Albums Featuring - Jay Rosen
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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. Long Night WaitingStephen Gauci (Tenor Saxophone), Mike Bisio (Bass), Jay Rosen (Drums)Tenor saxophonist Stephen Gauci is a new name, but one which you'll hear more of this year. Focused and dynamic, this July 2004 date pre-dates his recent CIMP (#323) work with the Mike Bisio quartet. Here he's in a free blowing situation. Free blowing perhaps, but?as the seven tracks prove?not without purpose. 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.
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 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. Porgy / Bess Act 2David Arner, Michael Bisio, Jay RosenHere is the companion to CIMP 374 as David Arner gives us his concluding takes of "Porgy & Bess." No rehash here. Just imaginative playing inspired by Gershwin. Familiar in its suggestions yet out on the edge. If you heard Act 1 (CIMP 374) then Act 2 will be an equally pleasant indulgence for the mind and ears. Porgy/Bess Act 1David Arner, Michael Bisio, Jay RosenInspired by Miles’ and Gil Evans’ interpretations of Porgy & Bess, the genuflecting stops there. This is the first volume of a concert that will please listeners of post Bop piano trio music as well as fans of the Gershwin classic, but will not please the traditionalists and purists. An inspirational and accessible outing. AMMichael Bisio, Avram Fefer, Stephen Gauci, Jay RosenHere at last is the mate to CIMP 360. Fresh from recent gigs in Austria and New York, this power quartet wows everybody whenever they play. Michael Bisio’s compositions and driving force make great demands but Messrs. Fefer, Gauci, and Rosen have power and imagination in reserve. Meaty music for the hungry and discriminating listener. The Crookedest Straight Line Vol. 2Chris Kelsey, John Carlson, Francois Grillot, Jay RosenChris Kelsey is a distinct soprano saxist, an intense player, and very discriminate in his artistic expositions. He rarely is heard with another horn player but here Chris invites John Carlson to join his longstanding trio. Together they ponder the unknown with deliberateness and purpose. Just what you have come to expect from all of Mr. Kelsey's releases and as good an introduction as any. CIMP 360: Circle ThisMichael Bisio, Avram Fefer, Stephen Gauci, Jay RosenHere's a powerful listening experience that combines the distinct and intricate compositions of Mike Bisio with spot-on execution and brilliant solo statements from the individual band members. There's plenty of meat here for the mind and body from this large quartet. Arguably, Mike Bisio's most powerful work to date—and that's saying a lot. SubstratumStephen Gauci, Michael Bisio, Jay RosenThis session updates the Gauci Trio (see CIMP 326). Whether inside or outside, Stephen Gauci plays with a heady and focused passion. There's nothing belabored in this offering. Credit also has to go to the rhythm of Mike Bisio (one of the most respected artists in this field) and Jay Rosen (an uncannily quick and sensitive drummer). Stephen Gauci presents mindful music—again! The Crookedest Straight Line Vol. 1Chris Kelsey, John Carlson, Francois Grillot, Jay RosenChris Kelsey is a soprano saxophonist. It's what he plays—and with such originality and intense passion. For this recording he supplements his usual trio with the trumpet of John Carlson, whose very appropriate work brings an extra burn & polish to the usual trio setting and offers up his own inspired statements, all the while clearly enforcing the Kelsey compositional style. Wishing You Were HereChris Kelsey, Francois Grillot, Jay Rosen
Kelsey is back after a couple years' hiatus and he hasn't lost any of his power, intensity, or considerable compositional skills. He remains one of the most distinct and intense soprano sax men around. Listen and evaluate for yourself. Recorded March 23 & 24, 2005 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.
Songs For SamuelJay RosenWhen is a drum solo release more than just listening to a solo drummer? When it's a release by Jay Rosen. Inspired by the recent death of his father, this 12-part suite is both heartfelt and hip. Jay's been working toward this for about a decade. He's made a believer out of us and now he'll make a believer out of you. Fun for the whole family. Or, go for your own private pleasure. Recorded March 21, 2005
ConnectionsMichael Bisio, Avram Fefer, Stephen Gauci, Jay RosenMichael Bisio, the highly respected Pacific West Coast bassist/composer, put together these compositions specifically for this reed and rhythm quartet. Wonderful music which contains the composition "Basic Deconstruction"?a piece that captures an event we believe is unique in recording history. That's a teaser to get you to listen. That aside, this music stands on its own. Recorded January 17 & 18, 2005. 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. In This WorldJohn Gunther, Leo Huppert, Jay RosenThis trio has been the core for John Gunther's previous four CIMP discs. For this date they return to the original trio root of 1997 and boldly address eight Gunther originals including the hippest cowboy type tune (that's also it's title) to come off the range in many a moon. Tucked in among the always memorable Gunther compositions is one by Monk ("Ruby My Dear"). Recorded October 13, 2004. Rules of Invisibility Volume 2John O'Gallagher, Masa Kamaguchi, Jay Rosen
The follow-up to the critically acclaimed "Rules of Invisibility Vol.1." John O'Gallagher, is a thinking man's saxist. This was a highly productive and creative time in The Spirit Room during which lightning literally struck, and it's all captured on this volume of 9 constructions and deconstructions. Recorded February 3 & 4, 2004. RenewalChris Kelsey, Steve Swell, Franscois Grillot, Jay RosenChris Kelsey is back and he's lost none of his passion nor intensity and continues to be one of the strongest and most original soprano sax voices on the scene. Here's a chance for listeners to hear now what critics will still be raving about in 15 years. Tough stuff. Recorded April 7, 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.
