LINER NOTES FROM RICK BRITTO:
Recorded in only a three hour session, thisrecent collaboration with Matt has been a labor of love. Matt and I have playedin numerous ensembles for years from big band to small ensembles but, this isour first time working together in a duo setting. Matt is one of the mostsensitive players I have had the opportunity to ever perform with. HIscompositions are both beautiful and poignant creations I had the pleasure toperform on this recording.
All six of my compositions on " are very different in style or feel and all were composedfor people and places in my life's experience. " waswritten while doing more than 10 years of road travel gigging in the 1980s. is a circular melody that never seems to end. It was actuallywritten while I was floating in the sky of a waking lucid dream. Sometimesdreams do come true and can become real music! " isthru-composed love song written in the jazz waltz feel. It also has lyricswhich I hope to someday record with a vocalist. " is atraditional 1940s style jazz swing ballad composed as a tribute to my firstsaxophone teacher and mentor, Lionel Soares, who unfortunately passed away inJuly 2009. Lionel had a great influence on my life in music. This compositionand performance recreates Lionel's style and grace as I remember him dearly. " is a tribute to my Mom, Evie Britto, written in thetraditional Cape Verdean rhythmic style called the C.is my take on the classic tune, written as a tribute to my girl friend, Kathy Crowley,who is the female vocalist that brightens the stage in performance with thefolk group, Pumpkin Head Ted.
This recent collaboration with Rick Britto has been very positive. We have known each other for the past twenty years and have played together inmany jazz settings, but not as a duo until now. Rick has an amazingtechnical capacity on the tenor saxophone but he also plays with a tremendousamount of feeling. His interpretations of each melody are unique and wellconceived. Rick is also a very good jazz pianist and that kept me on mytoes for this session. I appreciate his ability to not only compose andperform this project but to record and edit it as well.I consider all five of my compositions onfairlystraight-ahead in form, melody, and harmony. The rhythms are based ontraditional swing, Latin-American, and ballad styles with plenty of space inwhich can players can improvise. has loose connections to Lee Morgan’s composition ". It was inspired by the original introduction that I used for that song on myfirst CD. wasoriginally written and set in a different key as part of a collection of duetsthat I wrote for the bassist Bronek Suchanek. This song and that completeduo project will hopefully be recorded someday soon. The choro rhythm of " is typicallyBrazilian and the feel of this song came through listening to pianist AlanPasqua’s composition as well as the music of composer andbandleader Maria Schneider.is a tribute to two of my favorite jazz musiciansof all time, Dave McKenna and Dick Johnson, who performed at a club called TheColumns on Cape Cod for many years. Finally, "was influenced by my collaborationsover the years with jazz vocalist Semenya McCord. Although in meter of3/4, it has a bit of Horace Silver’s and other gospelroots in it.