Albums Featuring - Dominic Duval
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The Last Dance Volumes 1 and 2Dominic Duval (Bass), Cecil Taylor (Piano)Recorded live in performance, this is arguably the definitive collaboration between Dominic Duval and Cecil Taylor during their 10-year tenure together. And for those who think they know all Cecil Taylor, this is something else; Cecil Taylor like you've never heard before. Additionally, it's a budget priced 2-fer in a soft pack. New BeginningsIvo Pereleman (Saxophone), Dominic Duval (Bass)Ivo Perelman (tenor saxophone) & Dominic Duval (bass)
This duo recording is perhaps Ivo Perelman’s most mature, complete, and mellow performance of his career. And to be alone on the stage with the inimitable Dominic Duval is like pairing Ruth with Gehrig. A mellow, thoughtful exposition of creative improvised music statement. One to enjoy and savor.
New Beginnings Part 1 - New Beginnings Part 2 - New Beginnings Part 3 For The ChildrenMichael Jefry Stevens (Piano), David Schnitter (Saxophone), Dominic Duval (Bass), Jay Rosen (Drums)This recording is part of the Cadence Jazz Historical Series. This was outstanding music back when it was recorded in the mid 1990s; and it remains so today. The only difference now is the significance and early placement in the discographies of the individual artists who are now leaders in the field of creative improvised music. Exciting, demanding, and rewarding listening. Trio X: Roulette at Location OneTrio X (Primary), Joe McPhee (Soprano Saxophone), Jay Rosen (Drums), Dominic Duval (Bass)Trio X first worked together as part of a 1998 CIMPhonia (CIMP 175 and 178) gathering with Paul Smoker, Mark Whitecage, David Prentice, and Peter Kowald from which they carved out their group, Trio X, and made their first recording (The Watermelon Suite, CIMP 183).
Roulette at Location One is their eighth recording and the latest release.
This session is a beautiful representation of Trio X's brilliant use of theme developoment, emotional impact, and thoughtful musicality. It's a hell of a ride. In FinlandJoe McPhee (Soprano Saxophone), Matthew Shipp (Piano), Dominic Duval (Bass)Wow! What a trio. If nothing else, on paper it looks interesting, albeit problematic. Well, that's what we thought. Much to our surprise we were bowled over by the music this improbable grouping produced. Three giants of uncompromised creative improvising music come together and in every way justify their reputations and then go on to produce a musical program that exceeds the sum of its illustrious parts. This is a very special result from an unexpected occasion. Opening The GatesJames Finn (Tenor Saxophone), Dominic Duval (Bass), Whit Dickey (Drums)The debut of a new tenor voice. Logical, meaty and powerful, this post Bop offering was originally intended as a demo, but when CIMP producer Robert Rusch heard it, he decided not only to release it, but signed on Finn to a future CIMP session this Spring. Here is a taste of what's to come. All The NotesCecil Taylor (Piano), Dominic Duval (Bass), Jackson Krall (Drums)All the notes here are in the music, not in the liners. This is the concert that Minnesotans have been speaking about since 2000. This massive 3 part improvisations featuring Mr. Taylor with his trio of the past 10 years finds them at the top of their game. An important document and a memorable night.
Improvisation I - Improvisation II - Improvisation III. TrioX: In Black and White: On Tour...Ann Arbor/NYCJoe McPhee (Saxophone), Dominic Duval (Bass), Jay Rosen (Drums)Trio-X: what can we say? McPhee, Duval & Rosen, like few others, know how to cut to the zone of inspired improvisation and start this inspired interaction at a level most are happy to achieve. And from there they go deeper.
Their latest on-tour recording finds them in Ann Arbor, Michigan, and New York City, New York. "God Bless the Child," "'Round Midnight," and "Going Home" are just some of the vehicles used in this jaw-dropping excursion. CrossingsMatthew Goodheart (Piano), Dominic Duval (Bass)Matthew Goodheart recorded a beautiful duo with Leo Smith (CJR 1100). This time his duo work goes inside with the bassist Dominic Duval. It’s all so normal and so engaging it just goes to prove it’s not the notes but how you play them. Nightbird InventionsDominic Duval (Double Bass)A long time in the making this was Dominic Duval’s first bass solo recording and, while he uses inbound effects, this is a live recording with no overdubbing. Dominic speaks directly and soulfully in all his work. Here there is no safety net and the 13 tracks prove none was needed.
