Roger Kellaway - Live at the Jazz Standard Disc 1, Disc 2

Album: Live at the Jazz Standard Disc 1
Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 61:57
Size: 142,0 MB
Art: Front

( 6:44) 1. Cottontail
(10:16) 2. C jam blues
( 8:40) 3. Someday my prince will come
( 6:04) 4. All my life
( 8:36) 5. Im beginning to see the light
( 8:31) 6. Take5
( 6:34) 7. The nearness of you
( 6:32) 8. Doxy

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Album: Live at the Jazz Standard Disc 2
Time: 55:18
Size: 126,7 MB

(10:01) 1. Tumblin tumbleweeds
(14:54) 2. Cherry
( 8:51) 3. You dont know what love is
(15:12) 4. Freddie freeloader
( 6:20) 5. 52Nd street theme

Pianist and composer Roger Kellaway exists in that critical interface between little-known but respected session musician and known but unjustly little-recognized master. His recent recordings for IPO Heroes (2007) and I Was There: Roger Kellaway Plays from the Bobby Darin Songbook (2005) were very well received and revealed a professional, journeyman persistence. Kellaway is a national treasure who is omniscient in the field of jazz. Though not one to perform in public, Kellaway did play several nights at New York City's Jazz Standard which resulted in Roger Kellaway Live at the Jazz Standard.

Kellaway came to this recording with an agenda: the formation of a drummer-less band approximating Nat King Cole's piano, bass, guitar trios of the 1960s. Kellaway accomplishes this with guitarist Russell Malone and bassist Jay Leonhart, both veterans of the New York City jazz scene. Add vibraphonist Stefon Harris to the mix and the core trio becomes a facile swinging quartet. Cellist Borislav Strulev also shows up with a spotlight on the sole Kellaway composition of the set, the elegiac "All My Life." The overall sound is a sepia-toned 1950s and '60s period piece, right down to almost humid analogue sonics. Kellaway's repertoire reflects his aspirations for his band: heavy on Ellington and small combo bop.

The opening disc clocks no less than three Ellington compositions; sprite takes on "Cottontail" and "C Jam Blues," and a churchy "I'm Beginning to See The Light." Kellaway and Harris weave their respective melodies around one another, one starting a phrase with the other finishing. This is most provocative when applied to the song heads, particularly on Paul Desmond's "Take Five." With this jazz standard, there are certain expectations before hearing the arranged spin Kellaway has in store for it. Kellaway and Harris trade sections of the famous opening, leaving the piece slightly off-kilter, but in a pleasant, inventive way.

Kellaway retires his ballad jones with "Someday My Prince Will Come" and "The Nearness of You." Of bebop note is the searing "Doxy" that closes the first disc. The second disc opens with sheer genius. Kellaway arranges the 1930s Bob Nolan and the Sons of the Pioneers' "Tumbling Tumbleweeds." All of the band members have a healthy workout on this piece, Kellaway steering through country and western, roadhouse, and parlor music territories as Malone is particularly effective in his solo and accompanying guitar. The disc highlight is a lengthy treatment of Miles Davis' "Freddie Freeloader." Kellaway effectively draws a century of jazz piano through the modal prism of this abstract blues piece, offering the most compelling interpretation in recent memory. Much of the same can be said for the craggy Monk standard, "52nd Street Theme," which is presented in all of its bop glory. Any Roger Kellaway release deserves a certain respect, but Roger Kellaway Live at the Jazz Standard is a cut above his best. It has a vintage sound with vintage music.~C.Michael Baileyhttps://www.allaboutjazz.com/live-at-the-jazz-standard-roger-kellaway-ipo-recordings-review-by-c-michael-bailey

Personnel: Roger Kellaway: piano; Russell Malone: guitar; Stefon Harris: vibes; Jay Leonhart: bass; Borislav Strulev: cello.

Live at the Jazz Standard Disc 1, Disc 2

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Roger Kellaway - Live at Maybeck Recital Hall, Vol. 11

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 61:24
Size: 140,8 MB
Art: Front

(0:12) 1. Introductory Announcement
(9:04) 2. How Deep Is The Ocean
(6:03) 3. I'm Still In Love With You
(4:47) 4. Love Of My Life
(7:23) 5. Close Your Eyes
(9:44) 6. New Orleans
(9:12) 7. My One And Only Love
(7:58) 8. Creole Love Call
(6:58) 9. I'm Getting Sentimental Over You

Leave it to Roger Kellaway to come up with one of the most strikingly individual editions of the exhaustive Live at Maybeck series. Overall, the disc captures a more reflective side of Kellaway in a typical Maybeck program of mostly standards mixed with a pair of originals. Yet Kellaway's stride-grounded manner still veers off unpredictably and delightfully into the ozone, sometimes invoking Debussy-like whole-tone scales and skirting the lower orbits of bitonality and atonality before neatly extricating himself. His own shuffling stride tune, "I'm Still in Love With You," is a match for any of the standards, and he's not afraid to take it outside with flashes of bitonal color. He also gives "Creole Love Call" a similar treatment which fits the rhythm of the tune with a rumbling, murky intro deep in the bass. Though this is not one of his more endearingly off-the-wall recordings, it is one of the best listeners have that is still widely available.~Richard S. Ginellhttps://www.allmusic.com/album/live-at-maybeck-recital-hall-vol-11-mw0000675314

Personnel: Roger Kellaway – piano

Live at Maybeck Recital Hall,Vol. 11

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Roger Kellaway - Cello Quartet

Styles: Piano Jazz
Year: 1970
File: MP3@320K/s
Time: 42:03
Size: 96,7 MB
Art: Front

