Bob Kenmotsu - Looking At Air (1997)

Backed by a swinging trio consisting of Joel Weiskopf on piano, Essiet Okon Essiet on bass and the well-known Bill Stewart on drums, tenor saxophonist Bob Kenmotsu delightfully dances his way through four originals and four standards in this generally hard driving set. Stewart, of course, is superb in the driver's seat, egging the group on. You can hear traces of Coltrane, and even Hank Mobley in Kenmotsu's horn, but he is clearly molding his own style. While Kenmotsu seems a tad less comfortable on the slower pieces, and his solos less adventurous, he is willing to take chances when the tempo picks up. His takes of standards such as "My Shining Hour," "Love Letters" and "On Green Dolphin Street" are different and worth hearing. While this recording is clearly in the tradition, it hints at something more, and largely succeeds on its own terms. ~ by Steve Loewy, AMG. 

Amosaya Records, AM-2529, 1997
Recorded 29th January, 1997 Brooklyn, New York 

Musicians:
Bob Kenmotsu - Tenor Sax Flute
Joel Weiskopf - Piano
Essiet Okon Essiet - Bass
Bill Stewart - Drums 

Tracks:
1. Turtle Time {Robert Kenmotsu} (7:13)
2. Dance Of The Heart {Robert Kenmotsu} (5:07)
3. My Shining Hour {Harold Arlen, Johnny Mercer} (6:29)
4. Love Letters {Edward Heyman, Victor Young} (6:46)
5. On Green Dolphin Street {Bronislaw Kaper, Ned Washington} (10:06)
6. Blue In Green {Miles Davis, Bill Evans} (9:35)
7. When We Are All Alone {Robert Kenmotsu} (6:20)
8. Looking At Air {Robert Kenmotsu} (6:31) 

Total Time: 58:13 

Credits:
Producer - Robert Kenmotsu
Recording Engineer - Michael Brophy
Digital Assembly - Ed Ulloa
Mastering Engineer - George Horn [Fantasy Studios]
Cover Photo - Junko Kenmotsu
Graphic Design - Elena Welch

LINK

Looking At Air

Akiko Grace - New York Style (2003)

This is the final work in the New York trilogy of original albums, following "From New York" and "Manhattan Story." Contains 12 songs selected from a wide range of songs, including Van Halen's hit "Jump", "Greensleeves", and works by Bach. For Akiko Grace, who has made many strides in her career, this work is a challenge to her "own individuality." This work reveals its true value. ~ www.hmv.co.jp/ 

This is a highly personal album that brings out the creativity of Akiko Grace herself. While making full use of advanced arrangement and performance techniques, she has achieved a level of perfection that is not difficult to understand! The songs include a newly written original ballad "Pray Song ~ For Ground Zero", and the 80's blockbuster rock number "Jump" (Van Halen's cover). This time, she is backed by Larry Grenadier on bass and Bill Stewart on drums. ~ www.cdjapan.co.jp. [Translated from Japanese] 

Savoy Records, COCB-53050, 2003
Recorded 20th & 21st April, 2003 at Avatar Studio C, New York 

Musicians:
Akiko Grace - Piano
Larry Grenadier - Bass
Bill Stewart - Drums 

Tracks:
01. Jump {Van Halen} (6:34)
02. Chromazone {Akiko Grace} (5:09)
03. Greensleeves {Traditional} (6:36)
04. Smile {Charlie Chaplin} (5:15)
05. Caravan {Duke Ellington, Irving Mills, Juan Tizol} (4:25)
06. Siciliano Through My Eyes {J.S. Bach, Akiko Grace} (6:09)
07. Scarborough Fair {Art Garfunkel, Paul Simon} (5:03)
08. Pray Song ~ For Ground Zero {Akiko Grace} (6:07)
09. Sixth Sense {Akiko Grace} (5:18)
10. Transition [Future Mix] {John Coltrane} (4:24)
11. Breathe Out {Akiko Grace} (6:31)
12. Body And Soul {Eyton, Green, Heyman, Sour} (2:29) 

Total Time: 64:05

Credits:
Producer - Akiko Grace
Recording & Mixing Engineer - Dan Gellert
Assistant Engineer - Aya Takemura, Kyoko Tamanki
Mastering Engineer - Hiroyuki Hosaka
Art Direction - Kiyomitsu Mihara
Artwork Design - Jun Takagi
Photography - Hisashi Itoh 

