PAUL SMOKER TRIO – Come Rain Or Come Shine (1989)

Label: Sound Aspect Records –  SAS  CD 024

Format: CD, Album; Country: W.Germany - Released: 1989

Style: Free Jazz, Free Improvisation

Recorded 18-19 Aug, 1986 in Cedar Falls, Iowa

Engineer By – David Baker

Executive Producer By – Pedro de Freitas

Five years ago, Paul Smoker Trio gave his brilliant European debut in Moers. At the legendary "New Jazz Trio" with Manfred Schoof, Peter Trunk and Cee lake felt you remember, but played the Americans its Free Bop with the concentrated power of the currents of the 80s. Now, the third album by this still equally populated and the same exciting gambling trio had appeared; and yet you're looking in the latest American and West German jazz encyclopedia the name of trumpeter Paul Smoker vain. Maybe it is because he teaches away from the Media Representative peered New York in Iowa at a college. Instrumental Technically any case he needs any more than Ron Rohovit, bass, and Phil Haynes, drum kit to put his light under a bushel. In the album of humorous text is a Don Cherry, who makes on Maynard Ferguson, the speech - which also points to the crux of this music back: Paul Smoker sounds like he should be a world champion to flex its muscles in constant power play. But breaks would not have to be energetically dead moments. The excel-lent bass playing, the beneficial also in the middle and lower register he-goes to can, to appear in the rare trumpet moments without some of the worn generen energy flows; also the perfect shape consciousness of the drums then opens up new sonic spaces. These quieter periods, however, are rare; dominate the power play interactions, quite in the manner of the European new jazz of the late 60s. Pieces of you have the great joy because in the long run annoys's.

Note: Small history of composition "Come Rain Or Come Shine"

“Come Rain or Come Shine” is a wonderful composition with a fantastic melody and very challenging changes. For the jazz musician, there are many openings for altering the changes and heading in different directions harmonically.

_ By David Friesen, jazz bassist

While many of the great song composers used repeated notes as a device to build tension and emphasize their harmonies, Harold Arlen, as a rule, was not one of them. “Come Rain or Come Shine,” however, is not just a rare Arlen exception; it may very well be the repeated-notes-champion among the top jazz standards.

1. “Come Rain or Come Shine” was introduced by Ruby Hill and Harold Nicholas in the Broadway musical St. Louis Woman. Set in St. Louis in 1898, the story revolved around Della Green (Hill), a woman who wants out of her relationship with bar owner Biglow Brown (Rex Ingram) when she falls for Li’l Augie, (Nicholas), a jockey on a winning streak. The show opened on March 30, 1946, at the Martin Beck Theatre to lackluster reviews and attendance and closed after only 113 performances. 

St. Louis Woman was beset with problems before it even opened. Songwriter Harold Arlen and lyricist Yip Harburg had just scored two successes with Metro Goldwyn Mayer’s Wizard of Oz, for which they won an Academy Award for Best Song, and the long-running Broadway musical, Bloomer Girl (1944). Profiting from stakes in both productions, MGM was eager to back Arlen’s St. Louis Woman, an all-black show based on Arna Bontemps’ first published novel, God Sends Sunday (1931). MGM was further willing to provide Lena Horne as the leading lady, and Johnny Mercer signed on to write the lyrics.

2. Talented trumpet player Clifford Brown had a brilliant career cut short by his untimely death in an auto accident at age 25. However, during his four years of recording he managed to leave a large body of work with many great moments of jazz.

In Paris, as a member of the Lionel Hampton Orchestra in 1953, Brown was in the studio with a small group made up of his compatriots from the Hampton band, performing arrangements written by Quincy Jones (also a member of the Hampton group). On the CD reissue of their recording of “Come Rain and Come Shine” we have the opportunity to hear two takes of the tune, illustrating Brown’s inventive genius.

3. The 1959 recording of “Come Rain or Come Shine” by Ray Charles (The Genius of Ray Charles) is widely beloved and is a great example of the song as a vehicle for ballad singing. The tune is often played with a swing feeling as well, and the standout performance among many in this style is Art Blakey’s from 1958 (Moanin'). This performance features dramatic solos from each of Blakey’s sidemen from this incarnation of Jazz Messengers, Bobby Timmons, Lee Morgan, Benny Golson and Jymie Merritt.....etc....etc.... 

