Showing posts with label Peter Erskine. Show all posts
Showing posts with label Peter Erskine. Show all posts

Friday, January 7, 2022

Alessandro Galati / Palle Danielsson / Peter Erskine - Traction Avant special edition (The Complete Sessions) January 2022 JAzZMUD

I inaugurate this new year with the release of an album in which I have inserted several new songs found while listening to the original tapes of a studio session that has brought a lot of luck to my career, allowing my music to be known all over the world.

After a few days of careful listening, I chose eight unreleased tracks, adding them to those originally contained in the Traction Avant CD.

The result is a double album in which the atmosphere is incredibly magical: my compositions, standards and free improvisations alternate in a new balance that I hope will meet the taste of many old and new fans.

A. Galati

1. How Sweet is the Ozone 06:12
2. Floating #1 04:04
3. Andre 07:44
4. Traction Avant 05:39
5. J.S. What 05:49
6. Wassily 08:14
7. Solar 07:59
8. Floating #2 05:33
9. Amaxonia 08:31
10. Blues as you Please 02:16
11. Someday my prince will come 06:09
12. Crinkle 04:52
13. Palle's solo 01:38
14. Red Milk 07:42
15. Ripple 07:07
16. Blues as you Please (alt.version) 06:51
17. You don't know what love is 07:06
18. Solar (alt. version) 07:51

ALESSANDRO GALATI - piano
PALLE DANIELSSON - bass
PETER ERSKINE - drums

Recorded by Jan Erik Kongshaug at Larione 10 (FI)

Thursday, September 23, 2021

Chris Standring - Wonderful World (September 2021)

RENOWNED CONTEMPORARY GUITARIST/COMPOSER CHRIS STANDRING
RECORDSWITH JAZZ LEGENDS AT FAMED ABBEY ROAD STUDIOS
FORHIS FIRST LARGE ENSEMBLE STANDARDS ALBUM
WONDERFUL WORLD

Guitarist, composer, and arranger CHRIS STANDRING is one of the most prolific and successful artists on the contemporary urban jazz scene. With 13 Billboard Top 10 singles and 6 singles that reached number one on the chart, Jazz Monthly has said of Standring, “One of contemporary jazz’s most dynamic and in-demand guitarists, Standring’s sensual chill, ambient soul and retro-groove pop jazz is fashioned around his trademark hip-swaying guitar.”

Now, with WONDERFUL WORLD, his 14th release as a leader, he is once again pushing the envelope of taste and style with a project that is wholly different from anything he has done before.

Standring is a native of England. He was born and raised on a farm in the rural countryside of Buckinghamshire, where he spent his childhood driving tractors and feeding sheep. Music has been the nearly all-consuming focus of his life since he was 6 years old and began studying classical guitar. Although he had been listening to a lot of West Coast American jazz growing up, he did not become a serious jazz musician until he attended the London College of Music, where he met many aspiring jazz musicians, many of whom were members of the National Youth Jazz Orchestra and hard-core, straight-ahead aficionados. Standring soon found himself listening to the great bebop players and learning new approaches to harmony and rhythm.

Although London has a vibrant jazz scene, the U.S. is still a mecca for world class jazz artists. Standring had visited the States several times and loved the West Coast vibe, so he moved to Los Angeles in 1991 and quickly became part of the local jazz scene. Playing the top L.A. venues with A-list musicians, it did not take long until he caught the attention of many top music acts, and his contemporary guitar sound can be heard on recordings by Bebe and Cece Winans, Jody Watley, Carole Bayer Sager and Rick Braun. He has also performed with Marc Antoine, Patti Austin, Bob James, Dave Koz, Richard Elliott, Boney James, Peter White, Kirk Whalum, and Al Stewart.

Standring landed a record deal with Instinct Records, a label out of New York City, and in 1998, produced Velvet, his first album as a leader. He produced a new album for a variety of labels every year or two thereafter, writing or co-writing every one of the 100+ compositions. When asked how he could be so prolific, he responds, “I’m very disciplined about my writing. I’m not married and don’t have any children, because I have been so intensely focused on my music and don’t want any distractions. I write pretty much every day and need silence and time for reflection. Although I listen to a wide range of music styles to spark my creativity, I would have to say that just 1% of my output is from inspiration and 99% is from dedication to my craft.”