Chromazone

Mark Soskin - Man Behind The Curtain (2009)

Pianist Mark Soskin's successful career as a top-drawer jazz musician has been defined by his tenure with legendary saxophonist Sonny Rollins and his efforts as a leader, which mark him as a fine player and purveyor of the modern mainstream. For this, his tenth album as a leader, Soskin is asserting his talents as a person who enjoys rearranging well-worn standards, adding three originals, and displaying the immense talent that makes his music ultimately enjoyable. With estimable help from drummer Bill Stewart and acoustic upright bassist Jay Anderson, Soskin has substantial support in this endeavor while adding saxophonist Ravi Coltrane. A musician quite different than Rollins, the son of John Coltrane (and a fine player in his own right) maintains his own high-level brand of quality and visibility to the quartet. Soskin himself is quite an intelligent player who always knows the right phrase to place in the moment, especially from his bass-oriented left hand. He loves to set up sonic waves in tandem with Anderson, or play off of Stewart's deft rhythmic pulse. The quartet does a memorable version of "Invitation," and while jazz bands have done this one to death, Soskin uses a waltz tempo, a modal base, and kinetic energy to uplift it. A light and lilting take of "Heather on the Hill" moves to hip and heavy modal power in nine meaningful minutes. A bass feature for Anderson on the fairly slow and tender "For Heaven's Sake" has Coltrane overdubbing tenor and soprano sax; the rubato free-based "For All All We Know" shows a different side of Soskin à la John Coltrane removed from bar lines; and the chord-driven "This Is New" has the pianist accenting the melody while swinging it along easily. Soskin is humble as a composer, and his "Chutes & Ladders" is playful, tuneful modern music with a sonorous tandem line from Coltrane's tenor and Anderson's bass; the title track is a straight waltz, mysterious yet light; and "Little One" is simply a beauty in its economy and concordant, internal innocence. There's no strain of egos or dominant imbalance that might tip the scales, especially in the role Ravi Coltrane plays as a teammate rather than a frontman. It is this democratic aspect of Soskin's music that takes the quartet into a cohesive arena that for many listeners may not be all that immediately distinctive. The good news is that Soskin and his excellent ensemble rely on solid mainstream jazz values in order to get a direct point of view across, and in this case succeed without any further questions. ~ by Michael G. Nastos, AMG. 

Kind Of Blue Records, KOB 10035, 2009
Recorded 8th May, 2009 at Systems Two Recording Studio, New York 

Musicians:
Mark Soskin - Piano, Arranger
Ravi Coltrane - Soprano & Tenor Saxophones
Jay Anderson - Bass
Bill Stewart - Drums 

Tracks:
1. Heather On The Hill {Frederick Loewe, Alan Jay Lerner} (8:57)
2. Chutes And Ladders {Mark Soskin} (5:36)
3. Invitation {Bronslau Kaper, Paul Francis Webster} (7:13)
4. For All We Know {J. Fred Coots, Sam M. Lewis} (5:55)
5. Man Behind The Curtain {Mark Soskin} (8:10)
6. This Is New {Kurt Weill, Ira Gershwin} (6:11)
7. For Heaven's Sake {Elise Bretton, Sherman Edwards, Don Meyers} (8:40)
8. Little One {Mark Soskin} (8:13) 

Total Time: 58:55 

Credits:
Producer - Mark Soskin
Executive Producer - Roy Tarrant
Engineer, Mixing, Mastering - Mike Marciano
Photography - Jimmy Katz

New York Trio - Essential Best (2009)

The New York Trio features three gifted musicians, pianist Bill Charlap, bassist Jay Leonhart and drummer Bill Stewart. In 2001, Charlap, Leonhart, and Stewart came together in The Studio, New York City to record a straight-ahead, post-bop style "Blues In The Night" for the Japanese Venus Jazz label. The album was well-received by classic jazz fans. From there similar album collections have been recorded: The Things We Did Last Summer (2002), Love You Madly (2003), Stairway To The Stars (2004), Begin The Beguine (2005), Thou Swell (2006) and Always (2007). For this "Essential Best" the trio have selected the best songs, performances, and recordings from all the albums. 