If you find it, buy this album!

PAUL SMOKER with ED SCHULLER and DOMINIC DUVAL – Duocity In Brass & Wood (2CD-2003)

Label: Cadence Jazz Records – CJR 1155/56
Format: 2 × CD, Album; Country: US - Released: 2003
Style: Free Jazz, Contemporary Jazz
CD1 - Recorded live at The Bop Shop, Rochester, NY, May 18, 2001 
CD2 - Recorded live at The Bop Shop, Rochester, NY, October 10, 2001
Engineer – Matthew Guarnere
Mixed By, Edited By – Matthew Guarnere, Paul Smoker

Duo improvisations featuring a double bass and a horn are some of the hardest performances to realize. The challenge is compounded if the non-bass-playing partner only has a trumpet’s three valves and his embouchure with which to create. Thus Rochester, N.Y.-based trumpeter Paul Smoker should be complimented for sheer audacity. His double CD session of live, more than 60-minute duets with either Dominic Duval or Ed Schuller shows what can happen when two accomplished musicians strip down to the essentials and go at it with no preconceived notions.

Performing for the first time as a duo and with not many previous encounters under their respective belts, Smoker and Duval spend most of the time on the seven tracks playing slow- moving themes to determine each other’s skills. In the case of the trumpeter especially, this seems to involve extended techniques that at time stray close to the show-offy.

On “Burn Dialogue/Blue Mon ”, the nearly 13½-minute longest track for instance, he begins a cappella with a capricious display of growls and chromatic high-pitched note bending. Just before the solo threatens to turn into a Maynard Ferguson style extravaganza, it finally become a hell-bent-for-leather dialogue between Smoker’s chromatic trills and Duval’s slower-paced, carefully emphasized arco work. As the bassist bows away the trumpeter decorates the output with shrill high notes and a line that sounds like “Cherokee” played at a languid pace. There’s no mistaking “Blue Monk” , which soon appears in proper cadence here, replete with plunger trills. As Smoker dispenses his variations on the theme, Duval counters with pealing, pizzicato strokes that offer a sandpaper rough version of the same thing. Other than a singing version of “If I Were A Bell” presented in a muted Milesean fashion, the tunes concentrate on brass and bass effects. At one point Smoker warbles offbeat slurring phrases as Duval introduces well-modulated triple stops; at another four-string strums from the bassman calls forth echoes that could come from an Alpine horn --then choked valve plunger work examination.

Fittingly, the final tune is both abstract and conventional. Initially it resounds with idiosyncratic brass note flurries that go from andante to adagio to allegro, as the bass line becomes excessively discordant. The ending however finds Smoker appropriately quoting “The Party’s Over” in mid-register, Bobby Hackett-like fashion.

Over-abundant experimentation also characterizes the four Schuller/Smoker duets, with the others leading up to and away from “Hypnotics/Bassoptics Mutetics/Nostematics”, an almost 31-minute tour de force. Separated by periods of silence and applause, the first section showcases legato trumpeting with thundering bass lines that get harder, stronger and more repetitive as Smoker shrilly whistles from his mouthpiece. As Schuller strongarms a vamping ostinato back and forth, the trumpeter buzzes grit from his valves and soon broaches mouthpiece kisses, small smacks then squeals. Following a pause, a dark, double-stopping bass solo seems to invite Smoker’s most idiosyncratic response as higher-pitched, Harmon- muted obbligatos share space with deeper open tones. It almost appears as if he’s playing two trumpets at once. As Schuller continues to snap out short melodies and decorative asides that then turn to a walking bass line, Smoker completes the showcase with a flourish, producing a steady “Flight of the Bumblebee” buzz from his mute.

“Didgerotics”, is the most interesting of the pieces -- not to mention the shortest -- since Smoker manages to produce basso didjeridoo and radung or metal Tibetan bass horn sounds from his axe, not to mention vocalized plunger inflections straight out of the Bubber Miley Jungle book. Meanwhile Schuller moves from assured, low-pitched arco thrusts to split second visits to the effervescent cello register.

