embellish what Jesse extracts, from the underbelly, to the soul, guts and glory of any lyric. This trio, much more than a 'back-up' band, lends greatly to the sense of these tunes not being merely copied,but fully interpreted and realized. Seeing the light might be easy for some, difficult or impossible for many others. But in the case of Jesse Palter's fine debut effort, with infinite promise down the road, an illumination of sorts should be something all listeners will surely be able to sense, feel, and actually hear! -Michael G. Nastos, Senior Music Host/WEMU, 89.1FM (Ypsilanti, Mi.,) Cadence Magazine, All Music Guide, Downbeat Critics Poll Jesse Palter started singing before she could talk. She hasn't stopped -- and she doesn't plan to any time soon. 'There are videos of me when I was a baby -- I was barely getting the words out, but the melody was there,' she says. 'I can't tell you the time when I got 'into' music because I was always into it. It was natural.' At just 20 years old, through both training and pure instinct, Jesse has grown into one of the most accomplished and dynamic singers (and songwriters) in the Detroit jazz and overall music scenes. Her voice is a flexible, facile instrument wielded by an ambitious and visionary player, it can be sweet or salty, polished or raw, wide in range and broad in stylistic scope, channeling and combining influences such as Miles Davis, Ella Fitzgerald, Sarah Vaughan, Frank Sinatra, Joni Mitchell, Stevie Wonder and Kurt Elling. It's the voice of someone who has a voracious appetite for growth and is fearless in that pursuit -- the perfect equation for a promising future. 'I've grown so much -- musically, harmonically, as a thinker in general,' says Jesse, who took Outstanding Jazz Vocalist honors at the 2006 Detroit Music Awards. 'Instead of just getting on the bandstand and playing off-the-cuff standards, we have our own unique interpretations of the classic songs as well as my original compositions. Working with such accomplished musicians, we are constantly pushing each other to expand outside of the box. This dedication has taken our group to the next level'. It's fair to say that singing is in Jesse's blood. Her grandmother, Dorothea Ranier, was an opera prodigy in New York who continued singing throughout her life. Jesse's father, who harbored his own ambitions to be a DJ, was raised in a musical household, which he passed along to his family, keeping plenty of Motown, show tunes, Beatles, Michael Jackson, Prince, Carole King, Stevie Wonder and Tony Bennett on the home stereo. The precocious Jesse started singing publicly at age five and learning piano at six. She subsequently studied oboe and trumpet and attended a middle school that specialized in the performing arts, where she starred in a number of theatrical productions. In fact, the first public indication that jazz lay in her future came during rehearsals for 'Joseph and the Amazing Technicolor Dreamcoat,' when Jesse, playing the narrator, began 'embellishing' the melodies, although the director admonished her, she also told Jesse's mother that Jesse had a natural inclination towards improvisational singing. 'That's when I started listening to a whole bunch of jazz records,' Jesse recalls, 'and really immersing myself in the language of improvisation.' However, she was also conscious of the parade of adolescent and teen stars soaring up the pop charts and decided that maybe she could do that, too. She began contacting producers such as Detroit's Jeff and Marky Bass (Eminem, 50 Cent) as well as Andrew Gold (Linda Ronstadt, Celine Dion). But despite some interesting sessions, Jesse's path was already taking her in different directions. 'I never felt quite at home,' she says, 'until I finally started performing jazz.' Her persistence paid off in getting the University of Michigan School of Music to allow her to be part of it's jazz program as a vocalist -- a course of study the school didn't offer at the time. But after hearing Jesse audition, they struck a compromise in which she agreed to take classical voice classes ('Working on my vocal hygiene,' she says) while studying jazz theory and improvisation with legendary artist/instructors such as Donald Walden and Dennis Wilson. During the past two years, Jesse has forged her reputation as a live performer throughout the Detroit area, racking up credentials by sharing stages with Marcus Belgrave, James Carter, Dr. Teddy Harris, Keith Hall, Paul Keller and others. Now on leave from school, she's been studying at 'Mike Jellick University,' working tirelessly with the music director and pianist of her Jesse

