Great gig! Thanks to everyone that came out!
Everything you'd ever want to know about this project; Time Remembered: The Music of Bill Evans is available Here.
From "Miles Davis In Person Friday and Saturday Nights at the Blackhawk" .
Pat Hall's Organ Group lent a unique instrumentation to the music of Bill Evans on their critically acclaimed previous effort for UR, Time Remembered. This new release features the same incomparable group of musicians in a stellar performance at Brooklyn's Shapeshifter Lab during the 2015 UNSEEN RAIN, bringing once more an alternative interpretation to the music of that revered figure of jazz piano, Bill Evans.
PAT HALL - trombone
MARVIN SEWELL - guitar
GREG “ORGAN MONK” LEWIS - Hammond organ
MIKE CAMPENNI - drums
Recorded live at Shapeshifter Lab, Brooklyn, NY during the 2015 UNSEEN RAIN Festival Mixed and mastered by Larry Hutter, Orlando Florida Announcer: Jim DeSalvo Design by Qua’s Dye Graphix Produced by Jack DeSalvo and Pat Hall
From Art Blakey's "Ugetsu - Art Blakey's Jazz Messengers at Birdland" Riverside: RLP-464
From Art Blakey's "Ugetsu - Art Blakey's Jazz Messengers at Birdland" Riverside: RLP-464
From Art Blakey's "Ugetsu - Art Blakey's Jazz Messengers at Birdland" Riverside: RLP-464
John Swana in organ Trio setting.
Beautiful Valve Trombone solo in a trio setting with vibes and guitar.
Chris Kelsey
The first time I heard someone refer to “The Jazz Police,” it was the 1980s and I was a music-school undergrad. I didn't exactly get it then, but I did before long, and over the ensuing decades, the peculiar aptness of the term would be pounded home again and again. It seemed everywhere you looked there was a self-deputized commissar ready to exile heretics to the gulag for diverging from party dogma. “Hey comrade lead alto player,” they'd say in Robin Williams's voice from the film Moscow on the Hudson, “you're not using enough vibrato on 'April in Paris.'” “Hey comrade drummer, you must use brushes on 'Polka Dots and Moonbeams.” “Hey comrade trumpet player, when you play 'Perdido' you must not sound like Lester Bowie.”
Thank God things have changed. Heh-heh. Yeah, right.
When presented with the opportunity to put a group together, Chris Kelsey and I quickly decided to do Ornette Coleman’s early stuff.
We talked about how much we loved those records and how it’s so hard to imagine now the controversy this music caused in the late fifties; these quirky, logical melodies that are so familiar to most of us now.
And then we started to lay down some rules. It must swing. That’s what made those records so great, they swung. Ed Blackwell, Billy Higgens, Charlie Haden, Scott LaFaro, Don Cherry and Ornette seemed to have this Vulcan mind-meld connection to each other. The two horns need to breathe, bend, attack, sustain as one.