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Jeff Rupert | The Ripple

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John Coltrane Lester Young Stan Getz

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Jazz: Mainstream Jazz Jazz: Bossa Nova Moods: Featuring Saxophone
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The Ripple

by Jeff Rupert

Straight ahead jazz with saxophonists Jeff Rupert and George Garzone, with jazz legend Marty Morell on drums, Richard Drexler on piano, and Jeremy Allen on bass.
Genre: Jazz: Mainstream Jazz
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  Song Share Time Download
1. Bahia (feat. George Garzone, Richard Drexler, Marty Morell & Jeremy Allen)
7:42 $1.50
2. Go-Go (feat. George Garzone, Richard Drexler, Marty Morell & Jeremy Allen)
4:56 $0.99
3. Stardust (feat. George Garzone, Richard Drexler, Marty Morell & Jeremy Allen)
7:43 $1.50
4. Without a Song (feat. George Garzone, Richard Drexler, Marty Morell & Jeremy Allen)
6:08 $1.50
5. The Shadow of Your Smile (feat. George Garzone, Richard Drexler, Marty Morell & Jeremy Allen)
5:55 $0.99
6. Detour Ahead (feat. George Garzone, Richard Drexler, Marty Morell & Jeremy Allen)
5:26 $0.99
7. The Red Door (feat. George Garzone, Richard Drexler, Marty Morell & Jeremy Allen)
4:47 $0.99
8. Red Top (feat. George Garzone, Richard Drexler, Marty Morell & Jeremy Allen)
5:12 $0.99
9. Hoboken (feat. George Garzone, Richard Drexler, Marty Morell & Jeremy Allen)
5:05 $0.99
10. Beauty Becomes Her (feat. George Garzone, Richard Drexler, Marty Morell & Jeremy Allen)
6:02 $0.99
11. Lester Left Town (feat. George Garzone, Richard Drexler, Marty Morell & Jeremy Allen)
6:29 $0.99
12. Alone Together (feat. George Garzone)
3:12 $0.99
Downloads are available as MP3-320 files.