(3:01) 1. Saturnia
(7:49) 2. Sunrise
(5:39) 3. Morning Song
(8:24) 4. Jorjana 2
(2:45) 5. Esque
(5:07) 6. On Your Mark Get Set Blues
(2:57) 7. Invasion Of The Forest
(6:18) 8. Jorjana 8

Roger Kellaway launched his reputation as a consummate iconoclastic musician with this album, which was considered an elegant breakthrough in its time. He assembled a novel quartet featuring his piano, the late Edgar Lustgarten's classical cello (Kellaway's favorite instrument), Chuck Domanico on bass, and Emil Richards on marimba and percussion, writing pieces using chord symbols and notes without stems to allow for improvisation. The resulting album falls ever so neatly between the cracks of classical music and jazz, sometimes leaning in the latter direction (e.g., the Latinized groove of "Jorjana #2"), but mostly occupying a never-never land of Kellaway's own invention. Lustgarten's lush, dark tone establishes a haunting classical ambience, which creates weird stylistic juxtapositions in pieces like the boogie-based "Esque"; on a few tracks, there is some truly quirky writing for a full studio symphony orchestra conducted by Kellaway. The most memorable composition of the lot is the instantly winning, deceptively simple "Morning Song" (later published in a version for tuba and piano!), where Kellaway throws in more than a hint of barrelhouse piano. This album became a cult favorite, in and out of print on LP and CD, but never too difficult to locate.~ Richard S. Ginellhttps://www.allmusic.com/album/roger-kellaway-cello-quartet-mw0000696916

Personnel: Piano – Roger Kellaway; Acoustic Bass – Chuck Domanico; Cello – Edgar Lustgarten; Guitar – Joe Pass ; Percussion – Emil Richards; Violin – Erno Neufeld

Cello Quartet

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Roger Kellaway - The Art Of Interconnectedness

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 74:43
Size: 171,5 MB
Art: Front

(5:55)  1. You Took Advantage Of Me
(5:02)  2. Lazy 'Sippi Steamer
(7:59)  3. Emily
(8:07)  4. Creole Love Call
(4:01)  5. Sophisticated Lady
(4:17)  6. Remembering You
(6:42)  7. New Orleans
(7:20)  8. Blackwall Tunnel Blues
(5:33)  9. Jorjana
(4:37) 10. When I Grow Too Old To Dream
(7:05) 11. I'm Still In Love With You
(8:00) 12. Un Canto Per la Pace

It took ten years for this excellent concert by pianist Roger Kellaway at New York City's Vineyard Theatre to be issued; but it was worth the wait. Starting with a striding "You Took Advantage of Me," Kellaway captivates his audience. His slow dreamy interpretation of "Emily," a sauntering rhythmic "Creole Love Call," and a melancholy "New Orleans" are among the fine examples of the standards he played for the hushed audience. 

There are also a number of less familiar works that Kellaway plays just as well. Louis Armstrong's "Lazy 'Sippi Steamer Goin' Home" is a joyful masterpiece of stride piano. "Blackwall Tunnel Blues," by trombonist Charles Sonnastine, has a bluesy flavor but isn't actually a blues number. Kellaway features several of his own works, too. The upbeat Latin-flavored "Jorjana" and equally infectious "Un Canto Per La Place" are very attractive, but "Remembering You" is one Kellaway piece that will surely catch the listener's ear; co-written with actor Carroll O'Connor, it was the closing melody heard on each episode of the TV sitcom All in the Family. Believe it or not, the audience doesn't explode with the outburst one would expect for such a recognizable work. 

Highly recommended! ~ Ken Dryden  http://www.allmusic.com/album/art-of-interconnectedness-mw0000042515

Personnel: Roger Kellaway (piano).

The Art Of Interconnectedness

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The Roger Kellaway Trio - Heroes

Bitrate: MP3@320K/s
Time: 63:46
Size: 146.0 MB
Styles: Piano jazz
Year: 2006
Art: Front

[6:23] 1. Killer Joe
[8:33] 2. Cotton Tail
[5:48] 3. I Was Doing All Right
[5:02] 4. Nuages
[8:40] 5. Night Train
[3:38] 6. I'm Smiling Again
[6:11] 7. Midnight Sun
[5:42] 8. Moten Swing
[5:19] 9. 52nd Street Theme
[8:25] 10. Hymn To Freedom

Roger Kellaway: piano; Bruce Forman: guitar; Dan Lutz: bass.

The last we heard from pianist/composer Roger Kellaway was last year, when he dazzled the world with his remembrances as Bobby Darin's musical director (undoubtedly timed to coincide with the release of the Darin biopic Beyond The Sea. Now, we have a dramatic and long-needed tribute to the "drum-less" piano trio (guitar/bass/piano) that dates back to sessions from Art Tatum, Django Reinhardt, the King Cole Trio, and most especially the Oscar Peterson Trio, pre-Ed Thigpen when first Barney Kessel and then Herb Ellis occupied the guitar chair alongside bassist Ray Brown.

Kellaway explains the importance of the "drum-less" trio by noting that "...the difference between a trio with guitar and one with drums is immeasurable. With drums, the pianist is responsible (with the bassist, of course) for the harmony, but guitar is a chorded instrument, and harmonic clashes have to be avoided. The piano-guitar-bass trio is like a chamber-music group. There's more intimacy in the interaction...."

