When I moved to Denver in the summer of 2007, Ken Walker was quickly identified as "THE GUY" on bass. He has such a big beat! It's no wonder why he gets many calls from national acts that pass through Denver.  He has played with Eddie Harris, Kenny Barron, Eric Alexander, Houston Person, Pharaoh Sanders, Jimmy Heath, Tom Harrell, Freddie Hubbard, Clifford Jordan, James Moody, Barry Harris, Billy Hart, and Benny Golson to name a few! Ken was the house bassist at the legendary El Chapultepec jazz club (still up and running right across from Rockies Stadium). As legend has it, after playing with Ken, the great Benny Golson booked him for a week at the Iridium in NYC then and asked him to play in his band. 

Ken is the leader of the Ken Walker sextet which has been a fixture on the Denver scene for years. This group's first recording is titled Terra Firma. Ken is equally adept as a soloist and in a support role. When writing for this project I heard Ken's solid beat and dancing groove. I know Cedar would have loved to play with Ken!

Clockwise: The Music of Cedar Walton - Available Everywhere February 17.

Steve Kovalcheck 

Steve is one of the most complete musicians I have ever met. His deep knowledge of the guitar and tradition is apparent every time he plays. Steve has worked with a variety musicians including the New York Voices, Colorado and Dallas Symphonies. He was a recording and touring member of Columbia artist Robinella and the C.C. String Band. As a jazz musician, he has worked with the best in the business including, Christian McBride, Terell Stafford, Tim Warfield and countless others. Steve is member of the University of Northern Colorado jazz faculty. He is also an accomplished composer and arranger

I started working with Steve regularly playing duo at Del Frisco's steak house. It was during this time that I realized, just how bad of a dude Steve really was. When you play duo with someone for four hours, everything comes out. From there Steve and I started the group Raincheck. We held a Sunday residency at Ace Gillet's for a little over a year. This band recorded an album Raincheck on Dazzle Recordings. At gigs I often joke with the audience and say something like "Playing with Steve always makes me feel bad". His playing is so consistent. I often come off the stand after playing with Steve and think "Damn, so THAT'S how it's supposed to go!" I have learned as much from Steve about playing music than I have from any of my formal teachers. Steve has two burning solos on Clockwise: The Music of Cedar Walton (on Clockwise and I'm Not So Sure).
 

http://www.stevekovalcheck.com/

Clockwise: The Music of Cedar Walton - Available everywhere February 17th.




 

February 17th is the official release date for Clockwise:The Music of Cedar Walton

In anticipation of the release I will feature each member in the band. It is only fitting we begin with rhythm section first. Today we begin with the inspiration for this entire project - The great Cedar Walton. Cedar is one of the beloved figures from the hard bop era. As a sideman he worked with the best and most influential artists of our time including John Coltrane, Benny Golson, Joe Henderson, Art Blakey, Freddie Hubbard and Wayne Shorter. He was highly sought after because of his excellent work as an accompanist - a skill he perfected while working in one of the classic formations of the Jazz Messenger. As a leader his trio featured the incomparable Sam Jones and Billie Higgins. Several of Walton's compositions are cemented in the jazz canon including Bolivia, Firm Roots, and Hindsight. 

One of the most prominent aspects of Cedar's playing is his ever-present ability to play the blues (not just on blues tunes, on everything!). He truly embodies the African esthetic that is present in Black American Music (Swinging and Blues Based) Jazz! In regards to blues tunes, Walton always had a steady diet in his sets and recordings. 








Here is article the New York Times published following Walton's death in 2013.

"Cedar Walton, a pianist who distinguished himself as both an accompanist and a soloist, and who wrote some of the most enduring compositions in modern jazz while a member of Art Blakey’s Jazz Messengers in the early 1960s, died on Monday at his home in Brooklyn. He was 79. 

His death followed a brief illness, his manager, Jean-Pierre Leduc, said. 

Mr. Walton sat in with Charlie Parker, spent a year accompanying the singer Abbey Lincoln, and recorded with both John Coltrane and, much later, the saxophonist Joshua Redman. He led a series of successful small groups, including a trio and a quartet that both featured his longtime collaborator, the drummer Billy Higgins. Yet he probably remained best known for his early work with one of the most influential incarnations of the Jazz Messengers, the group that the drummer Art Blakey ran as a kind of postgraduate performance academy for rising jazz stars. 

