TED SIROTA’s REBEL SOULS, the quintet, from the propaganda CD

Rob Mazurek, Jeff Parker, Kevin Kizer in the middle, Ted Sirota, Noel Kupersmith

KEVIN KIZER, extended biographyà http://www.jazzhope.com/MusiciansSaxy_KevinKizerBio.htm

Kevin Kizer, saxophonist and clarinetist, received musical training at Parkland College, The University of Illinois, and Illinois State University. Kevin teaches at Ericsson Junior High, Gemini Junior High, and Naperville Central High, as well as maintaining a busy performance career.

Kevin has performed with such Chicago groups as Ted Sirota’s Rebel Souls, Bill Russo’s Chicago Jazz Ensemble, Brad William’s 21^st Century Revue, Rob Parton’s Jazz Tech Big Band, Dave Creighton’s Big Band of Chicago, and Rich Daniels’ City Lights Orchestra. He also worked with Lee Castle’s Jimmy Dorsey Orchestra, and has backed such vocalists as Wayne Newton, Johnny Mathis, and the Temptations.

Kevin can be heard on four CDs. The first three CDs, “Rebel Roots”, (1996), “Propaganda”, (1998), and “Rebel Souls’ vs. the Forces of Evil”, (2000), were released by drummer-leader Ted Sirota’s Rebel Souls on Naim Records. The fourth release is with Rob Parton’s Jazz Tech Big Band, entitled “Eleventh Hour Live”, (2000), on the Sea Breeze Label.

Recordings:
pictures from http://www.decibel.com.pl/plyty.php

I. Rebel Roots

MUSICIANS
SAXYs, etc
Kevin Kizer - tenor
GUITAR
Jeff Parker
RHYTHM SECTION
Jeff Hill – bass
Ted Sirota – leader, drums

SONGS
1. Four Folks (Jeff Parker-Umjabuglafeesh Publishing/BMI) (7:57)
2. East Broadway Rundown (Sonny Rollins, Duchess Music Corp/BMI) (6:05)
3. Wait (Jeff Parker-Umjabuglafeesh Publishing/BMI) (7:39)
4. Brilliant Corners (Thelonious Monk, Thelonious Monk Music Corp/BMI (6:21)
5. Song For Mumia (Ted Sirota-Rebel Soul Publishing/BMI) (8:17)
6. Voids (Kevin Kizer-Kevin Kizer Music/BMI) (6:39)
7. Ornettish (Kevin Kizer-Kevin Kizer Music/BMI) (7:22)
8. Mannerisms (Jeff Parker-Umjabuglafeesh Publishing/BMI) (6:10)
9. WRU (Ornette Coleman, MJQ Music/ BMI) (8:01)
10. First Song (Charlie Haden, Liberation Music Corp/BMI) (6:41)
Total Time: 71:12

RECORDING INFO
Produced by: Ted Sirota
Recording: Ken Christianson
Mastering: Julian Vereker
Recorded: at Goodspeed Hall, University of Chicago, Chicago, IL on June 24, 1996

LINER NOTES
”I’m not out to prove that we’re the most innovative thing out there and I’m on the cutting edge, or anything like that.” Perhaps this sentiment will seem strange coming from the leader of a group calling itself Rebel Souls. But Ted Sirota recognizes the subtle way that politics are infused into both the jazz industry and everyday life. Sirota’s not worried whether the music he makes has “never been done before.” And he’s not interested in conforming to a mainstream cookie-cutter mentality either. He’s concerned with making his music fresh, making it sound like a group. “I wanted it to be people playing from their souls, communicating,” he explains. “There’s a lot of young musicians who play that way, but then when they make a record it sounds like the record company had some predetermined concept, and the music ends up sounding stale.”

On Rebel Roots, the 27-year –old drummer’s debut, you’ll find music steeped in the sound of early free jazz. Harmonically unstable, melodically open, with the vitality and energy of wing, that music seems to offer limitless possible reworkings, new takes and surprising manipulations. Especially in the light of the current conservative stronghold in jazzland, the argument over that era’s significance takes on a renewed relevance. “There’s a period that’s been totally neglected,” suggests Sirota. “A lot of older musicians that were around then just stopped off at hard bop. And a lot of younger musicians, of my generation, they learn the music through CD reissues and used records. A certain section of the music was overlooked and still needs to be re-examined.”

