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Paul Corn Jazz Collective | Through Your Eyes

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Art Blakey Charles Mingus Thelonious Monk

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Jazz: Big Band Jazz: Modern Big Band Moods: Type: Instrumental
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Through Your Eyes

by Paul Corn Jazz Collective

You don't have to love jazz to enjoy this record, you only need to love music that will make you feel good!!
Genre: Jazz: Big Band
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  Song Share Time Download
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1. One Serious Night
8:00 album only
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2. As We Play At the Deep Blue Sea
6:46 album only
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3. Liborio
6:22 album only
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4. The Mischievous Mr Waage
10:31 album only
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5. Sorridente
7:09 album only
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6. V
8:44 album only
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7. JJ's Band
6:07 album only
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8. I'm Only Sad When I Think of You
5:48 album only
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9. Every Time I See Your Face
5:03 album only
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
It is not every day that a student becomes a friend, and then a friend and a colleague. Yet such is the journey that Paul Corn and I have been traveling. It gives me great pleasure to share a few thoughts about The Paul Corn Jazz Collective’s maiden recording, Through Your Eyes. Paul distinguished himself as a student from the start with his unparalleled enthusiasm and his no nonsense attitude toward the business of learning and playing music. I quickly found out that his musicianship was tempered in no small measure by his abilities and principles as an educator and musical organizer, the fruit of which is on display with this disc. Paul is an enthusiastic taskmaster who has inspired many young musicians to reach deeper into themselves and work harder towards musical excellence. That he is in truth a master teacher is found in his results: he has produced players who have gone on to further his musical vision either as players or as music educators themselves, and some of them share a similar journey of mentorship-cum-friendship-cum-colleagues-cum warriors on the cultural frontline. This family essence among the musicians are part of what makes this project special and is also what lends the music its warmth and charm.

The opening track, “One Serious Night,” demonstrates a milestone in Paul’s compositional maturity. It is dedicated to master composer James Jabbo Ware. It was inspired by his first encounter with Jabbo upon hearing his band live at their annual friends and family concert. The opening chorus here features the gorgeous playing and tone of tenor saxophonist, Beavin Lawrence, and is proceeded by the development of multiple themes featuring the band as a whole with interludes of big band funk and swing. He even includes pregnant pauses in the unfolding of the funk, a device that Jabbo has daringly mastered. The soloists in the up tempo section are Beavin Lawrence on tenor, followed by an inventive and masterfully controlled trombone solo by veteran Curtis Fowlkes. After the return of the melody we hear another Jabboesque pause, followed by a beautiful cadenza by Beavin. Then, just when you thought the piece was over there comes the clincher: a Monk-like swing section, complete with bluesy humor over a relaxed swing, proving that Corn has learned well the language that he is paying homage to. The track ends with a brief chorale filled with pensive reverence, representative of a truly inspirational night.

“As We Play at the Deep Blue Sea” was written in honor of my voyage across the Atlantic to my new home in South Africa. This time the Afro-Latin groove is interchanged with a tasteful nod to the grooves of the 1970s, a time when I came into consciousness, making this a joyous farewell indeed. I take the first solo on this one and Rick Parker, a stalwart in many of New York’s trombone sections, is heard proving himself handsomely over the harmonies and grooves on the second solo.

“Liborio” is dedicated to the memory of Joe Maniscalco’s father, Liborio “Buddy” Maniscalco. We are treated to many of Paul’s compositional strategies on this track, including an opening chorus of august horns, followed by happy grooves and tasty changes, often moving from various Afro-Latin feels to swing feels. In this composition, as with others on the record, we can hear Corn’s assimilation of Mingus’ variegated aesthetic. This track also showcases the band’s relaxed nature; take note of the solos by Stafford Hunter, one of New York’s most prolific trombonists, and Joe Maniscalco on guitar.

“The Mischievous Mr. Waage” brings home Paul’s uncanny ability to paint portraitures of the people whom he admires and loves. Paul shows his blues chops in this arrangement, and some Jabboesque gestures are intelligently utilized yet again. Such patience in melodic and rhythmic development, along with such bluesiness, is so rare from young players today that one can only smile at this. In this writing, Paul digs into the musical character of his subjects deeply and directly. This number features the whimsical nature of tenor saxophonist Keith Waage, heard here on bass clarinet and baritone sax. Keith is, without a doubt, one of the most natural players I have encountered in a long time. Also note the sly nod to Jabbo Ware after Keith’s first baritone sax solo. We go on with further explorations of the blues with the soulful trumpet stylist, James Smith. No academic playing here—only infectious, swinging blues.

“Sorridente” is a ballad featuring Paul, this time on tenor, and the masterful Donald Smith on piano. Paul’s playing here is relaxed yet urgent. Smith reveals why, in addition to being a strikingly original soloist, he is a favorite among singers needing expert and sensitive accompaniment. His rhythmic drive and full utilization of the seven octaves of his instrument brings a balance to the overall performance of this piece, and his mastery of the piano tradition is very much evident.

“V” is one of Paul’s great composition/arrangements. It showcases his penchant for counterpoint and his approach to multiple groove compositions. It aptly demonstrates the kind of horn choir writing he loves, and most of all, it swings. Beavin turns in another great tenor solo, and Satish Robertson’s trumpet voice is a great addition for his straight-ahead drive. Satish has the modern chromatic approach to bebop, but in a way that is not forced or glib. Donald Smith closes with his innovative melding of rhythm and harmony.

