__Gershwin

Rossy & Kanan Quartetfeaturing Putter Smith & Jimmy Wormworth

__Gershwin

Jorge Rossy vibraphone & marimbaMichael Kanan pianoPutter Smith contrabassJimmy Wormworth drums

switrecords

Recorded at Bon Repos by Jorge Rossy (Begues, Barcelona) on August 11th, 12 and 13th 2014 Mixed and Mastered by Ferran ConanglaTransfer to Pro Tools by Adrian MateoProduced by Jorge Rossy and Michael Kanan

Stephanie Greig Cover and inner CD box design Fernando Prats Booklet, back cover design and photographyMiriam Guardiola Executive Producer

T +34 619 316 553info@switrecords.comwww.switrecords.com

Ethan Iverson

In jazz, when you select the musicians, you create the composition.

Michael Kanan: Committed to learning standards from the original published sheet music. Prized accompanist of major singers. Inspired by Jimmy Rowles and Hank Jones, also connected to the Lennie Tristano school of pure improvisation.

Jorge Rossy: Mercurial multi-instrumentalist of international reputation.Latestacqui-sition of the mallet familycombines the perfect beat of his drumming with the surreal harmonic approach of his pianism. A surprise every moment.

Putter Smith: Classic Los Angeles bassist. Played with everybody when they came to town including Warne Marsh and Thelonious Monk. Free and lyrical solos strikingly reminiscent of Chet Baker.

Jimmy Wormworth: First records were with musicians the caliber of Charlie Rouse and Lou Donaldson in 1958. Now upholds the pure jazz tradition in concentrated form. Every articulation is just right. Inside the ensemble at all times. Total swing.

The text selected for this collective composition are songs by George Gershwin, whose music has been appropriated by jazz musicians since the beginning. However, there is more of what Gershwin actually wrote to be heard here than is usual for jazz these days. Kanan says about any of the Great American Songs by any major talent, The composer labored over every note. This means not just the melody, but also the bass line and the inner voices. Perhaps the best example of this textual fidelity is on the duo Summertime, which has much more of Gershwins original rich texture than in normal common-practice jazz.

En el Jazz, cuando eliges a los msicos, ests creando tu composicin.

Michael Kanan: Dedicado a aprender los standards partiendo de las publicaciones originales de la msica del autor. Muy apreciado acompaante de cantantes emblem-ticos. Inspirado por Jimmy Rowles y Hank Jones, tambin conectado con la escuela de pura improvisacin de Lennie Tristano.

Jordi Rossy: Multi-instrumentista Mercuriano de prestigio internacional. Su ltima adquisicin de los instrumentos de percusin de lminas combina su sabidura batersti-ca con el acercamiento armnico surrealista de su estilo pianstico. Una sorpresa en cada momento.

Putter Smith: Clsico contrabajista de Los Angeles. Ha compartido escenario con todos los grandes que pasaban por la ciudad, entre muchos otros Warne Marsh y Thelonious Monk. Sus solos son lricos con una libertad en el fraseo que tiene muy notables reminis-cencias de Chet Baker.

Jimmy Wormworth: Sus primeras grabaciones fueron con msicos del calibre de Charlie Rouse y Lou Donaldson en 1958. Ahora mantiene viva la ms pura destilacin de la tradicin del Jazz. Cada articulacin est en su punto ptimo. Siempre dentro del grupo. Swing total.

Los textos elegidos para esta composicin colectiva son canciones de George Gershwin, cuya msica ha sido interpretada por msicos de jazz desde el principio. Sin embargo en esta grabacin se oye ms de lo que Gershwin escribi de lo que usualmente se oye en las versiones actuales.Sobre cualquiera de las obras de los grandes compositores de canciones populares americanas (the Great American Songbook), Mike opina: El compositor trabaj con dedicacin cada nota. Esto se refiere no slo a la meloda, tambin la lnea de bajoy las voces internas estn trabajadas intensamente. Quizs el mejor ejemplo de esta fidelidad textual es en el do Summertime que contie-ne mucho ms de la rica textura original de lo que normalmente escuchamos en otras versiones de jazz.

Jorge Rossy

This session felt very special right from the start.

Of course recording a set of Gershwin gems is a very rewarding experience by itself. All these tunes are clear, profound, and full of life; happy, romantic, melancholy These intense feelings make it very easy to establish a deep emotional connection with each tune. The emotions guide the musicians ears and body to the point of playing him, hence the feeling often described as: it was so effortless as if the music played by itself .

