Although sometimes associated with jazz or smooth, Carol Duboc is really a more pop-oriented singer in the vein of Norah Jones.

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This release is something of a departure for the bold trumpet stylist. After the Latin-tinged dance-floor jams of THE SIDEWINDER (released about six months prior to this disc), Morgan turns somewhat reflective. The music is quieter, with a good deal of structural space and restrained, almost expressionistic playing.

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These three musicians live in the French speaking part of Switzerland but the trio played more than one hundred of times in Europe, in particular at international festivals such as: Jazz Off Colmar Festival 2005, Défense in Paris 2002, Tremplin Jazz of Avignon 2002, Kulturtage of Dortmund 2004 and Montreux Jazz Festival 2000. It also took part in Swiss tour "Diagonales" in January 2003. The also gave many concerts in Switzerland and took part in many radio broadcasts.

These three musicians live in the French speaking part of Switzerland but the trio played more than one hundred of times in Europe, in particular at international festivals such as: Jazz Off Colmar Festival 2005, Défense in Paris 2002, Tremplin Jazz of Avignon 2002, Kulturtage of Dortmund 2004 and Montreux Jazz Festival 2000. It also took part in Swiss tour "Diagonales" in January 2003. The also gave many concerts in Switzerland and took part in many radio broadcasts.

With a solid back-up such as the one provided by the threesome McGill, Stevens and Manning (usual partners in ceaseless jazz-rock album and projects), plus violinist extraordinaire Akihisa Tsuboy (KBB leader), the duo of Tim Drunheller and Rick Eddy could only have in mind a powerful A Triggering Myth album for this year 2006. And so they did: “The Remedy of Abstraction” is perhaps their most robust-sounding album to date. And that doesn’t not mean at all that they left behind their ideology of jazz-oriented prog full of finesse and exquisite craftsmanship: what it means is that this same exquisiteness portrays now an invigorated feel, a more energetic approach. That being said, the two keyboardists’ input stands as the ensemble’s main core, with the enthusiastic guests elaborating a continuing solid complementation for the basic harmonics and melodic lines. As always, the references to Happy The Man, Gilgamesh, and National Health are there, with added touches of mid-70s Return To Forever and Gentle Giant's academic side.

This collection is perhaps the most essential Ellington of all. The 1939 - 1941 Ellington ensemble was, arguably, the greatest of all Ellington bands, with Rex Stewart and Cootie Williams, followed by Ray Nance, on trumpets, THE trombone section of Juan Tizol, "Tricky Sam" Nanton & Lawrence Brown. Most important to the band, however, were the additions of the estimable Ben Webster on tenor sax, Jimmy Blanton on bass and Billy Strayhorn as Duke's composing and arranging partner.
Jimmy Blanton and Ben Webster transformed the Duke Ellington band. If the band was already the world's most sophisticated jazz ensemble, the addition of these two artists took it beyond mere sophistication, into a realm where style and art becomes indistinguishable.

Jimmy Blanton took the double bass out of its supportive background role into the forefront of the rhythm section, infecting the whole orchestra with an overpowering pulsating swing. No bass had ever had such a prominent, decisive role in any band, large or small. Ben Webster boasted one of the most instantly recognisable tenor saxophone sounds in the business: breathy, mellifluous, perpetually shaking with an impassioned romantic vibrato. He complemented the moody, velvety tone of Johnny Hodges' alto beautifully.

This collection is perhaps the most essential Ellington of all. The 1939 - 1941 Ellington ensemble was, arguably, the greatest of all Ellington bands, with Rex Stewart and Cootie Williams, followed by Ray Nance, on trumpets, THE trombone section of Juan Tizol, "Tricky Sam" Nanton & Lawrence Brown. Most important to the band, however, were the additions of the estimable Ben Webster on tenor sax, Jimmy Blanton on bass and Billy Strayhorn as Duke's composing and arranging partner.
Jimmy Blanton and Ben Webster transformed the Duke Ellington band. If the band was already the world's most sophisticated jazz ensemble, the addition of these two artists took it beyond mere sophistication, into a realm where style and art becomes indistinguishable.

Jimmy Blanton took the double bass out of its supportive background role into the forefront of the rhythm section, infecting the whole orchestra with an overpowering pulsating swing. No bass had ever had such a prominent, decisive role in any band, large or small. Ben Webster boasted one of the most instantly recognisable tenor saxophone sounds in the business: breathy, mellifluous, perpetually shaking with an impassioned romantic vibrato. He complemented the moody, velvety tone of Johnny Hodges' alto beautifully.

Quincy Jones's 1962 Brazilian jazz classic is back in print after many years, due no doubt to "Soul Bossa Nova"'s inclusion on the AUSTIN POWERS soundtrack. In addition to that show-stealer, BIG BAND BOSSA NOVA delivers Jones's takes on several samba classics, including "Desifinado" and the timeless classic, "One Note Samba." Jones teams up with Lalo Schiffrin on "Lalo Bossa Nova," and even takes on Charles Mingus's "Boogie Stop Shuffle." "A Taste of Honey" and on "On the Street Where You Live" are where Jones's talent for creative arranging really shines through.
Jones's attention to detail adds a subtlety to these recordings which makes them stand out as among the 1960s' best jazz records. BIG BAND BOSSA NOVA still holds its ground nearly some four decades later as a superlative recording.

Quincy Jones's 1962 Brazilian jazz classic is back in print after many years, due no doubt to "Soul Bossa Nova"'s inclusion on the AUSTIN POWERS soundtrack. In addition to that show-stealer, BIG BAND BOSSA NOVA delivers Jones's takes on several samba classics, including "Desifinado" and the timeless classic, "One Note Samba." Jones teams up with Lalo Schiffrin on "Lalo Bossa Nova," and even takes on Charles Mingus's "Boogie Stop Shuffle." "A Taste of Honey" and on "On the Street Where You Live" are where Jones's talent for creative arranging really shines through.
Jones's attention to detail adds a subtlety to these recordings which makes them stand out as among the 1960s' best jazz records. BIG BAND BOSSA NOVA still holds its ground nearly some four decades later as a superlative recording.