”The Shape of Jazz to Come came out in 1959 – that’s almost 40 years ago! Ornette Coleman’s music led to other things, which built on it. Bit it should be a part of the repertoire, it should be part of jazz musicians’ tree, you know? Everybody knows Blue Note records, Miles, etc. But you go to a jam session, you can’t call any Ornette tunes unless it’s ‘When Will the Blues Leave’ or possibly ‘Lonely Woman’. Other than that, nobody knows those tunes.” In its own way, this philosophy is extremely rebellious, seeking as it does to pry open the clam-like jazz canon and insert the still living pearls of Ornette, Don Cherry, Ed Blackwell, Billy Higgins, et al., in their rightful spot. “I’ve always loved that music,” Sirota exclaims glowingly. “When I heard it, it just hit me in the gut. Eventually, I learned how that style was different, as far as not having a pre-set form and chord changes.”

Having music that hits you in the guts is part of the Rebel Souls’ deep seated agenda, an idea that’s been building momentum since a 16-year-old Sirota (already studying drums for six years) was first inspired to play jazz after hearing Max Roach at the Jazz Showcase. Born in Champaign, Illinois, and raised in the south suburbs of Chicago, Sirota cites the major impact of Blackwell and Higgins, as well as Roy Haynes and Pete LaRoca, “Guys who played really strong time, even if they didn’t play time all the time,” he adds. Sirota met guitarist Jeff Parker as a student at Berklee College of Music in Boston, where he was classmates with a who’s who of the young and lionized. While in Beantown, Parker and Sirota formed a collective ensemble called the Last Kwartet, which included trombonist Sarah Smith and bassist Chris Lopes; that group lived on as its members eventually resettled in Chicago in 1992.

A Sirota report that Last Kwartet was “like family, anything could happen and everyone would be together on that one tip,” but adds it was “too close, almost.” After that group split, Sirota played an extended gig in Singapore, where he became fast musical friends with bassist Jeff Hill; together they played in the Sabertooth Jazz Quintet for a couple of years, though Hill has recently relocated to New York. Through a fellow musician, the drummer heard a tape of tenor saxophonist Kevin Kizer, who was working in Champaign. “I had heard that he was really into Lockjaw Davis, Gene Ammons”, says Sirota. “Then I heard this tape and it reminded me of Ornette on tenor, but I could tell that he wasn’t just faking it, he was playing what he was hearing. It was raw; he had the sound I was looking for.” Rehearsing lesser-known Monk, Coleman and some originals, Sirota felt he had found his kindred Rebel Souls, and the final touch was, as he puts it, “plugging in” the incredibly flexible guitar of Jeff Parker. Over the course of just tow days, with two mics, Ted Sirota’s Rebel Souls made Rebel Roots in the beautiful wooden acoustics of Goodspeed Recital Hall, at the University of Chicago, hence the warm, live feel of the recording. Most tracks required only one take, the way it should work for a cohesive ensemble.

“I want to play music that’s ‘free’, music where people in the group can really express themselves without having boundaries set up”, details Sirota, “but I’m also thinking about not only reaching intellectuals and scholars and jazz listeners who sit there and smoke their pipes and stuff. I’m always thinking: what if some kids from the projects walked in here, or people who didn’t listen to jazz all the time? Would they be able to feel what was going on? I try to find a way, even if it’s just by playing with a lot of emotion and feeling, that people can relate.”

Again, the genuinely political statement may not be revolutionary or visionary, but simply down to earth. A brief jaunt into the Souls’ version of Sonny Rollins free-period classic “East Broadway Rundown,” replete with hip-hop grove courtesy of Sirota, should be evidence enough of the record’s cumulative listenability. Jeff Parker’s composing talents are coming into full flower, as you can hear on “Four Folks”, “Wait”, and “Mannerisms” – chameleonic, he’s capable of the full range of moods from Bill Evans/Jim Hall impressionism to Sonny Sharrock bone-shake. And Kizer contributes two, too: the aptly named “Ornettish” and rolling “Voids”. The group’s interpretation of Monk’s challenging “Brilliant Corners” was inspired by the Steve Lacy/Roswell Rudd version School Days, and they venture into Coleman’s “WRU”, a nugget from his transitional, exploratory record Ornette!

