Rob Whitlock

Rob Whitlock - Sketchin' 2 - 2006 - Sketchin' Records

When reflecting upon the proverbial influence that the Hammond B3 electric organ has had on jazz, the first name that comes to mind is the incredible Jimmy Smith. Over time, cadres of very dominant organ specialists in their own right have followed a path layed by Mr. Smith. They include Wild Bill Davis, Richard "Groove" Holmes, Jack McDuff, Jimmy McGriff, Tony Monaco and a host of other notable individuals whose influence has impacted the overall jazz scene. In recent years, another noteworthy artist has been quietly making a name for himself as a creative force in jazz in the name of Rob Whitlock. In a very short span of time, Rob has established himself as a well respected musician while performing stints with Jaco Pastorius, Randy Berensen, Bill Watrous and Max Bennett. He has also toured extensively in the United States and Europe with A.J. Croce, the Dazz Band and Fattburger in numerous concerts and festivals. Further examination reveals that Rob’s overall grasp of music and jazz was overseen by his father, who comes to the table as a highly respected jazz guitarist. Having played the organ since the age of eight, Rob’s dad often encouraged him to do extemporaneous concerts in the family home for his musician friends. With that being said and other forces pushing Rob onward and upward into the musical universe, he has begun the process of expanding his perspective to a higher level of influence. To a much larger degree, Rob has been massaging his creative juices even more by spending some quality time in the recording studio. His latest album entitled Sketchin’ 2 is a stunning follow-up release to his Sketchin’ CD, which in my mind has revelations of a different sort, some of which are artistically different than what has been observed in previous Whitlock encounters. Sketchin’ 2 can best be described as a blues-based fusion jazz recording that contains cover songs as well as original arrangements. Included is a vocal interpretation of Billie Holiday’s "Them There Eyes," sung by Amber Whitlock. The sidemen include saxophonist Michael Brecker, trumpeter John Georgini, guitarists Pat Kelly, Bob Whitlock, Scott Henderson, bassist Anthony Jackson, percussionist Vinnie Colaiuta, drummer Cliff Almond and Othello Molineaux on steel pans. Collectively speaking, along with Rob Whitlock working his magic on keyboards, Sketchin 2 is an album that is well beyond the norm of most jazz heard today. On this release, Rob wrote as well as worked with others on four new songs to make this outing a happening. His eclectic and strategic use of fused nuances to highlight contemporary jazz and blues are the very essence of Whitlock’s appeal on this recording. Although he is the spearhead behind Sketchin’ 2, Rob takes the CD another further by allowing his stellar cast of sidemen to shine through at various times. As one reflects upon the theme of his original intent, Rob goes the distance in transposing his ideas into thought-provoking musical relevance. The intuitive creative spirit that comes from within is alive and kicking on such tracks as "2nd Service," "Cold Duck Time" and "Gotta’ Insulator." In retrospect, this CD has Whitlock and company jamming through a complex set of grooves that are hard-driving forays into the very crust of fusion-based jazz. Sketchin’ 2 has a variety of multi-faceted dynamics to make it a compelling piece of work. One tidbit of déjà vu has Julius Pastorius, son of the late bassist Jaco Pastorius, doing the album’s artwork. That mosaic along with the fusion-based rhythms of Rob Whitlock and his band of studio musicians provide a panoramic view of everything cool about jazz as a work of artistic importance. Based upon my first and last impression of Sketchin’ 2 and my introduction to Rob Whitlock, I am compelled to get excited about what could be forthcoming from a Hammond B3 organ master craftsman. [Rating:Four Stars] Written by & © Sheldon T. Nunn 20.02.2006 © 2013 - 2014 jazzreview.com. All rights reserved. http://www.jazzreview.com/cd-reviews/fusion-cd-reviews/sketchin-2-by-rob-whitlock.html

The veteran keyboardist fully embodies the art of independent jazz-making on this engaging and wildly eclectic project, which involved a series of exciting recording sessions that took place over a two-year span with a high-pedigree supporting cast. This includes Michael Brecker (whose feisty tenor adds punch and fire to the downtempo bluesy moods of "2nd Service"), Vinnie Colauita, Anthony Jackson (contrabass guitar), Scott Henderson (whose electric guitar does a slow, blistering burn through "Gotta Insulator"), Othello Molineaux (whose tropical touch on steel pans drives "2nd Service" before Brecker takes over), Cliff Almond (drums), and Pat Kelley (electric guitar on the romantic, late-night smoky ballad "Do I Love You"). As a follow-up to 2005's Sketchin', the new collection has a bit of an edgier and "retro" feel to it, but the results are always engaging and provoke a wide range of emotions. The mix also offers some cool surprises. Just as you're being seduced by the Spyro Gyra-like flavors of the opening track, Amber Whitlock's graceful vocals on the gently swinging jazz standard "Them There Eyes" puts you in a whole other traditional place. You're riding the funky highway of "Gotta Insulator," and the always wild and bluesy fun of Eddie Harris' "Cold Duck Time" comes along and spins you in a whole other rhythmic direction (with Henderson leading the way into a fusion neverland, of course). Following that, "At Freedom Chicken Dance" is the ultimate crazy-maker highlighted by more shenanigans from Henderson and scorching horn accents. The much gentler closer, "The Colours of Life," was the soothing radio track, but it seems like a slight letdown, being so simple and straightforward after all of the exciting oddities and fun that came before it. - Review by & © Jonathan Widran © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/sketchin-vol-2-mw0001442610

FOR IMMEDIATE RELEASE May 1, 2006: Keyboardist Rob Whitlock takes his place on center stage backed by a stellar supporting cast on Sketchin’ 2 Duet with Michael Brecker at radio while the critics praise the new collection of jazz, blues and fusion. After more than two decades of recording, performing and touring in support of jazz, pop and R&B stars, keyboardist-producer-composer-arranger Rob Whitlock is ready for his close-up. This time, the luminous cast is supporting him on Sketchin’ 2, the album that hit the streets this week on the artist’s own Sketchin’ Records label. A “musician’s musician,” Whitlock is a sought after Hammond B3 organist, who also plays piano and keyboards. He was joined in recording studios throughout the U.S. over a two-year span to work on the eclectic Sketchin’ project. Along with Michael Brecker, Vinnie Colaiuta, Anthony Jackson, Scott Henderson, Othello Molineaux, Pat Kelley, and Cliff Almond, Whitlock recorded enough musical sketches that incorporate a variety of genres to populate two albums. The first disc was released last fall. Last month, smooth jazz radio stations were given an advance taste of the second collection with “The Colours Of Life” (instrumental reprise), a simple, heartfelt piano and sax duet between Whitlock and Brecker. Whitlock composed or collaborated on four new songs while producing and arranging Sketchin’ 2. He challenges listeners by presenting compositions culled from traditional and contemporary jazz, blues, and fusion. Sometimes his keyboard artistry leads and other times he takes a back seat to allow a sax, a guitar or a vocalist to pilot the track. The production is warm and organic because being able to play these songs live is important to Whitlock. To that end, he will bring a band comprised of Jackson (bass), Almond (drums), Mike Miller (guitar), and Amber Whitlock(vocals) to perform music from the Sketchin’ series to San Diego (May 27th at Dizzy’s), San Juan Capistrano (May 28th at KSBR-FM’s Birthday Bash) and Los Angeles (June 2nd at the Baked Potato), with additional dates and cities soon to be announced. Although the album just hit the streets, it was greeted with positive buzz. All Music Guide wrote, “The veteran keyboardist fully embodies the art of independent jazz-making on this engaging and wildly eclectic project…As a follow-up to 2005's Sketchin', the new collection has a bit of an edgier and ‘retro’ feel to it, but the results are always engaging and provoke a wide range of emotions. The mix also offers some cool surprises.” EJazzNews.com stated, “Whitlock directs his band-mates through an affable course of action, where jazzy funk grooves, soaring horns and a synthesis of cross-genre components coalesce for an enticing set of musical notions. The keyboardist’s sweeping B-3 lines generate a peppery edge within Brazilian-tinged jazz- grooves, and R&B drenched motifs…Whitlock’s muse is immersed within a multihued musical palate. He injects hard-driving mosaics spanning divergent rhythmic forays, complementing his substantial writing/arranging faculties amid the musicians’ obvious sense of conviction.” All About Jazz added, “Filled with a catchy mixture of rock, funk and jazz beats, Sketchin' 2, with first-rate musicians easily weaves between the lines of what used to be called 70's rock & fusion…‘The Colours of Life’ (is) a haunting mixture of Rob Whitlock's animated keyboards and Brecker's amazing tenor…If you’ve been missing the work of Donald Fagen and Walter Becker (Steely Dan), Sketchin’ 2 is a worthy alternative that demands attention.” SmoothJazz.com concluded, “There is some serious jazz on this disc...make no mistake about it...seriously great jazz…We can't overlook the stunning vocal performance from Rob's wife, Amber, on the Billie Holiday staple, ‘Them There Eyes’…Overall, Sketchin’ 2 from Rob Whitlock is first-rate material performed by first-rate musicians, and the results are awesome!” Julius Pastorius, son of the late bass legend Jaco Pastorius, did the album artwork for Sketchin’ 2, which is comprised of a series of intricate sketches of the musicians captured in the record- ing studio. The concept was for the illustrations to tell a story of the music and the musicians involved as album artwork often did in the days before music videos. However, to please the video inclined, the album is an enhanced CD that contains still photos and sketches from the recording sessions set to music in a video format. Additional information on Whitlock can be found at www.robwhitlock.com © robwhitlock.com

AAJ said that “Sketchin' 2” is “Filled with a catchy mixture of rock, funk and jazz beats....Sketchin' 2, with first-rate musicians easily weaves between the lines of what used to be called 70's rock & fusion”. SmoothJazz.com said, “There is some serious jazz on this disc...make no mistake about it...seriously great jazz....We can't overlook the stunning vocal performance from Rob's wife, Amber, on the Billie Holiday staple, ‘Them There Eyes’....Overall, Sketchin’ 2 from Rob Whitlock is first-rate material performed by first-rate musicians, and the results are awesome!” “Sketchin’ 2” is a really cool jazz album from the great West Virginian composer and keyboardist Rob Whitlock. Rob is helped out by artists that include Scott Henderson, Anthony Jackson, Vinnie Colaiuta, Michael Brecker, and his wife Amber Whitlock who sings lead vocals on “Them There Eyes”. This is great music with funk, soul, rock, jazz, R&B, fusion, Latin and many other elements. When you need a break from shredding and prog. rock, give this album a listen. Quality jazz with fabulous musicianship, and HR by A.O.O.F.C. Check out Rob’s “Sketchin'” album [All tracks @ 320 Kbps: File size = 105 Mb]

TRACKS / COMPOSERS

1 2nd Service - Rob Whitlock 6:59
2 Them There Eyes - Maceo Pinkard / Doris Tauber / Amber Whitlock / Rob Whitlock 4:44
3 Gotta Insulator - Rob Whitlock 7:53
4 Cold Duck Time - Eddie Harris 5:18
5 At Freedom Chicken Dance - Pee Wee Ellis / Eddie Harris / Rob Whitlock 6:54
6 Do I Love You - Richard Rogers 4:43
7 The Colours of Life (Reprise) - Amber Whitlock / Rob Whitlock 9:25