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Experiments in Music

This acclaimed concert, recorded live October 19, 1997 in Jordan Hall, Boston, was the first in a series of experiments-experiments in music (seeking to connect to and express aspects of nature and the human story through music) and experiments in ensemble making, offering musicians an unstressed and supportive opportunity to reconnect to what attracted them to music in the first place, without undue pressure for technical perfection (the Frequency Band). So, this isn't a note-perfect studio recording, but for those looking for something else, maybe you'll find it here. We hope so! With world premiere performances for all works except 'Ancient Twinkle Appearing,' this live concert includes 'living program notes,' Norman Bolter sharing his thoughts about music and his inspirations for these works with characteristic depth and humor. What Others Say: 'As composer, conductor, speaker and performer, Bolter captivated in rapt attention all of those in attendance.' - from the REVIEW by David J. Begnoche, ITA Journal, Vol. 26, No. 1, Winter 1998. 'SPECTACULAR!!!!!!!!!! The music is wonderful and truly inspirational. Thank you for putting it into the world to hear.' - Charles Vernon, Bass Trombonist, Chicago Symphony Orchestra 'I absolutely loved it!' - Glenn Dodson, Former Principal Trombonist, Philadelphia Orchestra Music by Norman Bolter Produced by Carol Viera Engineered by Patrick Keating Cover Painting by Mark Siegel Art Direction by Carol Viera Soloists: Norman Bolter, Scott Hartman, R. Douglas Wright, Douglas Yeo Frequency Band® Trombone Choir: Darren J. Acosta, Richard Begel, Frank Bunger, Mark Cantrell, Stephen Cooley, Alexei Doohovskoy, John Faieta, Kriss Fridenvalds, Samuel Getchell, George Kirkup, Gabriel Langfur, Nick Martin, James Nova, Phil Ostrander, Brian Troiano, Bron Wright Frequency Band® Orchestra: VIOLIN: Gregory S. Vitale, David Rahbee, Xin Ding, Chia-Chi Lai, Noemi Milordovic, Ying Zhou. VIOLA: David J. Fallo, Lisa M. Lewis. CELLO: Alexei Gonzales, Melissa McCarthy, Sibora Milordovic. BASS: Avi Azilay, Justin McCarty, Irving Steinberg. FLUTE: Zhao Liu, Chih-hsien Chien. PICCOLO: Rebecca Clossick. CLARINET: Catherine Hudgins, Joseph Gavin. OBOE: Jennifer Ann Loupe, Jennifer Slowik. ENGLISH HORN: Nancy Dimock. BASSOON: Robin Leech, Robert McGrath. TRUMPET: Thomas Rolfs, Tom Smith, Thomas Cupples. HORN: Kate Gascoigne, Ken Pope, Jean Rife, Anne Howarth. TROMBONE: Darren J. Acosta, James Nova. BASS TROMBONE: Mark Cantrell. TUBA: John Manning. TIMPANI: Joseph R. DeMarco. PERCUSSION: Christopher J. DeChiara, Phil Kiamie, Courtney McDonald. HARP: Judy Saiki. 'On With the Battle of Life' (for trombone choir) 'Onward,' 'Nowhere to Turn,' 'Acceptance and Hope' Frequency Band Trombone Choir, Norman Bolter conducting 'Passions of Survival' (for trombone and orchestra) Norman Bolter, trombone solo, Frequency Band Orchestra, Douglas Yeo conducting 'The Song of King David' (for trombone and piano) Norman Bolter, trombone, Laurinda Sage Wright, piano 'Ancient Twinkle Appearing' (trombone trio) Norman Bolter and Darren J. Acosta, tenor trombones: Mark Cantrell, bass trombone 'Of Mountains, Lakes and Trees' (for solo bass trombone, tenor trombone and alto trombone with orchestra) 'Of Mountains,' Douglas Yeo, bass trombone, 'Lakes,' R. Douglas Wright, tenor trombone, 'Trees,' Scott Hartman, alto trombone, Frequency Band Orchestra, Norman Bolter conducting Norman Bolter's Bio Born in Minneapolis, Minnesota, Norman Bolter was first inspired to play the trombone when, at age four, he saw the Captain Kangaroo television show character, 'Mr. Greenjeans,' play the same instrument. Mr. Bolter began his formal trombone studies at age nine with Ed VonHoff of the St. Paul Public School System. Later, he studied with Ronald Rickets and Steven Zellmer of the Minnesota Orchestra and with John Swallow at the New England Conservatory. Mr. Bolter is very thankful to these teachers and to former Boston Symphony