Keala Kaumeheiwa, bass

David Rivera, drums

This group is a vehicle for exploring the deeper areas of the traditions of Jazz and Afro-Cuban music.

At one end of the tree, Conguero Gregorio Bento’s roots in Cuban rumba extend to Santeria and Batá, which are the traditions brought from Africa to Cuba, and are the fuel for the spiritual fire present in the ceremonies held by practitioners dressed all in white. The rhythms drive the dancers to enter a trance, which invites the Orishas, or Saints, to posess the body of the dancer.

On the other end, my roots as a saxophonist extend to the point where spirit meets music. One of the seminal figures in this pursuit was John Coltrane, who extended the boundaries of Jazz to include African Middle Easter and Asian spirituality and tonality.

The repertoire of this group is populated by the seldom heard and even more seldom recreated compositions of Monk, Coltrane, and others, including “Work,” “Brilliant Corners,” “Friday the 13th,” by Monk; and “Lonnie’s Lament,” “A Love Supreme” (the complete 4 movement suite) by Coltrane.

Press for 5LMN2

From “Three Nights” by Jon Garelick/Boston Phoenix:

At Ryles on Saturday July 7, saxophonist Tim Mayer fronted 5LMN2, an outfit that had its inception at Wally’s in 1993 and has been around in one form or another ever since. The 5LMN2 agenda has been Afro-Latin jazz or standard jazz played in Latin arrangements. (The name, if you read it in Spanish, comes out as the five elements.) In the middle set of three at Ryles, the band mixed it up with Cedar Walton’s “Bolivia, Monk’s Evidence, Joe Henderson’s Serenity and Inner Urge, and Puerto Rican composer Pedro Flores’s standard Obsesión.

The Monk expert Steve Lacy once described all of Monk’s tunes as dances, so it was no surprise to see the band make the most of the displaced accents of Evidence with the 3-2 clave beat. Pianist Marcello Casagrandi emphasized rhythmic chording throughout the set, and he was so inventive in his change-ups that for a brief moment in hisBolivia solo he even threw off the otherwise imperturbable rhythm team of drummer Pablo Peña and conguero Paolo Stagnaro (son of Boston bassist Oscar). In the first couple of tunes, the details of Mayer’s tenor playing got buried in the heavy rhythmic mix (Fernando Huergo played electric bass), so it was good to hear him slice through on alto in Evidence. But he really came to the fore on Joe Henderson’s Inner Urge, clapping off the clave rhythm until piano came in with a repeating staccato cross-rhythm, then bass, then percussion, then finally tenor. Casagrandi built up to a staccato climax in his solo and then Mayer entered, slower and with lighter percussion underneath him, mixing up his phrasing, alternating short-phrased groupings and arpeggiated runs, reveling in a fat lower register that hadn’t been evident in the first couple of tunes, taking his time. It was beautiful. He was equally relaxed on the slow cha-cha-cha of Obsesión and on Serenity, which was a light rumba. There was plenty of abstraction in all of these, and plenty of rhythmic hurly-burly, but at their best, the band (who play Wally’s every Thursday night) reminded you why Afro-Latin jazz is so popular: they’re all dances, and the dance beat will draw you in no matter how far out the band take everything else.

Read Mr. Garelick’s entire article at The Phoenix website.

Download as a PDF: Jon Garelick – Boston Phoenix Article

Related show

• Artist: Los Cinco Elementos
• Date: Saturday, July 31st 2010
• Time: 9:00pm
• City: Los Cinco Elementos in Cambride, MA
• Venue: Ryles Jazz Club
• Address: 212 Hampshire ST
• Venue phone: 617-876-9330
• Country: United States
• Admission: $10
• Age restrictions: All Ages/Licensed
• Box office: 617-876-9330
• Notes: This is part two of our mini residency at Ryles with special guest trombonist William Cepeda. Tonight will feature more of William’s material.
• Add to Google Calendar | Download iCal

“Exotica is a musical genre, named after the 1957 Martin Denny album of the same title, popular during the late 1950s to mid 1960s typically with the suburban set who came of age during World War II. The musical colloquialism exotica means tropical ersatz: the non-native, pseudo experience of Oceania (Polynesia, Melanesia, Micronesia, Southeast Asia, and especially Hawaii). While the South Seas forms the core region, exotica reflects the “musical impressions” of every place from standard travel destinations to the mythical “shangri-las” dreamed by armchair safari-ers.”

Randy Wong contributes the majority of compositions, pianist Zaccai Curtis brings a deep understanding of both the Jazz and Latin traditions, as well as contributing compositions.  Violinist Helen Liu, a brilliant musician active on the orchestral and chamber circuits between Boston and New York, enables the group’s sound to access the classical/orchestral side of Exotica.  Drummer Abe Lagrimas Jr., who co-founded the band in 2003 with Randy, brings a wealth of talent and experience in Jazz, Hawaiian, and Latin music not only to the drum set, but vibraphone and ukelele.  He is very active in Los Angeles, where he lives.  Vibraphonist Jim Benoit, currently enrolled full-time at Berklee College of Music, is making waves on the Jazz scene, and the orchestral scene as well.  Percussionist Lopaka Colon, based in Honolulu, HI, brings the true Exotica sound to life with his mastery of rhythm and texture, and is a master of producing bird calls using his voice, which is integral to the genre of Exotica.

Besides the evocative and exotic sounds of the music, which arises from the broad palette of rhythmic and melodic possibilities presented by drawing from each of the three main roots and combining them to get unique grooves and colors, one of the most important qualities of Exotica which likely contributed to its huge success was the conciseness of the melodies and their economy of notes to expression.  Les Baxter, Ken Darby, Martin Denny, and Robert Drasnin, all influential composers in the Exotica style, had backgrounds in orchestration and film scoring, besides being jazz musicians.  As a result of their training, their compositions were designed to evoke the intended mood to maximum effect with conciseness and precision, supported by tasteful orchestration and percussion.

