Steve Khan

Steve Khan - Arrows - 1979 - Columbia

Arrows, the follow-up to 1978's The Blue Man, has Khan again signed directly to Columbia rather than Tappen Zee, where Bob James produced Khan's 1977 debut, Tightrope. With commercial considerations a non-issue and armed with a vague concept, Arrows is often a humorless and bleak affair despite the skills of the talented guitarist. Khan shares the production duties with Elliot Scheiner on this 1979 effort. Almost immediately, Arrows seems to suffer from a lack of direction. While the 11-minute-and-42-second concept song "City Suite" offers nary a memorable riff, "Candles" has Khan doing some great unnerving solos with Michael Brecker supporting on soprano sax. The insistent "Some Arrows" finds the rote backing of most Khan's fiery solos null and void. "Calling" has some of the tunefulness of Tightrope and has him easily accessing the sense of longing and drama the earlier tracks stumbled over. Like many albums of the time, Arrows is a New York effort through and through, with players like Don Grolnick, Randy Brecker, and David Sanborn doing sturdy work. Khan's work here is steady but the influx of fragments rather than songs causes Arrows to only be recommended to hardcore late-'70s jazz fans and guitar fanatics. © Jason Elias © 2011 Rovi Corporation. All Rights Reserved. http://www.allmusic.com/album/arrows-r164434/review

With "THE BLUE MAN" not selling as well as "TIGHTROPE," Dr. George Butler requested that I have a co-producer for the next CD. I was lucky to be able to land the engineering/production talents of my old and dear friend, Elliot Scheiner. Elliot and I had recorded together on countless sessions, but perhaps most people link us together because it was Elliot who recommended me to Donald Fagen and Walter Becker for "AJA," which, of course, led to "GAUCHO." Like "THE BLUE MAN," the focus was the same, keep the core group of players intact and feature original tunes. In addition to the Telecaster, I decided to include my Fender Stratocaster, and it's heard on "City Monsters" as well as the Hendrix-influenced "Candles." Some highlights would have to include: The horn section work on "City Monsters"; Michael Brecker's solo on "City Monsters"; Don Grolnick's organ solo on "Some Arrows"; Steve Gadd's drumming on the "City Suite" and "Daily Village"; Rick Marotta's drumming on "Some Arrows" and "Candles"; the accompaniment of Don Grolnick and Will Lee throughout, but especially on "Daily Village." Though they haven't been seen since, the "ARROWS" LP featured some pretty zany liner notes by Donald Fagen © Steve Khan http://stevekhan.com/discog4.htm

Steve Khan began playing guitar when he was 19, after discovering that drumming was not his forte. As well as a considerable solo output, he is now regarded as one of the great session jazz guitarists, and a giant of progressive jazz and jazz fusion. He has performed with jazz and rock artists like Donald Fagan, (appearing on Steely Dan's Aja and Gaucho albums), Miles Davis, James Brown, Aretha Franklin, Chaka Kahn, Lou Rawls, and Quincey Jones. "Arrows" has received mixed reviews but is a great album with some Grade A musicians complementing Steve Khan's own progressive guitar style which is always worthwhile listening to. If you like this album, you should give his "Eyewitness" and "Evidence" albums a listen. [All tracks @ 192 Kbps: File size = 51.4 Mb]

DONALD FAGEN LINER NOTES

The kid from Westwood, after years of study and sacrifice, can now do just about everything he wants with an electric guitar. He has now begun to branch out into other areas. To this I can testify. I was there on that sticky afternoon at Mediasound Studios in Manhattan when Khan, obviously an intense, driven man, gave the go-ahead sign to his two enormous roadies, a pair of titans in "Inspector Fuseau" T-shirts. Four huge rectangular slabs of limestone were carted into Studio A and, while engineers and musicians alike looked on in horror, were carefully positioned in an igloo-like configuration in the center of the floor. Each dolmen had been meticulously decorated in a surreal, rather gallic style. In the shadow of this makeshift shrine, Khan began to rehearse the tunes with the other musicians. Before each run-through, Khan would stare at the structure from a different angle, as if trying to discern the answer to a hopelessly cosmic question, and then burn through the take as if he were possessed. The rest of the band seemed to respond to his blazing energy and were soon playing with unheard of fire and precision. During a union break, when Khan began to refer casually to the four tablets as "the brine, the salta, the awn and the alder," even the usually staid Will Lee almost choked on his eggplant frappé. Some people think they know all there is to know about Steve Khan. Sure, he does a great Ed Sullivan; O.K., he's got an almost Teutonic fascination with little machines. But don't let anyone tell you he's just another guitar player.