For WONDERFUL WORLD, Standring wanted to take his art in a different direction. Unlike all his other projects, he composed just one of the tunes on the album and instead concentrated on putting his own unique spin on songs from the Great American Songbook. The album also features a 19-piece orchestra, which is something he always wanted to do. He has been playing standards for many years, and he chose songs for WONDERFUL WORLD that he has always enjoyed. Standring says, “I chose these songs because I like them but also because they could be arranged for a full orchestra or a trio setting. I think there’s something magical about the sound of a guitar and orchestra playing together, but I won’t always be in situations where it’s possible to use an orchestra. So the arrangements had to be flexible enough to work in a trio setting.”

Standring wanted the album to be lush and sentimental, and he needed players who could capture the emotional tone he wanted and also navigate the subtle arrangements. He put together an all-star band that includes RANDY BRECKER on trumpet, PETER ERSKINE, HARVEY MASON, and DAVID KARASONY on drums, and CHUCK BERGHOFER, DAREK OLES, and GEOFF GASCOYNE on bass. All are top L.A.-based musicians except for Gascoyne, who is an old friend of Standring and still lives in England. Gascoyne wrote the string arrangements and helped Standring create the feel he wanted. Gascoyne also assembled and conducted the orchestra at the famed Abbey Road studios.

Also featured on one song is vocalist KATHRIN SHORR, an alternative-folk/pop singer who has recorded several CDs with her group Sweet Talk Radio. She and Standring released a CD of all original Christmas songs in 2011. Standring thought her smokey voice would be an excellent choice for “What a Wonderful World.”

Standring set out to make an album of music that was pared down to its essence. He wasn’t interested in pyrotechnics that would show off his considerable chops. Instead, he wanted to invite listeners in with open trio arrangements and lush orchestrations that would be nostalgic yet updated with a contemporary sensibility. Songs like “How Insensitive,” “Night & Day,” “Autumn In New York,” “Estate,” “What A Wonderful World,” “Green Dolphin Street,” “Alfie,” “Falling In Love With Love,” and “My Foolish Heart” are certainly well-known to jazz audiences, but Standring and company breathe new life into these chestnuts with a sentimental sweetness on WONDERFUL WORLD.

1. HOW INSENSITIVE 4:54
2. NIGHT & DAY 5:50
3. AUTUMN IN NEW YORK 4:49
4. ESTATE 4:43
5. WHAT A WONDERFUL WORLD 4:47
6. GREEN DOLPHIN STREET 3:54
7. ALFIE 4:16
8. FALLING IN LOVE WITH LOVE 4:40
9. SUNRISE 4:55
10. MAXINE 4:30
11. MY FOOLISH HEART 3:40

CHRIS STANDRING  guitar
RANDY BRECKER  flugelhorn (9)
PETER ERSKINE  drums (1, 2, 3, 5, 8)
HARVEY MASON  drums (6, 9, 10)
DAVID KARASONY  drums  (4)
CHUCK BERGHOFER  bass (2, 3, 5, 8)
DAREK OLES  bass (6, 9, 10)
GEOFF GASCOYNE  bass (1, 4, 7, 11)
KATHRIN SHORR  vocal (5)

Arranged and Produced by CHRIS STANDRING
Orchestra arranged and conducted by GEOFF GASCOYNE  
Orchestra recorded at Abbey Road Studios

WONDERFUL WORLD will be available on CD, vinyl and digitally everywhere

Saturday, April 3, 2021

Alessandro Galati / Bob Sheppard / John Patitucci / Peter Erskine - Jason Salad! (2021 JazZMUD Recs)

1. Bop 'Till You Drop 03:49
2. Love 05:15
3. Last Night 04:48
4. Circus 07:01
5. You don't know what love is 07:36
6. Bulgaria 05:32
7. Hi dance with you (to Luca Flores) 07:19
8. Woody's Grouse 03:01
9. This Up Year 06:06
10. Tobaccoless 04:57
11. Ascending 04:49

ALESSANDRO GALATI - piano
BOB SHEPPARD - sax
JOHN PATITUCCI - bass
PETER ERSKINE - drums

Recorded at Mad Hatter, L.A. (USA) by Bernie Kirsch, march 1996.