“JJ’s Band” is a tribute to bass trombonist/big band leader Jack Jeffers. Brother Jack is the personification of cool—sly, intelligent, witty, ironic… Paul has served in Jack’s big band, as have several members of the Jazz Collective. Mr. Jeffers uses the language of Duke Ellington and other luminaries through his down home swing with bebop stylings and his complex relationship to form. This offering is a blues played down the middle, featuring Salim on tenor, Joe on guitar, a nice arco solo by Nate Brown, bringing the spank-a-lang. Stafford on trombone, James on trumpet, and Jerrold Kavanaugh on drums. All acquit themselves with verve.

“I’m Only Sad When I Think of You” is, on the face of it, a cold-blooded title, yet it is actually ironical. We get the message right away, what with the danceable rhythm guitar playing that evokes the rhythm & blues basis of much swinging jazz. Curtis Fowlkes plays his usual mixture of intelligent planning and exciting exploration of the trombone’s capabilities. The sax section enters, one by one, and together rejoices in happiness. There is no showboating—just a nod to Sissy Strut coolness with more of the soulful vibe once again from James Smith. One thinks also of the great 1970s band Chicago, which Joe Henderson graced on occasion.

“Every Time I See Your Face” lets us hear Paul and Donald exploring the music with the late Coltrane gestural time approach to ballad making. It is serene and beautiful, but avoids sentimentality in the freedom with which they dance together. Paul is deepest within himself on this track. Donald Smith lays down yet another masterful solo, economical and expansive at the same time. This is a fitting closer for the album. Enjoy and be sure to capture the treasures found upon repeated listenings.


Salim Washington
Bogota, Colombia



Thank yous:
Special thanks to my family and loved ones who have supported me every step of the way on this project and throughout my life: Mom, Dad, and Zack—you have listened to me practice and watched me work for thousands upon thousands of hours over the last 30 years; thank you for always supporting my dreams. My Evita, you have opened my eyes to a world of happiness and love that I never knew existed. This project would not have been a reality without your never-ending encouragement and support! I look forward to spending a lifetime making beautiful music together, ti voglio bene!! Salim Washington, my teacher, friend, and boundless source of inspiration. You selflessly share your spirit, wisdom, and knowledge without reservation—your friendship and spirit is a gift to us all! Beavin Lawrence, MY MAIN MAN! Joe Maniscalco, Keith Waage, Thomas Russo—MY PEOPLE! Our relentless mission to share music with and educate future generations is special and unique—THANK YOU. The Laurenzano family, especially Mr. Laurence Laurenzano—you have been my second family for the majority of my life. Mr. L, you taught me how to teach, how to lead, how to learn, how to listen, how to be… your soul is as much a part of this music as mine is. Brian Worsdale, my friend and colleague—your constant support, help in securing performance opportunities, and unwavering endorsement of my music is forever appreciated. James “Jabbo” Ware, thank you for your friendship and mentorship. You continually help to guide, develop, and expand my compositional palate. Arturo O’Farrill, thank you for giving your valuable time, talents, and experience in listening and offering advice on the completion of this record. And, of course, the band! THE BAND, THE BAND, THE BAND. You bring this music to life EVERY TIME we play together! I still cannot believe how lucky I am to have such fine people and musicians playing and breathing life into my music—without you the music would NOT FEEL THE SAME.

Personnel:
Paul Corn (Alto Sax, Soprano Sax track #2,Tenor Sax track #5); Beavin Lawrence (Tenor Sax); Salim Washington (Tenor Sax); Keith Waage
(Bari Sax, Bass Clarinet track #4); Rick Parker (Lead Trombone); Stafford Hunter (Trombone); Curtis Fowlkes(Trombone); Joe Gullace (Trumpet); Satish Robertson (Trumpet); James Smith (Trumpet ); Brian Miesegaes (Trumpet); Donald Smith (Piano); Joe Maniscalco (Guitar); Nate Brown (Bass); Jerrold Kavanagh (Drums)

Recorded January 17, 2015 at The Bunker Studio, Brooklyn NY
Sound Engineer: Aaron Nevezie
Mixing & Mastering: Jon Rosenberg
Cover Art Work: Evita Sanika
Graphic Design: Evita Sanika
Inside Photography: Adelaide Corn
Producer: Paul Corn

A BIG thank you to the contributors who made this recording possible: Michael Barasch, Clifton Brown, Michael Caccavano, Phillip Cloud, Adelaide Corn, Mark Durante, Andrew Feiner, Judy Greenstone, Jeff Grogan, Vincent Herring, Tyler Knuaf, Margaret Lacey-Berman, Joseph Maniscalco, Julie Maniscalco, Dora Maniscalco, Diana Mason, Vanessa Melendez, Karen Popkin, Greggory Quagliano, Jimmy and Vera Rotolo, Christian Ruff, Thomas Russo, Evita Sanika, Ron Schaefer, Isaac Snitkin, David Soto, Jennie Stretton, Andy Taylor, Daniel Vecchiano, Keith Waage, Andrea Wivchar, Jedd Wolchok, and Brian Worsdale

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