Venus Records, VHCD-8002; 2009
7th, 8th June, 2001 at The Studio, New York City
3rd, 4th April, 2002 at The Studio, New York City
7th April, 2003 at Avatar Studio, New York City
11th, 12th November, 2004 at Avatar Studio, New York City
23rd & 24th August, 2005 at The Studio, New York City
30th September & 1st October, 2006 at Clinton Recording Studio, New York City
30th & 31st May, 2007at Clinton Recording Studio, New York City 

Musicians:
Bill Charlap - Piano
Jay Leonhart - Bass
Bill Stewart - Drums 

Tracks:
01. I Could Have Danced All Night {Frank Loewe} (6:40)
02. Blue Skies {Irving Berlin} (5:05)
03. As Time Goes By {Herman Hupfield} (5:44)
04. How High The Moon {Morgan Lewis} (7:50)
05. Star Crossed Lovers {Duke Ellington} (4:30)
06. Lover Come Back To Me {Sigmund Romberg} (6:18)
07. Lullaby Of The Leaves {Bernice Petkere} (6:39)
08. My Heart Belongs To Daddy {Cole Porter} (6:16)
09. You’d Be So Nice To Come Home To {Cole Porter} (8:07)
10. I Didn’t Know What Time It Was {Richard Rodgers} (5:23)
11. Cheek To Cheek {Irving Berlin} (5:46)
12. They Say It’s Wonderful {Irving Berlin} (4:02) 

Total Time: 01:12:22 

Credits:
Producer - Tetsuo Hara, Todd Barkan
Engineer - Katherine Miller
Engineer [Assistant] - Eiji Takasugi
Mixing, Mastering - Shuji Kitamura, Tetsuo Hara
Design - Taz

Larry Goldings, Peter Bernstein, Bill Stewart - Ramshackle Serenade (2014)

Few artistic partnerships are as delightfully durable as the trio of organist Larry Goldings, guitarist Peter Bernstein, and drummer Bill Stewart. These men have often recorded under the moniker of the "Larry Goldings Trio" over the past two-plus decades, but this has never been a band to favor one player over another. Goldings' name may still come first on this album spine, but it's all for one and one for all with these guys. Ramshackle Serenade finds this group covering a lot of ground. The album opens with Goldings’ "Roach" - a slow blues in five—which proves to be one of the standout performances. Goldings and Bernstein both cook while Stewart masterfully slices up the time in endlessly inventive ways. The trio then visits Brazilian territory with Jobim's "Luiza," throws one down the middle with Bernstein's aptly-titled "Simple As That," and works in a rhythmically floating environment on "Ramshackle Serenade." The title track is all about rubato rumination, as Goldings and Bernstein paint melodies while Stewart lightly colors in the background. Goldings' "Mr. Meagles," sitting at the midpoint of the album, is a great example of the way this trio manages to create music that speaks relatively softly and carries a mean groove; it's low flame music that can still cause third degree burns. The second half of the album contains a "Sweet And Lovely" that grows hotter over time, a pair of originals - Stewart's hip-and-intoxicating "Blue Sway" and Bernstein's lively "Useless Metaphor" - and an album-closing look at Horace Silver's oft-covered "Peace." After all these years, this trio still manages to make magic whenever it hits the studio. It doesn't get much better than this. ~ Dan Bilawsky, AllAboutJazz. 

Pirouet Records, PIT3077, 2014
Recorded 17th December, 2013 At Kyberg Studio, Oberhaching, Germany 

Musicians:
Larry Goldings - Organ [Hammond]
Peter Bernstein - Guitar
Bill Stewart - Drums 

Tracks:
1. Roach {Larry Goldings} (5:46)
2. Luiza {Antônio Carlos Jobim} (8:41)
3. Simple As That {Peter Bernstein} (7:03)
4. Ramshackle Serenade {Larry Goldings} (4:31)
5. Mr. Meagles {Larry Goldings} (8:18)
6. Sweet And Lovely {Gus Arnheim, Harry Tobias, Neil Moret} (7:43)
7. Blue Sway {Bill Stewart} (8:18)
8. Useless Metaphor {Peter Bernstein} (6:13)
9. Peace {Horace Silver} (5:51) 

