Tim Armacost Biography

TIM ARMACOST has led a life of constant motion. He has gathered knowledge andexperience around the globe, which forms the foundation of his passionate brand of jazz.After landing in New York in 1993, Armacost quickly established his presence as a leader,releasing his first two albums, “Fire” (Concord) and “Live at Smalls” (Double Time) to criticalacclaim. His hard hitting third release, “The Wishing Well,” (Double Time) announced thearrival of Armacost’s working unit, featuring Bruce Barth, Ray Drummond, and Billy Hart. Thegroup has completed six successful tours in Europe and Asia, working with sponsorsNorthwest Airlines, Marriott Hotels and Volkswagen, and followed up with an inspired secondrecording, “Brightly Dark.” (Satchmo Records). Armacost’s current release, “Rhythm andTransformation,” (ArtistShare 0064) features the quartet augmented by Ray Spiegel playingTabla, and the great Eddie Henderson on trumpet. Working with his quartet, the cooperativegroup Hornz in the Hood with fellow saxophonists Craig Handy and Ravi Coltrane, RayDrummond’s “Excursion Band,” and co-leading the Brooklyn Big Band with Craig Bailey,Armacost is now seriously in the mix.

Armacost's career is already distinguished by performance and recording credits alongsidethe likes of Al Foster, Jimmy Cobb, Kenny Barron, Tom Harrell, Billy Hart, Victor Lewis, Jeff“Tain” Watts, Peter Erskine, Ray Drummond, Roy Hargrove, Paquito D'Rivera, Claudio Roditi,Bruce Barth, Dave Kikoski, Don Friedman, Lonnie Plaxico, Robin Eubanks, CharlieShoemake, Pete Christlieb, Randy Brecker, Akira Tana, Valery Ponomarev, the MariaSchneider Orchestra, and the David Murray Big Band. He has toured throughout East andWest Europe, Japan, India, and the United States.

Armacost describes his early upbringing as a pendulum swing between his hometown of LosAngeles, Tokyo, and Washington D.C. He began his musical training on clarinet in Tokyo atthe age of eight. By sixteen he had switched to tenor saxophone, and was working in bigbands around Washington. The turning point into a jazz career came back in LA at eighteen,where Armacost met his two primary teachers, Bobby Bradford and Charlie Shoemake.Through them he learned the fundamentals of melody and harmony, and was exposed to thegiants of modern jazz, who would give shape to Armacost's early development. Among themwere: Sonny Rollins, Hank Mobley, John Coltrane, Charlie Parker, Ornette Coleman, FreddieHubbard, Tom Harrell, Sonny Stitt, Pete Christlieb, Harold Land, and Clifford Brown.

Armacost graduated Magna Cum Laude from Pomona College with a major in Asian Studiesin 1985. His restless spirit took him to Amsterdam later that year, where he establishedhimself on the jazz scene, attained fluency in Dutch, and became the head of the SweelinckConservatory's saxophone department. After gaining seven years worth of extensiveperforming, teaching, and recording experience in Europe, Armacost raised his stakes onceagain and headed for India. Having studied melody and harmony for twelve years, Armacostarrived in New Delhi with the goal of concentrating on rhythm. He had the good fortune tobecome a student of the tabla master Vijay Ateet. Under Mr. Ateet's guidance, Armacostexplored the rich rhythmic tradition of Hindustani classical music.

With the sponsorship of The United States Information Service, and the Delhi chapter of JazzIndia, Armacost performed frequently with Indian jazz and classical musicians. He returned toIndia to play at the Jazz Yatra, Bombay’s international jazz festival in 1998. Indian rhythmicconcepts continue to be a source of inspiration in Armacost's development as an improviser.As evidenced by his recently recorded pieces "The Tabla Master," “Indian News,” and “AfroPentameter,” Hindustani music has also profoundly influenced Armacost's compositional style.

Throughout twenty-five years of frequent traveling to Japan, Tim Armacost has developed adeep and special relationship with its people. He is a fluent speaker of Japanese, which hestudied as an exchange student at Waseda University, and is an active student of Japaneseculture and religion. His performances there have included such great musicians as Terumasaand Motohiko Hino, Fumio Karashima, Nobuyoshi Ino, Fumio Itabashi, Shingo Okudaira,Benisuke Sakai, Kiyoto Fujiwara, and Yutaka Shiina.

