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The Mike Rossi Project | The Mike Rossi Project: Take Another Five

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The Mike Rossi Project: Take Another Five

by The Mike Rossi Project

A collection of settings for saxophone that range from solo to orchestra. Some of the music was specifically orchestrated for three horns that include trumpet, trombone, multiple saxophones and a stellar rhythm section with an emphasis on post bop.
Genre: Jazz: Contemporary Jazz
Release Date: 

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  Song Share Time Download
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1. Take Another Five
5:22 $0.99
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2. Lush Life
3:56 $0.99
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3. To and Fro (feat. Darren English)
5:13 $0.99
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4. Nicholas
8:58 $0.99
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5. Seven from Heaven (feat. Darren English)
5:22 $0.99
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6. Lament for N.S.M.
2:20 $0.99
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7. Quarna on My Mind (feat. Darren English)
5:37 $0.99
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8. Beauty and the Blues (feat. Darren English)
8:18 $0.99
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9. Saxophone(s) Plus One
6:25 $0.99
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10. Lady Di
6:59 $0.99
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11. Concertino for Tenor Saxophone and Orchestra
11:44 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The Mike Rossi Project: Take Another Five - Dedicated To Dave Brubeck and Nelson Mandela
Featuring Andrew Ford, Kevin Gibson, Charles Lazar, William Haubrich and Marco Maritz with special guest Darren English

1. Take Another Five (5:17) by Mike Rossi with Kevin Gibson (dr), Andrew Ford (pn), Charles Lazar (bs), William Haubrich (trb), Marco Maritz (trpt), Mike Rossi (alto sx)

2. *Lush Life (3:54) composed by Billy Strayhorn with Andrew Ford (pn), Mike Rossi (tn sx)

3. To and Fro (5:09) by Mike Rossi with Kevin Gibson (dr), Andrew Ford (pn), Charles Lazar (bs), William Haubrich (trb), Darren English (trpt), Mike Rossi (flute & alto sx)

4. Nicholas (9:07) by Mike Rossi with Kevin Gibson (dr), Andrew Ford (pn), Charles Lazar (bs), William Haubrich (trb), Marco Maritz (flgh), Mike Rossi (altello sx)

5. Seven From Heaven (5:39) by Mike Rossi with Kevin Gibson (dr), Andrew Ford (pn), Charles Lazar (bs), William Haubrich (trb), Darren English & Marco Maritz (trpts), Mike Rossi (clarinet & tn sx)

6. Lament for N.S.M. (2:19) by Mike Rossi (tenor saxophone)

7. Quarna On My Mind (5:34) by Mike Rossi with Kevin Gibson (dr), Andrew Ford (pn), Charles Lazar (bs), William Haubrich (trb), Darren English (trpt), Mike Rossi (tenor sx)

8. Beauty and the Blues (8:15) by Mike Rossi with Kevin Gibson (dr), Andrew Ford (pn), Charles Lazar (bs), William Haubrich (trb), Darren English (trpt), Mike Rossi (tenor sx)

9. *Saxophone(s) Plus One (6:25) composed by Ulrich Suesse (2008) with Ulrich Suesse (cd playback & electronics) Mike Rossi (soprano, alto, tenor, baritone saxophones)

10. Lady Di (7:13) by Mike Rossi with Kevin Gibson (dr), Andrew Ford (pn), Charles Lazar (bs), William Haubrich (trb), Marco Maritz (trpt), Mike Rossi (tenor sx)

11. *Concertino for Tenor Saxophone and Orchestra (11:37) by Peter Farmer; Mike Rossi (tn sx) with the Czech Radio Symphony Orchestra, Vladimer Valek (conductor)

All compositions and arrangements by Mike Rossi (SAMRO)

*Lush Life (B. Strayhorn, Tempo Music), Saxophones Plus One (U. Suesse, Gema), Concertino for Tenor Saxophone and Orchestra (P. Farmer)

Recorded 18-19 April 2016 at The Nut House Recording Studios, Cape Town, Andrew Ford, engineer.
Lament for N.S.M. and Saxophones Plus One recorded at Milestone Studios, Cape Town, 14 March 2015, Dave Langemann, engineer.