Related Albums on CIMP Records
CIMPFest 2009 live in Villach, AustriaMichael Bisio, John Carlson, Dominic Duval, Avram Fefer, Ken Filiano, William Gagliardi, Stephen Gauci, Lou Grassi, Jimmy Halperin, David Hofstra, John O'Gallagher, Jay Rosen, Kenny Wessell Live On Tour 2008Trio X, Joe McPhee, Jay Rosen, Dominic DuvalCIMPOL 5015 live at COLGATE UNIVERSITY Hamilton, NY Our arrival on campus was timed to accommodate an 11 a.m. interview with Trio X conducted by Brendan Young on WRCU (Colgate University radio). The interview was perhaps most impressive for its thoughtful and well-prepared questions offered by Mr. Young and went far beyond the usual perfunctory surface chat that passes for the norm in the media. Immediately following the interview the trio was treated to a lunch, hosted by The Heretics Club. The subsequent informal Q&A session moderated by Mark Shiner (Office of the Chaplain) again demonstrated thoughtful inquiry and response, in this case in regard to the nature of being a creative person and the subjectivity of the spiritual rewards of both the giver and receiver. Particularly encouraging was the number and quality of follow-up questions from individuals who lingered, talking with the trio and Crew long after the formal reception ended. We then had about 80 minutes of downtime; most of us relaxed and traded jocularities, insults, and obscenities with one another while Dominic slept. Then it was over to Donovan’s Pub to set up for the 4 p.m. concert. The trio opened with Colgate Afternoon, a lengthy improvisation involving multiple references and moods and appreciated by an audience of some one hundred plus. Besides the music itself, this performance is notable because it was the opening for as well as the longest piece of the whole tour. Colgate Afternoon also contains the first reference of Brown Skin Girl, one of the most referenced (in variations) pieces throughout this tour. After a break, Jay came back with a three and a half minute percussion intro. Meanwhile, outside under darkening overcast skies, a sizable group of geese, on its way south to warmer climes, descended and engaged in a good deal of gawking and honking during its stay. Jay’s intro seemingly inspired Joe to reference “Secret Love,” at first rather tentatively but then with increasing boldness over the next 10 minutes. Take a Walk Through the Woods I think reflects the rainy twilighted ambiance, clearly visible through the windows, that had settled upon and engulfed the pub. Here is a fine example of how the trio, both individually and as a group, takes and develops a thread. The reflective mood continued and the trio closed the concert with Motherless Child, a continual favorite of the group, as evidenced by its many variations. Thanks in particular to WRCU, Mark Shiner and The Heretics Club, the divisions of University Studies and the Humanities, The Institute for the Creative and Performing Arts, Michael Coyle and the Department of English—all part of Colgate University. CIMPOL 5016 live in ANN ARBOR, MICHIGAN After the Colgate University concert we drove on to Ann Arbor, Michigan, to participate in Edgefest. The rain and cold followed us but it mattered little, what with the warmth and welcome of Deanna Relyea and her Edgefest crew. The Kerrytown Concert House is an “L” shaped space and serves as both concert hall and art gallery. At the time of our stay this space was nicely appointed with canvas and prints (by artists Charlie & Paul Hickman), and filled with a near-capacity audience, many seemingly familiar with and long-time supporters of Edgefest and its efforts. After a familiar and festive set of introductions by Deanna, Piotr Michalowski, me, and Joe McPhee, the trio opened in a very reserved and almost dour manner with The Ebb of Sorrow. Unresolved? Unrequited? Whatever. The trio then moves in another direction with Brownskin Funk, approaching it for the second time (Colgate University being the first) in as many days. But this time the reference comes from a completely different direction. Jay opened with a funky brush stomp and Dominic then picked it up with hand bass percussion. This produced a couple of reflexive claps, shouts of encouragement, and tenor cheers from Joe, and new heights for the music. They immediately launched into Motherless Child, which brought yet another change in mood. This reading of a Trio X favorite is both deep and different. The trio seemed to be all over the place emotionally, and they took off in the opposite direction with Brass Blast, a completely