ZZCD 9820 bebop bassoon

ZZCD 9820
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***Sound Clips***

Bebop Bassoon
Daniel Smith

DANIEL SMITH bassoon
MARTIN BEJERANO piano
JOHN SULLIVAN bass
LUDWIG AFONSO drums

1	Killer Joe	(Benny Golson)	6:26
2	Anthropology	(Charlie Parker/Dizzy Gillespie)	3:53
3	Blue Monk	(Thelonius Monk)	4:31
4	Sister Sadie	(Horace Silver)	4:47
5	In A Sentimental Mood	(Duke Ellington)	4:27
6	All Blues	(Miles Davis)	5:51
7	Doxy	(Sonny Rollins)	4:24
8	Up Against The Wall	(John Coltrane)	3:03
9	Birk’s Works	(Dizzy Gillespie)	4:33
10	Sticky Wicket	(Dexter Gordon)	2:49

DDD Total Time = 45:11 / Recorded at Acoustic Sound Studios, New York, 4–6 January 2004

http://www.rootsmusicreport.com/2.0/charts.php?name=jazz

THE BASSOON AND JAZZ

Jazz on the bassoon? How does one attempt to play jazz, to improvise, on the bassoon? While this CD is not the first recording to showcase the bassoon in a jazz setting, it nevertheless remains a most daunting challenge for anyone to do in a convincing manner. The bassoon is a very difficult instrument, perhaps the hardest of all in the woodwind family. Even if one masters the skills involved in playing the bassoon on a professional level, very few of these skills will be of much help when first learning how to improvise. A jazz phrase, whether written out or improvised is much more difficult to execute on a bassoon than for instance on a saxophone.And then there is the issue of a style, just who do you copy? Saxophone players can study and learn from such greats as Charlie Parker, Stan Getz and John Coltrane and trumpet players from masters such as Dizzy Gillespie, Miles Davis and Louis Armstrong. But who does an aspiring jazz bassoonist copy or learn from? And then where and how would you learn to do this..... and then get the chance to try out your attempts at perfecting such a very unusual and difficult skill? I believe that the main reason for jazz on the bassoon being such a rarity lies in the very nature of the instrument. Not only is it difficult to master, as most woodwind players would readily acknowledge, but in addition one would have to shed all preconceived notions as to how to successfully play jazz on the instrument. Assuming someone is already an accomplished player, in essence they would have to wear two ‘hats’, that is to keep a legitimate or conservatory trained concept in place when performing in an orchestra or ensemble, and then switching over to another way of thinking and playing when entering the world of jazz.

1. KILLER JOE (Benny Golson – b.1929)
A wonderful opening piece for this album, this sparkling composition sounds as if it was meant for the bassoon. A swinging mood is established from the onset by the rhythm section joined a few measures later by the bassoon boldly stating the melody. Two solo choruses on the bassoon are followed by another two on piano along with a solid backing of drums and bass throughout. After restating the melody a final time on the bassoon, the music winds it’s way towards the ending with the rhythm section.

2. ANTHROPOLOGY (Charlie Parker – 1920-1955)
This up-tempo Charlie Parker classic features the melody in octaves and unison of bassoon, bass and piano. All three instruments are then featured in solo improvisations pushing fingers and ideas to the limit. To end the piece, once again we hear the triple unison/octave melody a final time to wind up a most exciting and unusual performance of this bebop classic.

3. BLUE MONK (Thelonious Monk – 1917-1982)
Beginning with the theme stated by Martin Bejerano on solo unaccompanied piano, the bassoon takes over with the melody accompanied by full ensemble, first in it’s low doleful range and then followed by a second more lyrical singing version in the top range. Solo choruses on bassoon and piano lead back to the final restating of this wonderful jazz classic with the bassoon again in it’s low register. A great classic well suited to the sound of the instrument.

4. SISTER SADIE (Horace Silver – b. 1928)
A real ‘flag waver’ arrangement! With a slightly faster-than-usual rendition of this Horace Silver piece, the bassoon displays it’s ability to move around gracefully in it’s upper register as it states this funky swinging tune. Two solo choruses each on bassoon and piano then lead to exciting ensemble ‘shout’ choruses featuring the wonderful drumming of Ludwig Afonso. Then back to the melody and a final flourish for the ending.

5. IN A SENTIMENTAL MOOD (Duke Ellington – 1899-1974)
While not technically speaking a ‘bebop’ piece, this version reflects back on one done some years ago by John Coltrane which featured a sparkling piano obbligato against the beautiful Ellington melody. It also gives a chance for the bassoon to display it’s wonderful lyrical qualities in an extended setting along with some ‘bending’ of the melodic line as Ellington had intended. The bassoon melody is then followed by a piano improvisation of Martin Bejerano covering the opening section where the melody is repeated. On the middle section of the tune, long improvisational lines are utilized by the bassoon, which then lead back to the final stating of the melody. Above the final chords, there are three short cadenza-like flourishes by the bassoon to end this magnificent piece of music by one of the great composers of the 20th century.

6. ALL BLUES (Miles Davis – 1926-1991)
This atmospheric piece in the unusual meter of 6/8 begins with the traditional bass opening wonderfully played by John Sullivan. The bassoon is then featured displaying the mournful qualities of this long-line blues melody. Two solo choruses each on piano, bassoon and bass are then back to the melody. The piece ends with the last four measures repeated three times by the ensemble.

7. DOXY (Sonny Rollins – b. 1930)
This is another piece which sounds as if it could have been written for the bassoon. The first chorus consists of a broken bass line against which the bassoon states the melody. A roll of the drums lead into the next chorus which again features the theme on bassoon, but now with full ensemble. Solos feature in sequence the bassoon, piano and bass and then back to the melody with ensemble. The final stating of the theme mirrors the beginning with a broken bass line against the bassoon melody.

8. UP AGAINST THE WALL (John Coltrane – 1926-1967)
This unusual blues melody is showcased in a setting similar to that used by John Coltrane. There is no piano involved, just the bass and drums along with the bassoon. The theme on bassoon is stated twice above a freeform drum pattern with the bass keeping time. The bassoon then improvises four solo blues choruses above the drums and bass followed by an extended drum solo of Ludwig Afonso. Then back to the melody two times exactly as the piece began.

9. BIRK’S WORKS (Dizzy Gillespie – 1917-1993)
Titled after Dizzy Gillespie’s real name (John Birks), this minor blues is an understated piece which works wonderfully on the bassoon. The melody heard the first time features a unison bassoon-bass line backed by drum fills. Then a second chorus with full ensemble to be followed by solos. The piece ends with the full ensemble again and then a final statement of the melody as heard at the beginning- unison between the bassoon and bass with percussion backing.

10. STICKY WICKET (Dexter Gordon – 1923-1990) A hard driving up tempo blues with the theme stated on bassoon interspersed with crisp ensemble punctuation and drum fills. The bass then starts off with the first solo followed by two each on bassoon and piano. Then back to the beginning with the same format of ensemble interspersed with drum fills. A wonderful and exciting piece to end this album of bebop classics featuring jazz bassoon.

Revised Tuesday September 05 2006