Total Time: 62:28 

Credits:
Producer - Larry Goldings, Peter Bernstein, Bill Stewart
Producer [Pirouet], Recording, Mixing - Jason Seizer
Mastering - Christoph Stickel
Cover Design, Photography - Konstantin Kern

Bill Carrothers - Duets with Bill Stewart (1999)

Recorded in 1999 and released on the Birdology label, this duo session brings together two veterans who share a desire to create unique music every time out. Here, Bill Carrothers is 37 and Bill Stewart is 35. They're at a point in their careers where creativity and tradition have been united by a desire to move the music forward. Hence, familiar melodies and consonant harmonies are woven into impressions of the world around us. Dreamy afternoons coexist with spurts of charged lightning. Civil War memories sit side by side with some of Monk's best. Both artists explore a large array of textures and timbres. The pianist's hands control string vibrations, as the drummer's hands dampen his set. A standard, swinging arrangement of “Taking a Chance on Love” soon develops into conversant fours that move further and further toward the edge. With a return to the song’s head melody, the duo proves that modern jazz needn't go past that point. No screaming or squawking here: just sincere creations that invoke a sense of adventure. “Puttin' on the Ritz” swings with a driving intensity that brings both artists’ around full force. No coffee required. “A Nightingale Sang in Berkeley Square” settles down with subtle passion and subdued nighttime impressions. Their “Death of a Cigarette” rounds out the session with a heapin' helping of the blues. Two trailblazers in the jazz world, Bill Carrothers and Bill Stewart continue to shape today's worldwide approach to the music we love. ~ Jim Santella, AAJ. 

Birdology Records, 8573-80065-2; 1999
Recorded & Mixed 10th-11th June, 1999 at Creation Audio, Minneapolis, Minnesota 

Musicians:
Bill Carrothers - Piano
Bill Stewart - Drums 

Tracks:
01. Drum Prelude {Bill Stewart} (2:22)
02. Alone Together [For Peg] {Howard Dietz, Arthur Schwartz} (6:13)
03. Off Minor {Thelonious Monk} (5:58)
04. I Apologize {Al Goodhart} (3:15)
05. Squirrel's Tale {Bill Carrothers} (6:20)
06. Vito {Bill Carrothers} (5:27)
07. Vito's Dream World {Bill Carrothers} (3:00)
08. Taking A Chance On Love {Vernon Duke} (4:58)
09. Tenting On The Old Campground {Public Domain} (5:08)
10. Puttin' On The Ritz {Irving Berlin} (7:00)
11. Death Of A Cigarette {Bill Carrothers} (6:21)
12. A Nightingale Sang In Berkeley Square {Eric Maschwitz} (4:19)
13. The Whiffenpoof Song {Tod B. Galloway} (2:49) 

Total Time: 63:12 

Credits:
Producer - Bill Carrothers
Executive-Producer - Jean-François Deiber
Recording & Mixing - Steve Wiese
Mastering - Lynn Peterson
Photography - Peg Wigen
Liner Notes [English] - Thierry Pérémarti

Jesse van Ruller - Circles (2002)

