According to history, jazz was born in New Orleans and in the first
three decades of this century gradually moved up the Mississippi River to
the central United States. If New Orleans was the birthplace of jazz
and the Midwest is where it spent its adolescence, New York is where the
music found adulthood. Since the 1930’s when the bands of Cab
Calloway, Chick Webb and Duke Ellington reigned supreme and into the
1940’s, when many of the hottest jazz improvisors uprooted and shifted
base from Midwestern cities such as Chicago, Detroit and Kansas City to
the East Coast, New York has been called “The Jazz Capital of the World.”
When the great bebop innovators Charlie Parker,
Dizzy Gillespie, Thelonious Monk and others made 52nd St. their
headquarters, that reputation was once and for all secured. In the
60’s the next generation of innovators like John Coltrane, Miles Davis and
their colleagues, all made the New York area their home. A young
jazz musician might get his start elsewhere, but if you could make it in
the Big Apple you could make it anywhere. New York improvisors of
every genre from bebop to avant garde have been considered on the cutting
edge of our unique American art form. All the musicians on this
recording are part of this “New York Breed”.
I first came to the city when I joined Clark
Terry’s Big Band in 1981. When Clark went back to a small group
format I relocated in New York and it’s been my home since. Where
else could one perform and record with musicians like Jack de Johnette,
Randy and Mike Brecker, John Scofield, Toshiko Akiyoshi, Mel Lewis, Max
Roach, Eddie Palmieri, Tito Puente, Dizzy Gillespie, Mario Bauza, Paquita
D’Rivera and the brilliant musicians on this recording? It seems
like name dropping, but the fact of the matter is these guys are local
cats. Of course that locality happens to be the island of Manhattan.
Dave Liebman is one of the premier saxophone
virtuosos of our time. His credentials include the groups of Miles
Davis and Elvin Jones and co-leadership with Richie Beirach of the trail
blazing musical groups “Look out farm” (70’s) and “Quest” (80’s).
Combine astonishing instrumental technique and a deep, insighted musical
mind with fire and a heart the size of Brooklyn and you have a jazz
improvisor for our era and the next. It is an honor for me to have
worked and recorded with his group in the past and a real pleasure for me
to have him on this date.
Pianist Richie Beirach is another virtuoso
performer and visionary improvisor. He started his career with the
groups of Stan Getz, Chet Baker and as mentioned earlier co-led “Look out
farm” and “Quest”. His recordings as a leader on ECM in the 70’s
established him as a ground breaking soloist. His razor sharp
technique, keen intellect and profound knowledge of 20th Century Music
combined with an intuitive jazz improvisational acumen put him in the
vanguard of modern pianists.
Rufus Reid is respected as one of the most in
demand bassists in the world. His work with greats like Dexter
Gordon, Thad Jones-Mel Lewis Big Band and his co-leadership of the
Tana/Reid Project have put him at the pinnacle of his instrument.
More than just a world class bass player, Rufus is also a renowned jazz
educator. He combines the attributes of tough task master and
nurturing counselor, and many of today’s top young jazz musicians can be
counted among his students.
Adam Nussbaum has garnered a reputation as one of
the “hottest” drummers in the world. His credits include the groups
of Stan Getz, John
Scofield, John
Abercrombie, Mike Brecker, Dave Liebman and many others. He combines
volcanic energy with taste and sensitivity. His innate sense
of swing and musicality set him apart.
Conrad Herwig - January '96
This recording is dedicated to my wife Maria Ines
Te Quiero Mi Amor
1. Code Mode (6:14) (RadJazz) Conrad Herwig - An
up-tempo original of mine dedicated to Richie Beirach, known to his
intimate friends as “ The Code.” This opening track features the
soprano sax and trombone in a quintet setting and captures the feeling of
what I call the “New York Burn.” If you still don’t know what I’m
talking about, check out Adam’s drum solo.
2. Search For Peace (7:40) McCoy Tyner - One of my
favorite ballads, this haunting McCoy Tyner tune from the 1965 Blue Note
release “The Real McCoy” is given a straight forward performance by the
quartet. This classic piece needs no embellishment.
3. Cousin Mary (6:09) John Coltrane - A well-known
Coltrane tune from the “Giant Steps” album, here it is re-harmonized as an
open F-minor blues and gives the quartet a chance to stretch out.
4. For Heaven’s Sake (6:50) Meyer, Betton, Edwards -
Originally a ballad, this chestnut standard is performed here with a new
slant, an up tempo pedal point re-harmonization. This track features
a Beirach piano excursion followed by spirited trombone and tenor sax
exchanges. Burning!!!
5. The Gatekeeper (6:48) (Radjazz) Conrad Herwig -
Imagine approaching an ancient Moorish castle at sunset. Who do you
meet? The Gatekeeper. This atmospheric 1/8 note ballad is
intended to create mystery and enchantment.
6. 40 Bars (5:42) (Beirach Music) Richie Beirach - An
early Beirachian line from the 70’s in its first record performance.
This circular 40 bar structure is a challenging vehicle for improvisation.
7. Deluge (6:52) Wayne Shorter - An “in the pocket” romp
from the
pen of Wayne Shorter. This tune features Liebman’s muscular
tenor sax
sound and
some really hard-swinging group empathy.
8. Wee Small Hours (4:22) Dave Mann - A classic ballad made
famous
by Frank Sinatra in the 50’s, this tune was originally composed
in C major. Here in a duo setting, we treat it in a minor mode
giving the song a reflective
and more melancholy mood.
9. New Breed (6:04) (Liebstone) Dave Liebman - A Dave Liebman
composition originally recorded with Elvin Jones. The main features
are an inspired use of consonance and dissonance in his horn writing and
spontaneous, interactive, asymmetrical improvisation.
10. I’ll Take Romance (8:23) Ben Oakland - My arrangement is a
radical transformation of a familiar standard inspired by John Coltrane’s
versions
of such unlikely show tunes as My Favorite Things and Chim
Chim Chiree. The quintets powerful performance adds to the Traneish
atmosphere and
is a fitting climax to
this recording.
