Bill Stevens

“Connections Bill Stevens (Milessmiles Prod.) by Elliott Simon Connections from trumpeter Bill Stevens traverses a musical trajectory moving from chill to hybrid to electric all within a jazz milieu. Thought and planning in addition to clear musicality are apparent in each of three suites and separate ensembles are fittingly chosen to meet the needs of each of these diverse compositions. Setting and content are well coordinated in the three-part “Music For Dance”. Progression through the “Eternal” search for a dance/life partner to the ecstasy of the “Love Dance” and the union of “Two as One” are eloquently described. Pianist Hyuna Park joins with Stevens’ gorgeous horn to animate the compositional development and bassist Luca Rosenfeld and drummer Gary Fogel provide the space and atmosphere thatallows their interaction to develop.“Please Return” is a three-part suite centered onthe paintings of Norwegian artist A.K. Dolven. Harry Miller’s keyboards signal a change in spirit and Stevens has wisely enlisted alto saxophonist Jordan Young to present each portrait and their voicings convey a hopeful vibe. On the first and third movements Rosenfeld goes electric and with drummer Misia Vessio adds some funk while the middle section, “Don’t Worry I’ll Lift the Sky”, is a delicately emotional interlude showcasing Rosenfeld’s beautiful arco playing and close connection with Vessio.“The Flock and the Shadow” is a five-part composition that commandingly closes out the session. It is based on the poetry of Eldrid Lunden and includes Sean Moran’s beautifully searing guitar. The sections are demarcated by Anja-Christin Nielsen’s powerful narration and in the process an exceptional jazz-rock operatic aesthetic develops. The give and take between Stevens and Young’s plaintiveness and Moran’s intensity is outstanding. Connections tells three different stories but its innovative use of exquisitely harmonized stylistic, ensemble and compositional diversity defines its unifying message.” - Elliott Simon

““Music for Dance” and “Please Return” are both enjoyable, but for me “The Flock and the Shadow” is on another level, akin to that of LEMA SABACHTHANI. It has well grounded grandeur, and it’s made me curious about Eldrid Lunden.I’d also like to say how well recorded the music is, as was LEMA SABACHTHANI. Thanks for avoiding the current bass-heavy-and-forward, flattened soundstage of so many current recordings. It’s a pleasure to have a sense of space and depth around the instruments (including the human voices), which helps give the end of “Through Dreams, Through Time” impact.Congratulations on the fine music!” - Hilary Hinzman

“There's a lot to like here. I'm sure fans of Jazz and all things horn-based would dig this. Thanks for the opportunity to listen. I enjoyed it very much! Cheers.”

“The Music (lema sabachthani) is so involving and moving. Everybody plays beautifully. The production has such wonderful sound quality in terms of instrument mix, sound stage, etc... I would love to attend a performance of this music with the paintings projected in high resolution.” - Hilary Hinzman

“I wanted to say how much I enjoyed your CD. Great stuff! I really like the concept. It was refreshing to listen to.  ” - Sam Newsome

“Super killin, you guys all sound amazing but it's also one of those recordings where the whole is greater than the sum or the parts. Totally engaging at every level. Congrats, super job!” - Gary Keller

“...attractive modal lines and the performances are excellent. I'm certainly impressed with your sterling trumpet work." - Taxi”

“ BILL STEVENS: Lema SabachthaniMilesmiles, 2012MODERN JAZZ – This wide-ranging suite in 15 parts takes trumpeter Stevens  on a journey through Miles Davis style chromatic fusion, with a few diversions into more straight-ahead postbop sounds. His electro-acoustic sextet has plenty of like-minded, adventurous talent, and they keep it tight no matter where the music goes. This is excellent work, especially on the darker-toned Disc 1. For background, the suite was inspired by a series of abstract paintings by Barnett Newman, who in turn was trying to relate the “stations of the cross” in the Passion of Christ to a more universal parallel of human experience. Neither the paintings nor this music are religious, but both have elements of yearning or contemplation. The title comes from Jesus’ famous cry from the cross,“why have you forsaken me?” Fo’s Picks: Disc I – 1, 3, 4, 5, 7 Disc II – 3, 4, 5 DISC ONE1. 12:30 – Uptempo Miles Davis fusion-funk; long solo stretches in the middle2. 5:00 – dark fusion creep: keyboard moves gently in the gloom3. 8:56 – solo bass intro, striding postbop w/bold optimism, even-keeled solos4. 8:31 – slow, somber fusion w/bass clarinet: gradually rises over quiet drone5. 9:48 – solo drums set up rolling, open postbop groove; calm piano ending6. 4:00 – relaxed and ballad-like, short solos passed around the band7. 6:14 – dragging pace & a very nice sound with a bluesy Miles Davis touchDISC TWO1. 6:10 – surprise! sort of a cheesy reggae lope with some sunny solos2. 5:05 – upbeat fusion: chugging beat, a bit loose in the horn solos3. 3:59 – dark marching beat, overlapping horn lines fall into catchy theme4. 8:00 – brisk chugging pulse: trumpet drags, sax roams, guitar tweaks5. 4:08 – relaxed acoustic piano/sax duet, a melodic pas de deux6. 9:00 – thumping off-center beat, jabbing horns, melting keyboards, runs on7. 5:44 – ambient crowd noise, percussion + some world-music accents8. 8:24 – contemplative intro, flowing ballad; piano & bass solo, long ending [ Fo ] - May 2012 ” - Fo