Alluding to funk, soul, as well as a number of modern jazz styles, guitarist Jesse van Ruller's quartet functions in a space of its own making that is outside of any familiar category. Both difficult to define and hugely enjoyable, the music features a few significant characteristics. Despite the presence of the leader’s electric guitar and Sam Yahel’s Hammond B-3 organ, the band maintains an essentially traditional acoustic jazz sound. Further, van Ruller, Yahel, tenor saxophonist Seamus Blake, and drummer Bill Stewart are all virtuosos who never try to show off or stand out. Although each of them is also a fine ensemble player, they nonetheless maintain a certain, individualistic distance from one another that gives the music a cerebral, somewhat detached feel. "One" is a bright, sketchy tune (Andrew Hill comes to mind) that impatiently presses ahead to solos by each band member. Displaying a full, twangy sound, the guitarist’s lines hurtle forward almost without pause, running parallel to the constant ping of Stewart’'s ride cymbal. Underlying dexterity similar to van Ruller's, Blake’s improvisation has a peevish quality, his high notes chafing against the composition’s structure and the rhythm section. For the most part Yahel fashions a solo out of smart melodic fragments and odd digressions. In the midst of a repeat of the head, Stewart blows over a vamp for about 30 seconds. Putting together flurries of strokes to every drum and cymbal, his calculated chaos swings in a rambling manner. Ruller's ballad "Here Comes The Sun" has the kind of melody that inspires lyric writers to make fresh observations about matters of the heart. Initially proceeding cautiously, as if fearful of disturbing the serenity, his solo gradually digs deeper, deftly maneuvering around Yahel’s brief chordal swells. Blake takes a more pronounced course, dramatically announcing his presence in the first few bars, then eventually working the upper register of the horn with beautifully executed cries that sound as if he’s searching for something that is, emotionally speaking, out of reach. The recording's standout track, Blake's "Black Dahlia," is a crafty, quasi-funk concoction (subtly driven by Stewart's abridged bugaloo beat) that sports a hummable melody, and regularly evolving into straight jazz time. At first seeming oblivious to Stewart's supple bursts of energy, Blake constructs another stunning solo, playing off of the drummer’s inflections, and progressively generating a density that becomes nearly claustrophobic. Expertly riding the straight-ahead swing of the organ and drums, van Ruller sounds positively bubbly, at first playing brief, economic phrases, then stretching out, integrating pregnant pauses into several brisk, climactic passages. ~ by David A. Orthmann, AAJ. 

Criss Cross Jazz, Criss 1235 CD, 2003
Recorded 15th December, 2002 at Systems Two Studios, Brooklyn, New York 

Musicians:
Jesse van Ruller - Guitar
Seamus Blake - Tenor Saxophone
Sam Yahel - Organ [Hammond B-3]
Bill Stewart - Drums 

Tracks:
1. One {Jesse van Ruller} (6:21)
2. Circles {Jesse van Ruller} (8:53)
3. Here Comes The Sun {Jesse van Ruller} (6:44)
4. Black Dahlia {Seamus Blake} (7:07)
5. 33 Waltz {Jesse van Ruller} (6:27)
6. Zoab {Jesse van Ruller} (7:19)
7. Gone With The Wind {Allie Wrubel, Herb Magidson} (7:09)
8. Secret Champ {Jesse van Ruller} (8:27) 

Total Time: 58:27 

Credits:
Producer, Cover Design - Gerry Teekens
Executive Producer - K. Haswselpflug
Recording Engineer - Max Bolleman
Photography - Carla Schoo
Cover Design - H. Bloemendaal

Kevin Hays Trio - What Survives (2001)

For the uninitiated What Survives is a strong entry point, highlighting Hays' abstract yet appealing writing, and a playing style that is filled with impressionistically out-of-the-box yet eminently lyrical musical thinking. It also demonstrates Hays' ability to innovatively adapt classical material that's as reverential yet improvisational. The album opens with three Hays originals, ranging from Stellar, whose dark and introspective solo piano introduction evolves into lithely swinging vehicle for understated interplay between Hays, Weiss and Stewart. The title track revolves around a repeated 11/8 bass figure doubled by Weiss and Hays' left hand - the piano treated to lend it a buzzing quality. Hays gradually builds a vivid yet economical solo while Stewart plays liberally with time placement. Hays applies a delicate electronic tremolo on the brooding Black Elk full of the subtle processing but not pop-inflected. Four adaptations of classical pieces follow, with Anniversary Waltz being the most well-known. Hays retains its familiar theme intact over Weiss and Stewart's vivid swing, but reharmonizations lend a more modernistic edge.  J.B. is the clear highlight of the album, demonstrating just how forward-thinking Hays' musical aesthetic is. Based on Brahms' Symphony No. 1 in C Minor, it opens with reverse-attack processed piano, but ultimately moves into an organic middle section that progressively narrows the 200-year gap between its composition and Hays' performance. An ambient reading of the classic You are My Sunshine ends the disc on an ambiguous note that proves beauty can be found in the most somber of places. The long break between albums may have cost Hays some momentum, but also works to his advantage in allowing him to reinvent himself. What Survives is hopefully just the beginning of a renewed career that will finally appeal to the larger jazz-buying public. ~ Extract by John Kelman, AAJ. 

