MARC ROSSI GROUP MANTRA REVEALED innova 816
   1) Jazz Impressions of a Kriti 12mn 45s   2) Alap Intro to Refuge 1mn 27s   3) Refuge in the Rhythm 6mn 46s   4) New Beginnings 12mn 32s   5) Introduction to Sahara 32s   6) Sahara 8mn 35s   7) Voice of 1000 Colors 10mn 0s   8) Vertical Fantasy on "You know You Know" 3mn 39s   9) Feast or Famine 7mn 50s   Marc Rossi, composer, Steinway B piano, keyboards, laptop Lance Van Lenten, tenor and soprano saxophones Bill Urmson, electric basses Mauricio Zottarelli, drums and percussion   plus special guests Geetha Ramanathan Bennett, voice, tracks 2 and 3 Prasanna, guitar, track 1 Bruce Arnold, guitar, tracks 4 and 6   
AS JAZZ MUSICIANS TRAVEL AS CULTURAL AMBASSADORS AROUND THE GLOBE, THEY COMMEMORATE THEIR PERSONAL IMPRESSIONS IN MUSIC.   Excepting the constant re-explorations of Mother Africa, no global region currently holds for them more consistent fascination than Asia and the Indian subcontinent. As the mandala represents the cosmos in personalized miniatures, so jazz composers explore their internalized ideas of the Orient through musical suites; witness Dave Brubeck’s “Jazz Impressions of Eurasia”, Duke Ellington’s “Far East Suite”, Gil Evans’ Moorish-tinged “Sketches of Spain”, Anthony Brown’s “Asian American Orchestral Suites”. On this exciting date, pianist/composer Marc Rossi unfolds energetic aural sketches that draw equally yet transparently from the scales of India (Southern Carnatic, Northern Hindustani), American jazz and blues, and Afro-Cuban rhythms.

Rossi’s Eastern interests blossomed from childhood exposure to flamenco guitars and broadened through playing in duos with sitar, veena, tabla, and in North and South Indian groups. His distinctive voice as composer and player comes in part by absorbing wide ideas from bandleaders and mentors. From Jimmy Giuffre, he draws exquisitely delicate taste and sly humor. From George Russell, a robust and overarching system, harmonic daring, and deft cultural balance. From Gil Evans, cool impressionism and a soft palette; from Tom McKinley bold compositional energy. Indian influences (Frank and Geetha Bennett, Peter Row) bestowed on him a transcendent spirituality, overtones of reverberant nirvana, and a deep inward focus. In Stan Strickland’s “Ascension”, Rossi found threads of bold blues, R&B, and the easy joys of dance clubs.   With “Mantra Revealed”, Rossi completes with a flourish, his explorations of certain Afro-Indian cycles. Having explored his gift of musical tongues, he now connects his impressions with clarity amid complexity. He’s firmed his visions through unusually effective fusions of Western and Eastern forms and scales. His band reunites members from “We Must Continue” (1996) and invites back long-standing colleagues of India in fresh collaborations. Echoes of call and response, a touchstone of blues and world musics, resonate between “Hidden Mandala” (2008) and this album. The band’s orchestral scope pops out of a nutshell: with occasional overdubs, just five musicians achieve this rich panoply of colors and textures. Listen and enjoy!