TRACKS

1. City Suite
Part I: City Monsters (5:30)
Part II: Dream City (6:09)
2. Candles (6:57)
3. Daily Village (6:42)
4. Some Arrows (5:48)
5. Calling (6:30)

All tracks composed by Steve Khan

MUSICIANS

Steve Khan : electric guitar, electric 12-string guitar, acoustic guitar
Jeff Mironov : electric guitar
Will Lee : electric bass, electric fretless bass, tabla bassa
Don Grolnick : Fender Rhodes, ARP String Ensemble, acoustic piano, organ
Rob Mounsey : Oberheim Polyphonic Synthesizer on "Candles", "Some Arrows", and "Calling"
Steve Gadd : drums except on "Candles", and "Some Arrows"
Rick Marotta : drums on "Candles", and "Some Arrows"
Errol "Crusher" Bennett : percussion
Michael Brecker : tenor saxophone, soprano saxophone on "Candles" and "Daily Village"
Randy Brecker : trumpet on "City Suite / Part I: City Monsters" and "Candles"
David Sanborn : alto saxophone on "City Suite / Part I: City Monsters"and "Calling"
Produced by Steve Khan and Elliot Scheiner. Engineered by Elliot Scheiner and Doug Epstein, assisted by Carl Beatty. Mixed with Necam by Elliot Scheiner and Steve Khan, assisted by K.C.Green and Peter Lewis

