foremost I want to thank God for giving me the gift of music in t, my life has been forever enriched. Next, thank you to my lovely wife of rs, Barbara . . . you are truly an inspiration to me each day. Thank you to l, Benjamin and Elizabeth. You inspire me with your love and laughter. ernon P., Aunt Henry, Mema, Tea, and Sandra P., thank you for your love or me when I needed you throughout the years. Also, a big thanks to (Brother Abe) . . . your constant support and encouragement helped to this project.
d people who contributed to Family, thank you for giving me the best you id Braithwaite, my wise and talented engineer and friend . . . you have izons with your insight into the business of sound engineering. To my and Richards, Kirk Whalum, Ron Brown, Doc Powell, Peter White, Horace and Derrick Edmondson . . . your time and talents helped me to succeed.
ut to all my good friends and family members in Houston, Austin, Seattle, nd, San Diego, Dallas, Beaumont, Bakersfield, Memphis and Los Angeles. oo many to name, you know who you are and I appreciate all of you. d Marguerite Reeve, thank you for your ongoing spiritual leadership. not be complete without thanking my good friends Michael and Lia rie and Sherrie Warner (Gigi) . . . without your friendship, support and ce with the children, this project would have never been completed. do.
Donald Patterson celebrates family in his debut CD featuring jazz powerhouses Kirk Whalum, Peter White, Doc Powell and Ron Brown. Family compiles Patterson’s soulful original songs and notable cover tunes brought to new life by his tenor bass licks.
Available at: CDbaby.com • iTunes www.amazon.com
20% of CD net proceeds go to help needy families.
Jim Snidero Crossfire (Savant) The piano trio with a saxophonist is one of the most standard configurations in jazz. So when he opted to replace the piano with guitar in his group, saxophonist Jim Snidero was going against the grain. Now, it’s not like he was opting for sitar or zither, and the results are still well within the jazz tradition. But utilizing the guitar of Paul Bollenbeck has certainly opened things up for all the players in the group. Take the second cut, “Tranquility.” Snidero is prominently in front, while the rhythm section of Bollenbeck, bassist Paul Gill and drummer Billy Drummond gently provides backing. About halfway through, Snidero
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steps aside and Bollenbeck provides the focus for the easy-going tune. When Snidero does join in again, he’s taken the title even more to heart, his lines softly probing. “Vortex,” on the other hand, is a snappy tune, with Drummond keeping things moving from the start and Snidero zipping along atop the rhythms. In both cases, and throughout the disc, replacing the piano’s multiplicity of notes with a guitar provides more space for everyone. The result is a spacious and uncluttered disc, with each player having plenty of room in which to work and in which to listen to one another, giving the disc an intimate feel. While the rhythm section is mostly in the background, it’s support never wavers. Drummond’s sensitive drumming is inventive and subtle, as on his cymbal shadings on “Time After Time.” And while Snidero is usually out front, he never really seems to dominate the proceedings. —Ross Boissoneau
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