Echo Painting

Peggy Lee

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Original Recording Format: PCM 96k
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This set of original compositions, featuring drummer Dylan van der Schyff and trumpet player Brad Turner, displays cellist-composer Peggy Lee’s inventiveness, lyricism, and emotional depth.
– Mark Werlin, NativeDSD & All About Jazz

Peggy Lee, the Vancouver-based cellist whose playing shines in many contexts, from classical and contemporary classical to creative jazz and improv, is also an extraordinary composer and bandleader. She is known especially for her octets, The Peggy Lee Band (1998- ) and Film in Music (2009- ), as well as Waxwing (2007- ), the trio she co-leads with Jon Bentley and west coast guitarist Tony Wilson. This new suite for ten players was commissioned by Coastal Jazz and Blues and premiered at the 2016 Vancouver International Jazz Festival.

The idea, says Lee, was “to bring together some of my longstanding band members with some of the younger players that I had recently begun to collaborate with. I wasn’t thinking about specific instruments really, just the players that I was excited about working with, but there are echoes of much of the music that has been meaningful to me over the years.” (She cites Carla Bley and Charlie Haden’s Liberation Music Orchestra as inspirations.) With many colors to draw upon, the music is multi-layered and texturally varied, featuring driving rhythmic vamps, incendiary improvisation and sometimes achingly beautiful melodic compositions.

The writing was mostly intuitive: “I worked out a loose plan designating areas for solos etc. But specific arrangements came together once we started playing, and the direction that the solos took was completely up to the musicians. This band certainly has a lot in common with the sound of the Peggy Lee Band with the horns (Jon Bentley and Brad Turner are in both ensembles), but adding violin and pedal steel creates another dimension.”

Lee sees the distinctions between jazz and classical in her performing and writing as fluid, and that it’s all related to the music she makes with improvisers. “If the music moves me, whether it’s a great melody by Puccini or Ennio Morricone or a cool texture notated by Nicole Lizée or a Brad Turner solo, it’s all music and I don’t care what you call it.”

As for the coda, The Band’s “The Unfaithful Servant”, “that’s just a song that I’ve loved for a long time and always thought it would be a great vehicle for soloing of the right kind. We started by doing it as an instrumental but when it was time to record, I thought it would sound great with Robin Holcomb and luckily she was game.”


Peggy Lee, cello
Brad Turner, trumpet & flugelhorn
Jon Bentley, soprano & tenor saxophone
John Paton, tenor saxophone
Roderick Murray, trombone
Meredith Bates, violin
Cole Schmidt, electric & acoustic guitar
Bradshaw Pack, pedal steel guitar
James Meger, electric & acoustic bass
Dylan van der Schyff, drums, percussion & Yamaha RX-15 drum machine
Robin Holcomb, voice (track 13)

Tracklist

Please note that the below previews are loaded as 44.1 kHz / 16 bit.
1.
Incantation
05:22
2.
Out on a Limb
04:27
3.
A Strange Visit
03:45
4.
Nice Collection
03:44
5.
Snappy
05:10
6.
Painting Echoes
05:23
7.
Foreground
02:11
8.
The Hidden Piece
01:50
9.
Hymn
06:02
10.
WB Intro
02:41
11.
Weather Building
03:30
12.
End Piece
01:42
13.
The Unfaithful Servant
04:45

Total time: 00:50:32

Additional information

Label

SKU

SGL16262

Qualities

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Artists

Composers

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Audio Engineer

Sheldon Zaharko

Mixing & Mastering

Mixed by Dylan van der Schyff at Zio Uovo and Chris Gestrin at Public Alley 421. Mastered by Chris Gestrin.

Instruments

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Original Recording Format

Recording Location

Recorded April 16-17, 2017 at The Warehouse Studio, Vancouver. Robin Holcomb's vocal recorded by Wayne Horvitz at Other Room Music.

Release DateAugust 9, 2024

Press reviews

The Whole Note

The artistic genius of Vancouver-based composer/performer/leader Peggy Lee is in top form in Echo Painting, a suite commissioned by the 2016 Vancouver International Jazz Festival. (…)

Lee and her musicians move seamlessly between musical ideas with tight ensemble playing whether from notated scores or improvising. This is an original, detailed, unique recording.

AllAboutJazz

The ease with which composer Lee spins colorful musical threads conveys the breadth of her experience in so many different kinds of ensembles and projects. Insistently repetitive rhythms and clanging percussion in the first part of “A Strange Visit” creates an audio travelogue of a chaotic cityscape; as the din abruptly transitions into a quiet solo guitar interlude, soprano and tenor saxophone voices reemerge, calling on the other players to return, but more calmly. “Snappy” pits the cello against an onslaught of noise from the ensemble.

Georgia Straight

Echo Painting is all about balance, about finding the right blend between tight ensemble work and expansive soloing, between unpitched textural improvisation and powerful melodies. Between freedom and structure, in short, and in that regard Lee’s latest is an unqualified success. The composer’s attention to detail extends to the makeup of her 10-piece band, which plays born melodists (Brad Turner on trumpet and flügelhorn, and Jon Bentley on soprano and tenor sax chief among them) off against edgy, even abrasive abstract work, mostly from guitarist Cole Schmidt, saxophonist John Paton, and Lee herself…“Weather Building” is based on ominous ascending chords, but Bentley’s saxophone introduction is as sweet and fluid as spring birdsong. And Lee makes good use of her secret weapon: Bradshaw Pack’s pedal-steel guitar, which adds mysterious orchestral depth to her eloquent horn arrangements. Echo Painting isn’t without precedent, as Lee­ has cited her admiration for Carla Bley’s compositional voice, and she also seems to draw from the late Kenny Wheeler’s approach to the larger band. All three share an ability to make music that is simultaneously adventurous and warm—something that’s both delightful and rare.

DownBeat

Echo Painting is [Lee’s] latest effort to showcase gifted area musicians…From thoughtful intervallic motifs to complex layering, Lee’s intuitive compositions are witty and clever, and the arranging is powerfully inventive…A formidable talent and bandleader, Lee and her creative collective rip it up. Memorable music flourishes on her compositional canvas, resonating across sundry genres.

NYC Jazz Record

Lee’s compositions show a range of styles…Turner’s operatic trumpet shines.

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