:

BRIAN LYNCH JIM SNIDERO ORRIN EVANS BORIS KOZLOV DONALD EDWARDS Hollistic MusicWorks HMW19

1 BRIAN LYNCH SONGBOOK VOL. 1: BUS STOP SERENADE HOLLISTIC MUSIC WORKS HMW 19

: Recorded August 2016 atRecording Red Engineer: Rock Kent Studio, Heckman Saylorsburg,Mixing PA and Mastering: DavidProduced Darlington By at Brian Bass Lynch HitDesign: Studio, Jamie NY, Breiwick, NY BOriginal Side Art: Graphics Robin D Williams

BRIAN LYNCHtrumpet,flugelhorn / JIM SNIDERO alto saxophone / ORRIN EVANS piano / BORIS KOZLOVbass / DONALD EDWARDS drums

2 BRIANLYNCH SONGBOOKVOL.1 BUSSTOPSERENADE BRIAN LYNCH SONGBOOK VOL. 1: BUS STOP SERENADE HOLLISTIC MUSIC WORKS HMW 19 3 front line partnerOrrin and Evans), bass great (stalwart virtuososwingingly friend and inventive true Jim Donald buddy Boris Edwards). Snidero), Kozlov) and piano drum (the kit (the redoubtably creative many original compositionsVolume that I’ve 1 recorded focusesand on originally other released on labels onfor through the works the Sharp the Nine classic composed years. and quintet Nagel formation Heyer between of labels, trumpet confgured the here or fugelhorn, mid alto 1990s saxophone (my to old the mid 2000s core of my compositionaltunes “style”, that if I’ve written I over even more have than one, 40This are years album in now. is the the frst sort in of a series quirky of little “Songbooks”, intended to reclaim for myself the At asustained certain fascination for point me, andlarger in I forces developed this and a desire forms.given long to My me extend my journey expanding more reach musical infuences towards in universe and music, over sounds the to composing years charge took has my also composing on palette. a But the more material for my tunes wouldtrumpet come practice out sessions. of work on improvisational facility during my refecting my musicalof infuences, (or conducive sowere I to also hoped) improvisation the a and qualitieschallenge certain even me that amount as possessed I of a strove distinctiveness trumpet to and player have and even improviser, in originality. and my These composed playing. it as I such; wanted often my music to As my understanding grew, andliked I to became hear more on able theYork piano, to I fnd City composed the more soundsoriginal and that more. as I By really small the a time I young group arrived in New compositions trumpeter suitable I for was performance well and on recording, my way to possessing a portfolio of of the idiom. Ione’s own always distinctive thought “treatment”) thatand was writing certainly an originals required essential (and if part one arranging of had other being an pieces a ambition in good as musician a bandleader or recording artist. piano skills to beto able fnd to the chords workwith and with changes, connections harmony then that in I Imusical a was wanted heroes consistent ready to and manner, to hear. then enabling Once write slowly me I tunes, fnding found at my a frst footing style emulating of the my sounds own of within my the typical forms Two thingswhere I could got takesounds things of my for of both records, composing and performance thus and be able study to going purposes; transcribe my and favorite in acquiring enough earnest: basic my ear developing to the point not having theearnest, skill and my to musicianship do developedrests to so. reliably the point It down where I was on could music only write notes paper, later, and that when I I actually started started to to study compose. music in amazing original work. Mylimited childish notion self of had melody, andwell! no I rhythm real think may conception if have of therethat been was harmony, I something anything a had of going very on a a there vague feel at blur for. all, I as it never was a wrote certain any sense of of these form imagined “works” down, obviously, As a youngster, my frstplunking eforts at composing on music consisted the of nothing family more than piano, fantasizing that I was performing some sort of BRIAN LYNCH SONGBOOK VOL. 1: BUS STOP SERENADE HOLLISTIC MUSIC WORKS HMW 19 ,and Tribute To 24/7 Bolero Nights For Billie stays true to the original two horn Clairevoyance from 1997. Named for my longtime San Diego -Thistunewasthetitletrackofmyfrstreleaseforthe ,featuringthepianomasteryoftheimmortalMulgrew -mythirdSharpNinereleasewasthequartet is one of three tunes on this album originally on that recording, -aproductofmysecondandmostambitiousSharpNine -AtermusedbyAfro-Caribbeanmusicians,especiallypercussionists, Spheres Of Infuence album on the Japanese Venus label (2008), this is the frst recorded Bus Stop -TheoriginalrecordingofthistuneontheNagel-Heyerlabelwas 4 format of itsspaciousness in original the release rhythmthe section but solos. and This opens in tuneout the up gives a spinning the little, from out magnifcent on of it Donald the the Edwards tag. considerably, “long a line” both chance in to in stretch the Clairevoyance release, friend Peggy Claire, now gone, Miller. all of whichversions. Orrin I Evans believe istracks particularly tremendously on fne this beneft on album. this from track, the as indeed added he horn is on in all the the new Bus Stop Serenade The Trumpet Masters preserved my skills, andsong’s title even is improved a ahometown tribute to bit, the (Milwaukee) over witLounge) the and organist Vernon last wisdom Yancey. of two and a decades. colorful This club fgure from my owner youth, (of the legendary Space Keep Your Circle Small Sharp Nine label backthis in 1994. tune Originally recorded reallygood as shines performance a quartet