Album Notes
The Ripple in this instance refers to the far-reaching effect of Lester Young’s profound voice in music. By the late thirties he emerged as the most profound improviser after Louis Armstrong. Not just saxophonists, but pianists, trombone players, etc., learned how to improvise through Lester Young, or “Pres” as Billie Holliday nicknamed him. Pianist Jimmy Rowles opined that he learned how to play by memorizing Lester Young solos. He goes on to say that he didn’t know what he would have done had he not learned them. Lester used to carry around C-melody saxophonist Frankie Trumbauer recordings, exclaiming that “he liked the way he told a little story”. Check out The Lester Young Reader by Lewis Porter for more in-depth information. Lester Young developed an individual style, sound, and concept. Yet at the time, Coleman Hawkins was considered the “father” of the tenor saxophone, projecting a virile sound and virtuosic arpeggiated improvisations. Lester Young came to be in many ways the antithesis of Hawkins’ style. He had a warm, round sound, and his improvisations were floating, at times nonchalant, but always grooving. Lester was originally a drummer, and when I listen to some of my favorite solos of his (Shoe Shine Boy, Exactly Like You with Basie) I can’t help but think his early development as a drummer had a profound effect on his style and sets him apart from other horn players; Pres’ rhythmic subtlety seems to elude even some of his greatest admirers
. It’s often said by musicians that Lester was the first “cool” musician (the style embodied on the Miles Davis album Birth of the Cool and adopted by a host of west coast musicians of the fifties). I remember discussing Lester with Young expert Loren Schoenberg. He opined that the more he tried to play like Lester, the less he sounded like him. In fact, Loren went on to say that he thought Joe Henderson sounded more like Lester than anyone, just a surreal version (Loren turned his glasses in a cockeyed fashion, trying to exemplify a “Picasso-like” expression).
There are no compositions by Lester Young, or songs he recorded, on this album. This repertoire encompasses pieces recorded or composed by some of the musicians influenced by him, including Dexter Gordon, Stan Getz, Eddie Harris, Zoot Sims, Wayne Shorter, Joe Henderson, and others.
George Garzone and I show reverence for Lester Young’s impact, and as most jazz musicians do, we flirt with the surreal in music, all the while trying to play pretty, swing, and tell a little story. I often say that it’s like the sand in the oyster that makes the pearl. No sand, no pearl. Too much, and it kills the oyster. At the session George turned to me and said, “Remember kid, play you, and I’ll play me.” George is a veteran master saxophonist and improviser. Working on this music with George gave me the sense of having two different painters collaborating on one canvas. I think of Monet, Picasso, or Salvador Dali’. I’m not sure who George would remind me of, maybe all of the above plus Jackson Pollock? Stardust conveys this. When George enters it reminds me of Coltrane’s Interstellar Space, and I follow up with an interpretation of the melody. I love this combination. The band is rounded out by Richard Drexler on piano, Marty Morell on drums, and Jeremy Allen on bass. I’ve been working with Richard since 1987, and Marty for the past 15 years. Jeremy Allen and I have performed and taught together for a decade in the Midwest.
Here is a brief summary of the compositions and their connection to Lester Young. Bahia was recorded by Stan Getz with Charlie Byrd. G0-GO is an original loosely based on a tune by Eddie “Lockjaw” Davis. It is based on the chord sequence of The Girl From Ipanema. Our iteration of Without a Song is a nod to Joe Henderson’s famous recording of the tune, and The Shadow of Your Smile is reminiscent of Eddie Harris’ version. The Red Door was composed by Lester Young devotees Gerry Mulligan and Zoot Sims, and Red Top was recorded by saxophonist Dexter Gordon, on the album Sophisticated Giant. Hoboken, an original, is a contrafact based on Hackensack by Thelonious Monk. Some of the melodic statement is inspired by the recording of Hackensack by Coltrane, Getz and Oscar Peterson. We recorded two ballads. Beauty Becomes Her is an original that was first recorded on the album Let’s Sail Away with Veronica Swift, who wrote the lyric to this tune. Detour Ahead is a melancholy ballad recorded by several wonderful singers, including Sarah Vaughan. Wayne Shorter’s Lester Left Town seemed like a logical addition to this recording date. Alone Together was an impromptu duo that George and I recorded at the end of the session. Sometimes the best things in life happen in the moment.

Recorded at Starke Lake Studios, Ocoee, FL, March 16 &17, 2017
Produced by Jeff Rupert
All arrangements by Jeff Rupert
Recorded, mixed and mastered by Kendall Thomsen
Album artwork and design by Matt Dunn

Management: Kathy Salem nightisalive.com



to write a review

Joe Ross (Roots Music Report)

Tasty, profound musical statements from start to finish
Tenor saxophonist Lester Young (1909-1959) was a major influence on many musicians. With its light tone, slow vibrato and buoyant phrasing, Young’s playing served as a model for “cool jazz.” On this album, Rupert and George Garzone pay tribute to the far-reaching impact, “The Ripple” of Young’s musical vocabulary. The two tenor saxophonists feature pieces by musicians (e.g. Stan Getz, Eddie Harris, Dexter Gordon, Wayne Shorter, Joe Henderson) who were influenced by Young in their own compositions and recordings. Rupert, Director of Jazz Studies at University of Central Florida, arranged the songs, and three of his originals (“GO-GO,” “Hoboken” and “Beauty Becomes Her”) appear in the set. A veteran jazzman, Garzone has done extensive recording and touring, as well as teaching at Berklee College of Music. Also featuring Richard Drexler (piano), Jeremy Allen (bass) and Marty Morell (drums), “The Ripple” is a swinging project with airy sound, soft colorings, and innovative phrasings. Tracks like “Stardust,” “Without a Song,” “The Shadow of Your Smile,” “The Red Door” and “Red Top” are presented with considerable emotion, inflection, sensitivity and nuance. With its real sweet groove, this album’s melodic conversations are full of tasty, profound musical statements from start to finish. (Joe Ross, Roots Music Report)