SIDEMEN

SIDEMEN

Joining leaders Peter Welker and Todd Tribble are; Cliff Hugo (bass player with Supertramp for 20 years), Morris Acevedo (guitar player who received his Master’s degree from the Berklee College of Music) and Steve Steinberg (saxophonist with many bigger name artists including Natalie Cole). The keyboard chair was covered by a rotating group of wonderful players including Frank Martin, who has toured and recorded with Sting, Mariah Carey & Whitney Houston, and Ruben Valtierra, who has been “Weird” Al Yankovic’s music director for the last 25 years.

Joining these SIDEMEN are

Bill Champlin (Chicago), Tony Levin (Peter Gabriel / King Crimson), Pete Levin (Miles Davis / Bob Dylan), Tom Scott (L.A. Express), Steve Morse (Deep Purple / Dixie Dregs), David K. Mathews (Tower Of Power / Santana) and Chris Smith (leader of the Jefferson Starship).

To capture this magic, the band asked another multi-Grammy winning engineer Jim Stern to engineer the process…of which, during his 20 years of being the V.P. of Fantasy, he recorded more than 50 albums for these giants of jazz: Cannonball Adderley, McCoy Tyner, Sonny Rollins, Freddie Hubbard, Bill Evans, George Duke, Art Blakey, Duke Ellington, Woody Herman and many more, including 15 albums for Van Morrison.

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Peter Welker, flugelhorn & piano / Morris Acevedo, guitar   Cliff Hugo, electric bass / Todd Tribble, drums & percussion / Steve Steinberg, tenor saxophone

Bill Champlin, vocals* & B-3 organ (3); Ruben Valtierra, B-3 organ (2, 4, 6, 11); Chris Smith, B-3 organ (9); Steve Carter, keyboards (5, 8); Frank Martin, keyboards (1); David K. Mathews, piano (7)

Tony Levin, acoustic bass (10)

Matthew Compagno, trumpet (1, 3, 7); Ella Steinberg, trumpet & flugelhorn (1, 8, 9); Niel Levonius, trumpet (3)

Nicholas Tribble, alto saxophone (3, 4, 6, 8); David Schrader, alto saxophone (11); Tom Scott, tenor saxophone (3, 5, 8); Greg Johnson, tenor saxophone (7); Rob Sudduth, tenor saxophone (3, 7); Robby Elfman, baritone saxophone (1, 3, 5, 7); Matt Eakle, flute (6, 11)

Steve Morse, guitar (9); Pete Levin, clavinet & string synth (3, 8, 11)

All Arrangements by Peter Welker

REVIEW:

Remember that hit by David Frishberg “I Want To Be A Sideman”? Well trumpeter/pianist/arranger/composer Peter Welker and fellow leader Todd Tribble had and have that gig, along with all of the guys on this rock steady swinger of an album. You’ve heard the likes of the guys accompanying this album, like Bill Champlin/voc-B3 (who had his own hot group, The Sons of Champlin), Tom Scott/ts (for years with Brian Auger’s Oblivion Express), King Crimson bassist Tony Levin as well as Ruben Valtierra/B3, Morris Acevedo/g, Steve Steinberg/ts and a host of others. Weler and Tribble mix and match the bands in size and mood, and the result is like turning your dial on the coolest Sirius station you’ve ever subscribed to.

It sounds like a smoking night at the B aked Potato with some soul stirring on “Plugged In” with deep grooves and soloing by Steinberg and Martin, and you’re just waiting for Joe Tex to jump on stage for a funky “Rippin and Runnin’. Champlin sounds like he’s with his old band on the finger snap ping “You’re Gonna Let In Happen” while the team gets swampy over Cluff Hugo’s bass line on “ A Little Pepper.” Suave and mellow bop has Greg Johnson’s tenor blowing smoke rings on “Creepin’ Up” and the band taps into its inner Ambrosia for “Sadie’s Song”. Welker and Levin get into a deep read of the kind of blue classic “Blue In Green” and the timbales fly as Valtierra, Steinberg and flutist Matt Eakle slither around “Cielo Azul”. Each song makes you wish there were lyrics so you could sing along, they’d even make YOU sound good!

-George Harris for Jazz Weekly

REVIEW:

Musician-composer Peter Welker has had quite the career over the course of his adult life.  His resume includes work with the likes of Al Jarreau, The Pointer Sisters, Buddy Miles, and even Bob Dylan and Jerry Garcia.  His work with those famed musicians makes up only a portion of the noted expansive resume. He added even more to that resume last month with the release of his latest project, Sidemen.  Released Aug. 6 through Summit Records, the 11-song record features guest appearances from Tony Levin, Pete Levin, Tom Scott, Bill Champlin, and Steve Morse and features an interesting mix of originals and covers.  Among the most notable of the record’s featured originals is the record’s only work with vocals, ‘You’re Gonna Let It Happen.’  This song will be discussed shortly.  ‘Creepin’ Up’ is another of the record’s notable originals and will be examined a little later.  The cover of Jimi Hendrix’s ‘Third Stone From The Sun’ is the most notable of the record’s covers.  It will also be discussed later.  All three songs show in their own way how much the record has to offer.  When they are considered along with the rest of the featured compositions, the whole makes the record another successful offering from Welker.

