Liner Notes: if Anyone is interested in more details about the pieces and personnel.
As the title of this recording implies, except for a few of our guests, most of us involved in this recording are relatively unknown. We can’t be found in the Grove Dictionary of Jazz and may never have our efforts recognized in any lasting way. Yet there are many heroes just like us around the US who are toiling on any given night to keep jazz alive and enjoying every minute of it. There are no doubt far more of us each night performing, jamming and rehearsing in small, medium and large cities throughout the country than there are working name artists whose CDs we purchase regularly for inspiration. To quote from James Lincoln Collier’s “Jazz the American Theme Song,” “…local players are essential to jazz. They are the foot soldiers in the army, and in the end, it is the foot soldiers, not the generals, who win wars.” This recording is a monument to the many unknown soldiers around the country and particularly the loyal 22 from Austin who helped me to come out victorious in this particular battle.
Much of the music on this recording has been inspired by contemporary jazz composers who show that the big band continues to provides a viable medium for new, fresh sounding music that is true to the jazz tradition and challenges soloists to new heights. Manny Albam, Ray Wright, Bob Brookmeyer, Vince Mendoza, Bob Mintzer, Jim McNeeley, and Maria Schneider have all in some way been my guiding light.
1) Trane of Thoughts -the title should give this one away. John Coltrane’s musical powers have inspired generations of jazz performers, composers and listeners. This piece is my homage to “Trane” and includes a Niama-like “A” section followed by a bridge inspired by his “Lazy Bird.” The coda is a collage of short motives from several of Trane’s compositions. Featured on this chart are Elias Haslanger, tenor sax; Steven Vague, soprano sax; Scott Laningham, drums and Steve Snyder on piano. Kudos to the sax section for laying down the very difficult soli!
2) Mother Nature is an episodic work inspired by Canadian jazz trumpeter and composer Kenny Wheeler. His music has moved many of us who believe that the big band still has a viable future outside the dance floor and can serve to inspire compositions that break away from the old stereotypes. Written to feature the outstanding artistry of trumpeter Bob Meyer, the band once again rose to the numerous challenges presented by this lengthy, multi-sectional chart. Scott Laningham covers the drum set while Mike Koenning takes care of the percussion responsibilities.
Much of my music is motivated by imagery and is designed to evoke similar images and moods in the imaginations and spirits of the listeners. In this case, the piece not only reflects the many moods, both serene and tumultuous, that Mother Nature presents to man, but it also depicts the inevitable conflicts that occur between man and nature. Our soloists Bob Meyer and John Mills, who at times must struggle to make their way through the ensemble, represent Man in his ongoing struggle against Mother Nature’s whims. While we live in harmony with nature, this existence is never without discord.
3) Donna Lee features Austin stalwart and ex-Stan Kenton band member Tony Campise on saxophone. I play regularly with Tony in his own local rehearsal band as well as many casuals and shows and consequently wouldn’t feel right without him making his contribution to this project. He is truly a master and one of the most exciting, original and genuine musicians I have ever known. Once again, I tip my hat to the saxophone section for a flawless performance of my harmonization of Charlie Parker’s improvised solo, now a classic among saxophonists. Russell Scanlon contributes a fine guitar solo following this challenging sax soli.
4) Unknown Soldiers appears as the title track for this first TCJO release and features guest soloist Mitch Watkns. Mitch, who has recorded as a leader for the ENJA label, has long been a catalyst for some of the best music ever to come out of Austin. Additional soloists featured are Steven Vague on alto sax and Pat Murray on trumpet. While the title has a double meaning, it should be heard first as a requiem. I lived through the Vietnam era and was fortunate enough to complete the first phase of my education and avoid participating in this horrible conflict. Many friends and relatives did serve the cause and this piece (or peace) honors them. Unknown Soldiers also acknowledges those many unsung heroes throughout the US who, in their own ways, struggle daily to keep jazz alive. We may be unknown but without them the music will certainly die. “Live long and prosper.”
5) Out on a Limb follows the concerto grosso jazz format featuring a jazz quintet inside the big band framework. I’ve always enjoyed writing in this format for it provides more opportunity for the rhythm section to interact with the soloists in a looser, less confining atmosphere. In this case, our soloists are Pat Murry, trumpet; John Mills, tenor sax; Steve Snyder, piano and Mike Koenning on drums.