Sirota’s own piece, “Song For Mumia”, points in the direction of Don Cherry’s tune “Mopti” as well as West African and Afro-Cuban drum music the percussionist has been checking into lately. The piece is dedicated to Mumia Abu Jamal, the journalist/activist on death row. “I’ve been a supporter of his for about ten years-he’d be the first political prisoner executed in the U.S. since the Rosenberg’s. It’s a really important struggle.” The Rebel Souls also cover the “First Song” by Charlie Haden, the bassist and bandleader well known for incorporating overtly political elements into his music. Sirota takes the opportunity to reiterate his commitment: “Music shouldn’t just ignore the fact that art is political. Musicians and artist need to start taking more of a stand in society.”

Sirota hints that the Rebel Souls’ next record may find them pushing a different envelope. Rebel Roots plants the seed and sends the group’s tubers far down into the soil, establishing a solid platform from which future branches can reach for the clouds.
-John Corbett, Chicago, August 1996
(John Corbett writes for Down Beat, Pulse! and the Wire, and his book “Extended Play: Sounding Off from John Cage to Dr. Funkenstein” was published by the Duke University Press in 1994).

Acknowledgments from Ted:
I would like to thank the following people who helped make this recording possible…the two loves of my life, Janvier and Taima, for their unwavering support and love. And my parents, Stuart and Glenda Sirota, for their unconditional support over the years. Extra special thanks to Ken Christianson for all of his help, especially the wonderful job with the recording. Also, thanks to radio station WHPK and the University of Chicago for helping to make this recording possible. Big thanks also to Christine Hill, Jeff Ross, Pat Noland, Julian Vereker and everybody at Naim. Thanks also to Chris Lopes and Sara Smith for the years of friendship and musical inspiration. Last but not least, thanks to Mrs. Bertha Tanner without who this recording might never have happened. Extra special thanks to Jeff, Kevin and Jeff for their time, compositions, and for inspiring me to want to keep playing jazz. I’d like to dedicate my portion of the music on this CD to the memories of Alan Dawson, Ed Blackwell, Don Cherry and Sun Ra, all of who inspired me enormously. Thanks also to Julia at Finesplice, Richard at Koch, Paul at Naim and Philippa at Graffix.

REVIEWS
Cadence magazine declared, “Rebel Roots is inspired, adventurous music and is strongly recommended.” 

Listener magazine says “this young man is a remarkable musician” and “frankly, there have been few jazz debuts in recent years which have shown such ability.” 

C R I T I C ' S   C H O I C E / M U S I C
Ted Sirota's Rebel Souls
December 13, 1996TED SIROTA'S REBEL SOULS
While hard-bopping neotraditionalists continue to rule the roost in the new jazz mainstream, Chicago--which has spawned the AACM, Hal Russell, and the Ken Vandermark axis--finds itself in the midst of yet another free-jazz revolution. Even some of the city's hard-bop mainstays, like trumpeter Rob Mazurek and saxist Ron Dewar, can now be heard playing freer, more exciting music. Drummer Ted Sirota, who plays weekly at the Green Mill in the Sabertooth Jazz Quintet, and his group Rebel Souls aren't revolutionary per se, but their spirited investigations of the freedom quest embarked upon 40 years ago by Ornette Coleman have generated substantial results. The recent Rebel Roots (Naim) combines free-ish standards by Coleman, Thelonious Monk, Sonny Rollins, and Charlie Haden with originals penned by Sirota and group members Jeff Parker (guitar) and Kevin Kizer (tenor sax). While the results are invitingly accessible, they nonetheless represent forward motion. On the group's treatment of Rollins's motific gem "East Broadway Rundown," for example, Sirota boosts the tune's propulsive melody with a funky hip-hop breakbeat, while Parker cranks up his normally gentle tone, puncturing the melody and shadowing the rhythm. Parker's gorgeous tunes, particularly "Four Folks" and "Wait," unfold slowly, and the group handles these more sophisticated, restrained vehicles with the same aplomb as it does the upbeat numbers. When Kizer builds up a full head of steam, as on his tune "Ornettish," his angular phrasing is impressive. Bassist Jeff Hill has left the group since the recording was made; filling his seat for this gig is Josh Abrams. Bass trumpeter Ryan Schultz will sit in. Wednesday, 9 PM, Empty Bottle, 1035 N. Western; 773-276-3600.
PETER MARGASAK

