ABOUT THE CD
It is common knowledge that making a living in the arts in
America is a scary endeavor. In any craft, from potters to actors,
the top two or three percent make a decent living and the rest
need day jobs. Quality is no assurance of success, either, being
often overrun by hype or notoriety. Jazz is a particularly
perilous practice. It involves the creation of instant beauty . .
. beauty on demand. It also happens to be an art form indigenous
to America.
Individually and collectively, these players disprove the popular
notion that "local" musicians are local because they lack the
chops of their more famous brethren. Good is good and has nothing
to do with being on a major label or living in New York. In point:
Phil Hey has played with a huge share of jazz legends including a
live Von Freeman CD of which a New York Times reviewer singled out
the ". . . unbelievably swinging rhythm section . . ."; Mose
Allison (known to be choosy about his sidemen) has tabbed Tom
Lewis for road gigs; without straying too far from the great
Sofitel gig, Phil Aaron has backed every singer in the region;
Dave Hagedorn not only runs the jazz program at St. Olaf College
but is a percussionist with the renowned Saint Paul Chamber
Orchestra. No, these cats are virtuosi, as you would already know
if you are lucky enough to have heard them.
If you have ever heard the Phil Hey Quartet, you were in the
Artists' Quarter on a Thursday night. That is the only place the
group has played, their existence known to fans of the players and
itinerant customers who wandered in on that particular periodic
Thursday. The players, themselves, are established talents leading
busy jazz lives. All are first call musicians and educators who
play with many groups and orchestras.
Considering the instrumentation of the Phil Hey Quartet, one might
think that they formed to explore the chamber music possibilities
of jazz a la the Modern Jazz Quartet. One, however, would be
mistaken. The Phil Hey Quartet emphasizes sheer rhythmic drive
over formalism, taking its stylistic cues from the hard-bop
tradition. Phil Hey drives the bus with an explosive, intense
precision that is reminiscent of his mentor, the great Ed
Blackwell. Phil Aaron's full on two-handed piano approach, Dave
Hagedorn's wide vibrato setting and hard-swinging attack and Tom
Lewis' lyrical bass lines complete a communal sense of musical
urgency. Taken together, you have a group that can make little
kids run around the room. -- Davis Wilson
The Phil Hey Quartet (PHQ) will release the new CD Subduction:
Live at the Artists' Quarter with shows on October 14 and 15,
2005 at the Artists' Quarter. The CD was recorded live in May 2005
at the AQ, and features hard-bop jazz instrumentals from a wealth
of sources including Charles Mingus, Ornette Coleman, Irving
Berlin and Phil Hey's original "Subduction." No all star
excursion, the PHQ is a true, seasoned ensemble that has been
exploring a common musical vision for the past five years. The
quartet consists of Phil Hey (drums), Phil Aaron (piano), Dave
Hagedorn (vibes) and Tom Lewis (bass). With appearances on over 60
recordings and countless live performances with the top names in
jazz, Phil Hey is no stranger to Twin Cities music fans.
Subduction marks the first release for Phil Hey as band leader.
Showtime on October 14 and 15 is 9:00 p.m. and admission is $10.
The Artists' Quarter is located at 7th Place and St. Peter St. in
the Historic Hamm Building in Downtown St. Paul, telephone (651)
292-1359, website at www.mnjazz.com.
The Phil Hey Quartet was originally assembled around the year 2000
when Artists' Quarter owner (and fellow drummer) Kenny Horst
suggested to Hey that four jazz veterans perform a "one off" gig.
Needing to print the AQ's monthly calendar, Horst listed the band
as the Phil Hey Quartet. Finding that they shared a chemistry and
love for the hard bop material, the PHQ dug in with monthly AQ
gigs and regular rehearsals to hone their unique sound.
On Subduction: Live at the Artists' Quarter, the Phil Hey
Quartet demonstrates a collective improvisational spirit and
intense devotion to the music that proves it is, indeed, "a real
band." A real experienced, talented and inspired band.
Recorded live at the Artists' Quarter on May 13-15, 2005.
Recorded and mixed by Reid J. Kruger for Waterbury Music + Sound, assisted by Matt Burr.
Produced by Kenny Horst and Al Iverson.
Design and photography by Al Iverson and Don Berryman.
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