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Improvijazzation Nation issue #92
Some very pleasant original piano compositions from Jeff - he's joined
by Julian Bradford's bass & drums from Scott Senior. The
beauty of Jeff's tunes is that while they clearly express the "spirit"
of jazz (in all it's glory), they aren't (just) "thinking man's
jazz"... in other words, they vibrate with a clear passion for the
playing of music that is at times shaded in dark tones (he plays some
beautiful chords), but always resolves into the better qualities on the
human side of things. This is, in fact, one of the tightest trio
efforts I've heard (yet) this year... they never miss a beat together,
& (literally) shine on pieces like (my favorite) "'Nother Monkish
Thing" - each of the players had something clear to say on this one,
but it's definitely got the "circles within squares" quality that the
Monk name inspires... Jeff's chord work also serves a wonderful rhythm
counterpoint to both bass & drums on that track. If you're
looking for something a bit more playful, you'll like the title
track... just as solid rhythmically, but with a far deeper shade of
"introspective" to it. I'm very impressed with the talent
quotient on this album, & expect we will all be hearing much more
from Jeff & crew in the months & years to come. I give
this one a HIGHLY RECOMMENDED for all who love jazz with a trio flavor.
-- Rotcod Zzaj
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Jazzscene (Portland, OR) June 2009
Almost guaranteed that nobody in the Northwest thinks of Winnipeg as a
jazz hotbed, but that’s where pianist Preslaff has settled and made a
name for himself after spending time in New York with notables like
Benny Carter, Howard Levy and Bill Barron. With Julian Bradford on bass
and Scott Senior on drums, he makes an interesting modern jazz disc.
The compositions are often meditative, sometimes intense and
occasionally thick for a trio. But Preslaff is an impressive player,
using chords to lay an often darker mood, as on the title track, which
features an extended solo by Bradford as Senior lays behind the beat.
Senior, an accomplished conguero, brings polyrhythms to the trio,
rounding out the sound and often sounding like a drummer and a
percussionist rolled into one. His funky vibe on “‘Nother Monkish
Thing” gives the close harmonies of the head a nice bed of beats. If
this is what Winnipeg jazz is like, perhaps it’s time to venture to the
cold north for a listen.
-- Kyle O'Brien
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Borderland Magazine (UK) June 2009
The piano trio format has always been a very popular one throughout the
history of jazz, and it has been the launchpad for many musical stars.
And I think Red Goddess by the Jeff Presslaff Trio could be the calling
card for potentially a new one. The album consists of ten Presslaff
compositions, falling somewhere between mid-tempo, mellow and with a
hint of urban blues in there too, so ideal for late night listening or
perhaps the car stereo, or perhaps the iPod for more intimate listening.
The music on this CD is certainly intimate, closely recorded and
crystal clear so that you can study the playing, if inclined that way.
Along with the pianist, Julian Bradford is on acoustic bass and Scott
Senior on drums. The music on this album focuses on Presslaff's
adulthood experiences and contains evocative titles such as: Summer
Somewhere, Secrets, 2 Blue 2B, Having Met Ms Jones, Two Way Rays. Red
Goddess is certainly a very listenable album and it should appeal to
the piano fans.
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The Run-Off Groove #235 April 28, 2009
Red Goddess
Jeff Presslaff is a pianist that knows his music and his capabilities
inside and out, and yet knows that there is so much to explore that you
can never exhaust one's self if you look forward. Looking forward is
the name of the game on his album, Red Goddess (Uncontrollable), which
puts him in a trio setting with drummer Scott Senior and bassist Julian
Bradford. Some will say that when you put someone in a trio setting,
some kind of magic happens. Then again, listen to any extraordinary
jazz played by capable musicians and you will be able to see magic in
the flesh, and this is most certainly the case with this album.
Presslaff plays in a way that you can’t help but smile as you hear it,
and as he communicates with Bradford and Senior you can tell that
they’re smiling too.
-- John Hand
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Midwest Record April 9, 2009
JEFF PRESSLAFF TRIO/Red Goddess:
Absolutely right on jazz piano trio by a former New Yorker determined
to make a jazz scene in Canada. Solid date that covers several
modes and attitudes, anyone looking for a nice, solid mainstream date
that has some rough edges will find this to be a real find. Well
done.