"Chcę grać muzykę, dającą poczucie "wolności", w której muzycy tworzący zespół mogliby swobodnie wyrazić to, co mają do przekazania. Ciągle zastanawiam się czy ludzie, którzy przypadkowo usłyszą to co robimy, wiedzieliby o co nam tak naprawdę chodzi. Próbuję znaleźć drogę, nawet jeśli to jest tylko granie na emocjach i uczuciach, do której słuchacze mogliby się odnieść". - Ted Sirota

II. propaganda

MUSICIANS
SAXYs, etc
Kevin Kizer (tenor)
TRUMPs, etc
Rob Mazurek (cornet)
GUITAR
Jeff Parker
RHYTHM SECTION
Noel Kupersmith – bass
Ted Sirota – leader, drums

SONGS
1. Geronimo’s Free (Ted Sirota-Rebel Soul Publishing/BMI) (6:19) – dedicated to Geronimo ji Jagal
2. Ten (Rob Mazurek–Ohio/ASCAP) (9:46)
3. Carolynn’s Blues (Kevin Kizer-Kevin Kizer Music/BMI) (6:39)
4. Propaganda (Ted Sirota-Rebel Soul Publishing/BMI) (6:50)
5. Lonely People (Rob Mazurek–Ohio/ASCAP) (6:05)
6. La Danse de Janvier (Ted Sirota-Rebel Soul Publishing/BMI) (9:31)
7. Little Spots (Jeff Parker-Umjabuglafeesh Publishing/BMI) (6:59)
8. Hemiola (Jeff Parker-Umjabuglafeesh Publishing/BMI) (8:52)
Total Time: 64 min

RECORDING INFO
Produced by: Ted Sirota
Recording: Ken Christianson
Mastering: Julian Vereker
Recorded: at Union Church, Hinsdale, IL on October 12 & 13, 1998

RECORDING INFO
Produced by: Ted Sirota
Recording: Ken Christianson
Mastering: Julian Vereker
Recorded: at Union Church, Hinsdale, IL on October 12 & 13, 1998

LINER NOTES
none available

REVIEWS
http://www.allaboutjazz.com/reviews/pf_r0799_45.htm
Propaganda Ted Sirota's Rebel Souls | Naim
Personnel: Kevin Kizer-tenor saxophone; Rob Mazurek-cornet; Jeff Parker-guitar; Noel Kupersmith-bass; Ted Sirota-drums
I was immediately hooked by this album's first track: a loose, free-wheelin' tune called "Geronimo's Free" that laces jazz solos over a ska backbeat, recalling the best of the Skatellites. But don't expect just one sound or style from Chicago drummer Ted Sirota and his band, the Rebel Souls. Propaganda offers a little bit of everything: bebop, avant jazz, jazz-rock, even a touch of the blues - not surprising since Sirota was once a member of blues great Eddie Kirkland's band.
But the overriding inspiration for this daring, piano-less quintet appears to be the great bands of Ornette Coleman. The title tune, for example, is a free-jazz journey propelled by Sirota's ferocious drumming. "La Danse de Janvier," another Sirota original, layers funky dance and rock grooves over African percussion. Other numbers, like cornetist Rob Mazurek's "Ten" and guitarist Jeff Parker's "Hemiola", stick closer to home, building on catchy bebop riffs, but letting the soloists venture off into uncharted territories.
What sets this group apart from the crowd, in addition to fine chops, is its open ears and adventurous spirit. The Rebel Souls cover a lot of ground stylistically, but it never feels forced or unnatural. Here's a smart, forward-thinking band that knows how to swing. Definitely worth a listen.
~ Joel Roberts

Neil Tesser of the Chicago Reader recently wrote: “Chicago's jazz scene is awash in celebrity: we have a new MacArthur fellow (Ken Vandermark), a perpetual Grammy nominee (Kurt Elling), a breakthrough songwriter and performer (Patricia Barber), and a national radio host (Ramsey Lewis). But so far this year none of these stars has come up with a better album than Propaganda (Naim), by drummer Ted Sirota's Rebel Souls, whose combination of adventurous improvising and driving lyricism stuck in my head for days after I first heard it.”

Downbeat magazine states “Ted Sirota and his fine quintet, the Rebel Souls, disseminate their jazz ideas with the kind of fun-loving gusto and grit that makes for an immensely satisfying listen. It's that simple: This CD bears repeated spins, which is a rare triumph for any recording these days.” 