ABOUT STEVE KHAN

In a special issue of Japan's "JAZZ LIFE" magazine, they selected the 22 All-Time Greatest Jazz Guitarists. Of course, legends like Charlie Christian, Django Reinhardt, Wes Montgomery, Kenny Burrell, and Jim Hall were included alongside more recent giants George Benson, Pat Martino, Larry Coryell, and John McLaughlin. But right there amongst contemporaries John Abercrombie, Pat Metheny, John Scofield, Mike Stern and Bill Frisell was Steve Khan! Testament to a large body of work which now spans more than 30 years. Hard to believe this dream began at a rather late age with Wes Montgomery held as the model to which to aspire. Steve admits that, when he was a teenager, "I was a terrible drummer with no musical training. I had developed a love for the guitar, and when I was 19 I switched instruments. I decided that I would not make the same mistakes I had made with the drums and studied hard in college along with private lessons from Ron Anthony." During these years, Khan always found himself in fast company and, from such situations he learned, developed and survived. By the time he graduated from U.C.L.A., in 1969, he felt ready to make the move to New York City. From this point forward, so much of Steve's career is well documented. In 1974, he performed in one of the first contemporary jazz guitar duos with Larry Coryell. During this same period, he became a key member of the Brecker Bros. Band. His first recordings as a leader were a trio of well-received albums for Columbia Records titled: "TIGHTROPE"('77), "THE BLUE MAN"('78), and, "ARROWS"('79). These recordings featured Michael and Randy Brecker, David Sanborn, Don Grolnick, Will Lee, Steve Gadd, Mike Mainieri and others. In 1994, Sony Music/Columbia released a CD compilation drawn from these three LPs titled, "THE COLLECTION." In 1980, Steve began a great transition when he recorded a brilliant solo acoustic guitar album, "EVIDENCE," which paid tribute to his earliest jazz inspirations and served to establish him as one of the great interpreters of the music of Thelonious Monk. Between 1981 and 1985, he worked and recorded steadily with his quartet, Eyewitness, which included Anthony Jackson, Manolo Badrena, and Steve Jordan. Together they made three recordings: "EYEWITNESS"('81), "MODERN TIMES"/"BLADES"('82), and "CASA LOCO"('83). This groundbreaking group, and its recorded work, would come to be regarded as among the most innovative of its time! During 1984, Steve teamed with Steely Dan's Donald Fagen to interpret Thelonious Monk's "Reflections" for the "THAT'S THE WAY I FEEL NOW" recording which was a tribute to Monk and his compositions. When Eyewitness needed a break, Khan joined Joe Zawinul's WEATHER UPDATE for its one and only tour in '86. This was followed by an innovative duet recording with keyboardist Rob Mounsey. The Grammy-nominated CD was titled "LOCAL COLOR" and was released in '87. In 1989, Eyewitness was resurrected with Dave Weckl replacing Steve Jordan for the "PUBLIC ACCESS" ('90) CD. Since that time, Steve has added two highly acclaimed straight-ahead jazz recordings featuring Ron Carter and Al Foster. "LET'S CALL THIS" and "HEADLINE" were released in '91 and '92 respectively. In '94, Steve found himself back in the company of Anthony Jackson and Manolo Badrena, adding Dennis Chambers and Michael Brecker for "CROSSINGS," which is dedicated to the memory of Steve's late father, lyricist Sammy Cahn.Steve has contributed his talents to several special projects. His unique medley of two George Harrison tunes graced Mike Mainieri's NYC Records "COME TOGETHER," A Guitar Tribute to the Beatles. Here Steve was accompanied by Marc Johnson, Peter Erskine, and Nana Vasconcelos. Special Olympics and the Holiday Season brought Steve together with the Brecker Bros. for a Salsa-styled interpretation of his father's one Christmas song, "The Christmas Waltz," which appeared on the "JAZZ TO THE WORLD" CD. 1996 saw Steve teamed with Argentine vocalist Gabriela Anders, Rob Mounsey, and, New York Salsa All-Stars Rubén Rodríguez, Marc Quiñones, and Papo Pepin to contribute "Don't Worry Baby"("No Te Preocupes Nena") to "WOULDN'T IT BE NICE." a tribute to Brian Wilson. Recorded in 1996, "GOT MY MENTAL" brings Steve together for the first time with John Patitucci on acoustic bass and Jack DeJohnette on drums. The CD once again finds him using his unique playing and arranging perspective to interpret the works of Wayne Shorter, Ornette Coleman, Lee Morgan, Eddie Harris, and standards by Rodgers & Hammerstein as well as Steve's father with Jimmy Van Heusen. The latter is a stunningly beautiful rendering of the Sinatra classic "The Last Dance." On four of the eight tracks, the trio is joined at times by percussionists Bobby Allende, Marc Quiñones, and Don Alias. Brasilian percussionist Café lends his special talents to Steve's romantic journey through "I Have Dreamed." The intensity and creativity brought to the sessions shows Steve's unfailing desire to meet new challenges and explore them. These qualities cause his name to always be mentioned when discussions of contemporary jazz guitar are carried on. 1997 saw Steve reunite with Rob Mounsey to record "YOU ARE HERE." It had been nearly 10 years since the release of "LOCAL COLOR" and the duo was anxious to get back at it again. Like the prior CD, when these two tremendous musicians get together the music tends to defy categorization, but the new recording seemed to sit somewhere between a contemporary version of Latin jazz and World Music jazz. Also in keeping with their previous work, Steve