   MANTRA REVEALED   1. JAZZ IMPRESSIONS OF A KRITI – WRITTEN FOR PRASANNA This is a first! A jazz concerto for an Indian performer and big-band. Let’s have Marc tell the story of the opening track. “This is the small group version of a kriti (traditional Carnatic art song) I composed for big band with Prasanna as soloist in 2000. Here we’ve added MIDI big-band, carefully layered to resemble the original arrangement. The three distinct kriti sections – pallavi (refrain), anupallavi (second verse) and charanam (final long verse) – are usually interspersed with melodic and rhythmic improvisations built on ragas (melodic frameworks) and talas (rhythmic cycles) that permit a tremendous expressive range, just as melody, harmony, and rhythm do in the west. (A trilogy of famous kriti composers named Tyagaraga, Dikshitar, and Syama Sastri occupy a place of honor like our Western ‘Big 3s’, be they Bach, Beethoven, and Mozart; or Duke, Bird, and Monk; or even Stravinsky, Schoenberg, and Ives!) Unlike Indian music, these sections modulate to different key centers and use raga and tala ideas both horizontally and vertically. Prasanna interprets my composed lines with traditional melodic phrases, improvises over changes using both jazz and raga material; he chose the traditional korvai (progressively truncated melodic phrases) and punctuation points that I orchestrated with synthesized brass hits.” Prassana then improvises the final cadenza in classical Carnatic style over a drone, like in the alapana, a coda that flips intro into outro, as his guitar gently weeps a sweetly echoing fade.   2. ALAP INTRODUCTION TO REFUGE   3. REFUGE IN THE RHYTHM Marc’s MIDI-string glissandi gently swaddle Geetha’s voice on the alap (an out-of- tempo, improvised introduction, as for a raga), sets up snappy four-note vamp phrases over Mauricio’s kicking backbeat. A Shorter-like jazz-fusion melody unfolds as a 1⁄2-time progression for solos: Lance’s fleet, slap-tongued, bluesy solo intertwines with Geetha’s voice. Marc swirls gracefully Tyner-like beneath the voice, now in the background, a role reversal from the alap. Bill follows, clean and logical, again under Geetha’s vocal shimmies [gamakas] of dramatic counterpoint.   4. NEW BEGINNINGS Repeated piano vamps lead to a bright inquisitive theme with repeats and increasingly sly, intricate variations. Bill solos first – for two rock-solid minutes – then Bruce takes a rock-star cameo! This extended piece, inspired by the sinuously evolving South Indian Kriti form, starts over a modal vamp to create the illusion of cyclical time, then develops three sections over an ever-expanding harmonic environment. It settles into a C minor solo section with background lines under Bill’s gorgeous bass and Bruce’s soaring guitar. The recap moves to a coda with a new progression and extended modal outro, Lance shining on soprano. Its ends as it begins, with a heady open drone.   5. INTRODUCTION TO SAHARA   6. SAHARA This bright funk-samba lends the date a fun groove. Marc co-wrote it with singer- songwriter Ignace Ntirishwamaboko, aka Iggy Ry, who’d escaped from his native Rwanda during the genocide of 1994, attended Berklee on a Fulbright grant, and wrote an album about the tragedy that Rossi arranged and produced. (Two songs appeared on a Berklee CD, with Gary Burton as executive producer.) The Lydian- flavored groove’s virile melody recalls Pharaoh Sanders as it moves into up-tempo Afro-Samba and ends in a new key. Bill’s Afro-pop bass line bounces encouragingly as Lance’s soprano states the happy theme and Marc’s piano grooves and Bruce’s guitar blend in the mix.   7. VOICE OF 1000 COLORS Built on an Afro-Latin vamp and partido alto bass line, “Voice” sets a pan-Latin feel from the git-go. The song-like A section outlines the harmonic progression. The modal bridge goes from phrygian to mixolydian (dark to light) over Afro-Cuban montuno (laced with African marimba), then ends on an upbeat samba. After Lance and Marc solo over the form, an intense B section ostinato finds Lance’s soloing wilder and wilder, and Mauricio’s drums soar over a modified bridge (in a format arranged by drummer Kevin Newton). The final bridge melody returns, and the piece ends right on the groove where it began. Rossi originally composed “Voice” for big band, along with the Indian-flavored “Voice Intro” you can hear on Hidden Mandala. “We often play them together to show the Indo/Latin connections,” says Marc. “Here I decided to put them on separate CDs to create continuity and connections across time and space.”   8. VERTICAL FANTASY ON “YOU KNOW, YOU KNOW” Marc included this acoustic vignette in response to Walter Kolosky’s suggestion that he record a John McLaughlin tribute. Walter had quoted Marc on the guitar guru in “Follow Your Heart”, Walter’s listener’s guide to the McLaughlin songbook. Marc recalls: “The CD was all composed, rehearsed, completed, but I wanted to include a spontaneous tribute.” Marc plays a noted McLaughlin phrase, then improvises in abstract Lydian Concept motifs. It brings to mind Duke Ellington’s impromptu rendi- tion of “Lotus Blossom” as the band was packing up after “...And His Mother Called Him Bill”. This unexpected, delightful bonus track is rife with subtle references to Mahavishnu’s melodies!   8. FEAST OR FAMINE The road from famine to feast winds up a steep hill. The opening fanfare repeats four times, then twice more, rising in drama as it climbs stepwise. Lance’s solo jounces along gaily in dotted eighths; after a unison reprise, Marc’s dancing piano opens up expansive arpeggios toward final chords. Festive fanfares again frame the out-chorus of this exuberant set-capper. –   FRED BOUCHARD


