专辑简介

Thompson/Jenkins/Campbell: Trio East: Stop-Start (Sons of Sound SSPCD025) Composed by Clay for his son, Travis, “Tray-Bo” is written in AAB form and utilizes asymmetric phrases. Beginning with a duo format of trumpet and drums, the bass joins in during the B section. Listen to the interplay and conversational quality the Trio creates throughout. “Up Against The Wall,” a John Coltrane blues, cooks along at a medium-slow tempo that emphasizes the absence of piano and allows the Trio plenty of space to interact. “Stop-Start” by Lee Morgan challenges the Trio because it vacillates between Latin and straight-ahead feels. Written in an AABA form, its style best represents the Trio and is thus the title cut. Dizzy Gillespie’s “Con-Alma” is one of the Trio’s favorites. The form lends itself to many interpretations and in this setting we decided to extend the intro with a tone-color treatment of the beginning harmonic ideas. Listen to the mastery Clay Jenkins employs as he slips from the solo into the melody with seamless precision. “In Fine Line,” another Jenkins composition, has become one of the Trio’s signature pieces. It features a rather obtuse and technically challenging musical bass line pitted against a demanding trumpet melody. I’ve constructed a four-bar drum phrase that presents a phasing or skewing effect that makes the piece sound as if three different lines are occurring simultaneously. There are also target measures that separate the three tonal areas of the tune. “Late Bloomer” by Clay Jenkins is a new tune for the Trio, and we were immediately taken by its rhythmic feel and buoyancy. The open framework provides many possibilities, and the Trio explores a longer intro coupled with alternate sound possibilities in the drums and bass. Nearly two minutes in length, this intro could almost be considered a piece in itself. Pay close attention to Jeff’s foreshadowing of the ostinato bass line and the manner in which the Trio builds Clay’s solo into a duo and, finally, to an intense trio exchange. I explore the use of fingers and hand drumming to accompany Jeff’s bass solo. “26-2” is a well-known John Coltrane standard from Coltrane’s Sound. This track provides a chance to reconnect with our roots and show the listening community the great respect we feel for our forefathers in jazz. Clay and I stretch out on our solos as the Trio reworks this classic. Mal Waldron’s “Soul Eyes” is the only ballad featured. Because it is a personal favorite, and given the fact that the composer had passed away only a few weeks before our December 2002 recording session, we wanted to dedicate this recording to Mal and his great work throughout his life. The performance exudes a haunting and reverent quality.. “Happy House” is a rather obscure Ornette Coleman tune that seemed a natural solo vehicle for me to demonstrate the expressive quality of brushes. I have a great supporting cast for this 21-bar tune (19 bars on the head out), and I hope you have as much fun listening to it as I did recording it. — Rich Thompson, June 2003 I knew from the first notes we played together in December of 2001 that these musicians had alot in common. The visceral quality in everyone’s playing, combined with the constant communication we felt each Thursday night during our gig at the Little Theatre Café was undeniable. This venue quickly became one of my favorites because of the energy and creativity we felt free to unleash. From week to week, I never knew how any tune – jazz standard or original – was going to sound until we were in the moment. In an effort to recreate this spirit of spontaneity and honesty in the studio, we recorded each tune once, twice at most. I hope that the music herein will be among your favorites as well. — Rich Thompson After having played together every week for an entire year, it is very fulfilling for this trio to have completed this recording. We have established a wonderful relationship, working within both the parameters and the freedoms of a trio setting. I have always enjoyed playing in a trio with bass and drums. Playing with Jeff and Rich has been an enriching musical experience. — Clay Jenkins I enjoy Trio East because each of us brings a strong sense of the jazz tradition to the group. Perhaps more importantly, we allow an adventurous spirit to exist with the intent of moving the music forward. I also enjoy this group because the primary responsibility of the harmonic definition falls to the bass. In this situation, I’m allowed a certain amount of latitude to support and shape the overall harmonic content and direction of the music. The music on this recording represents a period in the ongoing (and never-ending) maturation process of the individual and collective musicianship of Rich, Clay, and myself. — Jeff Campbell We would like to thank our wives, Leslie Thompson, Betty Jenkins, and Sharleen Campbell, and our families for all of the love and support provided on a regular basis. Thanks also to the people who made this project happen in spite of their busy schedules: Jeff Corcoran, Peter Erskine, Maddy Sturm, and Ian Fry. Thanks to Bill Coppard and the staff and fans from the Little Theatre. Thanks also to Harold Danko for his friendship and support.