October 21, 2011
Media Alert: Eddie Daniels / Roger Kellaway "Live At The Library of Congress" (IPO 1021) Street Date January 12, 2012
CD Review: http://blogcritics.org/music/article/music-review-eddie-daniels-and-roger/
You might be forgiven for thinking that an evening featuring a clarinet and piano duo in a jazz recital might have a limited appeal. It is, after all, an instrumental combination you're not apt to come across very often. Indeed the clarinet itself has lost something of its cachet since the heydays of Benny Goodman, Woody Herman and Artie Shaw. Well, if you had been thinking that way about clarinetist Eddie Daniels and pianist Roger Kellaway's February 25th concert recital at the Coolidge Auditorium of the Library of Congress, you would have been wrong—wrong in a big way.
Daniels and Kellaway are two musicians who deserve to be much better known than they are, and the CD release of that February concert by IPO Recordings could do much to remedy that. This is not their first collaboration, they worked together on the critically acclaimed 2009 album, A Duet of One, an album Bilboard lauded as "a wondrous duet date featuring extraordinary musicians taking chances and thankfully succeeding on all levels." Live at the Library of Congress makes it clear that that previous album was no fluke. Two fine albums should mean something. These are albums where the dialogue between the clarinet and the piano is at times playful and quirky, at times lyrically mellow, at times technically brilliant, and always musically inventive. These men are virtuosos with their instruments and they know how to work together.
This was an exciting concert and it makes for an exciting album. The set list, nine pieces in all, is a mix of original compositions three by Kellaway, one by Daniels and works by a variety of other composers from Thelonius Monk to Leonard Bernstein and Stephen Sondheim. They begin with an eight and a half minute romp through the Gershwin's "Strike up the Band," treating the familiar tune with some a variety of inventive rhythms. They end with a Kellaway piece, "50 State Rambler," which alternates familiar sounding lines with edgy modernism. In between, there's an unlikely funky exploration of "America the Beautiful" and a lyrically expressive version of "Somewhere" from Westside Story.
Kellaway's pieces show a similar kind of variety. There's the simple lyricism of "A Place That You Want to Call Home" and the dynamic energy of his "Capriccio Twilight." Monk's "Rhythm-a-ning" with a clarinet quotation or two makes for a moment of wit and some of the accompanying grunts might remind you of Lionel Hampton. "Etude of a Woman," Daniels' tune, is combined with Sondheim's "Pretty Woman." It has a haunting melody that seems strangely familiar.
The World Clarinet Alliance called the event a "landmark concert." In a Jazz CD Review of A Duet of One, Tony Augarde says: "Daniels and Kellaway fit together like hand-in-glove." Perhaps that is one way of making sense out of the album's cryptic paradoxical title, and if it was true then, it was equally true in February. The concert at the Library of Congress is nothing short of an eye-opening revelation. You can take a clarinet and a piano, put them on a stage alone together, and make wonderful music. You can, that is, if you've got Eddie Daniels playing that clarinet and Roger Kellaway playing that piano.
Article Author: Jack Goodstein
CD REVIEW: by Joe Lang
Listening to two jazz players on a stage having a meeting of their musical minds can be exciting when it works, and hard to bear when it fails. Those who were at the Coolidge Auditorium of Library of Congress on February 25, 2011 to hear clarinetist EDDIE DANIELS and pianistROGER KELLAWAY share the stage witnessed the kind of music that results when things mesh perfectly. You can share the musical excellence that occurred on that occasion on Live at the Library of Congress (IPO Recordings – 1021). Empathy is often the key to success in many different undertakings. In this setting it is an essential element. The title of their previous duo recording wonderfully described their musical relationship - A Duet of One. They open with an admonition, “Strike Up the Band.” It sets the pace for the magic that follows. Kellaway has a facility for creating original songs that immediately sound like old friends. In this instance he has contributed “Capriccio Thoughts,” “A Place You Want to Call Home” and “50 State Rambler.” Daniels’s “Etude of a Woman” is effectively paired with Stephen Sondheim’s “Pretty Women.” The other selections are “Somewhere,” “Rhythm-A-Ning,” “America the Beautiful” and “Just Friends,” the latter title being an apt description of these gentlemen. Listening to this disc is a thoroughly satisfying experience.
www.iporecordings.com
Media Contact: Jim Eigo, Jazz Promo Services, 269 S Route 94, Warwick, NY 10990, phone 845-986-1677
fax 845-986-1699 e-mail jazzpromo@earthlink.net web www.jazzpromoservices.com
IPO C1015 — release date 10 Feb 2009
 I gladly share with you the article I wrote on Saturday January 23 2010. There is an analysis and comments about your interpretation of two pieces from your CD "Live at the Jazz Standard". Also I include an English translation of the article for you. Many thanks, Grecia Aguilera. http://www.lahora.com.gt/notas.php?key=61514 I present to you the pianist Roger Kellaway and his friends, with melodies that were recorded during their live presentation at the club “The Jazz Standard” in New York City. First goes “Cotton Tail”, in homage to maestro Duke Ellington. Here the musicians show their collective, personal and artistic freedom, in form of communication and collaboration, confident and mutual admiration, which brings as a result this rhythmic and perfect cadence from the piano, the guitar and the double bass, in close relationship with the vibraphone of Stefon Harris, while they maintain a proportional, balanced and magnificent sonority. Next, we will listen to the jazz standard “Take Five”; the performance of these prodigious artists, make the melody hold great musical character. The guitar of Russell Malone and the double bass of Jay Leonhart accompany exquisitely the piano of Roger Kellaway, during his brilliant artistic improvisation. They are really extraordinary!” Poet and journalist Grecia Aguilera, Director/Founder Host "Tribuna del Jazz" radio show Guatemala City area, 104.5 FM. Jazzhouse Diaries » David R. Adler: Top 25 of 2009 By dadler Eddie Daniels & Roger Kellaway, A Duet of One: Live at the Bakery (IPO) 16 December 2009 | ALLABOUTJAZZ-NEW YORK Live at the Jazz Standard Roger Kellaway (IPO) by Andrew Vélez Pianist Roger Kellaway can swing hard and has played with everyone from Sonny Rollins to Joni Mitchell. His knowledge of music is encyclopedic and his pianism is instantly recognizable for its airy, sparkling quality, flowing from a singular skill he has to incorporate stride, swing, boogie and more into something totally modern. Long an in-demand sideman, Kellaway has too rarely recorded fronting his own group. Which brings us to the happy occasion of this live 2006 Jazz Standard set with his “East Coast group” (he also maintains a “West Coast group”). The opener here is Ellington’s “Cottontail”, on which Kellaway exhibits finger-twisting runs in company with Stefon Harris guesting on vibes. It’s a breathtaking turn that leads into yet more Ellington joy with “C Jam Blues” on which Russell Malone’s guitar propels even more non-stop swinging. If further evidence was needed of Kellaway’s diversity, the Russian classical cellist Borislav Strulev joins the festivities for the leader’s “All My Life”. The chamber-style duet is as deep and passionate as it is resonant. Kellaway’s approach to Dave Brubeck’s “Take Five” begins lightly and gently skipping; he seamlessly shifts from soft to emphatic chords and, with Jay Leonhart’s bass and Malone’s guitar, builds to a bedazzling crescendo of fresh possibilities. This is followed by a sweet meditation on “The Nearness of You” joined by Malone and Harris. Pushing musical explorations even further, the second disc opens with “Tumbling Tumbleweeds”. “Tumbling Tumbleweeds”? Who knew? It’s just further proof of Kellaway’s ability to unearth fresh rhythms and find unlikely places in which to swing. Turning to the more familiar jazz terrain of Redman-Gilbert’s “Cherry”, Kellaway recalls the hard swinging sound of the early Nat Cole Trio. On the closer, Monk’s “52nd Street Theme”, all hands cut loose to go way past the speed limit. When they called this a “live set” they weren’t kidding. Ooooweeeeeeeeee! For more information, visit iporecordings.com. Kellaway is at Zankel Hall Dec. 3rd. See Calendar.   September 19,
2009
Here’s what’s on tap for issue #95 for Roger & Eddie’s grand CD adventure: "A Duet Of One - Eddie Daniels and Roger Kellaway Live At The Bakery": If you're looking for jazz that's a little less "out", but performed with verve & panache, this one will decidedly do the trick... we've reviewed both of these gents before - most favorably - & having Rogers' full-force piano playing under, over & through Eddie's high-energy clarinet work is something you'll want to hear. As you might imagine, the live recording either makes or breaks a CD, but in this case, it's a definite plus... every little nuance is captured so intricately you don't even have to wear your headphones to listen to it (though it's better that way, of course). I thought the second piece in, "Slow Dance" [LINK] was one of the more expressive (though pensive & quite bluesy) tunes on the album... "This Is the Time" [LINK] was my favorite track, though... strong call & response going on here, & Kellaway's piano is simply full of the joy of being alive! This is music that doesn't require long "educated" reviewer dissection, or high-minded pronouncements... it's just for the pleasure of the listener (& I'm sure it was fun for the players as well). We need more like this on the scene, and I've no doubt that if music like this were piped into today's classrooms, we'd have a lot less violence. I give this one a MOST HIGHLY RECOMMENDED for jazz listeners of any persuasion; "EQ" rating is 4.82. Get more information at Eddie's site [LINK] ... great fun! Rotcod Zzaj Dick Metcalf, aka Rotcod Zzaj Email: zzajunique@hotmail.com Zine site: http://zzaj.freehostia.com/ Zzaj Music sites: http://indieonestop.com/jamroom/bands/647/ http://www.projectopus.com/zzaj http://www.soundclick.com/members/default.cfm?member=rotcod http://www.mixposure.com/zzaj/ http://www.archive.org/details/zzaj Dick'sPODCAST: http://rotcod.podomatic.com THE DAVIS ENTERPRISE SPOTLIGHT THURSDAY, SEPTEMBER 3, 2009 C3 Eddie Daniels and Roger Kellaway ‘A Duet of One’ IPO Recordings http://www.iporecordings.com ★★★★★ This is one of the most beautiful, innovative and impressive albums I’ve reviewed in a long time. During his early years, pianist Roger Kellaway was best known for his writing, and as an accompanist for “name” vocalists; he didn’t begin to play and record as a leader until later. Eddie Daniels has played reed instruments for decades; during the 1960s and ’70s, he was featured on tenor sax with Thad Jones/Mel Lewis and other bands, then in the ’80s began to concentrate on his clarinet. We’re fortunate that both artists have extensive discographies. ‘Duet of One’ was recorded live at The Bakery — a Los Angeles jazz club — over a four-day period in early 2005, but wasn’t released until now. Daniels and Kellaway are the duet; as the title implies, their performances were so musically “linked” that they played as one. They didn’t use arrangements, instead relying on lead sheets, which contain just the melody and chords. They also didn’t rehearse. Everything that ensued flowed from their experience and innovative talent. Four of these 10 tunes are jazz standards: “I’m Getting Sentimental Over You,” “I Want to Be Happy,” “New Orleans” and “After You’ve Gone.” I guarantee that you’ve never heard these old chestnuts played this way. Of the remaining original compositions, Kellaway wrote two, and Daniels wrote four; all are as impressive as the standards. The result wasn’t just a session; it was a capital-C Concert! Don’t miss this marvelous CD. —Ric Bang CD Review — Saxophone Journal 7/8-2009 by Billy Kerr A DUET OF ONE IPO Recordings C1015 Eddie Daniels and Roger Kellaway have been in cahoots ever since jazz promoter Jack Kleinsinger matched the two up in a duo concert at Two Daniels compositions follow, Slow Dance and Adagio Swing, the former a sort of "business man's bounce" ballad, the latter a medium-up tune apparently based on the Adagio in G. Again the two exchange lines, motifs and choruses at will without so much as a beat's hesitation, truly one voice interpreting the music. After Adagio, the two engage in what seems to be some free association until we hear the familiar 1 Want to Be Happy (not to mention lot's of that Ab-A-Bb stuff being tossed about). To call this Variations on IWTBH is somehow to misrepresent the intricate musical cat and mouse match that ensues. These two players have an unlimited treasure chest of musical fodder from which to draw, and you can bet they only scratch the surface here. The CD closes with two lovely tunes penned by each of the participants here. The first, Kellaway's sensational ballad Love of My Life, from the Memos CD and the last, Daniels' Latin-based We'll Always be Together, from his Beautiful Love CD. Both tunes show not only how these two musicians interact with one another in the heat of the moment, but also their level of musicianship as composers of great music. This level of musical intimacy, and the ability to produce it at will does not happen every day, unless you happen to be near Daniels and Kellaway everyday. EDDIE DANIELS and ROGER KELLAWAY LIVE AT THE JAZZ BAKERY / A DUET OF ONE IPO Records Review by Brad Walseth One of the things that clarinetist Eddie Daniels and pianist Roger Kellaway have in common is that despite being incredibly talented musicians who never fail to delight and amaze, they both somewhat fly under the radar. Daniels is considered to be perhaps the foremost practitioner of the clarinet (an instrument sadly on the outs since the days of Benny Goodman), while Kellaway is considered by many to be the greatest piano player you've never heard of: for some reason or combination of