"Canopy of Trees” : a SINGLE from low woodwind master Brian Landrus’ upcoming albumRed List: Music Dedicated to the Preservation of Our Endangered Species, via Palmetto Records
Landrus’ impassioned manifesto dedicated to bringing awareness to the world’s most endangered species, Red List features Landrus with his all-star band: Ryan Keberle, Geoffrey Keezer, Nir Felder, Rudy Royston, Ron Blake, Jaleel Shaw, Lonnie Plaxico, John Hadfield, Steve Roach and Corey King.
Hoping that Red List will help to facilitate “critical yet uncomfortable conversations about changing our global habit of destroying nature for our own gain,” Landrus is collaborating with the organization Save The Elephants and will donate 20% of all proceeds and 100% of profits to the organization, which has been helping to ensure a future for African Elephants for nearly 30 years.
Together he and his ace band create entrancing grooves, lush harmonies, evocative interludes and epic crescendos, all in the service of Landrus’ thoughtful compositions that bring attention to the plight of 13 endangered species on the planet. The Red List was compiled by the International Union for Conservation of Nature, the world’s most comprehensive information source on the global extinction risk of animal, fungus and plant species.
Vocalist Christine Hitt's "MAGICAL KITE" produced/arranged by Geoffrey Keezer featuring John Beasley, Jeff Hamilton and more
"She has an unpretentious approach while sharing her great musical sensibilities with others. She's a real joy to work with."
Jeff Hamilton, legendary jazz drummer
MAGICAL KITE, the newest CD from vocalist and multi-instrumentalist CHRISTINE HITT, comprises a range of styles, from standards to gospel to bebop. The selection of songs reflects Hitt’s eclectic tastes and influences, but it’s her innate musicality that elevates and personalizes these songs. The CD was produced and arranged by GEOFFREY KEEZER, the prolific, Grammy nominated pianist, composer, and arranger, and features JOHN BEASLEY on piano. She’s also accompanied by some of the top jazz musicians in Southern California. MAGICAL KITE is the long-awaited follow-up to YOU’D BE SO NICE TOCOME HOME TO, her 1999 MaxJazz debut that featured Hitt on vocals and piano, along with several well-known jazz artists. Hitt’s warm voice can express a rich tapestry of tones, and she sings ballads and swing tunes with equal facility. Keezer’s arrangements truly set this recording apart, but Hitt also wanted the experience of Keezer as an accompanist; she closes the CD with a gentle but emotional duet with him on “Around The World.” With Hitt’s sophisticated lyric interpretations along with her musical chops, MAGICAL KITE is a showcase from an experienced artist with great depth and maturity.
Keezer is Joined by Bassist Mike Pope, Drummer Lee Pearson
& Special Guest Vocalist Gillian Margot (on 4 Songs)
Geoffrey Keezer’s peers and elders have considered him a master of the piano trio function since he burst on the scene as a 17-year-old wunderkind in 1988, when he made the first of 22 albums as a leader or co-leader. Surprisingly, Keezer has devoted few of those dates to the piano-bass-drums format, as he does on his latest, the self-released On My Way to You, serving as a major contribution to the idiom.
Throughout the dazzlingly intense proceedings, Keezer upholds a remark Christian McBride made in 2005 on the occasion of Keezer’s previous trio recording, Wildcrafted: Live At The Dakota: “Of all the pianists from our generation, Geoffrey is the one I always have to listen to twice,” McBride told DownBeat. “I’m not always sure it’s him, because he never repeats himself. Technically, I don’t believe there’s anything on the piano he can’t play. And in terms of interpretation, he comes up with the most brilliant ideas that you could ever think of.”
For On My Way to You, Keezer convened bassist Mike Pope, a member of his sparkling co-led quartet with vibraphone master Joe Locke, and drummer Lee Pearson, his bandmate in Chris Botti’s high-profile group for many years. They perform on nine selections, five of them with the individualistic, communicative singer Gillian Margot, whose last album, Black Butterfly, inspired the L.A. Jazz Weekly to remark that “her honey-toned voice delivers hints of a young Aretha Franklin.” That vibration comes through on the penultimate track, a Keezer-Margot duo on Ewan MacColl's “The First Time Ever I Saw Your Face,” before Keezer concludes with solo ruminations on the Beatles’ “Across The Universe,” then summons the trio to join him on John Lennon’s “Give Peace A Chance.”
