SOLO VOYAGE Email Webmaster for Foreign Purchase webmaster@dennyzeitlin.com MaxJazz Catalog #: MXJ 213 Recorded 2004, Released 2005

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In May, 2005, MaxJazz released my second project for them: “Solo Voyage.” This CD consists of solo acoustic piano for half the album, with explorations of Monk’s “Bemsha Swing”, Shorter’s “Miyako,” my compositions “Cascade,” and “Quiet Now,” and a free improvisation. Monk and Shorter are, of course, incredible composers, and I hope my interpretations bring something new while remaining faithful to the spirit of the originals. Although “Cascade” has been in my solo repertoire for some time, this is the first recording. I have recorded “Quiet Now” twice since my original recording in 1965. I was extremely flattered that Bill Evans took such a liking to this piece that he recorded it at least nine times over his career and kept it in his nightly repertoire. It was a pleasure for me to extend and re-work “Quiet Now” for this project. “Walking, Prancing, Marching, Dancing” is a free improvisation, with no preconceived structure. As with any improvisation, I try to consciously stay out of the way of what is emerging. Unconsciously, part of what guides me is my wish for compositional integrity. I hope listeners feel they are taken on a journey that unfolds in a natural way.

“Solo Voyage” comprises the other half of the CD—a suite of jazz and songbook standards, originals, and free improvisation interludes that I created for one of my oldest and closest friends, Bill Young. Bill was a good drummer and an even better entrepreneur who presided over Chicago’s top commercial music production company for many decades, providing countless hours of work for Chicago musicians. He was also a fine father and husband, and a great friend of mine for over 50 years. Bill’s life was drawing to a close after a long and courageous battle with cancer. He was home on hospice care, and above all, wanted a peaceful, contemplative ending.

I wanted this music to aid reflection; to quietly inspire him; to perhaps offer something transcendent. Most of all, I wanted to ease his final journey, a solo voyage in the company of loving family and friends. The acoustic piano is at the core of the suite, with some synthesizer orchestration. On a Wednesday night, in the process of recording, I learned from Bill’s wife, Denise, that he had taken a turn for the worse. It was quite possible that he might not survive until my arrival in Chicago on Friday. I stayed up all night, finished the suite, and got the CD to FedEx on Thursday. It arrived Friday morning, and I learned that Bill had heard it and been touched by it before he slipped into the final coma in which I found him when I arrived that night. Although this music was an intensely personal good-by gift to a dear friend, I believe Bill would have felt good about sharing it.

Reviews:

Zeitlin's "Bemsha Swing" has less of Monk than a somewhat Tatumesque lightness and brightness, with the bubbling sense of fun that Tatum gave to his playing. This approach is of some consequence in Zeitlin's music, for even what could be termed somber pieces have an inner quality that simply does not bring you down. There is whimsy, a faraway look at things, but no desperate sadness. You may indeed hear the stuff of a wry grin, a philosophical shrug of acceptance, a bleak landscape that somehow manages to sparkle-all set in an enchanting exploration of some truly magical themes. In other words, the perfect measure of a solo album.

The Solo Voyage suite begins, of course, with "Prelude"-which is a piece of free improvisation. We are then taken into Brubeck's lovely "In Your Own Sweet Way"-but this time done in Zeitlin's own sweet way with a synth backing and a barely touched-upon melody.

Cahn's "I Should Care" is again given a synth backing to the piano, and the melody is given full attention. There are then four Zeitlin originals-with J. J. Johnson's "Lament" placed between-and a great deal of reflective improvisation.

Having written all that, I then (I didn't cheat) looked into the liner notes and see that Solo Voyage is Zeitlin's gift to a friend who was eventually to die of cancer. With a chum like Zeitlin, the friend must have certainly gone to heaven, perhaps even (and I mean no disrespect) with a wry smile on his face. One of the most satisfying records of this year and highly recommended."
Lawrence Brazier, JAZZ NOW

"Mention Denny Zeitlin and two associations most frequently come to mind. One, that he's a working psychiatrist; the other, that he wrote the enduring modern jazz ballad "Quiet Now," a longtime favorite of Bill Evans. Zeitlin, a superb, perennially evolving keyboard improviser and composer, has obviously come to terms with the double punch that his name evokes. "Quiet Now," debuted in 1966 and revisited by Zeitlin over the years, returns in an epic interpretation on Solo Voyage. That the tune still inspires the pianist to dig deeply into its lyrical core and extract new melodic jewels is testament to the sound architecture of the piece as well as it's maker's staunch instrumental prowess.