MUSICIANS

Pat Kelley, Scott Henderson - Guitar
Anthony Jackson - Contrabass Guitar
Rob Whitlock - Hammond Organ, Piano, Loop, Horn Arrangements
Vinnie Colaiuta, Cliff Almond - Drums
Othello Molineaux - Steel Pan
Michael Brecker - Tenor Sax, EWI, Saxophone Arrangement
John Rekevics - Saxophone, Bass Clarinet, Horn Arrangements, Orchestration
Wayne Bergeron - Trumpet
Andy Martin - Trombone
John Georgini - Flugelhorn, Muted Trumpet
Amber Whitlock - Lead Vocals on Track 2

BIO

Rob Whitlock, a naturally gifted musician, finds himself equally comfortable writing, arranging and producing music, soloing spontaneously or comping supportively behind other soloists, making them sound even better themselves. It's easy to see that Rob enjoys playing and even more enjoys whom he's playing with. Musicians with this balance of style and grace are not as easy to find as one might think. Finding expression through an artist with this combination of gifts is what truley makes music a language in it's own right, and Whitlock speaks it fluently. Rob has been playing the Hammond B-3 organ since age eight, when his father, a well respected jazz guitarist in Miami/Ft. Lauderdale encouraged him to do impromptu concerts in their family living room for professional musician friends. He was greatly influenced by Jimmy Smith, Wes Mongomery and Charlie Parker recordings from his dad's collection of jazz. On his own he discoverd Herbie Hancock, George Duke, Chick Corea, Miles Davis and Jaco Pastorius. The young musician quickly learned how to make a living by gigging around the area on keyboards as well as bass. At the age of seventeen, Rob met Jaco, who gave advice and encouragement to his younger friend. Jaco also sent friends to Rob's father for guitar lessons, having learned quite a bit himself from the senior Whitlock. After having played with great musicians like Jaco Pastorius, Randy Berensen, Othello Molineaux, Carl Fontana, Joe Williams, Bill Watrous and "The Peter Graves Big Band", as well as a host of unknown, but extremely talented New York transplants, Rob relocated to California at age 25, via a three year stint in Washington, D.C. In California, Whitlock became involved with some gifted musicians and formed a band with them playing contemporary jazz by groups like "The Brecker Brothers", "Yellow Jackets" and performed songs by writers Victor Feldman, John Scofield and Don Grolnick, as well as their own originals. During that time Max Bennett of "Tom Scott and the LA Express", asked Rob to join his originals band, of which Whitlock is currently still a member. Not long after, he began touring with "The Jazz Crusaders" through the U.S. and Europe on keyboards. With AJ Croce, while playing the B-3, he toured Scandanavia, as well as many other destinations with the Dazz Band and Fattburger, for festivals and concerts. As far as recording goes, Rob has been on anywhere from Kathie Lee Gifford and Rita Coolidge, to Fattburger, Steve Laury, Pat Kelley, Wayne Johnson and Max Bennett albums, ranging from pop to the many jazz genres. He has also been on recordings with legendary musicians like Vinnie Colaiuta, John Guerin, Joe Sample, Russell Ferante, Tom Scott, Warren Wiebie, Anthony Jackson and including greats Jeff Lorber, Will Lee, Bill Berg, Jimmy Johnson, Jim Gilstrap, Mike Miller, Scott Henderson, Greg Bissonette, Matt Bissonette, Cliff Almond, John Ferraro, Earnest Tibbs , Othello Molineaux, Bob Magnuson and Peter Sprague. Concert and club appearances include; Eddie Harris, Charles McPhearson, Abe Laboriel, Jaco Pastorius, Felix Pastorius, Tom Scott, Joe Williams, Ronnie Laws, Joe Sample, Lee Greenwood, Mavis Staples, Miki Howard, The Dazz Band, Mundell Lowe, Bobby Shew, Wayne Johnson, Peter Sprague, Sam Riney, Grant Geissman, Jeff Kashiwa, Bud Shank and Fattburger. Television appearances include "Austin City Limits"," Sound FX" on Fox, "The Wayne Brady Show", Katie Lee Gifford's most recent TV concert, "Gentle Grace", and others. Rob has written for television for the lifetime and other cable channels, and continues to do so. After having completed two new cds for himself ( "Sketchin" and "Sketcthin' 2" ), as well as two for his wife, vocalist Amber Whitlock ("The Colours of Life" and "The Circle" ), Rob is making plans to perform the new works in venues in the states and abroad. The musicians of choice for these projects were the incomparable Vinnie Colaiuta, Anthony Jackson, Scott Henderson, Cliff Almond, Pat Kelley and the amazing Michael Brecker. Also featured are old friends, Othello Molineaux, Wayne Johnson, Brian Price, his former college instructor, John Georgini, as well as Rob's father, Bob Whitlock on guitar and pedal steel. The horn section was comprised of three of Rob's favorites, Wayne Bergeron, Andy Martin & great buddy John Rekevics. Rob's new solo cd "Sketchin" incudes only a few of the talented artists he has come to know over the years, and includes original songs that he has written over the span of two decades. It has been above all, a labor of love; Love of music, of fellow musicians and their gifts, and of the enthusiast for whom he is happy to present this work, the jewel of his labor. In the words of eleven time Grammy Award winner Michael Brecker, "It was a joy to be a part of the Rob Whitlock project. In addition to his being a fantastic player/composer, Rob has a knack for bringing out the best in the musicians with whom he plays. This was fun." © 2005 Rob Whitlock. All rights reserved. http://www.robwhitlock.com/longbio.html

Phil Turcio

Phil Turcio - Signals - 2008 - Phil Turcio

Phil was the resident pianist with the In Melbourne Tonight Band on Channel 9 and Hey Hey It's Saturday. He toured nationally with The Main Event, featuring Olivia Newton John, John Farnham and Anthony Warlow. He also composed a song for The Sydney 2000 Olympics Closing Ceremony. At the age of seven Phil started learning piano with his father John. At sixteen he decided to pursue a career in music and he attended Box Hill College of Music, studying piano with teachers Greg Dixon and Thomas Spivak. The following year he travelled to Naples, Italy, where he undertook specialist classes with classical pianist Antonio Maione. On his return to Australia Phil continued his studies at Melbourne University, with jazz pianist Tony Gould. Since then he has worked in many different fields in the music industry as a Pianist, Composer, Producer, Musical Director and Teacher of classical and jazz piano. Throughout his career Phil has worked with Australia's most accomplished musicians and has accompanied many Australian and International artists. He has worked for Television Channels 7, 9 and 10, and in the recording field has played for many performers, as well as being Producer and Musical Director for numerous events. In 1997/98 Phil was the resident pianist with the In Melbourne Tonight Band on Channel 9. In 1998 he toured nationally with The Main Event, featuring Olivia Newton John, John Farnham and Anthony Warlow. In 1999 he released the album entitled Serious Young Insects with renowned drummer Virgil Donati and his band 'On The Virg', which included many of his compositions. Also that year, Phil Joined the Hey Hey it's Saturday Band for its final season. In the year 2000, the song 'We'll Be One' which he composed with his wife Kylieann, was chosen as the final song for the Sydney 2000 Olympics Closing Ceremony. He has also composed music for various TV series such as Huey's Cooking Adventures on network 10. Recently Phil has released the album State of the Heart with Lisa Edwards, which he also arranged and produced for ABC records. Phil was also the resident keyboard player for The Big Night In in 2005 on network 10. He is currently involved in producing two original recording projects : the first one with US bass player, Ric Fierabracci (Chick Corea Electric Band), and US drummer Joel Rosenblatt (Bill Evans Band/Spyro Gyra) with their band Hemispheres. The other is his first solo album featuring US drumming great Will Kennedy (Yellowjackets/Johnathon Butler), and US sax player Gary Meek (Dave Weckl Band), which is to be released in 2006. Also listen out for Guy Sebastian's new single 'Taller, Stronger, Better', written by Guy Sebastian, Phil Turcio and Gary Pinto, Produced by Phil Turcio. © Rapture Band http://www.raptureband.com.au/bio/phil-turcio

“Signals” is Adelaide born keyboardist Phil Turcio’s (Hemispheres, On The Virg) debut album and features many stellar fusion musicians including bassists Ric Fierabracci and Craig Newman, drummer Dave Weckl, and guitarist Simon Patterson. Phil's versality as a musician keeps him in constant demand. His list of credits include K.D. lang, Dave Weckl, Ric Fierabracci, Virgil Donati, Tom Brechtlein, Will Kennedy, George Garzone, Gary Meek and numerous others. Phil and his band 'Hemispheres' were nominated for a Grammy in 2008 for 'Best New Contemporary Jazz Group'. “Signals” will be classified as “smooth” jazz by some and jazz fusion by others. However, this is not bland jazz. A little on the light side, maybe, but terrific musicianship and well above average compositional skill make the album a worthwhile inclusion on this blog. If you like artists like Chick Corea, and Greg Phillinganes you may like this album by an exciting, and brilliant keyboard player. Check out Ric Fierabracci, Phil Turcio and Joel Rosenblatt’s great “Hemispheres” album [All tracks @ 320 Kbps: File size = 103 Mb]

TRACKS

1. Beyond Control 5:08
2. Lost 5:38
3. Miracles 6:02
4. Signals 7:42
5. Am I Awake 5:13
6. Solitude 5:22
7. Mystical Mojo 7:18

All tracks composed by Phil Turcio

MUSICIANS

Simon Patterson – Guitar
Craig Newman – Bass on Tracks 2,4
Ric Fierabracci – Bass on Tracks 6,7
Phil Turcio – Piano, Keyboards
Will Kennedy – Drums
Dave Weckl – Drums on Track 5
Gary Meek – Soprano Sax

Luca Colombo (Beatles Related)

Luca Colombo - Playing the Beatles - 2005 - Azzurra Music

The acclaimed Italian guitarist covers 15 classic Beatles' tracks very well. He doesn't deviate much from the original chord structures, but still puts his own jazzy stamp on the music. All these tracks have been covered a zillion times before, but it's very hard to go wrong with the ageless songs of Lennon, McCartney, and Harrison. Nice album. Check out Stephen Bennett's "Beatles Acoustic Guitar Solos" album and Laurence Juber's "LJ Plays the Beatles" album [All tracks @ 320 Kbps: File size = 128 Mb]

TRACKS

1. And I Love Her (04:43)
2. Here There And Everywhere (04:20)
3. Can’t Buy Me Love (02:51)
4. Come Together (03:36)
5. Day Tripper (03:32)
6. Blackbird (03:05)
7. Drive My Car (03:26)
8. Something (04:02)
9. Michelle (04:34)
10. Norwegian Wood (03:29)
11. Yesterday (03:58)
12. Medley/ Please Please Me, From Me To You (03:29)
13. Let it Be (04:18)
14. Hey Jude (04:01)
15. Here Comes The Sun (02:50)