I see Jazz music today losing its audience and find it deeply troubling.  The old masters are leaving us, and among many younger players, there is a drive to play new things, to challenge themselves and each other rhythmically, harmonically, and melodically.  There is some really exciting music being produced these days.  Sadly, though, the tastes of the public are going in the other direction.  Over the last 30 years, as school budgets experience downward pressure, arts education has been whittled down to next to nothing.  Technology has become a substitute for talent in the fields of recording and performance.  Labels have cut artist development budgets, as sales have declined.  Image and marketing have become the new currency success is dealt in, while substance has taken a back seat.  In short, the daunting task of dedicating one’s life to being a creative musician is made more and more difficult by the scarcity of the ever-shrinking audience.

Another aspect of Exotica which I find most appealing is that it is more than just a musical style.  It was initially part of a whole subculture, Polynesian Pop, which encompassed visual and plastic arts, namely photography, illustration, cinema, clothing and interior design; cuisine, and mixology.  Exotica was the sonic component to this amalgam of Polynesian art with mid-century kitsch.  It was everywhere in its heyday.  Movie soundtracks by Exotica composers were common.  Exotica was always heard as background music in the Hawaiian/Polynesian restaurants, which were ubiquitous all over the country.  Just about every town had one, and some of them rose to the level of being elaborate temples of the culture, featuring the food, the cocktails, elaborate interior decor, and some even had Hawaiian floor shows.

Waitiki 7 incorporates all these elements and celebrates the connection to this mid-century subculture, as evidenced by the artwork on our CD’s, and by the fact that we have an official drink menu which features drinks by well-known and published mixologist/historians such as Jeff “Beachbum” Berry and Brother Cleve.  A couple of these drink recipes will appear in the booklet accompanying our next release, “Adventures In Paradise,” along with a couple of appetizer recipes.

Having made the rounds in just about every Tiki festival on the calendar last year, including the Wässermusik Festival in Berlin and the Retro Cocktail Hour’s 500th broadcast in Lawrence, KS, Waitiki 7 is poised to reintroduce Exotica to the mainstream via the Jazz and World Music markets.

As an update, Waitiki has released the second of two CD’s as the fruit of a two-day recording session back in Feb. ‘09.  In those two days, which were of course long and focused, 23 complete tunes were recorded, with fixes and overdubs.  The first CD, “Adventures In Paradise,” as mentioned above, was released to critical acclaim, and the band did a small tour which included venues in NYC, Washington DC, Philadelphia, Boston, Jersey City, and of course began at Ohana, THE weekend-long Tiki event for the Northeast.  This next release, “New Sounds of Exotica,” features an original painting by Sam Gambino for the cover, more drink recipes, and, of course, some great Exotica.

The community of Cape Verdean musicians is like a large extended family.  Music is the #1 export of that country; all Cape Verdeans, including nearly all ex-pats, know their music and the people who play it.  In order to be able to function within this style, I had to learn its phrasing and sensibilities well enough to function as a native would.  Much of that knowledge came from making the “Gira Sol” CD.  I carefully studied Bana’s phrasing, as he is one of the legenary vocalists of this style.  I also studied Ramiro’s horn lines.  Each line has a distinct function, or role to play, depending on what else is going on in the song, what type of song it is.  Once I was able to learn this vocabulary, I was able to begin writing horn arrangements for other artists’ CD’s.  Word of this spread, and for the Biús CD, the executive producer sent the producer and the hard drives to Boston to “get the Bana horns on there.  If you can’t get them, go to Miami and get the Miami Sound Machine horn section.”  For that CD, I was told that a couple of tunes were more Salsa flavored, and so, having recently recorded La Timba Loca’s first CD and having played with them for a few years, that sound was in my head.  The horns for “Mas Bonita” are a tip of the hat to Timba.

I have probably recorded on at least 100 Cape Verdean CD’s, most of which I have never seen.  These are some of the more influential ones, or ones that I had the most participation in.

Bana, Gira Sol

(MW0001, Mendes World Trade 1997)

Bana-lead vocals

Ramiro Mendes-guitars, cavaquinho, backing vocals

Kalu Monteiro-drums & percussion, backing vocals

Djim Job-bass, backing vocals

Tony Cabral-lead guitar

Ney Miranda-keys

Tony “Toots” Santos-keys

Dany Carvalho-piano

Keiichi Hashimoto-trumpet, fluegelhorn

Tim Mayer-flute, clarinet, soprano, tenor, & baritone saxophones

Lennie Peterson, trombones

produced by Ramiro Mendes, recorded & mixed by Ramiro Mendes & Dave Lefkowitz

Fitchi Fatchi Na Tracolança (K. Monteiro/D. Job)

Compadre Françisco (Amadeus Fontes)

Rosa de Amor (Pedro Rodrigues)

Africa Um Dia (R. Mendes/Luis Lima)

No Marimba (K. Monteiro/D. Job)

Inga (Ramiro Mendes)

Santa Ritinha (R. Mendes/Alberto Alves)

Cabinda a Cunene (R. Mendes)

Gira Mundo (Dionizio Maio)

Bana, Canto De Amores

(2002)

Bana-vocals

Djim Job-bass, acoustic guitar, backing vocals

Kalu Monteiro-drums & backing vocals

Toy Vieira-piano, guitars & cavaquinho

Vaiss-guitars & cavaquinho

Jayr-percussion

Manecas Costa-guitar

Luz Nascimento-backing vocals

Tim Mayer-flute, clarinet, saxophones

Keiichi Hashimoto-trumpet, fluegelhorn, trombone

Tó Barbosa-violin

Jorge Reis-soprano saxophone

produced by Djim Job & Kalu Monteiro.