reasons, neither man is a household name and that is a shame. Last year, Kellaway released a stunning live recording that was one of the year's best (see our review by Jean Timmons below) and hopefully brought him some much-deserved attention. And one can only pray that this electrifying recording of duets, recorded live and unrehearsed at The Bakery in Los Angeles will continue to point the spotlight to both of these criminally under-appreciated players. In performing this collection of songs, including the standards "I'm Getting Sentimental Over You" (the Tommy Dorsey theme song), Hoagy Carmichael's "New Orleans," "I Want to be Happy" and a wild rendition of the burlesque treat "After You've Gone," along with three written by Daniels, two by Kellaway and even a Daniels reworking of Albinioni's Adagio, the men eschewed all but a handful of lead sheets. In fact, according to Pacquito Rivera's liner notes, they had nothing written and neither had ever even played "I'm Getting Sentimental" which opens the album in astonishing fashion. The depth of playing here, which combines the sheer joy of jazz with the sheen and skill of the great classical masters is quite amazing and will keep the listener entertained and enthralled. You simply do not hear players in the jazz genre who play like this anymore. The opener will make your jaw drop, but Daniels' "Slow Dance" will make your hair stand on end, as both players produce some of the most beautiful notes any human has ever produced. Nor do these players simply recreate beautiful melodies, but rather take musical adventures such as the comical conversation they have during the intro to "I Want to be Happy." (I seriously think someone smarter than I could write an entire thesis on what these two do to this song.) Daniels plays like he has honey dripping from his lips, while Kellaway must have eight arms and at least two brains to go along with them. These are musicians of the highest order, who are deeply respectful of the past, but also are cognizant of the changes the world has gone through and do allow some seepage through. They are not content to simply recreate, but use the great architecture of the past to build upon and expand. Highly recommended. CD Review: EDDIE DANIELS and ROGER KELLAWAY LIVE AT THE JAZZ BAKERY / A DUET OF ONE IPO Records You couldn't ask for anything more, a duet with two giants, who enjoy the play of a nice sunny day of interplay in this CD, with fast Eddie Daniels clarinet opposing Kellaway's calliope-energized stride piano on “I'm Getting Sentimental Over You,” performing live before a willing jazz audience at the Jazz Bakery in L.A.. “Slow Dance” is a lush romantic piece by Daniels, embellished by Kellaway's subtle piano modes, in person when the lights are low. “Adagio Swing” may take you on a ride along the Seine in pratfall dynamics for Roger Kellaway and Eddie Daniels have been around contributing much to the modern jazz show with cool sophistication and technique. “I Want To Be Happy,” two prolific artists having fun with this, blending standards with originals in a willowy wisp fashion, for stride be damn good! Before you fall off your chair, this is special for the band, as well as the audience. So commiserate. You should have been there. Then there's Hoagy Carmichael's “New Orleans,” don't worry you won't step on any body's toes. The piano player is copping great stride through other figuratives and the clarinet player is swaying back and forth. Don't worry because Roger Kellaway and Eddie Daniels are laughing, singing, telling great stories on their respective horns. Kellaway's “This Is The Time,” is a more mellow sophisticated piece. Could be a music sound scape to a breath of fresh air of a fifties romantic film' “The Apartment” with Jack Lemon, Shirley MacLain and Fred MacMurray. It's beautiful. The concluding songs, “After You've Gone,” “Blue Waltz,” “Love Of My Life” and “We'll Always Be Together” are a dashing clarinet, dancing, the romantic pianist in the corner, prancing, two in one together, saying a complete message-”A Duet For One,” for certain. Dick Crockett “The Voice” 88.7fm 4623 T Street, Suite A Sacramento, Ca 95819-4743 CD Review: review will appear in the May issue of "Jersey Jazz." By Joe Lang Pairing two masters of improvisation like pianist ROGER KELLAWAY and clarinetist EDDIE DANIELS is likely to produce a musical garden of delights, and that is exactly what happens on A Duet of One (IPO – 1015), recorded at The Jazz Bakery in Los Angeles. I imagine that those present for the performance felt that they were in a living room somewhere listening to these two gentlemen challenge and compliment each other’s talents and resourcefulness. Whether exploring their original material, there are three from Daniels and two from Kellaway in the program, having a go at standards like “I’m Getting Sentimental Over You,” “I Want to Be Happy,” “New Orleans” or “After You’ve Gone,” or considering Daniels' reworking of Albioni’s “Adagio,” they produce a shifting palate of musical colors that is simply fascinating. Daniels has complete control over his difficult instrument, creating lovely, at times ethereal sounds, but always maintaining an underlying strength of execution that makes even the quietest of moments seem full of unyielding power. Kellaway is the perfect accompanist for the flights of fancy that pour forth from Daniels’ imagination. Successful duo jazz performances always depend on the players involved giving the impression that the two bodies have one brain, a phenomenon perfectly described in the title of this album, A Duet of One. CD Review: http://www.bermanmusicfoundation.org/cdrev09.htm#Daniels%20Kellaway Aptly named, “A Duet of One” rightfully implies the singularity of purpose, the extrasensory dialogue and the compatible virtuosity of clarinetist Eddie Daniels and pianist Roger Kellaway. It also implies the seat-of-the-pants immediacy of its live setting, The Jazz Bakery in Los Angeles, where it was recorded March 30 to April 2, 2005. Daniels and Kellaway quickly establish their amazing talents with “I’m Getting Sentimental Over You,” taken at a swinging mid-tempo that gently urges the participants to ever higher feats of improvisation and one-upmanship. Equally proficient on tenor saxophone, Daniels here eschews that instrument’s larger, robust and metallic sound for the brighter, woodier tone of the clarinet. The result is a more level playing field for the two featured instruments, and the two artists respond accordingly. Daniels’ composition “Slow Dance” is, indeed, a swirling, terpsichorean delight that inspires splendid solo statements from each of the dance “partners.” His tune “Adagio Swing” liberates Daniels to soar on a solo clarinet flight before turning it over to Kellaway, whose two-fisted technique simultaneously maintains a pulsing, left-hand rhythm pattern while ascending into the upper registers with the right. Their whimsical, imaginative performance of “I Want to Be Happy” is as carefree and exuberant as its title. Free of a rigid rhythm pattern, Daniels and Kellaway carry on a very high-brow jazz conversation—making solo statements, responding with witty repartee and occasionally mixing it up in a polite “shouting” match. Hoagy Carmichael’s “New Orleans” gets a relaxed, bluesy reading in which the two instruments blend beautifully in pitch and mood. Kellaway’s loping, rhythmically ambiguous “This Is the Time” ironically leaves the listener wondering exactly where the “time” is. Would-be dancers, beware! The two return to more familiar ground with a dazzling uptempo display of technique on the standard “After You’ve Gone.” They trade fours with ease, continuously upping the ante for the next smoking chorus and inspiring the audience to enthusiastic applause. “Blue Waltz,” another Daniels tune, is a perfect vehicle for the composer’s warm and woody clarinet at a meditative ballad tempo. On his ballad “Love of My Life,” it is Kellaway’s turn to romanticize and he does so with tenderness, grace and beauty. “We’ll Always Be Together” is Daniels’ lyrical statement of hope and the embodiment of this joyful and fruitful duo collaboration. Not released until 2008, this very live session is another jewel from IPO Recordings, which is responsible for another of last year’s best jazz CDs, the collaboration between James Moody and Hank Jones called “Our Delight.” The label has wisely chosen to focus on seasoned musicians who are still performing at a very high level of creativity and have not gotten the attention they deserve. Jazz Times America's Jazz Magazine May 2009, p. 83 EDDIE DANIELS AND ROGER KELLAWAY - A Duet of One: Live at the Bakery (IPO) Although the jazz catalog is not replete with clarinet/piano duos, Eddie Daniels and Roger Kellaway hasd a demonstrated affinity for each other prior to the run of shows they performed together in lat March and early April of 2005, gigs that have been condensed in the 73 minutes of A Duet of One. Both veteran musicians of a certain age (Daniels was 63 at the time, Kellaway 65), they have also taken individual paths in jazz bordering on classical music, Kellaway with his Cello Quartet in the 1970s, Daniels in devoting himself to the clarinet, an instrument out of fashion since the swing era. And, of course, they have played together before, notably on Daniels' albums Memos From Paradise and To Bird With Love. Still, Duet of One is a departure, very much a high-wire act for the two, who seem to be winging it. The standards that appear among the originals provide helpful touchstones; that is, when those familiar melodies turn up, however briefly, amid the dual improvising that takes up much of the disk. For example, the opener, "I'm Getting Sentimental Over You" (an amusing choice, given that it was Tommy Dorsey's theme song, and he was one of the great swing bandleaders who wasn't a clarinetist) becomes recognizable as that tune only in its final seconds. On the other hand, "After You've Gone" makes a forceful appearance, coming after a rendering of Kellaway's "This Is the Time." Much of the time, Daniels and Kellaway are merrily playing away, seemingly unaware of each other, which probably helps explain the album's title: These are "duets" but the players are really soloists. WILLIAM RUHLMANN CD Review: http://www.tomhull.com/blog/archives/1090-guid.html Eddie Daniels and Roger Kellaway: A Duet of One: Live at the Bakery (2005 [2009], IPO): Clarinet and piano, respectively; veterans who shouldn't need an introduction but probably do. Title suggests they go beyond intimacy to find some sort of unity. Sometimes, but most of the time one or the other is soloing, at a comfortable pace, on well worn standards. Has its moments, and Kellaway is one of the more dependable solo pianists around. B+(*) Roger Kellaway: Live At the Jazz Standard (2 CD set) review by LJPalardy Quite possibly the greatest “unknown” pianist of his generation. Has a somewhat MJQ feel to it with swing. EDDIE DANIELS & ROGER KELLAWAY A Duet of One: Live at the Bakery IPO RECORDINGS Clarinetist Eddie Daniels and pianist Roger Kellaway come together for a mix of 10 standards and originals on this well-produced 2005 live date at The Jazz Bakery in Los Angeles. The disc opens with a lively interpretation of “I’m Getting Sentimental Over You” that shows how imaginatively and freely these two musicians work together. Daniels contributes four tunes, including the lovely “Adagio Swing” on which he demonstrates his mastery in a flowing, fluctuating solo. Kellaway’s two originals, the angular, timeshifting “This Is the Time” and the pretty ballad “Love of My Life.” The pair also performs Hoagy Carmichael’s “New Orleans and the chestnuts “After You’ve Gone” and “I Want To Be Happy.” Whether comping or soloing, both of these veteran musicians perform with supreme artistry, anticipating what the other will do and together building drama into each tune. They played together for the first time as a duet about 20 years ago and that familiarity comes across on this seamless performance, an ear-pleasing meeting of the minds. —Nancy Ann Lee CD Review: Roger Kellaway & Eddie Daniels - A Duet of One 3/4 O's Notes: This is a powerful duo, Daniels on clarinet and Kellaway on piano. Both are well-accomplished musicians with a high level of respect for each other. They share the stage playing as A Duet Of One. The program includes four originals from Eddie, two from Roger and four standards. "Slow Dance" is a showcase for Eddie at a relaxed pace. The interplay on "I Want To Be Happy" is excellent as they feed off of each other’s energy. It is typical of several of the songs on the CD and it is balanced by ballads like "Blue Waltz". These guys had a ball playing and it spills into the listening experience. CD Review: http://www.musicweb-international.com/jazz/2009/Daniels_Kellaway_IPOC1015.htm 24 Feb 2009 Although he started primarily as a saxophonist, playing tenor sax in the 1960s with the Thad Jones/Mel Lewis Band, Eddie Daniels really made a big impression with his clarinet playing, which seemed as flawless at that of other clarinet giants like Artie Shaw, Benny Goodman and Buddy DeFranco. Yet his very perfection seemed to work against him, with some reviewers criticising his work for its supposed soullessness. He was even more suspect because he performed classical works as well as jazz. However, this new album proves that Eddie doesn't deserve to be underrated. The same might be said for Roger Kellaway, whose pianistic skills are beyond doubt but who has somehow not achieved the fame of some others who are regarded more highly (e.g. Brad Mehldau). Nevertheless, Kellaway's recordings in the 1960s with the Clark Terry/Bob Brookmeyer Quintet showed that he can swing mightily and inventively, while his albums under his own name - for example, Spirit Feel - demonstrated his daring nature. All these qualities are evident in this album, recorded in April 2005 at the Jazz Bakery in Los Angeles. Daniels and Kellaway fit together like hand-in-glove. Both men have quicksilver techniques. Like Jimmy Hamilton, Eddie has a pure, almost classical sound, which is balanced by Roger's touches of irreverent humour. And they are both happy to mix free improvisation with straightforward jazz. Notice, for instance, how After You've Gone starts as completely free playing, until Roger subtly hints at the tune