Here’s a recording from 2011 that I never got around to posting about… A set of mostly spontaneous contrafact duets with my long time friend and cherished musician, Matt Otto. We had an empty church to ourselves for the day in Kansas City, along with a big Steinway, and the superb engineering expertise of Mr. Chad Meese.
Dave Ambrosio, Russ Meissner, Loren Stillman, Matt Renzi, Nate Radley, Leonard Thompson
@ The Nash, Phoenix, AZ:
@ Chez Hanny, San Francisco, CA:
Happy to have been a part of this recording. Dave and Russ have been playing together for over twenty years, and they put together a group of wonderful musicians for this SteepleChase release…
And some videos of the CD release at Cornelia Street Café…
Part of the Los Angeles Jazz Collective’s summer festival
Darek Oles, bass
Mark Ferber, drums
Leonard Thompson – piano,compositions
Ryan McGillicuddy – bass
Mark Ferber – drums
Recorded by Steve Wood at Benaji Studios, Laguna Beach CA on January 2nd & 3rd, 2012
Mixed by Matt Otto at JCR Records, Kansas City MO in 2012 & 2013
Mastered by A.T. Michael MacDonald at AlgoRhythms, Brooklyn NY on April 3rd, 2013
“Arroyo Seco” by Roger Kuntz, 1961
Photo by George Post
Used with permission from the Estate of Roger Kuntz, via Mary Kuntz-Coté
Available on iTunes, Rhapsody, CDBaby, and other digital music sites.
It was great fun taking part in this project. Superb writing and fantastic musicians. The cd should be released a little later this year.
Press play to listen:
In an effort to broaden my linear vocabulary, I devised an exercise that would force me to choose a different scale degree each time I landed on a particular chord. Here, I used the first part of John Coltrane’s “Countdown” and arbitrarily chose the F7 chord in the first bar as the parameter. In other words, the object was to construct seven different lines, the only restriction being that I use a different scale degree on the downbeat of the F7 chord in each of the seven lines.
Push play to listen:
click here for the pdf
A few years ago I cut out 12 felt squares, one for each degree of the chromatic scale, in hopes of letting chance help me to discover some new sounds.
One day I closed my eyes and picked out a group of seven notes which I subsequently learned are referred to by some as the Neapolitan Major mode. I played around with it a little, ran it through Mick Goodrick’s ‘Cycle 2’, and picked some different pedals to go underneath it.
Click here for the pdf
Push play to listen: