Steve Khan

Steve Khan - Lets Call This - 1991 - Bluemoon

Best-known for his fusion recordings, Steve Khan (ten years after recording the purely acoustic solo date Evidence) stretches out on this pure jazz date. Accompanied by bassist Ron Carter and drummer Al Foster, Khan explores a variety of superior jazz standards (including songs by Thelonious Monk, Wayne Shorter, Larry Young, Freddie Hubbard and Lee Morgan) along with his own "Buddy System." This is one of Steve Khan's finest recordings to date and is highly recommended to those listeners not familiar with this side of his musical personality. © Scott Yanow © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/lets-call-this-r142164

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 Fagen, (appearing on Steely Dan's Aja and Gaucho albums), Miles Davis, James Brown, Aretha Franklin, Chaka Kahn, Lou Rawls, and Quincey Jones. " Lets Call This" has got to be one of his best albums. It is a stunning recording with Steve Khan's own progressive jazz style that is a joy to listen to. He is backed up by two of the greatest jazz musicians in the business, bassist Ron Carter, and drummer Al Foster. This album is VHR by A.O.O.F.C. Check out Steve's "Arrows" and Coryell / Khan's "Two For The Road" albums on this blog, and listen to Steve's superb "The Green Field", "Eyewitness", and "The Blue Man" albums. Also check out Ron Carter's "Telephone" and Al Foster's "Brandyn" albums [All tracks @ 320 Kbps: File size = 108 Mb]

TRACKS / COMPOSERS

1 Let's Call This - Thelonius Monk
2 Masqualero - Wayne Shorter
3 Backup - Larry Young
4 Out Of This World - Harold Arlen, Johnny Mercer
5 Played Twice - Thelonius Monk
6 Little Sunflower - Freddie Hubbard
7 Buddy System - Steve Khan
8 Street Of Dreams - Victor Young
9 Mr.Kenyatta - Lee Morgan

MUSICIANS

Steve Khan - Guitar
Ron Carter - Acoustic Bass
Al Foster - Drums

SHORT 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. During the 1980s and 90s he was a member of the group Elements. He is the son of lyricist Sammy Cahn

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The son of lyricist Sammy Cahn, Steve Khan is best-known for his fusion records, but has proven on a few occasions that he can also play more straight-ahead. He originally played piano and drums, not starting on guitar until he was 20. After graduating from U.C.L.A. in 1969, Khan moved to New York and worked steadily in jazz, pop, and R&B settings, including with Maynard Ferguson, Buddy Rich, the Brecker Brothers, Joe Zawinul's Weather Update, and with fellow guitarist Larry Coryell. In 1981, he formed the quartet Eyewitness, which worked on an occasional basis throughout the 1980s. Steve Khan's most intriguing recordings are a 1980 solo exploration of Thelonious Monk tunes for Novus and a trio outing for Bluemoon named Let's Call This (1991). © Scott Yanow © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/steve-khan-p6892/biography

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

RON CARTER BIO

The epitome of class and elegance, though not stuffy, Ron Carter has been a world class bassist and cellist since the '60s. He's among the greatest accompanists of all time, but has also done many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets. His bowed solos are almost as impressive as those done with his fingers. Carter has been featured in clothing, instrument, and pipe advertisements; he's close to being the bass equivalent of a Duke Ellington in his mix of musical and extra-musical interests. Carter's nearly as accomplished in classical music as jazz, and has performed with symphony orchestras all over the world. He's almost exclusively an acoustic player; he did play electric for a short time in the late '60s and early '70s, but hasn't used it in many, many years. Carter began playing cello at ten. But when his family moved from Ferndale, MI, to Detroit, Carter ran into problems with racial stereotypes regarding the cello and switched to bass. He played in the Eastman School's Philharmonic Orchestra, and gained his degree in 1959. He moved to New York and played in Chico Hamilton's quintet with Eric Dolphy, while also enrolling at the Manhattan School of Music. Carter earned his master's degree in 1961. After Hamilton returned to the West Coast in 1960, Carter stayed in New York and played with Dolphy and Don Ellis, cutting his first records with them. He worked with Randy Weston and Thelonious Monk, while playing and recording with Jaki Byard in the early '60s. Carter also toured and recorded with Bobby Timmons' trio, and played with Cannonball Adderley. He joined Art Farmer's group for a short time in 1963, before he was tapped to become a member of Miles Davis' band. Carter remained with Davis until 1968, appearing on every crucial mid-'60s recording and teaming with Herbie Hancock and Tony Williams to craft a new, freer rhythm section sound. The high-profile job led to the reputation that's seen Carter become possibly the most recorded bassist in jazz history. He's been heard on an unprecedented number of recordings; some sources claim 500, others have estimated it to be as many as 1,000. The list of people he's played with is simply too great to be accurately and completely cited. Carter's been a member of New York Jazz Sextet and New York Jazz Quartet, V.S.O.P. Tour, and Milestone Jazzstars, and was in one of the groups featured in the film Round Midnight in 1986. He's led his own bands at various intervals since 1972, using a second bassist to keep time and establish harmony so he's free to provide solos. Carter even invented his own instrument, a piccolo bass. Carter's also contributed many arrangements and compositions to both his groups and other bands. He's done duo recordings with either Cedar Walton or Jim Hall. Carter's recorded for Embryo/Atlantic, CTI, Milestone, Timeless, EmArcy, Galaxy, Elektra, and Concord, eventually landing at Blue Note for LPs including 1997's The Bass and I, 1998's So What, and 1999's Orfeu. When Skies Are Grey surfaced in early 2001, followed a year later by Stardust, Carter's tribute to the late bassist Oscar Pettiford. In 2006 another tribute album was released, Dear Miles, dedicated to Miles Davis, also on Blue Note. © Ron Wynn © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/ron-carter-p6251/biography

AL FOSTER BIO

Al Foster was born in Richmond, VA, but was raised in New York. He taught himself drums at about the age of 13, and by the age of 16 he was recording with Blue Mitchell (as "Aloysius Foster" on the Blue Note album The Thing to Do). In 1969, at the Cellar Club on 95th St. in Manhattan, Foster got his big break; as he was backing up bassist Earl May in a quartet, his drumming was noticed by trumpeter Miles Davis. Davis hired Foster on the spot as a replacement for Jack DeJohnette, who was then departing the ever-enlarging Davis group of that period. This indeed would prove a long commitment for Foster, who played on every Miles Davis album ranging from Big Fun to You're Under Arrest, and toured with him extensively. Foster left Miles Davis in 1985, and since then has worked independently, sometimes as leader, sometimes as sideman. Over his lengthy and enduring career Al Foster has worked with Cannonball Adderley, Sonny Rollins, Charlie Haden, Thelonious Monk, Freddie Hubbard, Dave Liebman, Herbie Hancock, and Joe Henderson. © Uncle Dave Lewis © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/al-foster-p77092/biography