It seems pretty obvious that, although Roger Kellaway has cited several jazz musicians as models, his primary influence was the Oscar Peterson trio, although the are specific references to the King Cole trio ("I Was Doing All Right") and Django Reinhardt ("Nuages"). Save for a Kellaway original, "I'm Smiling Again," the other tunes were recorded by the Peterson group. Kellaway is utilizing the same trio that he worked with on the Bobby Darin project (bassist Dan Lutz and guitarist Bruce Forman). Forman remains one of my favorite underappreciated plectrists, having recorded most of his dozen albums in the 1980s. Kellaway further notes that this is a working trio, and thus he is out spreading the word of the "drum-less" trio as we speak. ~Michael P. Gladstone

Heroes

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Roger Kellaway - I Was There: Roger Kellaway Plays from the Bobby Darin Songbook

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 71:54
Size: 164,9 MB
Art: Front

(5:05)  1. Beyond the Sea
(5:16)  2. Charade
(4:12)  3. My Buddy
(4:23)  4. Just In Time
(6:41)  5. When I Look In Your Eyes
(5:35)  6. The Shadow of Your Smile
(5:03)  7. I Was There
(4:17)  8. I'm Beginning to See the Light
(5:51)  9. A Nightingale Sang In Berkeley Square
(5:34) 10. When Your Lover Has Gone
(5:45) 11. That's All
(4:38) 12. My Funny Valentine
(5:08) 13. All By Myself
(4:19) 14. Something in Your Smile

With renewed focus on the late singer Bobby Darin in 2004, due in part to the making of a film biography starring Kevin Spacey, the timing became ripe for a musical tribute album to him as well. Pianist Roger Kellaway served as Darin's musical director between 1967 and 1968. He got to know him very well and recognized him as more than just an ambitious singer continuously in search of a hit, as many critics labeled him at that time. Darin often had in mind what he wanted in an arrangement and sang ideas for his pianist to score. When Kellaway was working for the singer, Darin was looking for more than rehashes of his earlier pop hits. The pianist therefore chose to salute him by recording a mix of standards from earlier decades, including "My Buddy," "My Funny Valentine" and "All By Myself," along with 1940s jazz ballads such as Duke Ellington's "I'm Beginning to See the Light." But there is also newer material, including a brisk, inventive treatment of Henry Mancini's "Charade," a pair of songs from the film Dr. Doolittle (a lovely take of "When I Look Into Your Eyes" and "Something in Your Smile," the latter which also features a warm vocal by Kellaway). 

There is also a dreamy take of Johnny Mandel's gorgeous ballad "The Shadow of Your Smile," played with a lightly implied bossa nova rhythm. The only song never performed by Darin, "I Was There," is a swinging tribute composed by Darin's former music director. The sincerity of Roger Kellaway's tribute to Bobby Darin is never in doubt. ~ Ken Dryden  http://www.allmusic.com/album/i-was-there-roger-kellaway-plays-from-the-bobby-darin-songbook-mw0000140195

Personnel: Roger Kellaway (piano)

I Was There: Roger Kellaway Plays from the Bobby Darin Songbook

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Eddie Daniels & Roger Kellaway - Duke at the Roadhouse: Live in Santa Fe

Styles: Clarinet, Saxophone and Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 50:54
Size: 117,1 MB
Art: Front

(7:05)  1. I'm Beginning to See the Light
(4:31)  2. Creole Love Call
(7:33)  3. Perdido
(3:22)  4. Duke At The Roadhouse
(6:20)  5. In a Mellow Tone
(9:09)  6. In a Sentimental Mood
(5:27)  7. Duke in Ojai
(4:47)  8. Mood Indigo
(2:38)  9. It Don't Mean a Thing

For a powerful adrenaline rush, it's hard to beat a full house (sixteen or seventeen single-minded musicians wailing in unison and swinging like there's no tomorrow), although there's a lot to be said for a pair of aces, too. That's the hand that's dealt on Duke at the Roadhouse: Live in Santa Fe, the aces in question being clarinetist / tenor saxophonist Eddie Daniels and pianist Roger Kellaway (with cellist James Holland raising the ante as a wild card on four numbers). As the title denotes, this is music for the most part associated with Duke Ellington, amplified by one original apiece by Daniels ("Duke at the Roadhouse") and Kellaway ("Duke in Ojai"). Ellington wrote (or co-wrote) seven numbers, the odd song out being Juan Tizol's "Perdido."

Daniels penned "Roadhouse" to honor a time in 1966 when, as a new member of the Thad Jones / Mel Lewis Orchestra, he was invited to play in a jam session with Ellington at a nightclub in Greenwich Village, an experience he has never forgotten. While Kellaway doesn't say what led him to write "Duke in Ojai," there must be a story there too. Daniels, who has become almost a full-time clarinetist since his tenure with the Jones / Lewis Orchestra, shows on "In a Mellow Tone" and "Sophisticated Lady" that he can still wield a mean tenor sax. He has "Lady" to himself (with Kellaway comping trimly), and his unaccompanied intro, lasting a minute and a half, is a gem among gems. Also worth noting is how easily Kellaway, who can swing with the best of them, slips into Ellington's more high-toned dinner jacket to produce subtle motifs that blend erudition with elegance.