All songs by Lennon & McCartney except Tracks 8 & 15 by Harrison

Luca Colombo - Acoustic Guitars (Yamaha CG 150,Taylor 420,Gibson L4): Harmonica

BIO

Guitarist, teacher, arranger who has worked with many artists, the best of Italian music and also internationally, has recorded two CDs as a soloist and collaborated on several didactic works, official endorser for Italy for Vox Amps, Dean Markley Strings, guitars Yamaha acoustic, Wampler pedals. graduated in 1986 with the Giorgio Cocilovo and later a teacher at the CPM in Milan in specialization of the instrument was then graduated in 1990 at Milan with CDM master Filippo Daccò in arrangement for Big Band and Jazz Guitar . It also boasts collaborations in numerous movie soundtracks and TV commercials. holds numerous seminars and master classes in schools across Italy guitar-rock fusion, special effects, improvisation and shift workers. It is part of the "Night of the Guitars" that brings together the best Italian guitarists for a project that sees them protagonists of numerous concerts and festivals throughout Italy. born in Cernusco, in 1966, Luke discovers a very young age his passion for music. Approximately 20 years playing the electric and acoustic guitar, favoring the rock-blues and fusion. practicing as a guitarist as "session-man" in Italy mainly in television, recording and live. Formation music by Luca has always been inspired by the great myths of the guitar as Carlos Santana, Jimi Hendrix, Jeff Beck, Van Halen, David Gilmour subsequently approached jazz-fusion guitarists, referring to capiscuola like Pat Metheny John Scofield, Mike Stern, Wes Montgomery, Joe Pass, has always had a great passion for the Beatles, from which the idea of publishing a tribute to the same record on the CD "Playin 'the Beatles" published in 2005 by Azzurra Music. Luca Colombo, a thorough professional and for this reason, contested and refined, has participated in numerous television programs, occupying important space in the foreground of events such as the Festival of Sanremo, Good Friday, Saturday Italian, Maurizio Costanzo Show, A drive for the summer, Fiorello Show, Word of Mouth, Rockpolitik, 50 Canzonissime, X Factor, etc ....), under the direction of orchestral Pinuccio Pirazzoli, Pippo Caruso, Peppe Vessicchio, Demo Morselli, Fio Zanotti, Celso Valli etc.. Luca was artistic collaborator "Tour live" Eros Ramazzotti, Nek, Max Pezzali, Mango, Anna Oxa, Antonella Ruggiero, Umberto Tozzi, Toto Cutugno, Cat Power, Franz Di Ciocco, Loredana Berte. has worked, also, in the musical realization of numerous advertising campaigns including: Volvo , Trunks, Ferrero, Plasmon, Superga, Enel, and other ..., and implementation of numerous acronyms, bases and background music for Canale 5, Italy 1, Rete 4. E 'was engaged in collaborations with occasional live: Gloria Gaynor Franco Battiato, Fiorello, Renato Zero. has composed and produced the soundtrack for the film "Leeward" (2001) - Claudio Amendola protagonists and Anna Valle and participated in the creation of records and home video of accredited Italian artists (Adriano Celentano, Fiorello , Cornflower, Fausto Leali, Umberto Tozzi, Antonella Ruggiero, Toto Cutugno, etc. ....). E 'first guitar orchestra of the Festival of Sanremo in 2007.To view the historical discography, tour, artistic collaborations and education on TV Click here »» http://www.lucacolombo.biz/it/biografia_b.php - Translated from Italian http://www.lucacolombo.biz/it/biografia.php

Jenny Davis

Jenny Davis - Inside You - 2009 - Independent

“A pure voice and laser like pitch!” (Katie Malloch, CBC Radio)
“Goes deep and makes you feel the lyrics” (Jazz Times)
“Vocalese doesn’t get any better than this!” (All About Jazz)
“A welcome addition to the history of jazz vocalists” (All About Jazz)
“Stellar vocal jazz…magnificent…talented!” (Smother)

On her third album, Northwest singer Jenny Davis continues a thread started in previous releases. Instead of drawing solely from the American Songbook, as is common for contemporary jazz vocalists, Davis digs through other elements of the jazz repertoire. The classic Songbook writers are all present, but often in tracks that were perhaps better known as instrumentals: "On Green Dolphin Street" indeed is probably better known in association with Coltrane or Miles Davis than Ned Washington. Davis ably transitions Jobim's "No More Blues" into more of a modern nightclub sound with only the slightest Brazilian inflection. She warbles over Charlie Parker's "Confirmation" in a solfege-like delivery reminiscent of Annie Ross (or even Dizzy Gillespie). She softens the Beatles' "Blackbird" just a bit before leaving as well. Through the whole, Davis is backed up by the ever-present guitar of Chuck Easton and its bubbling, bouncing sound, as well as the standby bass of Ted Enderle. The album feels a little less adventurous than her previous outings, but is still a fine set from a fine singer. © Adam Greenberg © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/inside-you-mw0002089988

Jenny Davis' It Amazes Me (Self Produced, 2006) was a relaxed tuneful affair employing a crack quintet capable of multiple layers of musicianship. For Inside You, Davis whittles her quintet to a duo, featuring her regular guitarist Chuck Easton, and bassist Ted Enderle, furnishing a stripped-down swing that depends on its own momentum with which to propel it. From the near orchestral duet with Easton on "When Your Lover Has Gone" to the brilliantly spare duet with Enderle on "Softly, As In A Morning Sunrise" Davis displays major deep and dense growth since her flagship It Amazes Me. Outstanding in the mix is Davis' note-perfect performance of Eddie Jefferson's lyric-fortified version of Charlie Parker's "Confirmation." Where King Pleasure was able to divine Parker's blues aesthetic from "Parker's Mood," Jefferson captures the whole of be bop in his love affair with "Confirmation." Fast, complex, and readily engaging, the head of "Confirmation" invites intricate duets like that of alto saxophonist Art Pepper and bassist George Mraz from Art Pepper: The Complete Village Vanguard Sessions (Contemporary,1995). Davis and Easton dodge raindrops in a spring shower as they skip through it, with Enderle showing the way. Easton and Enderle each take a chorus solo, each supporting the other, before scooping up Davis for the coda. Vocalese rarely gets better than this. By & © C. MICHAEL BAILEY, Published: November 19, 2010 © 2012 All About Jazz and/or contributing writer/visual artist. All rights reserved http://www.allaboutjazz.com/php/article.php?id=38053

Jazz vocalists are ten a penny but Jenny Davis is an exception, with clear, light, laid back vocals and a pure effortless voice. She is not trying to mimic any other singer and is not trying too hard as some jazz singers are doing today. She is also a talented songwriter and penned the title track on this album. There is also some lovely guitar on this album from Chuck Easton. Listen to Jenny's "It Amazes Me" album. For more great modern vocal jazz albums, listen to Carolyn Leonhart's "New 8th Day", Susan Wong's "Close To You", and Jacintha's beautiful "Lush Life" albums [All tracks @ 320 Kbps: File size = 76.5 Mb]

TRACKS / COMPOSERS

1. When Your Lover Has Gone (E.Swan) 2:40
2. On Green Dolphin Street (Kaper, Washington) 3:21
3. Inside You (Jenny Davis) 2:23
4. My Romance (Rodgers/Hart) 3:53
5. Into Each Life Some Rain Must Fall (Fisher/Roberts) 2:48
6. Morning Glory (R. Grant) 4:25
7. No More Blues (Jobim) 3:54
8. Confirmation (C. Parker) 3:09
9. Blackbird (Lennon/McCartney) 2:12
10. Softly (As in a morning Sunrise) (Romberg/Hammerstein) 3:53

MUSICIANS

Jenny Davis - Vocals
Chuck Easton - Guitar, Flute
Ted Enderle - Bass
Louis Aissen - Tenor Sax (Track 5)

SHORT BIO

Jenny Davis is an international jazz vocalist and composer advancing on Canadian jazz charts following her main stage performance at the 2010 Victoria International Jazz festival, where she shared the main stage with such noted jazz greats as Joshua Redman, Stanley Clark, Mike Stern and Nikki Yanofsky. A Seattle native, Davis earned her Bachelor of Music from the prestigious Cornish College of the Arts. A 20-year steward of straight-ahead jazz, she actively performs throughout the U.S. and Canada in clubs, festivals and jazz venues. A true original with an authentic sound, Jenny has that rare vocal ability to swing hard in the pocket and hold her own with the best musicians in the business. Jenny’s commitment to the art form is never more evident than in her third, and newest CD release of INSIDE YOU, where legendary jazz composer Rodgers Grant sought her to record his beautiful ballad ‘Morning Glory’. A versatile vocalist, she is a highly requested and is considered one of the Pacific Northwest’s top big band vocalists. A passionate steward of jazz, Jenny passes on the tradition as a jazz educator, and vocal coach. Davis is inspired by such great jazz vocalists as Ella Fitzgerald, Sarah Vaughn, Mel Torme’, Shirley Horn, June Christy and Kurt Elling. © http://jennydavisjazz.com/media/jd_shortbio.pdf

Luca Colombo, Andrea Braido & Giorgio Cordini

Luca Colombo, Andrea Braido & Giorgio Cordini - Here Comes The Sun - Acoustically The Beatles - 2007 - Unknown

Some issues of the album contain 18 tracks. (Listed at bottom). All the artists are relatively well known as brilliant guitarists, and the album itself contains 13 fabulous renditions of the Beatles classic songs, all played in either a jazz or Spanish/Latin guitar style. Described on one site as "Luca Colombo, Andrea Braido & Giorgio Cordini playing songs by The Beatles in `easy listening' guitar instrumental way. Great music if you want to set a fine mood, and relax". SQ is also excellent. There are references to a similar album @ http://www.racksandtags.com/al3xand3r91/444008/Luca-Colombo,-Andrea-Braido-_-Giorgio-Cordini-Here-Comes-The-Sun---Acoustically-The-Beatles, http://gewdlooks.multiply.com/journal?&page_start=100, and there's a photo of a similar album on Flickr @ http://www.flickr.com/photos/carriechow/68673464/ where a caption says that "The Beatles - Here Come The Sun (Acoustically), bought from Singapore! featuring Luca Colombo, Andrea Braido & Giorgio Cordini on acoustic guitars". All these references are speaking about an 18 track album. The post here with 13 tracks sounds too good to be a boot. In fact, the "dubious" cover art refers to HCCD. A great album and HR by A.O.O.F.C. More info on this album would be appreciated, including cover artwork [All tracks @ 256 Kbps: File size = 91 Mb]

TRACKS

1 Here Comes The Sun (03:02) *
2 And I Love Her (04:45)
3 Michelle (04:35)
4 Hey Jude (04:03)
5 Let It Be (04:20)
6 Here, There And Everywhere (04:21)
7 The Long And Winding Road (05:07)
8 Nowhere Man (04:08)
9 Lucy In The Sky With Diamonds (04:02)
10 Can't Buy Me Love (02:54)
11 Drive My Car (03:28)
12 A Hard Day's Night (04:16)
13 Yesterday (03:58)

* Composed by George Harrison. All other songs by Lennon & McCartney

This album was also released with the following tracks

1. 3:03 Here Comes The Sun 2. 3:08 Blackbird 3. 4:46 And I Love Her 4. 4:04 Hey Jude 5. 4:21 Let It Be 6. 4:22 Here, There And Everywhere 7. 3:32 Norwegian Wood 8. 4:09 Nowhere Man 9. 4:03 Lucy In The Sky With Diamonds 10. 2:55 Can't Buy Me Love 11. 3:36 Day Tripper 12. 4:06 Lady Madonna 13. 4:36 Michelle 14. 4:04 Something 15. 5:08 The Long And Winding Road 16. 3:29 Drive My Car 17. 4:17 A Hard Day's Night 18. 3:57 Yesterday

Carolyn Leonhart

Carolyn Leonhart - Steal The Moon - 2000 - Sunnyside

Carolyn Leonhart is a jazz singer with one foot firmly planted in the rock/pop universe. She is the daughter of veteran bassist Jay Leonhart, so her jazz sensibilities flow from her upbringing. Yet she gained wide exposure during the '90s as a backup vocalist for the reunited Steely Dan. Her jazz style is tinged with the edginess of a soul or R&B singer. Her first U.S. album, an inspired collaboration with pianist/songwriter Rob Bargad titled Steal the Moon, was released in 2000. © David R. Adler © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/carolyn-leonhart-p290354

