1. Panorama Point • Brian BoothInspired by views of Capitol Reef National Park, this up-tempo samba features piano, trombone, saxophone and drum solos.

2. Aquarius Plateau • Kevin StoutThe Aquarius Plateau is the highest point in the Grand Staircase, the peak of which is visible for some 200 miles. A salsa smoker, with solos on bongo, bass, saxophone, piano and trombone. Dancing allowed.

3. Double Arch • Brian BoothA jazz waltz inspired by it’s namesake in Arches National Park. Solos on piano, sax, trombone and bass.

4. Color Country • Kevin StoutThe title track is an anthem for Southern Utah, featuring vocals by Jo Belle. Solos by trombone, piano, vocal scat, soprano sax, guitar and more trombone, this samba party features all of the “colors” in the group.

5. Weeping Rock • Kevin StoutThe spot in Zion Canyon where springs emerge directly from the canyon wall, near the Temple of Sinawava. A melancholy ballad, this also features Jo Belle’s sultry vocals, Brian’s soprano saxophone and Kevin’s sonourus trombone.

6. Grand Staircase • Brian BoothThe “Grand Staircase” of Southern Utah and Northern Arizona includes the Pink Cliffs, Vermillion Cliffs, White Cliffs and Grey Cliffs, arranged in “Giant Steps”, thus the inspiration for this tune in 6/4. Solos by trombone and sax.

The often-photographed geologic marvel that’s the signature attraction of the state’s Arches National Park led Brian to translate the geological characteristics of the site - a repeated form and upward and downward sweeps - to the structure of his appropriately-titled “Double Arch.” The exuberant jazz waltz that results is another Color Country highlight.

The funky and melodically catchy title tune, rhythmically based on the Brazilian samba, is another gem. If jazz were being played on the radio to any large degree today, this bracing track, featuring JoBelle’s sassy vocalese and Kevin’s samba school percussion trimmings, would top the charts.

Brian and Kevin have been partners in the frontline of a quintet since 2002. Color Country, their fourth album as co-leaders, continues to refine their sound. While based on the classic jazz quintets of the 1950s and ‘60s (the groups of Horace Silver and Art Blakey come quickly to mind), the combination of tenor sax and trombone has been

infrequently used over the decades. As these two stellar improvisers prove, it’s a formula that produces a sound that’s bold and meaty on one hand, svelte and balmy on the other. Their affinity for Afro-Cuban and Brazilian forms is also a group hallmark. Over half of the session’s tracks are framed by styles from the southern latitudes, and the ease with which Kevin, Brian and their cohorts slip in and out of these intricate idioms underscores how they all have mastered even the smallest of stylistic details.

By the end of this extraordinary set, lasting impressions include the melodic interest of the compositions, the inventiveness of the arrangements, and the improvisational skills of every quintet member. The tunes themselves, however, demand special attention. A joyous spirit, occasionally wistful mood, and overall uplifting vibe pervade the session. Even without vocals, the songs literally sing. They make Color Country a one-of-a-kind destination.

Mark HolstonA charter voting member of the Latin Academy of Recording Arts & Sciences (LARAS), Mark Holston writes about music for JAZZIZ and LATINO magazines and all.about.jazz.

7. Hoodoo Voodoo • Kevin StoutNamed for the brightly colored sandstone “Hoodoos” found in Bryce Canyon National Park, this Afro-Cuban “Abakuà” features solos by piano, trombone, sax and drums/percussion.

8. Anne of Coral Canyon • Brian BoothDedicated to Brian’s daughter who lives in the Coral Canyon subdivision of St. George, Utah, this haunting bossa nova includes solos by sax, trombone and piano.

9. Petroglyphs • Brian BoothStraight ahead Be-bop with solos by piano, sax, trombone, bass and fours with the drums.

10. Confluence • Kevin StoutFor Canyonlands National Park, this meandering blues depicts the joining of two rivers, the Green and the Colorado, to form the lifeblood of the Southwest. Solos by trombone, sax and piano.

11. San Rafael Swell • Kevin StoutThe mountain biking landmark west of Green River that showcases gigantic, rolling sandstone formations inspired this good-spirited romp. Solos by piano, sax, trombone and all!

12 Cataract Canyon • Brian BoothInaccessable except by raft, only those who possess some serious intestinal fortitude will ever see this canyon, with solid rock walls and insanely wicked rapids. Funky solos by sax, trombone, piano and a soli section!