The duo cut loose only on the closing theme, "It Don't Mean a Thing," and even here the customary exuberance is held somewhat in check, perhaps in deference to the session's sobriety quotient. In every respect, the temper is unmistakably Ellingtonian, from "I'm Beginning to See the Light" through "Creole Love Call," "Perdido," "In a Sentimental Mood," "Mood Indigo," Daniels' tenor showpieces and the two originals. The addition of a cello, suggested by Daniels, was enthusiastically endorsed by Kellaway, who wrote Holland's solos (he takes a couple) in advance. The album was (superbly) recorded in October 2012 at Santa Fe's Lensic Theatre as a benefit for the city's Center for Therapeutic Riding, which uses horses to help young people with disabilities recuperate. Whatever the cause, Daniels and Kellaway have dealt themselves a winning hand, one that is well worth betting on. ~ Jack Bowers  http://www.allaboutjazz.com/duke-at-the-roadhouse-live-in-santa-fe-eddie-daniels-ipo-recordings-review-by-jack-bowers.php#.VD8LAxawTP9
 

Personnel: Eddie Daniels: clarinet, tenor saxophone; Roger Kellaway: piano; James Holland: cello.

Duke at the Roadhouse: Live in Santa Fe

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Eddie Daniels & Roger Kellaway - A Duet Of One

Styles: Clarinet And Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 73:10
Size: 167,8 MB
Art: Front

( 8:51)  1. I'm getting Sentimental Over You
( 7:39)  2. Slow Dance
( 7:32)  3. Adagio Swing
(11:16)  4. I want to Be Happy
( 7:32)  5. New Orleans
( 6:12)  6. This is the Time
( 6:10)  7. After You've Gone
( 8:11)  8. Blue Waltz
( 4:29)  9. Love of My Life
( 5:16) 10. We'll Always Be Together

In 2005, longtime collaborators Eddie Daniels and Roger Kellaway reunited at Los Angeles' Jazz Bakery to try their skills without the comfort of bass or drums. Luckily, they were up to the challenge more than ever. The result, A Duet of One, presents two musicians who blend melody and spontaneity so well that they could improvise a symphony together. From the first moments of "I'm Getting Sentimental Over You," Daniels and Kellaway establish a foundation that only grows tighter, as the clarinet asks and the piano answers through the head. Both play with a delicate touch. Paquito D'Rivera writes, in his excellent liner notes, that the two had never played the tune before, making the result still more impressive. Piano and clarinet swap unaccompanied solo statements with the ease of dialogue, slowing tempos and changing dynamics, before returning to the classic melody. Kellaway is a real treat to hear, an underrated player with a sound that mixes touches of Art Tatum and Tin Pan Alley with distinctly modern swing. He consistently finds the right spot for every key, up and down the board. Meanwhile, Daniels' flawless technique belies the subtlety of his tone. His sound is always clean, whether at deep lows or glass cracking highs. At any given moment, he can quote delicate classical repertoire, or reach down for some soul, as he does on "Adagio Swing" with bluesy catcalls and fingers flying.

But for all the individual abilities on display, the songs live on the give-and-take between players. An 11-minute "Why Was I Born?" transforms the original tune into lyrical repartee. The conversation is carried by a chromatic triplet motif that passes from clarinet to piano, and vice versa, like a warming bottle. They pull it through the octaves, mix in clever twists, and make redefining a standard seem easy. "New Orleans" finds Daniels' clarinet laying sweet improv with soft dynamics, suggesting a big city mournfulness brought down South. The stalking steps of "This is the Time," repeated in round, leap into a tremendous Kellaway solo, full of subtle, angular choices. Both players swap flourishes and trills before launching into a rollicking "After You've Gone" that features wild clarinet blowing. The sound is decent for a live album. Some of Kellaway's wonderfully subtle touches are nearly lost, particularly on a subpar sound system. Daniels sounds perfect though, down to the whispery clicks of his keys, and the crowd is warm without being overbearing.

The mellow "Blue Waltz" is a masterpiece of breathy intonations and romantic piano flourishes. The set closes with "We'll Always Be Together," an upbeat, Latin-tinged number. Daniels puts on a show of elegant technique as Kellaway eases him along to a rousing end. But before the melody is fully restated, Daniels breaks away to once again recreate the tune, as if a few extra lines need adding before he hops offstage. It's a fitting end to a deeply enjoyable album. ~ Warren Allen  http://www.allaboutjazz.com/a-duet-of-one-eddie-daniels-ipo-recordings-review-by-warren-allen.php

Personnel: Eddie Daniels: clarinet; Roger Kellaway: piano.

A Duet Of One

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Don Sebesky - A Jazz Portrait of Charlie Mariano

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 39:33
Size: 92,0 MB
Art: Front

(2:58)  1. I Feel Pretty
(4:14)  2. The Wind
(7:30)  3. To Taiho
(4:29)  4. Goodbye
(2:52)  5. The Shout
(5:24)  6. Portrait of an Artist
(3:19)  7. Deep in a Dream
(5:37)  8. Pretty Little Nieda
(3:05)  9. The Song Is You

"There is so much taht could be said about this album, but until the record companies consider using larger jackets, I shall be obliged to hold my enthusiasm in check. I must mention Jim Hall's masterful playing is something we have all come to expect from him. Phil Bodner, whose complete mastery of all the redd instruments makes him a one man section, and as such, he is an invaluable asset. Mel Lewis' consistently fine musicianship and his fiery propulsion to the big band tracks is more thanworthy of comment Charlie's gospel-tinged THE SHOUT, the Sebesky title tune of the album, amd Rolf Ericson's delightful jazz waltz, Pretty Little Nieda, coupled with the standards, make for above average programming, something of a novelty in a business that has become mired in anonymity. Regiona Records should feel very proud of yhis contribution, and I repeat if this album doesn't scare a lot of people there is definitely something wrong with the music business." ~ Mort Fega, liner-notes from the original LP on Regina Records https://www.freshsoundrecords.com/charlie-mariano-albums/4076-a-jazz-portrait-of-charlie-mariano.html

