 One Saturday afternoon in April of 1997, nine Atlanta jazz musicians assembled outside a local watering hole, shuffling about, waiting for a rehearsal to begin. The joint was locked, the club owner was late, and we all knew that big bands were dead. When the Tempest Little Big Band finally sat down and began reading the charts, the cats perked up, the club owner got giggly, and the band was on their way to nearly three years of weekly bookings. That Saturday afternoon was Tempest’s first and last rehearsal. Jazz musicians hate to rehearse. They’re all about improvisation, not only when standing up to solo, but with music and life in general. It’s not so much a relish of potential disaster as it is an addiction to challenge. Tempest incorporates tangible uncertainty into their gigs. Not a club date goes by when Tempest doesn’t play something with the ink still wet: new arrangements by noted local orchestrators. Invariably, they format tunes differently and spontaneously from gig to gig. It’s kind of an unspoken, “Hey, let’s find out in front of lots of people what happens when we try this.” It’s fun.  Tempest Little Big Band a nine-piece big band featuring a vocalist, nurturing and maintaining the spirit and appeal of a quintet. This CD titled, "Round Midnight" was a long time coming: their first recorded live studio album. Nothing here was played more than a handful of times prior to the session. Three arrangements were brand new to the band. "Round Midnight" is not meant to be a hard-core jazz album. It’s simply music they like— recorded in five hours on one hot Atlanta afternoon—showcasing a snap shot of the 150+ song repertoire now in Tempest’s book. Tempest loves to play the blues. “Captain Cheerio” is one of three sets’-worth of disparate blues tunes we could have chosen here. We enjoy playing black-tie affairs, hence, the more danceable fare of “I’ve Grown Accustomed to Her Face,” “Satin Doll,” and “Sway.” Tempest has a deep, abiding reverence for the jazz classics, so you’ll hear “Shiny Stockings,” “Caravan,” and “Thermo” performed as they were originally intended. We love it all and hope it shows.  Spotify Playlists from Blue Canoe Records. Adding and updating frequently: https://open.spotify.com/user/bluecanoerecords   "Look What the Cats Drug In" opens with ripping guitar work from Dan Baraszu on "Neutron Star", a song inspired by Stevie Wonder's "Too High". There is no slowing down with the complex harmonies by Eugene Maslov on "Last Ray". Blue Canoe's stable of talented artists is further exposed in "Symmetry 1" with the fluid, highly polished lines of virtuoso trumpeter Thomas Heflin. The album continues with unimaginable horn players Bryan Lopes and Ron Westray as well as the stellar compositional and orchestral arranging of the Knoxville Jazz Orchestra. The compilation brings it home rhythmically with percussionists Philip Smith and Jimmy "Junebug" Jackson. Listen for the famous Jimmy Smith on the B3 on the final tune by Junebug, "Save Your Love For Me (live)".
"Look What the Cats Drug In" is a vibrant exploration of the post-bop gems in Blue Canoe Records' vast and ever-growing catalog. Quite literally, "Look What the Cats Drug In" displays the finest musicianship of modern jazz.  The Knoxville Jazz Orchestra’s debut cd for Blue Canoe Records, “Blues Man from Memphis”, is a most adventurous big band effort featuring the work of Donald Brown. The recording also highlights the prodigious talents of three other world renowned artists: bassist John Clayton, vibraphonist Stefon Harris, and saxophonist Greg Tardy. Pianist Donald Brown (who also produced the cd) is considered to be one of the most innovative composers in the field of jazz today. Among the many accolades Brown has received, trumpeter Wynton Marsalis says: “Donald Brown is a genius.” Bassist Ron Carter adds: “For those who look around and ask, ‘Where is the next great jazz composer? Who is going to lead the music into the twenty-first century?’ Look no further. Donald Brown is here.” Brown’s compositions have been recorded by many artists. Wynton Marsalis’ recording of “Insane Asylum” on “J-Mood” was nominated for a Grammy, as was Donald Byrd’s recording of “Theme for Malcolm”.  L to R: Donald Brown, John Clayton, Stefon Harris As a testimonial to Donald Brown’s expertise as a piano player, the late Art Blakey professed: “Donald Brown is one of my favorite accompanists with The Jazz Messengers since Cedar Walton and Walter Bishop, Jr.” The KJO is a supercharged, motivated ensemble formed in 1999 by trumpet player/arranger Vance Thompson. Although a large group (17+ members), they perform regularly and have played prestigious venues such as The Montreaux Jazz Festival. The Knoxville Jazz Orchestra has a wide fan base, largely due to the enthusiasm incurred by compelling and exciting arrangements and famous guest artists. All of the compositions on this cd are by Donald Brown. The arrangements and orchestrations are by Vance Thompson and Bill Mobley, respectively. “Blues Man from Memphis” is an ingenious, inspired work for the contemporary jazz big band. Twenty-first century jazz is alive and thriving. |
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