WVTF - West Virginia
KEMX - Montana
KKUP - California
KVLU - Texas
KCBS - Washington
KEMC - Montana
KJAZZ - California
WYSU - Ohio
WDPS - Ohio
KMUW - Kansas
KMBH - Texas
KIPU - Hawaii
KAMU - Texas
KPSU - Oregon
KUSD - South Dakota
Alooga Lounge - Germany
KMHD - Oregon
KZUM - Nebraska
CBC - Canada
KSDS - California
RCV 99 - France
Radiophone - Greece
Jazz Excursion - Colorado
Yellowbeat - Japan
Noah Peterson: Alto & Soprano sax
Janice Scroggins: Keyboard
Jay Stapleton: Guitar
Dennis Caiazza: Bass
Dave Captein: Bass
Gordon Todd - KBCS, Washington
WDPS - Ohio
About "Duos & Trios"
I began this project after an inspirational phone call from George Fuller of KRML. George called me after I sent him my "Live At Biddy McGraw's" CD, and we had a great conversation about jazz and radio. The thing he said that was the impetus behind this recording was how much he liked the sax/guitar combo instead of the usual sax/piano. This was significant to me as I had a conversation with Horace Silver about recording "Song For My Father" for the "Live at Biddy McGraw's" CD. When discussed the arrangement I mentioned it was a quartet with no piano, he was intrigued and said he wanted to hear it. That, coupled with George's conversation, gave birth to the idea of doing a recording of small combos in non-standard instrumentations. Short tunes designed to fill time slots between DJ's, programs, and to close out sets. This was, in essence, a concept project for airplay that would help DJ's get some interesting programming, make transitions smoother and give the listeners something hip and fun. The sax/guitar, sax/bass and sax/keyboard were to give a different sound than is normally found in the majority of jazz recordings. Plus I'm a guitar nut; I don't know how I ended up playing sax; guitar is my favorite instrument, and I love playing sax/guitar duos.
As I didn't have a strong musical direction for the project, I brought in my long-time mentor and friend, Jeffrey Dawkins, to be my producer. I told him what the concept was and that I wanted a "dirty, swinging, hip, little record." I wanted to use my right-hand man, Jay Stapleton, for the guitar and a couple of other players that I admired and liked
to play with. Jay brought in a lot of original songs that have his modern approach, lyrical melodies, and moody spaciousness that Jeffery and I thought were ideal for the project. I brought in a couple of tunes, wrote one for recording, and Jay and I collaborated on another. Not all of them made the final cut. For additional players I wanted
to use Dennis Caiazza on bass, Jay and I had a lot of experience with him and he's a freight train of groove. I also wanted to use Dave Captein on bass, I'm a fan and think he's an incredible player.
I totally agreed with Jeffrey's suggestion of Grammy winner Janice Scroggins on Keyboards, she's fabulous and knocked the tunes we did out of the park! Since this project, she has entered my staple of players and I always enjoy her extraordinary musicianship.
Like all independent recordings, this took place in bits and pieces (or duos and trios!) over a couple of years as I could afford it and find the time to get it done. We went to 3 studios, coordinated gigs so Jay could come up from California, recorded rehearsals in my dining room, and worked on it whenever we could. Chronologically speaking, this project was started about half-way through the completion of my acid jazz CD, "Bump." The tunes were selected for their jazz appeal, classic sensibilities, and how well they lent themselves to small combo arrangements. I had some specific ideas
about the duos for "Georgia" (I think bass/soprano arrangement is great!), "Surrey," and "America;" while Jeffrey made some great calls with "Sugar Mountain" and "Harlem Nocturne." "My Name is Burns" is written for Burns, the
hippest cat ever to hang out Jazz de Opus in Portland, OR. No first name, no last name; simply, and as he always introduced himself, "My name is Burns."
Since the concept of this CD wasn't musically thematic, and the recording sessions so far apart, keeping consistency and programming in mind was difficult. Fortunately, the project grew some legs and began to shape its own identity. That's reflected in the tracks that exceed 3 minutes. Of course, playing the form of "Harlem Nocturne" twice puts
it over 4 minutes, and we stretched others as they musically demanded it. As we began picking tunes for the CD, it was pretty easy choosing what fit and what didn't. What was very different on this recording was lack of stress and tense situations that normally accompany these things. That's not to say there aren't a couple of "events" that will be (and have been) brought up from time to time, but this was a good effort all around and captures a pure, raw joy and
emotional depth that is satisfying and good to listen to. This is my art, my music; it is the creative efforts of my friends, my fellow jazz artists, and my producer. This is jazz; dig it!
Noah
I would like to thank Jay, Janice, Dave, and Dennis for their musicianship and contributions to this CD. Thanks to Jay for his tunes and friendship. Thank you to Jeffrey; it's a been good work, and I appreciate your wisdom and effort. Thanks to my parents for their endless support, my fans for buying my records, coming to my gigs, commenting on my "editorials," and just listening. Thank you to Kinn Edwards for allowing me to start working my duos and to Michael Shea for my trios. Special thanks to Marina for the sacrifices of being with a saxophonist. I know it ain't easy, Baby, late nights, sleepless weekends, and long drives. You're the best; you make my life better, and you make me a better man. I love you, and I hope you hear it in the music.