improvised structure of some excellence and possessing an abrupt conclusion. Joe continued on the flugelhorn (which, as well as his trumpet, was rarely used on the rest of the tour) for a Rainy Reference—quite reflective of the weather by this time raging outside. Note the different emotional colorings when he switches over to soprano. Joe may be leading on this piece, but it seems to me that Dominic, as is often the case, is directing. And then it was over. The trio, unlike the audience, seemed completely drained. After an extended ovation the trio returned to the stage, made some comments pertaining to their energy and music, and Jay then engineered the foundation to what became Secret Love The Sequel. Secret, perhaps, but not unrealized. Another night of X surprises. This is the second time that Trio X has been documented at Edgefest. The earlier session, from 1999, can be found on Cadence Jazz Records 1144. CIMPOL 5017 live in CHAMPAIGN, ILLINOIS The Krannert Art Museum offered up a wonderful setting: a large room filled with an exhibition of the dimensional paper art of Kyoko Ibe. Its presence and use of three-dimensional space and light served as an inspiring backdrop, sidedrop, and frontdrop for the Trio’s sound art. The audience, which exceeded the seating capacity, was a good mix of ages and included a number of young children, perched expectantly on the front row seats. Kids don’t usually prejudge and an open essence radiated from the younger segment of this audience. The informal pre-concert gathering afforded our group a chance to exchange comments and something more than superficial pleasantries with many of the audience members. Trio X possesses uncanny empathy: not only do they listen and share an intuitive or, at the very least, cooperative direction, but they are also sensitive to their surroundings. If an audience is friends of the court, so to speak, all is good. But if this is not the case or the audience is indifferent, then the group sets to the challenge of converting it. The ambiance of this art space was obvious, almost sacred, as was the unspoken interaction of the audience. And there is the room itself. Trio X plays the room, be it The Spirit Room or the Krannert art gallery. The latter is a very large and live room with a hardwood floor, high ceiling, and little (other than the audience) to absorb sound. From the start you can hear how all three members play with sound, its reflection, and the space. Jason Finkelman, curator of the concert series, in his introductory remarks talked of how these events engage the artwork in different ways and how the music may respond to the artwork. Here is the Trio X response. Judge for yourself if the giving and receiving was successful, and if the consensus, held by a growing number, that Trio X is arguably the most dynamic combo in Jazz/creative improvised music is justified. Different strokes for different folks. For me these are strokes of brilliance. The trio seemed very formal during this concert—insistent yet pensive. Due to the time restrictions of the museum concerts, this recording presents the concert in its entirety. Quite a nice package, wouldn’t you say? Special credits and thanks to our sponsors: The Krannert Art Museum, Kathleen Harleman, Anne Sautman, The Edwards Foundation Arts Fund, WEFT-FM, and Jason Finkelman, who coordinated the event. His efforts, along with those of Kyoko Ibe and the audience, helped make this happen. CIMPOL 5018 live in WAUKEE and DAVENPORT, IOWA This was our second trip to Waukee, Iowa. The familial warmth and welcome was refreshing the first time and fondly received the second. Earlier in the day the trio took part in an informal gathering of area music students, answering questions, giving demonstrations, and engaging in a very informal jamette. After the students left the theater we gathered in a dining space in the Caspe Terrace and ate a supper especially prepared for us by Jackie Garnett, wife of Abe Goldstien—he being the force responsible for hosting Trio X. The concert began after almost 20 minutes of introductions and on-stage schtick between our host and me and the trio, and opened on high spirits with Waukee Hello Naima. The upbeat mood, along with some political discussion, continued during the intermission. This in turn inspired a notion to song and People Get Ready. The trio uncharacteristically chose to predetermine a piece and decided they would open with People Get Ready in the second half of the concert. They followed that with a lengthy improv, Joe on pocket