before it appears in recognisable form. This number was a favourite of Benny Goodman's, to whom Eddie Daniels paid tribute with his 1992 album Benny Rides Again. This sort of freedom could probably only happen in jazz, where things occur on the spur of the moment, as the two players react to one another's ideas. Adagio Swing is another track where the duo's fancies take flight: tinkering with a famous Adagio by Albinoni. This caters for Eddie's classical leanings as well as Roger's sense of adventure. On the other hand, We'll Always Be Together is a beautiful melody created by Eddie Daniels, with a wonderful filigree solo from the composer. This track also illustrates Kellaway's brilliance as an accompanist. In fact throughout the album, Roger exhibits his typical "Kellawayan dense-then-light harmonies and surprising cascades of notes" - to quote the sleeve-notes written by Paquito D'Rivera, a clarinettist who clearly appreciates both players. The sleeve-notes remind us that Daniels and Kellaway have played together before - and their togetherness is manifest on every track. This CD is a "must-buy" for the serious jazz enthusiast. —Tony Augarde CD Review: http://www.jazzimprov.com/guides/ji_nyc_V04N09.pdf By Dave Miele Clarinetist Eddie Daniels and pianist Roger Kellaway each bring a world of experience to their new duo recording A Duet of One. Daniels first came to prominence as a member of the Thad Jones-Mel Lewis Orchestra, playing tenor saxophone. His recent move toward clarinet is more of a homecoming than an experiment; Daniels received his masters in clarinet from Julliard. He has met with critical Grammy awards) in the worlds of both classical and jazz music. Roger Kellaway boasts a most impressive resume that includes performances with such varied musicians as Elvis, Dizzy Gillespie, Duke Ellington, Yo Yo Ma and Joni Mitchell. He has also had a successful career as a composer/arranger for movies and TV, writing the closing theme to the sitcom All in the Family, among other accomplishments. A Duet of One presents these two men in a live setting performing their own works as well as some standards. The title of the release is perhaps only partially applicable. While Daniels and Kellaway do often play “as one”, they are much more frequently involved in spontaneous interactions and conversations. They spar and joust as well as taking extended individual performances. Four of the compositions are Eddie Daniels originals. “Slow Dance” has a rubato ballad feel with a long, wandering melody, which the composer plays. He builds his solo in intensity, dynamics and even tempo before bringing it all back to its humble beginnings for Kellaway’s solo, which again twists and turns as it builds before a return to the serene clarinet melody. “Adagio Swing” begins as a loose, cadenzaish rubato conversation before settling into a lyrical clarinet melody with spirited piano accompaniment. Daniels and Kellaway take turns with unaccompanied solos. “Blue Waltz” is a slow somber tune, which features one of the most structured and metered time feels on the album. Daniels’ final composition is a tuneful pop-laden ballad entitled “We’ll Always be Together.” Roger Kellaway contributes two of his own tunes. “This is the Time” features a unison introduction before a funky, jousting melody split between the two. “Love of My Life” is a gentle ballad which serves as a perfect segue into Daniels’ “We’ll Always be Together.” The program is rounded out by standards, each delivered with a fresh conception. “I’m Getting Sentimental Over You” is handled in an unorthodox medium swing tempo. “I Want to be Happy” is one of the most interactive of the performances, featuring elements of call and response as well as a “cat and mouse” spirit. This musically conversational style continues with an interactive version of “After You’ve Gone.” “New Orleans” is a bluesy ballad. Eddie Daniels and Roger Kellaway are each massive forces in the worlds of classical and jazz music. Their varied experiences bring a fresh and exciting atmosphere to A Duet of One. Their compositions lend themselves perfectly to this setting. The duo format leaves them absolutely no room to hide and plenty of room to experiment and explore. CD Review: http://www.allaboutjazz.com/php/article.php?id=31914 Review Courtesy AllAboutJazz.com A Duet of One Eddie Daniels and Roger Kellaway | IPO Recordings By Warren Allen In 2005, longtime collaborators {{Eddie Daniels = 6078}} and {{Roger Kellaway = 8296}} reunited at Los Angeles' Jazz Bakery to try their skills without the comfort of bass or drums. Luckily, they were up to the challenge more than ever. The result, A Duet of One, presents two musicians who blend melody and spontaneity so well that they could improvise a symphony together. From the first moments of “I'm Getting Sentimental Over You,” Daniels and Kellaway establish a foundation that only grows tighter, as the clarinet asks and the piano answers through the head. Both play with a delicate touch. Paquito D'Rivera writes, in his excellent liner notes, that the two had never played the tune before, making the result still more impressive. Piano and clarinet swap unaccompanied solo statements with the ease of dialogue, slowing tempos and changing dynamics, before returning to the classic melody. Kellaway is a real treat to hear, an underrated player with a sound that mixes touches of Art Tatum and Tin Pan Alley with distinctly modern swing. He consistently finds the right spot for every key, up and down the board. Meanwhile, Daniels' flawless technique belies the subtlety of his tone. His sound is always clean, whether at deep lows or glass cracking highs. At any given moment, he can quote delicate classical repertoire, or reach down for some soul, as he does on “Adagio Swing” with bluesy catcalls and fingers flying. But for all the individual abilities on display, the songs live on the give-and-take between players. An 11-minute “Why Was I Born?” transforms the original tune into lyrical repartee. The conversation is carried by a chromatic triplet motif that passes from clarinet to piano, and vice versa, like a warming bottle. They pull it through the octaves, mix in clever twists, and make redefining a standard seem easy. ”New Orleans” finds Daniels' clarinet laying sweet improv with soft dynamics, suggesting a big city mournfulness brought down South. The stalking steps of “This is the Time,” repeated in round, leap into a tremendous Kellaway solo, full of subtle, angular choices. Both players swap flourishes and trills before launching into a rollicking “After You've Gone” that features wild clarinet blowing. The sound is decent for a live album. Some of Kellaway's wonderfully subtle touches are nearly lost, particularly on a subpar sound system. Daniels sounds perfect though, down to the whispery clicks of his keys, and the crowd is warm without being overbearing. The mellow “Blue Waltz” is a masterpiece of breathy intonations and romantic piano flourishes. The set closes with “We'll Always Be Together,” an upbeat, Latin-tinged number. Daniels puts on a show of elegant technique as Kellaway eases him along to a rousing end. But before the melody is fully restated, Daniels breaks away to once again recreate the tune, as if a few extra lines need adding before he hops offstage. It's a fitting end to a deeply enjoyable album. http://blogcritics.org/archives/2009/02/16/093421.php http://geezermusicclub.wordpress.com/2009/02/16/review-eddie-daniels-roger-kellaway-a-duet-of-one/ REVIEW: Eddie Daniels & Roger Kellaway - A Duet Of One Posted by BG on February 16, 2009 If improvisational jazz is something that piques your interest, you might want to take a look at A Duet Of One, a new album now out on the IPO Recordings label. It’s a deceptively simple pairing of clarinetist Eddie Daniels and pianist Roger Kellaway, recorded live at the Jazz Bakery in Los Angeles, but the music itself is anything but simple. Instead, it’s a collection that serves notice that the two instrumentalists are among the best around. I reviewed an album by Daniels in 2007 and one by Kellaway in 2008, but a combination of the two virtuosos is something new for me. Using only basic charts as a framework to support their stunning improvisational efforts, they have created a listening experience that’s as close as possible to being there. I found it to be a very intriguing sound and came away with added appreciation for the skills of the artists. The collection of ten tracks includes both standards and newer pieces written by the duo themselves, but it hardly matters because the level of improvisation makes even familiar pieces new and different. Whether it’s a delightful and playful take on an old song such as “After You’ve Gone,” or Daniels’ own gorgeous and lyrical “Blue Waltz,” the two musicians keep the listener guessing. Even the opening track, “I’m Getting Sentimental Over You,” a tune better known as Tommy Dorsey’s theme, is completely transformed. Instead of a lush big-band sound driven by a mellow trombone, we get the simple intimacy of a clarinet and piano playing off each other. Good stuff. Every track on the album has something to recommend it, but my favorite was probably “Adagio Swing,” Daniels’ reinvented version of an operatic piece by Italian Baroque composer Tomaso Albinoni. It’s a good bet you won’t find that on every jazz album. Daniels and Kellaway have generated something special with A Duet Of One, and should be applauded for not only continuing to grow as musicians, but for proving that the music of today’s jazz stars can still surprise. Billboard.com - Discography - Eddie Daniels/Roger Kellaway - A Duet of One [ 2/7/2009 6:37:30 PM ] http://www.billboard.com/bbcom/discography/index.jsp?pid=53895&aid=1206714#review Album Review Clarinetist Eddie Daniels and pianist Roger Kellaway have been both revered and sublimated by critics and listeners during their long and sometimes obscured careers. Make no mistake, though—they are great musicians who somehow do not get the credit they deserve as true jazz masters. When Daniels has played more commercially oriented music, he's branded a sellout, while Kellaway's profile is so low-key, he's practically off the radar except when releasing a recording. Fact is, Daniels is as limber, facile, tuneful, and literate as any clarinet player on the contemporary scene, while Kellaway's understated brilliance is balanced by a sense of wonder and empowerment tempered by a veteran's common sense and deep wisdom. Both have made important strides in recent years to change minds and hearts with several very fine efforts in the modern mainstream idiom, but these duets recorded live at the Jazz Bakery in Los Angeles have to be a high watermark for them, individually and together. All of the thin veils and veneers are torn down, as the two get to the meat and potatoes of these six standards and four originals, while also pulling out all the stops and digging into the main principle of jazz—improvisation. No prior rehearsal and the use of basic charts as frameworks set this program apart from many others, as calculation is thrown out the window and standardized deviation is the new norm. This sense of taking poetic license and adopting reckless abandon is most evident on the counterpoint intro setting up the lengthy version of "I Want to Be Happy," a giddy, playful, even clownish derivation leading into spontaneous tempo changes and eventually a settled light swing. "After You've Gone" similarly reflects this sense of play in a fast improvised chase scenario, very much gone, made up on the spot, and truly fantastic. Cleverly interpreting Tomaso Albinoni on "Adagio Swing," the duo freely takes his theme liberally and literally to a developed modal arena quite unlike the Italian operatic Baroque original. "I'm Getting Sentimental Over You" is bouncy off the bat, with the sprightly clarinet of Daniels and Kellaway's hopping piano both chock-full of soul. Kellaway's composition "This Is the Time" goes deep into the midnight-blue spectrum as a quirky stalking film noir dance that is more written and executed than made up. "Slow Dance" by Daniels and Hoagy Carmichael's "New Orleans" go to the softer side, the former handling the pristine end of understated romance, the latter a spacious and sentimental post-Katrina elegy. This is a wondrous duet date featuring extraordinary musicians taking chances and thankfully succeeding on all levels, not the least of which are in the enviable elements of pace, placement, and depth. —Michael G. Nastos, All Music Guide CD Review: http://www.jazzreview.com/cd/review-20272.html Reviewed by: Lee Prosser A Duet of One has a unique charm of its own, at once restrained, lively, full of zest, and also, highly creative! With the magic clarinet of Daniels and Kellaway's piano in syn, and lovingly so, this is a fine example of how well the clarinent and piano can carry an extended and imaginative jazz session. The songs will delight the jazz listener. Among the many gems in this CD collection are found "I'm Getting Sentimental Over You," "Slow Dance," "Adagio Swing," "I Want To Be Happy," "New Orleans," "This Is The Time," "Aftrer You've Gone," "Blue Waltz," "Love Of My Life," and the complex "We'll Always Be Together." "This Is The Time" and "We'll Always Be Together" are wonderfully complex in their open approach and broad themes of color and tone. "We'll Always Be Together" is certainly worthy of jazz radio play time, as are all the songs in this fine CD collection. Everything about this CD is memorable. The liner notes were written by Paquito D'Rivera, and his comments are insightful and make for enjoyable reading. This CD collection was recorded live at The Bakery with photography by William Claxton. Every performance is topnotch. Highly recommended. If you are looking for great entertainment combined with great jazz musical expression, this A Duet Of One is a fine choice for your home music library, and as a personal gift for a friend. You might suggest to your local public library to place an order for this CD for its jazz listening patrons. John Book review:  EDDIE DANIELS & ROGER
KELLAWAY/A Duet of One: Both Daniels and
Kellaway have been making a series of amazing jazz dates for IPO so it
was just a matter of time before someone realized they should play
together, as they have been over the years anyway.
