Reviews of CD releases, most recent at top of page
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
|
CD Review:
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 |