"Duocity in Brass & Wood" is a good document, which can be appreciated even by those who do not feel close to the aesthetics free, thanks to the continual references to jazz and freshness of ideas.

_ By Ken Waxman



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ADAM LANE QUARTET – Live At Soundlab, Buffalo NY, 2005 (2007)

Label: Cadence Jazz Records – CJR 1193
Format: CD, Album;  Country: USA - Released: 2007
Style: Free Jazz, Free Improvisation
Recorded live at Soundlab, Buffalo NY, February 25, 2005
Recording Engineer By - Steve Baczkowski
Mastering By - Jon Rosenberg
Packaging: Jewel Tray

The sensations given by a live event, force and fascination of a live performance are often a difficult thing to transfer on CD.
Not always, but sometimes the purpose is perfectly achieved…as in this case. Product of a session at Buffalo’s Soundlab, NY, in February 2005, this recording is an excellent documentation of that event, reproducing the pure energy transmitted by it. A trio of absolute protagonists of the jazz scene (Adam Lane on bass, Vinny Golia on saxophone and Vijay Anderson on drums) that becomes a quartet on four tracks (thanks to the contribution of the trumpeter Paul Smoker).
The more significant aspect of this album is an extraordinary interaction among the players, who succeed to reach a particular balance, a unity of intents and action which unleash emotional impulses.
Free improvisation in great measure, but also melodic nuances ( “ Spin with the EARth ” ), smooth passages ( “ Without Being ” at its starting phase, with an impressive Lane’s solo that leaves space to Smoker and Golia, both in evidence for the rest of the piece), again, the peaceful atmosphere created by the Golia's flute ( “ Free ” ) followed by a compulsive free improv act.
Frenetic passages alternate with more meditative moments, after which suddenly the rhythm grows again (the beautiful final track “ Lucia's First Breath ” ). So genuine, so real, so free…

Review:

Adam Lane's is not only one of my favorite bass-players of the moment, but definitely one of my preferred musicians. His sense of musical freedom, combined with melody and bluesy soul is superb, as is his choice of band members. On this album Vinny Golia plays reeds, Paul Smoker trumpet and Vijay Anderson drums. The album captures several days of live performances in Buffalo, hence the title. And Paul Smoker did not participate on one track presented here. These musicians no longer need any introduction, but the way they play together here, is absolutely stellar. The first track brings an absolutely beautiful melody - although you have to wait a bit before a theme emerges - played superbly by the whole band, compelling, fierce and free. The second track starts with a gut-wrenching arco solo by Lane, which evolves into a straight blues with the horns circling around each other in wonderfully emotional counterpoint, then speeding up the whole thing to some free jazz uptempo boogie, just to slow down again at the end, leaving the audience enthusiastic and your reviewer with goosebumps (sympathetic piloerection). The third track, "Free", starts with Vinny Golia playing flute, all bucolic, cosmic and light, to be replaced by the tenor, creating an all the more astonishing effect with the agonizing violence of the storm that comes, unleashing all power a trio can muster to create a wall of sound, ending again in peaceful calm. "In Our Time" is a fully improvized piece, but the four musicians interact so well, creating chaotic tension on the spot, out of which the arco bass elicits some highly sensitive beauty, accompanied by long slow trumpet tones and an accentuating drums. But then listen how Golia intervenes, adding little rhythmic notes, without interrupting, but emphasizing the power of the trumpet, first echoing, then slowing the sax down till it becomes unisono, a signal for Lane to end in the same long arco-played tone. Astonishingly beautiful. The last track is an odd-metred piece, mid-tempo pushed forward by a bass-vamp and strong drumming, starting with the sax leading into a theme, and when the trumpet takes over, the piece shifts into a walking bass supported free bop frenzy, and each time the sax comes in, the original rhythm appears again, with Lane moving up the speed, pushing Golia to play the bejesus out of his soprano. This is a really an excellent album, with four top-musicians at their best and interacting at their best, responsive, creative, enthusiastic, melodic and respectful. Adam Lane is truly great, and I must say that every CD that he released so far is recommended, but this one is highly recommended.