-- Chris Spector
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dig! Magazine March/April 2009
Jeff Presslaff: Red Goddess
Written by: Steve Kirby
I've known Jeff Presslaff for six years, and I've heard him in many
different playing situations. I think with Red Goddess, we have my
favourite way to appreciate Presslaff's artistry: he's leading a piano
trio through a collection of his originals, and that gives us a chance
to really hear his musical personality.
Jeff is a multi-faceted musician who writes and arranges, and plays
both piano and trombone. In this recording, we get a good illustration
of his writing and his piano work. Jeff is joined by Julian Bradford,
an up-and-coming Winnipeg bass player with a great sound. Scott Senior,
who brings a lot of experience as a percussionist to the drum kit,
rounds out the trio. The three show a great deal of ease and musical
camaraderie as they move through unconventional and often soft-spoken
melodic constructions, while exploring quirky harmonic schemes. The
structures are open enough that the three players can really talk to
each other, and the conversation is engaging.
In red goddess, I hear echoes of The Bad Plus, another adventurous trio
who challenge the adequacy of the term jazz. If you're looking for an
Oscar Peterson, McCoy Tyner or Bud Powell sound, you're not going to
find it here. But if you're looking for intriguing, contemplative,
inquisitive trio music, this is a good bet.
Steve Kirby is the Director of Jazz Studies at the U of M.
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Winnipeg Free Press March 16, 2009
The Winnipeg Jazz Orchestra with Curtis Fuller
The only tune Fuller performed on that wasn't his own was the Kenny Dorham piece, Minor's
Holiday, which saw trombonist Jeff Presslaff play a beautiful solo that nearly matched the guest of
honour's work.
-- Chris Smith
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Uptown Magazine January 1, 2009
Red Goddess
Trombonist/pianist Jeff Presslaff moved here [Winnipeg] from the States
in 1997 and quickly became one of the more colourful additions to the
local jazz scene. On this Trio disc, Presslaff focuses on piano
compositions that span his adulthood, and relies on young bassist
Julian Bradford and former Duhks percussionist Scott Senior to push and
prod him into the effervescent sparks that shine from each of these
tunes, which are mainly deconstructed blues outings that rely on their
rhythmic hearts to maintain their structures. This won't be the easiest
jazz album you'll ever listen to, but if you meet its challenge it will
be satisfying, again and again.
— John Kendle
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Winnipeg Free Press December 13, 2008
JEFF PRESSLAFF TRIO
Red Goddess (Uncontrollable Records)
After over 25 years in the music industry, local trombone player and pianist Jeff
Presslaff is finally releasing his first piano trio recording. Joined by Julian Bradford
(bass) and Scott Senior (drums), Presslaff gets behind the piano for 10 original
compositions, some of which have their genesis nearly 20 years ago. The overall
mood of the CD is mid-tempo to mellow and meditative, with Presslaff setting the
pace and giving both Bradford and Senior significant freedom and solo space to
breathe life into the pieces. There are no piano pyrotechnics here or finger-popping
swing numbers, but Presslaff places a lot of emphasis on the composition of each
song. His influences can be heard throughout this CD, and they range from the
classic jazz artists Bill Evans (Red Goddess) and Monk ('Nother Monkish Thing), to
hints of Latin (Having Met Ms. Jones), and Middle Eastern (Summer Somewhere
One). The trio has only been playing together a short time, but they have already
planted a seed that will surely blossom given more opportunity and nurturing.
31/ 2 stars
-- Michael Wolch
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Uptown Magazine August 28, 2008
small girl
Big Banana
(small girl Records)
On her second album, Aliza Amihude's teamed up with
the likes of pianist/producer Jeff Presslaff, bassist Gilles Fournier
and drummers Daniel Roy and Kelly Marques to create an ironically
self-aware collection of not-quite-torch-songs featuring off-the-wall
lyrics set to impressively musical backing tracks. The cumulative
effect is not unlike a bizarro version of Sesame Street, as Amihude
sings about eating properly (I Love Me), herself and her tribulations
(Small Girl) and deconstructionist theory (The Perspring Song), among
other things. At times she sounds like a cross between Lene Lovich and
Nina Hagen, but she's never shrill nor overwrought and her ace band
provides just the right sense of dramatic timing.
