Part of The Jazz Institute's "Made in Chicago" series, Reed's band extended to 8 pieces with 6 horn players including original 50's Chicago players, performing these 8 pieces live in 2008 at The Millenium Park.
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Label: 482 Music
Catalog ID: 1070
Squidco Product Code: 12993
Packaging: Cardstock Gatefold Sleeve
Recorded in Chicago at Millenium Park on August 25, 2008. Mixed andmastered by Jeremy Lemos.
Tim Haldeman-tenor saxophone
Art Hoyle-trumpet, flugehorn
Ira Sullivan-tenor saxophone
Greg Ward-alto saxophone
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1. Song of a Star 10:01
2. Third Option (for Art Hoyle) 8:46
3. El is a Sound of Joy 8:47
4. Wilbur's Tune 5:17
5. The And of 2 (for Ira Sullivan) 5:54
6. Door #1 (for Julian Priester) 8:33
7. Urnack 9:09
8. Lost and Found 5:09
Related Categories of Interest:
Chicago Jazz & Improvisation
sample the album:
"Recorded live in Chicago's Millennium Park in summer 2008, Stories and Negotiations is the latest installment in drummer/composer Mike Reed's People, Places and Things project. Commissioned by The Jazz Institute's "Made in Chicago" series, it completes a trilogy of recordings devoted to a remarkable - but often overlooked - era in Chicago music: the years between 1954 and 1960, when the jam-session culture of the city's hard bop scene began to seed the collective avant-garde of the AACM and everything that followed.
Reed convened his working quartet, which features saxophonist Greg Ward, tenor saxophonist Tim Haldeman and bassist Jason Roebke, and invited frequent guest trombonist Jeb Bishop back to the bandstand. But for this album, he also solicited the horns of three jazz masters whose playing and personalities defined the late '50s in Chicago: Art Hoyle, Julian Priester and Ira Sullivan. The ensemble engages a set of vintage tunes - including Priester's "Urnack," John Jenkins' "Song of a Star," Clifford Jordan's "Lost and Found," Wilbur Campbell's "Wilbur's Tune," and Sun Ra's "El is a Sound of Joy" - in new arrangements, as well as original pieces composed by Reed and Ward and dedicated to each of their honored guests.
"Priester probably has the largest accomplishments as a sideman, he's on a zillion records," Reed says of the 74-year-old trombonist, who was (along with trumpet and flugelhorn player Hoyle) part of Sun Ra's Chicago-based big bands of the mid-to-late 1950s, and has played with everyone from Duke Ellington to Sunn O))). Back in the day, now 78-year-old tenor saxophonist Sullivan "was maybe the biggest name, recording dates in 1956-57 as a leader, being asked to be in the Jazz Messengers, being asked to do things with Miles and turning it down. He's incredibly important." Hoyle, who is in his mid-70s, took an opposite track. "He was in the Sun Ra band, the Lionel Hampton band, but by the mid-'60s he said, 'I'm gonna stay in Chicago and be a studio musician, a working club musician.' He was one of the musicians who broke the color barrier for the CBS Orchestra."
Shaped by Reed's powerfully organic concept for the band, the concert versions of older material are instantly distinct from their original iterations. "We were trying to really figure out how to bring some modern edges to this old music," the drummer says. "Obviously, the idea of there being some kind of chordal instrument or harmony is out, so we've jumped from 1956 to 1966. There's more of an Ornette-ish influence. Structure-wise, some of the music is rewritten. Not so much on the octet stuff, where we're faithful to the material but definitely not in form. We'd move things around because we'd want the arrangements to work in a different way: maybe there's a more dramatic build up, or we'd get away from the 32-bar form. We recreated forms, completely adding something that is not a piece of the tune at all."
A man for all seasons, Reed is an important player in Chicago's eclectic, genre-blurring music scene. He also leads the improvising quintet Loose Assembly and has recorded a series of experimental duets with several of other luminaries such as Nicole Mitchell and Jim Baker. As an organizer and promoter, his marquee gig is booking the annual Pitchfork Music Festival, the most open-eared indie-rock conclave in the United States.
With that kind of attitude, Stories and Negotiations could never be conceived as some predictable old tribute record."-482 Music
• Show Bio for Jeb Bishop
"Jeb Bishop was born in Raleigh, North Carolina during the Cuban missile crisis. He began playing the trombone at the age of 10, under the tutelage of Cora Grasser. Other influential teachers during junior high and high school included Jeanne Nelson, Eric Carlson, Richard Fecteau, Greg Cox, and James Cozart.
He majored in classical trombone performance at Northwestern University from 1980-82, studying with Frank Crisafulli. Deciding he did not want to pursue a career as an orchestral musician, he returned to Raleigh in 1982 and took up engineering studies at NC State University. Raleigh's developing underground rock scene attracted him, and from 1982-84 he played bass guitar in rock bands in the Raleigh area.
At the same time, he developed an interest in philosophy, eventually majoring in the subject, and spent 1984-85 studying philosophy at the Higher Institute of Philosophy of the Catholic University of Louvain, Belgium.
Returing to Raleigh in 1985, he spent the next few years working at menial jobs and playing guitar, bass, cheap keyboards, drums, etc., in rock bands including and/or, the Angels of Epistemology, Egg, and Metal Pitcher.
In 1989 he left Raleigh to pursue graduate studies in philosophy, first at the University of Arizona, then at Loyola University of Chicago (where he was awarded the Crown Fellowship in the Humanities). During 1991-92 he returned to Europe, spending the summer of 1991 studying German at the Goethe-Institut Iserlohn (now closed), and then pursuing independent studies in philosophy at the French-language division of the University of Louvain.
Returning to Chicago in 1992, he completed his M.A. at Loyola in 1993. By this time he had already begun to make connections with improvising musicians in Chicago, having joined the Flying Luttenbachers as bassist (later adding trombone) in late 1992, and playing guitar occasionally in a quartet with Weasel Walter, Ken Vandermark, and Kevin Drumm. Other bands during this period included the Unheard Music Quartet (with Vandermark, Mike Hagedorn on trombone, and Otto Huber on drums) and the Rev Trio (with Walter and saxophonist Joe Vajarsky). Bishop played electric bass in both these bands.
In late 1995, Bishop joined the Vandermark 5 as one of its founding members, and remained with the band through the end of 2004. During this period he also became associated with many other groups, including the Peter Brötzmann Chicago Tentet, School Days, Ken Vandermark's Territory Band, and his own Jeb Bishop Trio, and became a very frequent participant in ad hoc and free-improvised concerts in Chicago. Bishop performed in the inaugural concerts of two of the longest-running free-music concert series in Chicago: the Myopic Books weekly concerts (originally at Czar Bar; with Rev Trio) and the Empty Bottle Wednesday night concert series (with a quartet of Terri Kapsalis, Kevin Drumm, and Jim O'Rourke). He curated the monthly Chicago Improvisers Group concerts at the Green Mill from 1999-2002, and co-curated the weekly Eight Million Heroes concert series at Sylvie's in 2005-6.
Bishop has made dozens of recordings with many different groups, has toured North America and Europe many times, and maintains a busy performing schedule."-Jeb Bishop Website (http://www.jebbishop.com/jebbio.html)
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