Throughout the proceedings, Keezer applies his formidable technique, harmonic knowledge, rhythmic ingenuity, abiding soulfulness, and rigorous logic to conjure fresh approaches to new and old standards and several originals. Stevie Wonder’s “These Three Words,” a gospel-influenced pop ballad written for the soundtrack of Spike Lee’s Jungle Fever, is addressed as a 3/4 waltz. Keezer drew on John Coltrane’s anthemic “Dear Lord” as inspiration for the double-time swing feel he superimposes on Jimi Hendrix’s psychedelic ballad, “May This Be Love,” from the 1967 album Are You Experienced?.
Keezer interpolates a plugged-in nod to Miles Davis’ early ‘70s funk-jazz hit “On The Corner” in the middle section of his quirky, irreverent arrangement of Thelonious Monk’s “Brilliant Corners,” and then, over a drum'n'bass beat, uncorks a turbulent, precise piano solo that never strays far from the melody. He slows the pace on a highly reharmonized, phantasmagoric treatment of the oft-played American Songbook chestnut “All The Things You Are,” gradually building a steamy groove that propels a transition into Earth, Wind and Fire’s “Serpentine Fire.”
On the collaborations with Margot, Keezer touches on elements of love, longing and desire. As an example, consider how Keezer’s nuanced touch complements Margot as they navigate the ascendant arc of “Red Leaf,” an elegiac, affirmative song on which he collaborated with author Michael Perry, a fellow Wisconsin native. Piano and voice achieve an uncanny mind-meld on the co-composed “You Stay With Me” — Margot projects her magnificent contralto to equally compelling effect both when conveying her tender, sensuous lyric and then improvising in dialogue with the piano during the latter section. They also co-wrote the percolating “Guanajuato” (named for the Central Mexican city where they performed a duo concert several years ago), on which the protagonists engage in a protracted, intuitive musical conversation.
“Writing music together with someone is relatively new for me,” Keezer says. “I’ve always been fiercely autonomous as a composer. But I’m at a place now where collaborating is highly productive and rejuvenating.”
Keezer credits the “direct influence” of singer/pianist Shirley Horn on the way he and Margot — complemented by poignant strings — stretch out the tempo and find space between the beats on the title track (a 1988 song by composer Michel Legrand and lyricists Alan and Marilyn Bergman). He describes their duo on “The First Time Ever I Saw Your Face” as “another chance to explore how much space is possible in music.
“I feel this is my most mature album,” Keezer says. “At least one definition of what it might mean to be mature was to feel I didn’t have to fill up all the space. I learned that lesson playing with people like Jim Hall, who continually, night after night, would ask me to play less and less.”
In everything that he plays herein, Keezer refracts lessons gleaned during the first decade of his career on stints with Art Blakey and the Jazz Messengers, and combos led by Art Farmer, Benny Golson and J.J. Johnson, and the end-of-the-‘90s Ray Brown Trio. On his own early recordings, Keezer convened modern masters like Steve Nelson, Bill Pierce, Donald Harrison, Joshua Redman, Charnett Moffett, Victor Lewis and Billy Higgins to navigate his challenging compositions.
“When I got to New York in the late ’80s, it was the clear mission of the pianists there to play strong and hard, to give it up a thousand percent every time,” Keezer says, summing up his animating principle. “Bands don’t play like that anymore. Music has to change and that’s fine. But even though I’ve lived in California for almost 20 years, I’m coming out of that late ’80s New York piano style for sure.
“I’m not trying to be anything other than just who I am as a musician. I’m comfortable with it. I don’t mean comfortable in the sense of resting on my laurels, or that I’m not interested in improving. I always want to get better. But this feels like the best piano playing I’ve done on record. I think it’s my best album to date.”
1 These Three Words
2 You Stay with Me (feat. Gillian Margot)
3 All the Things You Are/Serpentine Fire
4 Red Leaf (feat. Gillian Margot)
5 Brilliant Corners
6 On My Way to You (feat. Gillian Margot)
7 May This Be Love
8 Guanajuato (feat. Gillian Margot)
9 The First Time Ever I Saw Your Face (feat. Gillian Margot)
“A deep, stimulating rapport honed over many years.... Mesmeric...uplifting...powerful...”