Carolyn Leonhart sits astride the jazz and pop worlds, allowing both to inform her singing and repertoire. The daughter of bassist Jay Leonhart and a backup singer for the reunited Steely Dan, Leonhart inflects her jazz singing with an unmistakable dose of soul and R&B, not unlike Chaka Khan or even Rickie Lee Jones. Pianist Rob Bargad is Leonhart's main collaborator on this album, contributing five compositions, including the lush ballad "Yesterday's a Dream" and a borderline-corny but charming vocal duo with Leonhart on "Steal the Moon," a good candidate for radio play. Leonhart even hands two tracks over entirely to Bargad: the Vince Guaraldi-like piano trio feature "Juju Knows" and a bluesy, smart-alecky vocal tribute to a child titled "Little Man." Leonhart is bright-toned and sultry on the standards "Nature Boy," "I've Grown Accustomed to His (Her) Face," and "Moonglow," the last an oh-so-hip duo between her and father Jay Leonhart on the bass. She struts her stuff sassily on "Sunday Kind of Love," Bargad's "All Because of You," and Mose Allison's "It Didn't Turn Out That Way." Bargad's solid post-bop piano work anchors every track. Jimmy Cobb and Billy Drummond share drumming duties, Daniel Sadownick weighs in with perfect percussion flourishes, and David Gilmore guests on acoustic guitar for the title track. As might be expected from a singer with such diverse influences, Leonhart walks a fine line between telling a coherent story and presenting a musical patchwork. But her voice is polished and distinctive, and her band cooks, which invariably makes Steal the Moon a fun listen. © David R. Adler © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/steal-the-moon-r480307/review

Bob Blumenthal (2000 Grammy Award Winner) said that, "For a young singer who was literally born into the jazz scene, Carolyn Leonhart has an uncommonly diverse resume and a surprising range of options. American audiences are getting to know her as one of the backup singers for Steely Dan, a position she has occupied since the Becker/Fagan combine reunited in 1996. (She's the female in the middle on the group's recent PBS special, and she's looking forward to the band's Summer 2000 tour as these notes are written.) Carolyn Leonhart gives us Steal The Moon, a program notable both for its manner and matter. We get to hear her and an exceptional rhythm section bring four quality standards and a choice Mose Allison tune to life, and we also get introduced to a like number of songs by pianist, composer/lyricist and vocalist Rob Bargad. Leonhart and Bargad have created an album with all of the charge and feeling, and far more originality, than we have come to expect from young singers. It offers the promise of more great music from both, although Leonhart hastens to point out that she considers herself a work in progress. "My stuff is developing," she insists, "and I'm hearing different things now. People warn me that I'll have to choose an identity, but why? I love jazz and more pop-related material, and I want to sing both." Someone with Carolyn Leonhart's talent and intelligence can surely pursue more than one path, and will no doubt go her own way. Based on the music she creates here, those of us who treasure truly creative singing, whatever the marketing forces in the music industry choose to call it, will be following her progress for a long time." The album is HR by A.O.O.F.C. There's a good review of this album @ http://www.epinions.com/review/_2005389501/content_11567140484 For more Carolyn Leonhart, listen to her "If Dreams Come True" and "Autumn In New York" albums, and Steely Dan's "Everything Must Go" album. Carolyn was also a guest vocalist on the Swiss Percussion Group, Lyn Leon's "Glass Lounge" album. Try and hear that album, which uses glass instrumentation as a backing to the songs. Highly unusual, but sounds wonderful

TRACKS / COMPOSERS

It Din't Turn Out That Way - M.Allison
Nature Boy - E. Ahbez / J. Durgom
A Sunday Kind Of Love - Barbara Belle / Anita Leonard / Louis Prima / Stan Rhodes
Juju Knows - Rob Bargad
All Because Of You - Rob Bargad
Steal The Moon - Rob Bargad
I`ve Grown Accustomed To His Face - Alan Jay Lerner / Frederick Loewe
Little Man - Rob Bargad
Yesterday`s A Dream - Rob Bargad
Moonglow - Eddie DeLange / Will Hudson / Irving Mills

MUSICIANS

Carolyn Leonhart (vocals)
David Gilmore (acoustic guitar)
Jay Leonhart (bass)
Rob Bargad (piano, background vocals)
Jimmy Cobb, Billy Drummond (drums)
Daniel Sadownick (percussion)

Jon Eberson Group Feat. Beate, DJ Strangefruit

Jon Eberson Group Feat. Beate, DJ Strangefruit - Dreams That Went Astray - 2001 - Jazzland Records

Guitarist and composer Jon Eberson (born January 6, 1953 in Oslo), is a true legend within the Norwegian jazz scene. Ever since he began his career with the band Moose Loose (1974), and on through his collaborations with vocalists Radka Toneff and Sidsel Endresen, he has always gone his own way. He has sold around 150,000 albums in the course of his career, has been awarded two Spellemannpriser (Norwegian Grammies), and is both a pop hero (album “Jive Talking”) and a very highly regarded jazz musician and composer. He teaches as Assistant Professor at the Norwegian Academy of Music among other places.

Another one of those ultra-hip groups on Norway's Jazzland label – led by guitarist Jon Eberson, and featuring Bugge Wesseltoft on keyboards and bass, Pal Thowsen on drums, Tom Erik Antonsen on bass, and Strangefruit on vinyl! A few tracks also feature vocals by Beate – and the overall style of the set is somewhere between funky ECM and early 80s New York bass-driven avant jazz funk, such as the work of Melvin Gibbs. The more modern touches of the Jazzland style make the record sound fresher than that description might imply – and titles include "Pushing The Beat", "Victim Of Own Desires", "Everlasting Star", "Dreams That Went Astray", "Clandestined Band", and "You Passed Me Like A Wind". (Out of print UK pressing.) © 1996-2011, Dusty Groove America, Inc.

It's surprising how little Jon Eberson is known outside of his native Norway. He has a very attractive guitar sound, something close to Pat Metheny, and an often astonishing technique. Both aspects of his playing are shown to great effect on Dreams that Went Astray. Eberson's group is perfect for the situation. The partnership of drummer Pål Thowsen, who first came to prominence in the mid-'70s on Arild Andersen's ECM debut, and electric bassist Tom Erik Antonsen, who shows clear Paul Jackson and Marcus Miller influences, provides a firm and funky rhythmic base over which Eberson weaves his complex lines with subtle yet harmonically rich keyboard backdrops provided by Bugge Wesseltoft. The two guest artists are also perfect for the session. DJ Strangefruit, known for his key role with Nils Petter Molvær, substantially enriches the texture on a number of tracks, most notably "Pushing the Beat" and the title track. Singer Beate Lech, leader of nu jazz group Beady Belle, guests on three tracks. Her role on "Clandestined Band" is possibly the high point of the album and one of her finest moments on record. The track also has Thowsen's best playing on the album, switching from the backbeat-driven funk of other tracks to a more swinging style owing something to Tony Williams but unique in its own way. Another remarkable factor of the success of the piece is the build up of harmonic expectancy over long passages on a single harmonic area that is then released on a killer chord sequence. Bugge Wesseltoft's role should not be underestimated. Though he spends the majority of the album out of the limelight, with only the title track giving him any real solo space, his role throughout the album in setting the mellow backdrop in which Eberson thrives is crucial. One album that Dreams that Went Astray bears resemblance to in a textural sense is John Scofield's Still Warm , and Wesseltoft's role can be compared with Don Grolnick's on that record. The comparison is clearest on the tracks "Clandestined Band" and "Victim of Own Desires." Elsewhere, some surprising textural references are made to '70s Miles Davis. Davis's influence is strong on the Norwegian nu jazz scene but given how different Eberson's music is to the more drum-n-bass driven sounds of many of his younger countrymates, the Miles references are a little more surprising but extremely effective. Wesseltoft puts in some Agharta -era organ touches at several points on the album, and Eberson himself adds some McLaughlin touches to the title track. Dreams That Went Astray is certainly the hidden gem of the Jazzland catalogue and is well worth searching out for anyone into the current Norwegian nu jazz scene or just fine modern guitar playing. By & © JON OPSTAD, Published: September 25, 2004 All material copyright © 2011 All About Jazz and/or contributing writer/visual artist. All rights reserved http://www.allaboutjazz.com/php/article.php?id=14880

"A select outing of post-millennium urban sounds, song and jazz excursions with a solid foundation provided by of one of jazz-guitar's eminent figures" A bit of retro-funk blended with modern beats and soundscapes. Eberson is great, bringing back a lot of memories with his special guitar sound. © Jazzland Recordings. All rights reserved The album is HR by A.O.O.F.C. Try and listen to Jon Eberson's "Stash" album [All tracks @ 320 Kbps: File size = 125 Mb]

TRACKS

1 Pushing The Beat 6:00
2 Wish 5:00
3 You Passed Me Like A Wind 9:43
4 Clandestined Band 7:49
5 Prisoners Of Ego's Device 8:50
6 Victim Of Own Desires 8:30
7 Everlasting Star 8:58
8 Dreams That Went Away 8:50

Tracks 1,3,5,6,7,8 composed by Jon Eberson: Track 2 composed by Beate, Bugge, Jon Eberson: Track 4 composed by Beate, Jon Eberson

MUSICIANS

Guitar - Jon Eberson
Bass - Tom Erik Antonsen
Keyboards, Synthesizer [Synth. Bass] - Bugge Wesseltoft
Drums - Pål Thowsen
Scratches [Vinyl] - Pål Strangefruit
Vocals - Beate ака Beady Belle