Orchestra principal bassoonist, Sherman Walt, not only for their technical and musical assistance but also for their encouragement and nurturance of his love of music and trombone playing. A Tanglewood Fellow and C. D. Jackson Award winner, Mr. Bolter joined the Boston Symphony Orchestra in 1975 at age 20, becoming the youngest member of the orchestra at that time. As well, he is principal trombonist of the Boston Pops Orchestra and was a founding member of the Empire Brass Quintet, which won the prestigious Walter H. Naumberg Award in Chamber Music, the first brass ensemble ever to win this award. Mr. Bolter has appeared, as a member of the Boston Pops Orchestra, on the televised PBS favorite 'Evening at Pops' with Arthur Fiedler, John Williams and Keith Lockhart as conductors. He has toured extensively in the U.S., Europe, Asia and South America with the BSO, the Pops and the Empire Brass and has made many recordings with them. He also appears as principal trombonist on recordings with Orchestre National Bordeaux Aquitaine. Furthermore, Mr. Bolter appears as soloist and conductor on four recordings of his own compositions, 'Experiments in Music,' 'Anew at Home,' 'Occurrences' and 'In Living Continuance.' In addition to his numerous trombone solos, Mr. Bolter performed the acclaimed euphonium solo in the BSO recording of Mahler's 'Symphony No. 7 ' (Philips Classics Productions, 1990) and also played euphonium on the Minnesota Orchestra recording of 'Ein Heldenleben' by Richard Strauss. Mr. Bolter has composed music from a very early age, with the last thirteen years witnessing an outpouring of new works winning him acclaim as a composer both in the US and abroad. In addition to his own recordings of these works, Mr. Bolter's compositions have appeared on recordings by New York Philharmonic principal trombonist Joseph Alessi, Boston Symphony Orchestra bass trombonist Douglas Yeo, Boston Symphony Orchestra principal trombonist Ronald Barron, former Boston Symphony Orchestra principal trumpeter Charles Schlueter, Los Angeles Philharmonic co-principal trombonist James Miller and the New England Brass Band. Further, his compositions have been performed throughout the world, with performances in Europe, Asia, Australia, New Zealand, South America and the US. Amongst the many who have given live solo performances of Mr. Bolter's works are: Joseph Alessi ('Arctic Emanations' for trombone and piano), Ronald Barron ('Sky Dreams' for alto trombone and piano), Scott Hartman ('Trees' for alto trombone and orchestra), Randall Montgomery ('Clouncey' for tuba and piano and 'Keepers of the Cosmic Sea' for solo tuba and brass ensemble with percussion), Richard Sebring ('Nautilus' for solo horn and brass ensemble with percussion), Charles Schlueter ('On the Cusp' for solo trumpet and brass ensemble with percussion, 'Immersions' for solo trumpet and 'Marsha's Gift' for trumpet and piano), Charles Vernon ('Of Mountains, Lakes and Trees' for solo bass, tenor and alto trombones and orchestra, and 'Sagittarius2' for bass trombone and piano), R. Douglas Wright ('Solar Voyages' for solo trombone and brass ensemble, 'Lakes' for solo tenor trombone and orchestra) Douglas Yeo ('Of Mountains' for solo bass trombone and orchestra) and Jacques Zoon ('In the Place of Wild Lavender' for flute, horn and cello). Mr. Bolter's works have been commissioned by Joseph Alessi ('Arctic Emanations' for trombone and piano), Pro Arte Chamber Orchestra of Boston ('IOURS' for trombone and chamber orchestra), the Zellmer-Minnesota Trombone Competition ('Morning Walk' for tenor trombone and piano, 'Sagittarius2' for bass trombone and piano), Mike Roylance ('Night of the Soul' for tuba trio), Peter Chapman ('Immersions' for unaccompanied solo trumpet), the Online Trombone Journal ('The Joy in Being Able' for trombone and piano), the University of St. Thomas ('A White Company Overture' for concert band) and others. In his numerous compositions (over 200 created to date), Mr. Bolter explores creating 'essence m