– Christopher Loudon, Jazz Times
“Shank and Keezer each have an impressive command of nuance, dynamics and texture.... Their shared reverence is balanced by a desire and ability to subtly surprise their listeners…” – George Varga, San Diego Union-Tribune
1. Alone Together 6:48 (Howard Dietz / Arthur Schwartz)
2. The Music is the Magic 7:33 (Abbey Lincoln)
3. Kneel 8:38 (Jeremy Siskind)
4. Song of Life 4:58 (Norma Winstone / Fred Hersch)
5. Half Moon 4:44 (words: K. Shank / music: G. Keezer, K. Shank)
6. Life's Mosaic 7:31 (John & Paula Hackett / Cedar Walton)
7. When Love Was You and Me 5:02 (Abbey Lincoln / Thad Jones)
8. I'm Movin' On 4:52 (Judy Niemack / Kirk Nurock)
9. Healing Song 4:33 (words: K. Shank / music: K. Shank, G. Keezer)
10. You Are There 5:58 (Dave Frishberg / Johnny Mandel)
11. A Weaver Of Dreams 6:08 (Jack Elliott / Victor Young)
Kendra Shank and Geoffrey Keezer's musical association began in 2008 at the Athenaeum jazz series in San Diego, CA when a cancelled flight prevented Shank's New York pianist from making the gig. With just 30 minutes to rehearse, Keezer stepped in with a seamless performance and instant chemistry with Shank that inspired a standing ovation. Kendra called on Geoffrey's trio for subsequent West Coast tours and their musical connection deepened.
In January 2015, while Geoffrey was in Manhattan on an engagement with Chris Botti, he and Kendra performed an afternoon concert at a friend's home. The intimate duo setting provided the pianist and vocalist unlimited freedom to create spontaneously in the moment, taking the enthusiastic audience on a magical journey that was captured on this Ride Symbol recording.
The title song "Half Moon," inspired by a lamp hanging over the piano, was completely improvised and reveals Shank at her most vulnerable. Keezer's 88-key orchestra of harmonic and rhythmic virtuosity and Shank's exotic wordless vocalizations are highlighted in Cedar Walton's "Life's Mosaic," while the duo's lyricism shines in this first-ever recording of Jeremy Siskind's "Kneel" (winner of ASCAP's Herb Alpert Young Jazz Composers Award). The chart for "When Love Was You and Me" (Abbey Lincoln/Thad Jones) was given to Kendra in 1994 by her mentor Abbey Lincoln when Kendra visited her Upper West Side apartment -- coincidentally in the same building where this concert took place.
Throughout this diverse and inspired set, Shank and Keezer embody the playful inventiveness of making music as interactive partners, transcending the singer-accompanist mold. "Each time we collaborate brings joyful exploration and new musical discoveries," says Keezer in the liner notes. The album's executive producer, Donald Elfman, writes: "What a pleasure it is to hear jazz musicians who fully savor every moment: sharing their experience of creating, listening and playing off each other, and still improvising in individual voices."
January 9, 2017 - Shank & Keezer perform at Mezzrow: 163 W. 10th St., NYC
Sets at 8:00 and 9:30 PM. Admission: $20 general, $10 students.
GEOFFREY KEEZERWith his highly regarded discography, unique compositions, and acclaimed performances in a variety of configurations, Grammy-nominated pianist Geoffrey Keezer commands the attention typically reserved for the living legends of jazz. Whether recording with jazz vocalists Diana Krall or Dianne Reeves, touring with trumpet king Chris Botti, or collaborating with pop icon Sting, sax legend Wayne Shorter, guitar wizard Jim Hall, star bassist Christian McBride or vibes master Joe Locke, Geoffrey "has more than enough virtuosity and sheer musical wit and intelligence to weave all of his apparently disparate strands of influence into an original and compelling whole" (Time magazine). His recent release, Heart of the Piano (2013, Motema Records), redefines solo jazz piano as a personal and interactive showcase of melody, energy and groove.
Geoffrey Keezer's singular style of intellectually abstract lyricism woven over exotically complex rhythms and harmonies makes him one of the most sought-after artists on the modern jazz scene.
KENDRA SHANK Since her 1992 debut at the Village Vanguard with Shirley Horn, Kendra Shank has become a mainstay on New York's jazz scene, has toured in Europe, Asia, Africa, Australia, Canada and the U.S., and has appeared on NPR's JazzSet and Marian McPartland's Piano Jazz. Her seven critically acclaimed CDs have garnered numerous “Best of the Year” citations and DownBeat poll recognition, with accolades for her "delectable voice" (Time magazine) and "breathtakingly original concept" (Boston Globe). In addition to leading her NY quartet of 16 years with Frank Kimbrough, Dean Johnson, and Tony Moreno, Shank co-leads a duo with guitarist John Stowell and has performed and/or recorded with Abbey Lincoln, Fred Hersch, Larry Willis, Joe Locke, Jay Clayton, Bob Dorough, Gary Bartz, Steve Wilson, Victor Lewis, Matt Wilson, Ben Monder and many more.
Kendra Shank mixes modern jazz, standards, world music, folk/pop, and open improvisation, all unified by her soulful storytelling, inventive phrasing, and spontaneous group interplay.
Additional Kendra Shank performances:Dec. 30, 2016 & Jan. 27, 2017 at 55 Bar
6:00 & 7:45 PM sets. 55 Christopher St., New York, NY. 212-929-9883.