is again heard on only acoustic guitars. Reminding us all, that he is one of the instruments most unique stylists, playing melodies and solos with a touch and phrasing all his own. One brand new dimension for "YOU ARE HERE" was the presence of Latin percussion virtuoso Marc Quiñones. Marc brought his spirit and power to signature compositions by Khan-Mounsey like "Clafouti," "Platanos Maduros," and "Peanut Soup." Released in September of 1998, the recording leaves little doubt that Steve and Rob are blazing a trail of their own making. August of '98, Steve toured Japan as part of Dave Samuels' "Tribute to Cal Tjader" Group. Apart from the tremendous reaction the group received, the tour was to have more far reaching consequences as it was here that plans were made for Steve, Dave Samuels and Dave Valentín to become the co-leaders of the reformed Caribbean Jazz Project. Together, the group recorded "NEW HORIZONS"(2000) was released on Concord Picante "PARAÍSO"(2001) both were released on Concord Picante and served to redefine just what the role of the guitar could be in Latin Jazz. However, in January of '02, citing conflicts over the group's direction, Steve chose to leave the group, and pursue other interests. After a nine year absence from recording as a leader, Steve entered Avatar Studios in May of 2005, accompanied once again by John Patitucci and Jack DeJohnette to record "THE GREEN FIELD." The return of longtime colleague, Manolo Badrena on percussion was most welcomed by all fans who appreciate his unique presence. The 18:05 title track is one of the absolute highpoints in Steve's long recording career. In addtition to the 6 quartet pieces, the basic "trio" was joined by Ralph Irizarry(timbal) and Roberto Quintero(conga & percussion) for Latin treatments of tunes such as: "Riot"(Herbie Hancock); the standard, "You Stepped Out of a Dream"; "Nefertiti"(Wayne Shorter) and, a special tribute, composed by Steve, and dedicated to both Tito Puente and Willie Bobo, which features incredible solos from Roberto, Ralph, and Jack, and is titled, "Cosecha lo que has sembrado." 2007 saw the release of the Grammy nominated "BORROWED TIME" and, for the first time since "CROSSINGS," the cover featured the beautiful artwork of the late Jean-Michel Folon. The recording is an extension of Steve's work with both John Patitucci and Jack DeJohnette and attempts to fulfill the promise of "THE GREEN FIELD." Manolo Badrena is on hand again, as are Ralph Irizarry(timbal) and Roberto Quintero(conga & percussion). All these players were joined by Bob Mintzer(bass clarinet) and tabla master Badal Roy for Steve's very original "El Faquir" which seeks to blend Jazz; Indian and Latin genres in a most surprising way. Steve was also able to present arrangements of "Have You Met Miss Jones?" and his own "Face Value" in tribute to Clare Fischer's harmonies. These spectacular tracks feature old friends: Randy Brecker(flügelhorn), Rob Mounsey(keys.), Rubén Rodríguez(baby bass & elec. bass) and, Marc Quiñones(timbal) & Bobby Allende(conga). After years of bootlegs and illegal downloads, 2008 brings with it the release of the 2-CD set, "THE SUITCASE." As was the case for the prior two CDs, the initial releases were on: 55 Records(Japan); Tone Center Records(USA) and ESC Records(Germany/Europe). Alongside longtime bandmates, Anthony Jackson and Dennis Chambers, the trio was originally recorded by WDR for a live radio broadcast from Köln, Germany in 1994. With the superb sound quality and the spectacular performances, this CD is already being hailed as: "One of the greatest live recordings of all-time!!!" Throughout his long and distinguished career, Steve has found time to lend his talents to recordings by such diverse artists as: Miles Davis, Steely Dan, James Brown, Aretha Franklin, Chaka Khan, Quincy Jones, Lou Rawls, Eddie Palmieri, Gil Evans, Freddie Hubbard, the Brecker Bros., Steps Ahead, among others (too numerous to list). He has also produced recordings for fellow guitarists Larry Coryell, Mike Stern, Biréli Lagrène, and Bill Connors, as well as pianist Eliane Elias. In addition, he has published five highly-regarded books: "WES MONTGOMERY GUITAR FOLIO", "PAT MARTINO-The Early Years", "GUITAR WORKSHOP SERIES-Steve Khan"(this book really functions as an Eyewitness Songbook), and most recently, "CONTEMPORARY CHORD KHANCEPTS." 2002 saw the long-awaited publication of Steve's "PENTATONIC KHANCEPTS" which is intended to serve as the linear adjunct to its chordal predecessor. While continuing to perform in clubs and concert halls throughout the U.S., Europe, Central and South America, and Japan, Steve has also become one of the most in-demand music clinicians and teachers. © www.stevekhan.com/khanbio.htm

BIO (WIKI)

Steve Khan (born April 28, 1947) is an American jazz guitarist. Born in Los Angeles, California, Khan is known for his work with artists such as Steely Dan, Billy Joel, Michael Franks, Hubert Laws, Billy Cobham, Jack DeJohnette, James Brown, Maynard Ferguson, and Weather Report. In 1977, he toured with the CBS Jazz All Stars in Japan, and led a band called Eyewitness that featured musicians such as Steve Jordan, Anthony Jackson and Manolo Badrena. Khan is the author of five books on jazz music: Pentatonic Khancepts, Contemporary Chord Khancepts, The Wes Montgomary Guitar Folio, Pat Martino - The Early Years, and Guitar Workshop Series. His album "Borrowed Time" (TIEMPO PRESTADO) was a nominee for the 2007 50th Grammy Awards in the Best Latin Jazz Album (vocal or instrumental) category. He is the son of lyricist Sammy Cahn.