Executive Producer Noah Peterson
Producer Jeffrey Dawkins for Tiger Strikes Media
Recorded at Cool Blue Studio, Superdigital & Tiger Strikes Studio
Engineered by John Reynolds, Rick McMillen & Jeffrey Dawkins
Mixed at Dead Aunt Thelma's by Dean Baskerville, Jeffrey Dawkins, Noah Peterson
Mastered at NW Media by Todd Chatalas
Art Director: Jeffrey Dawkins
CD Art: Bart Pustowski
Photos: John Klicker & Julie Keefe, Marina Aragaki
Personnel: Noah Peterson, alto and soprano sax; Jay Stapleton, guitar; Janice
Scroggins, keyboard; Dave Captein, bass (tracks 1, 3, 4, 8); Dennis
Caiazza, bass (tracks 2, 5, 10, 13, 14)
1. Alice in Wonderland (Hillard/Fain) 3:19
2. You Never Know (Jay Stapleton) 3:34
3. Georgia (Carmichael) 4:17
4. My Name is Burns (Noah Peterson) 4:37
5. Elvin in the Tub (Jay Stapleton) 2:32
6. Surrey with the Fringe on Top (Rogers/Hammerstein) 3:09
7. Sunshine (Jay Stapleton) 3:08
8. Sugar (S. Turrentine) 3:05
9. Sugar Mountain (Neil Young) 3:04
10. It's a Bossa Thing (Noah Peterson) 4:24
11. Harlem Nocturne (Rogers/Hagan) 5:47
12. A Sweet Piece of Candy (Noah Peterson/Jay Stapleton) 2:04
13. Coming Down (Jay Stapleton) 2:21
14. El Paso Rosa (Jay Stapleton) 4:24
15. America the Beautiful (Bates/Ward) 2:50
Bar code 804759000522
Portland's Noah Peterson scores nicely on this album in some meetings with Jay Stapleton, guitar; Janice Scroggins, piano and either Dennis Caiazza or Dave Captein, bass. I personally opt for the alto over the soprano, so among the fifteen selections, I felt strongest about Sugar, Surrey With The Fringe and Harlem Nocturne. Among several originals of various moods and tempos, I was most impressed with a pleasant little rhythmic line called Sunshine. This is a nice start for Peterson, but I'd like to hear him blowing some bop with a rhythm section! You can learn more at www.petersonentertainment.com.
Peterson Entertainment; 2007; 52:35 *** 1/2
George Fendel - Jazz Society of Oregon
Posted by Li Robbins at 05:00 PM
CBC Radio
Tonight Tonic presents three, unrelated Petersons on the same show -- Oscar, Noah and Gilles Peterson. OK, I'm confessin,' I don't know Noah. Gilles the DJ I know of, and Oscar, of course. But Noah? If my sources are correct, Noah Peterson is a sax player from Portland Oregon.
Jay Stapleton- Guitar
Janice Scroggins - Piano
Dennis Caiazza - Bass
Noah Peterson may not be a jazz household name, but he should be. He has broad musical talent, performing anything from jazz and soul to marimba. Noah is a dynamo, and enterprising, and he makes things happen and finds places to perform; Biddy McGraw's, Iorio, Bugatti's, benefits, farmers markets and private events. He leads his own duo, trio, quartet, quintet, his funky Soul-Tet and performs in others' bands, as well.
This night was a celebration of his new CD Duos & Trios , recorded with Janice Scroggins, Jay Stapleton, Dennis Caiazza and Dave Captein. Dennis was the bassist for the evening.
Noah and Janice start with America the Beautiful, playing it straight, then Noah makes his alto squawk and starts swinging, while Janice starts on piano with a soulful, gospel groove, switching to stride. Next up is a joyful Kenny Baron/Stan Getz arrangement of Rogers & Hammerstein's Surry with the Fringe on Top. On Harlem Nocturne Noah is soulful and Janice's keys, lush. Noah gives Hoagy Carmichael's Georgia a sweet interpretation on soprano sax, and Dennis's deep sound on bass, gives it a warm feel.
Guitarist Jay Stapleton was visiting from the Bay Area and he and Noah are long-time collaborators. They co-wrote A Sweet Piece of Candy and perform it as a duo, with Noah on alto. It is a fun, joyful piece. They step out of the jazz genre with Neil Young's Sugar Mountain , a gentle melody, with Noah again on soprano. Noah says he wrote My Name is Burns, “a cool little ditty for a cool cat,” for a guy named Burns who used to hang out at Jazz de Opus. And it is cool. Next up is Stanley Turrentine's Sugar. It's a feel-good tune and Dennis digs in, receiving applause mid solo.
The second set opens with Noah on soprano, and Jay and Dennis, on a tune that was very, very pretty and Jay plays an enchanting solo. Noah wrote It's a Bossa Thing, a tune with a beautiful melody, and demonstrates fleet fingering on soprano. Jay wrote You'd Never Know , a slow waltz, and it's performed with lilting soprano, captivating guitar and strong, gorgeous bass.
They play three from Noah's CD Noah Peterson, Live at Marylhurst Drive , with Noah on alto; One Summer Day, a sweet bossa, It Takes Two to Tango, a dramatic tune, and Waltz for Tom, a soulful waltz!
Noah composed Coming Home to You for his sweetheart, explaining how hard it is to spend evenings away. It's a melancholy tune, slow and sad. Noah on alto, sounds heartfelt, sweet and tender. Jay continues the mood and Dennis provides one of the most beautiful bass solos I've ever heard. They closed with One Bad Mother, a fun, bluesy tune and went out swinging.
I highly recommend Noah's CD Duos & Trios. It can be purchased at www.cdbaby.com .
Pam Jones - Jazz Society of Oregon
Radiophone - Greece