Bill Mays: cd, dvd, live performance reviews
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The disc opens up with a tribute to Mays's wife, "Judy", a slow burner featuring Wilson who shapes out a drum pattern similar to the one found on Sonny Rollins's "I'm an Old Cowhand". Another nod in Judy's direction follows with the Cole Porter mainstay "You'd be So Nice To Come Home To". Mays's long-time friend Jurg Sommer, was so impressed by the serenity of Mays's retreat that he composed "Shohola Song" - rendered with great passion and verve by the trio. Mays performs his arrangement of "Home" before upping the ante on his own composition, "On the Road". Notable too, is the unique interpretation the small group lends to the excerpt from Dvorak's New World Symphony. Mays reveals hidden vocal talents on Red Mitchell's calypso-inflected "I'm A Homebody".“Summer Sketches” (CD) Aargauer Zeitung 6/15/01 (Swiss daily newspaper) by Jurg Sommer: Legendary baritone saxophonist Gerry Mulligan said that Bill Mays was definitely the best piano player he ever played with. And the incredibly versatile Mays is known in the competitive New York scene as a musician with an almost unlimited scope of talents. His long-time and absolutely congenial partners, bass player Martin Wind and drummer Matt Wilson, joined Mays for an extended concert tour in Europe last Fall after which they went to the recording studio for the yet young but impressively active “Palmetto” jazz label. Well-timed for the season, “Summer Sketches” is a collection of summerly compositions, a palette including Italian chanson “Estate” as well as “Summer Night” and the Michel Legrand movie theme “Once Upon A Summertime”: ingeniously crafted “chased work” with an abundance of melodic, harmonic and rhythmic finesse throughout. Jazz Podium, May 2001, page 70 Bill Mays Trio "Summer Sketches"Palmetto PM 2070 By Jorg Konrad Bill Mays is one of these eclectic piano-playing talents, who do not seem to be limited by stylistic barriers. He keeps working in the classical field, accompanied Sarah Vaughan in the 70s and later Paul Winter, wrote compositions for Saxophone Quartets (!) and remains a sought-after studio musician for a variety of movie soundtracks ("Fargo", "Shaft 2", "Rocky", or "Being John Malkovich"). For his 13th album as leader, Mays teamed up end of October 2000 in New York with bassist Martin Wind, and drummer Matt Wilson, whose playing is characterized by soft ecstasy and emotional finesse. They decided on a special and personally inspired song cycle. The idea for "Summer Sketches" must have come up in one of those moments, where an upcoming long and cold winter makes you long for sun and warmth. Mays makes the ten compositions sound like a sentimental sign of hope for better times. "Once upon a summertime", "Summer Night", or "Summer" are atmospheric and dense standards that Mays interprets with great harmonic and dramatic sense. Even his own composition "Fireflies", which is of a more rhythmic character, fits wonderfully in this emotional but never sentimental excursion of musical gems. Entertainment Weekly, April 27, 2001Bill Mays Trio (Summer Sketches-Palmetto)by Steve FuttermanA musician’s musician for far too long, pianist Mays deserves wider recognition for the outstanding work he’s done with his latest trio. Flanked by two exceptionally alert and responsive players—bassist Martin Wind and drummer Matt Wilson—Mays exhibits his fluid, speak-softly-but-spare-no-intensity style on a thematic program of seasonal standards and group originals that blossom under the ensemble’s telepathic interplay. And who knew so many gorgeous songs had summer in their titles? ------------------------------------------------------- JazzTimes, July/August, 2001Summer Sketches, Palmetto PM-2070 (51:49) by Doug Ramsey Pianist Bill Mays, bassist Martin Wind and drummer Matt Wilson follow up their excellent but unheralded Out In Pa. CD of 1999 with this collection based on music having to do with summer. One of the masters of color and touch among today’s pianists, Mays makes the most of possibilities in original compositions by members of the trio and an attractive batch of works by others. The songs include his own “Fireflies,” a piece of pointillism that manages to evoke the subject of the title without hitting the listener over the head with its cleverness. Wilson’s “(Gotta Go To) Summer School” stutters its way into a blues groove, encourages plenty of drum accents and gives Mays an opportunity to explore the piano’s double life as a stringed instrument by doing some plucking. Bassist Wind’s contribution is the impressionistic “Early Autumn,” which