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Leland Plays Guitar Dot Com

LELAND ALEXANDER BIO: Leland Alexander reports he cannot remember any time in his life when he did not play some sort of musical instrument. Yet Leland was always fascinated by the sound of jazz guitar, and when at the age of 8 he began guitar lessons Leland was ecstatic. By the time he turned 12 years old, Leland was performing professionally with a local band called 'The Kings Of Soul' in his hometown Evanston IL. When Leland began college he started studying music more seriously. Leland studied music theory and composition with composer/ arranger James Mack, Leland studied classical guitar at Roosevelt University. Leland graduated from Chicago State University where he was a member of their renowned jazz band and also studied jazz improvisation with jazz saxophonist Bunky Green. Leland Alexander's professional credits took him in several musical directions, he played with Sherry Scott (former lead singer for Earth Wind & Fire), blues with Koko Taylor (RIP), and Shirley King (Daughter of B.B. King), gospel with James Cleveland, R&B with Heaven and Earth and Louis Satterfield (Trombonist for Earth, Wind, and Fire) and jazz with Kenny Burrell. Leland formed his own band 'Sound Investment' which polished their performing skills by doing a 6 month engagement at The Spoken Word Cafe' in the historical Bronzeville neighborhood of Chicago IL. In 2004. Leland Alexander performed at 'Taste Of Chicago' 2007 on the Fox Television Network Stage. If you wish to hire an inspired Jazz Guitarist Leland Alexander is your man, trust that it's a real Sound Investment. TIME TO DECIDE: The place is here and the time is now. You have listened to the music samples. You have read the Bio. You have viewed the art work. Are you going to wait for someone (music critic, radio station, & advertisers) to tell you that you enjoy this CD. Or are you the type of listener that can recognize lush hamonies, to appreciates interesting exciting melodies and be moved by the precision of the rhythm. If you are the type of listener who knows what they like, the decision is yours. Remember this is a SOUND INVESTMENT!!!!!!