A peak performance, "Quiet Now" is surrounded by other examples of Zeitlin's creative power as a self-sufficient interpreter, including mesmerizing transformations of two compositions quite distinct in expressive sensibility and tempo: Thelonious Monk's propulsive "Bemsha Swing" and Wayne Shorter's haunting ballad "Miyako." The album's most ambitious moment ultimately belongs to "Solo Voyage," a stirring multipart memoriam that draws upon Zeitlin's synthesizer to add tonal color to his poetic acoustic piano work." JAZZTIMES

“...While managing to generate a world-class reputation as a pianist, he’s also maintained a second life as a practicing psychiatrist… his life choices clearly haven’t impeded his ability to maintain the kind or artistic growth and reputation of better-known pianists like Herbie Hancock, Brad Mehldau, and Keith Jarrett. Solo Voyage is another fine example of just how fully-formed and well-conceived Zeitlin’s music is…While not many things link Zeitlin to Keith Jarrett, one common aspect they share is the ability to pull song-like constructs out of the ether…Zeitlin is more focused, using his improvisations to act as thematic introductions or almost summary codas to composed pieces…Zeitlin embraces a complete view of the jazz tradition…He’s also not averse to embracing technology, using synthesizers…He may not release records as frequently as some players, but when he does, each one is invariably a significant event, and Solo Voyage is an engaging journey from start to finish.” - ALLABOUTJAZZ.COM

“Dazzling doctor Denny really goes it alone…heads off into a bunch of originals and covers that he brings something special to…Zeitlin shines in the spotlight well…always tasteful and tasty, every piano jazz fan ought to own a fixed media copy of this and play it often.” - MIDWEST RECORD RECAP

“…Homage is paid to bop legend Thelonious Monk via a beautiful reading of “Bemsha Swing” and it’s a fine example of Zeitlin’s phenomenal dexterity at the keyboard. Bemsha is followed by Wayne Shorter’s “Miyako” and Zeitlin’s own complex “Cascade”. At times, the listener will feel that the pianist is endowed with an extra hand or two. Zeitlin’s best known composition, is, no doubt, “Quiet Now.” Denny Zeitlin offers a wonderful thirteen-minute rendition on this CD. The centerpiece of the album is a half-hour suite in eight movements…beginning with a freeform movement and eventually featuring a Sammy Cahn hit from 1945. “I Should Care” is handled memorably on the synthesizer, and goes a long way to make Solo Voyage enjoyable to a wide audience.” - JAZZREVIEW.COM

“A brilliant pianist…long having his own approach to modern mainstream jazz, Denny Zeitlin performs solo on this disc, sometimes augmenting his piano with an atmospheric synthesizer…Zeitlin sounds creative throughout this fine project…This is an intriguing array of songs played by one of America’s finest pianists in a solo setting…” - ALL MUSIC GUIDE - JAZZ

“…Zeitlin is a mature stylist with a distinct voice…though he thrives in a trio setting, it’s rewarding to hear him on his own. Melody and line are his strong suits, often rendered at intimate dynamics. Wayne Shorter played his lovely “Miyako” for spaciness and mystery, but Zeitlin removes the tension and finds pretty notes, playing it lush and sensual…the solo pianist often uses layered bass chords, creating a floating propulsion. Just when you have him pegged as a rubato player, here comes a galloping bass line in strict meter, worthy of Lennie Tristano.” - JAZZIZ

"The sprightly Thelonious Monk tune, "Bemsha Swing," is the opener on this delightful voyage by pianist Denny Zeitlin in solo. His playing the 13 tunes is exactly what one familiar with Zeitlin would expect--exquisite, soulful interpretations of substantive compositions." - THE SKANNER