— John Kendle
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Winnipeg Free Press October 11, 2008
WINNIPEG JAZZ ORCHESTRA / Steppin' Out (Independent)
ON its second release, the Winnipeg Jazz Orchestra (WJO) has decided to
tackle the Great American Songbook. With a cast of too many musicians
to list here, the big band swings through several numbers, including
Steppin’ Out With My Baby and What is This Thing Called Love,
both featuring vocalist Jennifer Hanson, and lies back into some gentle
ballads, such as Henry Mancini’s The Thought
Behind Your Smile and Cole Porter’s All of You. The playing
is tight, agile and full of energy, and many of the arrangements by
artistic director Richard Gillis and trumpeter Rick Boughton are
top-notch. Trombone player Jeff Presslaff gets in on the arranging
several times as well, and his three-part piece Oz Suite, which is
based on a few themes from the Wizard of Oz, is particularly engaging.
After 11 years the WJO has matured into a solid, confident big band.
-- Michael Wolch
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Winnipeg Free Press February 18, 2008
Concert Review
The [WJO] always plays a few numbers without the guest star, so they
continued with a tribute to the recently deceased Oscar Peterson, an
arrangement of Hymn to Freedom by the WJO's trombonist Jeff
Preslaff. This was one of the highlights of the afternoon, as
Preslaff captured the essence and quiet power of the classic song by
featuring a small combo playing in New Orleans style. It was a superb
and subtle performance.
-- Michael Wolch
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Style Manitoba Autumn 2007
PAPA MAMBO
Crooked Cha
(UNCONTROLLABLE RECORDS)
What a suave band this has become, playing Latin jazz of often
entrancing elegance. Rodrigo Munoz’s band is mobile in its writing and
arranging strengths, with trombonist/pianist Jeff Preslaff and the
leader contributing especially well to the songbook, and bassist Gilles
Fournier providing the band’s best chance yet at wider radio play with
“Gone,” a song caressed by guest vocalist Mira Black. The sound is
especially
rich in slower moments, more burnished than glossy thanks to the snug
horn charts for Preslaff, David Lawton and Ken Gold, and there are
glittering cameos – Gold’s fat baritone and darting soprano saxes, Will
Bonness’s wooly organ, Victor Lopez’s nimble playing of the fretted
Cuban tres.
-- Randal McIlroy
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JazzReview.com August 2007
Papa Mambo
CD Title: Crooked Cha
Year: 2007
Record Label: Uncontrollable Records
Style: Latin Jazz / Latin Funk
Led by conguero Rodrigo Munoz, Papa Mambo is an exciting Latin jazz
ensemble based in Winnipeg, Manitoba. The all original set on Crooked
Cha delivers an eclectic mix of authentic Latin rhythms, intricate
compositions and fiery improvisations.
The disc opener, “Blue Barron,” written by trombonist/pianist Jeff
Presslaff, combines a melancholic vibe over a lively shande groove.
Bassist Gilles Fournier plays a stand-out solo before the return of the
dark-shaded melody.
The mood quickly shifts gears on the funky “Bug A Lou,” followed by the
sensuous “Gone,” a cha cha cha featuring guest vocalist Mira Black and
vibraphonist Stefan Bauer. Other highlights include the melodic twists
and turns of the title track, and the lyrical “Amor Incondicional,” a
bolero featuring Presslaff and saxophonist Ken Gold.
The added presence of guitar, both American and Cuban styles, brings a
unique presence to parts of the session. “New Dirt,” features the
soaring electric guitar of Larry Roy, and “Convidame,” features the
wonderful tres playing of Victor Lopez who also handles the bongo
throughout the session.
Papa Mambo succeeds at bringing a forward-thinking approach to Latin
jazz while retaining the accessible qualities inherent in the
dance-oriented rhythms. Crooked Cha is a fascinating release by an
ensemble deserving of wider recognition.
