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Catalog ID: Hatology643
Squidco Product Code: 8186
Packaging: Cardboard Gatefold 3 Panels
Tracks 3,5,8 recorded in Inverness, California, on November 3rd, 2002.
Tracks 1,2,4,6,7recorded at George Khouri's Studio, in San Francisco, California, on January 12th, 2005.
#9: Duo recorded at Revelation's Mt. Washington Studio, in Los Angeles, California, October 15th, 1966.
Anthony Ortega-alto saxophone, flute, piano
Kash Killion-doublebass, cello
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• Show Bio for Kash Killion
"Kash Killion: Cello, Contra Bass, & Serangi
Born in Alton, Illinois (Miles Davis' home town), Kash was raised listening to jazz-his brother was a jazz trumpeter-in the very fertile music scene in and around East St. Louis, Illinois. Drawn first to clarinet, then voice, flute, electric guitar and electric bass, Kash started performing professionally at age ten.
Through high school he was working in doo-wop, funk, soul, rock and church groups. In 1974, he entered college and started studying classical contrabass. Soon he was also studying violin and cello. Moving to L.A. City College in 1976, piano giant Horace Tapscott became his mentor and Kash played bass in Tapscott's Ark Orchestra; drummer Billy Higgins was part of that scene, too. This rekindled his interest in straight ahead jazz. On the straight ahead jazz front, Kash has played with great players like Donald Byrd, George Cables, Billy Higgins, Bobby Hutcherson, James Newton, and Billy Bang.
Kash studied music at the University of Southern California and earned a degree in Jazz Composition and Performance at Antioch University. He studied the classical contra bass with David Young of the Texas Symphony, and Emile Jorso of the Oakland Symphony, as well as cello with Marilyn Blanc of the Oakland Symphony. Mr. Killion was the "artist in residence" at the San Francisco Exploratorium where he composed and conducted a creative chamber piece performed by San Francisco based musicians, and has taught violin and cello in the San Francisco and Oakland elementary schools and has lectured North Carolina Central University and Duke University on the history of string instruments the evolution of jazz based music. He also provides private instruction in music theory and instrument technique on the cello and contrabass. Kash has performed at the Herbst Theater and Masonic Auditorium in San Francisco, the Lincoln Center and Weill Recital Hall (Carnegie Hall) in New York, as well as several jazz festivals in the U.S., Asia, and Europe.
Kash's interest in avant garde jazz was ignited by Sun Ra in 1978-and further heightened by meeting and playing with Pharoah Sanders. In L.A. Kash was playing bass as his primary instrument, but getting more and more interested in cello. When he moved to the Bay Area in 1984, he switched almost entirely to cello, mainly because of the freedom to use it in roles as diverse as a horn or a guitar or a bass.In the Bay Area he started playing and touring with a number of avant-garde jazz groups, notably one with Paul Murphy, Glen Spearman and India Cook. That was the beginning of his long musical association with Paul Murphy. Kash has played extensively in avant garde circles with such icons as Cecil Taylor, John Zorn, Julius Hemphill, Reggie Workman, Sun Ra, Butch Morris and George Lewis. More recently, he has recorded and performed with improvisational musicians Joel Futterman and Ike Levin.
Kash also has a deep interest in world music. He studied with the great Indian musician, Ali Akbar Khan, and has toured and recorded with his orchestra. He has recorded Afro-Cuban music with several salsa groups. He composes and performs for both dance troupes and poets. Major poets he has accompanied including Amiri Baraka, Alice Walker, Quincy Troupe, Shirley Le Flore and Jessica Hagdorm."-Charles Lester Music (http://www.charleslestermusic.com/musician/kk.htm)
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1. Ask Me Now 9:25
2. Jupiter 5:19
3. Blue Monk 4:01
4. I'll Remenber April 8:01
5. Now's The Time 3:00
6. Afternoon In Paris 7:30
7. One 6:07
8. Open Spaces 2:52
9. Ornithology 9:01
sample the album:
"On first glimpse this recording might seem to be a sequel to the 1966 alto saxophone and acoustic bass duo session which formed one-half of Anthony Ortega's critically acclaimed "New Dance". But for Ortega to try and recreate that once-upon-a-time, now legendary date would be folly. He has not changed his approach to the duo (or solo for that matter) format all that much in the years between then and now. But significant differences occur in the details. Remarkably, we have the previously unreleased performance of Ornithology from the earlier session, not for comparison, but like a snapshot of an earlier time which provides us with a renewed perspective on the Ortega of today - the same person with some new ideas, a complementary partner, and an improvisational integrity undiminished over time."-Art Lange"
"Interestingly enough, West Coast saxophonist Anthony Ortega's previously unreleased 1966 take on Bird's "Ornithology," with bassist Chuck Domanico is inserted among these 2005 produced tracks, featuring bassist Kash Killion. Infrequently recorded, Ortega's discography for this Swiss label convey moments of sheer brilliance. On this adventurous outing he delves into works by Monk, Bird amid two originals and a few pop standards.
The artist communicates warmth and agility throughout, as he formulates a close alliance with Killion. When performing as a duo the musicians take advantage of space, where a sense of buoyancy prevails. On "Blue Monk," Ortega -- performing on alto sax sans accompaniment --belts out a bluesy riff via a cascade of drawling extended notes and winding choruses. Moreover, he personalizes this and other pieces while switching to flute on "I'll Remember April," underscored by Killian's nimbly enacted bass lines that build a perimeter of sorts, around the primary theme.
Ortega goes it alone during his original composition titled "Open Spaces," consisting of deep and yearning lyricism, rendered with yearning sentiment and topped-off by his melodic, vibrato techniques. And on the 1966 recording of "Ornithology," the saxophonist and Domanico generate speedy bop choruses. Here, Ortega softens the hard-hitting attack with an airy edge, effectively fortified by Domanico's brisk and bouncy patterns. Nonetheless, Ortega is one of the unheralded giants of jazz sax, as this outing reaffirms that notion in rather perfunctory fashion."-Glenn Astarita
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