A repertoire may provide the basis from which this experience can unfold. But the other indispensable ingredient is the rapport between the musicians at the session.

Mike and I have been friends since June of 1989 and have played and listened to many hours of music together. We have grown musically together and share values that transcend aesthetic musical taste; they help define what is behind all of the musical choices we constantly and unconsciously make as we play.

It was really amazing how natural, deep and effortless the musical connection at the studio with Jimmy and Putter felt. They are outstanding players from an earlier generation who I loved at first hearing, but havent had the chance to develop a long and profound musical relationship with. In this case the power of music revealed its uncanny strength through a shared love for Gershwin tunes, an aesthetic affinity and common values.

I think these takes capture a collection of magic moments, where I felt that music flowed in a beautiful, spontaneous way. Light and yet meaningful, it is just a beautiful aural picture of an unforgettably fun shared time.

Esta sesin fue algo muy especial para mi desde el primer momento.

Est claro que grabar una coleccin de pequeas joyas musicales de Gershwin es una experiencia intrnsecamente gratificante. Todas estas canciones son directas, profundas y llenas de vida. Alegres, romnticas melanclicas estos sentimientos hacen casi inevi-table la conexin emocional con cada cancin. Las emociones guan el odo y el cuerpo de forma que la msica fluye a travs del intrprete. Por eso es comn describir esta sensacin como: La msica surga por si sola sin ningn esfuerzo por mi parte.

Aunque el repertorio suele ser esencial para que esta experiencia pueda darse, el otro ingrediente indispensable es la qumica que se crea entre los msicos en el momento de grabar cada toma.

Mike Kanan y yo disfrutamos de una amistad que comenz en Junio de 1989. Hemos compartido muchas horas tocando y escuchando msica juntos durante estos 26 aos. Nos hemos desarrollado musicalmente durante todo este tiempo compartiendo valores que van mas all del gusto musical; ayudan a entender qu es lo que hay detrs de cada una de las decisiones musicales que consciente o inconscientemente tomamos mientras estamos tocando.

En este sentido, fue realmente increble la naturalidad y profundidad de la conexin que se estableci inmediatamente en el estudio con Jimmy Wormworth y Putter Smith. Ambos son msicos destacados de una generacin anterior que recientemente me ena-moraron a primera audicin, pero con los que no he tenido la oportunidad de una relacin musical larga y profunda. En este caso, el poder de la msica nos mostr su enorme fuerza a travs de nuestro amor por las canciones de Gershwin, una gran afinidad esttica y tambin en los valores que compartimos.

Creo que estas tomas capturan una coleccin de momentos mgicos, donde sent que la msica flua con una preciosa espontaneidad, ligera pero llena de sentido. No es ni ms ni menos que una bella imagen auditiva de un momento inolvidable y delicioso que tuvimos la suerte de poder disfrutar juntos.

Michael Kanan

In jazz, the notion of swing is hard to describe, define or even talk about. But you know it when you hear it. With this quartet, Jorge Rossy and I are getting backto this elusive but essential feeling of swinging jazz. Over the course of a 25 year friendship and musical association we have had somewhat divergent career paths. Jorge has broken through various musical barriers, first as a drummer, and then as a pianist and composer. I have worked most often as a vocal accompanist. Now with Jorge at the vibes, we have chosen a simple but profound repertoire (written by the Gershwins) and are enjoying playing music that is simple, fun, and swinging.

The feeling of this quartet owes as much to the rhythm section as it does to the front line. Bassist Putter Smith and drummer Jimmy Wormworth have over the years pla-yed with many of the greatest musicians in jazz history, and as a result their feeling for swing is undeniably powerful. But these gentlemen are not merely preserving history. They express themselves in the moment, relying on decades of experience to translate their stories into music. Their playing is current, relevant, and absolutely infectious. They are real jazz masters.

For Jorge and me the experience of playing in this quartet has been thrilling and fun. The melodies of these songs are memorable and singable. The rhythm from the bass and drums is danceable. We start here and follow our imaginations. We hope that our audience will enjoy the ride as much as we do.

En el Jazz, la nocin de lo que es swing es difcil de definir, describir o incluso simple-mente hablar del tema. Pero cuando lo oyes lo reconoces inmediatamente, sabes que est ah. Con este cuarteto, Jorge Rossy y yo volvemos a conectar con esa sensacin tan elusiva como esencial que es el swing en el Jazz.

Durante una amistad y colaboracin musical de 25 aos hemos seguido profesionalmen-te caminos de alguna manera divergentes. Jorge ha atravesado varia