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Topsy Turvy

“...we ‘abstract’ artists, we musicians and
dancers, have this to say to ourselves:
Relax. Invent. Perform. Have fun.”

— LEONARD BERNSTEIN
Dance magazine (June 1946)

In 1997, I was asked to play piano on three quintet sessions led by jazz drummer Michael Melito. Contributing to such a musically rewarding project was a wonderful experience for me, and in fact proved the catalyst for our recording this music.

Indeed, “Topsy Turvy” is on several levels an extension of Mike’s “My Conception.” The studio is the same, the rhythm section is identical, and Grant Stewart returns to play tenor sax on a few tracks. We also continue our predilection for exploring some lesser-known tunes by jazz’s legendary figures. Our two days of recording actually yielded more music than was possible to include in this program! No matter; I feel fortunate to have been able to sequence our final material into four neatly contrasting parts, even on the order of a double-LP (remember those?).

The so-called ‘hard bop’ style permeates much of this album. Sonny Clark and Herbie Hancock rank among the most sought-after jazz pianists ever (Sonny has long since passed the scene; Herbie is still wowing listeners). Clark’s Nicely and Hancock’s A Tribute to Someone are beautiful tunes, too infrequently performed, and here the trio plays them as a medley. Cedar Walton’s Bolivia has been a jazz staple for decades now; the trio takes a more relaxed approach with this than is common. Two originals for quartet, Ivy and Blues for Red – my homage to piano legend Red Garland – are also out of the hard bop bag.

Moreover, we enjoyed reaching back into the world of bebop (whence hard bop came, after all). Topsy Turvy is one of bop piano pioneer Bud Powell’s great pieces. Here Bud clearly tips his composer’s hat to fellow bopper Thelonious Monk, the melody clearly evoking Monk’s quirky approach. Dig Grant Stewart on this! And speaking of Monk, the album closes with his catchy Bye-Ya, played here by Mike and me. I penned our opener, Hi-Ya (another piano-drums duet), with Monk in mind as well.

In The Tradition (for quartet) is an original bebop melody similar to Miles Davis’s Milestones. The Feeling is Mutual (for solo piano) is my bop line over the harmonies of Gershwin’s Somebody Loves Me. Perhaps our most unusual number is a short, unpublished and never before recorded (to my knowledge) work by the great pianist and composer Herbie Nichols – Bartok. Eerie!

Ballads occupy important positions throughout the program, too. Billy Strayhorn’s timeless Lush Life and the classic Body and Soul are both performed as piano solos; Duke Ellington’s tender Do Not Disturb is heard here as a quartet number; my original ballad I Will Be Right There is a piano-bass duet. The trio even plays an easygoing Latin tune – Listen To My Heart.

Finally, it must be noted that these incredible musicians inspire me. Mike and Paul consistently provide me with firm, solid support; their common approach to the ‘basic beat’ really helps unify our overall rhythmic concept. And what a pleasure playing with Grant Stewart again ... Grant’s creative approach to improvisation, while deeply rooted, is truly his own. Of course, the same thing can be said for Mike. Paul Gill, while sticking more closely (by design) to the bass player’s traditional role, sounds wonderful too.

Many thanks, guys. And from each us, we thank YOU all for listening.

Paul Hofmann