GA Russell Posted November 3, 2019 Report Posted November 3, 2019 Baritone Madness "Baritone Madness" Format(s): Jazz, Smooth Jazz Already #1 at CDN campus/community jazz radio "Moanin" and "I Hear A Rhapsody" added at CBC Saturday Night Jazz Played summer jazz festivals in Montreal, Ottawa and Edmonton Biography Baritone Madness was formed by Pat Belliveau, Keith O’Rourke, and Gareth Bane to bring the magic of the baritone saxophone to audiences across North America. Pat Belliveau is a Canadian saxophonist who has played with artists such as Herbie Hancock, Harry Connick Jr., The New York Voices and Nikki Yanofsky. He has played on over 50 records and has released two albums as a leader, La Zona Blanca and The Pat Belliveau Quintet Live in Panama. Keith O’Rourke is a born and raised Albertan. He released his debut album Sketches from the Road in 2017. Keith is the co-leader of the Past Present Quintet and a member of the Prime Time Big Band. He also plays with Calgary Jazz Orchestra, the Calgary Creative Arts Ensemble and Stage West Calgary. Since returning to Alberta from New York City in 2011 after taking his Masters in Jazz Performance at Rutgers University, Gareth Bane has continued to push the boundaries of the baritone saxophone. Modern improvisational jazz concepts and the roots of blues, combined with a “take no prisoners” approach to the horn, thus creating a unique and powerful voice on that instrument. About This Release Baritone Madness is a highly unique configuration; a quintet comprised of three baritone saxophonists as leads, supported by a rhythm section of double bass and drums. These players have captivated audiences through their inventive originals and thoughtful arrangements of music by Gerry Mulligan, Pepper Adams and Hamiett Bluiett that complement the low range of the baritone sax. As a group they have been playing together for enthusiastic audiences since they began in February of 2016. In 2019, they took to the road to share their new music with fans at Montreal International Jazz Festival, TD Ottawa Jazz Festival and TD Edmonton International Jazz Festival. Their first release and self-titled album, is set to be released on September 13, 2019 through Chronograph Records. Artist Title Time Baritone Madness Moanin' 04:13 Baritone Madness Remembering the Aramo 06:28 Baritone Madness I-Yor 03:59 Baritone Madness Port NOLA 04:25 Baritone Madness Turbulant Trane 04:23 Baritone Madness Requested 05:19 Baritone Madness I Hear a Rhapsody 04:05 Baritone Madness A Long Time Coming 04:40 Baritone Madness The C.B. Shuffle 05:03 Baritone Madness The Angels' Share 05:56 Baritone Madness June 05:01 Baritone Madness Ready and Able 04:13 Quote
Tom in RI Posted November 3, 2019 Report Posted November 3, 2019 Thanks for the post, I will check this out. Quote
John Tapscott Posted November 3, 2019 Report Posted November 3, 2019 (edited) A worthy project for sure, one I would like to hear. The three baritone band with bass and drums has a precedent. Edited November 3, 2019 by John Tapscott Quote
Peter Friedman Posted November 3, 2019 Report Posted November 3, 2019 This British CD features 7 Baritone sax players. But only 4 play at a time on any track. Quote
BillF Posted November 3, 2019 Report Posted November 3, 2019 I'll settle for "Prima Bara Dubla" featuring Carney and Mulligan on this one: Quote
Brad Posted November 3, 2019 Report Posted November 3, 2019 When I think of Baritone Madness I think of Nick Brignola’s recording on the Bee Hive label. Quote
Jazzmonkie Posted November 4, 2019 Report Posted November 4, 2019 2 hours ago, Brad said: When I think of Baritone Madness I think of Nick Brignola’s recording on the Bee Hive label. What I thoughtt of when I read the topic. Quote
Shrdlu Posted November 4, 2019 Report Posted November 4, 2019 Ewww, three baritone saxophones in one sitting? No, thanks. At least, the picture John posted has the proper model, without that horrible extension. (Gerry Mulligan, Pepper Adams and Danny Bank hated it and refused to play it.) Quote
sgcim Posted November 4, 2019 Report Posted November 4, 2019 it's a tough instrument to listen to on a small group record where it's the only horn for an extended period of time. A friend gave me a CD like that, and after half an hour or so, I just couldn't take it anymore, and literally had to turn it off. Mulligan or Pepper Adams could pull it off, because of their sound and ideas, but other than them, the range and power of the horn can be too much, especially if the player is trying to see how many notes he can cram into a measure. Quote
