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| 1. | Nothing but the Truth
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| 2. | Moving In
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| 3. | There is no Greater Love
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| 4. | Sunset Eyes
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| 5. | Cheek to Cheek
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| 6. | Don &
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| 7. | The Blue Sombrero
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| 8. | I Got It Bad
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| 9. | Wheelin&
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| 10. | Blue Bossa
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| 11. | Sunset Eyes Latin
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Jazz
Recorded: Private Island Trax, 6671 Sunset Boulevard, Hollywood, California 90028, USA
Saskia Laroo: trumpet on all tracks except for 8
Teddy Edwards: tenor saxophone on all tracks except for 3
Art Hillery: piano on all tracks
Wendell Williams: acoustic bass on all tracks
Gerryck King: drums on all tracks
Ernie Andrews: vocals; Special guest on: 4, 6, 11
Dutch female trumpet goddess is at it again with this straight-ahead jazz album that features two living treasures of the American jazz & blues scene - tenor player Teddy Edwards & blues singer Ernie Andrews; the album, recorded in LA,has cool, grooving standards & newly arranged compositions by Edwards - also featured is Art Hillary, Wendell Williams & Gerrick King.
All songs produced by Saskia Laroo and Teddy Edwards
Engineered by Mike McDonald / Edited and Mixed by Saskia Laroo and Rob Gaasterland at Studio de Boot, floating somewhere in Amsterdam, Netherlands. / Additional creative input by Hans "Big Boy" Dulfer, Netherlands / Mastered by Peter van ‘t Riet at Sound Factory, Soest, Netherlands / Liner notes by Helen Borgers / Art direction and design by Michael Kneebone at Toolbox, Amsterdam, Netherlands / Photography by Annette Roco; Photography of Ernie Andrews by Joe La Russo
Liner notes
Jazz politics is an odd business. American jazz fans (and some critics) are often territorical, claiming This is East Coast or This is West Coast Jazz. Also they tend to take New Yorkers more seriously than players from Los Angeles. This is, of course, absurd. (And I don't say that just because I live in LA!) Equally absurd is the idea that because jazz was born in the U.S., only Americans can be proficient. Afro-Cuban and South American players are includedd among the proficients; however, although there have been a few European players who have reached star level in jazz (from Stephane Grappelli to Michel Petrucciani), I think a European jazz player has got to work twice as hard to be generally accepted and appreciated both in the U.S. and in Europe! Ironically enough, the general American public is not that interested in jazz at all and the European public is more interested in American players than European musicians. There are more female jazz players – non-piano-playing, non-singing-females – than in days of yore, but only a handful achieve any fame. Even among payers women have a tough time being accepted. How frustrating it must be to play jazz! So many categories, so many prejudices. Imagine what it would be like to be a female European jazz trumpet player! But when I asked Saskia Laroo whether it had been difficult for her as a female trumpet player she seemed surprised. Playing the trumpet is what she has wanted to do most of her life and what she wants, she makes happen. Not only that, she is popular among her own people, playing regular gigs and major festivals. Besides that, she has broken an unwritten-but-generally-acknowledged rule that serious jazz musiciansd don't lead pop music bands. Saskia is quite comfortable and equally popular in the Netherlands playing commercial music and straight-ahead jazz. And she does the latter with as much skills as any of her American counterparts. Teddy Edwards met her at a festival several years ago and was im,pressed enough to want to do a project with her. This has finally come to pass with this recording. And Saskia has already begun her American conquest with performing on both coasts.
Some notes about the music
People who claim that be-bop began in New York are perhaps unaware that at the same time that Charlie Parker was breaking new ground in the east, Teddy Edwards was breaking that same ground in the west. He was one of the giants of Central Avenue in Los Angeles and is now one of our living treasures. A great tenor soloist, a veteran of the classic Gerald Wilson Orchestra (which also included fellow tenor man Harold Land, trumpeter Carmel Jones, guitarist Joe Pass, pianist Jack Wilson, among others), and a bandleader in his own right (both of small groups and his large brass/string ensemble), Teddy is also an accomplished composer and lyricist. Vocalists Barbara Morrison, Ernestine Anderson, Ernie Andrews and others have recorded his songs. Indeed, Louis Jordan had a hit with Teddy's song Santa Claus, Santa Claus. His tune, Sunset Eyes, has been recorded by Teddy many times with different instrumentation, but it has also been recorded by other artists. Ernie Andrews recorded the first vocal of it years ago on his own disc, using someone else's lyrics. The vocal version on this disc is the first time Teddy's lyrics have been used. Nothing But the Truth, Blue Sombrero, Don't Touch Me and Wheeling and Dealin are all Teddy originals too.
---Helen Borgers / Musical Director America's Jazz Station, KLON-FM 88.1
In 1999, Dutch trumpeter Saskia Laroo traveled to Los Angeles, where she joined forces with tenor sax great Teddy Edwards and recorded her fourth album, Sunset Eyes 2000. Any album that prominently features Edwards (who she co-led the session with) is at least noteworthy, and to be sure, the tenor veteran is in good to excellent form on this hard bop date. Laroo's previous straight-ahead album, Jazzkia, was essentially a tribute to Miles Davis--one in which her love of Davis' legacy was so strong that it drowned out any individuality. Laroo doesn't sound distinctive on Sunset Eyes 2000 either, but even so, her solos on this album are likable and competent. Recalling Miles Davis in the 1940s and 1950s, Laroo is a very lyrical player, and Edwards can certainly be quite lyrical and melodic himself. But while Edwards favors a big, fat tone and swings hard and passionately, Laroo is much more subtle, restrained and economical (as was Davis). Edwards' confident, focused solos on both standards and his own compositions make Sunset Eyes 2000 worth the price of admission, and singer Ernie Andrews' inspired guests spots on "Don't Touch Me" and "Sunset Eyes" aren't anything to complain about either. Sunset Eyes 2000 falls short of being a gem, but it's a satisfying, decent effort that bop fans will enjoy.
--- Alex Henderson, All Music Guide
Saskia Laroo
Active Decades: '90s and '00s
Genre: Jazz
Styles: Hip-Hop, Hard Bop, Acid Jazz, Modal Music
Heavily influenced by Miles Davis, Saskia Laroo is a soft-toned, economical trumpeter who is comfortable playing electronic acid jazz, club music and hip-hop as well as straight-ahead acoustic jazz. Laroo, who also plays bass, was born and raised in the Netherlands, where she began studying the trumpet at the age of seven and became interested in playing jazz when she was a teen-ager. In 1994, Laroo released her first album, It's Like Jazz, for her own Laroo label. An acid jazz/hip-hop/dance effort that sometimes brings to mind US3, It's Like Jazz was fairly similar to her sophomore album of 1998, Bodymusic. But in 1999, the trumpeter recorded straight-ahead acoustic jazz on her third album, Jazzkia (which was essentially a tribute to Davis) and her fourth album, Sunset Eyes 2000, which prominently featured the great tenor saxophonist Teddy Edwards.
--- Alex Henderson, All Music Guide |
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