This pairing of them and only them at The Bakery is simply them kicking it out on a set of duets that will make you wonder what you are listening to and what planet it‘s from (in a good way). With the kind of simpatico that makes you think they are playing from one mind, this is pure music loaded with pure enjoyment. This is what a pair of cats at the tops of their games sound like when the stars are really aligned. Hot stuff. Volume
32/Number 86
January 25, 2009 MIDWEST RECORD CHRIS SPECTOR, Editor and Publisher   |
DOUBLE CD "LIVE AT THE JAZZ STANDARD" IPO C1014
 IPO C1015 |
by Dr. Roberta E. Zlokower
This CD is triple-value, with two CD’s of the performances of the above artists at The Jazz Standard, May 25-28, 2006. The four-night series was produced by Pat Philips and Ettore Stratta. This IPO collection also includes a 2008 Jazz Sampler with varied selections from groups and solos, such as the Roger Kellaway Trio, music of Thad Jones, Roland Hanna solo piano, Kenny Barron, James Moody, and Benny Golson. Ballads, original Kellaway compositions, and even a Disney theme (Someday My Prince Will Come), combine in the two-CD (13 tracks) collection to bring the listener right into The Jazz Standard for this unique ensemble. I was fortunate to attend two of the four nights’ performances, and I vividly remember the exceptional quality of the blended tones and seasoned solos. Kellaway, Malone, Harris, Leonhart, and Strulev are all pros and renowned in the international jazz community. This is a must-own CD collection, for riveting, elegant musicality.
Notable tracks:
Disk One:
#4 – All My Life – Composed by Kellaway. This elegant interpretation opens with Borislav Strulev on cello and Roger Kellaway on ethereal piano. Kellaway’s composition is rapturous and melancholy. Russell Malone’s guitar adds special effects, while the cello carries the soulful song. A rippling piano waterfall becomes the finale.
#6 – Take Five – Composed by Desmond. This track, evocative of the Brubeck era, is refreshed and restyled, with Kellaway’s interpretation full of zest. Jay Leonhart adds bluesy bass, before Malone runs with the theme toward a fanciful flourish. Kellaway revisits the original theme but ends in fused improvisation.
#7 – The Nearness of You – Composed by Carmichael and Washington. Stefon Harris opens this track on romantic vibes, with Kellaway adding a playful keyboard backdrop. The piano-vibes duo carries this song through its inspirational melody.
Disk Two:
#3 – Cherry – Composed by Redman and Gilbert. Kellaway opens this favorite ballad with swinging rhythms. Leonhart adds texture to the mix, while Malone comes in on scintillating guitar, with moody, meandering shifts in key and tempo. Leonhart soon picks up the theme with earthy expertise. Kudos to Roger Kellaway and his fine ensemble. Kudos to Stratta and Philips.
di Angelo Leonardi
Strumentista completo, capace di unire virtuosismo e originalità di stile, Roger Kellaway resta uno dei massimi esponenti del pianismo mainstream, a dispetto della sua scarsa notorietà presso il pubblico.
Dopo ottime performance negli anni sessanta s'è dedicato al lavoro di composizione per cinema e televisione con regolari, anche se sporadici, ritorni sulla scena jazzistica.
L'ultimo è di qualche anno fa, che l'ha visto incidere un paio di apprezzati lavori ed esibirsi in applaudite serate nei club.
Questa esibizione, ripresa allo Jazz Standard di New York nel maggio 2006, lo vede a capo di un'originale formazione di talenti molto più giovani di lui (che ormai ha 70 anni) in una prova smagliante per freschezza, spinta ritmica e intensità espressiva. L'organico è privo di batteria e l'aggiunta del violoncello (Borislav Strulev) lo avvicina a quell'elegante camerismo che connotava lo storico quintetto di Chico Hamilton oltre che il Cello Quartet dello stesso Kellaway. Altri riferimenti si possono trovare nei trii di Nat King Cole comprendenti chitarra e contrabbasso.
Ma tale aspetto non è l'unico a caratterizzare quest'organico, che sa swingare con particolare veemenza e impeto (si ascolti "52nd Street Theme"), entro i confini di un mainstream vicino alle nuances del jazz anni quaranta più che al tipico neo bop.
La musica fluisce senza cadute di tensione alternando brani dinamici ad altri serrati, senza l'ombra di neo-classicismi e con evidente partecipazione emotiva. Un percorso che gioca continuamente con la memoria attraverso esecuzioni di celebri standard (Ellington, Rollins, Davis, Monk eccetera) reinventati con partecipazione e alto gusto narrativo.
In questo, oltre a Kellaway, s'evidenziano le mature doti di Stefon Harris al vibrafono (protagonista in "The Nearness of You" e "You Don't Know What Love Is") e il vivace drive del chitarrista Russell Malone in "52nd Street Theme". Il pianista fa bella mostra di sè con lo stile influenzato da blues e stride in "Tumbling Tumbleweeds" e "Cherry".
Grande raffinatezza e dinamismo si legano quindi in un percorso costruito con calore, attenzione ai dettagli e valorizzazione delle singole personalità. La qualità sonora è elevata e la performance sembra ripresa in studio. Un jazz senza tempo da non farsi sfuggire.
Il doppio CD contiene, in regalo, un sampler comprendente una ricca selezione di artisti della IPO Recordings tra cui Roland Hanna, Eddie Daniels e lo stesso Kellaway (come Heroes e Remembering Bobby Darin.
Roger Kellaway, Live at Jazz Standard (IPO).
I first encountered masterful pianist Roger Kellaway in the early 70s when he recorded with his unusual Cello Quartet. Considered the “greatest unknown pianist in jazz,” Kellaway has enjoyed a long and distinguished career nevertheless, in the company of Bob Brookmeyer, Sonny Rollins, Bobby Darrin and Joni Mitchell, and has provided compositions to Yo Yo Ma, the New York City Ballet, Los Angeles Philharmonic, film scores and television tracks—including the famed closing theme for All in the Family. It’s safe to say his music has a far greater familiarity than his name. One of Kellaway’s trademarks has been his wide ranging interests and stylistic tendencies, from swing and blues to exotic rhythms and voicings. His drumerless Cello Quartet grew from an interest in sounds coming strictly from wooden instruments. Most recently he has turned to the piano/bass/guitar trio format (also all wood!) popularized by Nat King Cole and later Oscar Peterson. In fact, Peterson informs Kellaway’s virtuosic technique on many levels.
The double CD Live at Jazz Standard features Kellaway’s “East Coast” trio with Russell Malone on guitar and Jay Leonhart on bass, with several tracks enhanced by vibraphonist Stefon Harris, and one a reprise of the Cello Quartet with Russian classical cellist Borislav Strulev. Recorded in spring 2006, there’s a total of 13 tracks across the 2 CDs, including some of the most revered tunes in the jazz canon—three from Ellington, Desmond’s time-twisted “Take Five,” Hoagy Carmichael’s “The Nearness of You,” Sonny Rollins’ “Doxy,” Miles Davis’ “Freddie Freeloader,” Monk’s “52nd Street Theme,” a 14+ minute run at Dewey Redman’s “Cherry,” and the one Kellaway original, “All My Life” featuring cellist Strulev. It’s hard to imagine reinventing the quirky rhythms of “Take Five” but Kellaway doesn’t shy away from either the otherwise overdone or the sacred cows of repertoire. There’s a mixture of the herky jerky and even-paced swing in the opening verse as Kellaway mixes time and harmonic devices to create a new masterpiece, Malone’s guitar providing an anchoring pulse. Moving along, Kellaway thoroughly dismantles the melody with rapid runs and chunky chords. Malone solos over the pianist’s sparse comping, while Leonhart takes one of many bowed solos on this set, creating a slightly buzzy, smoothly connected mesh of deep tones. Kellaway engages the bassist in an exchange of melodic lines, the pair contrasting their rhythms just enough to make it all unpredictable, with piano and bass falling out in unison on the final segment. Desmond would have been delighted. And anyone hearing this live session will find many delights, particularly the tracks featuring Stefon Harris’s virbrant vibes (“Some Day My Prince Will Come,” “The Nearness of You”) and the exquisitely beautiful, classically romantic “All My Life” with bowed cello. That Kellaway’s improvisational strategies drape standards in unfamiliar rhythms and voicings makes this truly a double dose of new music with not one, but thirteen original creations.
—http://www.jazzpolice.com/content/view/8200/79/
CD Review: Roger Kellaway - Live At The Jazz Standard 4/4
O's Notes: This live session has all of the right ingredients. Leader, pianist Roger Kellaway is joined by Russell Malone (g), Stefon Harris (vibes), Jay Leonhart (b) and Borislav Strulev (d). They lit up New York's Jazz Standard during May 2006 on a memorable performance! They don't use a lot of flash, just a solid groove. "Freddie Freeloader" is a prime example. There are thirteen tunes captured on two discs that will keep you patting your feet with a smile on you face!
CD Review: http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:kxfqxzykldde
Review by Michael G. Nastos
Many jazz pianists are truly brilliant, and of that there is no doubt. Where Art Tatum, Oscar Peterson, McCoy Tyner, Keith Jarrett, and Chick Corea are usually mentioned first, dozens of other extraordinary players are not mentioned simply because of their name recognition. Roger Kellaway is such a figure, clearly a talented, highly skilled, and universally accessible player whose heightened melodic sense and chops galore easily put him in the class of a musician's musician. A double-CD set live in New York City at the Jazz Standard, this effort should leave no doubt as to Kellaway's worthiness belonging in the upper echelon of mainstream jazz masters. But it would be inaccurate to peg Kellaway a conservative player simply because he is interpreting well-known standards. True, there are echoes of Nat King Cole's pre-vocal bands, and the bright inventions of the Modern Jazz Quartet. Guitarist Russell Malone and bassist Jay Leonhart boost Kellaway's cache, while vibraphonist Stefon Harris is included on several selections. No drummer is included on purpose, heightening the intimacy quotient. This lends to an elastic rhythmic feel, provided primarily by Malone, and it is the guitarist who sparks this ensemble. Give credit to Kellaway for taking liberties on tunes that might never be radio friendly, but are eminently listenable. The spare melody starting an over ten-minute "C Jam Blues," long piano discourse on the 15-minute "Cherry," and easy take of "Freddie Freeloader" stretch most imaginations. Check out the popping percussive guitar playing of Malone on "Cherry," sounding like H. Ray Crawford, as well as the reliable Leonhart's tactful bowed bass solos. Playful counterpoint fuels the jumping "I'm Beginning to See the Light," and a loping "Tumbling Tumbleweeds" moves from delicate tiptoe to traipsing, stepped-up in tempo halfway through. The bopper "Cottontail" sounds most like MJQ or especially Cole in a neat, clean fashion, while the Sonny Rollins evergreen "Doxy" is modified, sounding more like Cannonball Adderley's "Things Are Getting Better." In a reflection of a previous Kellaway combo, cellist Borislav Strulev joins the group for the pianist's original "All My Life," an atmospheric chamber waltz, and the most unique track of the date. Coming in a close second is a reinvented, sly, bluesy and lowdown "Take Five." Harris consistently shines when deigned lead melody maker as on "C Jam Blues," the pretty "Someday My Prince Will Come," a pristinely romantic "The Nearness of You," and the very slow ballad "You Don't Know What Love Is." The finale "52nd Street Theme" is a barn burner, a furious bop vehicle where Kellaway utilizes call and response devices with Harris and Malone, recalling a hypothetical best effort if Terry Gibbs met Oscar Peterson and Herb Ellis. An exceptional recording of depth and substance, listeners will be well served to hear this recording not only in its entirety, but repeatedly, to fully enjoy the professional company of these great modern musicians playing their ever lovin' hearts out.
CD Review:
By Ric Bang
I often wonder if jazz fans realize how fortunate they are, that so many of the genre's elder statesmen remain active, playing concerts and recording; pianist, composer and arranger Roger Kellaway is one such talent.
Although not very well known to the public, he's revered by his fellow musicians. Kellaway isn't a household name to the average jazz fan, because much of his work has been associated with writing and arranging for orchestras, ensembles, big bands, film, TV (he wrote the closing theme for "All In The Family"), ballet and stage productions, and as an accompanist for name vocalist like Lena Horn, Elvis Presley, Bobby Darin and Barbra Streisand..
In his spare time, Kellaway has supported the likes of Oliver Nelson, Thad Jones, Eddie Daniels and other straight-ahead jazz greats. Only recently has he begun to play, and record, as a leader.
This two-disc album was released shortly after Kellaway's 69th birthday. It was recorded live during a four-day period at The Jazz Standard in New York City, and features his "all-wood" (drumless) combo. Joining Roger are guitarist Russell Malone, bassist Jay Leonhardt, vibes player Stefon Harris and cellist Borislav Strulev.
The group is modeled along the lines of 1940s and '50s units headed by Nat King Cole, Art Tatum and Oscar Peterson.