Personnel: Charlie Mariano (as), Jim Hall (g), Mel Lewis (d), Bob Brookmeyer (v-tb), Marvin Stamm (tp), Roger Kellaway, Jaki Byard (p), Richard Davis, Art Davis (b), Albert 'Tootie' Heath (d)

A Jazz Portrait of Charlie Mariano

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Oliver Nelson - Black, Brown and Beautiful

Styles: Piano, Saxophone , Big Band
Year: 1970
File: MP3@320K/s
Time: 37:23
Size: 86,0 MB
Art: Front

(5:31)  1. Aftermath
(7:08)  2. Requiem
(2:34)  3. Lamb of God
(4:15)  4. Martin Was a Man, a Real Man
(4:11)  5. Self-Help Is Needed
(2:38)  6. I Hope in Time a Change Will Come
(3:29)  7. 3, 2, 1, 0
(3:30)  8. Black, Brown and Beautiful
(4:04)  9. Requiem, Afterthoughts

One of Oliver Nelson's hippest albums a bold statement of righteous energy, and a fantastic summation of all the genius he'd created during the 60s as an arranger for other people's records! The record is almost at a Duke Ellington level a complex yet soulful suite of tracks for the post-60s years complete with some sound effects of rioting and urban strife at the beginning, and a mix of modern, modal, and compositional styles that bursts out with pride and power that we wouldn't have heard in Nelson's music a decade before! The soloists are great and the album features wonderful read work from John Klemmer, Frank Strozier, and Nelson himself on great original titles that include "Self Help Is Needed", "I Hope In Time A Change Will Come", "Requiem Afterthoughts", "Lamb Of God", and "Martin Was A Man A Real Man".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/856690/Oliver-Nelson:Black-Brown-Beautiful

Personnel: Oliver Nelson - piano, alto saxophone, soprano saxophone, arranger, conductor;  Orchestra including the following soloists: Bobby Bryant - trumpet; Frank Strozier - alto saxophone;  John Gross, John Klemmer - tenor saxophone; Pearl Kaufman, Roger Kellaway - piano; Chuck Domanico - bass; John Guerin, Roy Haynes - drums

Black, Brown and Beautiful

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Lalo Schifrin - There's A Whole Lalo Schifrin Goin' On

Styles: Piano Jazz
Year: 1968
File: MP3@320K/s
Time: 28:50
Size: 68,5 MB
Art: Front

(2:27)  1. Secret Code
(2:29)  2. Dissolving
(2:41)  3. Machinations
(2:35)  4. Bride of the Wind
(2:07)  5. Life Insurance
(2:59)  6. How to Open at Will
(2:12)  7. Vaccinated Mushrooms
(2:41)  8. Two Petals a Flower and a Young Girl
(2:42)  9. Wheat Germ Landscapes
(3:29) 10. Gentle Earthquake
(2:25) 11. Hawks vs. Doves

Though it may seem unlikely that Frank Zappa had much of an influence on the work of Lalo Schifrin, one can detect some cultural crossover on There's a Whole Lalo Schifrin Goin' On. Schifrin was as much a jazz-pop genius as ever, but on this album rock rhythms, musical satire, sound effects, and exotica are all used as camp in a way that is eerily reminiscent of Zappa's more thoughtful efforts. Schifrin being Schifrin, every cut has a distinct and catchy melody, but there are whimsical and satirical themes embedded in the music. Nowhere is this more obvious than in "Hawks Vs. Doves," in which a cheery carnival-like theme is played in counterpoint to a martial air, each interfering with the other. Elsewhere, Schifrin uses unusual percussion, dissonance, and tense, sonically fragmented piano to create soundscapes that are unlike most of the rest of his work. "Secret Code" integrates tabla drums, not a common instrument in American jazz of the time, with a cold, flute-like synthesizer  probably the first time those two instruments were used together. 

This album was ahead of its time in terms of instrumentation, but was a product of its time in that established ways of doing things were being challenged. Fans of Lalo Schifrin's work will find this to rank with his best, and those not familiar with anything but the Mission Impossible theme will be drawn in further by the eccentric genius displayed here. Note: Like many of Schifrin's albums of the period, there is no listing of musicians on the album cover, so it is difficult to know who is responsible for the marvelous performances here, except for Schifrin's own contributions. ~ Richard Foss https://www.allmusic.com/album/theres-a-whole-lalo-schifrin-goin-on-mw0000771728

Personnel:  Lalo Schifrin - piano, synthesizer, arranger, conductor; Tony Terran, John Audino - trumpet; Lloyd Ulyate, Barrett O'Hara - trombone; John Johnson - tuba; Vincent DeRosa - horn; Bud Shank, Ronnie Lang, Sam Most - reeds; Arnold Kobentz - oboe, English horn; Ralph Grierson, Artie Kane, Roger Kellaway, Mike Lang - keyboards; Paul Beaver - keyboards, synthesizer, stereo harp; Carl Fortina - accordion; Howard Roberts, Dennis Budimer, Bill Pitman, Louis Morell - guitar; James Bond, Ray Brown - bass; Carol Kaye, Max Bennett - electric bass; Shelly Manne - drums, percussion; Earl Palmer, Ken Watson, Joe Porcaro, Emil Richards - percussion; Milt Holland - tabla; Bonnie Douglas, Sam Freed, Anatol Kaminsky, Nathan Kaproff, George Kast, Marvin Limonick, Erno Neufeld, Paul Shure - violin; Myra Kestenbaum, Allan Harshman, Robert Ostrowsky, Virginia Majewski - viola; Raphael Kramer, Edgar Lustgarten, Eleanor Slatkin - cello; Catherine Gotthoffer - harp; Robert Helfer - orchestra manager

