John Proulx - Say It (ArtistShare 2018)

ACCLAIMED VOCALIST/PIANIST/COMPOSER JOHN PROULX RELEASES “SAY IT” ON ARTISTSHARE, MARCH 14, 2018

A lot of great things have happened in JOHN PROULX’s life. He recorded three albums on the MAXJAZZ label, played with some amazing musicians and toured extensively, making many friends and fans across the country. But after the owner of MAXJAZZ passed away and the catalogue was sold to Mack Avenue Records, Proulx decided it was time to expand his horizons and take his career along a new and exciting path. His newest project, called SAY IT, is the first album he’s produced independently.

Each of his albums have expressed a different time in his life and musical journey. His new CD reflects the depth of experience of a man in his early-40’s with a career in full-stride and a beautiful wife and two children. Proulx has always been a sensitive pianist, which is why he’s often busy working as an accompanist for other vocalists, and he exhibits his facility with different styles throughout the CD. He can swing hard or he can play with a gentle subtlety that melds beautifully with his lyrical, tenor voice.  

Proulx approaches lyrics with a lot of heart and empathy. But that isn’t to say he takes himself too seriously. That’s why he chose songs like Mose Allison’s sardonic “I Don’t Worry About a Thing” or Michael Franks’ “Scatsville,” in which he declaims, “My Eleventh Commandment: "Thou Shalt Not Scat!" (and then launches into an impressive scat solo). But even on tunes like Joni Mitchell’s “Both Sides Now” or “The Summer Knows,” by Michel Legrand with lyrics by Marilyn & Alan Bergman, he sings with a wistfulness without a hint of worldweary disenchantment.  

The ten songs on this project are a mix of lesser-known jazz standards and jazz interpretations of pop songs by a diverse group of composers. Proulx chose these songs because they are beautifully constructed both melodically and lyrically. He knew that these mostly familiar songs would lend themselves to a fresh, new sound with updated, modern jazz arrangements. 

To help him shape his ideas, he brought on board his old friend JUDY WEXLER to produce the project. Wexler is a vocalist with four critically acclaimed CDs of her own and a mainstay on the Los Angeles jazz scene. 

Being a jazz musician based in Los Angeles has given Proulx the opportunity to play with some of the best musicians on the planet. Two legendary musicians, bassist CHUCK BERGHOFER and drummer JOE LaBARBERA, have appeared on all of Proulx’s previous CDs and join him once again on this recording. According to Proulx, “Chuck and Joe have been my musical bedrock. I love the way they inspire me to play and sing. I’m particularly close to Chuck, who’s really a father figure for me. I even dedicated a song to him, called “The Chuckster,” on my last CD.” 

Also joining Proulx are guitarist LARRY KOONSE and saxophonist BOB SHEPPARD. The two highly respected, indemand musicians, have also recorded with Proulx before. 

SAY IT also features a duet with Proulx and MELISSA MANCHESTER, the pop diva who’s been performing since the 1970s and has recorded 21 albums to date. The duo sings together on “Stained Glass,” a tune they cowrote. Proulx met Manchester five years ago when he was recommended by trombonist Bill Watrous as a substitute keyboard player for Manchester’s band. Proulx started subbing and eventually became her permanent keyboardist, regularly singing with her in live shows. “Stained Glass” is the second composition they co-wrote. They also co-wrote “Big Light” for Manchester’s album You Gotta Love the Life, which was performed as a duet with Manchester and Al Jarreau. 

Proulx has been a big fan of Grammy-winning pianist, composer, and arranger ALAN BROADBENT, whom he met while performing with Jane Monheit. Broadbent sent Proulx “The Last Goodbye,” a tune he wrote with lyricist Georgia Mancio. Proulx was blown away by the song and knew he had to record it on this CD, so he asked Broadbent to write a string arrangement for it, as well as for “The Summer Knows” and “Both Sides Now.” The lush string arrangements are performed by THE GINA KRONSTADT STRINGS. 

Proulx is a highly accomplished interpreter of standards. As a pianist, he has a sure sense of swing, which, combined with his warm, intimate voice, make for highly appealing renditions of tunes like “Gentle Rain,” “Something to Live For,” “Watch What Happens,” and “Say It.” 

As the saying goes “when one door closes another opens,” and that’s certainly been Proulx’s experience. He took advantage of being fully independent to explore who he is as an artist and then followed that path to create a CD of great warmth, affection, and sophistication. 

About John Proulx

John Proulx is a Grammy-winning composer. Jazz legend Nancy Wilson recorded "These Golden Years," a song that Proulx co-wrote with lyricist D. Channsin Berry, for her 2006 Grammy-winning CD, Turned to Blue. Besides performing as a leader, Proulx is also a busy sideman, and has performed with jazz luminaries such as Anita O'Day and Natalie Cole, and pop artist Melissa Manchester. 

In 2009, Proulx spent four months at the prestigious Feinstein’s at the Loews Regency hotel in New York City playing a nightly solo piano/vocal engagement.  Since then, John has appeared on Michael Feinstein’s radio show on NPR, “Song Travels,” as well as on Marian McPartland’s radio show, “Piano Jazz.” John recently moved back to Grand Rapids, Michigan to pursue a Master’s degree from Western Michigan University in Kalamazoo. 

SAY IT will be available at ArtistShare.com and in stores and online everywhere on March 14, 2018.

1. Gentle Rain (4:26)

2. Scatsville (3:48)

3. The Summer Knows (4:12)

4. Watch What Happens (3:32)

5. Say It (4:53)

6. I Don’t Worry About a Thing (4:36)

7. The Last Goodbye (3:54)

8. Stained Glass (4:26)

9. Something to Live For (4:50)

10. Both Sides Now (4:43)

John Proulx  piano / vocals

Chuck Berghofer  bass

Joe LaBarbera drums

Larry Koonse  guitar

Bob Sheppard  tenor sax, soprano sax

Billy Hulting  auxiliary percussion

Melissa Manchester  guest vocals

Alan Broadbent  string quartet arrangements

The Gina Kronstadt Strings

Gina Kronstadt  1st violin, leader, contractor

Susan Chatman  2nd violin

Rodney Wurtz  viola

Stefanie Fife  cello

Arrangements by John Proulx

Produced by Judy Wexler

JOHN PROULX "Say It" from Marc Saltarelli on Vimeo.

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.