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MP3 Jeff Luttrull - From Nothing: What Inclines a Man to Jazz?

Jazz-eclectic: hard bop, hip-hop, neo classical, pop, baroque blues and chant.

12 MP3 Songs in this album (61:11) !
Related styles: JAZZ: Modern Creative Jazz, JAZZ: Post-Bop

People who are interested in John Coltrane Wayne Shorter Freddie Hubbard should consider this download.

This is my first recording. As first recordings go, I am pleased with it. I owe the success of this record to the fantastic musicians who joined me on the project, all Southern California based virtuosos: Tom Buckner on saxes; Mitchel Forman on piano, Trey Henry on basses, Michael Barsimanto on drums, Mitch Holder on guitar and Virginia Kron on cello.

When I decided to do this album the “odd” tunes, and how I wanted to present them, came to me immediately. I love Glen Hansard and his film “Once”, hence “All the way down.” “St James Infirmary” is an ancient New Orleans 8 bar blues made famous by Louis Armstrong. I heard it as a Baroque fugue with C trumpet and cello. I love Bill Wither’s “Lovely Day” and wanted to do a new take that honored the beautiful, hopeful, happy vibe of the original. Done. “Qui nos fecit ex nihilio” is a baroque choral piece I heard on my favorite classical station KUSC. Upon hearing it I felt immediately it would make a great framework for a Coltrane-esque jazz treatment. “Jesus loves me” speaks for itself. I wanted to take this simple tune and explore the journey a bit. I am honored to have been helped in the arranging by the great Ray Ellis, multi-Grammy and Downbeat award winning arranger. One day I heard my thirteen year old son practicing his new piece for his piano lesson. Because it was new and difficult he was playing it very slowly. I got goose bumps as I heard the changes. The tune was “Meneut from Sonatine”. I knew immediately I would make the first 12 bars the basis of a jazz ballad and if you have heard the cut on this record, I think you’ll agree it is gorgeous. Mitchel Forman’s arranging skills were instrumental in making all of these tunes become reality. The more familiar jazz tunes are favorites of mine that have not been recorded often. A few have special sentimental meaning as favorites of my children as well. I used to play them (Polkadots, Up Jumped Spring) as they would go to sleep at night to the point that, for a while, they could not go to sleep without hearing my trumpet down the hall.

I grew up as an Army kid then Southern Cal surfer. Started playing piano very young but never got into music until starting alto sax in 4th grade. In 8th grade I got bored and switched to french horn but noticed that the trumpet players got all the great parts and attention. So in 9th grade I switched to trumpet and was first chair from then on. Early teachers were the great John Clayman as well as Glen Lutz. I started UCSB as a performance major in trumpet but shortly decided to pursue medicine. I transferred to another college and stopped playing music altogether at age 19 in 1975. At age 39 I decided to start playing trumpet again when my daughter Emily started piano at the age of 5. I credit Bob Karon of LA for re-teaching me how to play the trumpet. Help with jazz came principally from sax player Tom Buckner. Anything I understand and can do in jazz I credit to Tom.

In my dreams I would like to play like Freddie Hubbard. And Tomasz Stanko!

This album has a great story. I am now a practicing vitreoretinal surgeon (https://www.tradebit.com) One day a patient said, “I see that you play trumpet. I’d like to express my gratitude to you for what you’ve done for me by helping you make an album. I’m a producer.” He had never heard me play. At first I demurred. But a couple of months later I thought, “Why not? When would I ever get another opportunity to do something like this?” So I called him and the rest is, as they say, history. His name is Mark Craig and I am very grateful to him for all that he has done for me, the wonderful experience of making this record and all that I have learned and grown musically as the result. Thanks again, Mark!

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