Carpintêr (D. Job/K. Monteiro)

Cor di Rosa (Ramiro Mendes)

Canto de Amores (Luis Lima/Toy Vieira)

Tubarão (Dionisio Maio)

Angolana (Glanzer Ramos/Ramiro Mendes)

Traçá Nha Rume (T. Vieira)

Nha Cizila (K. Monteiro)

Dixá Pê Por Lá (Dionisio Maio)

Nhanha (Olavo Bilack/Toy Vieira)

Mendes Brothers, Torri di Control

(MB0013, MB Records 1996)

João Mendes-vocals, backing vocals, kôla, baxon, kôdra

Ramiro Mendes-vocals, backing vocals, guitars, kôla, baxon, kôdra, tambor

Tintina Mané di Bedja-kôdra

Kalu Monteiro-drums, percussion

Djim Job-bass

Tony Cabral-guitars

Ney Miranda-keboards

Richard Nant-trumpet & fluegelhorn

Jaques Swarzbart-saxophones

Hector Tomasi-trombone

Keiichi Hashimoto-trumpet & fluegelhorn

Tim Mayer-saxophones

Lennie Peterson-trombone

produced by Ramiro Mendes & João Mendes, recorded by Carl Beaty & David Lefkowitz at MB Studios, Brockton, MA, mastered at MWorks.

Paraizu Prizão (R. Mendes/J. Mendes)

Nação Palop (R. Mendes/J. Mendes)

Yara Bum (J. Mendes)

Tchoru (R. Mendes/J. Mendes)

Kutululuka (R. Mendes)

Moçambique é Maningue Nice (R. Mendes/J. Mendes)

Ondas di Sangui (R. Mendes/J. Mendes)

Yara Bum (J. Mendes)

Mendes Brothers, Para Angola Com Um Xi Coração

(11.80.7572, Vidisco, 1997)

João Mendes-vocals, backing vocals

Ramiro Mendes-vocals, backing vocals

Kalu Monteiro-drums, tumba, reco reco, shakers

Djim Job-bass, backing vocals

Joel Perpignan-percussion

Tony Cabral-lead guitar

Antonio “Toots” Santos-fender rhodes, keyboards

Ney Miranda-keyboards

Tim Mayer-saxophones

Keiichi Hashimoto-trumpet & fluegelhorn

produced and arranged by R. Mendes, recorded & mixed by R. Mendes, J. Mendes, David Lefkowitz, mastered at Northeastern Digital Recording inc.

Atéquemfim (R. Mendes/J. Mendes)

Angola (R. Mendes)

Angola Kuia (R. Mendes)

Angola Ixi Yetu (R. Mendes/J. Mendes)

Angola Na Paz (R. Mendes)

TPA (R. Mendes/J. Mendes)

Kutululuka (R. Mendes)

Amor ê Cego (David Zé, arr. R. Mendes/J. Mendes)

Atéquemfim instrumental (R. Mendes/J. Mendes)

Mendes Brothers, Satélite Zamby

(MB0016, MB Records, 1999)

João Mendes-lead vocals, acoustic guitar, programming

Ramiro Mendes-lead vocals, acoustic guitar, tambor, programming

Kalu Monteiro-drums

Djim Job-bass

Joshua Davis-acoustic bass

Dick de Anunogu-electric guitar

Tony Cabral-electric guitar

Alon Yavnai-fender rhodes, clavinet

Mark Gonçalves-keyboards

Yoannis Mutsakis-bendik, hadgini, riq

José da Rosa-sound effects

Belinda Lima-backing vocals

Elaiza-backing vocals

Keiichi Hashimoto-trumpet & fluegelhorn

Tim Mayer-flute, clarinet, saxophones

Ana Paianoska-violin

Soyeon Ahn-violin

Mathew Witwer-viola

Lili-viola

Irina Chirkova-cello

produced by Ramiro Mendes & João Mendes, recorded & mixed by R. Mendes & David Lefkowitz, mastered at MWorks.

Entrada (J. Mendes/R. Mendes)

A Sul de Sará (R. Mendes/J. Mendes)

Mi Ku Bó (J. Mendes)

Movê (J. Mendes)

Candy Docy (J. Mendes)

Cabeça Monte (R. Mendes)

Cor di Rosa (R. Mendes)

Satélite Zamby (J. Mendes/R. Mendes)

Guiné (R. Mendes)

Dúnia (R. Mendes/J. Mendes)

Nós Vida (J. Mendes/R. Mendes)

Spardêru Montadu (J. Mendes)

Saída (R. Mendes/J. Mendes)

Biús, Dia e Nôte

(Matiota Musica, 1999)

Biús-lead vocals, guitar

Djim Job-bass, vocals

Moises Ramos-keys

Kau Paris-drums

Zé António-rhythm guitar

Rolando-rhythm guitar

Dalu-percussion

Bino Branco-ferro

Zé Mário-percussion on “Boca D’Erva”

Mario Reis-piano on “Más Bonita”

Paulino Vieira-piano & harmonica on “Coração Blues,” harmonica on “Morena”

Boy Ge Mendes-special guest on “Más Bonita” & “Fidjo D’Africa”

