Pat Mallinger Quartet & Bill Carrothers | Elevate

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Elevate

by Pat Mallinger Quartet & Bill Carrothers

Chicago made jazz featuring all original compositions organically recorded in one room to 2-inch magnetic tape in one take with no overdubs.
Genre: Jazz: Mainstream Jazz
Release Date: 

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  Song Share Time Download
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1. Copacetic
6:19 $0.99
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2. Sunshine Rollins
7:40 $0.99
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3. Ho-Ho-Kus Blues
8:15 $0.99
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4. Singing Praises
7:04 $0.99
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5. No Rolling Rock
6:30 $0.99
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6. Prognosis
5:40 $0.99
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7. Double Whammy
7:53 $0.99
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8. 240 Edith Drive
5:48 $0.99
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9. Oatmeal Song
6:14 $0.99
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10. Oakdale Avenue
5:23 $0.99
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11. Windtree
9:21 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
This is Pat Mallinger Quartet with Bill Carrothers second recording. This studio recording captures a "live in the studio" vibe.

Downbeat Magazine **** 4 stars.
"Channeling the spirits— something of an AACM cliché in Chicago—happens without pretension, just focus, in more mainstream circles. Pat Mallinger has held down a decades-strong steady gig at Chicago’s Green Mill with the Sabertooth Organ Quartet. He’s a social animal who loves entertaining the crowd, but when it’s time to blow, he closes his eyes and digs deep. “Copacetic” is a uniquely American term, popular with turn-of-the-century Harlem hipsters, roughly meaning “all cool.” Here it’s a breezy bop head at odds with more modal Mallinger themes. The leader has a forceful, dependable rhythmic drive, nudg- ing the groove insistently before pianist Bill Carrothers—a probing, intelligent player—builds an increasingly ambidextrous, layered solo. First-call drummer George Fludas and bassist Dennis Carroll muster executive contexts for each cut. Carroll’s bass commentaries are notably succinct on “Sunshine Rollins,” which nods more to John Coltrane than to Sonny Rollins (given Mallinger’s quote of the former’s “Like Sonny”). Carrother’s fabulously splintered break on “Ho-Ho- Kus Blues” suggests his adventurousness; when Mallinger enters, his lower-reg- ister alto masquerades as tenor. A nice micro-ascending riff from Carroll her- alds the head counterweighted with Monkish seesaws from Carrothers, who quotes Monk’s “Bemsha Swing” during the somewhat Kenny Garrett-like vehi- cle “Double Whammy.” “Prognosis” shares the mortality awareness of late Billy Strayhorn, and “Oatmeal Song” riffs on Mallinger’s Celtic roots. Organically flowing, passionately played, highly recommended."
August 2014

Chicago Jazz Magazine
"Chicago saxophonist Pat Mallinger’s seventh record, Elevate, is a sophisticated, intricately constructed and a tightly cohesive work without a single superfluous note. A lean quartet date, Elevate consists of nine intriguing Mallinger compositions that allow plenty of room for individual expression. There is a seamless fusion of the prewritten and the spontaneous in these performances as the boundaries between the two are deftly blurred. On the energetic and nimble “Double Whammy,”Mallinger unleashes a flood of ideas over the loosely swinging refrains of his band mates. His intelligent monologue maintains a refreshing originality and a delightful groove that makes it simultaneously accessible and stimulating. Pianist Bill Carrothers takes one of his signature, complex and provocative solos, while drummer George Fludas closes the tune with a propulsive burst of polyrhythms. Carrothers demonstrates his unique take on the blues with an angular and thrilling improvisation that flirts with free jazz and is peppered with classical hints on “Ho-Ho-Kus Blues.”Mallinger’s yearning, simmering saxophone meanders with soulful swagger and leads to bassist Dennis Carroll’s turn in the spotlight. Carroll builds his ad-lib, poetic phrases out of sparse reverberations and carefully placed pauses with a singular mix of eloquence and lyricism. Carroll’s engaging and complex elegiac soliloquy brings the haunting “Windtree” (and the record) to its conclusion. The gorgeously dramatic piece opens with Zen serenity with Ma;linger’s Chinese Xiao flute blowing like a songbird over the hypnotic bursts of percussion. As the vibrant music takes off, Mallinger leads the group along a charming amalgam of Eastern and Western traditions. Carrothers’ bright, boppish keys liberally embellish the melody with influences from both heritages, while Mallinger’s melodic and exhilarating saxophone cooks with a raw intensity. Mallinger has never recorded a mediocre album, but Elevate is his best effort to date. Erudite, emotive and passionate, the disc makes for an electrifying listening experience and is the perfect slice of superlative mainstream jazz."
August 2014