indeed, with piece, but the to the my added remake ear makes horn! me The feel good original about version how I’ve was quite a Holiday quintet version of this hipexquisite! little - cha-cha/guajira-ish in thang. both In takes. my humble opinion, on the bandstand orcut in the for recordingsubsequently studio. recorded sure! You by can hear Originally a it larger right released ensemble here on for on this my the Nagel-Heyer album the quintet are a hallmark here. Afnque to express a certain quality of groove and blend that is most desirable whether inadvertently truncated on(released the in frst 2004),version, pressing nothing due of was left the tothe out, album needless more an to compact of say! error second Whether the take, in in same very the the longer satisfying name frst and fnalizing take swinging or process. performances by In this present Here’s a short rundown of the tunes and24-7 their original provenance: BRIAN LYNCH SONGBOOK VOL. 1: BUS STOP SERENADE HOLLISTIC MUSIC WORKS HMW 19 It’s great version (2000), I’ve Atributetotheearlymorninghour, Trumpet Masters . Brian Lynch Meets Bill Charlap. were both written in a single day for a Phil from 2003 -fromthelastofmySharpNinealbums,thequartetdate -anothertributetooneofmyearlyidols,stillavitalforcein -AnotherproductoftheTrumpetMasterssession.Actually, -Originallyrecordedon Bus Stop Serenade and 5 the big city, back in the day. big band. It’s wonderfulline to afnity be is still playing intact. togetherand I again. all think and it’s the grown to experiences even fnd stronger we’ve with that had the our since passage front we of time were young “cats” on the make in On The Dot to hear the line onof this tune the played byassociation, two both musical horns playing and each this bond other’s track music is and Jim a as a fne part example and of Toshiko Akiyoshi’s I developed over the years of our close horn (and JimAlso Snidero’s notable wonderful is playing)solo the really or sonic accompaniment. enhances poetry the of composition. Orrin Evans’ piano throughout, whether in Before The First Cup Brian Lynch Meets Billor Charlap in somebeautiful cases Boris Kozlov minutes, bass before solo the is espresso a highlight machine of starts this up. track. A I think most the added brought the tune downalways a needed. half I’m step very pleased and-andwhatgreat,absorbinglyinterestingplayingbyeveryone,onbothtakes! with given the it way the the refresh second turned harmony out part on that this one it Charles Tolliver Black American Music. Since the original think. The quintet isI’ve amazing expanded on the bothalbum tune takes here! into The Since a Omni-Americanversions recording big back this Book band to version, back chart Club; (I’m for just it’s my sayin...) interesting Grammy Award to winning hear the diferent Woods Quintetright around gig the time at Ithis met the tune my came wife old out Marissa backand in Iridium then, 1999. captures and I the was it essence club very seems of proud to of my in have the love endured way NYC - for it’s the across fun great to Shaw play from of on Newark Lincoln very well, Center, I Woody Shaw Woody BRIAN LYNCH SONGBOOK VOL. 1: BUS STOP SERENADE HOLLISTIC MUSIC WORKS HMW 19 6 hopefully for more than a cameo appearance. and then camerecording the projects pandemic. on Songbookof HMW Vol. us will 2 fnding be (already coming our in your way the way back can) very to and soon. the And some bandstand I'm other looking as recent forward safety to (and all sanity?) returns to our planet, programs. I’m so very happy toband fnally project get (The this Omni-American album Book released Club) - took it ALL should the have air come out out of earlier, the but room my for big quite a while, ashorter“radio-friendly”andalonger“stretchingout”versionandonothertunesthetwotakes are more or less uniformwith in Keep length. Your I’ve Circle organized Small the album (the itself only as tune two in “takes” a of the single program, take here) as the bridge between the two comfortable with the tune (wefor sometimes the stretched record. out more Whenthose on I those) frst reviewed and takes the then were a sessionwas second special, exceedingly for pass hard along mixing, to with to make a my the choice. surprise “real” So I I takes decided found being to that so include so them outstanding all! many as On of some well, tunes that there's it the Poconos, after athrough warmup all gig the material the innight night time gigs before for at (boy, the could the rhythmgenerally section famed time we to for Deer use drive more Head than some back Inn. two to of takes In the those of city order anything for now), to - their things get a Saturday “warmup” had frst to take that move allowed quickly. us There to get wasn’t Anoteontherecordingprocess,thetracklist,andanapologyforabitofindecisiononmypart. We cut this album in a single day in Kent and Lois Heckman’s beautiful Red Rock Studio out in BRIAN LYNCH SONGBOOK VOL. 1: BUS STOP SERENADE HOLLISTIC MUSIC WORKS HMW 19 All music composed by Brian Lynch (Hollistic Music - BMI) 8:39 8:37 / 8:44 / take 1 / 9:13 / take 1 take 1 take 2 7:04 take 1 / 10:15 take 1 / 5:25 take 1 / take 1 / 9:32 BUS STOP SERENADE AFINIQUE 24-7 ON THE DOT CHARLES TOLLIVER BEFORE THE FIRST CUP WOODY SHAW CLAIREVOYANCE : 15. 16. 17. “THE ALTERNATE ROUTE” 10. 11. 12. 13. 14. 6:01 8:45 7:26 8:39 9:17 6:29 5:06 7:12 5:50 CHARLES TOLLIVER KEEP YOUR CIRCLE SMALL BUS STOP SERENADE CLAIREVOYANCE WOODY SHAW BEFORE THE FIRST CUP 24-7 AFINIQUE ON THE DOT 8. 9. 4. 5. 6. 7. 1. 2. 3. “THE EXPRESS ROUTE” 7