Nandinho Nanuto-soprano saxophone

Tim Mayer-tenor & baritone saxophones

Scott Aruda-trumpet

Lennie Peterson-trombone

NIck Cook-violin

Philiep Veelef-violin

Lúcio Studer-viola

Gjueorjui-cello

produced by Djim Job, recorded by João Magalhães  at Éxito Estúdio except all horns, recorded by Jorge Nunes at Mass Studio (Pawtucket, RI)

Alcides Nascimento, executive producer

all songs by Biús

Más Bonita

Q’el Calor

Festa D’Tchuva

Boca D’Erva

Coração Blues

Morena

Jóia

Romance Desejode

Tchá Contcé

Fidjo D’Africa

Maria de Barros, Dança Ma Mi

Release Date: Mar 15, 2005

Label: EMI

Adeline Azevedo,Vocals (Background)

Alicia Lima,Vocals (Background)

Bill Brendle,Accordion

Bobby Holland,Photography

Brandie Brito,Vocals (Background)

Brittany DaGraca,Vocals (Background)

Calú Bana,Vocals (Background)

Carlos “Kalú” Monteiro,Arranger, Drums, Vocals (Background), Producer

Cassio Duarte,Percussion

Christina Goff,Vocals (Background)

Connie Gage,Design

Cristihan Gutterre,Design

Danny Luchansky,Guitar, Arranger, Keyboards, Producer, Engineer, Digital Editing

Dicki Tavares,Guitar

Djim Job,Bass, Arranger, Vocals (Background), Producer

Djuta Barros,Vocals (Background)

Grecco Buratto,Guitar

Ingrid Monteiro,Vocals (Background)

Jack Pina,Vocals (Background)

Jayde Santos,Vocals (Background)

Joao “Fefe” Alfredo,Vocals (Background)

Lutchinha Leite,Vocals (Background)

Manuel Pires,Gaita

Maria de Barros,Vocals, Vocals (Background), Main Performer

MaryJean Frieson,Design

Mauricio Guerrero,Mixing

Mitchell Long,Guitar

Mona Lisa Murray,Hair Stylist

Nilton Andrade,Vocals (Background)

Norberto Tavares,Vocals (Background)

Philippe Luchansky,Cello

Ramon Stagnaro,Guitar

Ron Kalina,Harmonica

Ron McMaster,Mastering

Sandy Silva,Vocals (Background)

Sonya Shepard,Vocals (Background)

T.K.,Vocals (Background)

Timothy Mayer,Clarinet, Sax (Soprano)

Vince Tanzilli,Photo Assistance

Vivianne Monteiro,Vocals (Background)

Zerui Depina, Cavaquinho

Amor Luz

Oh Menel

Bo Ke Nha Boy

Espaco Infinito

El Tambem J’dame

Caresse Moin

Pazinho Laxa

Um Tem Um Amor

Nos Tradiçon

Rosinha

Jack Pina, Mi Cu Nha Violão

(LigAfrica, 2000)

Jack Pina-guitar, vocals

Tony “Kid” Santos-keyboards, percussion

Ney Miranda-keyboards, guitar, backing vocals

Mark Gonçalves-keyboards, percussion (“Pombinha di Mindelo”)

Alcides Pina “Xi Xi”-backing vocals

Manny Dos Santos-backing vocals

Bela P. Mendes-backing vocals

Tim Mayer-flute & saxophones

Keiichi Hashimoto-trumpet & fluegelhorn

produced by Jack Pina, recorded & mixed by Tony “Kid” Santos except “Pombinha di Mindelo,” recorded & mixed by Mark Gonçalves

all songs by Jack Pina

Mi cu nha Violão

Linda

O Amor

Badja Parado

Vida

Tempo Bedjo

Indo Mansinho

Pombinha di Mindelo

Jack Pina, Na Bu Braço

(LigAfrica, 2001)

Tony “Kid” Santos-keyboards, percussion

Djim Job-bass, guitar

Kalu Monteiro-drums

Ney Miranda-piano, guitar

Fernando B. Pina “Fefei”-cavaquinho

Steve Gonçalves-percussion

Alcides Pina “Xi Xi”-backing vocals, acoustic guitar solo

Alex Veiga “Chaxe”-backing vocals

Bela P. Mendes-lead vocals, backing vocals

Manny Dos Santos-backing vocals

Olivier Manchon-violin

Olivier Sarouilan-viola

Rushad Eggleston-cello

Tim Mayer-flute & saxophones

Keiichi Hashimoto-trumpet & fluegelhorn

produced by Jack Pina, recorded & mixed by Tony Santos.

All songs by Jack Pina, arranged by Tony Santos

Vivé na Cabo Verde

Na Bu Braço

Nha Melodia

Q’rem n’gatchado

O Amor

Paúl

Vida

Ma Bó Careca

Related show

• Artist: Carlos Matos
• Date: Friday, June 18th 2010
• Time: 8:00pm
• City: Carlos Matos in Dorchester, MA
• Venue: Cesaria’s
• Address: 266 Bowdoin St. Dorchester MA, 02122
• Venue phone: 617.282.1998
• Country: United States
• Age restrictions: All Ages
• Notes: Pianist Carlos Matos has come over from his home in Amsterdam, and has assembled an all-star supporting cast including the top-shelf duo of bassist Djim Job and drummer Kalu Monteiro. Other guests will be on hand.
• Add to Google Calendar | Download iCal

Mandy Moore, Amanda Leigh

Release Date: May 26th, 2009

Produced and Arranged by Mike Viola

Recorded and Mixed by Ducky  Carlisle at Ice Station Zebra Medford Massachusetts
Strings and Woodwind arranged
by Paul Ahlstrand
Mastered at SAE by Roger Seibel