trumpet and referencing the obvious on Old River Man. This is music to lose oneself in. . . . . . . . . . The music from the second half of this disc comes from Davenport, Iowa, about 250 miles east of Waukee. An easy drive, we arrived in good spirits and with an abundance of energy. Prior to the evening’s concert the trio hosted a clinic-type discussion and we all then ate supper. They hit at 6 p.m. with PolyRhythm Valentine, one of the few occasions on this tour that the trio referenced material from their previous 10 years. PolyRhythms is an outreach program established around 2005 and spearheaded by Nate Lawrence. Its mandate is to reach out to the community—to the youth in particular—and expose and nurture an appreciation of Jazz/improvised music in all its forms. The concerts take place in the Redstone Room and are part of the larger River Music Experience. So far it’s all an uphill grassroots effort; more impressive in its housing and accomplishments than commercial success—a familiar story in the artrepreneurial world. Thankfully the exceptional persist despite the lack of present rewards; any acknowledgement sometimes comes only decades later. I think it was this understanding, set in these rather pleasant surroundings (where are housed/displayed some wonderful archival artifacts of the area’s cultural involvement and contributions to the Jazz heritage), that inspired the group on this particular evening. This understanding may have also influenced, by association, a program with greater direct referencing of the tradition throughout the concert. The trio ended their contributions to the land of Beiderbecke and riverboats with Going Home. Our thanks to Nate Lawrence and PolyRhythms. CIMPOL 5019 live at BOWLING GREEN STATE UNIVERSITY and HAMILTON COLLEGE After a night’s rest in Davenport, Iowa, we got up and drove east. We pulled into Bowling Green, Ohio, around 3 p.m. and checked in. With the exception of Dominic (who was feeling a bit under the weather and elected to stay and rest at the motel) we all went over to David and Linda Dupont’s house for some much needed relaxing downtime, conversation, and food. After the meal it was universally agreed that we all had eaten too much. We eventually pulled ourselves away from the food and conversation to go set up at the Wooster Street Center, a large octagonal teepee-like building on the Bowling Green State University campus. The concert contains yet another Old Man River reference. The piece, along with “People Get Ready” and “Brownskin Girl,” was turning out to be a trio tour favorite. This reference was perhaps the most circuitous and indirect of the whole tour. As with many of the musical references explored, it was the result of many hours of conversation while traveling in the big red van. As this was an historic—perhaps pivotal—election year, the politics of the time helped bring some topical color to music not always viewed as political. This concert also contains Pig Knuckles & Rice (unreferenced previously), bass and drum solo spots, and a new variation on “Secret Love” (which ended the concert). Traffic, the penultimate piece, is a wandering, free-associative creation, quite cathartic, and prompted a letting-go of emotions. One can almost hear the release of the mood in the following near jaunty reading of Secret Love Secret. Displaying a lightness uncharacteristic of much of Trio X’s work, this piece is most delightful. . . . . . . . . . As with the 2006 Trio X tour, we ended our trip with a concert at Hamilton College in Clinton, New York. Same site, same venue: the Café Opus. This time however our host, Doc Woods, had arranged to have the espresso machines and other electric noise-making devices at the adjacent coffee bar shut down during the sets. We had driven in from Bowling Green, Ohio—about an eight hour trip—and had enough time to get some food and rest before the 9 p.m. start. Of all the venues on this tour this one was the most nightclub-like. The audience was made up of hardcore listeners, who for the most part congregated up front, while in the rear were yappers, snackers, and transients either oblivious to the efforts of—or perhaps trying to compete with—the musicians for the soundstage. In spite of this, and perhaps playing to the focused attention the majority engaged, the trio opened strong. This set differed from the others in that Joe did not play either the flugelhorn or pocket trumpet as he felt the brisk coldness of the rainy fall night had had its effect on everyone. Perhaps so, but, as evidenced by