Mike Rossi’s compositions are available at:www.schott-music.com www.advancemusic.com www.mikerossijazz.com

Take Another Five is a follow up to The Mike Rossi Project: Trespassing Permitted and is a collection of settings for saxophone that range from solo to symphony orchestra. This recording features re-workings of some of my earliest compositions (Nicholas, Beauty and the Blues, Lady Di), to new pieces (Take Another Five, Lament for N.S.M., To and Fro, Seven From Heaven, and Quarna On My Mind). Lush Life is one of my favourite pieces by Billy Strayhorn and in 2015 marked the 100th Anniversary of his birth (1915) while Saxophones Plus One by Ulrich Suesse combines use of my pre-recorded sounds re-worked by Suesse and played back as a platform for improvisation in real time.
“…plus one stands for electronics, which somehow is added as a further element and/or as a further player to one or several other interpreters. In this case Mike Rossi was recorded, his sounds electronically manipulated and then used in a live performance.” - Ulrich Suesse

In addition to the common time pieces (3/4 and 4/4), this cd has an “Odd Time” feel to it with works in 5/4, 7/4 and 9/4 and can be used as a supplement to the 2015 publication of Odd Times: Developing the Ability to Play and Improvise in Uncommon Time Signatures by Mike Rossi and Darius Brubeck, ADV 14279, advance music GmbH, Mainz, Germany.

The Concertino for Tenor Saxophone and Orchestra by Peter Farmer was originally released in 2003 on “The Music of David Post and Pete Farmer” (MMC2125) and mistakenly listed the composer as soloist. I am pleased that the label and composer have allowed me to include this outstanding work, which was recorded in Prague with the Czech Radio Symphony Orchestra, Vladimir Valek, conductor. I had the honour of performing the Concertino in Boston’s historic Symphony Hall and in the magnificent Antonin Dvorak Hall in Prague.
“The work is based, melodically, on the hymn "Oh God help in ages past,"... The hymn motive is developed "exhaustively", ... going through a number of transformations and expansions towards the coda, wherein the tune is finally restated in its original form....the piece is pervaded with jazz and blues-inflected lines. As the work nears its conclusion, the tutti drops out, allowing the sax to play a cadenza that Farmer describes as "more introspective than dramatic...somewhat 'bluesy'," – Alexander Carpenter

This recording project would not have been possible without the efforts of all involved - namely the musicians who gave it their all: Andrew, William, Kevin, Charles, Marco and Darren. Special thanks to the Department of Research and Innovation at the University of Cape Town (UCT), the National Research Foundation (NRF) for assistance in funding this project, and to Gina Jones and Andrew Ford at the Nut House Recording Studios. To all the musicians I have played with, my colleagues at UCT and students who continue to inspire and encourage - I thank you.
Lastly to Diane; my partner, mother of our two daughters and sounding board; always with a keen eye and ear; all is possible.

Take Another Five (dedicated to Dave Brubeck and Nelson Mandela)
This piece composed in 5/4 was inspired by a 2014 tour of South Africa as a member of the Darius Brubeck Quartet. Darius and his London based rhythm section landed in Cape Town on 5 December 2013 - the exact day of Mandela’s passing. As we began our South African journey Darius remarked that his father, the great Dave Brubeck, passed away on the very same day as Mandela - one year earlier! Thus the world had lost two major icons a year apart to the day. This piece is dedicated to Dave Brubeck (6 December 1920-5 December 2012) and to Nelson Mandela (8 July 1918-5 December 2013).

To and Fro
This piece with a 9/4 samba-like groove was inspired from years of travels as a working musician throughout the U.S., Europe and Africa. Along with my long association with Darius Brubeck and as a member of his quartet, we have done lots of To-ing and Fro-ing over the years. It is dedicated to Cathy & Darius Brubeck, and my fellow To and Fro musician friends.
The piece can be performed as an up-tempo samba with A & B sections subdivided as 2+2+2+3. Drumming Maestro Kevin Gibson does some amazing work throughout!
For additional study of odd time signatures, Take Another Five, Seven From Heaven and To and Fro appear as lead sheets in the appendix of the 2015 publication of Odd Times: Developing the Ability to Play and Improvise in Uncommon Time Signatures by Mike Rossi and Darius Brubeck, ADV 14279, advance music GmbH, Mainz, Germany.