The Pat Mallinger Quartet performs jazz clubs, festivals, and concerts throughout the world. Pat's band Sabertooth has played every Saturday night at the famous Green Mill Cocktail Lounge in Chicago since 1992. Pat has performed with Joe Williams, Nancy Wilson, Stevie Wonder, Herbie Hancock, Harry Connick, Ramsey Lewis, Aretha Franklin, Rosemary Clooney, Dee Dee Bridgewater, Kurt Elling, Diane Schuur, Patti Austin, Manhattan Transfer, Gerald Wilson, Muhal Richard Abrams, Lalo Schifrin, Cab Calloway, Thad Jones/Mel Lewis Reunion Band, Chicago Symphony Orchestra, Milwaukee Symphony Orchestra, Eddie Higgins, Junior Mance, Cedar Walton, Dave Brubeck, Marcus Roberts, Randy Weston, Weldon Irving, Henry Butler, Renee Rosness, Regina Carter, Jack McDuff, Joey DeFrancesco, Joe Lovano, Frank Foster, Branford Marsalis, Joshua Redman, David Sanchez, Eric Alexander, Victor Goines, Billy Harper, Jimmy Heath, Johnny Griffin, James Moody, Lee Konitz, Phil Woods, Paquito D’Rivera, Donald Harrison, Nick Brignola, Franz Jackson, Von Freeman, Roscoe Mitchell, Buddy Defranco, Alvin Batiste, Slide Hampton, Curtis Fuller, Steve Turre, Wycliffe Gordon, Clark Terry, Randy Brecker, Tom Harrell, Doc Severinsen, Roy Hargrove, Nicholas Payton, Lester Bowie, Jon Faddis, Lou Soloff, Terell Stafford, Jim Rotondi, Etienne Charles, Marcus Belgrave, Stanton Moore, Butch Miles, Lonnie Brooks, Big Time Sarah, Melvin Seals, Alfonso Ponticelli, Vince Welnick, Umphrey's McGee, and Dark Star Orchestra. Pat has toured with the Charles Earland Band, Artie Shaw Orchestra, and Woody Herman Orchestra.

Chicago Tribune
Jazz listeners already know that saxophonist Pat Mallinger offers plenty of virtuosity and emotional intensity, thanks to his prolific work in Chicago clubs and concert halls. His "Elevate" (PJM Records) manages quite a feat, capturing the fervor and drive of his live performances in a studio album, in effect offering listeners the best of both worlds. Playing alto, tenor and soprano saxophones, as well traditional Chinese flute, Mallinger reaffirms his position as a master improviser whose ideas emerge and develop so naturally as to seem inevitable. His serenely sensitive ballad playing on "Sunshine Rollins," big-and-broad statements in "Ho-Ho-Kus Blues" and steeped-in-bebop syntax on "Copacetic" (all original compositions) attest to Mallinger's versaility within mainstream jazz idioms. Assisted by longtime collaborator Bill Carrothers on piano, plus bassist Dennis Carroll and drummer George Fludas, Mallinger in "Elevate" has turned in some of the best work of an already distinguished career. Visit patmallinger.com.
August 2014

All About Jazz
Chicago-based saxophonist Pat Mallinger's Home on Richmond (Self Produced, 2011), featuring pianist Bill Carrothers, introduced a superb teaming of talents. Mallinger could be tagged as a mainstreamer, but only in an elastic interpretation of the label, something like calling sax man Jackie McLean a straight ahead jazz guy. Maybe, but he, like Mallinger sure does test the edges of that tag. Carrothers is an original who rollicks in whatever direction his muse points out—Civil War tunes, twenties music, a tribute to bopper/trumpet great Clifford Brown.

The set of eleven Mallinger originals opens with "Copacetic." Mallinger blows tart alto sax notes with a Jackie McLean tang. Carrothers tumbles along the keyboard. Bassist Dennis Carroll and drummer George Fludas rollick and roll. It's a six minutes of walking-the-high-wire spontaneity. "Sunshine Rollins" is a gently-rolling ballad, and "Ho-Ho-Kus Blues" hits hard and heavy, like something drummer Art Blakey might have written. A brief intro leads into a Carrothers solo, ten fingers tumbling onto the keyboard. Mallinger is on tenor here, sounding laid back and soulful inside a wonderfully ramshackle band.

The set is one of those one-take, everybody-in-the-same-room affairs. Everybody sounds relaxed, insouciant. The pacing, switching from up-tempo intensity to plaintive, reflective balladry is nicely done. "Double Whammy" features Mallinger laying down a hot burn in front of Carrothers' dense, rolling storm cloud of a backdrop, before the pianist swings, Bemsha style in the beginning, into another rambling, cluster-of-notes, solo.

Elevate rises above the level of excellence of Mallinger's previous offering, Home on Richmond, with Bill Carrothers. It is a lively, top tier mainstream—but it's and on the edge mainstream—jazz outing. Mallinger and Carrothers are a classic teaming.
2014


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