   MARC ROSSI GROUP Marc Rossi ’s genre-transcending career and world-embracing compositions led Down Beat to call him “one of the dynamic few whose musical and cultural awareness travels exponentially in many different directions.” The versatile composer, pianist, and educa- tor treads the fine line of learning and performing: a Professor of Piano and Jazz Composition at Berklee College of Music, Rossi has studied composition with William Thomas McKinley and Frank Bennett, Indian music with Peter Row, Geetha Bennett, and V.R. Venkataraman, and Lydian Chromatic Concept with George Russell and colleague Ben Schwendener. Rossi has lectured in UCLA, and in Venice and Rome, Italy, and conducted NEC student ensembles at the request of jazz legends George Russell and Ran Blake.   Of Rossi’s “We Must Continue” (MMC, 1997) Scott Yanow wrote in LA Jazz Review, “the chance taking explorations have plenty of exciting moments,” and his “complex origi- nals always contain some catchy melodies.” Rossi’s raga-jazz duo explorations with sitarist Peter Row and his four-hand piano duos with both Ben Schwendener and Lewis Porter have sown fresh turf in Indian/Lydian explorations. He’s played piano and key- boards in Stan Strickland’s Ascension, Jimmy Giuffre’s 4, Natraj, Robert Moore Quartet, George Russell’s Living Time Orchestra (Grammy-nominee The African Game.)


BAND BIOS

Marc Rossi’s compositions include premieres by The Czech Radio Symphony and the Silesian Philharmonic Orchestra (at Boston Symphony Hall and Prague’s Dvorak Hall); solo works by pianists Jeffrey Jacob, Cameron Grant, Tania Stavreva, David Pihl; cellists Raphael Popper-Keizer, Emmanuel Feld- man; violinist Sharan Leventhal; Arden String Quartet; and Berklee College Faculty Jazz Orchestra. Recent recordings include Indo-jazz “Resonance” with santoor master Satish Vyas (2009) and piano duets with Lewis Porter (“Transforma- tion”, Altrisuoni, 2010); Indian influenced chamber works by Essex Chamber Music Players. For a complete discography, visit www.marcrossi.com     MARC ROSSI USES AND ENDORSES RAIN RECORDING SYSTEMS, STANTON TURNTABLES, AND KURZWEIL KEYBOARDS.   Lance Van Lenten, saxophonist and flautist, has performed with the Boston Symphony Orchestra, the Boston Pops, Aretha Franklin, The Temptations, The Four Tops, Nelson Rid- dle Orchestra, Steve Lawrence and Eydie Gorme, Jaki Byard, Stanton Davis, Anton Fig, Alan Pasqua, Vinnie Colaiuta, Gary Valente, Bobby Sanabria. He recorded with Gunther Schuller’s “Duke Ellington Ensemble at the Smithsonian.” He’s been the charter reed soloist with MRG since its formation in 1996. MARC: “An amazingly creative musician with a unique voice, Lance covers the gamut of musical expression and styles that my compositions require. He knows just what to do to make my music happen.” www.lancevanlenten.com
   Bill Urmson played bass in George Russell’s Living Time Or- chestra (1987-2009) and Gil Evans’ Monday Night Orchestra at Sweet Basil in Manhattan (1989-91); toured Europe with Gil Goldstein, Lew Soloff, Chris Hunter, and Delmar Brown. He performs with MRG and Carnatic musicians Lalgudi and Vijaya Krishnan, Prasanna, and Billy Ward Group.   MARC: “Bill is one of my two favorite electric bassists, (the other being Anthony Jackson.) A Russell colleague, he’s played on all my CD’s. He makes every session hip and on point, laying down bass lines with attitude, style, intelli- gence – and impeccable intonation!”   Mauricio Zottarelli, drummer, was born in Rio Claro, Brazil; at 14 he started in São Paolo bands, and in 1999 won a Berklee scholarship. He’s been in Dig Trio, Matt Chase Group, and is a regular on the Brazil/Manhattan scene with Cidinho Teixiera, Dom Salvador, Cláudio Roditi, Oriente Lopez, Eliane Elias, and others. He toured worldwide with Hiromi’s Sonic Bloom, and released his own terrific album “7 Lives”.   MARC: “Mauricio is a total musician who understands com- plex Indian rhythmic grooves and textures, but adds his own dancing Brazilian/Latin touches and multidimensional solos. Mauricio always brings new life to my music; I like building ideas around his kit.” www.mzdrums.com     MAURIZIO ZOTTARELLI USES AND ENDORSES VIC FIRTH DRUMSTICKS, MONO CASES, AND FSA CAJONS.
   Bruce Arnold needs little introduction: this guitarist, com- poser, and educator is a rare soul who effortlessly fuses free improvisation with classical and blues. He maintains a high profile appearing on Bass Player (MTV) with Stanley Clarke, touring with Roberta Piket and Olivier Ker. He’s published several books on guitar technique. MARC: “Bruce’s cutting-edge jazz solos span a wide expressive range, and he’s always improving. He and I share a deep love for contemporary classical music. He introduced me to the late Charlie Banacos, who changed both our lives.” www.arnoldjazz.com Geetha Ramanathan Bennett, accomplished veena and vocal artist, has performed in India, US, UK, Australia, Singapore, Hong Kong, Europe, and Canada. She was awarded ‘A Top Rank’ for veena by All India Radio/TV; her performances were broadcast on Indian National TV, All India Radio, Singapore Broadcasting System. Geetha’s versatility shows in Asian Colors, a concerto composed by her husband Frank (also noted percussionist, orchestrator). MARC: “Geetha is an amazing veena vidushi (“virtuoso”), recognized as one of India’s top Carnatic musicians. At home with jazz and fusion, she performed and recorded with percussionist Trilok Gurtu and guitarist Andy Summers (The Police). Having Geetha on the album guaranteed adding new dimensions to my music. She and Frank have inspired me tremendously over many years.” www.geethabennett.net