6) At This Point in Time was written some years ago and inspired by the band Steps Ahead. I find that small group jazz is often a great stimulus in writing for much larger ensembles. The looseness and agility found in the small group tends to inspire new grooves of which there seems to be an endless supply. We have such a great rhythm section in this band and it seemed like a natural feature for John Fremgen on bass and Steve Snyder on piano. In my humble opinion both solos are world class. The tenor heard on the intro is John Mills, often referred to as the “General,” and the soprano sax work is by Greg Wilson.
7) Boundaries is the result of a recent journey I took through the endless possibilities presented by the augmented scale which contains both minor and major thirds as well as major 7ths. It is a very challenging work that attempts to mask those divisions between contemporary classical music and jazz, a goal that I believe is shared with many jazz composers of late. Helping me to get outside my own jazz composer box were our great soloists – Bob Meyer on trumpet, Paul White on tenor sax, Steve Snyder on piano and of course Mike Koenning on drums. The band at one point provides unusual accompaniment to Mike’s lengthy solo before crossing the boundary back to tonality represented by the bridge. The introduction no doubt sets a Ginnis record for length before the trombones present the initial “A” theme. The piece does have a unified form, though the overall scheme tends to favor a more through composed organization. This chart is not meant for casual listening or your basic wedding gig!!
8) Chasing After Dreams was the second movement of a four-part dance suite entitled “Mirrors” and supported by a grant from the National Endowment for the Arts (remember those grants). The music is about those quests artists make…stretching, yearning, trying to reach the next plateau, only to realize that there are many more dreams to fulfill on a journey that is endless. I guess I could say that this recording is one dream I finally caught up to. Elias Haslinger, who is out with Maynard Ferguson’s band at this writing, does an elegant and passionate job at portraying the main character in my dream.
9) Newk Meets the President depicts the result of an imaginary meeting between two great jazz artists who have influenced nearly all jazz saxophone players – Sonny “Newk” Rollins and Lester “Prez” Young. While I don’t believe that they ever actually performed together, this piece could have stemmed from such a meeting as it fuses certain aspects of Young’s signature tune “Lester Leaps In” and Rollins’ calypso jazz standard “St. Thomas.” Kudos to the saxophone section for their impeccable reading of a hair-raising soli, and Randy Zimmerman for his sustained trombone solo. Mike Koenning was on the drum throne for this session.
Special thanks to my wife Susan for her devotion to me and his project. It would not have happened without her understanding and encouragement. Guest soloists Mitch Watkins and Tony Campise; Bobby Arnold, Andy Murphy and the Fire Station Studios for their ears, expertise and perseverance; Jodi Jenkins who will always handle my graphics needs; Morton and Marlene Meyerson whose generous gift funded the Meyerson Centennial Professorship in Music which I proudly hold at The University of Texas. Funds from this endowment helped to support the production of this recording.Recorded 1/9 – 1/10/00 and 1/21-22/01at The Fire Station Studios, San Marcos, TX
Engineered by Bobby Arnold
Produced by Rick Lawn and Andy Murphy
Mixed by Bobby Arnold, Andy Murphy and Rick Lawn
Third Coast Jazz Orchestra – Rick Lawn, Music Director
Woodwinds
Greg Wilson – Alto/Soprano Saxophone & Flute
Steven Vague – Alto/Soprano Saxophone, Clarinet, & Flute
John Mills – Tenor Saxophone, Clarinet & Flute
Elias Haslanger – Tenor Saxophone, Flute & Clarinet
Paul White – Tenor Saxophone & Flute
Paul Baker – Baritone Saxophone & Bass Clarinet
Trumpet & Flugelhorn
Eric Johnson, Lead
Pat Murry
Keith Winking
Bob Meyer,
Paul Armstrong
Chip Crotts
Trombone
Max Lyon. Lead
Randy Zimmerman
Ken Hoyne
Mike Mordecai
Kerry Williams, Bass
Rhythm
Steven Snyder, Piano & Synthesizer
Russell Scanlon, Guitar
John Fremgen, Bass
Mike Koenning, Drums & Percussion
Scott Laningham, Drums