Music critic Peter Margasak of the Chicago Reader claims, “With the new-jazz scene's current emphasis on free improv, high-octane blowing, and bold style blending, we don't hear this kind of stuff enough.”

"Niewiele było ostatnimi laty jazzowych debiutów, które pokazałyby takie zdolności" napisał Phil Brett (The Listener) w recenzji pierwszej płyty Ted'a Sirota nagranej dla Naim Label. Jego drugi album, Propaganda, wywrze z pewnością podobne wrażenie. Ten fantastyczny krążek powstał dzięki współpracy Ted'a i jego Rebel Souls z muzykami takich formacji jak Tortoise, Isotope 217 i Chicago Underground Orquestra. Osiem świetnych utworów napisanych zostało przez Ted'a przy aktywnym udziale innych członków zespołu. z pewnością są one odzwierciedleniem ponadprzeciętnego talentu wszystkich muzyków. Gdy Ted swoim charyzmatycznym bębnieniem prowadzi zespół poprzez meandry jazzowego grania, nie można oprzeć się wrażeniu ogromnej pasji jaką muzycy mają dla instrumentów i granej muzyki.


http://search.centerstage.net/music/whoswho/TedSirota'sRebe.html
This jazz group -- which consists of Ted Sirota (drums), Jeff Parker (guitar), Rob Mazurek (cornet), Kevin Kizer (tenor sax), and Noel Kupersmith (bass) -- recently released their second release on Naim Records. Propaganda is the follow up to their debut record, Rebel Roots.

III. ted sirota’s rebel souls vs. the forces of evil

SAXYs, etc
Kevin Kizer (tenor, clarinet)
Geof Bradfield (tenor, alto, bass clarinet)
TRUMPs, etc
Rob Mazurek (cornet)
GUITAR
Jeff Parker
RHYTHM SECTION
Noel Kupersmith – bass
Ted Sirota – leader, drums

Tunes include “Becky’s Bash”

SONGS
1. Grendel (Geof Bradfield-Geocentric Music/BMI) (8:43)
2. Tight rope (Rob Mazurek-Ohio Music/ASCAP) (6:00)
3. You know me (Jeff Parker-Umjabuglafeesh Publishing/BMI) (5:22)
4. Tubby (Ted Sirota-Rebel Soul Publishing/BMI) (7:14)
5. Dig to China (Noel Kupersmith-LMNO Music/BMI) (3:09)

6. Becky’s Bash (Kevin Kizer-Kevin Kizer Music/BMI) (8:00)
7. Impengu dek bengikeai (traditional/arr. Geof Bradfield/Geocentric Music/BMI) (5:58)
8. Wonder (Geof Bradfield/Geocentric Music/BMI) (7:56)
Total Time: (52:42)


http://www.tedsirota.com/forces%20page.htm
From Ted’s page.

MP3's

Grendel - geof bradfield/geocentric music-bmi - 08:43
Tight Rope - rob mazurek/ohlo music - ascap - 06:00
You Know Me - jeff parker/umjabuglafeesh publishing - bmi - 05:22
Tubby - ted sirota/rebel soul publishing - bmi - 07:14
Dig To China - noel kupersmith/lmno music - bmi - 03:09
Impengu Dek Bengi Kai - traditional/arr. geof bradfield/geocentric music - bmi - 05:58
Becky's Bash - Kevin Kizer/Kevin Kizer music - bmi - 08:00
Wonder - geof bradfield/geocentric music - bmi - 07:56

RECORDING INFO
Produced by: Ted Sirota
Recording: Ken Christianson/Pro Musica, Chicago; Matt Dever, assistant

Recorded: direct to 2-track at Union Church, Hinsdale, IL on May 30, 31 + June 1, 2000
all music live, no editing
for booking information contact
Ted Sirota’s Rebel Souls

7511 North Winchester Avenue

Suite Number 1

Chicago, IL 60626
fax: 773-381-2604
email: booking@tedsirota.com
http://www.tedsirota.com

LINER NOTES
none written.
Acknowledgments from Ted:
Ted would like to thank his family: Janvier, Taima + Safiya for their loving support

