TRUMPET MACHINE



una rara rimasterizzazione

	Mike Zwerin, Franco Ambrosetti, Palle Mikkelborg, Jon Fiddis, Kenny Wheeler, Woody Shaw, Daniel Humair Palle Mikkelborg

Daniel Humair
Blending power, elegance, and thoughtfulness, Swiss drummer Daniel Humair has worked with the best American and European jazz musicians. He quickly became a staple among European drummers, first in a bop style, then adopting the sophistication of West Coast drummers such as Shelly Manne and later absorbing Elvin Jones' influence.
Despite an early but less than encouraging introduction to music, Humair only got interested in this art form when he reached 14 and heard a recording by Tommy Ladnier and Mezz Mezzrow. Working tremendously hard to make up for the lost time, he rapidly became a professional musician and started to perform in ballrooms. In 1958, he won several awards at the Zurich Jazz Festival. This recognition led to his first European tours with Don Byas, Guy Lafitte, Jacques Pelzer, and Floris Nico Bunink. In November 1958, he moved from Belgium to Paris at the invitation of Barney Wilen. There, he worked with Lucky Thompson, Oscar Pettiford, Bud Powell, and vibist Michel Hausser, with whom he made his first recordings. Subsequently, he joined Martial Solal's trio and stayed with the pianist until 1965. This significant collaboration helped him develop his sound and improve his arranging skills. During that time, he also worked as a sideman with a lot of American musicians passing through Paris and collaborated with two of the most important French jazz musicians of the era: pianist René Urtreger and bassist Pierre Michelot. In the mid-'60s, he formed a unique trio with violinist Jean-Luc Ponty and organist Eddy Louiss. In 1968, his career took a critical turn with the beginning of his four-year tenure with Phil Woods & His European Rhythm Machine. Following this experience, he played in a trio with pianist Gordon Beck and bassist Ron Matthewson.
During the '70s, he most notably appeared with various editions of the Michel Portal Unit. At the end of the '70s, he created another trio with saxophonist François Jeanneau and bassist Henri Texier. The combo helped give a new direction to the French jazz scene by developing a local repertoire still rooted in the jazz tradition but taking its distance from the American model. In 1985, another important step in the drummer's evolution was his association with Joachim Kühn and Jean-François Jenny-Clark. The trio remained active until the untimely passing of Jenny-Clark and helped him mature as a composer. In the '90s, he decided to focus on his activities as a painter, which started to influence his drumming, helping him to work on textures and better define the relationship between the drums and the other instruments. This did not prevent him from remaining present on the jazz scene. Under the moniker Reunion, he invited various soloists to perform with him. Other highlights include his participation in an all-star quartet with Enrico Rava, Miroslav Vitous, and Franco d'Andrea, and the creation of a trio with Bruno Chevillon and Marc Ducret. In 2001, he launched Baby Boom, a project involving much younger musicians.


Jon Faddis
Born in 1953, Faddis began playing at age eight, inspired by an appearance by Louis Armstrong on television. Meeting Dizzy Gillespie at 15 proved to be a pivotal beginning of a unique friendship that spanned over three decades. Shortly after his 18th birthday, Faddis joined Lionel Hampton's band, moving from Oakland, CA to New York.

Faddis worked as lead trumpet for the Thad Jones/Mel Lewis Orchestra at the Village Vanguard, formed his own quartet, and soon began directing orchestras, including the Grammy-winning United Nation Orchestra, the Dizzy Gillespie 70th Birthday Big Band, the Carnegie Hall Jazz Band (1992-2002), and the Jon Faddis Jazz Orchestra of New York (2003-present).

