"Parrhesia" (to speak boldly and freely) from trumpeter Haynes in a trio with drummer/percussionist Warren Smith and guitarist Joe Morris, an adventurous mix of voice and jazz.
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Catalog ID: e033
Squidco Product Code: 13572
Packaging: Cardboard Gatefold
Recorded on January 3rd, 2010 by Steven Walcott and Jon Martinez at Metrosonic Studios, Brooklyn, NY
Steven Haynes-trumpet, cornet, flugelhorn, mutes
Warren Smith-drums, percussion, marimba, voice
Joe Morris-electric guitar
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• Show Bio for Warren Smith
"Warren Smith (born May 14, 1934) is an American jazz drummer and percussionist, known as a contributor to Max Roach's M'boom ensemble and leader of the Composer's Workshop Ensemble (Strata-East).
Smith was born May 14, 1934 in Chicago, Illinois to a musical family. His father played saxophone and clarinet with Noble Sissle and Jimmie Noone, and his mother was a harpist and pianist. At the age of four he studied studied clarinet with his father. He graduated from the University of Illinois in 1957, then received a master's degree in percussion from the Manhattan School of Music in 1958.
One of his earliest major recording dates was with Miles Davis as a vibraphonist in 1957. He found work in Broadway pit bands in 1958, and also played with Gil Evans that year. In 1961 he co-founded the Composers Workshop Ensemble. In the 1960s Smith accompanied Aretha Franklin, Nina Simone, Lloyd Price, and Nat King Cole; he worked with Sam Rivers from 1964Ð76 and with Gil Evans again from 1968 to 1976. In 1969 he played with Janis Joplin and in 1971 with King Curtis and Tony Williams. He was also a founding member of Max Roach's percussion ensemble, M'Boom, in 1970.
In the 1970s and 1980s Smith had a loft called Studio Wis which acted as a performing and recording space for many young New York jazz musicians, such as Wadada Leo Smith and Oliver Lake. Through the 1970s Smith played with Andrew White, Julius Hemphill, Muhal Richard Abrams, Nancy Wilson, Quincy Jones, Count Basie, and Carmen McRae. Other credits include extensive work with rock and pop musicians and time spent with Anthony Braxton, Charles Mingus, Henry Threadgill, Van Morrison, and Joe Zawinul. He continued to work on Broadway into the 1990s, and has performed with a number of classical ensembles.
Smith taught in the New York City public school system from 1958 to 1968, at Third Street Settlement from 1960 to 1967, at Adelphi University in 1970Ð1, and at SUNY-Old Westbury from 1971."-Wikipedia (https://en.wikipedia.org/wiki/Warren_Smith_(jazz_percussionist))
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• Show Bio for Joe Morris
"Joe Morris was born in New Haven, Connecticut on September 13, 1955. At the age of 12 he took lessons on the trumpet for one year. He started on guitar in 1969 at the age of 14. He played his first professional gig later that year. With the exception of a few lessons he is self-taught. The influence of Jimi Hendrix and other guitarists of that period led him to concentrate on learning to play the blues. Soon thereafter his sister gave him a copy of John Coltrane's OM, which inspired him to learn about Jazz and New Music. From age 15 to 17 he attended The Unschool, a student-run alternative high school near the campus of Yale University in downtown New Haven. Taking advantage of the open learning style of the school he spent most of his time day and night playing music with other students, listening to ethnic folk, blues, jazz, and classical music on record at the public library and attending the various concerts and recitals on the Yale campus. He worked to establish his own voice on guitar in a free jazz context from the age of 17. Drawing on the influence of Coltrane, Miles Davis, Cecil Taylor,Thelonius Monk, Ornette Coleman as well as the AACM, BAG, and the many European improvisers of the '70s. Later he would draw influence from traditional West African string music, Messian, Ives, Eric Dolphy, Jimmy Lyons, Steve McCall and Fred Hopkins. After high school he performed in rock bands, rehearsed in jazz bands and played totally improvised music with friends until 1975 when he moved to Boston.
Between 1975 and 1978 he was active on the Boston creative music scene as a soloist as well as in various groups from duos to large ensembles. He composed music for his first trio in 1977. In 1980 he traveled to Europe where he performed in Belgium and Holland. When he returned to Boston he helped to organize the Boston Improvisers Group (BIG) with other musicians. Over the next few years through various configurations BIG produced two festivals and many concerts. In 1981 he formed his own record company, Riti, and recorded his first LpWraparound with a trio featuring Sebastian Steinberg on bass and Laurence Cook on drums. Riti records released four more LPs and CDs before 1991. Also in 1981 he began what would be a six year collaboration with the multi-instrumentalist Lowell Davidson, performing with him in a trio and a duo. During the next few years in Boston he performed in groups which featured among others; Billy Bang, Andrew Cyrille, Peter Kowald, Joe McPhee, Malcolm Goldstein, Samm Bennett, Lawrence "Butch" Morris and Thurman Barker. Between 1987 and 1989 he lived in New York City where he performed at the Shuttle Theater, Club Chandelier, Visiones, Inroads, Greenwich House, etc. as well as performing with his trio at the first festival Tea and Comprovisation held at the Knitting Factory.