BIO

Jon Arild Eberson, born 6. January 1953, grew up with jazz around him since he was a young boy. His father, Leif Eberson, was among the most influential jazz guitarists in the 1950s. Jon started playing guitar at the age of 12, and has presented himself as a musician since he was 18 years old. He belonged to a creative musical environment, youth and played with other artists like Vidar Johansen and brothers John and Erik Balke. In the early 1970s, he was with the band brothers Balke, Unis and singer Radka Toneff. He was a central person in the Radkas band in the period 1975-80, and was featured on the albums "Winter Poem" (77) and "It don't come easy" (79). Jon was also included in the concert of the Opera in 2009, which was a tribute to Radka. In 1972, he played with the free jazz-legendene Svein Finnerud (piano) and Bjørnar Andresen (bass). The same year, he was a member of Ketil Bjørn's debut album, "Opening". The big gjennomslaget with own band came the following year, during the jazz festival in Kongsberg, 1973, with Moose Loose; a band he formed with Brynjulf Blix. In the period 1973-77 Rupe albums Moose Loose (74) and Transition (76) and toured around the country. At the end of the 70s, he had also the band Blow Out with Håkon Graf, and a Quartet with pianist Jon Balke. During this period he worked with selected people like Arild Andersen, Magni Wentzel, Sveinung Hovensjø, Jon Christensen, Sven Christiansen and his good friend and colleague Pål Thowsen. In the early 80s started the very successful collaboration between Jon and singer and songwriter Sidsel Endresen in the Jon Eberson Group. It resulted in four albums, which together have sold well over 100,000 copies. The first, "Jive Talking" (81) was 25 weeks on VG-lista, and received Spellemannprisen in the category of jazzrock. Later came the album "Polarities" (83) "City Visions" (84), "Stories" (85), and "Pigs & Poetry" (87) and ordering the work "To all the birds that cannot fly" for Club 7. Jon and Sidsel had recorded their best originator of "City Visions" in 1985. Jon worked with another large project, Jazzpunkensemblet, a mini-big band with several of the nation's leading jazz musicians in the amazing interaction. After his work with Sidsel Endresen finished, Jon put together a trio format called Stash with Bjørn Kjellemyr (bass) and Audun Kleive (percussion) (later took over Paolo Vinacchia). They recorded two albums, one of them was Bakchand Smash, which refers to Jim's other passion in life, tennis. It is worth noting that the guitarist is twice Oslomester in tennis which he also shares with saxophonist Morten Halle, who he played with in the 90 's in a Quartet. The duo is also behind the project, the Metropolitan, where jazz standards are supported by stryker instruments. The Metropolitan has resulted in two albums and concerts at the jazz festivals in Molde and Oslo. In 92, the duo Eberson/Audun Kleive released "Music for the Men and Machines". Jon has been with the band Chipahua and Oslo Rythm & Blues band. He has also worked a lot with trombonist Torbjørn Sunde in a band with a Chet Baker feel. In recent years he has recorded several albums in the duo format with Carl Morten Iversen, releasing critically acclaimed CDs like "Jazz for Men" and "Jazz at the Lighthouse". In 2009 the experienced duo of Rob Waring in the beautiful "Born to be slow." In 2001, Bjørnar Andresen, Paal Nilssen-Love "Mind the Gap", and in 2006 was "Bring it on" in which John plays with Per Zanussi and Torstein Lofhus. From the mid 90s Jon has been a teacher, later an associate professor at the Norwegian Academy of music. He has been a teacher for several of the leading young musicians, Morten Qvenild, Jarle Bernhoft, Aslak Hartberg, Beate Lech and Delete Foundation, Hilde Marie Kjersem, to name a few. Jon and Kjersem, album Twelve o'clock Tales in 2004, and Beate is included in the Metropolitan concept. Over the years, Jon has been involved in a number of albums. His scope runs from free jazz, via Find Kalvik and Christoher Schaus "Cumbshots" to ballads. Since 1973 Jon has been playing on all the major jazz festivals (also small) in Norway, and has a loyal audience of listeners and critics. In 2001 Jon received the Buddy statuette, the highest distinction in Norwegian jazz. Jon is influenced by Miles Davis, John Coltrane, Bill Evans, Stan Getz, Jim Hall, Tal Farlow – to name a few. Jon's of music, but has never been keen to seek careers outside of Norway. But he always looks forward, and is always searching for new tones. Although he is a zealous opponent of modern technology, he appreciated the "For those of us who love Jon Eberson with whole heart" on Facebook. © http://www.jonebersongroup.no/ [Translated from Norwegian using Microsoft Translator]

Philip Catherine

Philip Catherine - Blue Prince - 2000 - Dreyfus Jazz

Incredibly skilful guitar playing by the London born guitarist, Philip Catherine, one time Focus member, and christened the "Young Django" by Charles Mingus. Philip is widely acknowledged as one of Europe’s most important and talented guitarists. His music is eclectic, extremely skilful and he is a brilliant improviser. Philip Catherine is not as widely known as he should be. He has said that “My first four records, September Man, Guitars, Babel and End of August, are my most personal albums, and nobody knows them.They’ve been hidden for too long. I have a legal advisor and I’m trying to find a way to have them come out again.” "Blue Prince" is a wonderful jazz/fusion abum and VHR by A.O.O.F.C. [Tracks are between 315 & 320 Kbps: File size = 139 Mb]. Listen to Philip's "September Man" and "Guitars" albums. Focus' "Focus con Proby" features Philip on lead, rhythm, and acoustic guitar

TRACKS / COMPOSERS

1 Coffee Groove - Philip Catherine 3:41
2 Global Warming - Philip Catherine 5:03
3 With A Song In My Heart - Lorenz Hart, Richard Rodgers 3:49
4 The Creeper - Philip Catherine 7:42
5 The Postman - Philip Catherine 5:39
6 More Bells - Philip Catherine 6:35
7 Memories Of You - Andy Razaf, Eubie Blake 4:21
8 Kwa Heri - Philip Catherine 6:02
9 Blue Prince - Philip Catherine 4:09
10 Arthur Rainbow - Philip Catherine 6:32
11 Magic Box - Bert Joris 6:17
12 Sweet Lorraine - Clifford Burwell, Mitchell Parish 4:38

MUSICIANS

Philip Catherine - Guitar
Hein Van De Geyn - Bass
Hans Van Oosterhout - Drums
Bert Joris - Trumpet, Flugelhorn

BIO (WIKI)

Philip Catherine (born 27 October 1942) is a Belgian jazz guitarist. He was born in London from an English mother and Belgian father. He began playing in the 60's with Lou Bennett then with Dexter Gordon and Stéphane Grappelli. He was then a member of Jean-Luc Ponty quintet, right after he recorded his first album (Stream, produced by Frenchman Sacha Distel) in 1971. A year later, he met John Scofield, Ran Blake, George Benson and more musicians in Boston. In 1977 Philip Catherine replaced Jan Akkerman in the Dutch rock group Focus and appeared on one album with the group, Focus con Proby which also featured American singer P. J. Proby. He also played with Charlie Mingus (who named him Young Django) and Chet Baker. He is now considered as the grandfather of Belgian jazz as he continues to play on the now very active Belgian jazz scene. He won the first Belgian Golden Django (in 1995) as best French-speaking artist.

MORE ABOUT PHILIP CATHERINE

Philip Catherine has been called the "Young Django" by none other than Charles Mingus, and upon hearing his elliptical, rapid-fire, expressively melodic acoustic guitar, there can be no doubt as to whose records he was absorbing as a youth. Born to a Belgian father and English mother living in London during World War II, Catherine went back with his family to Brussels after the war, where he learned guitar and turned professional at 17. The examples of Larry Coryell and John McLaughlin led Catherine into jazz-rock; he played with Jean-Luc Ponty's Experience from 1970 to 1972 before taking a year off to study at Boston's Berklee School. Back in Europe in 1973, he founded the band Pork Pie, which recorded into the mid- and late '70s; he also formed a duo with Niels-Henning Ørsted Pedersen and worked with such musicians as Mingus and Stephane Grappelli. If anything, Catherine is best-known in America for his duets with Coryell, which began spontaneously in Berlin in 1976, triggered some lovely duo albums for Elektra, and helped steer Coryell back to the acoustic guitar. © Richard S. Ginell © 2010 Rovi Corporation. All Rights Reserved. http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:aiftxqt5ldje

Philip Catherine: Overdue Ovation - A European legend seeks trans-Atlantic love [July/August 2010 by/© Andrew Gilbert © 1999–2010 JazzTimes, Inc. All rights reserved]

It’s not that Philip Catherine feels misunderstood, underappreciated or neglected by the American jazz scene. Born in London during World War II and raised in Brussels by his English mother and Belgian father, he’s widely acknowledged as one of Europe’s foremost guitarists, a supremely eloquent improviser whose five-decade-long career encompasses an eclectic array of highlights. What irks Catherine is that the work he feels best represents his musical vision is largely unknown and unheard. “My first four records, September Man, Guitars, Babel and End of August, are my most personal albums, and nobody knows them,” says Catherine, 67, from his home in Brussels. “They’ve been hidden for too long. I have a legal advisor and I’m trying to find a way to have them come out again.” Catherine’s recording activities in 1975 exemplify the way in which sessions under his own name have faded from view, while his superlative sideman work continues to win him new fans. It was the year he recorded Guitars, an intricately constructed, fusion-tinged session featuring multiple guitar overdubs and accompaniment by bassist John Lee and drummer Gerry Brown. (Alto saxophonist Charlie Mariano, a regular Catherine collaborator over several decades, also contributes on several tracks.) Focusing on Catherine’s original compositions, the album is unlike anything else from the era, with its quiet but roiling drama and sly, lapidary textures. The same year, he appeared on several memorable SteepleChase albums, including Kenny Drew’s Morning with Niels-Henning Ørsted Pedersen, and Dexter Gordon’s Something Different with Pedersen and Billy Higgins, a fascinating addition to the saxophonist’s discography as his only piano-less quartet session. Through the rest of the decade, he released a series of strangely beautiful albums under his own name, melodically charged sessions that defied easy categorization as fusion or straight-ahead. At the same time he was recording regularly for SteepleChase, contributing his marvelously poised and rhythmically assertive work alongside Drew, Pedersen, Higgins, Sam Jones and Tootie Heath. “That was one aspect of my music, making albums for SteepleChase, but it wasn’t at all what I was trying to do,” Catherine says. “I was doing Guitars, but it’s disappeared, and everyone knows SteepleChase. I loved playing with Dexter and Kenny, but it was like old music for me. ”If Catherine has been hard to pin down stylistically, it’s not only because a significant chapter of his career is out of circulation. Many American jazz fans discovered the guitarist through his work with Larry Coryell, a brief association that was born from an impromptu duo set at Berliner Jazztage in 1976. Their obvious chemistry led to the popular Atlantic album Twin House (and later Splendid, on Wounded Bird Records), and many still think of Catherine as a fusion-era standard bearer. He did pick up the mantle in the mid-1970s, when he replaced Jan Akkerman in the Dutch prog-rock band Focus. While well past its “Hocus Pocus” heyday, Focus still featured the intricate, often elaborately inventive compositions of organist/flutist Thijs van Leer. And while totally unexpected for Catherine, the gig did put him on the prog-rock/fusion map—a location he never really felt he belonged in. “It was strange for me, like entering a different world, with less improvisation and roots more in classical European music and rock,” Catherine says. “As opposed to mine in classical music and black American music—Miles, Coltrane, Erroll Garner, James Brown and jazz in general, including Django. It was a world with so much equipment, roadies and managers; a great opportunity but I really was not ready to enter the group at that time. I couldn’t reach the singing tone of the guitar enough, though that tone may have been an enduring influence on my sound.” Much like Coryell, Catherine has always been game for acoustic and electric settings, straight-ahead swing, postbop or fusion, whether collaborating with European masters or American jazz giants like Charles Mingus. He connected with the legendary bassist after Mingus saw a film of him and Coryell from Montreux and recruited the two guitarists for 1977’s Three or Four Shades of Blue. For Catherine, who grew up listening to Mingus Dynasty and Mingus Ah Um, the opportunity to play with a hero proved to be tremendously fulfilling, personally and musically. “After the session everyone left but me and Mingus,” Catherine recalls. “He was very warm with me. I started telling him about Mariano. We had someone in common. He was very curious, and was trying to find out who I was. I came back two days later for the next session with Ron Carter and John Scofield. I was so happy to meet Dannie Richmond. He had a very bright, special way of playing.” When Three or Four Shades came out, Catherine found himself described by Mingus in the liner notes as the “Young Django,” a tag that stuck for some time, though the praise never sat comfortably with him. (“It’s exaggerated,” Catherine says. “Django is very deep, not just as a guitarist but as a musician. Now I would be the old Django.”) But it never became a burden, and several years later he recorded the marvelously swinging album Young Django with Coryell, Pedersen and Stephane Grappelli. The association with Belgium-born Reinhardt was probably inevitable, though the Manouche master wasn’t Catherine’s initial guitar inspiration. Catherine bought his first instrument at 14 while under the sway of the great French poet and singer George Brassens. His first guitar teacher taught him the rudiments of improvisation, and that’s when he encountered Reinhardt’s music. Catherine absorbed his elliptical phrasing and gift for melodic invention while also finding much to emulate in the great Belgian guitarist René Thomas, who had returned from the States after recording with Sonny Rollins and playing with Stan Getz, Miles Davis and Jackie McLean. Catherine quickly found his way to hard bop, devouring albums by Art Blakey, Clifford Brown and Max Roach, and got a first-rate bandstand education playing with Hammond B3 expert (and American expat) Lou Bennett and drummer Oliver Jackson. Catherine was still a teenager when he made his first recording, playing on an album by Belgian tenor saxophonist/arranger Jack Sels. Days later, they were on the road to Holland, where the Sels quartet opened for Thelonious Monk in Amsterdam. He continued his rhythmic education during a year working with Edgar Bateman when the late Philly drum master lived in Brussels. “I was very lucky to play with those guys,” Catherine says. “Bennett and Jackson and Bateman gave me something I never forgot: this groove, this enormous groove that they had.” Despite a growing reputation and regular work, Catherine didn’t envision himself making a career in music. Devoted to his studies in philosophy and economics, he figured he was destined for a life in business or the bureaucracy until the fall of 1970, when Jean-Luc Ponty took a minute off from his gig with Frank Zappa and sent Catherine a letter asking him to join his group. So at 28, Catherine took the plunge. Deeply interested in the paths blazed by John McLaughlin and Coryell, he immersed himself in Ponty’s fusion, spending a year with the electric violinist. After all his years in school, he finally had an opportunity to study music during a three-month summer session at Berklee. Upon returning to Belgium, his career accelerated through the 1970s as he forged a vast web of connections with artists on both sides of the Atlantic. His relationship with indefatigably creative altoist Charlie Mariano crystallized in 1974, when the Euro all-star band Pork Pie released its first album, Transitory, featuring Dutch pianist Jasper van’t Hof, French bassist Jean-François Jenny-Clark and Italian drummer Aldo Romano. An intermittent relationship with Chet Baker culminated in 1985, when Catherine spent the year touring across Europe with the trumpeter and Belgian bassist Jean-Louis Rassinfosse. “Chet had great chops and was playing fantastic,” Catherine says. “He wasn’t fucked up that year.” The guitarist allied himself with another lyrical trumpet master in 1990, when he recorded the Criss Cross album I Remember You with Tom Harrell and Dutch bassist Hein van de Geyn. The trio regrouped for the label two years later for two melody-besotted sessions, Moods volumes 1 and 2. His latest album, Concert in Capbreton (Dreyfus), is another sublimely lyrical excursion, recorded live with longtime collaborator Van de Geyn, Italian piano great Enrico Pieranunzi and the always sensitive Joe La Barbera, who honed a light, interactive touch on the kit as a member of pianist Bill Evans’ last trio. Concentrating on standards like “My Foolish Heart” and “Speak Low,” the quartet also explores Sam Rivers’ “Beatrice” and Richie Beirach’s “Broken Wings.” The album follows up on 2001’s acclaimed Alone Together (Challenge), a session organized by Van de Geyn. “I like to improvise in a melodic way, and I succeeded sometimes on Capbreton,” Catherine says. “I liked the interplay. It’s about trying to tell a story, but you don’t know the meaning of the story.” Still in prime form, Catherine has no shortage of laurels to rest on. He’s won just about every major European jazz honor, including the Django D’or for Best European Jazz Artist, the ZAMU Lifetime Achievement Award from the Antwerp Conservatory and the Bird Award (now the Paul Acket Award) from the North Sea Jazz Festival. Creatively, he’s always kept one hand dipping in the American wellspring, drawing inspiration from artists like Coltrane, Wynton Kelly and Herbie Hancock. But he rarely appears on Stateside bandstands, a source of abiding frustration. He’s not complaining, just wishing for a little trans-Atlantic love. “When I had a chance to play with the great American musicians, I always felt comfortable,” Catherine says. “A big part of inspiration comes from them. What astonishes me is that people will say that I’m so European. What does that mean? It’s so strange. I think, ‘You don’t notice that I’m trying to play American?’ I regret I don’t have more chance to play in the States. Maybe I don’t deserve it; I don’t know. I would like to be known better there. That’s ego. I cannot be bitter at all. I’m playing everywhere in Europe. I’m very grateful I can make a living.” © 1999–2010 JazzTimes, Inc. All rights reserved http://jazztimes.com/sections/overdue-ovation/articles/26260-philip-catherine-overdue-ovation

