Kim Richmond recordings
Liner Notes
"Live at Cafe Metropol" -The Kim Richmond Ensemble (Origin Arts) 
"CrossWeave" -The Kim Richmond/Clay Jenkins Ensemble (Origin Arts)
"Refractions" -The Kim Richmond Concert Jazz Orchestra (Origin Arts)
KIM RICHMOND: “BALLADS”
I admit it: I’m in love with ballads. One of the important elements of performing ballads is sound. When that subject comes up as applied to the alto saxophone, I, of course, have my favorites and my vital influences. The listener will hear traces of Charlie Mariano, also Phil Woods and Cannonball Adderly, and of course Bird (where we all came from in our modern jazz era). And then there’s Johnny Hodges and Marshall Royal. These all (and a few others) are voices that speak to me a passionate language, that reaches into my inner soul. I hope I can affect someone out there in a similar manner.
These are ballads that have great meaning for me.
NEVER LET ME GO
Every couple has an “our song,” and this is Chris’ and mine. Relatively obscure, there were memorable recordings made of this song by vocalists Nat King Cole and Nancy Wilson, as well as pianist Bill Evans.
YOUNG & FOOLISH
Another of my long-time favorite ballads, this one features my soprano on the melody and Clay Jenkins with an outstandingly special solo. This was a first and only take. Thanks to Frank Mantooth, from whom I borrowed some of the alternate chord changes.
I WISH I KNEW
This is a rubato treatment of this lovely tune, with constant rhapsodic movement. I was inspired to record this after hearing the duo recording of saxophonist George Coleman and pianist Tete Montelui.
LAZY AFTERNOON
A favorite of my wife Chris’ (June Christy did one of the original recordings of this), our version features the truly soulful sound of Clay Jenkins’ trumpet in duo with my soprano saxophone. Bari player Bob Carr has a heartfelt piece of the melodic statement.
STREET OF DREAMS
Here’s another long-time favorite. I’ve already recorded this song with my Concert Jazz Orchestra, but I wanted to do a different version here. Percussionist Brad Dutz and I start this one off, joined suddenly by the full rhythm section. This is a ballad that need not be slow of tempo.
I’M GONNA LAUGH YOU RIGHT OUT OF MY LIFE
This one has become obscure over the years, but it remains one of my favorite ballads. I learned it from a recording by Nat King Cole. Our version features the caressing baritone saxophone sound of Bill Perkins, and an inspiring bass solo from Trey Henry.
DARN THAT DREAM
Long a favorite, this song has many twists and turns, both melodic and harmonic. Reggie and I do this as a duet for soprano and piano.
I’M A FOOL TO WANT YOU
One of Sinatra’s famous ballads, this tune has always been special for me as a result of hearing a version by guitarist Kenny Burrell. Its drawn-out mournful quality supports its attractiveness. Brad Dutz’ percussion gives it an exotic flavor.
CHARLENE WALTZ
Named for a long-time family friend, this is my only original on the album. It is made distinctive by Reggie Thomas’ reharmonization and gospel-tinged feeling.
IN A SENTIMENTAL MOOD
Perhaps one of Duke Ellington’s most recorded ballads, our version features Perk on the beginning and end, with the baritone saxophone inventions of Vinny Golia in the middle section.
A FLOWER IS A LOVESOME THING
I was planning to record this Billy Strayhorn composition as an alto solo without accompaniment, but, although the melody is unique and distinctively beautiful on its own, the harmony makes it additionally intriguing. Listen to how bassist Trey Henry weaves an irresistable harmonic web in this duet.
MISTY RAINBOW
Among the saxophonists whom I admire is the great Johnny Hodges. This tune, penned by humorist/pianist/author Steve Allen, is a perfect vehicle for a Hodges treatment.
THE MASQUERADE IS OVER
Not all ballads need to be slow, and the rhythm section enjoys down-home swinging in two tempos. Notice how they lock in with every switch. On the bridge Reggie matches my back-phrasing and establishes an ensemble feel.
WHAT’LL I DO
With a whimsical, carefree and charming quality about it, this is one from my childhood. We do it as a duet for Vinny Golia and myself with the rhythm section.
EVERYTHING MUST CHANGE
With a more contemporary than traditional ballad approach, this song has also been one of my favorites for years, with the lyrics providing great depth.
JUST ONE MORE CHANCE
This tune was popular during my high school years when we used to slow-dance to it. I’d forgotten about the song until pianist Reggie Thomas played me a recording by St. Louis saxophonist Willie Aikens.
