Stanley Cowell Trio Dancers IN Loved

A superb modern jazz pianist, Stanley Cowell is a highly regarded artist whose work often pushes the boundaries of forward-thinking hard bop without ever falling into completely avant-garde territory. Cowell played with Marion Brown, Max Roach, Bobby Hutcherson, Clifford Jordan, Harold Land, Sonny Rollins and Stan Getz. Cowell played with trumpeter Charles Moore and others in the Detroit Artist's Workshop Jazz Ensemble in 1965–66. In 1971, Cowell co-founded the record label Strata-East with trumpeter Charles Tolliver. The label would become one of the most successful Black-led, independent labels of its day. During the late 1980s, Cowell was part of a regular quartet led by J.J. Johnson.

A superb modern jazz pianist, Stanley Cowell is a highly regarded artist whose work often pushes the boundaries of forward-thinking hard bop without ever falling into completely avant-garde territory. Cowell played with Marion Brown, Max Roach, Bobby Hutcherson, Clifford Jordan, Harold Land, Sonny Rollins and Stan Getz. Cowell played with trumpeter Charles Moore and others in the Detroit Artist's Workshop Jazz Ensemble in 1965–66. In 1971, Cowell co-founded the record label Strata-East with trumpeter Charles Tolliver. The label would become one of the most successful Black-led, independent labels of its day. During the late 1980s, Cowell was part of a regular quartet led by J.J. Johnson.

Stanley Cowell Trio - Illusion Suite (1972) {ECM Japan POCJ-2793 rel 1999}
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© 1972, 1999 ECM Records | Japan Issue | POCJ-2793
Jazz / Post Bop / Hard Bop / Piano Trio

Six trio selections by the Stanley Cowell Trio, featuring Stanley Clarke on bass and Jimmy Hopps on skins. Elastic and flowing best describe the mellow "Maimoun"; Cowell's crisp keyboarding is determined and feisty, and Clarke's dark, moody bass solo consummates the excursion. Cowell and Clarke display amazing technique on "Ibn Mukhtarr Mustapha," and Hopps' impressionistic drumming is head clearing.

In the face of change, memory becomes precious. This is especially true for Maurice Ravel whose important source of creativity lies in evoking the memories of music from the past. In Ravel’s hand, these memories are delicately suspended between decadence and invention, between nostalgia and progressiveness. Such memories reside in the body, in the form of half-forgotten dances, to be simultaneously recalled and reinvented.