Polar Bear

Polar Bear - Dim Lit - 2003 - Babel

Polar Bear, a British quartet with two tenor saxophonists plus bass and drums, was one of the most striking ensembles to emerge on the home circuit in 2003. Unlike so many hurtling, high-energy postbop bands, its approach was distinctive, based on the murmuring conversations of the two horns and the ability of bassist Tom Herbert and the superb drummer Seb Rochford to weave their contributions into the sound of the ensemble's evolving melody. This is the band's debut album and it captures their unique virtues, from the slow criss-crossing of long, exhaling tenor sounds over Rochford's meditative, almost doodling percussion to the gradual thickening of a single rising motif on Not Here, Not Near. Wareham's charging baritone sax swinger Polar Bear Standing and Ready is counterbalanced by some blurty free jazz, while Julia Biel's vocal Snow could almost be a whimsical Robert Wyatt song. The closer, Wild Horses, is a classic smoky ballad with a free-impressionistic undertow, in which the tenor harmonies suggest a much bigger band. This goes straight on to the albums-of-2004 longlist. ****/5 © John Fordham The Guardian, Friday 21 May 2004 © Guardian News and Media Limited 2011 http://www.guardian.co.uk/music/2004/may/21/jazz.shopping1

The debut by 2005 Mercury nominated band Polar Bear led by Seb Rochford. With a BBC Jazz Awards Rising Star nomination in 2003 and in 2004: TWO nominations for rising star and also best band, highly distinctive young drummer/composer/producer/electronic remixer Seb Rochford is one of the most talked about and sought-after drummers on the UK jazz scene, but whose curiosity for all music means he's also passionately involved in both worlds of contemporary rock and electronica. With the youthful immediacy of the alt rock and beats culture, jazz groups such as Medeski Martin and Wood, Bad Plus, Jaga Jazzist, Cinematic Orchestra, and Radiohead's dark, extended organic workouts are among the popular cultural contexts in which real jazz is working its magic right now. Polar Bear are part of the new breed of improvisers using a lethal dose of raw hypnotic grooves, excitingly urgent far-out spontaneity and total song-like melody. This wide view comes together with the much awaited release of their debut 'Dim Lit' on Babel. On the album, the 2 saxes-bass-drums quartet, Polar Bear, explore the dark but cuddly regions of improvised music for the new century. © http://www.vortexjazz.co.uk/cd-reviews/dim-lit.html

"Cuddly but dangerous" is the catchphrase the English quartet Polar Bear has come up with to explain their choice of name. Here's the long version: "I called the group that because polar bears are seen as quite cuddly kind of things: You see cartoons of them and they're all kind of cute, but in fact they're really dangerous. All the explorers who go to the Arctic say that the most dangerous things are the polar bears. I like the contradiction, I guess." Indeed, while the music found on their debut album Dim Lit is highly melodic and often driven by modern (but acoustic) beats, it is also somber and even elegaic, with a wailing saxophone extending a gently cresting written line and, every so often, a full-bore Mingusian stomp, replete with the requisite shouts. Polar Bear is led from the back by its drummer and composer Sebastian Rocheford, who has just been awarded the BBC's Rising Jazz Star award. Along with saxophonists Pete Wareham and Matthew Lockheart and bassist Tom Herbert, Rocheford came second in the Best Band category. Dim Lit was, surprisingly, released on the Belgium-based label Rub Recordings and in October 2003, I met the band (with German saxophonist Ingrid Laubrock subbing for Lockheart) in Antwerp, just before the second concert of their first Belgian tour. The previous night I, along with a roomful of others, had discovered (the album wasn't out yet) Polar Bear's characteristic blend of moving (emotionally or physically) melodies, clever arrangements, and open-ended improvisation. All present left thoroughly impressed. An Aberdeen native, Rocheford comes from a large, boisterous, and musical household, surrounded by 7 sisters and 2 brothers. It's a mystery how, in such an environment, he ever managed to be heard: contrary to the exuberant personality his truly spectacular mass of hair would point to, the drummer is congenitally incapable of speaking above a whisper. "My oldest brother used to be a drummer and I think I always wanted to play drums. I was always really into music as far as I can remember. The first record I got really into was the Star Wars soundtrack. There's actually a jazz tune..." At which point, bassist Tom Herbert interrupts to sing the tune from the cantina scene. The road to professional musicianship was a rocky one at first. After several failed attempts at starting bands with his primary schoolmates, at 15 Rocheford decided on his path. "I actually recently found my diary from years ago. The day I decided to be a musician, I wrote, 'Today I told my dad I wanted to be a musician.' I auditioned for the Guildhall at 18, but didn't get in. I auditioned for Newcastle and didn't get in that either. Then I auditioned for the Guildhall again, and didn't get in." Even getting together this successful band was fraught with difficulty. "I moved down to London 6 years ago. It took me a while to get to know people. I started with a sax player and a bass player and didn't really work out. I phoned a sax player to ask if he wanted to be in the band, but he didn't want to. He gave me Pete's number. We had a play and from the very first second it was like... I'll always remember that, it just went. It was just like the best feeling in the world. That was in '99." "I was about an hour-and-a-half late," remarks Wareham. "Yeah, I phoned you up: 'Are you coming?' and you were still in bed!" the none-too-strict leader laughs. Since then, the band has gigged steadily. Herbert explains, in his young professor-ish way, "I think that one of the things that this band has really got going for it is that it really stands out in the British scene. There's a lot of really good bands in London, but—I've got to be careful what I say now—Seb's music brings something fresh to the scene and people really appreciate and respond to that. It's not necessary that the band is better than any other band, I just think it's got a different angle." Pete Wareham explains the music a bit further. "The way he writes chord changes is very open. So you don't spend half your time thinking 'God, how am I going to do this?' You get past that stage. Because it's so open, I'm learning it from the perspective I've got now. The way I was playing it 3 years ago was totally different. The music has got lots of longevity in that way. I wrote tunes for a band I had a few years ago, and within a few gigs I was totally sick of playing them: They didn't have any longevity at all. Learning it is just the first stage, the main part of the work is how to interpret it. Whereas a lot of other music, the mechanical learning of it is it, and the interpretation is fairly limited. For example, 'Argumentative' I think I've done at every gig and I'm not sick of it at all! I've only just learnt it. I've been playing it on every Polar Bear gig for four years now and I've only just learnt it." Rocheford's melodies are crepuscular, of a dark and fragile beauty and wear their heart on their sleeve, while paradoxically keeping a British reserve. The latter quality is heard in the music when, while a saxophone exposes a deliberately-paced and affecting main theme, key details and extensions are hidden away in the bassline or in a cello accompaniment. Combined with the openess Wareham speaks of, a strong emotional direction or context is created, so that the soloists have something to build on, even if that something is less tangible than a detailed harmonic structure. "For Dim Lit", says the drummer, "I just wanted us to play as we play. What we try and do as a band is play solo sections that are personal to that tune. I think that's really important. Try and make every tune have a different concept. We've got quite a lot of tunes, so we just choose what we feel like playing that night." "Sometimes it changes from night to night", adds Herbert. "We recorded the album about a year ago. You do quite a few gigs and things change over time. Somebody plays something one night and that becomes part of the arrangement." Sub Ingrid Laubrock chips in: "I've done toured with Polar Bear twice before over the last two years, I think. I'm really enjoying it, because you can just play yourself and it's appreciated, and that's not always the case. There's no paranoia. It's a good 'band' and it's a good supportive 'band.'" The mixing of a jazz background with modern electronic and left-field pop/rock is evident in Polar Bear's music, although the totally acoustic context should avoid Dim Lit showing its age too rapidly. "I just like a lot of different kinds of music, get inspiration from wherever I can", Rocheford replies. "Just muck around with it, really. Use it and try to mix things all together. Sometimes you're not even conscious of it, like one day you'll listen to six different kinds of music and when you write something, sometimes you can hear where it came from, but it doesn't really sound like that anymore because it's so mixed up in your head. Also mixing musicians from different scenes. One of my main influences is Venetian Snares, a genius Canadian programming group. I've also been destroying Ingrid's music. It's kind of an extension of composing." Perhaps the most distinctive tune on Dim Lit is "Snow", which features the album's only vocal. Singer Julia Biel's voice is surrounded by a deep-hued and slow-moving arrangement, for an alternative pop result. "I really love vocal music as well", Rocheford admits, "and to put some vocal music on it really rounded the thing off for me. I wasn't even sure I was going to put it on the album at first. I got her to record it on her computer: I played the piano to it, she sang to that piano-playing. Pete came round to my house and played the saxophone and we just built it from there. "The album in general was played all live, we all played in the same room. Just a few things were overdubbed later. I wanted to experiment a little bit. On the next album we're going to try to develop: A live thing, but with the freedom rock albums have to use the studio as a tool. It's not explored enough." There are viola and cello parts on a few of Dim Lit's tracks, which manage to stay well away from well-worn sappy clichés. "I sang the parts for strings and wrote down what I had sung", Rocheford explains. "I thought 'What do I want to hear here?' I didn't really have any pre-conceptions. On the last tune, 'Wild Horses', I got the cellist and the viola player to play completely free on top of the lines I'd written. Ben Davis on cello makes the most incredible tones and sounds, so I got him to do loads of takes free, then picked the bits I liked and edited them together." The members of Polar Bear are part of a collective called F-ire, which is attempting to broaden perceptions of the UK scene, too often seen as consisting solely of irreconcilable radical free improvisation and staid mainstream. Being involved in this large musical community is obviously quite important for the members of Polar Bear and they speak of it animatedly. "F-ire", says Wareham, "is a very similar thing to France's Hask. Barak Schmall, who founded F-ire, goes over to Paris quite often. We're trying to hook the two collectives up. AKA Moon, Octurn are playing in London at the moment and F-ire organizes gigs where bands from collectives abroad and our bands will hopefully go over to Paris to play. F-ire organises workshops twice a year and gets people like Stéphane Payen and Gilles Coronado over to teach." All members lead their own projects, often drawing on the large pool of F-ire members. Wareham begins, "My band is called Acoustic Ladyland. We started off doing adaptations of Jimi Hendrix tunes, with Seb and Tom and a piano player called Tom Colley. Then we started doing Strokes and Led Zeppelin. Now we're starting to do originals and turning it into a punk band. Trying to use that school of influence, interesting rock bands from the past. It's just the music I've always loved. We were worried at first, we didn't think we were going to get an audience. But everyone loves it, young and old, because there's something in it for everyone", he laughs. "I play electric bass in Jade Fox", continues Herbert. "With drummer Tom Skinner and guitarist David Coombey, we've been playing together for about 11 years. Everybody involved in the F-ire collective is involved in a lot of different music, so I don't think any of us necessarily see what we're doing as being purely jazz, although a lot of it is based in jazz, I suppose. It's groove-orientated and it's not necessarily about solos all over the place. I do another band called Timeline, which is a rhythmic, M-base type project." Laubrock chips in: "I have my own quartet that will be upgraded to quintet. We just recorded as a quintet, with a cello, the same cellist as Polar Bear. We were going to record as a quartet, and I thought 'Why not add an unknown element?' It's my own writing, it's quite eclectic, I think." - All material copyright © 2000-2007, onefinalnote.com, unless indicated otherwise. [from This Is Polar Bear - words by & © Mwanji Ezana October 2004 http://www.onefinalnote.com/features/2004/polar-bear/