Merrimack River
Music: Mike Viola
Lyrics: Moore/Mike Viola
Guitar, Vocal: Mike Viola
Bass: Jesse Flack
Pedal Steel: Tom Beliveau
Violin: Michael Rosenbloom
Violin: Lisa Crockett
Viola: Sue Culpo
Cello: Ron Lowry

Fern Dell
Music and Lyrics: Moore/Mike Viola
Guitar, Tack Piano, Hohner D-6 Clavinet: Mike Viola
Upright Bass: Jesse Flack
Drums: Chris Anderson
Baritone/Alto Sax: Paul Ahlstrand
Violin: Michael Rosenbloom
Violin: Lisa Crockett
Viola: Sue Culpo
Cello: Ron Lowry
Harmonies: Mike and Mandy

I Could Break Your Heart Any Day Of The Week
Music: Mike Viola
Lyrics: Moore/Mike Viola
Clavinet, Martin Acoustic, Bass: Mike Viola
Drums: Ducky Carlisle
Claps: Rachel Powell, Kevin Hanna, Melissa Landrin
Harmonies: Mike, Mandy, Lori McKenna

Pocket Philosopher
Music and Lyrics: Moore/Mike Viola
Tack Piano, Bass: Mike Viola
Drums: Ducky Carlisle
Percussion: Mandy, Mike and Ducky
Violin: Michael Rosenbloom
Violin: Lisa Crockett
Viola: Sue Culpo
Cello: Ron Lowry
Flute/Alto Flute: Tim Mayer
Flute/Piccolo Flute/Clarinet: Alec Spiegelman
Harmonies: Mike, Mandy, Mike Gent

Song About Home
Music and Lyrics: Moore/Viola/George
Harmonies: Mike Viola, Mandy, Tracy Bonham
Martin Acoustic Guitar: Mike Viola
Flute/Alto Flute: Tim Mayer
Flute/ Bass Clarinet/Clarinet: Alec Spiegelman

Everblue
Music and Lyrics: Moore/McKenna
Wurly, Farfisa Bass, Acoustic Guitar, Nashville Guitar: Mike Viola
Drums: Ducky Carlisle

Merrimack Reprise
Music: Mike Viola
Baby grand piano: Daniel Clarke
Toy Piano: Mike Viola
Violin: Tracy Bonham

Love To Love Me Back
Music and Lyrics: Moore/Mike Viola /George
Nashville Guitar, acoustic, Bass: Mike Viola
Drums: Ducky Carlisle
Pedal Steel: Tom Beliveau
Hammond Organ: Daniel Clarke
Harmonies: Mike Viola, Tracy Bonham

Indian Summer
Music and Lyrics: Moore/Mike Viola /George
Piano, harpsichord, Bass: Mike Viola
Hammond Organ: Daniel Clarke
French Horn: Ken Pope
Harmonies: Mike Viola , Mandy, Ryan Adams

Nothing Everything
Music and Lyrics: Moore/Mike Viola
Harpsichord, Bass: Mike Viola
Drums: Ducky Carlisle
Violin: Michael Rosenbloom
Violin: Lisa Crockett
Viola: Sue Culpo
Cello: Ron Lowry
Harmonies: Mike Viola, Mandy, Lori McKenna

Bug
Music: Mike Viola
Lyrics: Moore/Mike Viola
Martin acoustic guitar: Mike Viola
Harmonies: Mike Viola, Mike Gent
Fiddle: Tracy Bonham

All Songs written by: Mandy Moore, Mike Viola except “Everblue” written by: Mandy Moore, Lori McKenna “Song About Home”, “Love To Love Me Back”, “Indian Summer” written by: Mandy Moore, Mike Viola, Inara George All Songs Published by: Songs of Universal, Inc./Mandy Moore Music (BMI), (c) 2009 Urban Birdsongs/EMI (ASCAP) All Rights Reserved Used by Permission except “Everblue” published by: Songs of Universal, Inc./Mandy Moore Music (BMI), Melanie Howard Music, Inc. (ASCAP) “Song About Home”, “Love To Love Me Back”,  ”Indian Summer” published by: Songs of Universal, Inc./Mandy Moore Music (BMI), (c) 2009 Urban Birdsongs/EMI (ASCAP) All Rights Reserved Used by Permission, EMI April Music Inc. o/b/o Itself And Inara Music (ASCAP)

Señor Happy, I’m Sorry

(QDIV1019, 2004)

Derek Schanche-lead vocals, guitars

Joe McMahon-bass, backing vocals

Tom Polce-drums, guitars, keys, backing vocals, percussion

additional musicians:

Bill Guerra-guitar on “Got You,” “She’s New”

Jay Barclay-additional guitar on “Got You”

Josh Lattanzi-backing voclas on “Drowning,” piano on “Got You”

Jamie Arentzen-backing vocals on “Get Up and Go Out,” guitar feedback intro on “Got You,” baritone sax on “Someone Invaded Me”

Ed Valauskas-backing vocals on “Get Up and Go Out”

Tim Obetz-pedal steel on “Drowning”

Tim Mayer-saxophones on “Echoes and Falls” and “Got You”

Jonathan Dorsett-banjo on “Echoes and Falls”

Patrick Emswiler-backing vocals on “Get Up and Go Out”

produced by Mike Denneen and Tom Polce

recorded by Mike Denneen, Tom Polce, Matt Beaudoin, Matthew Ellard, Bruce MacFarlane, Rafi Sofer at Q Division

all songs written by Derek Schanche except as listed:

Track Listing:

She’s New (Schanche & Polce)

Someone Invaded Me (Schanche & Polce)

Blue

Get Up and Go Out (Schanche/Polce/McMahon/Edmonston)