In 1989 he returned to Boston. Between 1989 and 1993 he performed and recorded with his electric trio Sweatshop and electric quartet Racket Club. In 1994 he became the first guitarist to lead his own session in the twenty year history of Black Saint/Soulnote Records with the trio recording Symbolic Gesture. Since 1994 he has recorded for the labels ECM, Hat Hut, Leo, Incus, Okka Disc, Homestead, About Time, Knitting Factory Works, No More Records, AUM Fidelity and OmniTone and Avant. He has toured throughout the U.S., Canada and Europe as a solo and as a leader of a trio and a quartet. Since 1993 he has recorded and/or performed with among others; Matthew Shipp, William Parker, Joe and Mat Maneri, Rob Brown, Raphe Malik, Ivo Pearlman, Borah Bergman, Andrea Parkins, Whit Dickey, Ken Vandermark, DKV Trio, Karen Borca, Eugene Chadborne, Susie Ibarra, Hession/Wilkinson/Fell, Roy Campbell Jr., John Butcher, Aaly Trio, Hamid Drake, Fully Celebrated Orchestra and others.
He began playing acoustic bass in 2000 and has since performed with cellist Daniel Levin, Whit Dickey and recorded with pianist Steve Lantner.
He has lectured and conducted workshops trroughout the US and Europe. He is a former member of the faculty of Tufts University Extension College and is currently on the faculty at New England Conservatory in the jazz and improvisation department. He was nominated as Best Guitarist of the year 1998 and 2002 at the New York Jazz Awards."-Joe Morris Website (http://www.joe-morris.com/biography.html)
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1. Reclamation 7:29
2. Quietude 7:17
3. Invocation 9:58
4. Flowers For Ida 3:06
5. St. Louis Sonority 7:11
6. Yet And Still 7:54
7. Unfolding 8:30
sample the album:
"To save you a short trip to Google, parrhesia means to speak everything and, by extension, to speak freely, to speak boldly, or boldness. Without getting bogged down in intellectual scaffolding, what Stephen Haynes, Joe Morris, and Warren Smith give you on Parrhesia is the other s**t. And you may ask yourself just what is the other s**t, and who the hell markets music this way? When you hear Haynes trumpet speaking in tongues while Morris finger-taps African rhythms on his detuned guitar on the tune Invocation, you re not listening to a typical free jazz session. When Smith recites poetry about America being the best place for him to live while he talks about black lives being destroyed by drugs AND pokes fun at Twitter, you re not in the jazz equivalent of Kansas anymore. We don't claim Parrhesia is bold and different in order to sell records or to say that this music is superior to other music. Abundant with melody, space, and rhythm, Haynes debut as a leader is a singular experience that resonates with the continuum of tradition."-Engine
"Stephen Haynes is an improvising composer, master teaching artist, arts organizer and advocate; a product of the historic and fertile Black Music Division at Bennington College, directed by Bill Dixon. His early foundational studies were with the wonderful Frank Baird, who chaired the brass department at the University of Colorado's Boulder campus during the sixties and seventies. He is currently a recording artist for the Engine and hatOlogy (Hat Hut)Labels. He is very concerned with the plight of the local artist in his/her hometown and region, and with the importance of well-developed support for those who enjoy working close to home and being treated properly. Over the years he has worked with a range of musicians, with a primary interest in large ensembles and composition: Bill Dixon, George Russell, LaMonte Young, Butch Morris, Rhys Chatham, Adam Rudolph, Leroy Jenkins, JD Parran, Gunter Hampel, Cecil Taylor, Rob Mazurek's Exploding Star Orchestra and the Dells."-Stephen Haynes website
"Last spring, Steve Walcott called to ask if I would consider recording with his singular young record label, Engine Records. I had met Steve when Taylor Ho Bynum and I recorded our Double Trio in concert at the Festival for New Trumpet Music during the fall of 2006. I had been following the label since I first heard the recordings that Warren Smith made with tenor saxophonist Andrew Lamb on the label. Walcott just recently recorded and released Warren Smith's orchestra (Old News, Borrowed Blues).
Steve and I discussed a number of projects that I had been working on, or wanted to spark, settling on Parrhesia. The trio began in 2005 during my year-long residency at Hartford's Real Art Ways. The last time we worked together was at La Paloma Sabanera in 2007. Music needs a place to grow and develop. Here in Hartford Will Wilkins (RAW) and Luis Cotto (La Paloma) welcomed us, consistently supporting the creative work in a wonderful community-centered manner. There's no place like home!
In early January of this year, after a week's delay due to snow, Joe and I drove down to Metrosonic Studios in Brooklyn. The weather was cold and raw in a way that is amplified by the concrete and asphalt of the city. Ever intrepid, Steve rode his bicycle to work. Warren arrived with his assistant, and we set up camp in a small room equipped with a bevy of vintage ribbon microphones. We recorded all the music in single takes. After listening to an initial playback, we knew that something special was afoot.
I will leave it to others (and to you, dear listener) to unravel and describe the music that we created. Buy locally when you purchase the disc. If you do not have a local record store, I suggest that you to order the disc from Downtown Music Gallery in New York. DMG is a stalwart supporter of the music, and one of our few remaining record stores (in the classic sense), the type of place that many of us learned (and still do) so much about music and those who create it."-Stephen Haynes
NY Downtown & Jazz/Improv
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