The British band Polar Bear has been described as "A British experimental post-jazz five-piece influenced by the likes of Beethoven, Stevie Wonder, and Björk". This description sounds cryptic, but actually makes sense after listening to the album which is very original nu-jazz/post jazz/prog. jazz music, without the use of bass or electric guitar. The music is often melodic with some strong grooves, and also very accessible. N.B: This is a 115 Mb file @ 320 Kbps. Try and listen to PB's "Peepers" and "Held on the Tips of Fingers" albums. For music in the same vein, check out albums by The Necks on this blog

TRACKS

1 Heavy Paws On The Purple Floor 6:27
2 Not Here, Not Near 6:51
3 Eves Apple 8:02
4 Polar Bear Standing And Ready 3:45
5 Urban Kilt 6:21
6 Snow 4:30
7 Underneath You Can See Too Much 7:00
8 The Shapes In The Clouds Aren't Always Happy 7:28
9 New Dark Park 9:32
10 Wild Horses 5:13

All tracks composed by Sebastian Rochford except Track 5 by Tom Herbert

MUSICIANS

Tom Herbert - Double Bass
Robert Harder - Piano on Track 7
Sebastian Rochford - Drums, Percussion, Drum Programming
Pete Wareham - Tenor & Baritone Sax
Mark Lockheart - Tenor Sax
Adam Bishop - Bass Clarinet on Track 6
Ben Davis - Cello on Tracks 3, & 10
John Griswell - Viola on Tracks 3, 6, & 10
Julia Biel - Vocals on Track 6
Greta Lange - (Japanese Girl), Vocals on Track 7

SHORT BIO

Not to be confused with the American alternative rock outfit of the same name, Polar Bear are a British experimental post-jazz five-piece influenced by the likes of Beethoven, Stevie Wonder, and Björk. Formed in London in 2004 by drummer Seb Rochford, previously an early member of Babyshambles, saxophonists Pete Wareham and Mark Lockheart, double bassist Tom Herbert, and electronic musician Leafcutter John, the band first attracted attention with its 2004 debut album, Dim Lit, whose eclectic fusion of avant jazz, folk, electronica, and punk earned them a nomination for Best Band at the BBC Jazz Awards. A year later, they received their highest-profile accolade to date, when their sophomore effort, Held on the Tips of Fingers, was nominated for the prestigious Mercury Music Prize award. After headlining Noel Fielding's Mighty Boosh Festival in 2008, they released their self-titled third album, and followed it up two years later with Peepers. The band is part of the F-IRE Collective, a jazz music community that also serves as a record label, while all members perform in various other groups including Acoustic Ladyland, the Invisible, and Room of Katinas. © Jon O'Brien © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/polar-bear-p1068386/biography

MORE (WIKI)

Polar Bear is a British experimental jazz band led by drummer Seb Rochford with Pete Wareham on tenor and baritone saxophone, Mark Lockheart on tenor saxophone, Tom Herbert on double bass and Leafcutter John on mandolin and electronics. Polar Bear were nominated for the 'Best band' award at the BBC Jazz Award 2004, while Rochford was nominated for the 'Rising Star' award. Their first album Dim Lit was released in the same year and was a small scale success. Their second record, Held on the Tips of Fingers merged elements of cool jazz, funk, dance music, free jazz, electronica and drum and bass and was, by comparison, a massive crossover hit, earning Polar Bear a nomination for the Mercury Music Prize in 2005. The success was all the more unusual for an almost purely instrumental album. The album was nominated for a BBC Jazz Award 2006. It was selected as one of "100 Jazz Albums That Shook The World" by Jazzwise magazine. They are part of the F-IRE Collective. They released their self-titled third album, Polar Bear, in July 2008 with Tin Angel Records. Their fourth album, Peepers, was released in March 2010.

Andy Summers

Andy Summers - Peggy's Blue Skylight - 2000 - RCA Victor

"A set of arrangements of Mingus music. As a guitarist he still favors blues/rock solos...but themes are treated to intelligent interpretive twists." - Mojo (Publisher) (11/00, p.106)

A risky business taking a shot at some twelve Mingus compositions. Many jazz purists would insist that only Mingus could play Mingus, in the same way that many jazz fans maintain that everything Charlie Parker played was the definitive version. If you have heard recordings like Charles Mingus' "The Black Saint & The Sinner Lady", then you will probably make comparisons with Summers' jazz efforts. It's impossible not to make comparisons. Nothing in music should be taken as sacrosanct. If it was, there would be no musical evolution, and nobody would be blogging ! Andy is no stranger to jazz or jazz fusion. He has worked with people like Kevin Ayers, Kevin Coyne, Robert Fripp, and the great Soft Machine. But taken on it's own, "Peggy's Blue Skylight" is mostly a good jazz album with some great fusion tinges. There is a wonderful list of musicians on this album, including Randy Brecker on trumpet, Dave Carpenter on bass, and John Novello on Hammond organ. Members of the jazz outfits, the Kronos Quartet, and The Jazz Passengers also appear on this recording. Just to go back to Charles Mingus; On this album Andy Summers, takes a lot of the "heaviness", and "fatness" out of Mingus' tunes and stamps them with his own style. Credit to the guy for undertaking this album which is HR by A.O.O.F.C. This album is also available with three bonus tracks, - "East Coastin'", "Fables of Faubus", and "Noddin' Yer Head Blues". Andy also played guitar on Juicy Lucy's "Blueprint" album which is really good. If you would like to hear some truly brilliant jazz guitar, listen to Andy Summers, & John Etheridge's "Invisible Threads" album. If you are a Police (the band) fan, this could be a new, and hopefully enjoyable kind of "Synchronicity" for you !