Wednesday, May 2, 2018

Yelena Eckemoff - Desert (L & H PRODUCTION May 4, 2018)


In addition to establishing a dialog between American and European musicians, canceling the presumed differences between their respective jazz styles, this album combines poetry, refined technique and interpretive intensity. A rare example of the balance between intellectual complexity and emotional immediacy.



Friday, July 7, 2017

Alan Broadbent with The London Metropolitan Symphony Orchestra at Abbey Road - Developing Story (EDEN RIVER RECORDS 2017)

Diana Krall about -Developing Story-: "You have painted your masterpiece. Timeless. Beautiful. Emotional."

Developing Story- together with the London Metropolitan Orchestra is a dream come true album for 2-time Grammy winning Alan Broadbent who regularly arranges and conducts for the likes of Sir Paul McCartney, Diana Krall, Pat Metheny, Michael Bublé, Natalie Cole etc. but this time he was able to write his own story by recording his own material of original compositions for jazz trio and orchestra and pieces of the Great American Songbook. You can listen to John Coltrane’s „Naima“ or „Milestones“ by Miles Davis in a symphonic orchestra setting like never before. 

Drum legend Peter Erskine and longtime companion Harvie S on bass made sure that there is enough room for Alan’s rhapsodic style of piano playing as the LA Times called Alan “…one of the greatest living jazz pianists.”


DEVELOPING STORY
[for jazz trio and orchestra]

Sometime in the late 70s the initial idea for “Developing Story” came to me in a complete phrase for woodwind soli, counterpoint and all. My problem was not quite knowing what to do with it. It wrote itself in response to a moment I’d had with the music of Mahler, but to imitate such a master would be the height of hubris (and impossible, anyway). Things slowly took shape when I realized that rather than getting an orchestra to play with jazz feeling (it’ll never happen, I’m afraid), I could present it with a jazz trio version of the idea and perhaps the orchestra could help me out with some nice chords. Then at some point the orchestra would seem to say, “Yes, we get it. Now let us show you how we might express our thoughts on the matter;” opposite sides of the same music, developing together, creating the story.

I would like to briefly describe a few chapters, or signposts, to help guide you through nearly a half-hour of continuous music:

We begin with a forte introduction by the orchestra which subsides into the “song theme” played by the solo piano. The entire piece is based upon these two statements.

From this, a kind of travel music develops in a new version of “the song”. After some trio improvisation on this form, the strings join in a joyous arioso, only to be broken off by a vehement restatement of the introduction that unravels into a warmly expressive symphonic version of the “song theme.” The piano closes with a quiet memory of the introduction.


This is followed immediately by a slow waltz for my wife Alison, a piano theme stated simply with subdued string chords, another interpolation of “the song”. When improvising I love the subtle feeling of swing that jazz has even in ballad improvisation, that sense of dancing with the time that I always strive for in my playing. Bu t now, after a gentle chordal accompaniment, the orchestra has deeper, more expressive things to say as it unfolds its power and beauty.

A brief woodwinds interlude ensues with variations by other groups that look to things past interspersed with hints of things to come.

Segue to the third movement finale; fast, yet floating. There are more pressing concerns now as the trio is featured on a fragmented tune from “the song.” It builds to a drum solo by Peter acting as a bridge to a chorale for the orchestra that is based on those fragments. Here, the horns dominate as other sections echo them. After reaching a plateau of momentary reflection, the horns and piano return, urging the strings onward to a dramatic climax. At that point, the trio starts again, as if to interject, “But as I was saying…” The final word, however, is in “the song” itself, which persistently strives for a breakthrough only to dissolve, not without a struggle, into qu iet resignation. For the last time, the piano recalls the memory.

End of story.


IF YOU COULD SEE ME NOW
This song has been a favorite since I was very young. Some songs lend themselves to infinite variations without seeming to lose their character. This is one of them. Every time I improvise on it I find ways to express something new, and in this arrangement I imagine having a little dialog through the mists of time with its composer, Tadd Dameron.

NAIMA
(on a starry night)
As a young man I was transported by the harmonic progressions John Coltrane laid under a melody of such noble simplicity, so celestial did it sound to me. In keeping with this astral theme, here is my vision of this beautiful song, a star among stars.

VARIATIONS ON BLUE IN GREEN
When I was with Quartet West this famous jazz standard from “Kind of Blue” was a favorite of Charlie Haden. He loved to play it. This arrangement is dedicated to Charlie’s memory. The title conveys to me the colors of still waters running deep, always flowing qu ietly beneath the surface.

