Liz Gorrill | Charley Krachy | A Jazz Duet | NA1007

Liz Gorrill, piano | Charley Krachy, tenor saxophone

Tracklist: 1. You’d Be So Nice To Come Home To 2. All Of Me 3. Sunstorm 4. Passionate Weather 5. 317 East 32nd Street 6. How High The Moon 7. A Jazz Duet 8. Blues For A Lost Moment 9. My Melancholy Baby 10. All The Things You Are

Recording Date: October 13, 1989 in concert at Greenwich House, NYC

“…’A Jazz Duet’ summons up memories of piano-and-saxophone duets you only think you’ve heard – testimony to it’s power…” – Francis Davis, The Village Voice

“…With all its complexity, the music maintains a momentum and inner logic that is a tribute to the participants…a most stimulating set…” – Mark Gardner, Jazz Journal

“It’s a demanding and creative performance.” – Lois Moody, The Ottawa Citizen

Piano and tenor sax interplay

is the focus of this performance recorded in concert at New York City’s Greenwich House late in 1989. Whether re-examining standards or unfolding their own compositions, both musicians open themselves to the music and its possibilities for interpretation. For all the individuality and freedom of movement, there’s a strong, confident sense of direction in the work of both players. In addition to the title piece, a brief moment of free association, the duo’s originals include “Sunstorm”, a brief burst of fireworks; “Passionate Weather,” a more spontaneous response to the moment without being threatening, for all its power; “Blues For A Lost Moment,” hinting at the essence but never overtly stating the trademarks of the blues. It’s a demanding and creative performance. — Lois Moody, Ottawa Citizen, April 1991

Liz Gorrill | Charley Krachy | A Jazz Duet | NA1007

Liz Gorrill

is a strong pianist whose lines brim with conviction and resilience. She utilizes the whole keyboard (and the pedals) to construct dense clusters of sound, chords that may not always lie easily but make you sit up and listen. She does not soothe with pretty lines but attempts to make every solo an adventure, often succeeding. She seems to strip every layer of meat off the bones of a melody, worrying it until she gets right to the marrow. This exploratory approach from the methodology of Lennie Tristano but with a most personal interpretation, makes heavy demands on the listener. Concentration has to be up front and the journey can sometimes be harrowing, for this music consistently challenges but frequently rewards….

The two instrumental voices merge satisfyingly on “317 East 32nd Street” where Gorrill offers not only a bass line, but also apt commentary for the saxophonist in cleverly obscured “Out Of Nowhere” territory. Most of the structures are familiar, but they merely serve as secure foundations for daring improvisation. Dynamics are important in such intimate music, and Liz Gorrill’s variety of touch becomes an essentialingredient in ensuring that the performances move through many layers and engender subtle shifts of mood. With all its complexity, the music maintains a momenturm and inner logic that is a tribute to the participants. “How High The Moon,” that perennial jazz racer, has its character reversed by a slow, reflective treatment in which no pet licks are used to escape hatches. A most stimulating set, at its best, perhaps, when the duo swings unselfconciously and with considerable exhilaration on “My Melancholy Baby.” — Jazz Journal, July 1991, Mark Gardner


CD version (incl. shipment cost world-wide)

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