ie’s at Bern Trio Live Cunliffe The Bill : piano : bass Joe La Barber a: drums

1. Satin Doll (Duke Ellington) Ellington Music, ASCAP 7:19

2. Waltz For Debby () Folkways Music, BMI 5:26

3. Ireland (Bill Cunliffe) Bill Cunliffe Music, BMI 5:46

4. Amusing Paramours (Bill Cunliffe) Bill Cunliffe Music, BMI 6:24

5. Sharon (Bill Cunliffe) Bill Cunliffe Music, BMI 5:29

6. Jean (Rod McKuen) Fox Film Corp., ASCAP 5:13

7. Excursions (Samuel Barber) G. Schirmer Inc., ASCAP 8:16

8. Like A Dream (Darek Oleszkiewicz) LA Quartet Music, BMI 5:04

9. The Way You Look Tonight (Kern/Fields) Aldi Music, Universal Music, ASCAP 8:34

10. Imagine (John Lennon) Lenono Music, BMI 3:26 housands of and his trio a third dedicated to . origina l “Ireland,” not named for Talbums of all mates, bassist Cunliffe readily admits he was the country (though its presence is types have been Darek Oleszkiewicz in love with classical music long felt) but for the English composer mastered at Bernie and drummer Joe La before he discovered jazz. He John Ireland who was influenced by Grundman’s studios Barbera, that Live favors the late romantics: Debussy and Stravinsky and included in Hollywood. But At Bernie’s is Rachmaninoff and Prokofiev, Elgar Benjamin Britten among his pianist Bill much more than the and Delius, Ravel and Debussy. His students. Cunliffe’s Live At usual audiophile preference for the romantic is “Ireland is a beautiful composer Bernie’s is the date. While amply apparent in his writing and out of the romantic tradition but first to actually Cunliffe gives song selection as well as in his attuned to modern sounds,” Cunliffe be recorded there. credit to producer melodically-inclined improvisa - explains. “The second movement of Bernie Grundman Joe Harley and tions. his piano concerto generated this Mastering, long a engineer Mike Ross While studying classical tune. I didn’t take much melodically shrine to sound for their techni - composition at Duke University, from it, just the first three notes. engineering, was transformed for cal skills and supportive attitude, Cunliffe was told to write atonally Then it took its own form. I tried this occasion. The waiting room was he must also take some himself. because that’s what everyone was to let it write itself and put the converted into a studio. A nine Live At Bernie’s not only records doing. “I didn’t want to,” he says bar lines in after the fact. I’ve foot Hamburg Steinway, signed by Cunliffe’s amazing abilities at the simply. “I didn’t like it.” never been to Ireland, but when I the magnificent Sergei Rachmaninoff piano, but documents his skills as Then someone gave him an Oscar started to write the tune, its interpreter Ruth Laredo among composer and arranger as well. Peterson recording. The album, greenness, how I imagined it to be, others, was brought in for Cunliffe Few pianists are as worthy of Tristeza On Piano, gave him new came up. And I like the double to play. Because the set was this sort of sonic showcase as direction. Soon, he was enrolled in meaning of that.” recorded live to disc, at 45 rpm no Cunliffe. Winner of the 1989 Duke’s jazz program, studying under Romantic leanings can be found less, Cunliffe’s trio recorded each International Piano the guidance of Mary Lou Williams. too in the standards Cunliffe has 15 minute side consisting of two or Competition, he has been heard with Cunliffe has not lost his love chosen, though framed in the kind three numbers straight through, such stellar artists as saxophon - of classical music – he’s written of contemporary setting he admires without breaks between tunes. ists James Moody and , and recorded a three movement piano in the work of Barber and Ireland. Most were done in single takes, bassist and trumpeter Art concerto – and that love surfaces in “You’re My Everything” is bracketed according to Cunliffe. Farmer. He toured Europe twice with a number of ways on this recording. with a cocky riff that builds from “It was very challenging,” he and has spent time as “Excursion,” his treatment of a Oleszkiewicz’ bass. Likewise, the says. “There was no room for mis - Natalie Cole’s accompaniest. He was section from Samuel Barber’s “Four familiar theme of “Satin Doll” is takes and, obviously, no editing. a member of the Big Band Excursions,” is the best example. dressed by a thoroughly modern If we did make a mistake, we had to before the drummer’s death and “I became interested in Samuel façade which gives little clue to throw the lacquer away and start until recently was featured with Barber because he combines what’s waiting inside. The melodic over.” (In addition to the analog the Clayton-Hamilton Jazz Orches - Rachmaninoff’s romantic sensibility flames of “The Way You Look Tonight” recording made for vinyl, the date tra. Known to favor melodic beauty, with a modern sense of