this concert, his saxes lacked neither warmth nor power. Nor did Jay or Dominic. This is the essence of Trio X. After the break the trio stretched out on what is now called Joe’s Song for the Child, a wonderful example of the trio’s ability to make whole cloth out of threads of sound. -Robert D. Rusch - October 2008 The Open DoorJoe McPhee, Dominic DuvalTwo masters of in-depth improvisation met in concert on a hot early summer day in Montreal, Quebec. For this concert, Joe McPhee played alto sax exclusively, an instrument with which he has not often recorded. The results are as natural an interaction as they are engaging and inspirational--66% of Trio X but 100% musically rewarding. AIR: Above and BeyondTrio X, Joe McPhee, Dominic Duval, Jay RosenNow entering into their tenth year as a group, Trio X's releases have become anticipated by their fans as good adventures. And this latest live set will not disappoint. Warm, invigorating, and always connective, it offers ample proof why Trio X has been called the finest improvising combo on the scene. In The AtticTim Siciliano, Dominic Duval, Brian WillsonCIMP has recorded a number of artists making their leadership debuts (and sometimes any kind of recording debut) in their 40s or 50s. Tim Siciliano was 50 when he recorded this disc. While his roots are in the later guitar Bop masters, his mentor was Attila Zoller. Producer Bob Rusch characterized this session as “a good get-together.” Music well worth the 50 year wait. In the hands of these three, it brings new life to the bopstream, swinging and free of cliches. Conspiracy A Go GoDavid Haney, Dominic Duval, Andrew CyrilleThis isn't the first time David Haney and Andrew Cyrille have worked together, but these two sessions are the first time they have recorded together. With David, one can always expect the unexpected, whether it be Free Jazz, excursions, or an exploration of a traditional Blues. With Andrew one has come to expect simply the best in musical inventiveness. CIMP 367 is a duo; the addition of the substantial presence of bassist Dominic Duval changes the whole dynamic (as it should) on CIMP 369. To further emphasize the differences, five of the compositions appear on both the duo and the trio sessions. Hear and analyze this bracing and embracing music. ClandestineDavid Haney, Andrew Cyrille, Dominic DuvalThis isn't the first time David Haney and Andrew Cyrille have worked together, but these two sessions are the first time they have recorded together. With David, one can always expect the unexpected, whether it be Free Jazz, excursions, or an exploration of a traditional Blues. With Andrew one has come to expect simply the best in musical inventiveness. CIMP 367 is a duo; the addition of the substantial presence of bassist Dominic Duval changes the whole dynamic (as it should) on CIMP 369. To further emphasize the differences, five of the compositions appear on both the duo and the trio sessions. Hear and analyze this bracing and embracing music. The Spirit of ThingsDavid Schnitter, Dominic Duval, Newman Taylor BakerDavid Schnitter returns and, quite frankly, is back in top form. Reunited with bassist Dominic Duval (with whom he recorded in 1995), this is David’s first ever trio recording. In addition to bringing renewed life to his recording documentation, this session brings new life to some old standards. MonkinusDominic Duval, Jimmy HalperinYou don't want to approach Monk's music unless you know what you are doing and have the technical ability. Duval and Halperin have all of that plus the ability to bring a fresh creativity to very defined compositions. To further add to the challenge, they do it duo. This long-time-in-the-making project is a rich and full listening experience. Mountain AirDominic Duval, Ron Lawrence, Gregor Huebner, Tomas UlrichDominic Duval's String Quartet, previously known as the CT String Quartet, has been around and documented since the mid 1990s. This new edition introduces the extraordinary Gregor Huebner into the violin chair on a program which takes as its inspiration the music of Cecil Taylor's "Mountain Air." Extemporaneous and totally music of the day, yet easily accessible and rooted. Moods: Playing with the ElementsJoe McPhee, Dominic Duval, Jay Rosen, Trio XTrio-X is one of the premier improvising groups in the world. Quick to hit the sweet spot and take it from there. Their recordings are never without honesty and purpose. This is their seventh recording and the joy and challenge just gets better and better. Recorded Oct. 20 & 21, 2004.
