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TIME TO BURN

TIME TO BURN - Jessica Williams, piano; Dave Captein, bass; Mel Brown, drums. Recorded live by Jim Wilke, at Jazz Alley in Seattle, WA - A Limited Edition bestseller for Red and Blue Records - THIS ALBUM IS AVAILABLE: BUY

1 Laura (Raksin, Mercer) 7.32 mp3

2 Don't Take your Love from Me (Nemo) 7.45

3 Band introduction 0.45

4 Night in Tunisia (Dizzy Gillespie) 9.47 mp3

5 Mack the Knife (Weill) 12.50

6 The House that Rouse Built (Jessica Williams) 8.30

7 El Salvador (Jessica Williams) 6.58

8 You're Drivin' me Crazy (W. Donaldson) 6.01

Total time- 60:30

A Limited Edition bestseller for Red and Blue Records - THIS ALBUM IS AVAILABLE: BUY

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itemSubject: Time To Burn Date: Sun, 6 Feb 2005 / Dear Jessica, I really have to tell you that your CD Time To Burn is my favorite now. I think it is one of the best of your performances that I know. I can't stop playing Laura again and again. Wonderful. And I admire your powerful left hand on Mack The Knife. I cannot identify how you are changing the sound on El Salvador. Did you put a piece of paper upon the strings?

I love this CD and I remember that late Friedrich Gulda, who played classical and jazz piano, said that sometimes it is exciting when a good rhythm group drives the piano player. Greetings from Old Europe, Horst ___, Luebeck, Germany

itemDate: Mon, 14 Feb 2005 / Dear Jessica, Speaking of thanks, I owe you thanks for your service, your gift of the'Time To Burn' CD which you added to my last order and, above all, for the hours I have listened, enraptured, to your music. I cannot seem to get enough of Virtual Miles. 'Prince of Darkness' enchants me; your counterpoint is fantastic, your use of stretto irresistible. Okay, my vocabulary may come from classical music but I'm sure you know what I mean. Based on Virtual Miles I think that you would compose wonderful large-scale works - concertos and symphonies - as Ellington did, for example, if you ever felt the need to do that.

Solo Piano Compositions has become another of my favorites. I can't help feeling that these are in some sense portraits or responses to the personalities as well as the music of the artists they are dedicated to, as Elgar's Enigma Variations were portraits of his friends.

As for Time to Burn: too many notes... Just kidding! They said that about Mozart, you know. Nothing can substitute for that musical conversation that takes place among the artists and with an audience. Well done. Happy Valentine's day. Regards, Ralph _____

itemLiner Notes for Time to Burn by Jessica Williams

Jessica Williams, piano; Dave Captein, bass; Mel Brown, drums Recorded in front of a live audience, direct to 2-track DAT, by Jim Wilke, at Jazz Alley in Seattle, Washington

I've always been ambivalent about 'live' recordings; they are often imbued with a sense of utter abandon and risk-taking that, more often than not, serves the ego of the artist and attempts to fill the (perceived) expectations of the audience. The more enthusiastic the audience becomes, the more the artist becomes an entertainer, and the risk-taking becomes showing off. The making of Music is never risk free, nor should it be. It's more a question of self-knowledge on the part of the artist. A secure and utterly directed player will not allow the distractions of playing for an audience to much affect the performance.

If I've learned anything in the last forty years of playing professionally, it's restraint, focus, and the'art of intent'. After learning this, it's important to just let myself have a party and BURN.

About drummer Mel Brown

An Oregon icon in jazz, drummer Mel Brown has been labeled the 'Gentleman of Jazz,' with a career spanning over 40 years. In recognition of his contributions to the cultural life of Oregon, Mel received the Governor's Arts Award in 2002.

Mel set out on a quest to become a great drummer in the seventh grade, practicing 19 hours a day, 6 days a week. His professional career began with a stint with Earl Grant. Mel went on to be a staff drummer for the Motown Music Corporation, recording and touring with groups including the Temptations, the Supremes, and Smokey Robinson. He subsequently spent ten years working with Diana Ross, Suzanne Somers, Connie Francis, Pat Boone,and others.

The jazz artists Mel has played with reads like a 'Who's Who' of jazz, including Gene Harris, George Benson, Teddy Edwards, Joey DeFrancesco, Bill Watrous, Leroy Vinnegar, and many more. For the past six years, Mel has led bands three nights a week--including the Mel Brown B-3 Organ Quartet on Thursdays-at Portland's Jimmy Mak's (listed by Downbeat as 'one of the world's top 100 places to hear jazz'). Mel has also been very involved in music education. His passion truly is in working with college and high school students. He has served on the Boards of Directors of the Portland Youth Philharmonic, Portland Music Association, and the Mt Hood Festival of Jazz. He also has served as an adjudicator in the U.S. and beyond, and has conducted various jazz workshops.

Mel has received many local awards, and his sextet received first place in the Hennessey Jazz Search in 1989. The City of Portland proclaimed June 22, 1989 Mel Brown Day in recognition of his achievements. When Mel received the Governor's Arts Award, David Hudson of the Regional Arts Culture council wrote:'Oregon is widely recognized for its rich jazz scene, and the enormous following supporting that genre. Mel Brown is largely responsible for this phenomenon.'

About bassist Dave Captein

Dave Captein is an accomplished performer on both bass guitar and string bass, having worked as a professional musician for over 20 years in the Pacific Northwest. He has appeared with such diverse artists as Mose Allison, Richie Cole, Tal Farlow, Art Lande, Red Holloway, The Bob Hope Show, Ernestine Anderson, Jack Sheldon, Marlena Shaw, Jeff Clayton, Paul McCandless, Larry Coryell, Andy Narell, Jerry Hahn, Dave Frishberg, Randy Brecker, Steve Million, Ron Miles, Rick Braun, Kenny Drew Jr., Jessica Williams (appearing on 4 of her CDs), and Joey DeFrancesco.

A music graduate of Western Washington University and the University of Washington, where he was awarded a composition scholarship, Dave has performed in a broad range of situations; from shows, studio work, nightclubs and concert tours to classical performances.

He is currently with the Tom Grant Band. He freelances in the Portland area, and is an active member of the music community there. He is always a popular choice for the region's bandleaders. He is also jazz bass instructor at the University of Oregon.

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