Love If You’re Real

Even The Score

Echoes and Falls

Drowning

Got You

Happy When You Leave (McMahon/Edmonston/Polce)

30 West and Vine

Will Dailey, Backflipping Forward

(JSMG, 2006)

Will Dailey-guitars, vocals

Tom Polce-guitars, B3

Chris Driscoll-guitars, backing vocals

Joe McMahon-bass

Glen Cancelliere-bass

Dave Brophy-drums

Anthony Burulcich-drums

Matt Tahaney-percussion

Ken Clark-keys

Tim Mayer-saxophones

Bobby Gallegos-trumpet

produced, engineered, and mixed by Tom Polce at Q Division

all songs written by Will Dailey

Boom Boom

Grand Opening

Hollywood Hills

Rise

Eliza

Undone

Good to Me

Bi Polar Baby

Yesterday’s Gone

Dear Grace

Evan Goodrow Band, 24 Hour CD

(CDF 0432-2, 2006)

Evan Goodrow-guitar, keys, lead vocals

Rick O’Neill-bass

Phil Antoniades-drums

Carl Benevides-saxophone

Tim Mayer-saxophones

Bob Malone-piano

produced & engineered by Fran Flannery, mastered by Colin Sapp

all songs by Evan Goodrow

Girls Dance With Girls

Sexy Lady

Song About Love

When I Come Back To You

When I Touch You

Get Back

Been So Long

Lil Bit Of Soul

C Minor Groove

Evan Goodrow Band, A Night At The BazBar

(EGB2480, 2007)

Evan Goodrow-guitar, vocals

Tim Mayer-tenor saxophone

Rick O’Neal-bass, vocals

Matt Alger-drums

produced by Jean-Marc LeFrank

all songs by Evan Goodrow except as noted

When I Come Back To You

I Can See

Nothing I Can Do

Whatever Gets You Through The Night

Get Back

Let’s Get It On (M. Gaye)

I Don’t Want To Know

C Minor Groove

Drown In My Own Tears (H. Glover)

Turn Your Lights Down Low

La Timba Loca, Más Allá de la Habana

(CJZ10005, 2001 CariJazz Productions)

Gonzalo Grau-piano, keys, drums, percussion, vocals

Alex Alvear-vocals

Manolo Mairena-vocals

Alvaro Benavides-bass

Ernesto Briceño- electric violin

Ernesto Díaz-congas

Omar Ledezma-timbales, percussion

Albert Leusink-trumpet

Nestor Toro-alto saxophone

Tim Mayer-tenor saxophone

special guests:

Oliver Santana-saxophones (“Lloraras”)

Alexander Faría-backing vocals (“Lloraras”)

Rodolfo Reyes-backing vocals (“Tibiri Tabara,” “Besito de Coco,” “Nina”)

José “Bam Bam” Ramirez-drums, congas (“Lloraras”)

Rafael “El Tigre” Ribas-introduction on “Lloraras”

produced, recorded, mixed mastered by Gonzalo Grau at Maldensazo Studios

all songs arranged by Gonzalo Grau

El Tíbiri Tábara (Daniel Santos)

La Manitú (E. Briceño)

Chacharepa (G. Grau)

Besito de Coco (Ismael Rivera)

Nina (Justi Barreto

Bienmesabe (A. Morales/F. Colón/G. Grau)

Lo que me pasó en la Guagua (Adalberto Alvarez)

Atracción Fatal (Carmelino) (Rafael Grecco)

Por Alegías (G. Grau)

Papita, Maní, Tostón (G. Grau)

Mi receta y mi sazón (G. Grau)

Llorarás (Oscar D’Leon)

La Clave Secreta, Frutero Moderno

(Gonzalo Grau, 2008)

Gonzalo Grau-keyboards, percussion, lead & backing vocals

Manolo Mairena-percussion, lead vocals

Alex Alvear-backing vocals

Marco Godoy-backing vocals

Panagiotis Andreu-bass, vocals

Pablo Bencid-drums

Ernesto Diaz-congas

Robbie Rosario-congas

Omar Ledezma-timbales

Fausto Cuevas-timbales, congas

José “Bam Bam” Ramirez-timbales

Albert Leusink-trumpet

Dan Brantigan-trumpet

Shlomo Cohen-alto saxophone

Felipe Salles-tenor saxophone

Tim Mayer-flute

produced by Gonzalo Grau, recorded, mixed, and mastered by Gonzalo Grau

Frutero Moderno

Calle Luna, Calle Sol

Siácara

Sabor, Swing y Sahoco

Buche y Pluma

Amanecer en Calithea

A la Griega

La Polémica de la Mandarina

Fachada o Nada

Mujer Divina

Abre que Voy

Alarma

Brass Roots, Purple Cha Cha Heels

Release Date: Jun 27, 2003

(Original Release Date: May 20, 2003)

Label: CD Baby

Gonzalo Grau, Piano, Tamboura, Producer, Engineer, Guira, Mixing, Guest Appearance

Jeff Lipton, Mastering

Jim “Mondongo” Mess…, Trombone, Arranger

Lisa Murray, Photography

Russ Gershon, Cover Design

Russell Jewell, Trombone, Producer, Cover Design

Scott Aruda, Trumpet

Tim Mayer, Flute, Sax (Baritone)

A Day in the Life of an Afro

Free for a Dollar

Purple Cha Cha Heels

Carnival

Fajita Fajardo

Cruzin’

Let it Slide

Compay Pongase Duro

Merengana

Those Who Tresspass Against Us

Arturo Stable, 3rd Step

(Origen Records, 2002)

Arturo Stable-percussion

Francisco Mela-drums, vocal on “Ochun Te Ampara”

Rafael Alcalá-piano

Carlos Del Pino-bass

Tim Mayer-tenor saxophone, flute

produced, mixed and mastered by Arturo Stable.

