Cyrus Chestnut

Elegance and economy characterize Cyrus Chestnut's art. Chestnut's career was the one Kenny Kirkland could have had had Kirkland's fate been different. Chestnut (and Evans and Reed) represent the generation given way to with the passings of Mulgrew Miller and Cedar Walton. Chestnut is a keeper of the flame, a lyrical and expressive pianist who likes to use notes in sculpting songs. Midnight Melodies was recorded November 22 & 23, 2013 at New York City's Smoke Jazz Club as part of the club's "Smoke Sessions," an endeavor patterned after the brother NYC club, Smalls' "Smalls Live."

As with his previous effort, 2015's A Million Colors in Your Mind, pianist Cyrus Chestnut's second Highnote release, 2016's Natural Essence, finds him communing with two veteran artists for a deeply heartfelt and swinging session. Whereas last time Chestnut was joined by bassist David Williams and drummer Victor Lewis, here he has conscripted the talents of bassist Buster Williams and drummer Lenny White. Both Williams and White are industry icons with decades of playing experience and credits with such luminaries as Herbie Hancock, Freddie Hubbard, Art Blakey, Woody Shaw, Tony Williams, McCoy Tyner, and many others.

James Carter & Cyrus Chestnut - Duets (1995) {Atlantic Jazz ‎PRCD 6250}
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© 1995 Atlantic Jazz ‎| PRCD 6250
Jazz / Contemporary Jazz / Post Bop / Saxophone / Piano

Promo-only release. Picture sticker on front of jewel case. James Carter was born and raised in Detroit, Michigan. His musical education consisted of private studies with local bop scene veteran Donald Washington as well as tenures at the prestigious Blue Lake Fine Arts Camp. Carter first came to national attention touring with Wynton Marsalis while only 17. Since then, he has worked with Lester Bowie, Julius Hemphill, The Charles Mingus Big Band, The Lincoln Center Jazz Orchestra, and Kathleen Battle among many others.

James Carter, Cyrus Chestnut, Ali Jackson, Reginald Veal - Gold Sounds (2005) {Brown Brothers Recordings BBR-CD1}
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© 2005 Brown Brothers Recordings | BBR-CD1
Jazz / Post-Bop / Progressive Jazz

Given the glut of "String Quartet Tribute to So and So," "Electronic Tribute to Some Crappy Band," and "Pickin' on Whomever" "tributes," it's somewhat surprising that no one has tackled Pavement in a tribute album – not until now, at any rate. And even more surprising is that it's not one of those aforementioned knockoffs; it's a heavyweight jazz session with James Carter, Cyrus Chestnut, and Reginald Veal, three of jazz's finest players on their respective instruments (rounded out by the talented Ali Jackson on drums). You may be asking, "what the hell are a bunch of jazzbos doing playing Pavement tunes?" The short answer, "making a great album." Remember, underneath their slacker image and loose, lo-fi aesthetic, Pavement's best tunes were memorable and melodic with interesting (though sometimes ramshackle) arrangements.