Mr. Walton joined the Jazz Messengers in 1961, on the same day as the trumpeter Freddie Hubbard. (Among the other members of the group at the time, was the tenor saxophonist Wayne Shorter.) It was here that Mr. Walton established himself as a composer; over the years he would write a number of pieces that became jazz standards, including “Mosaic,” “Bolivia,” “Mode for Joe” and “Ugetsu,” also known as “Fantasy in D.” 

Mr. Walton said his time with the Jazz Messengers helped him greatly as an accompanist, a role he often said he preferred to that of leader. Asked in a 2010 interview — conducted in conjunction with his being named a Jazz Master by the National Endowment for the Arts — what was most important about providing accompaniment in an ensemble that thrives on improvisation, he said, “Total listening.” 

Cedar Anthony Walton Jr. was born on Jan. 17, 1934, in Dallas. His mother, Ruth, played and sang popular songs at home. He was not initially interested in reading music, but he showed an early inclination to compose. 

Photo 
Cedar Walton performing with his quartet in 2009.CreditRachel Papo for The New York Times 

“Are you making up songs again?” his mother would call out. 

He studied music composition at the University of Denver but later switched to music education. Instead of graduating he left in 1955 for New York, where he soon joined the local jazz scene. 

Mr. Walton’s survivors include his wife, Martha Sammaciccia; three children from an earlier marriage, Carl, Rodney and Cedra; and a daughter from another relationship, Naisha. 

In April 1959, after serving in the Army, Mr. Walton was sought out by John Coltrane to play on a rehearsal recording for what would become one of his landmark albums “Giant Steps.” Mr. Walton played on the technically daunting title song but declined to take a solo. He soon realized that had been a mistake. 

“The song was too hard for me,” he said in a 2011 interview with JazzWax, Marc Myers’s Web site. “But you just didn’t do that. I was young.” 

When the album was recorded, Mr. Walton was out of town and Tommy Flanagan played piano. Years later, the sessions with Mr. Walton were released as alternate tracks. By then, he had long since established himself as a forceful and elegant soloist. His years with Mr. Blakey helped. 

“He had sort of a bombastic style, but he would leave little openings for you,” Mr. Walton said in the 2010 interview. “So you developed your radar when to get in. If you didn’t get in then, you wouldn’t be heard.”

Clockwise: The Music of Cedar Walton available February 17.

Clockwise: The Music of Cedar Walton - played by the Ben Markley Big Band featuring Terell Stafford will be available for purchase on February 17. 
 

Pianist Ben Markley, along with special guest trumpeter Terell Stafford, celebrates one of the more influential and beloved figures in jazz through this unique project, showcasing many of the late pianist and composer Cedar Walton's most revered tunes through new arrangements for big band. Performing iconic compositions such as 'Hindsight,' 'Bolivia,' and 'Holy Land,' Markley brings together fellow faculty members from the University of Wyoming and top-flight Denver-area musicians to produce an honest and swinging recording that honors Cedar Walton while presenting his music in a bright new light. 'Ben has found a way to embrace the music of Cedar Walton and transform it into stellar big band arrangements that express his voice, sound and musical genius. ' - TERELL STAFFORD'. . . to hear a big band's interpretation of Cedar's music has to be the most beautiful thing I have ever heard in my life!. . . I know Cedar is beaming at the results!!' - MARTHA WALTON . . .“Wonderful! Masterful writing and orchestration, all in the proper context of Cedar. Ben plays his ass off!” DAVID HAZELTINE.


Saxophones:
Wil Swindler
Scott Turpen
Peter Sommer
Serafin Sanchez
Sam Williams

Trombones:
Scott Crump
Paul McKee
Adam Bartczak
Gary Mayne

Trumpets:
Pete Olstad
Greg Gisbert
John Lake
Terell Stafford

Rhythm:
Ben Markley - Piano
Steve Kovalcheck - Guitar
Ken Walker - Bass
Chris Smith - Drums

OA2 Records

Album design - John Bishop

Recording Engineer and Mixing - Colin Bricker. Mighty Fine Productions

Mastering Phil Bulla - Platinum Productions

Bolivia is one of my all-time favorite jazz tunes. It was first recorded on Eastern Rebellion. The record features tenor saxophone great George Coleman as well the Sam Jones and Billy Higgins. Cedar went on to record this tune several times on albums such as 3rd Set (Steeplechase - 1977), Roots (Astor Place - 1997, Midnight Waltz (Venus - 2005).  His Messenger's band mate Freddie Hubbard also played this tune frequently recording it with Walton on the record Homegrown (Master Music - 1991) with Ralph Moore, Vincent Herring, David Williams, and Billy Higgins.