tonality. are fueled by a burning tempo. was recorded digitally with Sony’s rich harmonies and invigorated Also, this piece has an odd rhythm Bill Evans’ “Waltz For Debby” is Direct Stream Digital process (DSD) rhythms, the pianist has previously – we play it in seven – and that’s an especially appropriate choice in for both Super Audio (SACD) and released a handful of his own something else I like to do, play light of the fact that drummer La regular CD release.) albums, including one featuring his in unusual time signatures.” Barbera worked with Evans from 1978 Despite the challenges, it’s no arrangements of Paul Simon tunes, Another example of Cunliffe’s until the pianist’s death. “I surprise to those who know Cunliffe another with a Brazilian theme and classical interest is found on his wanted to try one of those light rhythmic figures that Joe handles so tion “Like A Dream” fits easily into well,” says Cunliffe. “Waltz for Debby” Cunliffe’s romantic method, has been is one, as is (Cunliffe original) heard with saxophonist Charles Lloyd and “Amusing Paramours.” I believe that most pianist among many others. jazz drummers have slots in terms of “Darek is the most in-tune bass tempo that they excel in. You find those player I’ve ever worked with,” Cunliffe slots and you get a pretty irresistible declares. “I have to admit I’m not usually feeling.” a big fan of bass solos. But Darek’s are John Lenno n’ s “Imagine” also reflects so melodic, so easy to listen to. He’s a Cunliff e’ s preference for melodic and player who’s never boring.” harmonic interest. The ’70s was probably In addition to his Bill Evans connec - the last good decade for popular music,” tion, La Barbera has played in the bands says Cunliffe, “and while there are of Buddy Rich and Woody Herman as well as probably thousands of songs from that with a long list of famous names includ - period you could choose for jazz inter - ing guitarist Jim Hall, saxophonist Phil pretation, the problem is that they still Woods, trumpeter Chuck Mangione and both have to have that melodic potential. Tony Bennett and Rosemary Clooney. “Imagine” has such a beautiful melody.” Cunliffe says his threesome’s long asso - Cunliffe’s original material reflects ciation is what makes their sound seam - his jazz and classical influences. “The less, no matter what turns the music modern piano trio sound started with takes. and Ahmad Jamal and I’ve “I can start playing one thing and spent years trying to escape their then move on to something barely related influence. I finally had to give up and Joe and Darek will look at me and because their music is such a part of me. make it happen inside that context. In my attempt to create something of my Both of them have such a unique way of own I incorporate other composers and staying with the concept.” their sound concepts — Thelonious Monk, The remarkable arrangements and Kenny Barron, Mulgrew Miller — these are compositions and the live nature of this the players I listen to the most. session prove Cunliffe to be a thinking Still, something separates Cunliffe man’s pianist, one whose devotion to from the majority of jazz composers. “I melody and harmonic goals never stands still listen to more classical music than in the way of spontaneity. In whatever jazz. That’s where I get harmonic ideas format you hear these recordings, know and inspiration. I love music that is a that you’re listening to the work of a complete thought, that has development truly dedicated master. from beginning to end rather than a se - ries of solos. If there’s no story being --B ILL KOHLHAASE told, it’s not really that interesting.” CONTRIBUTING WRITER LOS ANGELES TIMES Cunliffe has an 11-year history playing with both the Polish-born Oleszkiewicz and La Barbera. Oleszkiewicz, whose composi - EXECUTIVE PRODUCTION BY: Ying Tan and Sebastian Koh

PRODUCED BY: Joe Harley

RECORDED BY: Michael C. Ross at Bernie Grundman Mastering Hollywood, CA on February 24 and 25, 2001

ASSISTANT ENGINEER: Mike Aarvold

MASTERING ENGINEER: Bernie Grundman using the Sony Direct Stream Digital™ System

RECORDER: Sony Direct Stream Digital™ System with custom engineered ADCs and DACs by Ed Meitner, EMM Labs.

MICROPHONES: Llomo 919A-19, AKG C-12A, 414, Neumann U-47, Sony C-55p

ALL RECORDING CABLES: AudioQuest

COVER AND LINER PHOTOS: Joseph D’Alessio

DESIGN AND ART DIRECTION: James Lizardi

PIANO: Steinway (Hamburg) Model D 9 ft Concert Grand. Serial No. 350

Special thanks to David Kawakami and Gus Skinas of Sony’s Super Audio CD Project.

• GRV1009-3

Pc 2001 Groove Note Records • Groove Note Records is owned by Analogue Archive Pte. Ltd. Singapore. Manufactured by Quality Music & Entertainment under license from Analogue Archive Pte. Ltd. All rights reserved. Duplication is prohibited by law. Made in Germany. www. groovenote .com