Smoke In The Sky David Schumacher

Album Info

Album Veröffentlichung:


Label: Cellar Live

Genre: Jazz

Subgenre: Latin Jazz

Interpret: David Schumacher

Das Album enthält Albumcover


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FLAC 44.1 $ 13,20
  • 1Smoke In the Sky06:29
  • 2You Know It's Wrong03:24
  • 3Caridad06:47
  • 4(No More) Smoke In The Sky04:11
  • 5El Dilema de Chegüi Metralla07:21
  • 6Cal Massey05:07
  • 7Walk Spirit Talk Spirit11:04
  • 8Poinciana09:02
  • Total Runtime53:25

Info zu Smoke In The Sky

The saxophonists and baritone composer are not so numerous that we should pause for a moment, certainly much less innovative than our friend Céline Bonacina, he shares with her the love of rhythms from elsewhere, here it is the Latin rhythms that predominate on this album. Originally from Chicago, Dave Schumacher has been a pillar of the New York jazz scene for over forty years. His imposing and audacious baritone first attracted international attention in the 1980s, spending much of those years touring worldwide with Lionel Hampton’s orchestra. Schumacher was then noticed for nearly two decades as a member of Harry Connick Jr.’s orchestra. In the 1990s, he also toured with T.S. Monk’s Monk on Monk group and Tom Harrell’s Octet, as well as collaborations with many other musicians in New York and on the road. Over the years, David Schumacher became passionate about Afro-Cuban rhythms which became a kind of second nature in his creations, the result of his travels with the group’s percussionist, conguero Sam “Seguito” Turner. He says: “I was aware of Bird’s recordings with Machito/Mario Bauza and Dizzy Gillespie with Chano Pozo since high school, but I really immersed myself in the music when I met Sam in Hamp’s orchestra. Sam introduced me to the traditional music of Arsenio Rodriguez, Cachao, Tata Guines, Los Muñequitos de Matanzas, Los Papines, and the New York sounds of Machito, Tito Puente, Eddie Palmieri, and Ray Barretto.” The fact that he fully assimilated the sophisticated rhythms of these maestros’ groups and combined them with his own mastery of the jazz idiom is clearly visible in this, his fourth album as a leader.

The most impressive aspect of this album is precisely in the arrangements; while the Latin rhythms are indeed the foundation of this album, for the rest, very traditional jazz themes are developed or serve as pretexts for instrument solos, undoubtedly in search of a particularly well-organized form of ethnicity. Schumacher freely admits that two of the biggest influences on Cubeye’s musical concept are Jerry Gonzalez & The Fort Apache Band and Art Blakey and the Jazz Messengers. The saxophonist recalls traveling with the latter’s big band to Japan in 1987 to perform at the Mt. Fuji Jazz Festival as one of the greatest moments of his long career. From the beginning of “Smoke In The Sky,” the impact of these iconic groups on the band is clearly perceptible with powerful brass hitting hard in the Messenger tradition on pulsating percussion reminiscent of Fort Apache’s incessant rhythm. Dave notes: “I heard the melody and harmony of the fourth track of the session, my ballad ‘(No More) Smoke In The Sky,’ on an up-tempo groove. Manuel created this dramatic reinterpretation of the original song.”

What initially seems like just a pleasant album quickly becomes an exciting one; indeed, all the culture amassed over a lifetime of artistry is here kneaded and digested to bring out the best and make this album “Indispensable,” with developed themes and arrangements that can satisfy a wide audience ranging from those who love classic jazz to those who also appreciate other universes. (Thierry De Clemensat, Bayou Blue Radio, Bayou Blue News)

Dave Schumacher, baritone saxophone
Josh Evans, trumpet (1, 5-8)
Jesus Ricardo, trumpet (2-3)
Peter Brainin, tenor, soprano saxophones (1, 5-8)
Manuel Valera, piano
Alex “Apolo” Ayala, bass
Mauricio Herrera, congas, Iyá, Itótele, Okónkolo, Chekeré
Joel Mateo, drums, bells

Recorded at Trading 8s Studio, April 19th & June 13th, 2023
Engineered by Chris Sulit
Mixed by Chris Sulit and Hector Davila
Mastered by Oscar Autie, El Cerrito Records
Co-Produced by Hector Davila (aka Chegüi Metralla)
Produced by Dave Schumacher
Executive Producer: Cory Weeds & Dave Schumacher

Dave Schumacher
As a freelance musician, Chicago native Dave Schumacher has been active on the New York scene for more than the 30 years. As member of Lionel Hampton's Orchestra from 1983 to 1987 he toured the Americas and Europe. He again toured with Hamp in 1988 and 1989. A highlight in Dave's career was traveling with the Art Blakey Big Band to Japan in 1987 to perform at the Mt. Fuji Jazz Festival.

Dave was an original member of Harry Connick, Jr.'s Orchestra from its beginnings in 1990 until 2009. He has thrilled audiences touring with Harry in North America, Europe, Asia (Japan, China, Malaysia, Singapore, the Philippines, South Korea) and Australia. His baritone sax can be heard on each of these Harry Connick, Jr., Columbia recordings: Oh My NOLA, Chanson du Vieux Carre, Only You, When My Heart Finds Christmas, Come By Me, Blue Light Red Light, Songs I Heard, Thou Shalt Not, What A Night and others.

As a freelance artist Dave was a touring member of the T.S. Monk On Monk Ensemble from 1999 to 2000 touring the U.S. and Europe, as well as touring Europe with the Tom Harrell Octet in 2000. Dave has also done freelance work with Nicholas Payton's Louis Armstrong Tribute Big Band, Joe Lovano's 52nd Street Themes Nonet. the groups of Jack McDuff, Eddie Gladden, Mel Lewis Jazz Orchestra, Chico O’Farrill’s Afro-Cuban Big Band, Lin Halliday and many others.

Dave has recorded as a sideman with Lionel Hampton, Harry Connick, Jr., Tom Harrell, Scott Whitfield, Jason Lindner, Mel Torme, Ben Wolfe and salsero Billy Carrion among others.

I first played the baritone saxophone in 1972 when I could barely reach the keys on the big horn. Now 46 years later it remains my primary musical voice. Being a dedicated baritone saxophonist I have long loved Low Bb horns (as well as Low A’s) and the RS Berkeley BS510 is one of the few Low Bb baritones available on the market. The BS510 has a very even scale and intonation from top to bottom that allows me to cleanly execute the ideas that I hear when playing!"

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