SELECTED DISCOGRAPHY

Tim Armacost

“Rhythm and Transformation” ArtistShare AS0064 Featuring Eddie Henderson, Billy Hart, Bruce Barth, Ugonna Okegwo, Ray Spiegel“Brightly Dark” Satchmo Records SJRCD 00055Featuring Bruce Barth, Ray Drummond, Billy Hart“The Wishing Well” Double Time Records DTRCD-163Featuring Bruce Barth, Ray Drummond, Billy Hart"Live At Smalls" Feat. Tom Harrell Double Time Records DTRCD-131 "Fire" Feat. Kenny Barron, Billy Hart Concord Records CCD-4697"I Mean You" Timeless Records CDSJP-282

Brooklyn Big Band Candid Records May 2007 release

“Live at Sweet Rhythm”

With Don Friedman

“Hot House” Chiaroscuro Records CRD 376

With Bill Moring’s Way Out East

“Way Out East” Feat. Jack Walrath, Steve Johns Apria Records

With Jim Donica

“Stepping Up” Apria RecordsFeat. Randy Brecker, Peter Erskine

With Intercontinental Jazz Trio

"Live at the Bimhuis" Via Records Via 9920402Feat. Joris Teepe, Shingo Okudaira

With Shingo Okudaira

"Kilifi" King Records KICJ-252"Maconde" King Records KICJ-292

With Steve Altenberg Via Records 992.020.2

"Dig Deep" Feat. Darrell Grant

With Shozo Okuda

"In New York" Fine Notes Records KS-9693 Feat. James Williams, Billy Drummond

With Ugetsu

"Live in Athens" Mons Records MR 874-779“There is Something on the Way” Mons Records MR 874-806“Live in Shanghai” Mons Records MR 874-303“Cape Town Blues” NAXOS Records 86052-2

With Christian Brun Pee Wee Records PW-007

"Brun in Brooklyn" - Feat. Dave Kikoski

With Rick Hollander Quartet

"Private Ear" Yvp Music YVP-0013"Out Here" Timeless Records CDSJP-309"Accidental Fortune" Concord Records CCD-4550"Once Upon a Time" Concord Records CCD-4666

With Klaus Ignatzek

"New Surprise" - Feat. Claudio Roditi Timeless Records CDSJP-324

With Hendrik Meurkens

"Sambahia" - Feat. Paquito D'Rivera Concord Picante CCD-4474

With David White

"All Stories Are True" - Feat.Valery Ponomarev Cadence Records CJR-1057"Object Relations" CIMP Records CIMP-0017“Double Double” Feat. George Garzone CIMP Records CIMP-0168

Friday, April 11, 2003

Jazz Etc. / Paul de Barros

Saxophonist Tim Armacost Has A Sound All His Own

One of the most persistent (and sometimes justified) criticisms of the neo-traditional jazz renaissance — and the academies that sustain it — is that all thehorn players sound alike.One younger player who doesn't fit the cookie-cutter mold is the distinctivesaxophonist Tim Armacost, who visits from New York at 8:45 and 10:30 tonightand tomorrow at Tula's ($15; 206-443-4221).Armacost entered the limelight in 1995 with his Concord Records debut, "Fire,"with pianist Kenny Barron and drummer Billy Hart, who also played on Armacost'slast two discs. Most saxophonists, following the model of John Coltrane, run upand down scales and arpeggios, carefully following the vertical patterns of asong's harmony, the more challenging the better.Armacost, by contrast, is more melodic, linear and unpredictable, much in thetradition of Joe Henderson and Stan Getz. With a big, soulful sound on tenor and awarm tone on soprano, the 40-year-old sax man plays gently away from thechords — what musicians call "outside" the harmony — but without ever soundingharsh or mechanical. Rhythmically, his playing is loose and fluid, as well. Mixing oddand even groupings of notes — without ever losing the feeling of swing —Armacost makes unexpected twists and turns, landing in unusual places.Armacost's sophistication may derive from his studies in India with tabla masterVijay Ateet, as well from a generally impressive range of travel and life experience.Born in Los Angeles, the sax man was raised in both Japan and Washington, D.C.At Pomona College, in Southern California, he studied with the great avant-gardetrumpet player Bobby Bradford, and graduated in 1985 with a degree in Asianstudies. He then moved to Amsterdam for seven years, where he became head ofthe saxophone department at Sweelinck Conservatory.Armacost speaks fluent Dutch and Japanese. And saxophone. His latest album,"Brightly Dark" (Satchmo Records), due for mid-month release, features darklymodal, throbbing pieces as well as blithely swinging editions of standards, such as"That Old Devil Moon" and "Love Letters," which you may remember from ElvisPresley's version.Armacost has lived in New York since 1993, where he has performed with theMaria Schneider Orchestra, the David Murray Big Band and Randy Brecker, amongothers. In Seattle, his band features his old friend Seattleite Chris Fagan (altosaxophone), John Hansen (piano), Russ Botten (bass) and Brian Kirk (drums).Along with Eric Alexander, Mark Turner and Chris Potter, Armacost is clearly one ofthe top new players introducing a subtly individual voice into the music. He'sdefinitely worth a listen.