Brad Posted November 4, 2019 Report Posted November 4, 2019 5 hours ago, sgcim said: it's a tough instrument to listen to on a small group record where it's the only horn for an extended period of time. A friend gave me a CD like that, and after half an hour or so, I just couldn't take it anymore, and literally had to turn it off. Mulligan or Pepper Adams could pull it off, because of their sound and ideas, but other than them, the range and power of the horn can be too much, especially if the player is trying to see how many notes he can cram into a measure. Do you feel the same about Sonny Stitt or Leo Parker? Quote
John Tapscott Posted November 4, 2019 Report Posted November 4, 2019 Much as I enjoy Cuber, Brignola and Smulyan individually, all together on the Three Baritone Saxophone CD I posted (esp. with no piano) is too much. Can't say I really love that CD. Quote
Peter Friedman Posted November 4, 2019 Report Posted November 4, 2019 10 hours ago, sgcim said: it's a tough instrument to listen to on a small group record where it's the only horn for an extended period of time. A friend gave me a CD like that, and after half an hour or so, I just couldn't take it anymore, and literally had to turn it off. Mulligan or Pepper Adams could pull it off, because of their sound and ideas, but other than them, the range and power of the horn can be too much, especially if the player is trying to see how many notes he can cram into a measure. I firmly disagree. The issue is the musician, not the baritone saxophone. My preference would be for more players to choose the baritone sax. When you consider the plethora of alto and tenor players out there, the number of baritone sax players on the scene is tiny. (To be honest though, I am a bit of a hypocrite, as I am not a fan of the soprano sax with only a very few exceptions.) Quote
kh1958 Posted November 4, 2019 Report Posted November 4, 2019 18 minutes ago, JSngry said: Just 3? Do you have that record? It must be pretty rare. Quote
mjzee Posted November 4, 2019 Report Posted November 4, 2019 Must respectfully disagree about Pepper Adams. I love his work, but this album, with just him and a rhythm section on 4 long cuts, is an effort to get through: Quote
JSngry Posted November 4, 2019 Report Posted November 4, 2019 24 minutes ago, kh1958 said: Do you have that record? It must be pretty rare. I have a "copy" of the Art Yard reissue. It's not bad. It's not great, either. The writing's good, though. Quote
sgcim Posted November 4, 2019 Report Posted November 4, 2019 (edited) 8 hours ago, Brad said: Do you feel the same about Sonny Stitt or Leo Parker? That's a good point, KCR is playing a retrospective on Leo Parker now, and I' really digging it. Pat Patrick, Mulligan, Leo Parker, guys who didn't pay a million notes per second, and kept a lighter sound are okay with me. Even Pepper Adams can be a bit much, as mjzee mentioned above, when he's the only horn on the record. I've never heard Stitt play Bari. It's just the nature of the instrument. It's timbre can be unbearable in large, uninterrupted doses. They're all brilliant musicians, but timbre is an important consideration. Edited November 4, 2019 by sgcim Quote
Peter Friedman Posted November 4, 2019 Report Posted November 4, 2019 2 hours ago, mjzee said: Must respectfully disagree about Pepper Adams. I love his work, but this album, with just him and a rhythm section on 4 long cuts, is an effort to get through: Though there are certainly exceptions, I find most (Jazz) albums with 4 or fewer long cuts are often tedious. It makes no difference as to the instruments involved. Quote
JSngry Posted November 4, 2019 Report Posted November 4, 2019 This is my favorite Pepper Adams album, overall. Well-programmed to be a "record" more than a "document". Quote
jlhoots Posted November 5, 2019 Report Posted November 5, 2019 27 minutes ago, JSngry said: This is my favorite Pepper Adams album, overall. Well-programmed to be a "record" more than a "document". I like Critics' Choice. Quote
Kevin Bresnahan Posted November 5, 2019 Report Posted November 5, 2019 I don't find the bari tedious at all. I do love Nick Brignola's "all bari" CDs, "Flight of the Eagle" and my favorite "On A Different Level". Serge Chaloff's "Blue Serge" is played quite often. The aforementioned Leo Parker's Blue Note dates are great. Gary Smulyan has made some beautiful dates. Pepper Adams' "The Master" is aptly named. I love bari sax dates. To each his own... Quote
soulpope Posted November 5, 2019 Report Posted November 5, 2019 ❤Lars Gullin❤Mario Rivera❤Charles Davis❤ .... Quote
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