The Chicago Jazz Ensemble, celebrating its 40th anniversary at Columbia College Chicago in 2005-2006, named Faddis as its Artistic Director in autumn 2004.
Faddis will continue to conduct both the JFJONY and the CJE in the future. Faddis has also served as guest conductor and featured guest with the Lincoln Center Jazz Orchestra.
Faddis' original compositions include the Jazz opera Lulu Noire (1997) (named a "Top 10" pick by USA Today); others may be heard on his Grammy-nominated Remembrances (Chesky), Into the Faddisphere (Epic), and Hornucopia (Epic). Faddis' forthcoming CD, TERANGA (KOCH Records, June 2006), features new compositions by the trumpeter, joined by members of the Jon Faddis Quartet - David Hazeltine (piano), Kiyoshi Kitagawa (bass), & Dion Parson (drums) - together with special guests Alioune Faye (sabor), Abdou Mboup (djembe & talking drum), Russell Malone (guitar), Gary Smulyan (baritone saxophone), Frank Wess (alto flute) and Clark Terry (flugelhorn & vocals).
Faddis remains true to the tradition of honoring mentors, regularly leading master classes and clinics worldwide, and also teaching as a full-time faculty member at the Conservatory of Music, Purchase College-SUNY (where he is Artist-in-Residence, Professor & Director of Jazz Performance) and as guest lecturer at Columbia College Chicago.

Palle Mikkelborg
(b. 1941) started playing trumpet in 1956 and became a professional musician in 1960. He consider himself an autodidact on trumpet.
At first he was a member of the Danish Radio Jazz Group and the Danish Radio Big Band. As a leader of these bands in the 1970s, he developed his skill as a composer and arranger.
Throughout the 1980's Mikkelborg toured Europe and Japan and made recordings with Gil Evans Big Band, George Russel Big Band, Terje Rypdal, Jan Garbarek, Gary Peacock, Dinu Saluzzi and others. He was also a member of the successful Danish trio Heart to Heart with Kenneth Knudsen and Niels-Henning Ørsted Pedersen.
The past ten years, he has led his own group with himself and his wife, the Welsh harpist Helen Davies.
George Russell once said that he liked "the Scandinavian sound" of Palle Mikkelborg. Russel would often ask him to open a concert alone to create a musical landscape that only Palle could do. Russel would then add the rhythm and the whole orchestra would slowly come in. Mikkelborgs sensitivity and calm made it possible for him to send an "echo or a sound out into the world" and wait until it came back. This sensitivity, Russel had not found in musicians from the US.
Palle Mikkelborg was awarded with The Nordic Council's Music Prize for 2001. He received the prize 2nd of April 2001 in Oslo.

George Gruntz's
George Gruntz's Concert Jazz Band, an orchestra that sticks to originals by band members (both past and present) and the leader's arrangements, has long been one of the most stimulating of all jazz big bands. Gruntz, a fine pianist, played locally in Switzerland and then debuted in the United States when he appeared with Marshall Brown's International Youth Band at the 1958 Newport Jazz Festival. His trio in Europe accompanied touring American musicians in the 1960s including Dexter Gordon and Rahsaan Roland Kirk, and formed three-quarters of Phil Woods' adventurous European Rhythm Machine (1968-1969). Gruntz recorded in many different settings, including with the Swiss All-Stars, a four-flute septet, and with Mideast musicians and Jean-Luc Ponty on 1967's Noon in Tunisia. In 1972, he formed the Concert Jazz Band, which through the years has featured a who's who of top musicians including Benny Bailey, Woody Shaw, Franco Ambrosetti, Dexter Gordon, Herb Geller, Phil Woods, Eddie Daniels, Ray Anderson, Lew Soloff, Chris Hunter, Bob Mintzer, and many other Americans and Europeans; they typically toured twice a year and even performed in China. Gruntz has also recorded with smaller groups, and in the '90s and 2000s, his records have been released by Enja and TCB.