_ By Stef (FreeJazz)
http://www.freejazzblog.org/2008/01/adam-lane-quartet-buffalo-cimp-2007.html



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FRED HESS – Extended Family (2003)

Label: Tapestry Records - Catalogue # 76004-2

Format CD, Album; Country: United States

Release Date: 03/18/2003

Style: Avant-garde, Free Jazz, Modern Jazz

Distributor: City Hall

Review:

Jazz is sometimes described as a musician's music, a rarefied art form that only gains true appreciation from those whose sensibilities have been heightened by years of study. It also perhaps a reflection on the fact that jazz musicians are all too often more concerned with impressing their musician peer groups than pleasing audiences. Extended Family is an album that is only likely to please a very small number of people with extremely narrow musical interests. 

Fred Hess's latest recording is an album of original compositions for tenor, trumpet, bass and drums. It's a so-called progressive affair that showcases the leader's virtuosic tenor playing and Paul Smoker's distinctive trumpet style. It's a hard listen, but not for the right reasons. The difficulty here is maintaining interest in the music. 

The opening track "Good Question" is a 12 bar blues with an angular be-bop melody that selfconsciously avoids square phrasing. Hess's blowing opens confidently as he demonstrates his speedy technical mastery. However, none of the phrases are particularly inspired and you're left without a shadow of doubt that he's spent years obsessively practising scales and note patterns. 

Ken Filiano on bass takes the next statement which reminds you how unsuited this instrument is to jazz soloing, even in his skilled hands. Smoker's trumpet is the most distinctive of the solos,moving between bluesy phrases and rapid, scribbled runs of hidden shallows. 

"Mr and Mrs Clef Take a Vacation" is a long free piece that has little to commend it. In the liner notes it's described as an illustration depictinga couple's eventful holiday which includes a harrowingabduction by aliens. It's just like every other mediocre free jazz track you've ever heard and wish you hadn't.

This sort of line-up, which omits a harmony instrument, is extraordinarily difficult to get right. In the hands of geniuses such as Ornette Coleman, John Coltrane, or Sonny Rollins, the harmonic void is filled by flashes of inspiration and sheer musical energy. More often, the absence of a harmonic instrument results in an empty and alienating sound.Maybe the Fred Hess Quartet, like Mr and Mrs Clef, would benefit from getting away from the alien and finding a way to connect with normal humans who enjoy music.

_ Ian Lantham, 2003

(BBC Review) 

http://www.bbc.co.uk/music/reviews/qhw6/

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FRED HESS QUARTET – Exposed (2001)

Label: CIMP Records - CIMP #249
Recording Date: 2001
Format: CD, Album; Country : US
Style: Avant-Garde, Free Jazz, Modern Jazz
Recorded at The Spirit Room, Rossie, NY, June 11 & 12, 2001
Produced by Robert D. Rusch
Recording Engineer: Marc D. Rusch; Liner Note Author: Robert D. Rusch

                                                                                                          Fred Hess
Review:

Boulder, Colorado doesn ’ t crop up often in serious conversations about creative improvised music. But based on the serendipitous contents of this new CIMP release perhaps it should. Fred Hess founded the Boulder Creative Music Ensemble at the onset of the Eighties and according to producer Bob Rusch the aggregate of creative improvisers continues to this day. The longevity of the ensemble illustrates a truth that is integral, but often taken for granted- grass roots mobilization and dissemination has always been the music ’ s life ’ s blood.