YOUNG AT HEART
One of my favorite melodies with its wide expressive intervals. This one is unaccompanied alto.
Credits
Produced by Kim Richmond
Recorded November 23, 24, 1999 at Fox Fire Studios, Van Nuys, CA
Additional recording January 13, 2000, Studio Ho, North Hollywood, CA
Engineer: Talley Sherwood; Assistants: James Bennett
Booth consultant: Bill Motzing
Mastering: Talley Sherwood
Liner notes: Kim Richmond
Cover art: “The Mooring” 10” x 12” oil on canvas by Chris Zambon
Layout/design: Jeff Hole for Visual Concepts
Much thanks to Perk for advice and encouragement
Kim Richmond plays Selmer saxophones
Website address: www.kimrichmond.com
E-mail: JazzKim@kimrichmond.com
"Look At The Time"- The Kim Richmond/Clay Jenkins Ensemble (Chase Music Group)
Look At The Time
The title piece is by Clay. The composition consists of two uncomplicated ideas that have and a wonderfully interesting but complex effect.
Said and Done
I like this line with its unique changes, also the way Clay voiced the harmony on the second chorus. The rhythm section provides a subtle burn.
Expectations
Written by our bassist Trey Henry, this composition sets up an exotic, hypnotic mood over which the melodic line unhurriedly unfolds and blossoms.
You Stepped Out of a Dream
One of the two standards on this CD, this number is my interpretation of a song that is fun to play on. The augmentation of the line and form, as well as the “pedal tags” under the solos, provide a framework for creative playing.
Inner Self
This composition is dedicated to my wife Chris, an artist. My goal was to write a cohesive contiguous melodic line. The piece has a mysteriously romantic underlying tango “vibe.” Dave Scott in particular turns in a wonderfully probing solo.
Tracks
This odd-paced bebop line is designed to “turn the time around” on the listener. Clay plays an outstanding solo which shows his talent for motif development. On part of my chorus I get to interact with drums only.
Smoke Free
This is one of Dave Scott’s excellent compositions. The exciting arrangement has a challenging line for trumpet, soprano and tenor.
Kelley Belle
Named for Clay’s daughter Kelley, this beautiful and lyrical ballad features the baritone of Bill Perkins. Both Perk and Clay turn in inspired dramatic solos.
Scamper Shift
One of my “stop/start” compositions, this piece consists of two diverging and often independent lines that avoid a common tonality or regular time feel. The solo section is entirely “free” and each time it is performed, the musical result is completely different.
Woody’n You
My arrangement of this Dizzy Gillespie bebop standard has a Latin flavor with a different treatment. All soloists get a chance to blow on both elongated changes and the traditional ones.
The Musicians:
We have played together as an Ensemble for many years and are dedicated to performing modern jazz with a direct relationship to Bebop, along with elements of a new freedom and looseness. We always strive to maintain a link to our jazz roots.
In my opinion Clay Jenkins, my co-leader, is the consummate creative jazz performer. His dedication to the jazz artistic ideal is unquestionable and uncompromising. He is one of my favorite jazz soloists and his talent for building a solo via creative motif development is the best I've heard. He is also a wonderful teacher of jazz, which is very evident to me when we go on the road several times a year and do clinics, workshops and concerts.
There are very few CDs, such as this, that have drum solos on most of the selections. But drummer Joe La Barbera has such a great sense of melodicism and style combined with exciting drive, great touch and technique, it is always a pleasure hearing him play, whether solo, ensemble, or in accompaniment.
Dave Scott is a brilliant musician on many fronts. He is a fine jazz trumpeter (he is member of the trumpet section of my Concert Jazz Orchestra) and composer as well as an excellent and intuitive pianist. Trey Henry is one of the most in-demand bassists on the Los Angeles music scene. An outstanding jazz player, he is a superb talent in every style of music from free improvisation to classical.
The third horn chair is played by the same Bill Perkins that was part of the Woody Herman and Stan Kenton bands and an important and active figure in the West Coast Jazz scene. In contrast to the cool playing of that era, Perk’s style now displays a passionate abandon that greatly inspires, delights and boosts the Ensemble.
--Kim Richmond
Kim Richmond has long been a favorite musician of mine. He is a refreshingly original composer and a masterful arranger. I recently have heard a marvelous breakthrough in his alto playing. His is a fresh and unique voice with extraordinary fire and drive.