Featured Artist: Tim Armacost

CD Title: Brightly Dark

Year: 2003

Record Label: Satchmo Jazz Records

Style: Straight-Ahead / Classic

Musicians: Tim Armacost (tenor & soprano sax), Bruce Barth

(piano), Ray Drummond (bass), Billy Hart (drums)

Review: It took two years to get this disc from the studio to the

stores, but it's well worth the wait. Saxophonist Tim Armacost

has been involved in a number of impressive projects since hecame on the scene a decade ago, but nothing any better than

this quartet, featuring pianist Bruce Barth, bassist Ray

Drummond and drummer Billy Hart.

The quartet was formed in 1998, and has toured the US, Europe

and Japan, keeping up an amazing performance pace as a unitconsidering the demand each member is in for other projects.

The result of all that road work, though, is a group absolutely in

command when the opportunity to occupy a studio arrives. The

seven tracks here, four by Armacost alongside three standards,

represent strait ahead jazz at its finest.

Armacost switches between tenor and soprano, and is equally

adept on either horn. If I had to pick, it would probably be thesoprano performances, like the opening number, Afro Pentameter,

and the title track, but only because it's so rare that we get to

hear someone so fully in command of the temperamental

instrument. Armacost's intonation and control of the sopranosaxophone may be paralleled somewhere, but is certainly

unsurpassed.

That takes nothing away from his skill with the tenor, though.

There's simply no element of the album that fails to satisfy.

Tracks: Afro Pentameter, May I Come In?, Old Devil Moon,

Children At Play, Brightly Dark, Love Letters, And Then There

Were Four

Record Label Website: http://www.satchmojazz.com

Artist's Website: http://www.timarmacost.com

Reviewed by: Shaun Dale

Copyright© 2003 JazzReview.com®. All Rights Reserved.

Wednesday June 14, 2000

Sax Man Tim Armacost, Undeservedly Unsung

Tenor saxophonist Tim Armacost, who performed at Blues AlleyMonday night, falls into that crowded jazz category Artist Deserving ofGreater Exposure. Not nearly as well known as some of his lessgifted peers, he wields his horn with harmonic assurance whileprojecting a full and urbane tone.What his repertoire lacks in flash it easily makes up for in sturdymelodies and plenty of harmonic and rhythmic finesse. His openingset featured a few tunes from his latest album, "The Wishing Well,"along with other pieces that were consistently enhanced by hisunruffled lyricism and smart, probing improvisations.As he moved from the swinging pulse of "Longhaired Girl" through afresh reprise of "Old Devil Moon" and the festive rhythms of "BlackSand Beach," Armacost never seemed at a loss for a felicitousphrase or thematic tangent to brighten the arrangements. Moreover,his sophisticated but uncluttered improvisations often inspired similarcontributions from pianist Bruce Barth, whose solos were marked bysharp contrasts in tone and texture, as melodic filigree gave way todashing single-note runs or clustered block chords.None of the performances, however, would have seemed nearly asgraceful without the inspired support of bassist Ray Drummond anddrummer Billy Hart. Their presence was felt in subtle and understatedways, with Drummond favoring a warmly muted tone and Hartdemonstrating exceptional brush work.