Joining Chicago percussionist Damon Short and CIMP staples Smoker and Filiano Hess brings to the table seven originals for the newly formed ensemble ’ s gregarious consumption. Several of the pieces have strong free-bop flavors, like the opening “ Cruise, ” which ambles along on a fluxing current from Filiano and Short after angling through an obliquely rendered head. The acronym “ JHM ” is never explained, but it ’ s musical guise exposes itself through a finger chaffing solo from Filiano replete with the bassist ’ s own muffled scat accompaniment. Short ’ s sticks caulk the cracks while applying appropriate friction to keep a flume of cymbal static alight in the bargain. Smoker opens up with a flurry of valve-guided bursts goading Hess to chomp and chew at his reed and in so doing dislodge a downpour of soaring, scalar lines. Filiano initiates “ Changing Spectra ” with watercolor washes of feather light bowed harmonics ushering the smeared tones of the horns and Short ’ s undulating array of textural accents. The track never adopts a discernable center for too long and is instead evolves as a circuitous excursion through freely associative call and response. “ Going There ” picks up right where it ’ s predecessor left off, sounding a vaguely anthemic head before locking down on a discernable rhythmic framework via Short ’ s robust traps. Unexpectedly the momentum soon dissipates into another moody musing, this time from Hess, before once again building steam. These unexpected shifts in tempo and design are both liberating and frustrating. They speak directly to the musicians ’ pact to position their own desires in a place of paramount importance.

On paper this date may not seem a deviation from the stereotypical CIMP fare- piano-less quartet takes a stab at passionate free jazz showing of formidable technique in the process. Judged by these largely superfluous (but all to prevalent) criteria it isn ’ t. But careful conscientious reveals the true . That ’ s one of the abiding beauties of improvised music. Even with what might be considered generic implements erudite musical minds can still devise exceptional methods of expression.

_ By DEREK TAYLOR, Published: March 1, 2002, AAJ



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PAUL SMOKER QUARTET – Standard Deviations (1999)

Label: CIMP – CIMP 186
Series: Spirit Room Series – Vol. 76
Format: CD, Album; Country: US - Released: 1999
Style: Free Jazz, Contemporary Jazz
Recorded at The Spirit Room, Rossie, NY, Sept.22 & 23, 1998
Produced By Robert D. Rusch
Cover Art: Unstandard Zebiations By Kara D. Rusch


CIMP Note:

Productions and concepts, like improvised music, evolve, when allowed to, in a natural and usually beneficial way. The original idea for this set grew out of CIMPhonia #1 (CIMP 173 & 178), an arranged gathering (May 1998) for impromptu music which brought together Peter Kowald, Dominic Duval, Mark Whitecage, Joe McPhee, David Prentice, Paul Smoker and Jay Rosen. It was a lovely time of expressive sharing and out of it came the idea between Jay and Paul to do a duo project and out of that evolved the concept of a trumpet, guitar, cello and drum quartet interpreting material out of the Great American Songbook.

The group arrived in a caravan of cars on Tuesday, September 22, having played a gig at Rochester ’ s (NY) Bop Shop the night before. Relaxed informality set the tone as Tomas, Jay, and Paul are familiar faces at the CIMP premises. Steve Salerno (1961, New York) was the new face but, being a former student of Paul ’ s, from back in his Iowa days, and having worked with Jay on and off since the mid-80s, he too seemed very comfortable and proved to be both hip and appropriate in his utilization of the guitar.

Supper was followed by an unusually lengthy sound check and by the time the concert formally began, it was after 10 p.m. I will admit to some anxiety since, for me, sound checks are a period of hurry up and wait and by 10 p.m. the fellowship and anticipation I had felt in the earlier hours had lost its edge and been replaced by a growing fatigue. Fortunately, the quartet, having been more directly and continually involved with the sound set-up, had not lost its edge. They opened with “ By Myself, ” followed it up with “ Stormy Weather/When the Sun Comes Up ” and, after that incredible performance, took a break. By then my spirits were soaring, the adrenaline of artistry had reinvigorated me.

It occurred to me that individually, and even more so as a sum of their individual talents, these guys make musical artistry look commonplace. Yet, seasoned listeners will know there is nothing typical, or same old same old, about this concert. It ’ s not that they do no wrong, it ’ s more a measure of how right they are in their use of talents, imagination and the integration of it all into a musical whole. Here is a standard of artistry too rarely reached or demanded.

This is huge music and these are monumental players and that ’ s really the bottom line. There are classic interpretations of classic music here and charting it all may take years of listening: oh, the joy and exultation of it. This is humankind at its best – partake.

By Robert D. Rusch - 9/23/98




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