LADY IN THE LAKE
I wrote this song for Quartet West when we were associated with film noir and Charlie’s love for Raymond Chandler. The title was also made into a famous 40s movie experiment, Philip Marlowe narrating in the first person. But the label “film noir” came after the fact as far as Qt. West and I were concerned; after years of forging my own path, I just happen to write this way.

MILESTONES (first flight)
Once the idea came to me, this symphonic arrangement flowed qu ickly from pencil to paper. Bu t after a while I became stuck on what looked to be a road of endless repeats. Driving north in New York State with my son one spring day, a new theme based on Miles Davis’s original form suddenly came to me, freeing itself from its roots, able to fan its wings and fly. My son, fortunately, as it turned out, was firmly earthbound. We made a hasty stop on the side of the road and I furiously wrote it all down.

THE CHILDREN OF LIMA

I wrote this in the early 1970s for Woody Herman and the Houston Symphony Orchestra. I remember a devastating earthquake in Peru at around that time, and the plight of children in the streets of Lima making me feel helpless. This lullaby was the only way I knew to respond to the suffering of little ones everywhere on earth. With a bit of tweaking, it remains as I originally composed it, now orchestrated for the symphony only and dedicated to Woodrow Charles Herman, our beloved Road Father.



Side A
DEVELOPING STORY (movement 1) 9:52 – Alan Broadbent
DEVELOPING STORY (movement 2) 7:15 – Alan Broadbent

Side B
DEVELOPING STORY (movement 3) 9:18 – Alan Broadbent
IF YOU COULD SEE ME NOW 6:33 – Tadd Dameron

Side C
NAIMA 8:26 – John Coltrane
BLUE IN GREEN 6:21 – Miles Davis

Side D
LADY IN THE LAKE 4:32 – Alan Broadbent
MILESTONES 4:58 – Miles Davis
CHILDREN OF LIMA 8:04 – Alan Broadbent


Alan Broadbent - Developing Story (extended version) from Ralf Kemper on Vimeo.

Friday, February 17, 2017

Peter Erskine New Trio - In Praise of Shadows (FUZZY MUSIC 2017)


Multiple Grammy Award nominee and winner Peter Erskine leads his New Trio on their second CD outing, turning their collective self towards the Land of the Rising Sun for inspiration.

From the Tanizaki essay on esthetics titled “In Praise of Shadows,” to the 60s pop hit “Sukiyaki,” this is the perfect follow-up album to “Joy Luck.” Pianist/arranger Vardan Ovsepian has penned an impressive collection of originals, with Peter contributing one new world music/ acoustic fusion classic (“Each Breath”) — featuring guest cellist Artyom Manukyan (the song is a cross between acoustic Weather Report and the Roger Kellaway Cello Quartet). Electric bass phenom Damian Erskine shines on this recording. Engineered by Rich Breen, this is another Fuzzy Music classic.


Sukiyaki (Ue Wo Muite Arko”)
What If
Each Breath
Labyrinth
Marcheta (“A Love Song go Old Mexico”)
Silhouette Shadows
Begin Within
Distant Blue
Smile
All That Remains

VARDAN OVSEPIAN: KEYBOARDS
DAMIAN ERSKINE: ELECTRIC BASS
PETER ERSKINE: DRUMS, PERCUSSION & MARIMBA

WITH GUESTS
ARTYOM MANUKYAN, CELLO
JUDD MILLER, EVI (WHISTLE)


Peter Erskine and the Dr. Um Band - Second Opinion (FUZZY MUSIC 2017)


The follow-up release to Peter Erskine’s Grammy-nominated “Dr. Um” album, reuniting the production team of Erskine with Grammy-nominated keyboardist and arranger John Beasley. “Second Opinion” is just that: a new look at songs and genres that are ripe and begging for expert musical attention.

From funky originals to Henry Mancini covers, the Dr. Um Band delivers. Featuring Peter Erskine, John Beasley, Bob Sheppard and Benjamin Shepherd. Recorded at Sweetwater Studios, engineered by Mark Hornsby and mixed by Talley Sherwood. Peter feels that this is his “best album yet!” The drum sound will blow you away.