PinonDisk Records, 001, 2005
NDS Records, NDS001, 2010
Recorded 13th March (#1,4) & 3rd December (#2-3,5-8), 2001
At Acoustic Recording, Brooklyn, New York 

Musicians:
Kevin Hays - Piano
Doug Weiss - Bass
Bill Stewart - Drums 

Tracks:
1. Stellar {Kevin Hays} (7:23)
2. What Survives {Kevin Hays} (3:41)
3. Black Elk {Kevin Hays} (4:33)
4. Anniversary Waltz {Josef Ivanovichi, Adpt. Kevin Hays} (7:25)
5. J.B. {Adaption Kevin Hays} (9:52)
6. Anton {Adaption Kevin Hays} (7:02)
7. Du Pre {Adaption Kevin Hays} (5:57)
8. You Are My Sunshine {Jimmie Davis} (5:58) 

Total Time: 51:51 

Credits:
Producer, Cover Painting - Kevin Hays
Engineer - Michael Brorby
Mastering - Katsuhiko Naito
Photography - Jimmy Katz, Onno de Jong, Lea Rubin, David Johnson 

"A beautiful record. Kevin Hays is a true original. Everything he plays has a deep intelligence and swing. This record showcases his own compositions. Doug Weiss and Bill Stewart on bass and drums are in top form. Highly recommended."  ~ Brad Mehldau.

Kevin Hays - El Matador (1990)

Kevin Hays recorded this early session (his second as a leader) in 1990, at the age of 22. Originally released in 1991 on the Jazz City import label, the disc was reissued in the U.S. in 1998 by Evidence. The young pianist is joined by alto/soprano saxophonist Steve Wilson, bassist Scott Colley, drummer Bill Stewart, and on four tracks, the tenor titan Joe Henderson. Hays' writing and playing are remarkably advanced, particularly on "Emperor Leon" (dedicated to drummer Leon Parker) and "The Brahmin's Son," an extended piece inspired by Herman Hesse. Quartet renderings of "The Good Life" and John Coltrane's "Like Sonny" also appear, along with a full quintet arrangement of Hindemith's "Nobilissima Visione," on which Henderson truly shines. Steve Wilson's angular blues-head "No Such Luck" closes the set. El Matador is a vital addition to Hays' discography, even after the fact. ~ by David R. Adler, AMG. 

Jazz City, PCCY-00247, 1991
Evidence Records, ECD 22199-2, 1998
Recorded August, 1990 At “The Studio”, New York City 

Musicians:
Kevin Hays - Piano
Steve Wilson - Alto Saxophone, Soprano Saxophone
Joe Henderson - Tenor Saxophone {#1,2,5,6)
Scott Colley - Bass
Bill Stewart - Drums 

Tracks:
1. El Matador {Kevin Hays} (8:02)
2. Emperor Leon {Kevin Hays} (10:28)
3. Like Sonny {John Coltrane} (6:46)
4. The Good Life {Sacha Distel, Jack Reardon} (6:56)
5. The Brahmin's Son {Kevin Hays} (10:54)
6. Nobilissima Visione {Paul Hindemith} (6:16)
7. Snake Eyes {Kevin Hays} (7:53)
8. No Such Luck {Steve Wilson} (5:26) 

Total Time: 62:41 

Credits:
Producer - Tony Ariga, Yoshiaki Masuo
Engineer - David Baker
Photography - Alan Nahigian
Liner Notes - Ira Gitler
Reissue Producer - Jerry Gordon

Bill Stewart - Telepathy (1997)

Drummer Bill Stewart has made a name for himself with John Scofield’s band on several excellent recordings including What We Do and Hand Jive,. He has also made great contributions to sessions with Joe Lovano, Marty Ehrlich and Maceo Parker. If it sounds to you like he has great range as a drummer, you’re right. Stewart combines the polyrhythmic inventiveness of modern drumming with the taste and groove of funk. He creates fire and drive without volume, always supporting and creating, but never overpowering.