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Reflective Trombone

DEDICATION I lovingly dedicate this CD to the memory of my teacher, colleague, and good friend, Rex Peer (1928-2008), for the immeasurable value of his guidance, camaraderie, and friendship, and for the wonderful gift of his composition, "Blue Trombone." Two years after I started playing trombone as an 8-year-old third grader in the "senior band" in Cumberland, Iowa, I began my studies with Rex. He was a skillful, soulful trombonist and (if possible) an even more incredible teacher. He taught me basics, jazz, ballad playing, and music theory. As a result, I was not only well prepared for a career as a performer, but also got the bug for song-writing, arranging, and composing, which have been a cherished part of my adult music career. Needless to say, if it weren't for the many ways in which he helped me get my start as a player and writer, this CD would never have happened. LINER NOTES Theme of the CD: Reflective Trombone--First and foremost, this CD is about my trombone playing, which extends back more than 50 years, to when I started out as an 8-year-old third-grader, playing in the "senior" band in Cumberland, Iowa. In 5th grade, I began studying with a master trombonist, Rex Peer (1928-2008), who taught me basics, jazz and ballad playing, and music theory. As a result, I got the bug for song-writing and arranging and composing, which have been a cherished part of my adult music career. So, this CD also provides a chance to hear some of what I like to create, other than on the spur of the moment (as in jazz solos)-as well as some of what I think is truly beautiful, as a setting for those creations. I have also, since early childhood, been an irrepressible singer and whistler, probably inheriting that from my dad, Eldon Bissell (1925-1984) who, along with my mom Deloris, was one of my biggest fans. I wish he could hear this CD, for it carries on that Bissell "tradition," including also a couple of songs that provide a vocal showcase for his grandchildren and my children, Charles, Rebecca, Andrew, and Daniel, all of whom are fine, active singers in the Nashville TN and Lexington KY areas. Finally, it allows me to feature one of my very best friends and fellow Disneyland band members, Brian Atkinson, who is a fantastic jazz trumpeter and vibes player. I think you will agree that his solo on "Once in a Dream" is just lovely. On a deeper level, however, what I am trying to do in this CD is to "reflect" on things I have played or written in the past, in a way that goes beyond their original embodiments. Here are some informative and (I hope) interesting details about each of the pieces... Track 1--"Reflective Mood," by the great Sammy Nestico, has been played with piano or concert band accompaniment by countless trombonists (some of whom have had their performances posted on uTube), and I was honored to play it with the Iowa State University concert band on the Fall 1966 concert and the Spring 1976 tour, and again with the Cedar Rapids Community Band in the summer of 1970. I am aware of only one person who has performed it with an orchestra: the excellent Swedish flutist Goran Marcusson on his CD "Reflective Flute," and I have attempted to "up the ante" a bit by adding a choir singing "ah's" here and there. If only the 18-year-old from Cumberland, Iowa had had this kind of backup when he played it in college! Tracks 2 & 7--"A Little Less Wonderful" is a fun song that I composed in 1982, and it is intended to be a sort of hip "flirtation" song, as can be gathered from the lyrics. (Would this be a fun piece for the cast of Fox's hit show 'Glee' to perform, or what!) I always wished it could have been recorded by the likes of James Taylor or Barry Manilow, but that was then-and now it is presented through the talents of my children singing with me a la Manhattan Transfer. My son Daniel and I handled the scat-singing duties, and I threw in a little whistling for fun. (Take that, Toots Thieleman!) We recorded the vocal tracks in Nashville at my son Andrew's studio in November of 2009, and my son Charlie, who has a glorious bass voice, was on his way down from Lexington when his car broke down, so he had to "mail his part in." (He recorded it at home and sent it to us over the Internet.) But by hook or by crook, we did it! (Note to CD purchasers: the a capella version is actually track 7, not track 2, as listed on the back of the CD.) Track 3--"Where Are All the Happy Days?" is a song I wrote about 1978, and it had a set of rather gut-wrenching lyrics, which are (happily) lost to history. (I loaned my only copy of the vocal lead sheet to a guitar player, who could not find it when I later asked him to return it.) My teacher/colleague/friend, Rex Peer, and I played this as a bossa nova in our quintet, Hip Bones, in performances in Nashville in 1978 and 1979, but I always thought it needed a grander setting. Sadly, he's no longer around to hear it done up in the symphonic manner I devised for this CD. The bridge made a good enough introduction in the old days, but I have written a good amount of additional material around it, allowing the strings and woodwinds to weave a "reflective" mood that I hope makes the piece something more than just another "sad" bossa nova in minor. (Yes, it's somewhat autobiographical. No, please don't ask me for details.) I also opened it up in the middle to allow for a jazz solo in samba rhythm, then reversed direction, going back to bossa nova, and finally ending with a reprise of the intro material, capped with a salute to one of my favorite composers, J. S. Bach. (The 4-2-3 suspension in the last chord basically says, "...and I mean it!") Track 4--The next track, "When I Fall in Love," is not quite a medley, more of a blending, of Vincent Young's well-loved ballad standard and Stevie Wonder's more dynamic pop song, "I Believe When I Fall in Love with You It Will Be Forever." I first heard the Stevie Wonder song on a Sergio Mendez album in the 1970s and always wanted to record it someday, because of it's poignant harmony in the verse and it's three-part structure, which gave it a more dramatic feel than most songs. As for the Vincent Young song, it was always just another pretty song to me, until the fall of 1985, when I was hired to write it up as a female vocal. I came up with such pretty and satisfying harmonies, that I decided someday I just had to record it that way as a trombone feature. But I didn't think of combining it with the Stevie Wonder song until I was well into the arrangement for this CD. I realized at some point that, not only were the titles very suggestive of a possible marriage of the two songs, there were also overlaps in their harmonies, as well as related meanings in some of the lyrics, so I decided to exploit them for this recording. I also used a motif from the chorus of Stevie Wonder's song for the intro of the arrangement, and it really seems to set up nicely the first entrance of the trombone solo. Track 5--"Friends and Lovers" is the "happy" bossa nova I wrote about 1977, and which Rex and I played two-trombone style in Hip Bones in 1978 and 1979, as a sort of book-end to "Where Are All the Happy Days?" It was inspired by Antonio Carlos Jobim and by Sergio Mendez's Brazil 66, who respectively wrote and recorded so many of my favorite bossa novas during the 1960s and 1970s. More than one person has pointed out the strong mis-match between the upbeat melody and harmony and the unhappily protesting lyrics. I can't disagree, but I also have always thought that they were great fun together, despite the emotional disconnect between them. In addition to saluting Brazil 66 (with a unison male vocal in place of Mendez's chick singers), I also give a tip of the hat to Andy Williams and the Williams Brothers with some four-part vocal harmony, along with a little Urbie Green high-note trill on the ending. Track 6--"Once in a Dream" is what I call my "movie theme" tune, partly because I think it really would mak

