Album Notes

Yes, this is a jazz CD and yes, these are symphony
musicians. But if it doesn't bother them, why should
it bother you? I know, opera singers can't handle jazz
or blues and shouldn't try. But some classically
trained musicians, these three especially, can play
jazz that swings and here's the proof, the enjoyably
happy proof.

This is straighforward jazz, with Don Evans on bass
and Andy Reamer on percussion building a rock steady
framework while Harold Smoliar on keyboards weaves in
and out like a spider on a web, a kid in a candy
store, like Ives at an insurance company picnic.

You'll hear the spider on the web in a number of
tunes. The candy store works because Smoliar often
blows a giant bubble in the melody stretching it and
expanding it, pushing it further and further 'til you
wonder will it blow up or will it fit? It always fits
and it's always fun. I just threw Ives in there....he
doesn't really fit, except maybe when Smoliar is
comping and totally unexpected notes and quotes come
flying out and the rhythm section and everyone else
starts to laugh and Smoliar giggles.Yes, giggles. Be a
fool not to.

Probably best not to try to explain that tension
created improvising within a tight rhythm, even when
it's an implied rhythm. That's just jazz; you know it
when you hear it.Even when Smoliar plays so far behind
the beat he seems to be challenging Evans and
Reamer... Can you guys keep it steady if I do
this...or this...or that? Yes, they can.

But let's get specific about classic jazz moments. Try
the Trio's 'Neverland/Over the Rainbow' medley and
compare it to Previn,Lowe and Browns's treatment of
'Daydream/Prelude to a Kiss' on their 'Uptown' CD.
Yes, these guys do know Previn. They've been passing
tones for some time.

Or the Brubeck recording from Newport where a small
plane buzzes the bandstand and Brubeck quotes the Air
Force theme. The Trio was playing at the Willow Inn
near Waynesburg, PA. when somone leaned on a door
bell.The ding dong wasn’t in the proper key but Smoliar
immediately put it into the tune and into several
others throughout the gig. You'll find it here at the
end of Stolen Moments; it's for Ralph, late
owner of the Inn.

Or the Cannonball Adderley recording that begins,
"Sometimes we are not prepared for adversity..." This
'Mercy Mercy Mercy' is faithful to that one, in the
Trio's fashion, with Reamer's toms to the fore and
then everything changes in 'Chameleon', as it should.

'Green Dolphin' dives into a Latin beat and surfaces
with big percussion splashes into a solid jazz
treatment. Eric Dolphy didn't write Green Dolphin,
but it would be nice if he had. Ned Washington did.


There's nothing more classic than a jazz waltz and
none prettier, especially for a percussion solo, than
'Andy's Waltz,' written by Smoliar and played by
Reamer with the literal right touch.

Smoliar has written other tunes, like 'Ginnie's Salsa'
for his wife. It's not on this recording; ask for it
when you hear them live. Live is good not only for the
fun, but because you can see the odd percussion stuff
Reamer plays with such precision and because you can
shout "One More Time!" after Evans finishes 'Donna
Lee' as a very uptempo bass solo. That's not here
either. Next time.

After some killer bass/piano unison work, you'll hear
Frosty the Snowman peeking out of 'Au Privave' and
nursery rhyme, 'American Patrol' and cartoon music
quotes pop up in 'Pennies from Heaven.' “Favorite
Things,” normally in 3/4 jumps to 5/4 and is more apt
to be your favorite because of it.

In all, classic jazz instrumentalists on classic tunes
from classic composers....Monk, Ellington/Strayhorn,
Zawinul, Nelson, Smoliar....

The recording was made at Heinz Hall, seeming inside
the percussion and bass and certainly inside the minds
of all three. You could hold this up to music
students...that's all of us...and say "See? This is
how it should be done." Better, though, just to enjoy
it.

Be a fool not to.

BRAVO!

Harold Smoliar plays English horn with the Pittsburgh
Symphony and Evans and Reamer are in the bass and
percussion sections.



Notes by Frank Heath