Album Notes

West Coast Jazz?

There is a fair amount of confusion about the meaning of “West Coast Jazz.” Some argue that the term refers to jazz recorded on the west coast from Los Angeles up to San Francisco. Others say that West Coast Jazz refers to a certain sound rather than to a location. Some go so far to call it a “brand” created by West Coast record companies.

I envision West Coast Jazz as an attitude, a feeling, a “vibe” that could only have originated in a place filled with palm trees, open horizons, ocean breezes — and urbanity. It was an answer to the left turn that took place when the Big Bands died out and jazz starting chasing the Bird down the bebop trail.

I hope you enjoy our latest foray into West Coast Jazz as much as we enjoyed creating it.

track notes:
George Kahn on piano, Brian Bromberg on bass, and Alex Acuna on drums and percussion. Additional musicians are noted below.

1) Sunshine of Your Love (Bruce/Brown/Clapton)
I wanted to do jazz versions of the songs I grew up with rather than the usual jazz “standards.” To pull off a song like this it needs to be cool AND hip or it will sound like a bad lounge band. Brian and Alex really got the feel I was looking for!
2) Wes’ Coast (Kahn)
Pat Kelley: guitar, John Fumo: trumpet
This song is a tribute to Wes Montgomery — it is my idea of a song that might have been written for a dream recording session if Wes had recorded with the Miles Davis quartet circa 1962
3) Mr. K. V. (Kahn)
This 12-bar blues swings right out of the gate. Like Coltrane’s Mr. P. C., it’s named after a bass player, the wonderful Mr. Karl Vincent. To keep us on our toes, the chord progression and the key keep changing as we move along.
4) Use Me (Bill Withers)
Courtney Lemmon: vocals, Justo Almario: sax, John Fumo: trumpet
This song got me through the summer of 1972, when I was commuting to Queens to work at my Dad’s sheet metal plant. I just jazzed it up a bit, and Courtney sings her little a— off!
5) Eleanor Rigby (Lennon/McCartney)
The Beatles’ timeless music has often been drawn upon by West Coast Jazz artists and classical composers. My 14-year-old son discovered the Beatles big time this year with the release of “Across The Universe.” This one is for Evan!
6) Mitchell’s Blues (Kahn)
Justo Almario: sax, John Fumo: trumpet
Originally part of the front line for Horace Silver, along with Junior Cook, Blue Mitchell is one of the unsung trumpet players in jazz. I can imagine Blue and Junior playing a song like this, night after night, as they spent weeks on end crossing the country playing the jazz club circuit.
7) Cover Up! (Kahn)
Justo Almario: sax, Pat Kelley: guitar
This is my nod to the contemporary Miles Davis, bold and ballsy. The song has a loose swagger that Miles would enjoy.
8) Yesterday/Yesterdays
(Lennon/McCartney-Harbach/Kern)
I have played a version of this medley ever since my first club date. For this recording Brian had the great idea of taking the two songs and mashing them up so that we bounce from one to the other during the solos.
9) Comfortably Numb (D. Gilmour, R. Waters) Another one of my favorite bands, Pink Floyd has always written songs that are canvasses artists can draw on. I relate to the lyrics, having been comfortably numb often over the years….
10) Waiting on the World to Change (John Mayer)
This gospel arrangement of John Mayer’s song resonated the first time I played it. I felt a need to record this song, having lived through the Vietnam War, as well as five years of Iraq. Mission accomplished, indeed!
11) My Favorite Things (Rodgers/Hammerstein)
Justo Almario: sax, John Fumo: flugelhorn, Alex Acuna: conga solo
A chestnut that was perfect to record with Alex and Justo in the band. Far from Coltrane’s version, it is more as if Julie Andrews walked into an Afro-Cuban jazz club.