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Back to Party's Over / Begun Kelly Rossum Party's Over / Begun - Liner Notes By Dr. Ron McCurdy The Players Kelly has assembled a troupe of very talented musicians to assist him with this project. In addition to Kelly on trumpet, Woody Witt presents a very respectable showing on the tenor saxophone while Ellen Lease provides a nice touch on piano. Michael O’Brien offers a steady foundation for the ensemble with his bass playing while Edgar Oliveira (also a former student of mine from the University of Minnesota) is steady and tasteful on drums. At a time when so many colleges, universities and conservatories are producing so many graduates each year, it becomes so difficult to find an original voice that will distinguish itself. This of course is the challenge all artists face, that is, to have their own distinctive voice. I am happy to report that Kelly and his colleagues present astonishing musical execution on this collection of original compositions. The Songs “Scatterlocgic” opens with a deliberate introduction followed by the lyrical trumpet statement. There is a nice contemporary groove underneath the very hip solos by Kelly and Woody. “The Witch” is reminiscent of the heads played by Freddie Hubbard on many of those Bluenote recordings. Kelly’s opening statement is followed by a pulsating and varied time signature that provides a bit of intrigue for the listener. This is also the first time we have an opportunity to sample the improvising of bassist Michael O’Brien. “Little Mary,” I was informed by Kelly, is a small lake in northern Minnesota. We know Minnesota to be the land of 10,000 lakes and they are all as beautiful as “Little Mary” suggests! This jazz waltz opens with Kelly’s lyrical harmon muted line that sets the stage for Michael’s tasteful bass solo. You get the sense that Little Mary is this tranquil place where family and friends gather. Where there is no stress or complexities of urban life. “Toxic Fruit” is a response to the very popular tunes of Herbie Hancock, “Watermelon Man” and “Cantaloupe Island”. Toxic Fruit begins with a soulful bass introduction provided by Michael, followed by the harmon muted trumpet in octaves with the tenor. This tune provides a vehicle for Woody to launch into his Brecker-like solo lines. Both Kelly and Michael explore improvisations until “Toxic Fruit” concludes with collective blowing by Kelly and Woody. “Sand Dunes” is built on an intricate ostinato pattern played by Ellen and Michael. The horns enter with an angular melody that grinds against this ostinato. The open form allows room for Kelly and Woody to “stretch.” Ellen delves into a free solo piano excursion in a very convincing fashion, reminiscent of McCoy Tyner. “Through the Fog” is Woody’s opportunity to demonstrate his talents as a soloist and composer. This is simply a beautiful melody and an unpredictable chord progression. We also have a chance to hear Michael’s arco technique on bass. “Lowlands” opens with a haunting rhythmic pattern in the piano followed by the lyrical trumpet of Kelly Rossum. Some of the melodic and rhythmic patterns remind me of Freddie Hubbard’s Red Clay on the CTI label of the 1970’s. Both Kelly and Ellen venture into melodic journeys that produce excitement for the listener. “Majestic, Mighty Monarch of the Air” is the name of an old 75rpm record player/radio. The tune is based on a “d minor” blues. It has the same flavor as Oliver Nelson’s classic recording of “Stolen Moments”. The progression provides a platform for both Kelly and Woody to take care of business! Kelly mentions that “A.M. Quiet” “was written as the sun was rising and should be listened to at peace.” This is evident by the pacing and deliberate manner of the opening statement. There is no hurry to get to the next section. Kelly finally gets to the melody performed once again on his harmon muted trumpet. This entire composition and performance suggests peace and tranquility! “Rush Hour,” as the title suggests, opens with a frantic line and frantic tempo. First there is a Stravinsky-like performance by Ellen. Her line is then mimicked by Kelly’s chromatic and sometimes angular solo. Woody joins in, and this avant-garde foray is complete. Sit back and be prepared to enjoy this special musical offering by Kelly Rossum. You are in for a treat! Dr. Ron McCurdy Professor of Music, University of Southern California IAJE President Return to Party's Over / Begun