features—guess what—a bass solo, a good one. Mays rescues Russ Freeman’s “Summer Sketch” from its undeserved obscurity and gives it a sensitive performance. The trio also does Benny Carter’s “Summer Serenade,” nicely observing its samba spirit. The Brazilian companion piece is “Estate” (“summer,” in Portuguese), with Mays and Wind sharing the melody. Wind’s brushwork on “Estate” is notable for its quiet swing. The remaining pieces are “Summer Night,” “The Things We Did Last Summer,” with Mays’ and Wind’s stimulating changes, and “Once Upon A Summertime.” This album would be good company out on the deck on a starry night or maybe even better in front of the fireplace during a snowstorm. ------------------------------------------------------- Cadence Magazine, September, 2001 Bill Mays is another pianist who may be more recognized for his work with others—Sarah Vaughan, Art Pepper, and Mel Lewis. But Summer Sketches is one of eleven albums on which he was the leader; among them his own Maybeck Recital Hall concert from 1992. His cohorts this time out are seasoned rhythm men who have also served as session leaders in their own right. On this occasion, however, there’s no telling who’s the leader because the three of them function as a fully integrated unit, no component more dominant than the others. Although the initial reaction to the “summer” theme may be one of skepticism, once the music starts, all reservations disappear; each tune can stand on its own. The pieces tend to be highly arranged with exquisite ensemble work, the “unison” rhythmic passages between piano and drums on Mays’ “Fireflies” being but one example. Highlights abound: Wind’s gorgeous bowed reading of “The Things We Did Last Summer”; the intriguing metrically-altered blues “(Gotta Go To) Summer School”; Wilson’s ready response to Mays’ every phrase on “Summer Night.” All in all, this album is a first class piece of work, well conceived and brilliantly executed. Amazon.com, May 3, 2001 Swinging into Summer with "Summer Sketches” by George Burks "Summer Sketches" is great news for fans of straight-ahead jazz. This CD features Bill Mays on piano, Matt Wilson on drums and Martin Wind on bass. As the title suggests, the theme of the album is summer. Some tunes are originals penned by the musicians themselves, while others are instantly recognizable pieces by venerable tunesmiths. The musical moods shift from languorously romantic ballads ("Estate") to impressionistic musings ("Fireflies") to stomp-your-foot blues ("Gotta Go to Summer School") to the yearnings created by the unexpected use of bowed bass for the lead into "The Things We Did Last Summer." Mays, as usual, plays with lush lyricism, intelligence, eloquence and humor, stamping each tune with his interpretation, yet always allowing the essence of the song to come through. He is a jazz treasure of protean abilities, who can re-invent a song, yet who manages always to let the music speak for itself. His formidable pianistic technique is seemingly effortless, but he never allows his prowess to interfere with the music's statement. Wind and Wilson ably abet him here. The trio employs thoughtful interplay and improvisation, yet they are always cohesive. Listening to this CD, you can almost see the musicians watching one another, picking up sonic cues. This musical symbiosis is helped by the transparency of the recording and the even balance among the instruments. There is something here for any lover of jazz. International Society of Bassists magazine Bill Mays Trio “Summer Sketches” by Tom KnificPianist, composer, resident artist for the ISB conventions, and friend to bassists everywhere, Bill Mays has released a pastoral CD whose music reflects his love of summers, and particularly, those at home. “I love summer anywhere, but especially in Pennsylvania--the Delaware River, the herons, egrets and bull frogs down at the lake’s edge, the bats, the blue jays and barn swallows, and especially the sights and sounds of a summer night: tree frogs, crickets, owls, fireflies and the “click-click” of katydids in Pennsylvania.” This collection of three originals and seven standards represents various aspects of the season. Two standouts are the originals of Mays and the ever playful and creative percussionist, Matt Wilson. Mays’ “Fireflies” is a collection of meters (4-5-6-4-5-7-8-9, but who’s counting?), with a melody sounding all the more percussive via hands in the piano muting. The piece deconstructs in collective improv, and then gathers itself for a recapitulation. Matt Wilson seems always to be able to offer another perspective on things, whether it is his relationship to the snare