The Philadelphia Story: The Gospel as We Know It
Featuring Three Generations of Philadelphians:
Benny Golson, Lew Tabackin and Randy Brecker
Boasting an all-star lineup, veteran pianist Jimmy Amadie returns to form with The Philadelphia Story, showcasing an exciting and touching program of originals and standards that do the city of Brotherly Love proud. On hand to help make it happen are some high-profile fellow natives: reed players Benny Golson and Lew Tabackin as well as trumpeter/flugelhornist Randy Brecker. Add familiar names like bassist Steve Gilmore and drummer Bill Goodwin--both of whom have gigged and recorded extensively with Amadie-and your recipe for success is more than assured.
The Philadelphia Story, recorded over a period of nine months, is made up of 12 songs, with Amadie, Gilmore and Goodwin providing the backbone and boost to what became three different sections to the album. Brecker, Golson and Tabackin are randomly highlighted across the 12 tunes, each featured artist getting his say on separate tracks with the rhythm section. Amadie, in addition to playing his usual sparkling piano throughout, did all of the fetching arrangements as well.
The album continues the recent recorded legacy of Amadie, following on the heels of such well-received albums as his Phil Woods collaborations Let's Groove! and Live At Red Rock Studio, each album a tribute to the singers Mel Torme and Tony Bennett, respectively. Another tribute, this one to Frank Sinatra, Amadie's In A Trio Setting also features Goodwin and Gilmore, though in a more intimate setting. Add a couple of stellar solo piano albums, Always With Me and Savoring Every Note, and your musical picture of the still-spunky 70-year-old Amadie is practically complete.
For The Philadelphia Story, "I did four tunes with each player, with one standard and three originals," says Amadie. "The most important thing was to set a groove in order to let each player express himself, and the players responded." But the original design for the album was something quite different than what Amadie eventually produced. "What I wanted to do was get three great players who are already known worldwide, who I respect but haven't played with," the pianist adds. After landing dates with Philly's Brecker and Tabackin, Amadie had other ideas about a third player. "I always wanted to play with Stan Getz and Gerry Mulligan," he notes, "but they aren't around anymore. The obvious choice was Benny, and I was fortunate to get him since he's spending a great deal of time overseas."
"They were all beautiful, sweet guys and easy to work with," Amadie continues. "You can hear it in their playing. For sure, the focus was on the music, but I didn't have to think about it. I wanted to showcase their repertoire, and by getting their sound we got three different characters but one camaraderie of swing. I didn't try to get a jam-session feel. Instead, I got their personalities into the music, and to do that I had to adapt to their playing. It wasn't my trio playing with those guys, it was the trio adapting to how they played."
"Check out the swinging blues 'Marching With Benny 'G',' and listen to the groove we laid for Benny. It's all together different than the groove we played for Lew on the upbeat 'No Greater Love' or the groove we played for Randy on 'Bossa/Swing.' Once I wrote a tune in their style, they dictated how the music would be played. My goal was to let those guys play the way they play. Just listen to the way Benny plays a ballad, like he does on 'Warm And Gentle 'Ben'.' We took on the color of the artist, and that's what made the project work. The key was writing for them."
As if echoing the theme of the project overall, Amadie beams, "It was just a love-in with these cats. When you're with good people, it just permeates everything you do. When the band was playing, we said, 'Let's feed him, let's just lay it down,' and they responded." "We," in this case, is Amadie's terrific trio. "I will take this rhythm section over any other," he states. "Steve and Bill play for you, for the artist, they don't waste a note or a beat. They're not just playing for the date." Reflecting back on the recording sessions and all those involved, Amadie adds, "We were a team working together, and everybody played that way. They [Brecker, Tabackin and Golson] haven't been playing the way they played with my trio, because they haven't played with the trio. And it shows." Listeners will agree.
And, what exactly does "The Gospel" refer to in the album's subtitle? "The 'Gospel As We Know It' means: this is what playing as we know it, is; what real playing is," Amadie proudly says. "The Philadelphia Story was a team effort; it was just a groove playing with these cats. This is the best time of my life. I can write what I hear, and I can play what I want."
For Jimmy Amadie, who has had a series of ongoing hand, wrist and forearm conditions that can make playing a real challenge, the release of The Philadelphia Story is a clear indication that his music continues to develop and get better over time. Beginning in the 1950s, the pianist could be heard playing with such talents as Charlie Ventura, Red Rodney, Woody Herman and his band as well as singer Mel Torme.
But his story actually began at age 10, when he started taking classical piano lessons, eventually ending up in Philadelphia clubs during the mid-'50s, working with Ventura first then replacing Al Haig in Rodney's band, later joining yet another edition of Herman's Herd. During the early '60s, it was time to stretch yet again, this time with Amadie backing up the great Mel Torme, where he learned even more about timing and nuance, not to mention swing. It was at this point that Amadie started working as a solo act, bringing his trio into such settings as the New York's Copacabana and the Red Hill Inn in Pennsauken, N.J., where he had the opportunity to play with Coleman Hawkins, among others.
Amadie's other achievements include important work as an author and educator. He is the author of the well-regarded and popular books Harmonic Foundations For Jazz & Popular Music and Jazz Improv: How To Play It And Teach It! And, during the '90s, lucky summer-school students could be found at Berklee College of Music, while Jimmy Amadie's now 18-year stint at Villanova University is still going strong.
|
|
|
|
|