Disc one is the swinger; it covers jazz standards such as "Cottontail," "C Jam Blues," "Someday My Prince Will Come," "I'm Beginning to See the Light" and "Take Five." The second disc features more mid-tempo oldies like "Cherry" and "You Don't Know What Love Is," and lesser-known selections like "Tumbling Tumbleweeds" and "Freddie Freeloader."
Everything is played immaculately; if you want to hear clean, swinging jazz, this is it. Kellaway plays every piano style prominent from the 1940s through the present day.
Personally, I feel the drummer's absence; I prefer more "bottom" to the rhythm section. But what's present is superb.
Roger Kellaway - Live At The
Jazz Standard — http://www.jsitop21.com/current.html#14IPO
New jazz records
rarely blow me away. This one does. Roger Kellaway takes on
a more
free-ish jazz approach, and it sounds so much better than 90 percent of
jazz out there today.
Interesting progressions lay a
strong
backbone behind the entire mix of musicians accompanying
everything.
Fast, emotional, and constantly moving, I highly recommend this for any
jazz listener.
John Shelton Ivany
Guitarist Russell Malone is at his very best throughout the album. His ability to comp four on the floor Freddle Green style chords behind a soloist really adds a nice dimension to the ensemble. Apart from being a great comper Malone's solos are filled with inventive and technically spectacular melodic phrases. He is constantly mixing his vast knowledge of jazz vocabulary in with his modern, intervallic approach that will appeal to fans of old and new school jazz alike.
I recommend this album to any fan of jazz and jazz guitar. The unique ensemble setting will no doubt appeal to seasoned listeners while the musicality of the performers can be enjoyed by just about everyone. If you're looking to check out a new and fresh approach to small group jazz playing check out Live at the Jazz Standard, I don't think you'll be disappointed.
Reviewed by Matthew Warnock
 |
Rochester, New York On top 100 Jazz releases of 2008, based on number of air plays during the year, even with mid-November release date! |
Live at the Jazz Standard
(IPO Recording Inc.)
Live at the Jazz Standard
Review by Jean Timmons
This recording, consisting of two discs, was made live at the Jazz Standard in New York over a four-night period. Kellaway appeared in a musical arrangement that he has favored of late, the "all wood" trio (piano, guitar Russell Malone, and bass Jay Leonhardt). This arrangement was used to exceptional effect by other notable jazz pianist, e.g., Oscar Peterson, Art Tatum, and Nat Cole. Kellaway's easy swing and technical prowess is reminiscent of Peterson, which is high praise, indeed. Kellaway is not well known on recordings, but he is well known amongst other jazz musicians. As characterized in the linear notes, he takes an "eclectic" approach to music. He played with Sonny Rollins but also Joni Mitchell; he’s written for Yo-Yo Ma and the Los Angeles Philharmonic; and he has film scores under his belt. At the Standard, Stefon Harris joined him on many pieces, but he was also joined by famed cellist Borislav Strulev the Kellaway composition "All My Life," which is almost too beautiful. (Strulev, who has also recorded with Regina Carter, makes the most of his guest spots with jazz musician.) But "All My Life" is but one of the excellent pieces on Disc One.
Both discs are very good; but Disc One is top notch, all-around. It opens with the speedy version of "Cottontail" to warm up the musicians. Next, "C Jam Blues" is pretty wild and features an adventurous improvisation by Kellaway. Stefon Harris is all over "Some Day My Prince Will Come" from the onset. He’s just humming and striking like the golden striker that he is. Kellaway's improvisational ideas are well blended, that is, he moves effortlessly and swiftly from one idea to the next. And he sings the lyrics so enchantingly. Initially, too, the guitar playing is sweet, and the timing of the bass player is impeccable. But then Kellaway picks up Harris' gauntlet and comes on strong. Then gradually, the other musicians decide to assert themselves. Guitarist Russell Malone jumps in firmly and then the bassist Jay Leonhart grabs the bow and sings a little, too.
The organization of the program increases the overall excellence of the music. From the rousing "Prince," they move on to the beautiful "All My Life." Then they segue to "I'm Beginning to See the Light," which is Kellaway minus Stefon and it's one of those fast, show-offy piano tunes for Kellaway to show off his chops, as Oscar and Art were wont to do. "Take Five" is a piece that Kellaway changes the tempo and shows his movie score background to me, for one passage is truly reminiscent of the score for "The Conversation." It is also a great piece for the guitarist, Russell Malone. This is a great piece. "The Nearness of You" is a piece for Stefon and he is great on this, such feeling, such dexterity, quick improvisational segments that form a whole yet are so distinct from each other. Disc One ends with a Sonny Rollins composition, "Doxy." All in all, a well-balanced program of music.
Disc Two begins with an unlikely tune for jazz improvisation, the western "Tumbling, Tumbleweeds." But it has that kind of catchy lyric or melody, the kind that can stay in your head in spite of your better judgment, the kind that attracts a quirky mindset like Kellaway. He turns it into an opportunity to improvise on a simpleminded melody, to show off his nimbleness of mind. Sonny Rollins is notorious for that sort of thing as well, e.g., "The Tennessee Waltz." The recording of "Cherry," a Redman and Gilbert composition, is the platform to showcase guitarist Russell Malone and he steps up to the plate. Bassist steps in for a lively solo. The trio arrangement really complements each member. Coming back to wrap it up, Kellaway gets carried away, doubling up, tripling up, bringing back to memory the quick moves of Oscar Peterson. "You Don't Know What Love Is" is time for Stefon. There's an up tempo wail about this song that the vibes really capture well. "Freddie Freeloader" is a Miles Davis composition that is pretty for a Miles trumpet. Stefon gives it a ride. This is a rousing piece with an improvisational segment that calls for the instruments-vibes, piano, guitar, bass— to take off into a free world just following a chord. Kellaway really has fun on this piece. With Stefon joining him at the denouement to bring things back to Freddie. Kellaway wraps up the program with "52nd Street Theme," a Monk composition. Fast, pure bebop stuff with Malone taking up the reins to establish a swift groove. All musicians take gloves off and just jam on this last cut.
Excellent music that will create a well-deserved buzz on release.
Roger Kellaway | IPO Recordings
By Woodrow Wilkins
It's a bit out of the ordinary when a jazz trio does not include a piano. Perhaps it's even more unusual that an ensemble would be without drums. Yet that is the approach taken by pianist Roger Kellaway for the two-disc Live at The Jazz Standard.
Kellaway began playing piano at age seven. His career has included spots with Duke Ellington, Elvis Presley, Joni Mitchell, Dizzy Gillespie and Quincy Jones, among many others. Kellaway has more than 200 album credits. In addition to jazz, he plays and composes classical, pop and even television scores..
Live at The Jazz Standard was recorded over four nights at the New York venue. Accompanying Kellaway are Russell Malone on guitar and Jay Leonhardt on bass. Vibist Stefon Harris and cellist Borislav Strulev sit in on a few tracks.
Duke Ellington's “Cottontail” sets off the first disc. Harris and Kellaway begin in duet before the pianist defers the lead to Harris. Kellaway's solo is as playful as it is technical, and the same is true of Malone's infectious solo.
Strulev plays a tearful introduction to “All My Life,” the lone Kellaway original in this set. The other instruments slowly come into the background, with the bass a little more out front. Strulev puts the cello through extreme highs and lows, as well as more midrange notes. The piece isn't necessarily sad, but it is beautiful story told through music.
“Tumbling Tumbleweeds,” on the second disc, is an easygoing stroll through the west, with the piano-guitar-bass trio enjoying this delightful jaunt. It starts in walking mode, but later the pace picks up to a trot. The three instruments keep pace with one another, but not necessarily the same number of steps. Malone bounces along, while Leonhardt struts and Kellaway flits and darts.
At nearly 16 minutes, Miles Davis' “Freddie Freeloader” is the longest track in the set. Harris rejoins the trio, taking lead early on. Like much of the album, this song is done in a style reminiscent of small ensembles from the 1940s and '50s. Malone's solo is interesting, especially when he strikes a few rapid-fire lines. Kellaway punches the high keys with vigor during certain spots. After Kellaway's solo, Leonhardt takes a bow to his bassist. Despite the song's epic nature, it doesn't drag at all. The paces changes help.
Combined, the two discs total nearly two hours of music. Kellaway and his sidemen deliver in a big way.
Track Listing: CD1: Cottontail; C Jam Blues; Someday My Prince Will Come; All My Life; I’m Beginning to See the Light; Take Five; The Nearness of You; Doxy. CD2: Tumbling Tumbleweeds; Cherry; You Don’t Know What Love Is; Freddie Freeloader; 52nd Street Theme.
Personnel: Roger Kellaway: piano; Russell Malone: guitar; Stefon Harris: vibes; Jay Leonhart: bass; Borislav Strulev: cello.
Roger Kellaway Live at the Jazz Standard IPOC1015
Roger Kellaway –Piano, Russell Malone – Guitar, Stefon Harris – Vibes,
Jay Leonhart – Bass, Borislav Strulev- Cello
|
Dick Crockett Best Of 2008 Jazz - Vermont Public Radio
TOP 21 (Alpha)
Roger
Kellaway Shines On Live At The Jazz Standard Set CD
Review links: http://www.hallofarticles.com/Article/Roger-Kellaway-Shines-On-Live-At-The-Jazz-Standard-Set/28096
CD Review: review of this item has now been published, on my blog and on BC Magazine (Blogcritics). Links are below. http://blogcritics.org/archives/2008/12/05/063214.php Thanks, CD Review: December issue of "Jersey Jazz." By Joe Lang After listening to the new release by pianist ROGER KELLAWAY, Live at the Jazz Standard (IPO – 1014), my immediate reaction was to wonder why I had not made the scene during his gig there. Kellaway is, after all, one of the best of the living jazz pianists, and he was surrounded by the stellar crew of Russell Malone on guitar and Jay Leonhart on bass, with guest appearances by Stefon Harris on vibes and Borislav Strulev on cello. It was also a rare opportunity to hear Kellaway live, as he does not venture east all that frequently these days. Well, at least there are the performances documented on this two-disc album to treasure and absorb. Kellaway has his own way of approaching songs, as is readily apparent on a track like “Take Five,” where he is totally un-Brubeck like in his conception and execution, refreshingly so. Malone is a man with a musical mind that defies categorization. He is a great student of the Great American Songbook and of jazz styles. This gives him a greater degree of familiarity with tunes from the past than is the case with most of his contemporaries, and more flexibility in how to approach a given tune. This is a perfect match for the eclecticism of Kellaway. Leonhart is among the best on his instrument, possessed of a terrific sense of time, and a creative approach to improvisation. Together these three form a magnificent trio. The addition of Harris on several tracks adds another major creative force to the mix. There is about two hours of music contained on these discs. There are not many better ways that I can think of to spend two hours than to revisit what these cats laid down back in May of 2006. CD Review: http://www..billboard.com/bbcom/content_display/reviews/albums/e3ifc7bb2290700c27ff7188b21d2988dda A choice group of players joined Roger Kellaway for this May show at New York's Jazz Standard: Russell Malone (guitar), Stefon Harris (vibes), Jay Leonhart (bass) and Borislav Strulev (cello). Disc one opens with a vibrant cover of Duke Ellington's "Cottontail" and also features a stylish performance of Paul Desmond's classic "Take Five," a song not often covered, much less reimagined this proficiently. On disc two, make note of the wonderful treatment of the cowboy tune "Tumbling Tumbleweeds," with an amazingly cool Kellaway arrangement. The song lopes along appealingly while Kellaway and Malone lay down an instrumental commentary that's one of the major highlights of this wholly engaging album. —Philip Van Vleck Probably one of the most underrated jazz pianists active today, Roger Kellaway began his career in Bobby Darin's band, following the famous crooneras he transformed himself from teen idol into a respected adult/contemporary artist until his untimely death at age 37. On this disc, captured live at Manhattan's Jazz Standard (I happened to attend one of the concerts during that 2006 residence), we hear Kellaway and his drummerless band playing personal renditions of standards like “Someday My Prince Will Come” and “The Nearness of You” alongside harder material like Thelonious Monk's “52nd Street Theme,” where you hear the musicians play at a breakneck speed – I recall sitting there wondering how they could play so many notes without doing considerable damage to their fingers. Main kudos go to