Look At The Time   The Kim Richmond/Clay Jenkins Ensemble


Look At The Time cover

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


Kim Richmond - alto and soprano saxophones
Clay Jenkins - trumpet
Bill Perkins - tenor and bari saxes
Dave Scott - piano
Trey Henry - bass
Joe LaBarbera - drums



Liner Notes and Notes :

  1. Look At The Time
    The title piece is by Clay. The composition consists of two uncomplicated ideas that have a wonderfully interesting but complex effect.

  2. 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.

  3. Expectations
    Written by our bassist Trey Henry, this composition sets up an exotic, hypnotic mood over which the melodic line unhurriedly unfolds and blossoms.

  4. 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.

  5. 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.

  6. 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.

  7. Smoke Free
    This is one of Dave Scott’s excellent compositions. The exciting arrangement has a challenging line for trumpet, soprano and tenor
  8. 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.

  9. 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.

  10. 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