TRACKS

Boogie Stop Shuffle
Tonight At Noon
Reincarnation Of A Lovebird
Opus Three
Cumbia Jazz Fusion
Remember Rockefeller At Attica
Peggy's Blue Skylight
Weird Nightmare
Goodbye Pork Pie Hat/ Where Can A Man Find Peace?
Free Cell Block F
Self Portrait in Three Colours
Myself When I Am Real

All music and lyrics by Charles Mingus

TRACKS / MUSICIANS

BOOGIE STOP SHUFFLE
Andy Summers: Guitar
Dave Carpenter: Bass
Joel Taylor: Drums
Randy Brecker: Trumpet

TONIGHT AT NOON
Andy Summers: Guitar
Dave Carpenter: Bass
Joel Taylor: Drums
Nick Ariondo: Accordian
Hank Roberts: Cello

REINCARNATION OF A LOVEBIRD
Andy Summers: Guitar
Dave Carpenter: Bass
Joel Taylor: Drums
John Novello: Hammond B-3 Organ
Geetha Bennett: Vocal, Veena & Tamboura
Hank Roberts: Cello

OPUS THREE
Andy Summers: Guitar
Dave Carpenter: Bass
Joel Taylor: Drums
John Novello: Hammond B-3 Organ
Rob Thomas: Violin

CUMBIA JAZZ FUSION
Andy Summers: Guitar
Dave Carpenter: Bass
Joel Taylor: Drums
Hank Roberts: Cello
Michito Sanchez: Percussion

REMEMBER ROCKEFELLER AT ATTICA
Andy Summers: Guitar
Dave Carpenter: Bass
Joel Taylor: Drums
Alison Wedding: Vocal
John Novello: Hammond B-3 Organ
Michito Sanchez: Percussion
Brian Kilgore: Percussion
Rob Thomas: Violin
Curtis Fowlkes: Trombone
Hank Roberts: Cello

PEGGY'S BLUE SKYLIGHT
Andy Summers: Guitar
Dave Carpenter: Bass
Joel Taylor: Drums
Michito Sanchez: Percussion
Nick Ariondo: Accordian

WEIRD NIGHTMARE
Deborah Harry: Vocal
Andy Summers: Guitar
Dave Carpenter: Bass
Joel Taylor: Drums
John Novello: Hammond B-3 Organ
Hank Roberts: Cello


GOODBYE PORK PIE HAT/ WHERE CAN A MAN FIND PEACE?
Q-Tip: Vocal
Andy Summers: Guitar
Dave Carpenter: Bass
Joel Taylor: Drums
John Novello: Hammond B-3 Organ
Hank Roberts: Cello

FREE CELL BLOCK F
Andy Summers: Guitar
Dave Carpenter: Bass
Joel Taylor: Drums
The Jazz Passengers:
-- Roy Nathanson: Alto Saxophone
-- Curtis Fowlkes: Trombone
-- Bill Ware: Vibraphone
-- Rob Thomas: Violin


SELF PORTRAIT IN THREE COLOURS
Andy Summers: Guitar
Dave Carpenter: Bass
Joel Taylor: Drums
Hank Roberts: Cello

MYSELF WHEN I AM REAL
Andy Summers: Guitar
Kronos Quartet:
-- David Harrington: Violin
-- John Sheba: Violin
-- Hank Dutt: Viola
-- Jennifer Culp: Cello

MUSICIANS (GENERAL)

Andy Summers - Guitar, Electric Sitar
Dave Carpenter - Bass
John Novello - Organ, Hammond Organ
Joel Taylor - Drums
Michito Sanchez, Brian Kilgore - Percussion
Roy Nathanson # - Alto Sax
Randy Brecker - Trumpet
Curtis Fowlkes # - Trombone
Hank Roberts, Jennifer Culp * - Cello
Hank Dutt * - Viola
John Sheba *, David Harrington *, Rob Thomas # - Violin
Nick Ariondo - Accordion
Bill Ware # - Vibraphone
Geetha R. Bennett - Vocals, Tamboura, Veena
Debbie Harry, Q-Tip, Alison Wedding - Vocals
N.B: * Plays with the Kronos Quartet, * # Plays with The Jazz Passengers

REVIEWS

In a similar vein as his 1999 release Green Chimneys: The Music of Thelonious Monk, guitarist Summers now offers tribute to jazz pioneer Charles Mingus. The collection is a little cobbled together, with an ill-conceived rap from Q-Tip over "Goodbye Pork Pie Hat" and a sparse, unfunky reading of "Cumbia Jazz Fusion," but the former Policeman's bright guitar work works hard at tying it all together. Making more admirable guest spots are Randy Brecker bringing his crossover jazz trumpet to "Boogie Stop Shuffle," Deborah Harry singing on "Weird Nightmare," and the genre-bending Kronos Quartet performing a string arrangement of the final track "Myself." While at times overproduced and slick, Summers must be commended for approaching Mingus' daunting music head on and adapting it as his own. © Zac Johnson, All Music Guide © 2010 Answers Corporation http://www.answers.com/topic/peggy-s-blue-skylight

If Andy Summers's gigs in the late 1990s fell short of expectations, Green Chimneys, his 1999 Monk tribute, showed great improvement, and the progress continues in this homage to Mingus. His line playing is still occasionally a little halting, but he has some very respectable solos on "Opus 3," "Cumbia Jazz Fusion," and "Free Cell Block F." And there are also sterling contributions from Randy Brecker, Hank Roberts, Deborah Harry, and others. Above all, though, the album's success flows from the same arranging intelligence Summers brought to the Police 20 years ago. The old chestnut "Goodbye Porkpie Hat" is about the only suggestion of cliché, with a string quartet (courtesy of Kronos) arrangement of "Myself" showing the breadth of the leader's imagination. Fellow Policeman Sting showed an interest in jazz after leaving the service, but as this richly varied and entertaining set shows, Summers, free of the pressures of stardom, has been the one to more fully explore the music. © Mark Gilbert © 1996-2010, Amazon.com, Inc. or its affiliates

"Peggy's Blue Skylight" is a tribute to the music of Charles Mingus. After successfully trying his hand at interpreting the compositions of Thelonious Monk with GREEN CHIMNEYS, ex-Police guitarist Andy Summers stretches his musical experimentation even further with "Peggy's Blue Skylight", a collection of Charles Mingus' works. Whereas Monk was quirky and introverted, Mingus was often brash and expansive. Summers, given his unusually creative musical background, does a grand job of interpreting these heady pieces in his own idiosyncratic fashion. Right off the bat, Summers makes a bold reading of "Boogie Stop Shuffle" as a lazy reggae lope. Always having been one to create mesmerizing atmospheres out of which he forges creative slants on his musical subjects, Summers' esoteric settings for "Reincarnation Of a Lovebird," "Goodbye Porkpie Hat/Where Can a Man Find Peace?" and "Myself When I Am Real" are ample proof of the guitarist's inspiration. Other more conventional readings in this rich experiment include "Cumbia Jazz Fusion," with its deep samba groove, and Deborah Harry's sultry version of "Weird Nightmare." Originally released in 2000, Peggy's Blue Skylight is Andy Summer's tribute album to Jazz pioneer and legend Charles Mingus. It features The Police guitarist with an all-star cast including, among others, Deborah Harry, Q Tip, The Kronos Quartet, Rob Thomas, Randy Brecker and The Jazz Passengers, all paying tribute to one of the world's greatest 20th century Jazz composers. Recorded at Fool For Love Studio, Venice Beach, California; Megatrax, Los Angeles, California; Right Track, New York, New York; Skywalker Ranch Studios, San Francisco, California in 2000. 1996 - 2010 CD Universe; Portions copyright 1948 - 2010 Muze Inc.
For personal non-commercial use only. All rights reserved http://www.cduniverse.com/search/xx/music/pid/7485433/a/Peggy's+Blue+Skylight.htm

BIO (WIKI)

Andy Summers (born Andrew James Somers 31 December 1942) is an English guitarist and composer best known for his work in The Police and Eric Burdon & The Animals. Andrew James Summers was born on 31 December 1942 in Poulton-le-Fylde, Lancashire, England to his parents, Maurice and Jean Somers. When he was a young child, he moved to Bournemouth, Dorset, upon which he took up the guitar at age 14. By 17, he was playing in local clubs. While a teen he worked in a Bournemouth music store frequented by a young Robert Fripp. Although Summers had been essentially self-taught when he began his professional musical career, he studied classical guitar at California State University at Northridge for four years until 1973. Summers began his recording career in the 1960s as the guitarist for the R&B group Zoot Money's Big Roll Band, and its subsequent psychedelic-era incarnation, Dantalian's Chariot. In 1968, Summers was a member (for a couple of months, from May to July of the Canterbury scene jazz fusion band Soft Machine, although he did not record with the group. He also recorded with Eric Burdon and The Animals), and spent much of the mid-seventies doing session work for Kevin Ayers, Kevin Coyne, and others. He was also a member of the band Strontium 90 along with Sting, Stewart Copeland and Mike Howlett. When he moved back to London, he changed his surname from Somers to Summers. Summers achieved international prominence as the guitarist for The Police (which he first had contact with in 1977, and of which he was the oldest member by almost a decade), most notably on popular hits such as "Message in a Bottle", "Don't Stand So Close to Me", and "Every Breath You Take". Summers also wrote songs for the Police, such as "Omegaman", and "Mother", and his instrumental "Behind My Camel" (on which Sting refused to play) won the Grammy for Best Rock Instrumental in 1980. Although Sting was the primary lead vocalist, Summers sang lead vocals on several songs, including "Be My Girl - Sally" (which he co-wrote) and "Mother." After the break-up of The Police in 1983, Summers continued his musical career, both as a solo artist and in collaboration with other musicians. He has also developed his career as a writer (of books and essays) and a photographer.

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While Andy Summers is best known as the guitarist of the Police, he has since forged a successful and acclaimed solo career with new age-influenced contemporary instrumental music that, like his work with Sting and company, draws on his love for jazz and his fascination with creating instrumental textures. Born Andrew James Somers in Poulton-Fylde, Lancashire, England, on December 31, 1942, the young Somers (who later changed his surname to the more easily spelled Summers) moved to Bournemouth as a child and, upon taking up the guitar at 14, immersed himself in the local jazz scene. By 16, he was playing in local clubs and coffeehouses, where he was noticed by Zoot Money. Somers was invited to join Money's Big Roll Band, with whom he appeared on the live album The All Happening Zoot Money's Big Roll Band at Klook's Kleek. Money eventually changed the band into a psychedelic outfit called Dantalian's Chariot, and when that project dissolved in early 1968, Somers briefly signed on with the Soft Machine before rejoining Money in a revamped Animals lineup for the LP Love Is. When that imploded in 1969, Somers studied classical guitar and composition at UCLA for four years, in the meantime giving guitar lessons, gigging with a local Latin-rock band, and acting with various theater troupes. Upon his return to England in 1973, Summers became something of a journeyman, touring in the backing bands of Neil Sedaka, Kevin Coyne, Kevin Ayers, and David Essex. Summers met Sting and Stewart Copeland in 1977 while playing with a band called Strontium 90. The two asked Summers to join their full-time project, the Police; together, the trio gradually developed a style centered around jazz- and reggae-influenced pop/rock, and Sting's strong bass lines allowed Summers to supply subtle sonic textures and colors on his guitar, and to experiment with various effects. Summers first stepped out on his own in 1982, teaming with King Crimson guitarist Robert Fripp on the jazz- and Eastern-tinged I Advance Masked. It was followed in 1984 with Bewitched, another Summers/Fripp collaboration, around the same time the Police officially disbanded. Eager to establish himself in musical realms outside of rock & roll, Summers did a bit of movie soundtrack work (Down and Out in Beverly Hills, 2010, etc.) before returning to recording, this time on his own. His first solo effort, 1987's harmonically intricate yet pop-oriented XYZ, met with poor critical response. Its follow-up, 1988's Mysterious Barricades, was more successful, emphasizing Summers' textural sensibilities on its jazzy, new age-influenced compositions. A string of albums in this style followed through the '90s, notably The Golden Wire (1989), Charming Snakes (1991), World Gone Strange (1991), Invisible Thread (1993), and The Last Dance of Mr. X (1997). For 1998's Strings of Desire, he teamed with South American guitar virtuoso Victor Biglione; 1999's Green Chimneys: Music of Thelonious Monk found Summers working with a larger ensemble than usual for him, as well as his first collaboration with Sting since the Police (on a version of "'Round Midnight"). Following the success of his Monk-themed album, the guitarist put together an album of interpretations of compositions by Charles Mingus called Peggy's Blue Skylight, released in late 2000. Earth + Sky appeared four years later. Summers continued to record thereafter, releasing First You Build a Cloud in 2007. He also participated in the Police reunion tour that same year. © Steve Huey © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:aiftxqr5ldae~T1