13. San Rafael Swell Reprise • Kevin StoutPianist Joey Singer reminds of the rollicking fun we just had!

Composers have often tapped the fertile metaphoric possibilities that

come when a color is associated with a tune. Antonio Carlos Jobim teased

us with “The Red Blouse” while countryman Lô Borges envisioned a blue

train and penned “Trem Azul.” John Coltrane created his own vision

of a “Blue Train” while Thelonious Monk imagined “Green Chimneys.”

Argentine saxophonist Leandro “Gato” Barbieri explored the delicate hues

of blue rain on “Lluvia Azul” while Brazilian trumpeter Claudio Roditi

challenged our aesthetic sense with his boldly-titled “Red on Red.” Over

the decades, we’ve been treated to a rainbow of color references in song

that extends from “Orange Colored Sky,” “Yellow Days” and “Blue Moon”

to “On Green Dolphin Street” and “Red Sails in the Sunset.” Not satisfied

with the limitations of a monochromatic palette, Miles

Davis upped the ante with “Blue on Green.”

Perhaps never before, however, has the

influence of color in an unforced, truly organic

way been as central to the spirit of an entire

album of material as on Color Country. True,

not one of the session’s 13 tracks boasts

a specific color reference. That could have

been done, but the concept at play here

goes much deeper.

The session’s co-leaders, trombonist and

percussionist Kevin Stout and saxophonist

Brian Booth, found all the inspiration they

needed to create the program of all original works literally in their southern

Utah backyard. In the broadest sense, Color Country was conceived as a

loving tribute to the extravagant beauty of their home state’s five national

parks and the evocative character of the world class geological wonders that

dominate the region.

Their lifelong and highly personal interaction with this wonderland of nature

engendered a deep appreciation of the landscape and its complex textures.

The coral-colored buttes and mesas of the St. George area inspired Brian to

write “Anne of Coral Canyon,” a tribute to his daughter and one of the date’s

most engaging melodies. For his rhythmically churning “Hoodoo Voodoo,”

Kevin found the vibrant mixture of red, brown and orange tones that paint

Bryce Canyon National Park to be the perfect point of reference for the

arrangement’s explosion of Afro-Cuban rhythms.

It’s not color alone that provided the inspiration for some of the album’s

eclectic fare. Kevin’s “Weeping Rock,” the session’s only ballad, is a lovely,

melancholy-tinged theme that spotlights vivacious vocalist JoBelle, the

yearning tone of Brian’s soprano sax, some well-placed chords from Kevin’s

guitar and a sample of the contemplative side of his trombone style. Here,

as elsewhere on the session, pianist Joey Singer, bassist Tom Warrington and

drummer John Abraham, the album’s versatile rhythm team, display their

consummate, intuitive and fully-evolved musicianship at every turn.

COUNTRYCOLOR 1 Panorama Point Brian Booth 4:55

2 Aquarius Plateau Kevin Stout 4:47

3 Double Arch Brian Booth 7:08

4 Color Country Kevin Stout 5:16

5 Weeping Rock Kevin Stout 5:11

6 Grand Staircase Brian Booth 5:16

7 Hoodoo Voodoo Kevin Stout 7:40

8 Anne of Coral Canyon Brian Booth 7:23

9 Petroglyphs Brian Booth 5:15

10 Confluence Kevin Stout 6:16

11 San Rafael Swell Kevin Stout 5:41

12 Cataract Canyon Brian Booth 5:13

13 San Rafael Swell Reprise Kevin Stout 1:12

All selections ASCAP © 2014 by Up Jazz Creek Music, LLC

© 2014, Jazzed5 Records, LLC

Brian would like to thank Teriann Booth and Rick Low for

all of their support. Kevin would like to thank A, B, C, D, J and L.

Musicians canʼt eat if you steal their music! And itʼs also a crime, so donʼt do it!

Brian Booth: Saxophones & Flutes

Kevin Stout: Trombone, Guitar & Percussion

Joey Singer: Piano

Tom Warrington: Bass

John Abraham: Drums

JoBelle Yonely: Vocals

Addional vocals on track 4: Ron George

Produced by Kevin Stout

Executive Producer: Brian Booth

Engineered by Ron George

Recorded at UNLV Studios, Las Vegas NV

Mastered: Brad Wadsworth, Poll Sound

Cover Art: Linda Stout

Graphic Design: Joe Thomasula

Photography: Kevin Stout

Liner notes: Mark Holston

GOING FOR ADDS: March 23rd, 2015

Kevin Stout & Brian Booth

National Radio Campaign Promoter

KATE SMITH PROMOTIONSkatesmithpromotions.kate@gmail.com • www.katesmithpromotions.com • 814-482-0010