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On any given Monday night
during the 1980s, you could walk into Sweet Basil, an intimate but
decidedly hip little haven situated in Manhattan’s bustling West
Village, and hear the Gil Evans Orchestra performing in all its chaotic
glory. Stuffed into the back end of the club, crammed onto the small
stage and spilling out onto the floor, were the 15 or so musicians
comprising that sprawling, adventurous ensemble. Hunched over a Fender
Rhodes electric piano stage left, playing in zen-like fashion while
conducting the band with a meaningful nod or significant hand gesture,
was the legendary arranger and collaborator with Miles Davis on such
landmark sessions as Birth of the Cool, Miles Ahead, Porgy & Bess and
Sketches of Spain.
Tucked away in a corner on the opposite side of the stage from Gil, with
clean-head and subversive intentions, was Pete Levin doing weird and
wonderful things with his synthesizers on swirling, psychedelic
renditions of Jimi Hendrix’s “Little Wing,” “Stone Free” and “Voodoo
Child (Slight Return)” along with expansive interpretations of Wayne
Shorter’s “Parabola,” Herbie Hancock’s “Prince of Darkness,” Charles
Mingus’ “Orange Was the Color of Her Dress, Then Silk Blue” and “Goodbye
Pork Pie Hat,” or Gil’s own staples like “Orgone,” “Jelly Roll” and
“Snowflake Bop.” Between the miraculous music that seemed to take on a
life of its own, the shaman-like presence of the bandleader, the joyful
onstage camaraderie of the musicians and the countless martinis
consumed, it was a magical, intoxicating scene each Monday night at
Sweet Basil. And Pete Levin was in the eye of that sonic hurricane every
week, mischievously tweaking our sensibilities with his vintage synth
gear.
While Pete long ago made a name for himself on the New York scene as a
synth specialist through his longstanding relationship with the Gil
Evans Orchestra (from 1973 until the maestro’s passing in 1988) and as
an in-demand session player, he maintains a passion for piano and organ.
On Deacon Blues, his fourth outing as a leader, Levin returns to his
roots by embracing the Hammond Organ in a hip and varied program that
includes fresh takes on familiar tunes by Steely Dan, the Beach Boys,
Ralph Towner, Erik Satie and Jimmy Giuffre. Joined by world-class
players and longtime friends guitarist Joe Beck (a ubiquitous session
man during the ‘60s and ‘70s), guitarist Mike DeMicco (Pete’s Woodstock
neighbor and band mate for years in the Brubeck Brothers Quartet) and
drummer Danny Gottlieb (a charter member of the Pat Metheny Group and
former band mate of Levin’s in the Gil Evans Orchestra), Pete cleverly
reconfigures this engaging material through the prism of a lifelong B-3
fan. “Someone once wrote that I was ‘one of the pioneers of the
electronic music scene,’” says Pete, whose synthesizer work was also
featured for nine years in the cutting edge Jimmy Giuffre 4. “I think
that’s going a little overboard, but for 30 years or so I have been one
of the main synthesizer guys in New York, and I’ve gotten to play some
great music with many brilliant artists and composers - and I made a
good living at it. That’s as good as it gets! Now in 2006, I thought it
was time to explore my first love, the Hammond Organ, which I’ve been
playing for years but never recorded on as a leader. I thought it would
be fun, and I was right!” Pete’s brother Tony (bassist and longtime
member of King Crimson and Peter Gabriel’s band) joins in on the fun
here, along with percussionists Ken Lovelett and Carlos Valdez. Together
they demonstrate an uncanny chemistry that is immediate and infectious.
They come out of the gate in jaunty fashion with a loose shuffle-swing
rendition of “Deacon Blues,” a Donald Fagen-Walter Becker tune from the
hit Steely Dan album Aja. Beck kicks in a soulful guitar solo here and
Pete follows with a burning solo of his own. “It’s a tune I’ve always
liked and wanted to record,” says Pete. “It’s original Pop groove is the
perfect setting for those great lyrics, but it doesn’t translate well as
an instrumental piece. By making it swing, I was able to take it
someplace new.”
“Uptown” is Levin’s upbeat boogaloo done in the early ‘60s Blue Note
tradition of Lee Morgan or Grant Green. Beck’s use of octaves throughout
his extraordinary solo recalls Wes Montgomery while Levin takes his time
stretching out on this earthy vehicle, gradually building to a dynamic
soul-drenched peak. “It’s that classic Jimmy Smith/Grant Green soul-jazz
groove that is just so much fun to play,” says Pete. The Beach Boys’
“Sail on Sailor” is rendered here as easy-going, smooth jazz vehicle
with an outstanding blues-drenched guitar solo
by DeMicco. Levin’s clever arrangement of Erik Satie’s classic “1st
Gymnopedie” evolves from chamber-like gentility to a jazzy romp
highlighted by Pete’s organ blowing over Gottlieb’s loose, interactive
swing groove. DeMicco also turns in an outstanding solo on the openly
swinging section before the piece returns to a more subdued 3/4 reading
of Satie’s piece.