Mike JoyceThe Washington Post

The Wishing Well

Tim Armacost (Double-Time Records)

By Joel Roberts

A quick look at his bio, and a quick listen to his accomplished new

release on Double-Time Records, makes clear that 37-year-old

Tim Armacost is no run-of-the-mill tenor saxophonist. A well-travelled,

broadly educated New Yorker (via L.A., Washington, Tokyo,

Amsterdam and India), Armacost draws heavily on the Coltrane andRollins legacies, but has enough fresh musical ideas and sheer

instrumental muscle to avoid falling into the trap of mere hero

worship.

Armacost begins the proceedings here with a lush, leisurely stroll

through "Body and Soul," topped off with an extended, unaccompanied

solo that recalls both Coleman Hawkins' classic tone and Coltrane's

modernism. The album's centerpiece is an audacious and thrilling takeon Coltrane's "Crescent" that adroitly straddles the line between the

twin virtues of discipline and freedom. Armacost's own compositions

range from the beautiful title ballad (originally written for a friend's

wedding) to the full-tilt, Latin-tinged hard bop of the closing number,"Special Delivery."

Armacost and his stellar rhythm section - pianist Bruce Barth, bassist

Ray Drummond and the great drummer Billy Hart – were captured in

the midst of a European tour, and they're all at the top of their gamesand very much in sync. This is aggressive, daring modern jazz played

at a very high level by all involved.

Review of “The Wishing Well”

Tim Armacost is a youngish tenor saxophonist (over 35) building a solid NewYork based career for himself. He first came to my attention when we bothparticipated in the Carl Jefferson Memorial concert which was released onConcord Jazz. We have since jammed and done some gigs together. He has oneprevious recording on Concord as a leader [Fire] as well as another onDoubletime [Live at Smalls]. This recording was done in the midst of a Europeantour which allowed the band to truly gel and evolve the material.

The band is an exceptional group with which Armacost has been able towork on a regular basis for a while. On piano is the texturally sympathetic BruceBarth. He displays an excellent touch, an advanced rich harmonic concept andbuilds some fine solos. On bass is the great Ray Drummond whose solid time andtone supply the perfect springboard. He always picks notes that help the musicand offers a couple of melodic bass solos as well. At the heart of the group, isthe man whose name IS Hart, Billy Hart. One of the finest, most creativedrummers in all of jazz, his work here is involved, responsive and fiery. He isalways working to help shape the dynamics of the compositions and the solos.The recording was done in a studio but has a live "vibe" to it. All of the piecesare first takes and there are no edits.

The most striking feature of Tim Armacost's approach is his total lack ofpretension and willingness to sing in his own voice. At this point he has begun toestablish a solid vocabulary that is all his own. His influences are the ubiquitousSonny Rollins, Dexter Gordon, Sonny Stitt, some John Coltrane and a hint of JoeFarrell. He has clearly absorbed these influences and at no time resorts to mereimitation which sets him apart from many. His tone is dark and sinuous whileremaining crisp. He is also a serious student of Zen which he has studied inJapan. In India, he has spent time studying classical Indian music and rhythmswith tabla master Vijay Ateet. One of his earliest jazz teachers was the wellknown vibist Charlie Shoemake who helped him develop his harmonic vocabulary.These influences are all apparent in his music. I recently heard him perform inNew York with the same band except with Al Foster subbing for Billy Hart. He

has a way of getting into an almost meditative state and it is clear that he isinto a deep level of concentration. The interplay with Foster and Bruce Barthwas exceptional.

The compositions on the date are mostly Armacost originals and include thestandard “Body and Soul” with the Coltrane bridge and performed in 3/4 time.Coltrane's “The Wishing Well” and “Special Delivery.” His writing is quite goodand provides many opportunities for creative blowing. “Sustenance” is anuptempo burner with some nicely convoluted chord changes. “Black Sand Beach”is a sophisticated samba that has a complex sound masking the song's basicsimplicity. “The Wishing Well” is a gorgeous, nostalgic ballad with an angelicrubato intro from Barth. “Special Delivery” is an uptempo, boppish piece thatutilizes polyrhythms which is something of a trademark in Tim's compositions.Harmonically, Tim alternates some modulating II-Vs with modal sections whichgives the piece a nice contrast. He handles the fast tempo without any signs ofstrain. He has a facile technique that allows him to roam freely. When hedevelops the art of economy in his soloing, I feel that his vocabulary will becomeeven more potent.