1 – Hipnotherapy
2 – Eleven Eleven
3 – Street of Dreams
4 – Not so Yes
5 – Did It Have to Be You?
6 – Lida Rose
7 – Solar Steps
8 – Dreamsville
9 – Willow Weep for Me


Friday, September 2, 2016

Tuesday, January 19, 2016

Peter Erskine - Dr. Um (2016)


Label: Fuzzy Music


As an educator in addition to long being one of the most advanced musicians in and out of jazz, Peter Erskine’s proficiency on drums is inarguably at the doctorate level. Belatedly taking up a quarter-century old suggestion from an old friend, Erskine created a ‘new’ persona of himself as the PhD-accredited linchpin for his newest album Dr. Um, out January 15, 2016 through Erskine’s own Fuzzy Music imprint.
This new persona is really the old Peter Erskine that fusion fans were attracted to from his days in Weather Report and Steps Ahead, two of the genre’s most advanced outfits. But since then, Erskine’s exploits have been predominantly on the straight ahead and egghead side of jazz (he had become a regular on ECM both as a leader and a sideman) while continuing to participate in high-profile studio dates with the likes of Barbra Streisand, Kate Bush and Michael Bublé. With Dr. Um returns to his RnB and rock-jazz drumming that dominated his mindset for much of the 70s and 80s.
From 1978 to 1982, Erskine was in Weather Report, alongside bass legend Jaco Pastorius and of course the mainstays Joe Zawinul and Wayne Shorter, the most celebrated configuration of this constantly evolving group. About half of the tracks on Dr. Um consciously conjure up the spirit of that band at that time, in a way only someone on the inside could do it. Much as original WR bassist Miroslav Vitous demonstrated what Version One of the band was about with remembering Weather Report , Erskine does his own remembering from a different phase, one where gurgling Wurlitzers, dense Third World rhythms and funky bass lines peacefully co-existed with the exuberant swing of classic jazz.
Indeed, “Hawaii Bathing Suit” is a lesson on how to making electric jazz swing like its 1949. Saxophonist Bob Sheppard and keyboard player (and co-producer with Erskine) John Beasley turn in strong solos amid Erskine’s boss pulse, especially during Sheppard’s Michael Brecker influenced tenor sax break. Sheppard leaves behind Shorter-like quips for “Lost Page” over a very smooth and slinky groove.
A Weather Report cover comes from the 1982 self-titled album, the last one featuring Erskine: “Speechless” is one of Zawinul’s sensitive ballads, and bassist Janek Gwizdala projects the soulfully melancholy of Pastorius’ original lead part. Stripped of Zawinul’s lush synth harmonics, the band (with Beasley on piano and organ instead) exposes the beauty at the kernel of the song. “Bourges Buenos Aires” is a Zawinul song that gestated during Erskine’s time with him; a well-written melody with a vocal-like synth line as the lead voice and comped with an oscillating electric piano, it’s got a dead-on 1978 vibe.
But Erskine dives into other areas of fun jazz, like the intimate Hammond B3 organ trio excursion with Beasley and Sheppard for the soul-jazz delight “Okraphilia,” or the Crusader’s hard type of soul found on “Sage Hands” featuring tasty guitar handiwork from Jeff Parker. Larry Koonse is the guitarist on hand for the West Coast adaptation of Vince Mendoza’s “Sprite,” and Koonse works well in tandem with Beasley’s lissome piano.
Erskine himself is mostly content to lead from behind, but makes his rare spotlights memorable, especially during “Northern Cross,” where he adds discriminating accents to his shuffle, choosing the veteran’s path of being gently commanding instead of overly dominant.
And as of that guy who came up with the “Dr. Um” concept all those years ago: Jack Fletcher is a theater director who has worked with Erskine on film scores, and he lends his voice to a few short spoken word pieces sprinkled throughout the album. More importantly, he helped Peter Erskine realize that the drummer who is capable of taking on any role he wants behind his drum set makes his best music when he takes on the role of simply being himself.   Victor Aaron



1  You're Next
2  Lost Page
3  Hawaii Bathing Suit
4  Bourges Buenos Aires
5  Little Fun K
6  Mahler
7  Sage Hands
8  Okraphilia
9  Speechless
10 Sprite
11 Northern Cross
12 You Awake

Peter Erskine
John Beasley
Janek Gwizdala
Larry Koonse
Bob Sheppard
Jeff Parker
Aaron Sefarty


BUY THIS ALBUM