Kenny Wheller
Although resident in England since 1952 and often thought to be an English musician, Kenny Wheeler was born in Canada in 1930. He began playing in his hometown of St. Catherines, encouraged by his father, a trombonist. His formal studies include composition with Rodney Bennett and William Russo. His earliest influences included Buck Clayton and Roy Eldrige but, by the time he left for London, he was looking towards bebop, Miles Davis and Fats Navarro particularly.
After his arrival in London, Wheeler balanced commercial dance band work with gigs alongside modernists like Joe Harriott and Ronnie Scott, and in 1959 joined the Johnny Dankworth band in time for their breakthrough Newport Jazz Festival appearance. He consequently came to be one of the major solo voices in the Dankworth orchestra, and during the end of his stay recorded his first album as a leader Windmill Tilter (Fontana), which featured compositions for big band based on Cervantes’ Don Quixote stories. In 1966, a chance encounter with drummer John Stevens at the Little Theatre Club in London set Wheeler on a new course. To the surprise of many musicians of his generation, the trumpeter became deeply involved in free music and joined both Stevens’ Spontaneous Music Ensemble and the Tony Oxley group. Through saxophonist Evan Parker and guitarist Derek Bailey, Kenny was initiated into the Globe Unity Orchestra, the German-based big band led by the pianist Alexander von Schlippenback. His membership continues - he is prominently featured on the three albums the Globe Unity Orchestra has recorded for JAPO/ECM.
In 1971, Anthony Braxton, impressed by Wheeler’s abilities to play the demanding charts on the session for The Complete Braxton (Freedom), invited him to join his group. Braxton’s music became Wheeler’s priority until 1976, when the difficulties of commuting between London and New York became overwhelming, but in between he found time to record Song For Someone (Incus), a record that juxtaposed free and jazz elements (and which became Melody Maker Album Of The Year in 1975), and Gnu High (ECM 1069) a still very fresh album with Keith Jarrett, Dave Holland and Jack DeJohnette.
Critics agreed that the ECM album marked a new high both for Wheeler and for the label: Quintessential (Stereo Review), Unbeatable (Melody Maker), Superb (Jazz Forum), Miraculous (Time Out) and so on. The same critics, however, have tended to be less vocal in their support for the trio Azimuth (Wheeler, John Taylor and Norma Winstone) whose ECM albums are distinguished by their subtlety and require repeated close listening for full appreciation.
Wheeler’s second ECM date was the 1977 recording Deer Wan (ECM 1102), which featured Jan Garbarek, John Abercrombie, Dave Holland, Jack DeJohnette and Ralph Towner. The album was viewed, at the time of its release, as the most complete statement of Wheeler’s musical intentions, and said one writer:
“Garbarek may very well be the trumpeter’s ideal front-line partner...a kind of asceticism informs their playing; when they are heard in tandem its impact is redoubled”.
The recording Double, Double You (ECM 1262) dates from 1983 sessions and features Michael Brecker, John Taylor, Dave Holland and Jack DeJohnette. Critics were enthusiastic for their release as this excerpt from Fanfare indicates: “Wheeler is one of the more fascinating trumpeters around. For this latest album, he utilizes the prolific tenor saxophone of Mike Brecker to add even greater strength to the front-line. John Taylor, Dave Holland and Jack DeJohnette provide a powerful rhythm section which is sensitive and tasteful while also offering incredible individual power...Highly recommended”.
In 1988, tours with his quintet whose members included John Abercrombie, John Taylor, Dave Holland and Peter Erskine were received with enthusiasm from press and public alike. Similar accolades can be expected for their 1990 tour. Kenny is an active music educator as shown by his presence on the faculty at the Canadian Banff Workshop and by his involvement in international seminars. He also took part in the Beethoven Fest 2002 in Bonn together with John Taylor. With John Taylor he recorded two albums in 2001: the first one for EGEA, Moon, with the participation of the clarinet-player Gabriele Mirabassi; the second one for the French label Sketch together with the Italo-French double-bass player Riccardo Del Fra.
In spite of his severe self-criticism and his almost legendary aversion to recognition, Kenny Wheeler remains one of Europe’s most sought-after trumpet and flugelhorn players.