The real centerpiece for me on the date is “Crescent.” Not many tenorsaxophonists can invade Coltrane territory and not stand in 'Trane's shadow. ToTim's credit, he is able to evoke the spirit of John Coltrane without sounding likehim, no easy task. The piece stays true to Coltrane's approach, opening withHart's expert mallet playing. The rubato statement of the melody is rapturousand appealing. When the band goes into tempo they are definitely into "thelope" which is the groove that the Coltrane Quartet innovated. The rhythmsection is really locked in and it's a mean groove. Tim's solo is building andreaching at all times and check out Barth's way of suspending time utilizingtextures and block chords. He has some unique things of his own to offer and isthe perfect foil for Tim's tenor. Hart and Drummond keep the pulse "undulating"and Ray takes a formidable solo. A very impressive, climactic performance.

If you like your music original, uncompromised, melodic and rhythmicallyadvanced, then, by all means, get this CD. My early impressions of Tim Armacostas an original, searching improviser and extremely capable fat toned saxophonistare reinforced by this release which documents him as having grown a great dealand establishes him as a leader capable of leading a strong, experienced groupof like minded individuals. This is not a "concept" recording but a genuineperformance document sans audience. It takes a working band and a confidentplayer who knows who he is to pull this off. We will be hearing more from him.

Mel Martin

JazzImprov pg 2

Review of “The Wishing Well”

In this romping follow-up to “Live at Small's “(Double-Time), NewYork-based tenorist Tim Armacost broadens his palette to includeinflections from Coltrane as well as Rollins. If one listens carefully, therealso are echoes of the warm-toned tenor masters of the 1940's, ColemanHawkins, Ben Webster and Gene Ammons. Indeed, Armacost is a modernromantic whose heart-on-sleeve declamations pulse with raw emotion.

As for Coltrane, Armacost's vibrant refurbishing of "Body and Soul"plays off harmonic and rhythmic contours first mapped by the tenor titanon “Coltrane's Sound.” There's also a bracing run-down of "Crescent" inwhich Armacost's fiery tenor explodes out of rhythmic infernos stoked bypianist Bruce Barth, bassist Ray Drummond and drummer Billy Hart. At thesame time, one hears rhythmic displacements a la Rollins.

Armacost's originals also merit mention. "Sustenance" opens with afont of rubato cascades that coalesce into a sunny, up tempo groove."Black Sand Beach" is a brightly paced samba whose audacious harmonicskein stirs provocative solos from the leader as well as Barth and Hart.The title track is an intimate ballad, while the energizing "Special Delivery”struts with a raffishly bop-tinged Latin gait.

Fusing inside and outside tendencies, Armacost's wonderfulquartet, caught here in Holland in the midst of a European tour, plays withpassion and a discipline allowing for far-reaching freedoms.

Bruce Barth Biography

Since moving to New York in 1988, Bruce Barth has distinguished himself as anoriginal and compelling pianist, and as a formidable composer and arranger aswell. His subtle touch, strong rhythmic concept, and interesting harmonies are allpart of a warm personal approach to the piano that can best be heard on hislatest recording, “East and West,” out on MaxJazz Records.

Within a few months of moving to town, Barth hooked up with many talentedyoung musicians, playing jam sessions most days. Within his first year and ahalf, he recorded and toured Europe with Vincent Herring’s quintet, and touredJapan with Nat Adderly. Soon after, he worked briefly with Stanley Turrentine.

In 1990, Bruce joined Terence Blanchard’s quintet, touring and recordingextensively with the band over the next four years. He appears on five ofBlanchard’s CDs, and several film scores, including “Malcolm X.”

In 1993, Barth released his first CD as a leader, “In Focus,” on the Enja label, and“Morning Call” followed in 1995. Both CDs made the New York Times top-10 list,with “Morning Call” receiving Billboard and CD Reviews honors as well. Bothrecordings feature Barth’s original compositions and distinctive arrangements ofseveral standards in quintet and trio settings. “Don’t Blame Me” is his first all-trioouting, and he also recorded a live quartet record for 1998 release.

Barth has been performing with his own groups while continuing to freelance withjazz’s finest musicians. As leader he has played most of the major jazz cities inthe U.S. and recently performed with his own groups in London, Paris, Lisbon, andBarcelona. His New York engagements as leader include Sweet Basil, Bradley’sand Visiones.