-- John Barron
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Amanecer
Papa Mambo 2004
Winnipeg Afro-Latin jazz ensemble Papa Mambo gets under your skin with
a 10-track disc of infectious tunes released this week at the Winnipeg
Art Gallery's Jazz on the Rooftop. The music is a thinking person's
groove, a mix of the intelligent and the infectious, mostly from the
pens of Jeff Presslaff and Rodrigo Munoz. The title track, composed by
Presslaff and arranged by the pair, is a perfect example of how the
music appeals to the listener on many levels. Tee's Knees is an
intriguing piece...elements of fusion with the grooves, while the
closer, Pensando En Ti, is a tempo-shifting number that highlights the
good arranging and playing that pervades the album.
--Chris Smith, The Winnipeg Free Press
This is a great recording. If you don't have it yet, I recommend that you go out and buy it ..."
--Neal Culligan, 99.1 Cool FM
The return of Papa Mambo with Amanecer (Uncontrollable Records) is a
graceful thing. Much as he always wanted audiences dancing,
leader/percussionist Rodrigo Muñoz was always eager to show the
breadth of Latin-Jazz fusion beyond the irresistible drumming (he
started as a guitarist, which may help explain matters). Jeff Presslaff
is a valuable new lieutenant in the group, tripling on trombone,
keyboards and arrangements. Their joint composition, "New Monk" is a
stunner, with foot-fooling rhythmic cross-play, and sinuous soprano
saxophone from Ken Gold, who is on the money throughout. It's a shame
Carol Hutchinson sings only one song this time around, but "You've Been
Giving Me Ideas" is lovely compensation.
--Randal McIlroy, Style Manitoba Magazine
Papa Mambo Amanacer (Uncontrollable Records) Reviewer's Grade: A When
Rodrigo Munoz returned to Winnipeg following an eight-year sojourn in
Chile (his home and native land), he not only brought back his welcome
exuberance but also an even greater understanding of the intoxicating
Latin jazz and big band music that has been his muse since he was a
youngster studying classical guitar at the University of Manitoba.
Munoz is one of those musical polymaths capable of precise, gifted work
on a variety of instruments, but it is his understanding of the
interplay between rhythm and melody that gives Papa Mambo its vibe and
its soul. Similarly, trombonist Jeff Presslaff brings his knowledge of
brass to bear with expert execution. In the post-Buena Vista world,
novice ears may find it difficult to tell the imitators from the real
thing, but a run-through of this disc will turn listeners on to the
precise arrangements of Munoz and Presslaff, as well as the tremendous
percussive abilities of the likes of Scott Senior (now a Duhk) and
Victor Lopez. Implausible as it may seem, this group of expatriates
(from New York, Montreal and Venezuela, among other places) and locals
has made a welcome home for Afro-Latin music in the middle of the
Prairies. Long may they run.
— John Kendle Uptown Magazine
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Winnipeg Free Press June 28, 2004
Concert Review
Tribute to Charles Mingus
...Boogie Stop Shuffle provided a wild ending to the Mingus tribute
with the crack band put together by Presslaff, including his own
trombone, wailing through one of Mingus's best compositions.
--Chris Smith
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Winnipeg Free Press June 18th, 2003
Horns aplenty shine at tribute gig
Jazz / Chris Smith
4 stars out of 5
SO What, you say?
Well, Jeff Presslaff's arrangement of So What, a signature tune of
trumpeter Miles Davis, was the highlight of the tribute to the jazz
legend that opened the mainstage jazz shows Monday at the Jazz Winnipeg
Festival.
Musical director Presslaff, on piano, led a nine-piece band through 13
of the better-known tunes associated with Davis's acoustic heyday.
The four trumpeters -- Frank Burke, Dave Lawton, Richard Gillis and Bob
Van Den Broek -- took turns reprising classics like Bye Bye Blackbird,
Milestones, Round Midnight, If I Were a Bell, Blue in Green and the
lesser-known Vierd Blues.
Ken Gold on alto and tenor saxes and Greg Gatien on tenor filled the
roles played by Cannonball Adderley and John Coltrane in those famous
Miles' bands, while Gilles Fournier played bass and Kelly Marques
manned the drums.
Had this been a blowing contest - which it wasn't - Lawton would have
walked away the winner for his open trumpet solo on Seven Steps to
Heaven, a mix of great technique, lyricism and fire. But he would have
won just by a hair because all the trumpeters were in top form playing
some of the best-loved jazz tunes, ever.