Rules of Invisibility Volume 1John O'Gallagher, Masa Kamaguchi, Jay RosenListening to Patrick Brennan's music is a bit like looking at a bowl that has been shattered and reassembled but whose fit isn't quite right?you know what it is when looking at it, but it requires some reassessment to take it all in. Extensive Artist and Producer Notes may take you one listen just to get through, another listen to digest, but by the third listen the joy and genius of this concert should be evident. A valuable addition to this veteran's slight but growing discography. Recorded February 17 & 18, 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.
Shades of the MuseAvram Fefer, Ken Filiano, Thomas Ulrich, Jay RosenIt's been a couple of years since Avram Fefer (San Francisco, CA 1964) was last in The Spirit Room but it didn't take long before he was engaging me about another project. While this was being conceived and coordinated, Avram continued other musical activities including his duo association with pianist Bobby Few, an ambient-electric groove quartet called Squelch, an on-going trio collaboration ... 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.
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. Drums 'n BuglesJay Rosen, Herb Robertson, Paul SmokerMusicality and inventiveness are what you get when you put together a trio of two of the leading creative improvising trumpeters led by this gifted drummer. Eleven cuts including Jay’s tributes to Billy Higgins and Katherine Duval. Recorded August 7, 2001. At All Costs UnknownBriggan Krauss, Chris Dahlgren, Jay RosenThe Resonance Impeders are, if nothing else, quirky in composition, delivery and arrangement. After 4 years together they deliver a coordinated music that is both rich in humor and rhythm and packs an emotional punch. No joking. Good listening. Recorded Feb. 7 & 8, 2000. Canticles for the New MillenniumJay Rosen, Vinny Golia, Paul Smoker, Mark WhitecageJay Rosen, sensitive and dynamic drummer on many fine CIMP sessions, steps out for his debut as a leader and it's impressive. Leading a bassless quartet made up of some of today's most dymnamic players, he not only lifts and drives some intense music but manages to integrate his dynamics in both a supportive and take-charge way. Rosen with Golia, Smoker, and Whitecage: a gutsy move with wondrous results. Recorded Sept. 1 & 2, 1999. Finishing TouchesDom Minasi, Michael Bocchicchio, Jay RosenDom Minasi returns after almost 25 years of recorded silence with a recording of his very original guitar. A controversial guitar stylist, Minasi's original darkly rhythmic attack is wonderfully captured on a program of standards and 5 originals. Recorded Feb. 22 & 23, 1999. Research On the EdgeMark Whitecage, Sabir Mateen, Chris Dahlgren, Jay RosenMark Whitecage is one of the premier improvisors of his generation and, in this configuration, he and Mateen suggest the Al and Zoot of post-Bop music. The group operates from an exceptional level of intellect and instinct, truly living up to the disc's name. Recorded February 2, 1999. 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. Above Now BelowJohn Gunther, Ron Miles, Rob Thomas, Leo Huppert, Jay RosenHighly acclaimed for his compositions, John Gunther has assembled a beautifully coordinated quintet for an investigation of the long form. The music here is loaded with memorable themes, wonderful transitions and emotive expositions and shifts of time, jumps and moods. Absolute delight for a broad range of critical tastes. Recorded June 12, 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. Resonance ImpedersChris Dahlgren, Briggan Krauss, Jay RosenChris Dahlgren music is fun compositionally, drawing on catchy, sometimes even childlike, themes. Light themes, but probing thematic developments are offered up by the profound improvising of this lightly hip post bop trio augmented by the singular sound of Briggan Krauss' sax. Recorded Oct. 29 & 30, 1997. Healing SongJohn Gunther, Ron Miles, Leo Huppert, Jay RosenBesides being a fine tenor player, John Gunther is arguably one of the best composers since Horace Silver and Cedar Walton. Joined here by his regular quartet, they spiritedly display 10 wonderful new compositions along with Monk's 'Crepuscule With Nellie.' Recorded Sept. 16 & 17, 1997. 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 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.