young vibist Stefon Harris, who stood tall alongside Russell Malone (guitar) Jay Leonhart (bass) and Borislav Strulev (cello) without flinching for a single second. Another highlight on the disc is their take on Paul Desmond's “Take Five,” a song immortalized by the Dave Brubeck Quartet record of the same name that remains one of most famous tracks in the history of modern jazz.. Kellaway takes the tune to a completely different direction, freely improvising around the theme and giving plenty of space for his bandmates to stretch their legs. This is a great CD to discover the pianist's work – and not to miss him the next time he plays in town. words by Ernest Barteldes Roger Kellaway - Live at the Jazz Standard - IPO (2 CDs) IPOC1014 *****: (Roger Kellaway, piano; Russell Malone, guitar; Stefon Harris, vibes; Jay Leonhart, doublebass; Borislav Strulev, cello) Roger Kellaway has been one of my favorite pianists for a long time. He’s played with a huge variety of jazz, pop and classical artists - including Sonny Rollins, Joni Mitchell, and the LA Philharmonic. He’s done film scores and created the closing theme for All In the Family. He loves weird time signatures and other exotic techniques. His 1971 Cello Quartet made a major splash, and in fact one of their albums - a direct-to-disc on the Discwasher label, Nostalgia Suite - is I feel one of the two best jazz direct discs ever made (the other being For Duke on M&K). He likes a drummer-less combo made up of “instruments of wood,” and explains that the drums fill up the air between the other instruments; “Take them away, clear the air, and you get chamber music.” Now his chamber music approach features a cello again, plus the terrific talents of guitarist Malone, hot new vibist Stefon Harris, and unusually creative bassist Leonhart. The 13 tracks were recorded live at NYC’s Jazz Standard in May of 2006 and feature some tracks with plenty of stretching-out space - running as much as 14 to 16 minutes. The longest is a generous and swinging treatment of the most upbeat tune on Miles Davis’ watershed album All Blues - "Freddie Freeloader." There’s a single Kellaway original, “All My Life,” with a masterful solo by Russian cellist Strulev. Also three Ellington tunes and one each by Sonny Rollins and Monk. The second CD lops off with a completely unexpected jazz vehicle - "Tumbling Tumbleweeds" - a very good example of Kellaway’s eclectic approach. The woodsy, outdoorsy sound is a delight. While purists may scoff at no drums or sax in sight, this is my sort of small-group jazz! TrackList: Cottontail, C Jam Blues, Someday My Prince Will Come, All My Life, I’m Beginning to See the Light, Take Five, The Nearness of You, Doxy, Tumbling Tumbleweeds, Cherry, You Don’t Know What Love Is, Freddie Freeloader, 52nd Street Theme. - John Henry Roger
Kellaway Live at the Jazz Standard Kellaway came to this recording with an agenda: the formation of a drummer-less band approximating Nat King Cole's piano, bass, guitar trios of the 1960s. Kellaway accomplishes this with guitarist Russell Malone and bassist Jay Leonhart, both veterans of the New York City jazz scene. Add vibraphonist Stefon Harris to the mix and the core trio becomes a facile swinging quartet. Cellist Borislav Strulev also shows up with a spotlight on the sole Kellaway composition of the set, the elegiac “All My Life.” The overall sound is a sepia-toned 1950s and '60s period piece, right down to almost humid analogue sonics. Kellaway's repertoire reflects his aspirations for his band: heavy on Ellington and small combo bop. The opening disc clocks no less than three Ellington compositions; sprite takes on “Cottontail” and “C Jam Blues,” and a churchy “I'm Beginning to See The Light.” Kellaway and Harris weave their respective melodies around one another, one starting a phrase with the other finishing. This is most provocative when applied to the song heads, particularly on Paul Desmond's “Take Five.” With this jazz standard, there are certain expectations before hearing the arranged spin Kellaway has in store for it. Kellaway and Harris trade sections of the famous opening, leaving the piece slightly off-kilter, but in a pleasant, inventive way. Kellaway retires his ballad jones with “Someday My Prince Will Come” and “The Nearness of You.” Of bebop note is the searing “Doxy” that closes the first disc. The second disc opens with sheer genius. Kellaway arranges the 1930s Bob Nolan and the Sons of the Pioneers' “Tumbling Tumbleweeds.” All of the band members have a healthy workout on this piece, Kellaway steering through country and western, roadhouse, and parlor music territories as Malone is particularly effective in his solo and accompanying guitar. The disc highlight is a lengthy treatment of Miles Davis' “Freddie Freeloader.” Kellaway effectively draws a century of jazz piano through the modal prism of this abstract blues piece, offering the most compelling interpretation in recent memory. Much of the same can be said for the craggy Monk standard, “52nd Street Theme,” which is presented in all of its bop glory. Any Roger
Kellaway release deserves a certain respect, but Roger Kellaway Live at
the Jazz Standard is a cut above his best. It has a vintage sound with
vintage music. Track Listing: CD1: Cottontail; C Jam Blues; Someday My Prince Will Come; All My Life; I'm Beginning to See the Light; Take Five; The Nearness of You; Doxy. CD2: Tumbling Tumbleweeds; Cherry; You Don't Know What Love Is; Freddie Freeloader; 52nd Street Theme. Personnel: Roger Kellaway: piano; Russell Malone: guitar; Stefon Harris: vibes; Jay Leonhart: bass; Borislav Strulev: cello. CD Review: http://www.billingsgazette.net/articles/2008/10/31/entertainment/enjoy/39-reviews.txt  If your collection is bereft of recordings by Roger Kellaway, this would be a good place to start. I’ve seen Kellaway in person several times, and I can attest to the fact that he’s one of the most versatile pianists in my listening experience. This live and lively set puts the pianist in some sterling company: Stefon Harris, vibes; Russell Malone, guitar; Jay Leonhart, bass; and, on selected cuts, Borislav Strulev, cello. This performance gives you a chance to hear Kellaway comping behind Harris and Malone’s hair curling solos on many of the tunes. And Kellaway romps in high-voltage delight as well. Since this is a two CD affair, the musicians really get a chance to stretch out on some invigorating solos. The tunes are nearly all from the bop and standards book and include such reliables as “C Jam Blues,” “All My Life,” “Doxy,” “Cherry,” “Freddie Freeloader,” “52nd Street Theme” and the surprise of the set, “Tumbling Tumbleweeds.” Kellaway can do just about anything imaginable on the 88 keys. I’ve even seen him play chords with his elbow! So, get with Roger Kellaway and friends. They’re a straight-ahead pleasure. 2008, IPO Recordings, 2 disks: approx. 60 minutes each. CD Review: http://www.jazzchicago.net/reviews/2008/RK.html Review by Jean Timmons This recording, consisting of two discs, was made live at the Jazz Standard in New York over a four-night period. Kellaway appeared in a musical arrangement that he has favored of late, the "all wood" trio (piano, guitar Russell Malone, and bass Jay Leonhart). This arrangement was used to exceptional effect by other notable jazz pianist, e.g., Oscar Peterson, Art Tatum, and Nat Cole. Kellaway's easy swing and technical prowess is reminiscent of Peterson, which is high praise, indeed. Kellaway is not well known on recordings, but he is well known amongst other jazz musicians. As characterized in the linear notes, he takes an "eclectic" approach to music. He played with Sonny Rollins but also Joni Mitchell; he’s written for Yo-Yo Ma and the Los Angeles Philharmonic; and he has film scores under his belt. At the Standard, Stefon Harris joined him on many pieces, but he was also joined by famed cellist Borislav Strulev the Kellaway composition "All My Life," which is almost too beautiful. (Strulev, who has also recorded with Regina Carter, makes the most of his guest spots with jazz musician.) But "All My Life" is but one of the excellent pieces on Disc One. Both discs are very good; but Disc One is top notch, all-around. It opens with the speedy version of "Cottontail" to warm up the musicians. Next, "C Jam Blues" is pretty wild and features an adventurous improvisation by Kellaway. Stefon Harris is all over "Some Day My Prince Will Come" from the onset. He’s just humming and striking like the golden striker that he is. Kellaway's improvisational ideas are well blended, that is, he moves effortlessly and swiftly from one idea to the next. And he sings the lyrics so enchantingly. Initially, too, the guitar playing is sweet, and the timing of the bass player is impeccable. But then Kellaway picks up Harris' gauntlet and comes on strong. Then gradually, the other musicians decide to assert themselves. Guitarist Russell Malone jumps in firmly and then the bassist Jay Leonhart grabs the bow and sings a little, too. The organization of the program increases the overall excellence of the music. From the rousing "Prince," they move on to the beautiful "All My Life." Then they segue to "I'm Beginning to See the Light," which is Kellaway minus Stefon and it's one of those fast, show-offy piano tunes for Kellaway to show off his chops, as Oscar and Art were wont to do. "Take Five" is a piece that Kellaway changes the tempo and shows his movie score background to me, for one passage is truly reminiscent of the score for "The Conversation." It is also a great piece for the guitarist, Russell Malone. This is a great piece. "The Nearness of You" is a piece for Stefon and he is great on this, such feeling, such dexterity, quick improvisational segments that form a whole yet are so distinct from each other. Disc One ends with a Sonny Rollins composition, "Doxy." All in all, a well-balanced program of music. Disc Two begins with an unlikely tune for jazz improvisation, the country western "Tumbling, Tumbleweeds." But it has that kind of catchy lyric or melody, the kind that can stay in your head in spite of your better judgment, the kind that attracts a quirky mindset like Kellaway. He turns it into an opportunity to improvise on a simpleminded melody, to show off his nimbleness of mind. Sonny Rollins is notorious for that sort of thing as well, e.g., "The Tennessee Waltz." The recording of "Cherry," a Redman and Gilbert composition, is the platform to showcase guitarist Russell Malone and he steps up to the plate. Bassist steps in for a lively solo.. The trio arrangement really complements each member. Coming back to wrap it up, Kellaway gets carried away, doubling up, tripling up, bringing back to memory the quick moves of Oscar Peterson. "You Don't Know What Love Is" is time for Stefon. There's an up tempo wail about this song that the vibes really capture well. "Freddie Freeloader" is a Miles Davis composition that is pretty for a Miles trumpet. Stefon gives it a ride. This is a rousing piece with an improvisational segment that calls for the instruments-vibes, piano, guitar, bass— to take off into a free world just following a chord. Kellaway really has fun on this piece. With Stefon joining him at the denouement to bring things back to Freddie. Kellaway wraps up the program with "52nd Street Theme," a Monk composition. Fast, pure bebop stuff with Malone taking up the reins to establish a swift groove. All musicians take gloves off and just jam on this last cut. Excellent music that will create a well-deserved buzz on release. CD Review: http://ejazznews.com - (Oct 12) By: Edward Blanco Not since the rare but successful trios of Nat King Cole, Art Tatum and Oscar Peterson of the 40s and 50s have we had the pleasure of encountering the music of an “all wood” or “drumless” trio that unheralded jazz pianist Roger Kellaway captures in this album. Recorded in a four night session at New York’s Jazz Standard, Kellaway and crew perform the music of Duke Ellington, Paul Desmond, Sonny Rollins, Hoagy Carmichael and Thelonious Monk covering twelve pieces on a two-disc CD album. On this special recording, Kellaway’s core trio with guitarist Russell Malone and bassist Jay Leonhart, is augmented by the addition of vibraphonist extraordinaire Stefon Harris who is a commanding presence here. Also making an appearance is Russian cellist Borislav Strulev who provides an emotional solo on the only Kellaway original “All My Life,” a warm and gentle classical piece of music. The program takes off on a lively note with Harris providing the energy on Ellington’s classic standard “Cottontail” and continues with Kellaway’s lead on the Duke’s “C Jam Blues.” Kellaway and Harris deliver a magical performance on “Someday My Prince Will Come” where Harris pounds the vides into submission. There’s a nice chase between Malone and Kellaway on “I’m Beginning To See The Light” in a feisty duet. Some of the highlights here include the fifteen-minute “Cherry,” and the sixteen-minute “Freddie Freeloader” as well as the jazz standard “You Don’t Know What Love Is” and Monk’s finale piece “52nd Street Theme” performed in blazing fashion by both Kellaway and Harris to cheering applause from the audience. Roger Kellaway Live At The Jazz Standard is one rare session of music you will not want to miss. Projecting pure electricity, pianist Kellaway and his supporting cast lay down one heck of a sound on a marvelous album of modern jazz. Hello Jim, The double album of Roger KELLAWAY is