If not everyone in the audience could name all the songs, they certainly recognized the tunes.
Frank Burke nearly blew his brains out on Vierd Blues with a fiery solo which proved one of the night's real crowd-pleasers.
As you'd expect, there was a lot of muted trumpet in a tribute to
Miles. Gillis was on the money with his rendition of Round Midnight and
Van Den Broek played a gentle muted solo on Circle.
Gold and Gatien both blew like crazy on material that was designed to showcase the saxophone as well as the boss's trumpet.
In any Miles band, the rhythm section played an integral role and
Fournier's bass playing was great, especially a tasty little reference
to longtime Miles' bassist Ron Carter during a long solo on Vierd
Blues. Marques was also excellent, fuelling the ensemble sound and
soloing.
However, it was the pianist who deserves credit for the success of the
show, for his excellent soloing and comping, but more so for his
arranging of the material; especially the show closer, So What, which
was rewritten to get in all four trumpets and showcased the great
ensemble work.
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Saxophone Journal Feb 2001
NORTH END SHUFFLE: Ken Gold And Special Grind
by Jim Mair
Ken Gold is a Canadian saxophonist that I have enjoyed listening to for quite a number of years.
Ken grew up in Montreal and attended Concordia and McGill Universities. In 1984 Ken moved
to Winnipeg, Manitoba to teach high school band. In 1994 Ken gave up his high school gig and
began to focus on performance. You can find Ken Gold today, living in Winnipeg and performing
on any given night of the week in a jazz or commercial setting. Ken also maintains a healthy private
studio of fine young saxophonists.
North End Shuffle was recorded in October 1998. Financing for this project came from a grant
allocated by Manitoba Film and Sound and from FACTOR-Foundation to Assist Canadian Talent
On Record. There are nine compositions that make up this disc. Ken's concept for the recording
was to encourage collaboration and creative involvement from all of the participants.
The CD begins with the title track composed by Ken Gold. Bassist Daniel Koulack sets up a catchy
groove and a harmonic progression vaguely reminiscent of Killer Joe. Gold overdubs a full sax section
to expose the melody and blows a well-paced tenor solo. Guitarist Tim Cummings offers a funky solo
tipping his hat at times to Wes Montgomery.
Pianist/trombonist Jeff Presslaff offers three originals to the date. 2 Blue 2 B initially has an ECM feel
to it and then leans towards shades of Miles Davis' mid-sixties combo. Ken delivers a strong, less is
more alto solo. Presslaff shines on piano. Stuff that Turkey is an altered 12 bar blues. Kelly Marques
lays down a New Orleans-esque street beat that is quite a bit faster than Andante. His drum solo work
is very inviting. Jeff Presslaff's third offering is entitled Last Word. This introspective ballad closes out
the disc showcasing Gold's smoky tenor sax and Presslaff's astute harmonic knowledge.
Tim Cummings shares his composition Whadda They Know. This is a very catchy funk tune with some
terrific comping by the composer. Jeff Presslaff plays a rhythmically impressive trombone solo that l
eaves you wanting more. Ken Gold plays a smoldering tenor solo. The horn line is quite hip, but played
a little on the polite side. I would love to hear this tune performed in a nightclub setting where the cats
could stretch.
The Zipper is a burning straight-ahead tune with some Coltrane harmonic movement. Ken's nimble
alto chops are prominent on this selection. Bassist Koulack, drummer Marques and pianist Presslaff
can all be heard to advantage. By way of extreme contrast, Dark Horse features Ken on Madras Flute,
Duduk and Ocarina. Jeff Presslaff performs on Conch Shell and trombone. A lot of different ethnic
influences make this cut a real winner. Speaking of winners, you are sure to enjoy Gold's reworking
or merging of James Brown's Cold Sweat with Charlie Parker's Moose the Mooche. He calls this one
Moose Sweat. The Chomsky Moan is another funky Ken Gold original that exhibits Ken's rich baritone
saxophone sound. This is an enjoyable debut recording by Ken Gold and Special Grind. You'll get a lot
of variety on this 53-minute disc.
Ken Gold has effectively amalgamated the cultural and musical diversity that Winnipeg, Manitoba is
known for. The Winnipeg music scene continues to be in great hands!
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