--Bill Perkins
Credits
Produced by Kim Richmond, Clay Jenkins and Bill Perkins
Recorded January 4 & November 12, 1998 at Stagg Street Studios, Van Nuys, CA
Engineer: Gary Denton; Assistants: Ulysses Noriega or Glenn Aulepp
Admininstrative: Melody Carpenter of Stagg Street
Mastering: Gary Denton
Liner notes: Kim Richmond, Bill Perkins
Layout/design: Gary Solt
Photos: Bill Claxton
Clay Jenkins plays the "New French Besson" trumpet by Boosey & Hawkes
Kim Richmond plays Selmer saxophones; Bill Perkins endorses Yamaha saxophones.
"Range" -The Kim Richmond/Clay Jenkins Ensemble (Nine Winds)
Kim Richmond and Clay Jenkins bring to this recording their commitment to creative music that is expressive and based on a spontaneous and improvised approach. This form of jazz is very subjective and individualized, never set or safe, always varying.
Both leaders had their musical beginnings nurtured at colleges that were notable for jazz. Kim graduated from the University of Illinois, while Clay came out of the famous program at North Texas State University. Both musicians gained experience with well-known jazz orchestras on the road: Kim with the Stan Kenton Band; Clay with Kenton, Buddy Rich and Count Basie. Since settling in southern California, Kim has been with the Los Angeles-based bands of Bob Florence, Bill Holman, and others; Clay is a member of the John Clayton/Jeff Hamilton Band, the groups of Joe La Barbera and Bill Perkins and many more.
The music presented here is very important to them both: bebop-based but of a freer nature. The Ensemble includes Joe La Barbera, a member of Bill Evans' famous last trio; Joey Sellers, leader of the Jazz Aggregation, an 11-piece ensemble recorded extensively on Nine Winds Records; Trey Henry, veteran of the Maynard Ferguson and Gerald Wilson bands; and Dave Scott, who, although he exclusively plays piano on this CD, is a fine trumpet player and composer who has played with Gerry Mulligan and Clark Terry.
Presented here are six original compositions and two standards. The standards, You Don’t Know What Love Is and Soon, are given unusually free style.
One of Clay Jenkins’ originals, 47 Ways, has a medium-tempo, folksy treatment that takes on a "greasy" quality. The other, 900 Heartbeats, the ballad of the album, shows off a lyrical and plaintive aspect of Clay’s trumpet sound.
Of Kim Richmond’s originals, Data Base builds from the first propelling rhythmic figure. The title tune Range provides a suspended, expansive atmosphere, while Rails is bluesy and "rambly" in character. Corrective Measures, with its angular lines, was inspired by some of Keith Jarrett's pieces.
The essence of the Ensemble is the improvisation and interaction of the players. All of the compositional structures are loose and variable to provide for flexibility and opportunities for experimentation and expression.
Credits
Produced by Kim Richmond and Clay Jenkins. Recorded September 16 & 23, 1994, at Studio 47, Hollywood, CA. Engineer: Wayne Peet. Mastered by John Golden. Cover art by Chris Zambon. Design by St. Stephen. Clay Jenkins play the “New French Besson” trumpet by Boosey & Hawkes. Kim Richmond plays Selmer saxophones. A special thanks to Wayne Peet. Thanks also to Chris, K & T, and to the Ensemble members for their dedication, talent and musical contribution to this project.
Cover Art by Chris Zambon
Clay Jenkins plays the "New French Besson" trumpet by Boosey & Hawkes
Kim Richmond plays Selmer saxophones
A special thanks to Wayne Peet, a creative improviser/performer who also is, as evidenced here, a master of the electronic medium of recording. Thanks also to Chris, Brenda and K & T, to Caren Culver, and to the Ensemble members for their dedication, talent and musical contribution to this project.
"Passages" -The Kim Richmond Concert Jazz Orchestra (SeaBreeze 2043)
1. Passages (Richmond) 6:11
2. Old Acquaintances (Richmond) 10:56
3. “Love Walked In” (Gershwin) 5:11
4. “Passacaglia”/”My Funny Valentine” (Koonse/Rodgers) 6:56
(soloist: Kim Richmond)
5. “Melon Bells” (Richmond) 5:49
6. “Street of Dreams” (Young) 10:20
7. “Soft Feelings” (Richmond) 5:26
(soloist: Bill Cunliffe)
8. “Chic-a-brac” (Richmond) 6:08
9. “Image & Likeness” (Richmond) 2:14
10. “Indian Summer” (Herbert) 5:10
11. “Nardis” (Davis/Evans) 9:30
All selections arranged and conducted by Kim Richmond
"Looking In Looking Out"- The Kim Richmond Ensemble (Nine Winds)