The Sugar Hill SuiteJoe McPhee, Dominic Duval, Jay Rosen, Trio XThe latest from Trio-X has as its centerpiece "The Sugar Hill Suite," an exceptionally beautifully-structured 16-minute improv that is a stunning example of Trio-X's skills and the genius of the genre. Recorded October 19, 2004. Faith In A SeedJames Finn, Dominic Duval, Warren Smith
James Finn is no young lion, but this is just his second recording. His first (Cadence Jazz Records 1170) met with strong critical acclaim often mixed with the skepticism of "Is this a fluke?" Well, CIMP now has recorded him and there's no chance of foolin' in the mix. This will only confirm that the power and flow of ideas from the dynamic tenor man is no fluke. Prepare to deal with Mr. Finn and this master rhythm section as he builds musical moments. Recorded March 16 & 17, 2004. Morning MoonDavid Taylor, Dominic Duval, Jay Rosen
Dave Taylor returns once more to surprise, amuse, and inspire the listener. This is a surprise ball of creative muse and broad range of musical delights to savor. Well utilized musical minds, treat yourself to this concert. Recorded March 11 & 12, 2004.
Joy and GravitasJimmy Halperin, Dominic Duval, Jay RosenJimmy Halperin has made very few records over the past 30 years and, while new, this sounds like nothing he's done before. Here it gets physical with some of the Jazz liturgy turning it every which way. If you're a fan of tunes like "Tunisia," "Don't Explain," "'Round Midnight," etc., but tired of hearing them, this release will refresh in its new and unafraid perspective. Recorded January 14 & 15, 2004.
StandardDevorah Day, Dominic DuvalHere is a starkly original Jazz singer, a true Jazz singer who will grab you with her originality and hold you with her unpredictability. With just Dominic Duval's bass accompaniment, there's nowhere to hide over the program of 9 standards and 2 originals. And with talent like this, there is no need to hide. Recorded Oct. 20 & 21, 2003. JourneyTrio X, Joe McPhee, Dominic Duval, Jay RosenEvery Trio-X recording is different and an occasion for anticipation as to where these 3 creative forces will journey. Their 5th release, this is only the second in studio. And when the studio is the acclaimed Spirit Room, you know you’re going to hear the richness of the instruments and the subtleties of dynamic interplay at its best. A goody from a group acclaimed by one critic as the more dynamic combo in creative improvised music today. Recorded February 6 & 7, 2003.
Lowe-down&BlueFrank Lowe, Berne Nix, Dominic Duval, Michael CarvinThis is Frank Lowe's fourth CIMP session and we think this one captures the tender soul of this tenor stylist. Recorded just days before Frank had to have lung surgery, this concert finds him ironically more robust than usual. But, in essence, it is a quintessential Lowe concert: full of the compositional and playing quirks which mark his best work. A real stylist with giving, unselfish support from a great rhythm grouping. Recorded September 16, 2002. Invocation for PepperAlex Harding, Dominic Duval, Jay RosenThis trio date is a follow-up to Alex's "FreeFlow" recording (CIMP 246), but here the emphasis is on standards, opening with Alex's "Invocation" to the spirit of fellow Motowner and bari player, Pepper Adams. It's a Jazz date all the way: the power of Alex Harding's baritone sax in the company of the celebrated rhythm team of Duval & Rosen. Recorded June 6 & 7, 2002. DoppelgangerDavid Taylor, Dominic Duval, Jay RosenDave Taylor is a legend among trombonists. The King of the Bass Trombone, he's been on hundreds of commercial recordings. What many don't realize is that Dave's creative improvised impulses are mighty but largely untapped. Here he shows that his technique can go head to head with his imagination and everyone benefits. This tour de force ends with a wonderful take on "Home On the Range." Recorded May 9 & 10, 2002. Recollections of Darby HicksBob Washington, Steve Swell, Dominic DuvalThis date is essentially a "brother's" narrative of growing up in America from the pre- WWII years. It's a story funny, funky, and poignant, and delivered with improvised surroundings which suggest some parallels to the collaboration between Charles Mingus and Jean Shephard on "The Clown." A good tale, well told with outstanding improvisations. Recorded April 23 & 24, 2002. ObbligatoMary LaRose, Jeff Lederer, Steve