For the sake of love and genuine friendship, Brian Trainor composed this suite of mellow tunes. Each depicts one special aspect of a specific personal relationship. At the same time, Trainor’s impressionism allows the listener to share in those themes. Dancing a tango, riding bicycles together, sharing quiet moments, discussing world affairs and personal thoughts: these are the sources that we can all appreciate. The trio establishes each theme clearly. Trainor lights a few fires and expands several pieces beyond just one theme. The music of traditional Spain is represented; as is the street scene of New Orleans and Rio. But most of Trainor’s sixth release as a leader lie pensive and moody, with dreamscapes taking the listener on a tour of tender memories.
The title track meanders with hot, straight-ahead energy. It’s the only place on the album where Trainor reveals his deep affinity for the music of Thelonious Monk. No doubt, this special part of his music is being saved for another day.
Can the music of Monk relate naturally to a relationship of romance and close, lifelong friendship? Of course it can. Reality has that effect on you. We find quirky asides, dissonant particles and syncopated spaces in every close relationship. With his Tangled Roots suite, Brian Trainor has elected to explore his dreams with a gentle spirit and explain them through harmonious empathy. Take off your shoes, settle in for the evening, and relax to the trio’s mellow form of enchantment.
Track Listing: The Bike; The Wait (Prelude); The Dance Commences; It Has Always Been Her Eyes; As She
Sleeps; The Move; Scars of Ironwood and Ash; Tangled Roots; The Meeting 5/6; As the Weightless
Cloud Grows Some Flowers Must Die; The Dance Commences.
Personnel: Brian Trainor- piano; Ricardo (Richie) Ferrer- bass; Jeff Jerolamon- drums.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.