There's A Whole Lalo Schifrin Goin' On

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Claudio Roditi - Gemini Man

Styles: Trumpet Jazz
Year: 1988
File: MP3@128K/s
Time: 42:07
Size: 40,6 MB
Art: Front

(5:54)  1. We (To Kristen and Me)
(5:02)  2. Una Misma Alma
(4:58)  3. Jacarand`
(5:57)  4. Snow Samba
(5:55)  5. Gemini Man
(4:42)  6. Em Minas Gerais
(5:28)  7. Conceição
(4:07)  8. Brazilian Roots (To Amaury Tristco)

This CD features trumpeter Claudio Roditi playing Brazilian-oriented music with a group consisting of pianist Roger Kellaway, Daniel Freiberg on synthesizers, bassist Nilson Matta, either Ignacio Berroa or Akira Tana on drums and percussionist Rafael Cruz. Roditi, who composed or co-wrote six of the eight mostly gentle originals, also sings quite effectively on three numbers, one apiece in English, Spanish and Portuguese. ~ Scott Yanow https://www.allmusic.com/album/gemini-man-mw0000198766

Personnel:   Flugelhorn, Vocals, Trumpet – Claudio Roditi ;  Bass – Nilson Matta;  Drums – Akira Tana, Ignacio Berroa;  Percussion – Rafael Cruz ;  Piano – Roger Kellaway;   Synth, Electric Piano – Daniel Freiberg

Gemini Man

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Red Mitchell, Joakim Milder, Roger Kellaway - Live In Stockholm

Bitrate: MP3@320K/s
Time: 67:23
Size: 154.3 MB
Styles: Bop, Cool
Year: 1994/2002
Art: Front

[ 9:52] 1. Doxy
[10:56] 2. Sophisticated Lady
[10:06] 3. Life’s A Take
[ 6:24] 4. I’ll Never Be The Same
[ 9:54] 5. I’m Getting Sentimental Over You
[ 9:45] 6. All The Things You Are
[10:24] 7. I Love You

Bass, Vocals – Red Mitchell; Piano – Roger Kellaway; Tenor Saxophone – Joakim Milder.

This is another delightful recording from Red Mitchell's long tenure in Sweden, recorded at the Fasching club in Stockholm. Pianist Roger Kellaway, an old friend and frequent musical partner, is on hand, as is tenor saxophonist Joakim Milder, whose chops have grown since the taping of Mitchell's CD Evolution (Dragon 191) a year and a half earlier. Kellaway threatens to steal the show with his percussive licks in "Doxy," while Mitchell's ever-present humor is featured in his lively blues "Life's a Take," which sadly served as his swan song as well, because he died from a stroke a little over a year after this performance. ~Ken Dryden

Live In Stockholm  

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The Roger Kellaway Trio - Remembering Bobby Darin

Bitrate: MP3@320K/s
Time: 63:23
Size: 145.1 MB
Styles: Piano jazz
Year: 2005
Art: Front

[4:50] 1. Remember
[5:58] 2. Up A Lazy River
[7:05] 3. I've Found A New Baby
[5:48] 4. Meditation
[4:24] 5. More
[5:26] 6. Splish Splash
[5:27] 7. Oh! Look At Me Now
[8:32] 8. Once Upon A Time
[5:49] 9. I'm Beginning To See The Light
[5:56] 10. Beyond The Sea
[4:05] 11. Mack The Knife

If anyone bridged the gap between traditional jazz-influenced pop and early rock & roll, it was Bobby Darin. Some of his work appealed to the Frank Sinatra/Tony Bennett/Sammy Davis, Jr./Dean Martin crowd, while some of it appealed to the Elvis Presley/Chuck Berry/Jerry Lee Lewis crowd -- and that is in addition to the singer's folk-rock output. Stylistically, Darin was not easy artist to pin down, which means that anyone providing a Darin tribute has a wide variety of things to choose from. Roger Kellaway, much to his credit, acknowledges different sides of Darin's artistry on Remembering Bobby Darin. Recorded in 2004, Remembering Bobby Darin is a companion to the veteran pianist's other Darin tribute, I Was There: Roger Kellaway Plays from the Bobby Darin Songbook. But while I Was There is an album of unaccompanied solo piano performances, Remembering Bobby Darin finds Kellaway forming a cohesive, intimate trio with guitarist Bruce Forman and bassist Dan Lutz. If you're seriously into Nat King Cole, that drumless combination of instrumentals should sound familiar; Cole favored a piano/guitar/bass format when he led the legendary Nat King Cole Trio in the '30s and '40s. And that format serves Kellaway pleasingly well on this far-reaching CD, which ranges from the Darin smash "Beyond the Sea" to older standards like Duke Ellington's "I'm Beginning to See the Light" and "I've Found a New Baby." Kellaway celebrates Darin's swing side with an intriguing version of "Mack the Knife" (also known as "Moritat" or "Three Penny Opera") but savors Darin's rock & roll side on "Splish Splash," which the lyrical pianist performs in a Gene Harris-like fashion. I Was There and Remembering Bobby Darin are both excellent and well worth owning, but this release has a slight edge in the diversity department and reminds you just how impressively versatile Darin was. ~Alex Henderson

Remembering Bobby Darin mc
Remembering Bobby Darin zippy

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Anne Phillips - Ballet Time

Styles: Vocal Jazz 
Year: 2007
File: MP3@320K/s
Time: 66:39
Size: 153,1 MB
Art: Front