drum, his mallets, the space he knows just where to put, or in this case, his composition. Whereas all other works on the CD have romantic, impressionistic, or nostalgic references, such as “Summer Night”, “Summer Serenade” or “The Things We Did Last Summer”, Matt wrote “(Gotta Go To) Summer School”, and offers a wonderfully bent shuffle in the process. Bassist Martin Wind sounds strong throughout, and is featured regularly. He projects a hearty sound and attack on all tracks. “Estate” brings him to the forefront melodically, with possibly a hint of phrasing from Joao Gilberto. He solos extensively on his own “Early August”, and performs the theme in duet with Mays on “The Things We Did Last Summer”, as well as solos on the challenging changes of Benny Carter’s “Summer Serenade”. Martin has a centered and classic approach, which allows the listener to understand what he is thinking. He also looks for the blues elements in most of what he plays, which is a strong element of his expressive side. Bill Mays performs artistically throughout, from his own composition, to his solo on “Indian Summer” in “5/4”, to his minute long introduction to “Early August” and through the last chord of “Once upon A Summertime”. His musicality encompasses so much, and yet, after years of listening to him, it is easy to say he continues to grow. And isn’t that, after all, the greatest of compliments. ---------------------------------------------------------------- Marvin Stamm/Bill Mays “BY OURSELVES” (CD) By Herb Young Marvin Stamm (tpt) Bill Mays (pno) Recorded at NYC in 1999
What fun to arrange, stamping a project with your creative imprint. Pianist Bill Mays does just that on Mays In Manhattan. With the well known (“Autumn In New York”) and lesser known (Lennie Tristano’s “317 E. 32nd St.”), Mays takes a trio and sextet ride around the isle of Manhattan. Mays channels his natural exuberance through his sextet arrangements. The surprise infusion of horns after his solo opening in “Manhattan” gets our attention. And passing the melody line of “New York State Of Mind” from one player to the next, starting with Ed Neumeister’s trombone, gives this tune an unexpected freshness and texture. Also adding warmth, sizzle and swing are trumpeter Marvin Stamm and saxophonist Jon Gordon. The trio tracks, however, are unarranged, with bassist Sean Smith and drummer Tim Horner traveling spontaneously on Mays’ wavelength. These pieces have a different feel, presenting a Manhattan that’s less cacophonous but a tad darker. The Bronx may be up and the Battery down, but Bill Mays is all around the town. Take a ride with him. “AN ELLINGTON AFFAIR” (CD) Downbeat, April1996 (4 stars) by Elaine Guregian Paying tribute to Duke Ellington is one of those dangerous propositions. First, it sounds like a good idea: great music, broad appeal. Then, with any luck, it occurs to the person making the recording that there had better be some way of distinguishing this effort from all those other tributes out there. Working with the late Carl Jefferson of Concord, Bill Mays hit upon a solution that works. This recording avoids the most overworked Ellington compositions and gives a fresh quality to the well-known ones it does include. Dissonances added to the harmonies and a 5/4 meter transform “Satin Doll” into a more brooding tune than would seem possible after hearing, say, a perky Stephane Grappelli rendition. What’s interesting is that the interpretations are neither completely nostalgic nor totally modern but a savvy mixture of the two. This versatile trio can conjure up a boogie-woogie feel on “I’m Just A Lucky So And So” that’s not so far from an Ellington recording made in the ‘30s, or summon images of Charleston dancers kicking up their heels to the ricky-tick time of “Dancers In Love.” Then on the “Flower” medley, Mays shows the influence of post-Ellington pianists, notably Bill Evans. Mays himself commands a range of expression that can create a sweeping quality, as on “Something To Live For” or a sparer, quieter approach on “Don’t You Know I Care (Or Don’t You Care To Know).” His playing on “Day Dream,” set at a sleepy tempo, is especially appealing for the way he relaxes and explores all the reaches of the keyboard. As ever, Goldsby and Nash keep a solid time feel behind him. One curiosity on the disc is the frenetic, boppish “Wig Wise,” which has a dense texture similar to Ellington’s 1962 recording with Charles Mingus and Max Roach (Money Jungle, Blue Note). In the end, it’s sensitivity to the legend of Ellington that allows Mays, Goldsby and Nash to go their own way on this tribute. ------------------------------------------------------ |