REVIEWS
To trzeci album Teda i jego 'Zbuntowanych Dusz' nagrany dla The Naim Label. Ci, którzy zakochali się w dwóch poprzednich wydawnictwach powinni sięgnąć i po to. Dlaczego? Ponieważ jest absolutnie r e w e l a c y j n e !!! Do zespołu dołączył Geoff Bradfield, który oprócz wkładu kompozytorskiego (trzy utwory) wniósł także swój talent jako instrumentalista, grając na tenorowym, altowym i basowym klarnecie. Zespół Siroty ma może 'zbuntowaną duszę' ale przede wszystkim wielkie serce... – DOWNBEAT

http://www.newinsight.co.uk/musicreview_may.htm
The Forces of Evil was recorded live in a church in Chicago, with no editing, and as with all Naim releases, the quality is excellent. A couple of years ago we reviewed Ted Sirota's second album, Propaganda, which had a few more free-jazz moments than this recording, but overall the feel is similar. But there has been a progression in the music. The addition of an extra horn gives more depth to some of the arrangements, and the band seem more comfortable with each other, bouncing effortlessly between solos. There's also more diversity in the tunes, mostly written by the band, including a ska/reggae number. The members of the band are all highly competent musicians, and this album has a great feel, jazz at the free end of the spectrum, but with plenty of musical interest.

http://www.allaboutjazz.com/prevcdreviews.htm

IN ITALIAN
http://www.allaboutjazz.com/italy/reviews/R1201_016_it.HTM
La musica che ci arriva dalla ventosa Chicago è decisamente variegata. Dallo stesso manipolo di musicisti possono arrivare proposte decisamente diversificate che spaziano da situazioni di post-rock, come nel caso dei celebri Tortoise e di tanti altri, fra i quali ci piace ricordare i meno famosi ma decisamente interessanti The Sea and Cake [per leggere la recensione del loro recente album Oui clicca qui], a territori più di frontiera, come nel caso degli Isotope 217 [per leggere la recensione di Who Stole the I Walkman? clicca qui] e dei Chicago Underground Duo/Trio/Quartet/Orchestra [per la recensione di Flamethrower clicca qui, per quella di Chicago Underground Quartet clicca qui].

In questo caso il batterista Ted Sirota è alla testa del suo gruppo Rebel Souls che comprende il chitarrista Jeff Parker, il cornettista Rob Mazurek [per leggere l'intervista col musicista di chicago clicca qui] e il bassista Noel Kupersmith spesso presenti nella maggior parte dei gruppi sopra citati, ai quali sia affiancano i due saxofonisti Kevin Kizer e Geof Bradfield.

Il gruppo è già alla sua terza uscita discografica e continua a percorrere una strada che è più spostata in territorio jazzistico, rispetto alle altre proposte di cui si parlava all'inizio. Non ci sono tastiere, non ci sono campionatori. Gli strumenti sono utilizzati per così dire nella loro componente acustica, e persino la chitarra elettrica di Parker è utilizzata piuttosto come una variante elettroacustica dello strumento, con poche indulgenze verso effetti e alterazioni brutalmente elettriche. Ci troviamo di fronte ad un gruppo che pare voler portare avanti con grande passione le situazioni musicali che siamo soliti associare ai gruppi di Art Blakey, all'Ornette Coleman del periodo Blue Note, persino al celeberrimo quintetto di Miles Davis pre-In A Silent Way. Ovviamente, il tutto riveduto e corretto alla luce delle modifiche del linguaggio jazzistico affermatesi negli ultimi decenni.

I musicisti sono particolarmente attenti a interagire con grande precisione nelle parti scritte e poi si librano in ottimi assoli che dimostrano la grande padronanza strumentale raggiunta e la capacità di raccontare storie attraverso i loro strumenti. Jeff Parker è in gran spolvero e ci offre una sua personale rilettura del ruolo della chitarra elettrica nel jazz attuale, con un accompagnamento nervoso ma particolarmente efficace e ottimi assoli decisamente angolari ma del tutto originali e coerenti con la musica che gli gira attorno.

Ted Sirota si dimostra ottimo leader e sa ben coordinare il lavoro degli altri musicisti con il suo lavoro percussivo che spesso si alimenta di felici intuizioni poliritmiche, un po' alla Ed Blackwell. I due saxofonisti sono autori di ben tre brani (e Bradfield cura anche l'arrangiamento dell'unico brano tradizionale presente) e paiono ben calati nella tradizione dei grandi saxofonisti americani, pur avendo la capacità di proiettarsi senza alcuna remora verso situazioni decisamente innovative, quando la musica lo richiede.

