Broken Shadows

by Chad Eby

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    Bundle Broken Shadows (2010) and New Business (2012) for only $12 plus shipping

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COMPLETE TRACK LISTING:

1. Tip Toe (Thad Jones)
2. Mira (Chad Eby)
3. Doo-Wee-Inn (Chad Eby)
4. Orange Was The Color of Her Dress, Then Blue Silk (Charles Mingus)
5. Little You (Chad Eby)
6. Line For Lackritz (Chad Eby)
7. I'm Still Here (Tom Waits)
8. Sentinel (Branford Marsalis)
9. Broken Shadows (Ornette Coleman)
10. Sunset and the Mockingbird (Ellington/Strayhorn)
11. J-Mac (Chad Eby)
12. The Kid From Albany (Chad Eby)
13. The Single Petal of a Rose (Duke Ellington)
*** plus two unreleased tracks

In these socially narcissistic times, the word 'new' is bandied about as though it is the lifeblood of our existence. Post World War II, we tore down beautiful buildings of the Gilded Age, and replaced them with parking lots, and ‘modern’ buildings now considered eyesores to most.

One of the more interesting developments of the past 20 years, to me, has been the sports stadium. Sports stadiums of the 60s and 70s, lauded as technical marvels then, are now biting the dust, decried as aesthetically empty chasms, by-products of an unenlightened age. Now, stadium design is bringing modern technology to stadium designs firmly rooted in the past, and the fans are coming back.

To my ears, we are going through the same philosophical struggles in jazz. It seems as though, every week, a musician comes out with a new paradigm, a new concept, and it is eagerly embraced, in the way the stadiums of the 70s were. Very quietly though, there is a movement in jazz that embraces a once taken-for-granted model: modernity thru authenticity. Here is where we find Chad Eby.

Along with Steve Haines on bass and Jason Marsalis on drums, Eby has recorded a fine document of their progress, so far, as musicians in this piano-less trio setting. You will hear approaches to melodies that are rooted in older traditions - Coltrane on 'Tip Toe' (juxtapose the melodic approach to Coltrane’s on the song 'Big Nick', from his recording with Duke Ellington), as well as dedications to Jackie McLean, Steve Lacy and Dewey Redman that show the deference is not mere lip service.

For all the times the solos seem like amalgams of other greats, they still sound like Chad Eby. It is a time-honored tradition, as told to me by jazz great Benny Golson: “The only way to learn this music well is to do your homework. We all did it. You play like Hawk, you play like Bird; you do your homework and in due time, parts of you start creeping in. Don’t spend any time worrying about or trying to find your sound. You do your homework, and your sound will find you.” I think there is no better way to end it.

- Branford Marsalis

credits

released February 9, 2010

Chad Eby - soprano, alto, and tenor saxophones
Steve Haines - acoustic bass
Jason Marsalis - drums

with special guests:
Doug Wamble - guitar ("I'm Still Here")
Branford Marsalis - tenor saxophone ("Epitaph I", "Sentinel")

Recorded and mixed by Chris Stamey
Mastered by Rob "Wacko" Hunter

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about

Chad Eby Greensboro

Iowa native and North Carolina resident Chad Eby has earned widespread critical acclaim as “a consummate improviser” (Jazz Times), “has tremendous poise and natural melodic sense” (Ottawa Sun), and his ”tone is boundless, blues-inflected, and wholly satisfying” (AllAboutJazz.com). He is a Conn-Selmer and D'Addario Woodwinds Performing Artist.

"Chad Eby is a consummate artist." - Bill Charlap
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