Peter Welker’s latest studio recording as a band leader, Sidemen, is a presentation that will appeal to a wide range of audiences; this despite it being released through a label that is largely known for handling jazz records.  The record succeeds through its blend of originals and covers.  Among the most notable of the record’s originals is its only track that features vocals, ‘You’re Gonna Let It Happen.’  Co-written by Welker and Bill Champlin, the song’s lyrical content features a relatively familiar topic that is accessible in its own right.  It is a song sung by a man who is determined to get a woman to emotionally let him in and accept him in general, no matter how long it takes and what it takes.  He is determined to find out what will appeal to her so that she will like him.  It makes the song one of those works that would be a good fit in any relationship’s formative days.  It is just one part of what makes the song work, too.  The composition’s musical arrangement builds on the appeal formed by the song’s fully accessible lyrical theme to make the song that much more engaging and entertaining.

The musical arrangement featured in this song, is a relaxed but funky composition.  The use of the horns — including saxophonist Tom Scott’s solo – alongside the steady, solid time keeping from Todd Tribble and musical spice from organist Bill Champlin makes the arrangement so fun.  Not only does Champlin handle the B-3 organ here, but he also handles vocal duties.  His dirty, gritty vocals are so rich in their presentation, adding even more to the presentation, especially when he hits those high notes.  The collective of all involved along with them makes this song’s musical arrangement fully immersive and entertaining.  It is just one of the songs that makes the album so fun, too.  ‘Creepin’ Up’ is another notable original featured in this album.

‘Creepin’ Up’ stands out because its arrangement, is an interesting balance of old and new.  The song’s opening bars come across as a sort of throw back to the fusion sounds of Weather Report.  That sound lasts only a brief moment, though.  From there, Greg Johnson’s work on saxophone and the work of his fellow horn players conjures thoughts of the jazz sounds that were so popular in the 80s.  Meanwhile, David K. Matthews’ work on piano gives the song a lighter touch, making it a little more widely accessible as he breaks through the jazz subgenre boundaries.  His work along with that of Tribble on the drums and that of the rest of the collective makes this song so unique against its counterparts.  The whole becomes a surprisingly infectious work that is so smooth and light at the same time.  It is just a wonderful addition to the album that further exhibits what makes the album so engaging and entertaining.  It is yet another example of the album’s strengths.  The cover of Jimi Hendrix’s ‘Third Stone From The Sun’ is the most notable of the record’s featured covers.

Steve Morse’s work on guitar in ‘Third Stone From The Sun’ would make Jimi himself just as proud (if he were still with us today) as it will certainly his legions of fans worldwide.  That includes both his solo and his work alongside his fellow musicians in this case.  The light, bluesy sound and the production therein makes his work so rich.  Tribble’s work on the drums is just as impressive as that of Billy Cox and Mitch Mitchell.  He remains solid throughout the song as he adds little fills and flares at all of the right points.  Meanwhile Cliff Hugo’s work on bass works just as well in coordination with that of his fellow musicians.  When the horns come into play and join the trio, the group in whole creates a take on this classic Hendrix composition that is just as enjoyable as its source material if not better.  When this composition is considered along with the other songs examined here and with the rest of the album’s works, the entirety of that material makes Sidemen a fully immersive musical experience that audiences across the musical universe will enjoy.

Peter Welker’s new project, Sidemen is an impressive new offering from the veteran musician/composer.  That is evidenced from beginning to end of the hour-long presentation.  The arrangements that make up the record’s body make that clear.  They span musical genres and fully immerse audiences in each case.  The songs examined here do well to support the noted statements.  When they are considered with the rest of the album’s works, the whole makes Sidemen one of the best of this year’s new overall albums, at least in the ears and mind of this critic.

-Phil’s Picks

REVIEW:

The musicians play Musical Chairs during this production.  Various ‘cats’ are featured on different arrangements, with the long and varied list noted above.  Other’s pop in and out as special guests.  The “Sidemen” group opens with a number composed by Peter Welker called “Plugged In” with Steve Steinberg on tenor saxophone introducing us to the hypnotic melody that is begging for lyrics.  Frank Martin is on keyboards and offers us a delightful solo.  Composer, Peter Welker, is also a trumpeter, pianist and arranger.  His first six albums as a bandleader were straight-ahead jazz.  But this album shows his wide range of musical interests, including funk, R&B, soul and Latin.  After all, his credentials include working with or recording with Cold Blood, Jerry Garcia, Van Morrison, Santana, Huey Lewis and Dr. John among others.

“I did all of the arranging and wrote or co-composed seven originals.  We used many guest artists (seven of whom are multi-Grammy winners) who are friends and really love our concept.  There are twenty-four musicians on this recording.  Each tune has its own personality,” Peter Welker explained his concept for the “Sideman” album.

Tom Scott’s emotional delivery on the familiar jazz standard “Save Your Love for Me” is poignant and memorable.  Morris Acevedo also shines on his solo during this arrangement.  The ensemble puts a Latin beat behind Welker’s tune, “Cielo Azul” with Ruben Valtierra on piano and Matt Eakle adding brightness of his flute.  I enjoy the horn harmonics that appear here and there, giving a nod to big band beauty.  For example, on the group’s arrangement of the Jimi Hendrix tune “Third Stone from the Sun,” I enjoyed Todd Tribble showing off his rock drumming techniques.  The drummer shines in the spotlight.  Steve Morse is also outstanding on his guitar solo.

I was inquisitive to see how they interpreted the Miles Davis/Bill Evans tune, “Blue in Green,” featuring Peter Welker who steps away from his horn and sits down to the piano.  It’s just Tony Levin on acoustic bass and Welker at the eighty-eight keys for a too-short one minute and twenty-two second presentation.  But it’s very sweet, although way too brief.  All in all, this is a delicious mix of familiar songs and original tunes, played by an exceptionally talented group of musicians who are proud to be called, “Sidemen.”  However, each is an individual master and a super-star in their own professional universe, helping this project to shine brightly.

-Musical Memoirs