Mike Zwerin
Now best known as a columnist and contributor to Jazz Journal, Mike Zwerin missed out on history during his days as a trombonist. He played with the Miles Davis birth of the cool group during their residency at the Royal Roost in the late '40s, but missed the recording sessions and doesn't appear on the date. He studied violin and attended the High School of Music and Art. Zwerin spent several years in Paris before returning to America in 1958. He played with Claude Thornhill, Maynard Ferguson and Bill Russo in the early '60s, then played with Orchestra USA, serving as musical director and arranger for a sextet culled from the orchestra's ranks. He worked in various combos and toured the Soviet Union with Earl Hines in 1966. Zwerin contributed jazz articles to The Village Voice, Rolling Stone and Downbeat in the '60s, but quit playing at the end of the decade. He returned to France and wrote novels and non-fiction. Zwerin moved to Paris in the late '70s, and did some occasional playing while contributing to such publications as the International Herald Tribune and Jazz Journal. He's recently done some articles for Spin. Zwerin's autobiography Too Close For Jazz, in 1983 has some provocative things to say. ~ Ron Wynn, All Music Guide.

Woody Shawn
Born on Christmas Eve, 1944, in Laurinburg, N.C., Woody Herman Shaw began began playing bugle at age 9 in the Washington Carver Drum and Bugle Corps, switching to trumpet at age 11. Surrounded by a musical family (his father was a member of the Diamond Jubilee Singers), and attracted to trumpet players such as Louis Armstrong, Harry James, and Dizzy Gillespie, Shaw developed quickly into a strong player by the end of grade school. After junior high, Shaw attended the Arts High School in Newark, whose alumni included such prominent jazz artists as Wayne Shorter, Sarah Vaughan, and Scott La Faro. Around this time he began to meet prominent jazz heavyweights like Kenny Dorham and Hank Mobley, took up piano, and began to immerse himself fully in the New York jazz scene. At age 18, he went on the road with Rufus Jones, soon after joining Willie Bobo at a time when Bobo's band included Chick Corea.While appearing in New York with a band that included Chick Corea and Joe Farrell, Shaw met Eric Dolphy. In 1963 Shaw appeared on Dolphy's Eric Dolphy Memorial. A year later, Shaw was asked by Dolphy to meet him in Paris to join his group, but before Shaw could get there, Dolphy had passed away. Shaw used the plane ticket to go to Paris anyway, where he stayed for more than seven months, playing with such jazz luminaries as Bud Powell, Kenny Clarke, Johnny Griffin, and Art Taylor.Upon returning to the United States, Shaw spent time in the groups of Horace Silver (1965-1966), Max Roach (1968-1969), and Art Blakey (1973), in addition to making many recordings (some as a sideman for Blue Note) with such players as Jackie McLean, Andrew Hill, Larry Young, and McCoy Tyner.In 1973 his first album as a leader, The Moontrane, was released on the Muse label, and was followed by several other excellent albums. Shaw resisted the trend in the 1970s away from acoustic jazz music, eschewing jazz-rock "fusion" in favor of further refining the acoustic traditions begun in the bop era. In 1976 Shaw's group (with Louis Hayes) backed Dexter Gordon in his return to New York that resulted in the Grammy-winning recording Homecoming. Shaw soon signed a recording contract with CBS/Columbia. By 1978, Shaw was rated the top jazz trumpet player in the prestigious Downbeat Magazine poll and his record, "Rosewood," was the No. 1 jazz album in the same poll.
When Wynton Marsalis arrived on the scene in New York, Columbia made the decision to release Shaw and use Marsalis as their torch-bearer. Shaw continue to release albums under a variety of labels, including Red, Enja, Elektra, Muse, and Timeless, but never regained the stature for which he seemed destined in the mid 1970s.In the late 1980s, Shaw had moved to Bern, Switzerland, and to Amsterdam, teaching at several jazz schools and touring with various jazz bands in Europe, including the Paris Reunion Band.On February 27, 1989, Shaw tumbled down a stairway onto the tracks at Brooklyn's Dekalb Avenue subway station where a train struck him, severing his arm. He remained in the hospital until May 10, 1989, when he succumbed to kidney failure.E
veral albums of live material have been released posthumously on the High Note label. Most of the sessions which originally appeared on Muse are now released by the 32 Jazz label.