Barth has had the opportunity to work with such musicians as Gil Evans, FreddieHubbard, Art Farmer, Slide Hampton, James Moody and George Russell. He hasalso performed with the Mingus Big Band, Tom Harrell, Branford Marsalis, RoyHargrove, David Sanchez, Kevin Mahogany, John Patitucci, Josh Redman, andDave Stryker, and can be heard on more than twenty-five CDs as a sideman.

Originally from Pasadena California, Barth moved to Harrison, New York at theage of 10. He started playing piano at age six, and fell in love with jazz as ateenager. He later studied privately with Norman Simmons and then with JakiByard and Fred Hersch at the New England Conservatory in Boston. After anactive few years in the city’s jazz scene, he returned to New York, settling inBrooklyn. Grateful for the many experiences he’s had as a jazz musician, Barth isdetermined to continue developing as a player and composer in order to find hispersonal voice more deeply.

Ray Drummond Biography

Ray Drummond was born in Massachusetts but later relocated toCalifornia. He played various horns in school before being persuadedby his band director to try the bass. He developed a strong taste forjazz at an early age and essentially taught himself listening to themusic of jazz masters.

While he was in the San Francisco area he worked with BobbyHutcherson, Michael White, Martha Young (Lester's niece), TomHarrell, and Eddie Marshall. He moved to New York where he quicklybecame a first-call bassist. His persuasive playing with its solidrhythmic and harmonic innovation has enriched the bands of so manyjazz notables including the Thad Jones-Mel Lewis Jazz Orchestra,Wynton Marsalis, Betty Carter, Woody Shaw, Hank Jones, MiltJackson, Jon Faddis, Johnny Griffin, Kenny Barron, Pharoah Sanders,and George Coleman.

Additionally, he has had the opportunity to work on over two hundredrecordings, with a diverse number of artists including Art Farmer,David Murray, Houston Person, Stan Getz, Kenny Burrell and RayBryant. He has recorded seven projects under his own name, three asa co-leader, and has continued to be in demand as a producer.

He has innumerable teaching credits beginning in 1975 as a facultymember in the Music Department of Monterey Peninsula College inMonterey, California. He has continued to conduct master classes,seminars, and workshops all over the world including the StanfordJazz Workshop, the Berklee School of Music, the UniversityMassachusetts, and the Sibelius Academy of Music in Helsinki,Finland, just to name a few.

Billy Hart Biography

Billy Hart has a penchant for finding an idiomatic tone to suit any functionwithout cliche, and the ability to play the trap drums across the entirespectrum of contemporary improvisation with authority, sensitivity andinvention, earning him first-call status for a wide array of live gigs andrecordings. To wit: Between 1962 and 1980 Hart served lengthy tours ofduty with Jimmy Smith, Wes Montgomery, Eddie Harris, Pharaoh Sanders,Herbie Hancock’s Mwandishi band, McCoy Tyner, Stan Getz; a partial list ofcredits during the pas twenty years includes the large and small ensemblesof Frank Foster, Gerry Mulligan and Clark Terry, with Mingus Dynasty, thecollective group Quest and the working bands of diverse progressiveimprovisors like James Newton, Joe Lovano, Tom Harrell and Charles Lloyd.

William W. (Jabali) Hart, born November 29, 1940, grew up with the ethosof versatility in a Washington, D.C. abrim with music. He studied somepiano as a child, and took up drums in a local drum-and-bugle corps ataround 11. “Being from a Black community,” he recalls, “when you playedin a drum corps, right away it had to swing. Instead of having a book ofSousa marches, these cadences, as they were called, were passed down tome from the elders who had been in the corps before me - and they all hadthis kind of swing. When rehearsals started, the kids came out and beganto dance behind this marching band stuff; I immediately began to relate tothe drums like that.” Soon he had a drum set, and at 15 years old, “whenall I knew how to play was these marching rhythms,” he met Buck Hill, wholived next door to his grandmother. “Just by fate I happened to meet him.He saw me with my drumsticks in my pocket, and he handed me two 78rpm Charlie Parker records. They comsumed me immediately.”

This bio is excerpted from the liner notes, by Ted Panken, from Hart’s most recent recordingas a leader, “Oceans of Time.”