“Once Lost” is Pete’s slamming hip-hop flavored original played over a
drum loop. DeMicco solos with a nasty vengeance, unleashing screaming
speed licks and just a touch of distortion on his solo while Levin’s is
thoughtful and melodic, eventually opening up to some heightened
excursions on the Hammond. With Ken Lovelett doing the drum kit honors
on this track, they open up the ending to give the drummer some.
“Icarus” is Levin’s bristling take on guitarist Ralph Towner’s New Age
anthem. “I fell in love with this piece when I heard David Darling play
it with the Paul Winter Consort back in the ‘70s,” says Pete. “It’s an
impeccable composition that adapted beautifully to a Samba tempo we
could really groove on.” Beck’s chordal solo on this buoyant offering is
a revelation. “He does harmonic stuff that is amazing,” says Levin of
his longtime colleague. “He just seems to pick it right out of the air!”
Pete turns in an inspired solo himself and Gottlieb engages in a heated
percussion jam at the tag with percussionists Valdez and Lovelett.
“Sad Truth” is a moody Giuffre ballad with Tony carrying the melody on
fretless bass. “In the JG4, Jimmy played this on tenor sax,” recalls
Pete. “His masterful use of counterpoint usually had me doubling his
leads in my right hand and the bass with my left with nothing in the
middle; Very transparent. It took a renewed sense of discipline to adapt
my own playing style to Jimmy’s orchestrations.”
DeMicco contributes some sensitive acoustic guitar while Lovelett offers
percussive coloring on this darkly atmospheric piece.
“Eclipse” is
DeMicco’s unadulterated swinger that showcases the guitarist in full-out
Pat Martino mode. “Mike’s a tremendous player - very soulful - and he’s
also a very talented composer,” says Pete. “I’ve performed “Eclipse”
with him many times before. It’s one of my favorite pieces of his – and
great to solo on too. We let Danny Gottlieb go nuts with a drum solo at
the end. Danny is brilliant at finding the perfect energy to bring to a
piece. Whatever you’re doing, he makes it work. It’s uncanny.”
“Might Have Been” is a relaxed, slow-moving bolero that features some
soaring guitar work from Beck, whose delay-soaked lines and biting,
bluesy abandon add spice to the track. A rendition of Jimmy Giuffre’s
challenging, suite-like composition “Dragonfly” opens with a grand
flurry before shifting nimbly to a swing section full of intricate
stop-time phrases executed in unison. DeMicco blows over the myriad of
changes with Bensonesque aplomb during his solo; Levin takes a more
deliberate approach to his solo, gradually building the energy until
he’s double-timing the tempo and effortlessly blowing over the barline
with boppish abandon. “Jimmy’s compositions for The Quartet were very
transparent and elegant,” says Pete, “and straight ahead grooving was
definitely against the rules. Here, I’m fingerpainting in the spaces and
grooving hard. But it’s a different context; The Hammond made me do it!”
The collection closes on a nostalgic note with a relaxed rendition of
the old Dixieland tune “Mean To Me,” underscored by Gottlieb’s swinging
brushwork and featuring a pyrotechnic solo by Levin. Beck, who comps
steadily like Freddie Green throughout this jazz standard, also
contributes a buoyantly swinging solo of his own, culminating in some
deft chordal melody playing and fiery exchanges at the tag.
For Levin, this recording was a labor of love that brought him full
circle back to his roots.
“The Hammond Organ has got such a rich history; There’s really no other
sound quite like it. Even the best synth simulations fall short. You
crank up that tone wheel motor, you hit a note and it sings to you and
immediately you know it’s the real deal. It’s like the soul of every
organ player is being breathed out from the instrument every time you
play it.”
Pete conveys that feeling on Deacon Blues, his triumphant B-3 manifesto.
Bill Milkowski
Bill Milkowski is a regular
contributor to Jazz Times and Jazziz magazines. He is author of “JACO:
The Extraordinary and Tragic Life of Jaco Pastorius” (Backbeat Books)
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Hard to believe that
Hammond stopped making their classic tonewheel organ over 30 years ago.
It’s an amazing instrument. No two sound exactly alike - each with it’s
own personality and a soulful sound that comes from the gut. The best
attempts to simulate that sound still come up short, and the classic is
sought after more than ever. I’ve been a synthesizer “specialist” for
over 30 years, but my favorite gigs were always the ones where they let
me use organ. Now everybody wants it. (The trick is getting “everybody”
to help me carry it in to the gig. It isn’t getting any lighter!)