Hindsight like (Fiesta Español) was first recorded on the Junior Cook's Something's Cookin".  The record features Buster Williams and Billy Higgins along with Cook and Walton. Walton only recorded the tune twice. Once in 1996 on the album Composer and again in 2008 on the record Seasoned Wood (on the High Note label). S.W. features Jeremy Pelt, Vincent Herring , Peter Washington, Al Foster. On this recording, Walton recorded the tune as a piano trio. 



While Hindsight hasn't been recorded that often, it's a tune that musicians familiar with Walton's work have in their repertoire. It begins with a chordal introduction that plains dominant seven #9 chords.  The melody begins with series chords descending by half-step (First chord major following by a dominant 7 flat-nine chord tri-tone sub etc). The sequence continues for 8 measure before entering into a modal section that contrasts the previous section having one chord for 4 bars before changing. In addition to the well balanced harmonic rhythm of the tune, there are two sections in which the bass line (played by piano and bass) becomes the melody.

Martha's Prize


Martha's Prize is one of Cedar's lesser known gems. Written (I assume) for his wife Martha. This tune was first recorded in 1996 on the record Composer on Astor Place records. The record features, Christian McBride, Victor Lewis, Roy Hargrove, Vincent Herring and Ralph Moore. Composer different from Roots features compositions that were recently composed by Walton  (Hindsight and Groundwork excepted). 

Martha's Prize has many pianistic features that are very fun to play. The intro/solo interlude bounces between two chords and features a bass lined played by piano and bass. Upon the first listen of the tune the listener can underestimate the subtle intricacies of the blowing changes. The A section harmonies begin with ii-V-I in the tonic followed by a tri-tone substitution to the IV chord before a walk up cadence starting on the ii chord. The bridge however is where the improviser is truly tested. It begins with a minor ii-V-I to the vi chord followed by a ii-V-I on to the bVI. While this harmonic movement is somewhat unusual, the true difficulty lies in the displacement of the harmonic rhythm. The rhythm is displace by two beats. The chords in the bridge are as follows. 

Dm7b5  G7b9/C-7 C#-7/F#7 Bmaj7/Bb-7  Eb7 /Abmaj7 G7b9/C-7  --/F#-7  B7/Emaj7   / 

The displacement of the harmonic rhythm seems fairly simple (at least from a conceptual standpoint) it proves to be quite difficult in how it interrupts the melodic flow of the improvisor's line. Cedar (of course) makes it sound easy!



Thus far I shared recordings of Walton playing his tunes. Since this tune hasn't been recorded as much as some of Walton's other tunes, I wanted to share an additional recording of this tune played by master pianist David Hazeltine. Cedar once asked David "What else do I know?"  It's only fitting one of Hazeltine's recordings of Cedar's work is included. David recorded I Remember Cedar in 2014 on Sharp Nine records with David Williams and Joe Farnsworth. This entire is record is perfect! Hazeltine's playing (as well as Williams and Farnsworth) is immaculate as well as swinging. One of the other aspects of Hazeltine's playing I like on his rendition of Martha's Prize is the orchestrated send off he gives himself at the 3:24 mark in the tune (which occurs over the entire A section for that chorus). The sendoff provides some continuity in the tune and is a springboard for Hazeltine to craft is perfect lines over the Walton composition. 

Fiesta Español


 

Fiesta Español was first recorded in 1981 by Junior Cook on the record Somethin's Cookin' (It can also be found on iTunes under the title Senior Cookin). In addition to Walton the record featured Buster Williams and Billy Higgins. Cedar doesn't have that many compositions that strictly stay in a latin groove for the entire tune (Ojos De Rojo and Theme for Jobim being others that comes to mind). Many of Walton's tunes that have a latin groove alternate between latin and swing tunes like Mosaic and Voices Deep Within. Like many of Walton's tunes it complete or already arranged in that it has an introduction and solo sendoff/extension on the form. Fiesta Español is one of Walton's tunes that was not recorded as many as some. Walton recorded it as a leader in 1985 on Cedar's Blues again in 1995 Ironclad - Live at Yoshi's (in the trio format) and again in 1997 on the album Roots.  Roots was put out on the Astor Place label. It features Ron Carter and Lewis Nash in the rhythm section as well as guest soloists Joshua Redman, Terence Blanchard, and Mark Whitfield, as well as a five horn band (and one auxiliary percussionist) that plays the arrangements written by Walton. Tenor Saxophonist Junior Cook recorded the tune twice (once in 1981 shown above and again in 1991 on the Steeplechase label titled Junior Cook - You Leave Me Breathless).

