Showing posts with label Caleb Curtis. Show all posts
Showing posts with label Caleb Curtis. Show all posts

Wednesday, October 3, 2018

Walking Distance ft. Jason Moran - Freebird! on Thursday Oct. 4th! (SUNNYSIDE RECORDS 2018)

It’s almost trite to mention the indelible mark that saxophonist Charlie Parker left on the world of culture at large, and more specifically with the practitioners of jazz, the music that he redefined. In the years since his death, his music has been covered incessantly, which in many ways, has robbed the music of its essential vitality. One solution to this ubiquitous problem lies in the stunning invention of the NYC based quartet Walking Distance and their second album, Freebird, which features the resplendent piano playing of Jason Moran on a number of tracks.

The quartet – comprised of alto saxophonist Caleb Curtis, tenor saxophonist/clarinetist Kenny Pexton, bassist Adam Coté, and drummer Shawn Baltazor – released their debut, Neighborhood, in 2015, which was acclaimed in Downbeat, AllAboutJazz and elsewhere. On that album, Walking Distance happened by chance upon the concept that would grow into Freebird. By displacing just one of the melodic phrases of Parker’s “Dewey Square,” their original interpretation “Dewey Circle” came alive and this concept was born. Freebirdis the full realization of this idea.

Caleb Curtis - alto saxophone, trumpet (6)
Kenny Pexton - tenor saxophone, clarinet (6, 7)
Adam Coté - double bass, Mellotron (4)
Shawn Baltzor - drums, percussion (2, 5, 6)
Jason Moran - piano (1, 2, 6, 7, 11 [sampe], 12)
Ben Rubin - producer, Mellotron & additional bass (4)

1. William 04:48
2. Feather Report 05:36
3. Ghilnooorty Classic 01:29
4. Simple Ghilnooorty 03:17
5. Lost & Found 02:41
6. Bigment 04:18
7. Quasar Halo 07:33
8. Pexterity 02:49
9. Cheat Sheet 03:31
10. Donnalise 06:05
11. Fly By 02:54
12. Confirmation Bias 00:47


Monday, August 20, 2018

Walking Distance (ft. Jason Moran) - Freebird (SUNNYSIDE RECORDS September 21, 2018)


It’s almost trite to mention the indelible mark that saxophonist Charlie Parker left on the world of culture at large, and more specifically with the practitioners of jazz, the music that he redefined. In the years since his death, his music has been covered incessantly, which in many ways, has robbed the music of its essential vitality. One solution to this ubiquitous problem lies in the stunning invention of the NYC based quartet Walking Distance and their second album, Freebird, which features the resplendent piano playing of Jason Moran on a number of tracks.

As the title suggests, Freebird almost literally unbinds Parker’s repertoire from the dregs of boring, staid covers of his work and into something modern, contemporary, humorous and ebulliently bursting with vitality; so imaginative that one would be hard pressed to identify the source of inspiration in the first place. On Freebird, the listener is treated to a set of music, which covers a tremendous amount of musical territory, all with aplomb, irreverence and a distinctive group sound.

The quartet – comprised of alto saxophonist Caleb Curtis, tenor saxophonist/clarinetist Kenny Pexton, bassist Adam Coté, and drummer Shawn Baltazor – released their debut, Neighborhood, in 2015, which was acclaimed in Downbeat, AllAboutJazz and elsewhere. On that album, Walking Distance happened by chance upon the concept that would grow into Freebird. By displacing just one of the melodic phrases of Parker’s “Dewey Square,” their original interpretation “Dewey Circle” came alive and this concept was born. Freebird is the full realization of this idea.

Baltazor elaborates: “Each song is strictly based on a composition, or multiple compositions, by Charlie Parker. Literally. We would find a rule, and stick with it until it presented musical challenges that we’d have to figure out, rehearse them to an almost hypnotic degree. Then, not only did we have a new completely fresh sounding idea that was unmistakably be-bop, in its own deconstructed way, but through each process we developed a whole new concept for composition and improvisation in general.”

This relentless process of rehearsal – refining their group sound and approach, and redefining their source material – are both on full display on Freebird and, with the addition of Moran, the group is elevated to a higher plane. Baltzor explains: “Moran embodies so much of what we love about Charlie Parker: a sort of super-hip irreverence done at such a high level that no one can say shit.” Curtis expands upon that, saying: “Not only did he bring that fresh perspective, but he seamlessly integrated himself into the musical fabric of the band, surprising and inspiring us along the way. It was an incredible creative experience to have him on Freebird.”

