with
(Joe plays flugelhorn on END OF A LOVE AFFAIR)
Total Time 53:30
Music should wash away the dust of everyday life.
ART BLAKEY (1971)
My general musical philosophy is to be swingin!
Ive learned a great deal about jazz by listening to a lot of the classic older records (especially those great 1950s and 60s Blue Note dates). These sessions featured sophisticated yet swingin music. And the hardest thing to do in jazz is to genuinely swing; to have clarity. But I feel that in recent years jazz has gotten away from these fundamental principles.
Im continually striving to restore this sense of clarity and of swing. The players heard on this, my debut disc, were chosen because they follow this musical philosophy themselves.
Ralph Lalamas authentic grasp of the music has always amazed me. I hear the strong influence of tenor giants such as Sonny Rollins and Hank Mobley in him. I agree with trumpeter Richie Vitales sentiments: Ralph has a wry sense of humor in his playing. Our only prior performance together was once in 1996.
In contrast, Ive known Joe Magnarelli for some fifteen years. Weve played off and on, especially when he lived upstate. Like Ralph, Joe really understands the spirit of Hard Bop. I detect a strong Kenny Dorham influence; like KD, Joe phrases from his heart he doesnt just play licks and run the changes and, also like KD, is a musical storyteller.
My only prior playing with Grant Stewart was once in 1993. One of the things that really strikes me is his originality. Grant has been influenced by all the greats, yet he isnt afraid to reach for new things; hes what I would call a weaver. He consistently creates new lines that are exciting to hear.
Ive known John Sneider for seven or eight years. Ive always been impressed with his writing and his arranging abilities (John wrote the nice arrangement of End of a Love Affair). And as a drummer, its fun to play with him due to his rhythmic way of phrasing.
Paul Hofmann and I go back to 1985. Ive always admired Pauls sense of swing, particularly his eighth-note feel. On the strength of his overall musicality, he has a way of locking in a rhythm section. Because we approach this music in a similar way, weve had many satisfying musical experiences together.
I first heard Paul Gill in the early 1990s playing at a Washington, DC club called The One Step Down. I was instantly impressed with his huge, fat beat as well as with his bowed solos (which really swung). And Paul plays with gut strings; this helps give the sound of jazz a degree of warmth that is too rare today. I sat in with him at the New York jazz club Smalls just prior to the August sessions, and we clicked immediately. Good thing; I just had to have him for this project!
All the tunes Ive chosen are either standards or Hard Bop classics, except for Like Sonny C. (Paul Hofmanns tribute to Sonny Clark). And we perform Whats New as a bossa out of respect to Joe Romano, one of jazzs top tenor saxophonists, and one of my musical fathers (from Rochester, as I am, Joe was kind enough to hire me when I was seventeen years old).
Enjoy!
Mike Melito
It is with great delight that I announce Michael Melitos debut recording, on MHR Records.
Mike and I are old friends and musical compatriots, and Ive long been impressed with his extraordinary approach to jazz drumming. So I am very proud to have been asked to contribute to this special project. And what a pleasure it has been!
It was thoroughly rewarding working with such wonderful musicians, as well as being in a studio atmosphere that proved so conducive to making quality music. After Mike led us all through three productive days of recording (during the summer and fall of 1997), things have now culminated in this release of My Conception. I believe this is truly an apt title, as these performances quite faithfully represent Mikes conception of jazz.
The first four tunes were actually recorded at the second session. Mike kicks things off with Like Sonny C., a piece written with the great pianist Sonny Clarks marvelous Hard Bop approach in mind. Joe Magnarellis vital opening solo really hits the mark! The Van Heusen/Burke standard Like Someone In Love follows. Dig Mikes relaxed, lopin beat (and kudos to Ralph Lalama for his on-the-spot suggestion that we record this). Both Joe on mute and Ralph sound particularly wonderful here.
We next play Kenny Dorhams masterpiece Asiatic Raes, notably covered by Sonny Rollins on Newks Time. This interesting piece also known as Lotus Blossom is a fine example of KDs vibrant compositional style. Surely a reassessment of KDs tremendous and varied talents (as trumpeter, singer, and writer) is long overdue. Winding up the afternoons proceedings is Mikes quartet rendition of Sonny Clarks beautiful ballad My Conception, featuring some sensitive playing from Ralph.
The next two tunes come from the earliest session. An interesting rendition of the old chestnut Whats New is heard first (Mike has already alluded to this version in his notes). Dig Grant Stewart and John Sneider on this! I also enjoy Mikes nice solo, tastefully accompanied by Paul Gill. The quintet then tackles Wayne Shorters classic Marie Antoinette. As with so many of Waynes marvelous tunes, these harmonies are great fun to play over. A real swinger, nicely propelled by the rhythm tandem of Melito and Gill.
The third session yielded the final three tracks, commencing with a superb tune composed by the legendary drummer Billy Higgins: Marilyns Dilemma. Grant Stewarts solo here is another outstanding example of his rare creativity, and Mike contributes another terrific drum solo as well. Next up: the sole sextet tune, John Sneiders exciting version of the standard End of a Love Affair. My Conception concludes with Brother Ball, trumpeter Blue Mitchells memorable line that pays homage to alto sax giant Cannonball Adderley. Here, Mike plays an arrangement very similar to Blues original 1958 recording.
Its my sincere hope that those who appreciate great jazz and great jazz drumming will take wider note of Michael Melitos unique talents. As this recording is an important step towards that end, may I offer my congratulations on a project so well-conceived and achieved. Mike, may this be the first of many successful projects, for nobody is more deserving.
Paul Hofmann
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