Swell, Dominic DuvalIntegrating material from a broad idiomatic range including Charles Mingus, Duke Ellington, Randy Newman, Jimi Hendrix, Ornette Coleman, Claude Thornhill, Albert Ayler and others, vocalist extraordinaire Mary LaRose leads a strong improvising quartet. Out of the tradition but clearly of today and tomorrow, this is music as challenging as it is sensual. BloorJohn Oswald, David Prentice, Dominic DuvalThe interacting ideas mix with the gentler jockeying of directions in this artful exploration of 3 musical souls: post bop music that is both challenging and accessible, and always hip. Recorded September 26 & 27, 2000. Serious Fun Plus OneNils Wogram, Konrad Bauer, Dominic DuvalIf you heard the duo concert (CIMP 212) of trombonists Conny Bauer and Nils Wogram, you will NOT know what to expect from this trio outing. The program of eleven inventions is a rich, varied and remarkably broad adventure in improvisation. Recorded September 14, 1999 AnniversaryDominic DuvalA solo bass recording that is a celebration of the heart and mind. Enjoyable either in close dedicated listening or in more ephemeral surroundings, either way it's a joy. There is nothing tedious about this flowering of invention as it moves seemlessly over a dozen offerings. Recorded January 19 & 20, 2000. The Watermelon SuiteJoe McPhee, Dominic Duval, Jay RosenThe beautiful lyrical designs of Joe McPhee's soprano sax are dynamically met by the brilliant rhythm section. This is the beginning of Trio X. Among a program of highlights are the 4 part Watermelon Suite and a tour de force on My Funny Valentine. recorded May 26 & 27, 1998. Working With the ElementsGlenn Spearman, Dominic DuvalWith an ambiance of Ballads and Blues, this is a wonderful pairing of tenor sax and bass, beautifully recorded in audiophile sound. The sound sculptures stand out in bold relief, presenting music both demanding and accessible. recorded July 20 & 21, 1998. Mark-n-Marshall: MondayMarshall Allen, Mark Whitecage, Dominic Duval, Luqman AliMarshall Allen, although recording since the 1950's and now almost 75 years old, has never released a recording as leader - until now. Best known as a pillar of the Sun Ra band for over 40 years, here he is joined by fellow sax veteran Mark Whitecage, bassist Dominic Duval, and drummer Luqman Ali. The program ranges from standards to originals on this fascinating encounter. Recorded March 16, 1998. Relax, Keep the Tension, PleaseAndrew Cheshire, Dominic Duval, Jay RosenGuitarist Andrew Cheshire comes from a Tal Farlow lineage. Here is a driving, warm, and very inventive bopster who references the tradition and doesn't try to clone it. 8 tracks, with a mixture of ballads and swingers, originals and standards make up a fine demanding inside session. With Jay Rosen on drums and Dominic Duval at the bass, you know there's no coasting. Recorded Jan. 26 & 27, 1998. 3 Plus 4 Equals 5Joseph Scianni, Mark Whitecage, Tomas Ulrich, Dominic Duval, Jay RosenMark Whitecage has been a highly respected and inordinately creative NYC area improvisor for decades. Joseph Scianni is a legendary pianist almost unrecorded over the past 40 years. On this program they intermix their respective groups and explore the harmonies and tonalities of the music. The listening rewards are great as they fly without a net, with only their genius and musical sensibilities to support them. Recorded June 20, 1997. The Motion of EmotionElliott Levin, Akira Ando, Dominic Duval, Denis CharlesAlthough Elliott Levin is a veteran high energy free tenor sax player, this is, remarkably, the first recording to feature this Philadelphian's music. Supported by two bassists and propelled by the late Denis Charles' drumming, this is Free Jazz that is both visceral and intelligent. Recorded June 24 & 25, 1997. The Wedding BandDominic Duval, Jay Rosen
You've never heard a wedding band like this totally ad-libbed one. These bass/drums duos are completely extemporized as they reference compositions like "Amazing Grace', "Dolphin Dance", "Evidence", and free play around with a number of others. Recorded Jan. 28 & 29, 1997.
Big OnionJoseph Scianni, Dominic Duval, Jay RosenAn historic and musically magical occasion. This is Mr. Scianni's first recording in over 30 years. A contemporary of Cecil Taylor, Joseph Scianni presents compelling music with this brilliant free trio. Recorded July 23, 1996.