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This Car Up

An eight-piece horn band, Full Tilt encapsulates everything musical that is 70's funk, rock, and soul. From The Commodores, Stevie Wonder, Kool and The Gang, Earth Wind & Fire, James Brown, Chicago, as well as a long list of other funky flavors, Full Tilt never fails to impress the most finicky of club goers. With their powerful sound, Full Tilt engages audiences from the first note to the last with ever increasing showmanship, crowd interaction, and most importantly, flawless musical performance. Based out of York, Pennsylvania, Full Tilt currently tours the Mid-Atlantic region, but has been known to venture further. In addition to filling the dance floors at the hottest local clubs, Full Tilt enjoys regular appearances at the new Pennsylvania casinos, outdoor concerts, weddings and private events, and shares the stage with the likes of The Chi-Lites, Major Harris, and The Delfonics. This Car Up is the 1997 offering of all original material released by Full Tilt on the Cafe Records label. The creative juices were overflowing that year with keyboardist extraordinaire George Crist acting as the major songwriter for this project, along with contributions from trumpeter Gary Stump, lead vocalist Curtis Roberts, and trombonist/ founding member Harley Felton. Technology took a back seat to gutsy horn powered rock on this righteously "old school" collection of irresistible grooves. There's no shortage of outstanding musicianship on this diverse, well-rounded album. From driving funk/rock, to ballad heaven, This Car Up proves the artistic prowess of this group of exceptionally gifted songwriters and performers. Full Tilt is evidence that good music lasts forever. Enjoy. Over and over.

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Meditation

This album is the collaboration of trombonist Roger Dixon, and pianist Sonia Tubridy. It is a collection of some of the most beautiful romantic period music you will ever hear. This music was chosen because of it's meditative, lyrical qualities which lend itself well to a trombone and piano duo. I like to think of this album as 'live'. Although it was recorded in a studio, it has the feeling of a live performance. The trombone microphone was situated just a few feet in front of the bell of my horn, giving the sound a very intimate quality, every nuance of sound is there for all to hear, including the aerie quality of very soft notes and the occasional sound of my breath. No extraordinary measures were taken in the editing process. Most of the tracks were recorded in one take and what you hear sounds very close to what it would have been like to stand in that studio during the time of recording. To be continued......

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Mojito

MOJITO SLEEVE NOTES I met Robin Jones for the first time in March 2003. Like many other musicians in to Latin I knew who he was and what he did however, quite how extensive the volume of his past work with major international recording artists was to say the least, impressive: Ben Webster, Dexter Gordon, Stan Getz,Elton John,Blue Mink,Bee Gees,Moby,Pet Shop Boys,Al Jarreau,Matt Bianco,Basia,Phil Woods,Mongo Santamaria,Charlie Palmieri,Lalo Schifrin,Gilberto Gil,Arturo Sandoval,Sade and M People. In the '60's Robin was an established kit player working at The Blue Note in Paris with Budd Powell, Johnny Griffin and Chet Baker. Later with Barney Kessel at Ronnie's, and later still he became a regular player with Don Rendle. It was, however, his work in Latin music that would make him, along with Barry Morgan (they worked together in the Edmundo Ros band), the men about town, the guys who knew something about the genre. It is this and his work with his own bands, The Sextet and King Salsa that has led to Robin being dubbed the 'Godfather of British Latin'. For this album Robin has again assembled his regular crew, augmenting the sextet with several guest musicians including Brazilian master percussionist Bosco De Olivera, Robin's former student Snowboy,Trombonist Tim Smart, and my old mate the Hammond Maestro Paul Birchall. Particularly impressive is the writing and arranging. Much credit must go to the prolific Nick Walker who has penned four of the seven tracks contained here. It is a testimony to Robin's expansivenes as a musician and band leader that he has remained open to change and experimentation, notably embracing Paul Birchal's re-working of Steve Watermans Homage to Mr Davis, Miles Below into a dance track! It is this freshness and generosity that marks Robin, a man in his seventieth year, as someone who is constantly active in his pursuit of pastures new. I hope you enjoy it as much as I do. Cliff Martinez.

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Early in the Mornin'

Masa Kamaguchi (Double Bass) - Gerry Hemingway (Drums) // The Blues is and always has been a source of inspiration for Samuel Blaser. Touched by the expressiveness of this style, the multi-faceted virtuoso trombonist uses all the resources of today's jazz and yesterday's to make its heritage bear fruit in a contemporary vision. Early in the Mornin' aims to celebrate the universality of the Blues and takes its place as a unique album midway between jazz and modern urban music.

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Price: 18.23 EUR excl. shipping

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