Our Contrafacts
Gary Smulyan (piano), David Wong (bass), Rodney Green (drums)
All three participants provide the material and as the album title suggests, these 10 pieces each owe their genesis to something else, at times prompted by a melodic extract, and at others by...
Our Contrafacts
Gary Smulyan (piano), David Wong (bass), Rodney Green (drums)
Purchase product
All three participants provide the material and as the album title suggests, these 10 pieces each owe their genesis to something else, at times prompted by a melodic extract, and at others by...
About
A contrafact is a method of composing a new melody and arrangement on a pre-existing musical composition using its chord progression. In jazz, one of the most famous examples is "Hot House" (Tadd Dameron) based on "What Is This Thing Called Love?" (Cole Porter). Baritone saxophonist Gary Smulyan has been intrigued by this particular way of composition for a number of years.
His first album on SteepleChase last year 'Alternative Contrafacts' (SCCD31844) is a superlative example of his interest. Here on this release 'Our Contrafacts' is a collection of new contrafacts by contributed by each member of the trio, made up of bassist David Wong (bass) and drummer Rodney Green.
"While there are occasional short solos by Wong and Green, the focus throughout is on Smulyan, who has yet to record an unworthy record or play an uninspired chorus. His passionate sound and fresh ideas make Alternative Contrafacts a set well worth picking up, particularly by straight ahead jazz collectors." - Scott Yanow, NYC Jazz Records on 'Alternative Contrafacts'
Personnel: Gary Smulyan (piano), David Wong (bass), Rodney Green (drums)
Contents and tracklist
1. Quarter Blues
2. Drink Up
3. Homebody
4. It Happens
5. Miles Tones
6. Good Riddance
7. How Deep
8. Tritonious Monk
9. What's Her Name
10. Sourpuss
Awards and reviews
November 2020
All three participants provide the material and as the album title suggests, these 10 pieces each owe their genesis to something else, at times prompted by a melodic extract, and at others by the harmonies of familiar songs. Still, as sleeve writer Neil Tesser suggests, don’t let your interest in musical detection get in the way of appreciating the music that results from these intriguing new creations.
August 2020
Listeners can play their own guessing game in regard to the contrafacts’ sources while still savoring those deep, robust tones and double-timed lines from Smulyan’s horn along the way.
