Rob Foster, shakuhachi flutes
Robert Foster integrates a wide range of interests and experiences into the music he performs and composes. A versatile woodwind performer, he honed his musical skills in Detroit, where he was immersed in the varied sounds that city is known for -- jazz , blues, Motown, funk, rock, and classical music. His recent explorations into the world of the shakuhachi (Japanese bamboo flute) have influenced his musical endeavors to encompass inclusive global/spiritual perspectives. His primary teacher is Michael “Chikuzen” Gould.
He has performed with jazz artists such as Ralph Alessi, Louis Bellson, Dave Brubeck, Michael Dease, Dizzy Gillespie, Wycliffe Gordon, Lalo, Art Lande, James Newton, Terrell Stafford, Clark Terry, and Rodney Whitaker, as well as with popular artists such as Joey Bishop, Albert Collins, Charlie Daniels, John Denver, The Four Tops, Crystal Gayle, The Ink Spots, Melissa Manchester, Maureen McGovern, Bob Newhart, Olivia Newton-John, Mitch Ryder, The Temptations, The Platters, and others.
Some Reviews:
“Foster’s How’s That (Hylozoic), a collection of band originals – mostly Foster’s – plus a send up of Roger Miller’s King of the Road, forces the listener to pay close attention just to see what might happen next . . . this music is not in the least a simple pastiche. The parts are all well integrated, as are the performers with each other.”
David Franklin, JazzTimes
“Rob Foster is a creatively edgy reed player who also doubles on an array of flutes. His sound on tenor reminds me quite a bit of post-New Thing players . . . like Benny Maupin and Billy Harper – a large chiseled tone and plenary style of phrasing. The music chosen for the date, mostly original compositions, seeks a similar styled break with tradition. Some of the tunes build off of cleverly articulated modal cores, open-ended and ideal for extended improvisation. Others place emphasis on tight, constantly shifting interactions. Then there’s the liberal use of humor . . . the band definitely favors the sort of music steeped in the premium of surprise.”
Derek Taylor, Cadence
“The 'How's That' CD is great . . . Fresh sounding and forward thinking.”
Jae Sinnett (drummer, composer, & radio personality)
“What a service Mr. Foster has done for jazz lovers young and old. This CD is a tasty departure from the stale, packaged stuff we hear again and again. Musical influences are evident, as this incredibly tight ensemble pays homage to the heritage of Coltrane, Dolphy, Mingus.....musical adventurers. The myriad styles on this CD are a tour of modern jazz, with a fun sense of style. A multi-course meal of some tasty musical substance. Lovers of jazz will enjoy this adventure! I sure did.”
Dr. Tom Gibson (trombonelessons.com)
For more on Rob Foster, visit his homepage here.
Kurt Ellenberger, piano
Kurt Ellenberger is a composer and jazz pianist whose work includes music for solo piano, voice and piano, orchestra, brass quintet, percussion, brass choir, mixed chamber ensembles, carillon, strings, and two concertos.
He has performed with Danny Gottlieb, Kenny Wheeler, Billy Eckstine, and Della Reese. He is a Challenge-A Records recording artist, and his first CD—Songs From Far West—was received enthusiastically by critics in Canada, Europe, and the United States. They have been unanimous in their praise, calling it a "tour de force," "an extraordinary CD," and "one of the major surprises of 1999." He has been hailed as "a gifted pianist who combines the lyricism of Bill Evans with the energy of Keith Jarrett in his playing."
He has been featured as composer and pianist on CBC Radio and NPR on a new CD for JP Morgan/Chase Bank entitled Modern Piano. He is a member of the Grand Valley New Music Ensemble whose recent recording of Steve Reich’s “Music for 18 Musicians” for Innova Records was the subject of a feature article in the New York Times as well as other favorable reviews in some of the nation’s most reputable publications including The New Yorker.
He is the author of a pedagogical text on jazz improvisation entitled “Materials and Concepts in Jazz Improvisation” (Assayer Publishing). In the area of music theory, he has a particular interest in the music of Paul Hindemith (an article entitled “Hin und Zurück: Hindemith Recycles in Ludus Tonalis” was published by the Alberta New Music Review (2001); an article entitled “From Chart to Reality” was published in the Jazz Education Journal in October, 2005.
He is an Associate Composer in the Canadian Music Centre as well as a member of ASCAP (American Society of Composers, Authors, and Publishers) who recently recognized Dr. Ellenberger's work as a composer by presenting him with an ASCAP Composition Award in 2009. His music has been performed throughout Canada, the United States, and Europe. His nocturne for ‘cello and piano entitled “After The Swans’ Song” was recorded by Clef Records as part of a compilation of new music by Canadian composers. The resultant recording, “Nine Visions,” was nominated for “Best Classical Recording” in Canada in 2003 by the Western Canadian Music Alliance.
For more on Kurt Ellenberger, visit his homepage here.
Ric Troll, percussion
Ric Troll is a composer, percussionist, and guitarist whose work reflects his interest in modern jazz and contemporary chamber music, as well as traditional folk/world music.
As a composer, his credits include the theme for the public radio program The Screening Room and the theme and incidental music for the American Public Radio presentation of Pulp Radio, a series of radio dramas that included the Nick Danger [Firesign Theater’s famous private detective character] episode Down Under Danger.
He has performed with Karl Berger, Dave Holland, Jack DeJohnette, John Abercrombie, Stu Martin, Frederic Rzewski, Kalaparusha Maurice McIntyre, and Bob Moses through his participation in the Creative Music Studio. He’s also shared the stage with Weather Report, Jimmy Forrest, Danny Heines, Eddie Russ, Eric Kloss, and Malcolm Goldstein.
His recording [with saxophonist Bob Hartig], “Eyes on Mars” was recommended by JazzReview as an “agile program of duets…conveying spacious musical environs… the artists’ successfully navigate variable frameworks, while remaining consistent and unquestionably focused throughout… ultimately, the musicians do indeed; render a vibe that could only emanate from the heart”. Cadence Magazine said the recording “forges a bond between free self-expression and rhythmic impetus…the duo communicates unerringly not only with each other, but with the listener”
For more on Ric Troll, visit his homepage here.
Bios