(3:12)  1. Ballet Time
(5:32)  2. I Have the Feeling I've Been Here Before
(4:02)  3. I've Got Just About Everything
(4:43)  4. Here's to Life
(4:51)  5. In Your Own Sweet Way
(3:39)  6. Doubletalk
(3:16)  7. You Are There
(4:01)  8. Late Late Show
(3:44)  9. In the Days of Our Love
(4:57) 10. I Never Went Away
(3:12) 11. I Was Doing All Right
(5:37) 12. Embracable You
(5:53) 13. Romancing Ketchikan
(4:50) 14. New York Night Time Blues
(5:02) 15. Fried Bananas

Vocalist Anne Phillips may not be a familiar name to many jazz fans, though since she began her professional career in the early 1960s as a member of the Ray Charles Singers on the Perry Como Show, she has worked in many musical formats as a singer, composer, arranger, conductor and producer. This project was a special labor of love, as she recruited a number of old friends that she met along the way and recruited them to appear on one track apiece with her. Her engaging vocal duet with Bob Dorough (who complements their vocals with some lively piano) of his "I've Got Just About Everything" is a playful affair. Phillips lays a bit behind the beat effectively in spots in Dave Brubeck's loping treatment of his timeless "In Your Own Sweet Way," while she captures the nostalgic magic of pianist Dave Frishberg's lyrics in his ballad (with music by Johnny Mandel) "You Are There." Marian McPartland is on hand for her haunting ballad "In the Days of Our Love," with Phillips bringing out the essence of Peggy Lee's lyrics. Phillips' duet with tenor saxophonist Bob Kindred (her husband) of "Embraceable You" is full of humor, as is "Double Talk" a duet with organist Larry Goldings that has a campy lyric in the style of Annie Ross. There's never a dull moment in this delightful musical scrapbook. ~ Ken Dryden http://www.allmusic.com/album/ballet-time-mw0001225843

She sings with jazz greats Dave Brubeck, Marian McPartland, Roger Kellaway, Dave Frishberg, Bob Dorough and more...

Ballet Time

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Clark Terry - The Happy Horns Of Clark Terry

Bitrate: MP3@320K/s
Time: 34:11
Size: 78.3 MB
Styles: Bop, Trumpet jazz
Year: 1964/1994
Art: Front

[4:39] 1. Rockin' In Rhythm
[4:08] 2. In A Mist
[3:04] 3. Return To Swahili
[2:56] 4. Ellington Rides Again (Medley)
[4:39] 5. Impulsive
[3:35] 6. Do Nothing 'til You Hear From Me
[4:30] 7. Jazz Conversations
[3:47] 8. High Towers
[2:48] 9. Hammer Head Waltz

Double Bass – Milt Hinton; Drums – Walter Perkins; Piano – Roger Kellaway; Saxophone [Alto], Clarinet – Phil Woods; Saxophone [Tenor] – Ben Webster; Trumpet – Clark Terry. Recorded: March 13, 1964.

This all-star LP has plenty of memorable moments. Flugelhornist Clark Terry teams up with altoist Phil Woods (who doubles on clarinet), tenor great Ben Webster, pianist Roger Kellaway, bassist Milt Hinton, and drummer Walter Perkins for a varied program that includes a rollicking version of "Rockin' in Rhythm," Bix Beiderbecke's "In a Mist," a Duke Ellington medley, and "Return to Swahili," which is mostly a flügelhorn-drums duet. The lively music is quite enjoyable. ~Scott Yanow

The Happy Horns Of Clark Terry

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Gerry Mulligan - The Age Of Steam

Styles: Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 38:31
Size: 89,2 MB
Art: Front

(4:15)  1. One to Ten In Ohio
(5:10)  2. K-4 Pacific
(4:25)  3. Grand Tour
(8:38)  4. Over the Hill and Out of the Woods
(3:10)  5. Country Beaver
(4:16)  6. A Weed In Disneyland
(4:16)  7. Golden Notebooks
(4:17)  8. Maytag

During the 1952-65 period baritonist Gerry Mulligan was one of the most famous musicians in jazz but he spent the following five years at a lower profile, recording relatively little and not leading any significant bands. Age of Steam was a comeback record of sorts (although he had never declined), giving Jeru the opportunity to lead a big band again. The ensemble performs eight of his recent originals (the best known is "K4 Pacific"), featuring solos by Mulligan (who was now doubling on soprano), Tom Scott on tenor and soprano, Bud Shank on alto and flute, valve trombonist Bob Brookmeyer and trumpeter Harry "Sweets" Edison. The highly enjoyable music (last available on this A&M CD in 1988) still sounds fresh and spirited.~Scott Yanow http://www.allmusic.com/album/the-age-of-steam-mw0000201568

Personnel:  Gerry Mulligan (baritone saxophone, soprano saxophone, piano); Harry “Sweets” Edison, Roger Bobo (trumpet); Bob Brookmeyer (valve trombone); Jimmy Cleveland (trombone); Ken Shroyer (bass trombone); Bud Shank (alto saxophone, flute); Tom Scott (tenor & soprano saxophone); Ernie Watts (tenor saxophone); Roger Kellaway (electric piano); Howard Roberts (guitar); Emil Richards (vibraphone); Chuck Domanico (bass); John Guerin (drums); Joe Porcaro (percussion, drums)

The Age Of Steam

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Roger Kellaway - Ain't Misbehavin'

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 59:18
Size: 136,2 MB
Art: Front

(7:36)  1. A Time For Love
(8:33)  2. Here's That Rainy Day
(5:49)  3. Ain't Misbehavin'
(7:17)  4. How Deep Is The Ocean
(7:25)  5. Blue and Green
(8:43)  6. Skylark
(7:10)  7. Emily
(6:43)  8. Alice Blue Gown

Roger Kellaway is a brilliant two-handed pianist whose versatile style and strong sense of humor keep him open to idioms ranging from swing to free jazz, pop to classical. On this date, he digs into six standards. "A Time for Love" and "Here's That Rainy Day" drag a bit, but things improve after that, particularly during a mid-tempo "How Deep Is the Ocean" and an adventurous exploration of "Skylark." Ain't Misbehavin' is one of Kellaway's better jazz dates. [A Japanese edition of the CD was also released.] ~ Scott Yanow  http://www.allmusic.com/album/aint-misbehavin-mw0000528037

Personnel: Roger Kellaway (piano).