splendid ! The understanding between Roger and the other musicians, particularly Stefon HARRIS and Russell MALONE, is perfect. Serene atmosphere, full mastery of playing, a great album, in my opinion. My playlist soon. Serge Warin — Radio Canal Bleu 6 rue Lavergne, 19130 OBJAT France CD Review: ROGER KELLAWAY/Live at the Jazz Standard: IPO Records continues to hold itself out as the premiere platform for real players that want to make accessible, non-populist music where they really get the chance to smoke. Kellaway leads the crew on this double live set recorded over four nights where the gang is modeled on the combos of Art Tatum and Oscar Peterson and the set card is heavy on period work outs from Miles Davis, Ellington and others giving this a MJQ feel more often than not, except it swings harder than they often did. Everyone on deck here is a pro and Kellaway raises all their games. Simply supreme, sublime adult jazz for sophisticated tastes and those who wish they had some. Hot stuff throughout that doesn’t disappoint at all. Volume 31/Number 325 September 20, 2008 MIDWEST RECORD CHRIS SPECTOR, Editor and Publisher ©2008 Midwest Record CD Review: Here's what will be in issue #85 for "Live At The Jazz Standard" CD (NOTE: it may be a month and half before this goes hot on the web, as I'm in the process of moving back to Olympia Washington & probably won't publish until around the end of October or early November. Feel free to circulate this as you see fit, & I'll make sure you get the issue link when it is published): Roger Kellaway - Live At The Jazz Standard (2 disc set): This IPO label has been doing a ton of live recording lately... anything from Mr. Kellaway is welcome here for review (we've reviewed him exclusively in #71 <http://zzaj.freehostia.com/Z71Reviews.htm> & #68 <http://zzaj.freehostia.com/Z68Reviews.htm> (in 68, he played piano for a tribute to Tom Macintosh). What's always enchanting about Kellaway's keyboard playing is his "touch"... that will definitely be the envy of those who aspire to becoming a piano player... it's not just that he's right "on" every note, it's also that he uses touch to "shade" the passages, more effectively than anyone I've ever listened to (& BELIEVE me, I've listened to a lot of keyboard players). Whenever I see a picture of him, I can't help thinking "Burl Ives" (probably isn't "fair", but that's the image I got... ha! ha!), but as a jazzer, he's about as far removed from that era as one can be... Roger is the ULTIMATE jazz keyboard meister, & you'll fall in love with his playing in the immediate. Key players with him on this extended 2 CD set include Russell Malone on guitar, Stefon Harris' vibes, Jay Leonhart's bass and cello from Borislav Strulev, and they take this live jazz set to a new level... I mean, it's still purely jazz, but with Strulev's wonderful cello, it's elevated to the n'th degree! Whether you're a dyed-in-the-wool jazz aficionado or a newbie, you'll find hours and hours of pleasure from this outing. I give it a MOST HIGHLY RECOMMENDED... get more information on the 14 November, 2008 release at www.rogerkellaway.com <http://www.rogerkellaway.com/> Rotcod Zzaj Dick Metcalf, aka Rotcod Zzaj Zine: http://zzaj.freehostia.com/ Zzaj PODCAST: http://rotcod.podomatic.com CD Review: http://www.ejazznews.com/ By John Gilbert Roger Kellaway (piano) Russell Malone (guitar) Stefon Harris (vibes) Jay Leonhart (bass) Borislav Strulev (cello) This recording, sans drums, caught my attention straightaway. Drumless is a good thing in some cases and here it is a brilliant concept. Made over four nights at the Jazz Standard in New York, Kellaway shines like the Aurora Borealis on this album and is certainly the sine qua non of this all star quintet. "Cottontail" opens with a swinging vibe message. Harris was on this tune like it was something good to eat. Malone strums and Kellaway comes breezing in and rips and romps in his inimitable fashion. Malone tickles the strings with a hip soliloquy. Kellaway inspires all the guys and it is evident in their directives. Ellington would be pleased. An interesting interpretation of Duke's "C Jam Blues" Again Harris opens matters with a thoughtful solo that develops into a driving trip to the land of oo bla dee. The ivories come to life when Roger Kellaway's magical ideation springs forth with a 'tough, but oh so gentle' approach. The vibes of Stefon Harris on the ballad "The Nearness Of You" linger in the mind like a sweet dream that would make angel's weep with joy. "Doxy" Blues time in a toe tapping mode. The vibe solo reminds one of saxophonist Johnny Griffin with it's twists and turns down blues alley. Kellaway struts in with a supple as silk and super dexterous musical narration. This tune stands the test of time and with the variations inherent in this arrangement it gets a new life. Lighthearted and happy is the theme of "Cherry" Kellaway's 'touch' is felt throughout with his patented approach and magical ideation. The tempo on "52nd. Street Theme" is as fast as a knife fight in a phone booth. Speed doesn't kill in this instance it only brings to life a marvelous tune. Kellaway jumps on this tune like a hungry hobo on a ham sandwich. He swings like a pendulum at warp speed. Malone is as slick as a schoolboy's sleeve with his rapid fire trip. Stefon Harris follows suit like a Jesse Owens romp down the 100 but with musical asides along the way. This assemblage is the 'immaculate conception' of Roger Kellaway, who in my estimation, is one of the premier artists on his instrument in the jazz genre. At times I can hear a bit of Bud Powell but make no mistake Kellaway is as individualistic as they come. The band is superb, the tunes are the best, and with the pianist in chief at the helm, who could ask for anything more. 5 STARS Roger Kellaway: Live at the Jazz Standard (CD) Írta: Czékus Mihály roger_kellaway.jpgAz együttese élén Roger Kellaway az IPO lemezkiadóval karöltve azt a "dob nélküli" hangzásvilágot szerette volna elhozni a mába, amelyet a legendás Nat Cole-Art Tatum-Oscar Peterson trió képviselt a '40-es és '50-es években. A zongorista, Kellaway egy kicsit módosított a hajdani felálláson, ugyanis vibrafonnal (Stefon Harris) és csellóval (Borislav Strulev) gazdagította a zongora - gitár (Russel Malone) - nagybőgő (Jay Leonhardt) összképet. A tavalyi év novemberében piacra került, "Live at the Jazz Standard" című album anyagát négy alkalommal rögzítették a new york-i éjszakában. Osztás-szorzás után a négy fellépés felvételeiből egy dupla album született. A lemez címe alapján csak az a kérdés merül fel az emberben, vajon az igen gazdag jazz történelem mely eposzai kerültek fel a zenei étlapra? A kínálat több, mint pazar. Hallható pl. Ellingtont-tól a "Cottontail", a "C Jam Blues" és az "I'm Beginning To See The Light". Rollins-tól a "Doxi", a Redman-Gilbert kettőstől a "Cherry", Davis-től a "Freddie Freeloader" és Monk-tól az "52nd Street Theme". Kifejezetten jót tesz a hangzásvilágnak, hogy Kellaway behozta a produkcióba a csellót és a vibrafont. Jelenlétük nagyban hozzájárul ahhoz, hogy a jól ismert örökzöldek "új ruhában" tündökölnek. Ha valahol, hát New York-ban biztosan jazz értő, kritikus közönséggel találkozhat a fellépő. Élő felvétel lévén, a lemezt hallgatva mi is saját fülünkkel győződhetünk meg arról, hogy mennyi pozitív visszajelzést kapott Kellaway és csapata a négy koncert alatt, melyeknek az anyagából a dupla album összeállt. Nem kérdéses, hogy az élő zene atmoszféráját a "konzerv" sohasem képes visszaadni, de az albumot hallgatva legalább egy kis ízt kaphatunk a new york-i jazz klubok hangulatából. Értékelés: Külső megjelenés: 10/8 Belső (zenei) tartalom: 10/8 Előadás: 10/9 Hangzás: 10/8 Kiadó: IPO Recordings Honlap: www.iporecordings.com |
SEE JAZZ STANDARD PHOTOS BELOW, IN O'S PLACE AND ROBERTA ON THE ARTS ARTICLES
Jim Eigo
Jazz Promo Services
269 S Route 94
Warwick, NY 10990
T: 845-986-1677 / F: 845-986-1699
E-Mail: jazzpromo@earthlink.net
Web Site: www.jazzpromoservices.com/
"Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
"HEROES" IPO C1010
 IPO C1010 |
|
ROGER KELLAWAY RECEIVES
"LE PRIX DU JAZZ
CLASSIQUE" AWARD
FOR "HEROES"
IPO Recordings is pleased to announce
that Roger Kellaway’s “Heroes” CD has been awarded the "Best Record Of
The Year" in the "Classic Jazz" category by the French Jazz
Academy. The college of voters is made up of 60
independent journalists, photographers, writers, radio and TV
producers. Roger
Kellaway Trio "Heroes"
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jazzpromo@earthlink.net Lorraine Tucci Sound newsoundideas@earthlink.net Savannah Pershina SavannahPR@gmail.com click on article for
URL link
|
|
|
 Click on article above
for link to PianoDisc
|
 |
| JAZZ Improv,
P.O. Box 26770, Elkins Park, PA 19027 • tel: 215-887-8808
• fax: 215-887-8803 • e-mail: iazz@jazzimprov.com • www.jazzimprov.com
• V7 N1 p.211 HEROES-IPO Recordings #IPOC10l0. www.iporecordings.com. www.rogerkellaway.com. Killer Joe, Cotton Tail, I Was Doing All Right, Nuages, Night Train, I'm Smiling Again, Midnight Sun. Moten Swing, 52nd Street Theme, Hymn to Freedom. PERSONNEL: Roger Kellaway, piano; Bruce Forman, guitar; Dan Lutz (bass) By Bill Donaldson The relationship between pianist Roger Kellaway and IPO Recordings is a beneficial one—so much so that now, it seems, Kellaway has become a regular recording artist on this estimable label. IPO Recordings hasn't been in business very long, but its recordings have been unifonnly excellent, earning much acclaim. Too long overlooked for his originality and mastery of the instrument, Roger Kellaway has been making up for lost time in the past few years. In panicular, his recent IPO Recordings CD's have fondly recalled his decades-ago work with singer Bobby Darin, the first of which coincided with the release of the Bobby Darin movie tribute, Beyond Ihe Sea. Now, Kellaway is recalling another positive experience from his early professional years: his blissful experiences in listening to some of Oscar Peterson's prime recordings. Even after years of studying Peterson and listening to his records in awe, Kellaway, prodigiously talented pianist though he is, still felt challenged in performing some of the songs included on Peterson's now¬famous recordings with Herb Ellis and Ray Brown. He needn't have been. Heroes (dedicated as well to other piano/guitar/bass trios like Nat Cole's and Art Tatum's) accomplishes the feat of recalling legendary jazz piano trios with pieces like the dazzling "52nd Street Theme," with its crisp, rapid-fire piano-guitar exchanges. Still, the project allows Kellaway to settle into his own style, for instance with the sweeping gales of notes on "Killer Joe." Recognizing the difficulties of multiple chorded instruments in the same group, Kellaway has set up arrangements, like Peterson's empathetic work with Barney Kessel and Ellis, that allow the piano and guitar to complement one another. One may back up the other with rhythmic movement, or one may trade fours with the other. As with B-3 organ trios or vibraphone/guitar combinations, the music of Heroes requires mutual respect as the musicians listen closely to one another, not to mention requiring much forethought about the role each instrument will take in each arrangement. As important as the Heroes reeording is to him, Kellaway chose a guitarist with whom he felt a similar will to swing, Bruce Forman. Bassist Dan Lutz falls into the same groove. So aligned with Peterson's aesthetic is Kellaway that we find in Heroes's liner notes that Kellaway even suggested to writer Gene Lees the name of his biography about Oscar Peterson, The Will to Swing. The result on Heroes is some irresistible music that—like Peterson's, Cole's and Tatum's—entertains and delights listeners, enveloping them in the music. "Night Train" roars ahead at high volume from the first note, startling the listener with its force and energy, which lead, of course, to its infectious swing...and then a solo stride chorus. In Django Reinhardt's "Nuages," Forman, as would be expected, takes the lead, stating the melody with ringing clarity as Kellaway backs him with relaxed, minimal filling in of the chord changes. The trio's performance of "Midnight Sun," rather than gliding into swing, glistens with coruscating ripples and an intriguing staggering of the beat for an iridescent effect. On "Moten Swing," Kellaway employs his well-known stride piano work as Forman and Lutz play a unison background figure, the piano's syncopation highlighted even more by the minimalism of accompaniment. Speaking of unison work, Kellaway and Forman play the first chorus of "Cotton Tail's" easy swing in unison, the precision of their articulation evident in the exact timing of their note placement. Finally, the intent of Kellaway's tribute to Oscar Peterson, rather than to piano/guitar/bass trios in general, becomes clear on the final track. when Kellaway plays Pcterson's own composition, "Hymn to Freedom." Combining gospel chord voicing with, yes, swing, Kcllaway performs the first part of the 8½-minute performance alone, exploring Peterson's signature modulations and musical extroversion. After Forman and Lutz come in for the dramatic conclusion, the celebration of the great Oscar Peterson's originality of style and of his will to swing is complete as Kellaway finally fulfills the opportunity to record his own musical thank-you. |
|
 |
Excerpted from All About Jazz review by C. Michael Bailey - click panel for Bailey article on Roger |