All songs by Arturo Stable.

Llegamos arrollando

Midnight’s dad

Mad dog

Congas libres

Danzon del Abuelo

Yambu Marino

Ochun Te Ampara

A Bailar

Cimarron

Nos vamos con la Conga

R. G. Jazz Orchestra, A Canary Man In Boston

(2003, René P. Glez)

Abelardo Rabade-piano

Eduardo Tancredi-piano

Polo Ortí-piano

Carlos Perdomo-acoustic bass

Miguél Blanco-electric bass

Federico Beuster-drums

Moises González-percussion

Jorge Arocha-percussion

Juan Carlos Leon “Mosco”-alto saxophone

Tim Mayer-tenor saxophone

Fernando Barrios-baritone saxophone

Norman Hogue-trombone

Dario García-trombone

Cristo Delgado-trombone

René González-trumpet

Paco Ibañez-trumpet

José Hernandez-trumpet

Javier Díaz-trumpet

Antonio Hernández-bass trumpet

José Antonio Ramos-timple

Juan José Mesa-timple

produced by René González

Skunk #11 (R. González)

Motivos Majoreros (A. Rabade)

A Canary Man In Boston (R. Gonzalez)

Lágrimas de Amor (M. Blanco)

Dos Años En Bicicleta (R. González)

Mis Aires de Lima (Tomas Marello/R. González)

Judith (R. González)

Basilio Araújo (E. Tancredi)

Amor Ascensor (A. Rabade)

Viejo, ¿Que? (R. González)

Eguie Castrillo and his Orchestra

Palladium Tradition

© 2005 Eguie Castrillo (786851043228)

recorded and mixed at Rear Window Studios, Brookline, MA

Trumpets:

Bobby Gallegos

Steve LeFebvre

Greg Hopkins

Trombones:

Angel Subero

Jeff Galindo

Robin Amy

Saxophones:

Tim Mayer

Pat Loomis

Dino Govoni

Bob Bowlby

Oscar Cartaya, bass

Uziel Colo, piano

Ernesto Dias, congas

Intro

Caribe

Nutville

I Call Your Name

Yeah

Con Calma

Medley Boleros

Palo Yaya

Scoot’n

Ritmo Masacote, Fantagious

(2007, Masacote Records)

Joel Massicot-piano

Panagiotis Andreu-bass & vocals

Michel Gonzalez-guitar

Pablo “Chino” Nunez-timbales, bongos, percussion

Luisito Quintero-congas

Pablo Bencid-drums

Tim Mayer-alto & tenor saxophones

Richie Viruet-trumpet

produced by Ana & Joel Massicot

all songs by Joel Massicot, except as noted.

Maiden Voyage (H. Hancock/arr. J. Massicot)

Fusion

Take Five (P. Desmond/arr. J. Massicot)

11 Ways

Endoskopisi

Clowning Around

Rumba Walk

Fantasia

Fantagious Intro

Fantagious

Melancholy Intro

Melancholy

Machete Son

John Hazilla & Saxabone,  Form & Function

(CIMP #142, 1997)

John Hazilla-drums, percussion

Jim Odgren-alto saxophone

Greg Badolato-tenor saxophone

Tim Mayer-baritone saxophone

John Pierce-trombone

Partial track listing:

Eternal Triangle (Sonny Stitt)

Our Man Higgins (Lee Morgan)

Crepuscule With Nellie (T. Monk, arr. Tim Mayer)

A Little Busy (Bobby Timmons)

Cubrazil (John Hazilla)

Yoko Miwa, In The Mist Of Time

(2000)

Yoko Miwa-piano

Tim Mayer-tenor saxophone

Massimo Biolcati-bass

Scott Goulding-drums

produced by Yoko Miwa, recorded, mixed, mastered by Peter Kontrimas at PBS Studios

All songs by Yoko Miwa except Red Dragonfly (Japanese traditional)

Fragmented Memories

The Deep End

I’m Okay

Alice

In The Mist of Time

When Will “It” Happen

Promise

Oak Square Blues

Red Dragonfly

Ahimsa, Never The Same Way Once

(OFC0001, 2000 Parajite Records)

produced by Rahul Roy, recorded by Yasko Kubota

Tim Mayer-tenor & alto saxophones, flute, EWI

Yasko Kubota-piano & keys

Archie Kubota-bass & taiko drums

Harvey Wihrt-percussion

Rahul Roy-guitars, vocals

All songs by Rahul Roy except as noted

Heyoka

Never The Same Way Once

Anamika

54 Duncan Terrace (Alan Holdsworth)

Josselyn

Hand In Hand (Ralph Towner)

Like Father Like Son

Homecoming

“Short Bread” – Rusty Scott Quartet (2000)

Rusty Scott (piano), Tim Mayer (saxophone), Keala Kaumehiewa (bass), Luther Gray (drums)

Track List 1.  Paul’s Blues 2.  Toddy for the Body 3.  Uncle Santos 4.  Bloodcount 5.  Fishin’ 6.  Saturday Afternoon 7.  Raincheck 8.  No One Even Asked Me 9.   Short Bread 10.   The Mule 11.   Waltz Swing

Ed Symkus of The Tab:

Tenor man Tim Mayer offers up some of the warmest and swingingest sounds around. The Boston-based quartet is at it’s seamless best on Scott’s light and boppy “Saturday Afternoon,” while Billy Strayhorn’s “Raincheck” comes across as the most musically adventurous arrangement, and the title cut, penned by Mayer, makes for four minutes of total joy.

