Dan Wilson | To Whom It May Concern

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Jazz: Modern Creative Jazz Jazz: Jazz Fusion Moods: Type: Improvisational
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To Whom It May Concern

by Dan Wilson

The result of the creativity of all of the musicians who played on this album.
Genre: Jazz: Modern Creative Jazz
Release Date: 

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  Song Share Time Download
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1. Long Story Short
7:19 $1.33
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2. Who Shot John
9:57 $1.33
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3. Another Star
4:50 $1.33
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4. To Whom It May Concern
9:04 $1.33
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5. It Might As Well Be Spring
5:09 $1.33
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6. Crazy Barrett
4:07 $1.33
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7. Afrozilla
9:35 $1.33
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8. Audible Distraction
10:36 $1.33
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Some album notes:

1. Long Story Short: I wrote this tune with the bass player Kip Reed in mind. His bass lines kill me here. Even at a tempo like this, you could write a melody from his walking lines. Bryan Connell comes right out of the gate with a monstrous solo followed by Phillip K. Jones II on piano. Both of these gentlemen have that "killer instinct" that I look for in musicians. The drummer James Johnson III was swinging!!

2. Who Shot John: This tune was concieved one morning before a rehearsal for a great group that I play with called Audible Distraction. Everyone in the group loved it, and I'm looking forward to recording a different version with them very soon. I wrote this tune with the idea of making 5/4 danceable. I hope that comes through on the recording. I remember signaling Bryan to take the first solo. He must have eaten a hearty breakfast that day, because he knocked it out of the park. Check out the trade between 19-year old pianist from New Orleans, Shea Pierre, and Phillip K. Jones on organ.

3. Another Star: Stevie Wonder's music has always had a profound influence on me. Songs In The Key Of Life will never cease to be a classic recording. When I first thought about doing a Stevie tune, I thought to my self, "how and why would anyone reharmonize a Stevie Wonder song?" I must be crazy or something. I got Steve Fowler to sing and I think he helped us do the song justice. He's a formidable talent coming out of the Cleveland area. James Johnson III's solos at the beginning of the tune really intrigue me. I've been playing with him for a couple years now and I wrote those hits in with him in mind. The trading idea among the soloists came from the great bassist Dave Holland. It really increases the energy of the tune. Theron Brown's organ really does a lot for this arrangement.

4. To Whom It May Concern: I wrote this song in pieces during my travels. I wanted to write something with a melody that people could latch onto. If I hear someone say, "man I couldn't stop humming the melody to that tune," mission accomplished. Phillip's organ solo really stands out to me on this track. He really develops the solo using a really melodic theme and by the end of the solo, all the drawbars were out. Also, check out how he plays behind me on the guitar solo. Very creative support.

5. It Might As Well Be Spring: I first heard this song on an old Sarah Vaughan record. I had been listening to a lot of West African music at the time. A great guitarist named Ray Green that I grew up hearing in the church played me a solo arrangement of this tune, and I went home and learned it. Some years went by, and as soon as I thought about recording this tune, all of those experiences came together. Carolyn Perteete, from Pittsburgh, Pennsylvania, is the extraodinary vocalist on this track. She has one of the best vocal tones I've ever heard. It's even interesting to hear her talk because she even talks with musical notes! I'm glad James Johnson III was the drummer on this track because as soon as he heard the bass line in rehearsal, he played that exact groove.

6. Crazy Barrett: The first time I heard Barrett Barnes play was on a college recital at Youngstown State University. I'd heard great things about his playing through a mutual friend. After the first note at the rehearsal I knew that I would be working with him. I'd also hear people say, "Oh man, you play with Crazy Barrett? Man he's out of control." Upon playing with him, I couldn't help but notice the unbridled creativity and fire in his playing. The song title is sort of a sarcastic tip of the cap to those naysayers. The bassist for this session, Joey Green, has incredible chops and a remarkable sense of time. He was warming up with an amazing bass line and we all went nuts when we heard it. Eventually, we told the engineer to press record and let loose.

7. Afrozilla- Pianist Theron Brown is responsible for the name of this tune. He used to have a giant afro. Apparently, some kid rolled by him on a bike, stared at him, and said "Afrozilla," and peddled away. When I brought this tune in for an Audible Distraction rehearsal, he immediately named it. I brought in Alton Merrell on keyboard for this session. Needless to say, he stole the show. He takes a really great solo. Bill Ransom came in an laid some great percussion tracks down also. Bill goes to sporting goods stores and buys animal calls and uses them on tracks. Whenever I see him, he's got something new that goes bang, pow, or ting.

8. Audible Distraction: This is a reincarnation of a tune I wrote for a great fusion band that I play with called Audible Distraction. I brought in a few of my favorite musicians for this session: Joey Green on bass, Keith Mckelley on alto and tenor sax, Barrett Barnes on drums, Chris Anderson on trombone, Allen Swoope on organ, Phillip Jones on piano, and Bill Ransom on percussion. Allen's melodic organ patches really add a lot to the track and provide a great color change when solos change. Barrett and Joey locked up like they've been playing together for years. Joey was somehow able to get like 4 different tones out of his bass within a space of 8 bars. Keith and Chris form a scary horn section. Keith has that in your face, aggressive attack that can really drive a song, and Chris is an extremely soulful player. I brought the genius Steve Fowler back in to do some wordless vocals to set up Barrett for his crazy drum solo.

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