I rimanenti brani sono equamente divisi, per quanto riguarda la scrittura, fra Parker, Sirota, il bassista Kupersmith e Mazurek. Quest'ultimo offre una prova davvero convincente, dimostrando grande padronanza del linguaggio jazzistico, andando molto al di là di quello che si poteva intuire dall'ascolto dei suoi dischi precedenti. I brani hanno spesso quella sorta di fierezza che caratterizzava le migliori produzioni del jazz degli anni sessanta, anche se qui ci troviamo a passare disinvoltamente dalle influenze 'reggae' che caratterizzano il bel brano "Tubby" a una sorta di hard bop del nuovo millennio che apre il successivo "Dig To China", una vera passerella per il leader Ted Sirota che approfitta delle angolari frasi dei fiati come se fossero un trampolino di lancio per dare sfogo alle sue pulsioni ritmiche.

La registrazione è avvenuta incidendo direttamente sulle due tracce finali, senza alcun intervento di editing a posteriori.

Nessun trucco quindi, per questa eccellente formazione che ancora una volta ci regala un ottimo album.

IV. Rob Parton’s JAZZTECH Big Band ‘ELEVENTH HOUR LIVE” 2001 See Breeze Records

MUSICIANS

SAXYs, etc
Taku Akiyama (alto)
Kurt Berg
Mark Colby (tenor)
Bob Frankich (alto)
Kevin Kizer (tenor) sometimes misspelled as Kevin Kaiser
Linda Van Dyke (baritone)

BONES

Tony "Dr. Edit" Garcia
Tom Garling
Brian Jacobi

Thomas Matta

TRUMPs, etc
Rob Parton Flugelhorn, Leader, Producer, Main Performer, Soloist, Cover Art, Trumpet 
Scott Wagstaff soloist
Ron Ruvio
Joey Tartell

RHYTHM SECTION
Don Stille (piano)
Tim Fox (bass)
Bob Rummage – drums

VOCALS
Kristi Parton

ARRANGEMENTS BY
Jack Cooper
John Fedchock
Frank Mantooth
Thomas Matta
Jim Martin
Ernie Wilkins
Gerald Wilson

SONGS
1. It Don't Mean a Thing (If It Ain't Got That Swing) (5:44)
2. Somebody's Waltz (6:45)
3. When I Look in Your Eyes (6:18)
4. Secret Love (4:20)
5. From This Moment On (2:24)
6. Bewitched, Bothered and Bewildered (3:49)
7. It's Alright With Me (2:51)
8. Post (9:12)
9. Bye Bye Blackbird (5:59)
10. Soft Spot (6:31)
11. Something to Live For (8:46)
12. Eleventh Hour (5:37)
13. Basie! (4:45)

RECORDING INFO
MIXING Scott Steiner
MASTERING Tom Hutten
CD PREPARATION Danny Beher
PRODUCER Carey Deadman
Recorded Live at FitzGerald’s in Berwyn, IL - March 6, 2001

REVIEWS
Parton leads to victory!!!!!!!!, August 14, 2001
Reviewer: Ted Nichols from Wheaton, IL USA
Parton and is big band blow away the audience at Fitzgeralds during this live performance. Rob Parton gathered some of the most amazing jazz artists in the Chicago area including Mark Colby, Bob Rummage and Tony Garcia to make this outstanding CD. Partons sound is amazing as he wails, leading the band. This CD is a must if you enjoy a true big band sound and amazing lead trumpeting. Buy it now!!!!!

Rob Parton's Eleventh Hour Live CD, May 16, 2001
Reviewer: Dennis Vance from Independence, Iowa USA
Rob Parton has a cookin' band with some great charts. The solo work is outstanding!


http://www.wbez.org/schedule/specials/jazzfest/parton.htm
Rob Parton
Guest commentator on Friday, August 31, 2001
Rob Parton is one of Chicago's foremost music educators, trumpeters, and bandleaders. He is chairman of Jazz Studies at the Chicago College of Performing Arts at Roosevelt University, where he teaches trumpet and directs both large and small student jazz ensembles. A versatile and talented performer, Parton has worked with major jazz artists and symphony orchestras and on scores of commercial recordings. As the leader of his own Jazztech Big Band, Parton is a key figure on the Chicago scene, keeping the big band sound alive and expanding its traditional boundaries. Over the past decade, Parton has recorded four albums with the band for the Sea Breeze label. The latest, Eleventh Hour Live, was released earlier this year.