| | Bill Warfield Faceless Place CD Bill Warfield Discography of CDs
Bill Warfield: Bill Warfield (trumpet); Dave Riekenberg (soprano, alto, tenor, baritone, saxophone); Mike Christianson (tenor, trombone, bass guitar); Tim Sessions (tenor); Empress Nzingha (spoken vocals); Ed Xiques (alto flute); Jon Owens (trumpet); Roberta Piket (piano); Tom Hubbard (acoustic bass); Vic Juris, Scott Neumann, Mike Migliore, Joe Mosello, Samuel Paul Bortka, Dave Trigg, Russ Spiegel, Joe McCarthy .
Personnel: Bill Warfield (guitar); Vic Juris, Russ Spiegel (guitar); Dave Riekenberg (flute, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone); Ed Xiques (flute, alto saxophone); Mike Migliore (flute, tenor saxophone); Samuel Paul Bortka (bass clarinet, baritone saxophone); Joe Owens, Joe Mosello, Dave Trigg (trumpet); Tim Sessions (trombone, tenor trombone); Mike Christianson (tenor trombone, bass trombone); Roberta Piket (piano); Scott Neumann (drums); Joe McCarthy (percussion).
Recording information: Showcase Studios, Dover, NJ (07/28/2005-08/11/2005).
This is a very different type of big-band album. Trumpeter-arranger Bill Warfield considers Miles Davis to be his main influence, particularly Davis of the 1965-1975 period. Performing reworkings of two selections from Davis' Bitches Brew, a Wayne Shorter piece, and "Mad Dog 245" (dedicated to Miles) among the six numbers, Warfield makes his big band a bit reminiscent of Davis' oversized fusion bands of the late '60s/early '70s. Empress Nzingha is effectively showcased on her spoken word piece "Jazzman" and there are spots for tenor saxophonist Mike Migliore, guitarist Vic Juris, trombonist Tim Sessions, pianist Roberta Piket, Dave Riekenberg on tenor, and Warfield's trumpet. Although technically a "big band" project, the music is much more adventurous than usual and Warfield's ensemble has the spontaneous feel of a combo. Well worth exploring. ~ Scott YanowDown Beat (p.78) - 3 stars out of 5 -- "Trumpeter Warfield creates spiky, thick-textured charts that may conjure Frank Zappa: breathless, raucous, chord-churning, note-happy."
JazzTimes (p.98) - "[T]he influence of Shorter and Davis pervades the recording....Warfield's music is consistently absorbing and rhythmically appealing." Bill Warfield Faceless Place Songs Faceless Place Review
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REX AND NOELENE FRANKLINRex and Noelene met when both were competing in a talent quest in Palmerston North, New Zealand, in May 1954.Rex was the vocalist/guitarist in a trio called The Ruahine Ramblers, and they were lucky enough to be recalled to the finals the following week. (Noelene just missed-out) and Rex was delighted, when Noelene arrived back-stage, on Finals night, to wish him(and the group) the very best.To cut a long story short, Rex and Noelene began seeing each other on a regular basis, and on the 25th of November 1955, they performed in their first public music appearance, together, at Ormondville, Hawkes Bay.Rex had earlier been doing radio shows, and public appearances with the “Ramblers”, so it was a natural step for Rex and Noelene to follow this , and they broadcast from several radio stations around the country in the following years, at first, a radio announcer would introduce them, and their songs, until they asked Rex, if he would like to do this, and so began a trend for many of the following radio shows they were to do.Many private bookings followed, and of course they wanted to make records, so they took some of their privately-made acetate discs (78rpm) to Wellington, where they called-on some record companies, and one company executive by the name of Murdoch Riley, showed a distinct interest in their recordings, he selected one track, and asked them to go home and work on some other songs, and to come up with a song for the other side.This eventually led to the release of their first commercial record, on the TANZA label, a coupling of two songs that had been made popular by one of their favourite artists, HANK SNOW, “Would you mind?” and “ I wonder where you are tonight”.This was a big thrill to the young couple, and the record sold very well, and was played regularly on radio stations all over the country.A follow-up release eventuated in 1958, a coupling of two of Rex’s own compositions, “Rocky Mountain Lullaby” and “Oh Why can’t you say?”About this time, 78s were being fazed-out, and 45s and LPs were being introduced, and Murdoch Riley had started his ...
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