http://www.jazznotes.blogsource.com
OUTSTANDING ALBUMS OF 2006
1 ORNETTE COLEMAN - SOUND GRAMMAR (Sound Grammar)
2 ANDREW HILL - TIME LINES (Blue Note)
3 JOE LOVANO ENSEMBLE - STREAMS OF EXPRESSION (Blue Note)
4 BENNIE MAUPIN ENSEMBLE - PENUMBRA (Cryptogramophone)
5 TOMASZ STANKO - LONTANO (ECM)
6 EDSEL GOMEZ - CUBIST MUSIC (Zoho)
7 BRANFORD MARSALIS QUARTET - BRAGGTOWN (Universal /A&M)
8 ROGER KELLAWAY TRIO - HEROES (IPO)
9 RANDY WESTON & AFRICAN RHYTHMS TRIO - ZEP TEPI (Random Chance)
10 OMER AVITAL GROUP - ASKING NO PERMISSION (Smalls)
 |
| Feeding the Swing:
Roger Kellaway November 6th, 2006 by Richard LINK Heroes Roger Kellaway Trio Heroes: IPO Recordings [Buy] There is something to be said for sticking to the game plan. Roger Kellaway’s mission for his new outing on IPO Recordings, Heroes, is to play tribute to the great exponents of the piano/bass/guitar trio format. The “heroes” in this case are inter alia Oscar Peterson, Monk and Nat King Cole. And so it stands to reason that the best moments on the disc happen in the straightahead swingers.  Roger Kellaway
Image (c) Edward Berger For those less familiar with Roger Kellaway, the best online reference is his own website bio. Suffice to say that Kellaway, 67 this year, is a multifarious pianist, composer and conductor whose career includes composing the closing theme for All in the Family and a stint as the musical arranger for Bobby Darin. Throughout this disc, it’s the swing that is the priority. And we’re talking rollicking barrelhouse sweat-staining-your-worn-out-dinner-jacket swing here, none of this new-fangled conceptual stuff. Kellaway is quoted in the liner notes: “I have made a concious effort to select lines and figures that feed the swing. The abstraction I feel for the music is never far behind, but the feature is to swing.” The swing may be to the fore here, but Heroes is most exciting when the musicians gently nudge the limits of this particular trio format: Kellaway’s piano teeters on the edge of tonality in his solo passage in Night Train, but never loses the essence of the blues at the heart of the composition. Similar fun is had with the near-breakneck version of Monk’s 52nd Street Theme - hear if you can spot guitarist Bruce Forman’s little nod to Rollin’s St Thomas in his solo spot.  Dan Lutz (b)
Roger, and Bruce Forman (g)
Moten Swing is slow, stately, purposeful, almost skanking, and there’s a gorgeous take on Django Reinhardt’s Nuages. If there’s a false note on the record, it’s the loose samba Midnight Sun, which is well-played in its own right, but sounds out of place among the other tracks - like the cast of The Avengers has invaded the set of I Love Lucy. And I have a personal vendetta against Benny Golson’s Killer Joe, (the track that opens the album), but since this is born from exposure to a gazillion low-grade high school jazz band performances in a past life, so I exclude that track from any objective criticism. Like the music of Oscar Peterson’s trios, this is material you have to come down to - but once you’ve fixed your headspace, an hour spent with Roger Kellaway’s heroes is time well spent. |
November issue Jazztimes - writer Tom Conrad
October 20, 2006 CD Review: Kellaway's a veteran player as far back as the sixties when he appeared on Oliver Nelson's MORE BLUES AND THE ABSTRACT TRUTH. Oscar Peterson says Kellaway is his favorite piano player. The trio is a classic with Bruce Forman on guitar and Dan Lutz on bass. It's the grand old style and too good to pass up as it is here with tradition, post modern classicism and original report. Dick Crockett STILL ANOTHER JAZZ SHOW MONDAYS 10AM &10PM, PACIFIC “The Voice” 88.7fm 4623 T Street, Suite A Sacramento, Ca 95819-4743 |
| October 4, 2006 Media Alert: Roger Kellaway ''Heroes'' IPOC1010 CD Review: JazzWeek October, 9, 2006 issue PICK Roger Kellaway Trio Heroes (IPO Recordings) String trios are probably one of the best, most satisfying sounding drummer-less combos around. Traditionally (as in the trios of Kellaway fan Oscar Peterson or Dick LaPalm prodigy Nat King Cole) these groups feature piano, guitar and bass, though pianist Matthew Shipp did a brilliant job of replacing guitar with violin on his landmark String Trio albums. As for Roger Kellaway, this is truly out of the Peterson school of swing (and dedicated to the pianist as well), but does have some of Cole’s jaunty sense of swing and even a little bit of Shipp’s modern avant-garde flavor. The tunes roll by one after another in all-too-short order. While bassist Dan Lutz and guitarist Bruce Foreman cook like master chefs, Kellaway’s nuanced, prodding leads constantly stir the pot with tasty results. People will likely dig the trio’s version of “Cottontail,” but “Killer Joe” is a fine fine opener and “Nuages” is wholly sentimental but still a little playful too. “Night Train” brings up the blues quotient while the solo “Hymn To Freedom” is thoughtful and hopeful end piece. Conventional without being tired, swinging without being predictable, Heroes measures up nicely to any jazz effort put this year. – Tad Hendrickson |
 |
| CD Review: View the article here: http://www.allaboutjazz.com/php/article.php?id=23109 Heroes The Roger Kellaway Trio | IPO Recordings (2006) By Michael P. Gladstone The last we heard from pianist/composer Roger Kellaway was last year, when he dazzled the world with his remembrances as Bobby Darin's musical director (undoubtedly timed to coincide with the release of the Darin biopic Beyond The Sea. Now, we have a dramatic and long-needed tribute to the “drum-less” piano trio (guitar/bass/piano) that dates back to sessions from Art Tatum, Django Reinhardt, the King Cole Trio, and most especially the Oscar Peterson Trio, pre-Ed Thigpen when first Barney Kessel and then Herb Ellis occupied the guitar chair alongside bassist Ray Brown. Kellaway explains the importance of the “drum-less” trio by noting that “...the difference between a trio with guitar and one with drums is immeasurable. With drums, the pianist is responsible (with the bassist, of course) for the harmony, but guitar is a chorded instrument, and harmonic clashes have to be avoided. The piano-guitar-bass trio is like a chamber-music group. There's more intimacy in the interaction....” It seems pretty obvious that, although Roger Kellaway has cited several jazz musicians as models, his primary influence was the Oscar Peterson trio, although the are specific references to the King Cole trio (”I Was Doing All Right”) and Django Reinhardt (”Nuages”). Save for a Kellaway original, “I'm Smiling Again,” the other tunes were recorded by the Peterson group. Kellaway is utilizing the same trio that he worked with on the Bobby Darin project (bassist Dan Lutz and guitarist Bruce Forman). Forman remains one of my favorite underappreciated plectrists, having recorded most of his dozen albums in the 1980s. Kellaway further notes that this is a working trio, and thus he is out spreading the word of the “drum-less” trio as we speak. The album begins with Benny Golson's “Killer Joe,” where Forman takes the melody line before handing it off to Kellaway for a rollicking solo. Then on an uptempo romp through the Ellington classic “Cottontail,” both the guitarist and pianist are featured with sparkling solo work. Appropriately, Forman is given the head on Reinhart's “Nuages,” while Forrest and Washington's “Night Train” closely follows the Peterson trio version. Although the ballad work here is limited, it is noteworthy. In addition to ”Nuages” and most of Oscar Peterson's “Hymn To Freedom” (played by solo piano until the trio joins in), the Lionel Hampton “Midnight Sun” is given a sleek reading. Visit The Roger Kellaway Trio on the web. The Roger Kellaway Trio at All About Jazz. Track listing: Killer Joe; Cotton Tail; I Was Doing All Right; Nuages; Night Train; I'm Smiling Again; Midnight Sun; Moton Swing; 52nd Street Theme; Hymn to Freedom. Personnel: Roger Kellaway: piano; Bruce Forman: guitar; Dan Lutz: bass. All material copyright © 2006 All About Jazz and contributing writers. All rights reserved. |
| Sent: Friday, September
01, 2006 4:40 PM Subject: Sal from Blue Sky Music Roger, David Paich from the rock group Toto lives here in Carpinteria, CA where our new business is located (clothes, jewelry, and gifts). He was in the store and heard me playing the Remembering Bobby Darin CD and said; "Nobody plays better than Roger Kellaway." Just thought you'd like to hear that. If you ever get up to Carpinteria, drop by and see us here at Island Outfitters.....873 Linden Ave., right on the main drag to the beach in old town Carpinteria. Best Wishes, Sal |
| Sent: Friday, August
25, 2006 4:33 PM Subject: Kellaway Hi Fran, My friend Terry Teachout, who writes for the Wall St Journal, Washington Post and other elite publications also has a very successful and widely-read blog. He has posted the following: "Roger Kellaway Trio, Heroes (IPO, out Sept. 12). The second CD by a California-based, telepathically tight piano-guitar-bass group that’s already worthy of comparison with the Oscar Peterson and King Cole Trios, the two classic combos after which it’s modeled. Anyone who heard Kellaway earlier this year at the Jazz Standard (or read about him here) knows that his utterly individual piano playing has never been better. If you don’t know what I’m talking about, pick up Heroes, put on “Killer Joe,” and prepare to be swung into bad health." When Terry says "read about him here, he is referring to something he posted this past May about the gig at Jazz Standard. You can read that by following this link: http://www.artsjournal.com/aboutlastnight/archives20060521.shtml#106494 Also, in case you never saw it, Terry wrote a piece about the cello quartet in may 2004 for the Washington Post here's the link to that: http://www.rogerkellaway.com/post5-04.html -- Devra Hall Levy |
|
August
8, 2006
Media Alert: Roger Kellaway ''Heroes'' IPOC1010 Street Date September 12, 2006 CD Review: http://www.ejazznews.com/ The Roger Kellaway Trio - Heroes (2006 IPO Recordings) There is something about a Roger Kellaway recording that makes your music quality of life better with each listen. Upbeat, vibrant, and tones that appeal to all tastes! Case in point his soon to be released effort “Heroes” which applauds the guitar-bass-piano trios of our times. Ellington’s “Cotton Tail” is a fine example of those times and the arranging Kellaway has constructed. Just the right touch of Ellington with a sprinkle of the Kellaway Way! This project is pure and polished and fun to spin. A must listen is “Midnight Sun” with such angelic overtones and a melodic delivery and wonderful dinner for two selection. Any jazz fan will simply embrace this fine exhibit! Karl Stober is an international freelance columnist and broadcaster who can be reached at jazztrenzz@bellsouth.net. Karl can also be reached at 1-251-625-0866. |
| July 27, 2006 Media Alert: Roger Kellaway ''Heroes'' IPOC1010 Street Date September 12, 2006 CD Review: http://www.ejazznews.com/ By John Gilbert This trio, sans drums, consists of Roger Kellaway at the piano, Bruce Forman, guitar and Dan Lutz on bass. As mentioned in Gene Lees liner notes, Roger's early favorites were the first trios of Oscar Peterson with Barney Kessel on guitar and later Herb Ellis with Ray Brown on bass. This album is a tribute to these superlative trios (mainly from the ensembles of 1952 to '59). The majority of tunes on this album were recorded by Peterson, the exceptions being "Killer Joe" and Kellaway's "I'm Smiling Again". The selections are superb and Kellaway's interpretations are magnificent. In the liner notes "swing" is alluded to many times and not without reason. Swing, in my opinion, is music that excites the listener and is pleasing to the ear. This album has all these qualities, and more. "Cottontail" Ellington's composition romps along merrily with Forman's guitar solo swinging most emphatically. Kellaway's idea filled soliloquy is reminiscent of Oscar's speedy keyboard prowess but it is Roger Kellaway's signature all over it. Dan Lutz's bass sound is pure velvet and ideas abound. "Night Train" chugs along non stop with Kellaway's pristine presentation augmenting the familiar melody with his own personal message. Forman's guitar says hello with dexterity and rapid fire runs. "I'm Smiling Again" this tune is aptly named. It's jaunty theme is happiness in the melody and the changes played by all are performed joyfully. "52nd. Street Theme" Speed does not kill in this instance, it simply defines beauty. Everyone is in this race and all reach the finish line in record time. Talk about swing! Kellaway is swinging like the Flying Wallenda's in this grooving aerial assault. The summary suggestions to Oscar Peterson are felt rather than explicitly explored by Kellaway and it works magically. This trio defines artistry in musical high fashion. I am sure Peterson is as impressed as this writer. 5
Stars.
|
Will be available in major record outlets, Amazon.com, Barnes&Noble.com, TowerRecords.com and IPO Records.
Media Contact:
Jim Eigo
Jazz Promo Services
269 S Route 94
Warwick, NY 10990
T: 845-986-1677 / F: 845-986-1699 / Cell: 917-755-8960
E-Mail: jazzpromo@earthlink.net
Web Site: www.jazzpromoservices.com/
Mp3 clips of the IPO Records release "REMEMBERING BOBBY DARIN."
Click a title for a 1-minute preview:
BEGINNING TO SEE THE LIGHT BEYOND THE SEA FOUND A NEW BABY LAZY RIVER MACK THE KNIFE
MEDITATION MORE OH LOOK AT ME NOW ONCE UPON A TIME REMEMBER SPLISH SPLASH