This CD started out as a pure organ trio project, but I did get carried
away and did a bit of orchestrating. (By the way, the classic trio is
organ-guitar-drums, not 3 organs. Everybody makes that mistake.) Organ
players love the trio format - maybe because the bass player shows up
when you do, plays exactly what you do, and you don’t have to pay him!
This is the first “playing” album I’ve recorded in a long time. It’s a
collection of pieces that I’ve always wanted to do something with - and
what better plan than letting Mike and Joe loose on them.
After 15 years touring and recording with him, my first solo album in
1989 was a tribute to the legendary Gil Evans. This time around,
inspiration comes from my second mentor, Jimmy Giuffre, the brilliant
composer and woodwind player whose quartet I performed and recorded with
for 8 years. I’ve included two of my favorites from Jimmy’s book,
Dragonfly and the haunting Sad Truth.
This set features two of my favorite guitarists - two totally different
players. Mike Demicco cruises through the scariest chord changes you can
throw at him and still makes it feel like it’s coming from the Blues.
Joe Beck’s ability to improvise complex structure and harmonic movement
is awesome. Danny Gottlieb’s grooves make playing effortless. And
anything you pull out of the air, he’s right there, as though you worked
it out ahead of time. Usually you don’t use bass with organ Jazz, but
having Tony Levin on your track always makes what you’re doing better.
Restricted by the standard crop of percussion toys, Ken Lovlett has been
rewriting the book, inventing and building his own unique instruments.
And for those hard-hittin’ conga grooves, Carlos Valdez is in the house.
A great band and the engineering A Team. My friends are very good at
what they do - and I’m lucky to have them! Thanks a lot, guys.
Pete
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deacon blues
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1 DEACON BLUES
5:21
(Donald Fagen © 1977, Universal MCA Music Publishing, BMI)
2 UPTOWN 6:49
(Pete Levin © 2006, P-Lev, Inc., ASCAP)
3 SAIL ON SAILOR
6:37
(Brian Wilson, R. Kennedy © 1979, Brother Publishing Co., BMI)
4 1ST GYMNOPEDIE
6:00
(Erik Satie 1888-1925 arr. Pete Levin, © 2006, P-Lev, Inc., ASCAP)
5 ONCE LOST 3:59
(Pete Levin © 2006, P-Lev, Inc., ASCAP)
6 ICARUS 6:39
(Ralph Towner © 1972, Distant Hills Music, ASCAP)
7 SAD TRUTH 3:59
(Jimmy Giuffre © 1983, Beach Music Publishing, BMI)
8 ECLIPSE 7:06
(Mike DeMicco © 2000, Demtone Music, BMI)
9 MIGHT HAVE
BEEN 5:42
(Pete Levin © 2006, P-Lev, Inc., ASCAP)
10 DRAGONFLY
8:33
(Jimmy Giuffre © 1983, Beach Music Publishing, BMI)
11 MEAN TO ME
5:56
(Fred Ahlert, Roy Turk © 1929, Cromwell Music, Inc., ASCAP)
Joe Beck: guitar
(tracks 1, 2, 6, 9, 11)
Mike DeMicco: guitar (tracks 3, 4, 5, 7, 8, 10)
Danny Gottlieb: drums (tracks 1, 2, 3, 4, 6, 8, 9, 10, 11)
Tony Levin: bass (tracks 3, 4, 6, 7)
Ken Lovelett: drums (tracks 5, 7) percussion (tracks 6, 7, 8,
10)
Carlos Valdez: percussion (tracks 1, 2, 6)
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Recorded at Sonart
Recording Studio, Mount Tremper, NY
Recorded by Pete Levin, Tom Mark, Paul Levin and Joe Beck
Mixed and Mastered by Cynthia Daniels at Monk Music,
Easthampton, NY -
http://www.cynthiadaniels.net
Tony Levin appears courtesy Narada Records -
http://www.tonylevin.com
Danny Gottlieb plays Zildjian Cymbals and Basix Drums -
http://www.dannygottlieb.com
Ken Lovelett plays American Percussion Instruments -
http://www.americanpercussion.com
Pete’s Hammond is an RT3, restored and chopped by Mike Torsone,
played through a 122 Leslie restored by Goff Professional and
John Weisner.
Produced by Pete Levin
Executive producers: Jana Herzen & Pete Levin
Coordinating Producer: Suzi Reynolds
Licensed and distributed by Motéma Music, LLC.
http://www.motema.com
Cover photograph by Dion Ogust
http://www.dionphoto.com
Art Direction: Jana Herzen
Design Layout: Kaitlin Doorley
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