Rusty Scott (piano), Tim Mayer (sax), Keala Kaumehiewa (bass), Harold Layne (drums)

Track List 1.  Dog Tired 2.  Every Time 3.  Pulse 4.  Kiwi Ah-ha 5.  Cane Bay 6.  Blues for Luanda 7.  It’s Alright with Me

Cadence Magazine:

Every Time’s third cut, Pulse, is a classic example of traditional jazz sounds, spotlighting the rhythm section. [Tim] Mayer can completely energize the mood with his sax. My favorite track is Cane Bay, inspired by a favorite diving spot in St. Croix. It’s the kind of tune playing when you huddle up at a bar with a drink and a cigarette feeling completely sorry for yourself. It’s a beautiful melancholy jazz journey that leaves you encouraged in the end. It’s Scott’s and Mayer’s writing styles that make this an exceptional album.

The Rusty Scott Quartet combines traditional and modern jazz in a style all their own. Every Time is the best jazz CD I have heard in my years of writing for this magazine.

Douglas Sloan, Metronome Magazine:

Just when I was hoping for some well played jazz, up comes the Rusty Scott Quartet for review. This excellent band of musicians featuring pianist Rusty Scott and saxophonist Tim Mayer are some of the tightest jazz ‘cats’ you’ll hear on the Boston jazz scene. They incorporate their love of swing with a contemporary slant that is widely appealing and subtly sensual. Tim Mayer’s sax playing smokes while Scott’s piano playing is second to none. These guys are great! So, put ‘Every Time’ in your CD player and get ready to snap your fingers and tap your toes because, the Rusty Scott Quartet has arrived!”

This could also be the Waitiki category, except I’m sure that one day I’ll be involved in other Exotica projects besides Waitiki.  

To generalize, what I like about Exotica is that it blends so many styles into one unified aesthetic.  The primacy of creating complete experience for the listener in a single tune requires an economy of ideas and and a discipline to stay focused and play within the scope of the tune, keeping the balance of genre and color, sticking to the proscribed rhythmic vocabulary, and most importantly, using everything available to support the “vision.”

What I like about Waitiki is the clarity of vision, the uncompromising production values, the inspiring level of musicianship (which goes for contributing composers and arrangers as well the performers), and the ability to both stay within the genre while performing new arrangements of “classics,” and extend the genre on new compositions.  

Tim Mayer (soprano sax, alto flute), Brian O'Neill (vibraphone & percussion), Randy Wong (bass), Abe Lagrimas Jr.(drums)

Partial Track List          1.  Bwana, Bwana E 2.  Cave of Uldo 3.  Primitiva 4.  Manila 5.  Satyritar 6.  Fuzzy Mammoth Breath 7.  Dew Drop Inn ...

I have performed sporadically with the band since 1997, and back in 2000, I referred them to a good friend of mine as a sub, Bernardo Monk, a talented and accomplished alto saxophonist from Argentina.  It ended up that Bernardo was offered the gig, which helped to support him during his time here in Boston.  He moved back to Buenos Aires back in November, thus reviving my relationship with the band, which also features some very talented musicians, good friends of mine for many years: Renato Thoms, pianist Nando Michelin, and bassist Jorge Roeder.

One of Boston’s leading bearers of the standard of bebop and straight-ahead jazz.

Personnel:
Rusty Scott, piano
Tim Mayer, saxophone
Keala Kaumehiewa, bass
Luther Grey, drums

Founded in 1995, the Rusty Scott Quartet presents standards, jazz and bebop classics, and original compositions and arrangements with impeccable musicianship and style. Drawing on the legacies left by Bud Powell, Red Garland,Cedar Walton, Hank Jones, Barry Harris, Tommy Flanangan, Dexter Gordon, Sonny Rollins, Johnny Griffin, Ron Carter, and many others, this group has distilled the values and standards held by each.

Synthesizing a style characterized by solid swinging groove, blazing uptempos, rich harmonies that flow, twist and turn, they are able to create improvisations filled with lyricism and humor that unearth unexpected truths and characters that inhabit the depths of each tune.

External website: RustyJazz.com

* * *

The Rusty Scott Organ Group

Personnel:
Rusty Scott, organ
Tim Mayer, alto & tenor saxophones
Mike Mele, guitar
Dave Brophy, drums

The result of an impulse buy inspired by seeing Jimmy Smith in person, this group features the sounds of the Hammond B-3 organ, guitar, saxophone, and drums.

The 60’s saw an explosion of popularity and expasion of the organ in jazz, as the Hammond B-3, infinitely more portable than pipe organs, and even pianos, was brought into jazz clubs everywhere. Many clubs replaced their pianos with B-3’s, which were cheaper to maintain and obviated the need to hire a bassist, as the organist takes that role with the left hand and left foot.  Jimmy Smith, Don Patterson, Groove Holmes, Brother Jack McDuff, are some of the artists who have contributed to the legacy of the instrument and set the bar for sound and style, which is followed by the Rusty Scott Organ Group.

My experiences living in Los Angeles in the mid-80’s performing at local clubs such as Vina’s Jazz Corner, Roscoe’s Chicken and Waffles, the Friendly Room, and the Wich Stand, all of which had B-3’s and featured highly capable organists at the helm, introduced me to that style, and instilled in me the joys of  the sound.  Rusty has devoted a lot of time and careful study to the language and technique of the organ, and accurately captures the sound and character of that period, while contributing his own voice to the sound, and the new CD, The Thrill Is Gone, features some original compositions by Rusty and myself.

External website: Rusty Scott Organ Group on Myspace

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Boston, MA 02118
(617) 424-1408

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