My favorite recording of this tune Cedar's trio rendition of it from Ironclad - Live at Yoshi's. 


In this recording Walton plays the tune at a brighter clip than previously recordings. As a soloist when playing a tune like this, there is a temptation to "go for it" and to come out of the gates too fast leaving yourself nowhere to go. While I don't advocate for improvisors to plan out a solo or build a solo, there is a very natural build that occurs in Cedar's solo on this particular recording. In the midst of Walton's solo on this tune, he quotes the tune I Love You which demonstrates his musical sense of humor. Walton would occasionally quote other tunes when improvising much in the same Charlie Parker did. There's never any shtick involved, just the essence of a true improvisor.  *** (the clip below is from a compilation, but comes from Live at Yoshi's pictured above.)

 

Holy Land


Holy Land was first recorded by Cedar Walton in 1973 on the record  The Cedar Walton Trio - A Night At Boomers, Vol. 1 (today both volumes are on one CD or digital download). This record features Clifford Jordan, Sam Jones, and Louis Hayes.  Holy Land is a minor blues that is much more than a standard 12 bar blues. Harmonically, the tune moves to the IV and I chords in the expected places, but Walton also includes a ii-V to Eb major key center (bIII) in mm 6. Additionally, the chords in measure mm. 9 and 10 are different many of the turnarounds in standard minor blues' (VI7 bVI). One of the most notable features of the tune is the solo piano rubato introduction/interlude before and between the melody. I love to listen to the multiple recordings of Walton playing this tune. He never plays it the same way twice. The listener can hear him exploring different elements of pacing, style, and harmony. Furthermore, the rubato interludes are a unique sonic change from all of the rhythm section playing together at the same time. 

Walton recorded this tune several times in the trio and quartet settings. The first two recordings were quartet sessions that featured tenor saxophonist Clifford Jordan. The second recording of this tune can be found on a Clifford Jordan record titled Clifford Jordan Quartet Half Note (Steeplechase) 


In addition to Walton and Jordan, the session features Sam Jones and Tootie Heath. While the recording quality of the record isn't great, the playing is burning! In addition to Holy Land the band also plays Cedar's Midnight Waltz. I've always enjoyed Cedar's work with Clifford Jordan. His playing always seems to be inspired. And his comping! Cedar's comping is grooving, supportive, as well as suggestive. As a pianist I continue to be drawn to how Cedar comps behind Clifford Jordan on Half Note. Sam Jones and Tootie Heath really hook up well too. They provide solid swingin beat for Walton and Jordan. 

I will close this installment by recommending some recordings on which Clifford Jordan is the leader. Cedar plays on all of them and in most cases the rhythm section is Sam Jones and Billy Higgins. It's also pretty common for at least one Walton original to show on these recordings too. 

Glass Bead Games
Mosaic
Night at the Mark VII
Clifford Jordan and Magic Triangle - Firm Roots
 

Clockwise 


Clockwise is one of Cedar Walton's most challenging compositions. The chord changes to the A section of the tune provide insight into some of Cedar's compositional tools and also reiterate the influence of Art Tatum. The A section features major chords succeeded by dominant chords a tri-tone away. The tune goes through 8 key centers (a tough to blow over!). Tatum has influenced (and continues to influence) jazz musicians with his use of harmonic substitutions (tri-tone subs in particular). Like many pianists, Cedar loves dominant chords and tri-tone subs. We hear this in his interpretation of standards and also in his compositions. Walton originals like Hindsight and Clockwise contain a number of tri-tone substitutions. Additionally, each tune travels through many key centers. 



Cedar recorded this tune in 1979 with his Eastern Rebellion group with Bob Berg, Sam Jones, and Billy Higgins. Curtis Fuller joined the group for part of the recording (playing on Clockwise and Firm Roots which were recorded in 1979 the other tunes on the record were recorded in 1977). Bobby Hutcherson also recorded Clockwise in 1979. What is particularly noteworthy about this recording (in regards to my project of arranging Cedar's music in the big band setting) is that it's one of the largest groups to date to record one of Cedar's tunes.  

Clockwise - Bobby Hutcherson, Conception: The Gift of Love