Jason Moran – piano

Saturday, April 7, 2018

Josh Lawrence - Contrast (POSI-TONE RECORDS 2018)

Trumpet player Josh Lawrence examines the scene from a whole new perspective on "Contrast,” his second release for Posi-Tone. Using both his instrument and his skills as a bandleader, Lawrence succeeds in making another inspired statement by exploring several different musical avenues with his "Color Theory" project. Also featured on the record are the colors and sounds of alto saxophonist Caleb Curtis, trombonist David Gibson pianists Orrin Evans and Zaccai Curtis, bassist Luques Curtis, and drummer Anwar Marshall. The session is elegantly lyrical and clearly suggestive of a modern jazz sensibility. With an amazing combination of talents, brilliant performances, and an evocative program of new original compositions, "Contrast" is sure to bring bright moments of intense delight to serious listeners and jazz fans everywhere.


Wednesday, May 25, 2016

Lafayette Harris - Hangin' With The Big Boys (2016) JAZZ PROMO SERVICES




present

Lafayette Harris
"Hangin' With The Big Boys”
CD Release Show



Lafayette Harris  "Hangin' With The Big Boys” 
(Airmen Records AAM3581) Street Date: May 6, 2016

Musicians:
Lafayette Harris Jr. piano
Houston Person tenor sax (on no’s 1,2, 7, 8, 10)
Antoine Drye trumpet
George Delancey bass
Will Terrill drums
Caleb Curtis alto and soprano sax
Jazzmeia Horn vocal
Noel Simone Wippler vocal

This CD was recorded live in front of an invited audience. Except for very small edits, what you hear is what we played.

1. Blue Skies 3:18    
I wanted to interpret this great Irving Berlin standard with the swinging Mr. Houston Person, and I thought the two young vocalists could have fun with it. 

2. In A Sentimental Mood  6:15
This has always been one of my favorite Duke pieces, and Houston Person, who recorded it on his like-titled CD, proves again that he’s the ballad master!

3. Hangin' With The Big Boys 3:33    
I composed the title track back in the 1990s when I had my group with Cindy Blackman, Terell Stafford, and Don Braden. I still think fondly of them when I play it.

4. We In The House 7:25
Another tune from that time. Cindy Blackman put that “Sister Cheryl” beat to it way back then, when I got to do it as a member of her band. We used it as a tribute to Tony Williams when he passed away so suddenly.

5. Don't Worry About It 0:55
This is actually my first composition, written when I was in high school at Baltimore Polytechnic. It stayed in my head all this time and I finally gave it a title and started playing it only a few years ago. Here, I use it as an interlude—sans piano.

6. The Zombie Blues 6:54
In 2011 I was working with the choreographer Candice Franklin. She liked my tune "Blues On The Edge" and asked me to write something similar for her company. I used a piano riff by Duke Ellington as the basis of the composition, along with the free jazz influences I picked up playing with Max Roach and with Roswell Rudd. I wanted a real expression of freedom from the bass and drums. It was a challenge to get the musicians to really go free. Then I mentioned Sonny Murray and it was like I gave them permission to go nuts! 

7. Little Kevin's Embrace 6:31
This tune from my very first CD also appears on my solo CD. I wanted to do it again, adding the human voice. And since it’s very much rooted in the blues, I let Houston Person work his soulful magic.

8. Drinking Wine Blues  5:42
I wrote this blues at the Station Café in Brooklyn, while I was—what else? Drinking wine! After we recorded a couple of takes Jazz Judy, an old friend who’d come to the session, suggested that I not play the melody while Ms. Horn delivers it. So that’s what we did.

9. The Wheelhouse 3:24    
Caleb’s writing is unique, and different from my style. I enjoyed the challenge of trying to interpret his tune in my own voice.

10. The Very Thought Of You 7:40
I’m in awe of Ray Noble’s compositions—they vary so much and are always such fun to play. Houston Person blows this tune up!

11. They All Laughed 5:12
I’d been playing this Barry Harris–influenced arrangement for a while, and then one night at Trumpets, Houston asked me to play a solo piece. The great bassist Ray Drummond joined in, figuring out my arrangement wonderfully as he went along. Houston dug it so much he used it on his CD The Melody Lingers On. Here, Antoine lays out until it’s time for him to solo.

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