Telepathy is his second date as a leader and it offers further evidence of his talents as both instrumentalist and composer. Stewart’s compositions range from aggressive to introspective and he has chosen a superb roster of musicians to assist him in his musical expression. Saxophonists Steve Wilson (alto and soprano) and Seamus Blake (tenor) are also coming into their own as great improvisers and their ideas and interplay are constantly engaging. Pianist Bill Carrothers is less well-known but is featured prominently and his imaginative harmonic sense invites close listening and the hope that he will appear more often on disc. Larry Grenadier’s bass work is superb. On one of your listens to this disc, focus on his bassistic creations. Great stuff!

Of the nine tunes on this disc only two are from the jazz canon. Jackie McLean’s "Little Melonae" and Monk’s "Rhythm-A-Ning" are given fresh treatments with Blake blazing through the Monk accompanied only by Stewart and Carrothers, while only the rhythm section is spotlighted on McLean’s great tune. The remaining tunes were penned by the leader. Stewart’s compositions range from angular and aggressive to dark and moody. Try to keep from smiling as Blake squawks and struts on "Happy Chickens." Blake and Wilson get into a wildly raucous mood on "Fano," exchanging ideas and honks, followed by some intensely creative statements from Grenadier and Stewart. "Calm" is a beautiful ballad feature for Carrothers, with the leader painting soft colors with brushes. Stewart proves to be as imaginative in his writing as in his drumming.

This is a rewarding disc, straight from the jazz tradition but consistently original and forward-looking. Highly recommended. ~ by Rick Bruner, AAJ.

Blue Note, CDP 7243 8 53210 2 3, 1997

Recorded 29^th & 30^th September, 1996 At Clinton Recording Studios, New York City

Musicians:

Bill Stewart - Drums

Seamus Blake, Steve Wilson - Saxophone

Bill Carrothers - Piano

Larry Grenadier - Double Bass

Tracks:

1. These Are They {Bill Stewart} (8:44)

2. Mynah {Bill Stewart} (5:36)

3. Happy Chickens {Bill Stewart} (6:23)

4. Lyra {Bill Stewart} (7:37)

5. Rhythm-A-Ning {Thelonous Monk} (5:39)

6. Dwell On This {Bill Stewart} (6:51)

7. Calm {Bill Stewart} (6:49)

8. Fano {Bill Stewart} (6:31)

9. Little Melonae {Jackie McLean} (4:11)

Credits:

Producer - Bob Belden, Bill Stewart

Recording Engineer - David Baker

Mastering Engineer - Tom "Curly" Ruff (Sony Studios, NYC)

Photography - Jimmy Katz (Giant Steps)

Design - Patrick Roques

Total Time: 58:21

Tim Hagans - No Words (1994)

The impressive trumpeter Tim Hagans holds his own with the tenor of Joe Lovano during a sextet session with guitarist John Abercrombie, keyboardist Marc Copland, bassist Scott Lee and drummer Bill Stewart that features nine of his originals. The music is essentially advanced hard bop (Lovano and Abercrombie both sound somewhat inspired) and Hagans displays both an attractive tone and a fertile imagination. It's a strong set of modern mainstream jazz. ~ by Scott Yanow, AMG.

Blue Note, CDP 0777 7 89680 2 3, 1994

Recorded 3^rd December, 1993 At Power Station, New York City

Musicians:

Tim Hagans - Trumpet

Joe Lovano - Tenor Saxophone, Soprano Saxophone

Marc Copland - Piano, Fender Rhodes

John Abercrombie - Guitar

Scott Lee - Bass

Bill Stewart - Drums

Tracks:

1. No Words {Tim Hagans} (5:42)

2. Nog Rhythms {Tim Hagans} (8:29)

3. Waking Iris {Tim Hagans} (7:39)

4. Noogaloo {Tim Hagans} (6:45)

5. Immediate Left {Tim Hagans} (8:09)

6. Passing Giants {Tim Hagans} (5:04)

7. For The Music {Tim Hagans} (8:53)

8. Housewife From New Jersey {Tim Hagans} (8:00)

9. Lost In My Suitcase {Tim Hagans} (7:52)

Credits:

Producer - Tim Hagans

Producer, Liner Notes - Joe Lovano

Recording Engineer - James Farber

Mixing Engineer - A.T. Michael McDonald

Art Direction, Design - Mark Larson

Photography - Jeffrey Scales

Photography [Session] - Cheung Ching Ming

Total Time: 66:33