Nicholas
This piece in 3/4 is one of my earliest pieces and was inspired by the birth of my godson Nicholas (1985). It was written in my father’s family barbershop during my days as a professional barber! Thanks to my dad, Andimo for allowing me to practice and keep the music going during this period and between haircuts! It was later recorded with jazz greats Billy Hart, Rufus Reid and Tom McKinley, on Beauty and the Blues (MMC2045J). The sing-able, legato and melodic melody has now been expanded and arranged for three horns, and can be played by less experienced improvisers as well as seasoned pros.

Seven From Heaven
Following the solo clarinet introduction, Seven From Heaven launches into an infectious 7/4 line using a traditional New Orleans second line feel. The feel-good/party-like atmosphere of this piece borrows directly from the New Orleans funeral tradition of sorrow and sadness on the way to the cemetery followed by happiness and joy in remembering the deceased.
The improviser should feel free to use melodic and rhythmic fragments contained within the opening vamp introduction and melody when improvising. The rhythm section has rhythm/harmonic hits or hooks that add fun to this 7/4 blues piece. The horns can also feel free to improvise in a collective-Dixieland fashion over the intro vamp section.

Lament for N.S.M. (New Saxophone Music)
This solo piece was recorded following a tour with the Mike Rossi Project in March 2015. It is part of a larger project that will be released in 2016 with Patrick Bebelaar (Germany; piano), Ulrich Suesse (Germany, South Africa; electronics) and Michel Goddard (France; tuba, serpent horn, bass). The piece is a lament that represents a moment of beauty, peace and solitude within jam packed daily events.

Quarna On My Mind
This is the first movement of a suite dedicated to the people of Quarna Sotto, Italy and home of Rampone & Cazzani – Makers of Hand Made Italian Saxophones. As I celebrate ten years of trips to this remote Northern Italian village with a population of just over 400 people, I have made many friends and appreciate the local customs that celebrate the past, its rich history and traditions. This village boasts a history of more than one hundred years of people involved with the making of musical wind instruments; nearly everyone you meet today is involved in or associated with making instruments by hand. In the modern world of mass production and automation, it is life affirming to see true craftsmanship - fatto a mano.
The up tempo first movement of the suite is composed mainly of a simple blues melody with a bridge and samba like C section that represents the climb of 900 meters from Lago Di Orta to the village of Quarna Sotto via twenty-one hair pin turns. The views are simply breath-taking with incredible vistas in every direction.

Beauty and the Blues
The title piece from Beauty and the Blues (MMC2045J) has been drastically expanded for this recording from its original version inspired by my first trip to South Africa in 1989. The piece symbolizes the beauty and the blues of everyday life in South Africa and throughout the African continent, where each day one encounters amazing beauty alongside the desperation of the poor, and getting through what life throws at us on a daily basis. The opening 4-bar theme and sus sound resembles beauty while the augmented chord on bar five resembles the daily struggle (blues). The improviser is then inspired to play within these two scenarios. The ensemble-tutti section is an ensemble reflection of life’s beauty and blues. The abrupt double-time ending leaves the listener hanging and awaiting the next day in Africa.

The stellar rhythm section of Billy Hart, Rufus Reid and Tom (William Thomas) McKinley on Beauty and the Blues (MMC2045J) was an honour and joy to experience. This piece and the inspiration for many of my early works is due to Tom McKinley, who passed away in 2015. Tom was a major figure in American music and a big influence on my development and career when I had the opportunity to study and perform with him in Boston during the mid1980s and the 1990s.

Lady Di**
This up-tempo piece in 4/4 employs subtle meter shifts to 3/4 with a main soloing section in 4/4. The four main themes are reworked throughout in all parts and can be used as material for improvisation. The three horns as a section and the rhythm section improvise collectively and individually.

Lady Di was first performed in the mid 1990s as part of a series of doctoral recitals at the New England Conservatory in Boston. It has since transformed over the years into a group of set pieces in one of my book publications and recently reworked and arranged for this ensemble and recording. This piece is dedicated to my wife, supporter and life partner of 26 years plus; “Lady Di”.

**For additional study of this piece, and developing a chromatic language from common bebop concepts and scales, refer to Uncommon Bebop from Common Bebop Practice & Concepts, (Mike Rossi, Advance Music #14277).






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