Franco Ambrosetti
Franco Ambrosetti (autore e compositore), figlio di Flavio Ambrosetti, è nato il 10 Dicembre 1941 a Lugano (Svizzera).
Ha studiato il piano dal 1952 fino al 1959, allora impara da solo dal 1959 a suonare la Tromba e inoltre suona anche il Flugelhorn.
Ha fatto il suo debutto professionale in 1961, quando all'età di 20 ha fatto la sua prima apparizzione pubblica. Nella prima metà degl’anni 60 crea un gruppo a Zurigo. Nel 1968 consegue la laurea in economia a Basilea.
Ha registrato nel ’64 con George Gruntz e anche con Gato Barbieri sotto la direzione del bassista Giorgio Azzolini.
Nel 1966 vince il primo premio all’ International Jazz Competition di Vienna sotto la direzione del Sig. Fiedrich Gulda.
Il debutto Americano avviene con il quintetto del padre nel ’67 (Flavio Ambrosetti, capo musicista alto-sax dal ’50 al ’60) suonando al Monterey Jazz Festival.
Fonda il suo gruppo con Gruntz, Daniel Humair, Ron Mathewson tra il ’60 e il ’70.
Dal 1963 al 1970 suona con il quintetto del padre (con Gruntz e Humair). Il gruppo continua oggi la relativa attività principalmente come quartetto con Franco come capo-band. Nel 1972 forma The Band con il padre, George Gruntz (pianista e compositore), Daniel Humair ( bassista), questa band verrà conosciuta poi come George Gruntz Concert Jazz Band.
Freelance in Europa dagl’anni 70 Ambrosetti suona in molti paesi differenti con Phil woods, Dexter Gordon, Cannonball Adderley, Joe Henderson, Michael Braker-Mike Stern, Hal Galper, Kenny Clarke, etc. Inoltre ha registrato come capo-band con Michael Brecker, Keeny Kirkland, John Scofield, Ron Carter, Bennie Wallace, Phil Woods, Dave Holland, Kenny Barron, Victor Lewis, Seamus Blacke. Ha anche diretto un quartetto con musicisti pop Italiani come Alfredo Golino, Antonio Farao e Dado Moroni. Come capo-gruppo ha registrato molti album con svariati musicisti come Michael Brecker, John Scofield, don Sebesky, Ron Carte, Phil Woods, Eddie Daniels, Dave Holland, Kenny Barron, etc.
Durante la sua carriera, Franco Ambrosetti è apparso come solista nei festival, concerti, spettacoli o date di registrazione con vari gruppi come Kenny Clarke quintet, Phil Woods and the European Rhythm Machine, Dexter Gordon quartet, Cannonball Adderley Sextet, Joe Henderson group, The George Gruntz Concert Jazz Band, Michael Brecker and Mike Stern group, Alfredo Golino quintet, Rene Urtregueir quintet, ArnieLawrence’s Tresour Island group, Hal Galper quintet, George Gruntz Duo, trio and quartet, Daniel Humair quintet, Romano Mussolini quintet (a inizio carriera), Gato Barbieri quintet and others.
Negli ultimi anni, Ambrosetti ha continuato a suonare con la George Gruntz Concert Jazz Band e dirige il quintetto dal ’80, suona regolarmente nei club di New York, come il Blue Note, Sweet Basil, Bradleys, Visiones.

Un breve accenno ... del CD ... "buon ascolto"

		01. For Flying our Proud! - Franco Ambrosetti - 5'45''
		02. Spring Song - George Gruntz - 6 '04''
		03. Anticipation - Franco Ambrosetti - 3'42''
		04. Hot Diggety Damn - Franco Ambrosetti - 4'53''
		05. Baal: Von Sonne Krank - George Gruntz - 3'07''
		06. Outfox no Kinxiwinx - Flavio Ambrosetti - 3'56''
		07. Faddis-Burger's Plunger-Fahrt - George Gruntz - 6'07"
		08. A Wheler's Wings - George Gruntz - 3'26''

Etichetta GOLDEN MAP Catalogo N° G CD J 1939  Anno 2007

Produzione esecutiva di Massimo Monti Musicisti Associati Produzioni M.A.P. Distribuzione M.A.P.

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