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| 5.180 Ft
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| 1. | Moonlight In Vermont
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| 2. | Batter Up
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| 3. | Aren't You Glad You're You
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| 4. | Maid In Mexico
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| 5. | Bea's Flat
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| 6. | Three and One
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| 7. | Carioca
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| 8. | Wells Fargo
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| 9. | No Blues (Pfrancing)
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Jazz
Bill McHenry - Photography, Sax (Tenor)
Christopher Drukker - Graphic Design
Edward Eliscu - Composer
Gus Kahn - Composer
James Van Heusen - Composer
Jochen Rueckert - Drums
Joe Martin - Bass
John Blackburn - Composer
John McNeil - Trumpet
Johnny Burke - Composer
Jonathan Jacobi - Engineer
Karl Suessdorf - Composer
Lolly Bienenfeld - Back Cover Photo, Cover Photo
Michael Perez-Cisneros - Engineer, Mastering, Mixing
Miles Davis - Composer
Russ Freeman - Composer
Thad Jones - Composer
Vincent Youmans - Composer
Wilbur Harden - Composer
William McHenry - Cover Art
Keeping the tradition has become a serious element of the jazz business. But what is the point of preservation if it is only for the museum? The seriously talented duo of John McNeil and Bill McHenry blow new life into dusty gems on Chill Morn He Climb Jenny. Backed by the stellar support of bassist Joe Martin and drummer Jochen Rueckert, this combo makes the old new and exciting. Moldy figs be damned!
With so many young artists focusing exclusively on recording their workable though usually not particularly memorable originals, veteran trumpeter John McNeil, who knows something about composing lasting songs, decided to focus instead on overlooked songs in his second recorded meeting with tenor saxophonist Bill McHenry, bassist Joe Martin, and drummer Jochen Rueckert, taped live at the Cornelia Street Cafe in New York City. Although "Moonlight in Vermont" is considered a standard, McNeil gives it an eerie Oriental introduction with McHenry droning on held notes before taking it to more familiar ground. Their explorations of pianist Russ Freeman's twisted Lennie Tristano-like "Batter Up" and his infectious Latin rhumba "Maid in Mexico" are full of humor. It's likely that McNeil learned Thad Jones' "Three and One" while he was a member of the Thad Jones/Mel Lewis Orchestra, but in any case, the quartet's upbeat treatment, highlighted by McNeil's playful solo, demonstrates that this jazz standard is in good hands. Trumpeter Wilbur Harden is nearly forgotten today, though his loping composition "Wells Fargo" deserves to be played more often; the bandmembers take their time savoring this overlooked gem. In addition to enjoying the great music, puzzle fans will have fun trying to decode this CD's anagram title in their spare time. ~ Ken Dryden, Rovi
John McNeil
Active Decades: '70s, '80s, '90s and '00s
Born: 1948 in Eureka, CA
Genre: Jazz
Styles: Modern Creative, Post-Bop, Avant-Garde Jazz, Straight-Ahead Jazz, Jazz Instrument, Trumpet Jazz
John McNeil grew up in Yreka, CA. The little town off of I-5 wasn't exactly brimming with musical knowledge, but the tenacious McNeil still taught himself trumpet and learned to read music on his own. By his late teens the young trumpeter was playing in combos throughout Northern California; by the mid-'70s he was freelancing in New York City and gaining a reputation as an innovative, lyrical player. He performed with the Thad Jones/Mel Lewis Orchestra at the Village Vanguard, and led his own groups at various area clubs. By the latter part of the decade, McNeil had joined the Horace Silver Quartet and secured a solo contract with SteepleChase. The label issued a flurry of McNeil releases, including 1978's Embarkation and The Glass Room, Faun, and (with Tom Harrell) Look to the Sky in 1979.
In the 1980s, the trumpeter continued to work as both a sideman and leader. He appeared as a soloist with Gerry Mulligan's band, and formed the John McNeil Trio/Quartet for 1983's I've Got the World on a String. He toured internationally, and was recognized by the contemporary jazz community as a go-to writer, arranger, and producer. McNeil went on to issue a series of critically acclaimed albums, including the Kenny Burger collaborations Hip Deep (1996, Brownstone) and Brooklyn Ritual (1998, Synergy). Released in 2001, Fortuity featured a few pop-inspired numbers, like a Latin-flavored interpretation of the Beatles' "I Will." The Latin influence continued with 2003's This Way Out (Omnitone), which McNeil recorded in Barcelona with tenor saxophonist Gorka Benitez and bassist Giulia Valle. The record was breezy, bold, and curious, and proved that McNeil's hunger for music hadn't diminished an iota from those days learning trumpet in the fields of Yreka. Since then, McNeil has kept busy releasing Sleep Won't Come in 2004, East Coast Cool in 2006, and Rediscovery in 2008.
---Johnny Loftus, Rovi
Bill McHenry
Active Decade: '90s
Genre: Jazz
Styles: Post-Bop, Avant-Garde Jazz
Tenor saxophonist Bill McHenry has become widely known in NY for his work both as a leader and sideman. Born in Blue Hill, ME in 1972, McHenry entered Michigan's Interlochen Arts Academy in 1986 and then attended New England Conservatory in 1990, studying with George Garzone, Jimmy Giuffre, and John McNeil. He relocated to NY in the fall of 1992 and became active in the jazz scene. During part of 1996 he lived in Barcelona, collaborating on a live album with pianist Ben Waltzer titled Jazz Is Where You Find It.
McHenry's debut as a leader was 1997's Rest Stop. The follow-up, titled Graphic, was released in 1999 and was one of New York Times critic Ben Ratliff's top ten "alternative picks" for that year. Since then McHenry has recorded and performed with Ethan Iverson, Rebecca Martin, Ben Waltzer, John Stech, Reid Anderson, Ben Monder, the Chris Lightcap Quartet, and the Guillermo Klein Big Band. His own group, the Bill McHenry Quartet, boasts Ben Monder on guitar, Reid Anderson on bass, and Gerald Cleaver on drums.
---David R. Adler, Rovi |
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