Ain't Misbehavin'

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Ruby Braff & Roger Kellaway - Inside & Out

Styles: Cornet And Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 60:13
Size: 138,8 MB
Art: Front

(6:07)  1. Love Walked In
(7:27)  2. Yesterdays
(6:03)  3. Memories Of You
(3:59)  4. I Want To Be Happy
(8:53)  5. I Got Rhythm
(6:47)  6. Always
(5:20)  7. Between The Devil And The Deep Blue Sea
(5:54)  8. Basin Street Blues
(9:40)  9. Exactly Like You

Kellaway's next sparring partner was an old hand at stripped-down duets, cornetist Ruby Braff he of the Ellis Larkins and Dick Hyman connection and Braff seems to encourage Kellaway's out-there side more frequently on this all-standards CD. Terse and to the point, almost offhand in his penchant for placing odd notes in the strangest places, Braff's cornet opens holes in the texture for Kellaway to explore his freely eclectic muse. A highly unorthodox "I Got Rhythm" gives vent to a spectacular near Tatum-esque outburst from Roger, and there are streaks of Romantic, Impressionistic, and contemporary classical pianism, boogie-woogie, and of course, stride. 

Yet Braff has his sweet moments too, as on "Memories of You," where he sets Kellaway off in his nostalgic All in the Family mode. The cover photo speaks volumes about the music within this package a pensive, dour, laconic Braff and a jaunty-hatted, inviting, perhaps slightly mischievous Kellaway. ~ Richard S.Ginell  http://www.allmusic.com/album/inside-out-mw0000181036

Personnel: Ruby Braff (trumpet, cornet); Roger Kellaway (piano).

Inside & Out

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Eddie Daniels & Roger Kellaway - Live at the Library of Congress

Styles: Clarinet And Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 58:31
Size: 143,4 MB
Art: Front

(8:29)  1. Strike Up the Band
(7:22)  2. Capriccio Twilight
(5:33)  3. Somewhere
(6:14)  4. Rhythm-a-ning
(6:34)  5. America the Beautiful
(6:12)  6. Etude of a Woman / Pretty Women
(6:28)  7. Just Friends
(7:10)  8. A Place That You Want to Call Home
(4:27)  9. 50 State Rambler

The Library Of Congress is a repository for important cultural artifacts, so it seems only fitting that it should serve as the stage for a duo recital from two of jazz's greatest treasures. Clarinetist Eddie Daniels and pianist Roger Kellaway have built their individual careers and reputations as genre-blind artists with near-unmatched technical prowess on their respective instruments, making them ideally suited as duo partners. Daniels' place in jazz history was sealed when he joined up with the Thad Jones-Mel Lewis Orchestra as the group came into being in the mid-'60s, but his career path which has involved straight-ahead outings, soundtrack recordings, session work with artists like Paul Simon, Chaka Khan, and Billy Joel, and solo albums that blur genre lines has never been limited to jazz. In fact, Daniels is one of only a handful of artists who are equally respected on both sides of the classical-jazz divide.

Kellaway, in similar fashion, is recognized as a giant-sized talent that can't be bound by any category. He served as Bobby Darin's musical director in the late '60s, participated in sessions with artists like Wes Montgomery, Sonny Rollins, and Ben Webster, wrote music for the New York Philharmonic, New York City Ballet, and Los Angeles Philharmonic even finding time to make the occasional leader date to show off his dazzling chops and engaging compositions. While both men came together for Daniels' Memos From Paradise (GRP, 1988), their partnership really blossomed two decades later when they became label mates and joined forces for A Duet Of One (IPO, 2009). Now, two years later, they've reunited for an even more impressive set. While both albums paint this pair as a twosome with limitless imagination and skill, capable of shifting gears with ease and willing to go wherever the music takes them, this set has the slight edge, with its crowd-pleasing repertoire ("America The Beautiful," "Somewhere"), ease in musical conversation, and the occasional playful moment that helps make this a meeting for the ages.

The pair mixes impressionistic tendencies and rhapsodic ideals with more conventional notions on the show-opening "Strike Up The Band," which also highlights Daniels' puckish wit, but that's only the beginning. Elsewhere, they touch on Thelonious Monk in lighthearted fashion ("Rhythm-a-ning"), have a brief dalliance with the unknown before launching into a thrilling run-through of "Just Friends," and deliver a touching rendition of Kellaway's "A Place That You Want To Call Home." While it seems that no combination or style has been left untried in jazz, clarinet-piano combinations are truly rare, and this one may well set the standard for those that follow. ~ Dan Bilawasky  http://www.allaboutjazz.com/live-at-the-library-of-congress-eddie-daniels-ipo-recordings-review-by-dan-bilawsky.php
 

Personnel: Eddie Daniels: clarinet; Roger Kellaway: piano.

Live at the Library of Congress

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