Prasanna spans guitar from traditional Carnatic to contem- porary world fusion. One critic said, “Prasanna plays like no- body on the planet.” His CDs include 12 Carnatic albums, Jimi Hendrix tribute, project with Belgian band Aka Moon, scores for contemporary dance theater. He is president of Swarnab- hoomi Academy of Music, India’s first professional college for contemporary jazz, rock, and world music. He composed and arranged the music for “Smile Pinki,” 2009 Oscar winner for Best Documentary Short Subject. He premiered the original big band version of Rossi’s “Jazz Impressions of a Kriti” with the Berklee Faculty Orchestra. He performs with A.R. Rahman, Vijay Iyer, Steve Smith, Victor Wooten, among others.   MARC: “When I met Prasanna, he was the rare student who was already an accomplished artist – playing Carnatic music on electric guitar! – and one of the only Indian musicians who plays Western music well.” www.guitarprasanna.com
   PRODUCTION CREDITS EXECUTIVE PRODUCERS:            Marc Rossi, Bob Reardon MUSIC DIRECTOR:       Marc Rossi RECORDING, MIX & MASTERING ENGINEER: Bob Reardon RECORDED AT: Newbury Sound, and at Mix One Studios, Boston, MA MIXED & MASTERED AT: RJ Productions, Somerville, MA, 2009-11

CD PACKAGING CREDITS ARTWORK: “Fereshtini 8” and “Fereshtini 6” by Siona Benjamin, www.artsiona.com DESIGN & LAYOUT: Erin Genett, www.eringenett.com

LABEL CREDITS

INNOVA DIRECTOR: Philip Blackburn OPERATIONS MANAGER: Chris Campbell Innova is supported by an endowment from the McKnight Foundation.

BOOKING

CONTACT: info@marcrossi.com, call (617) 584-6272 or visit www.marcrossi.com
   BACK COVER:
 “Pianist Marc Rossi is onto something... his music is high energy, high concept, and high culture.” — WALTER KOLOSKY, JAZZ.COM “Rossi’s songs capture the rich possibilities of classical Indian music, but still stay true to their jazz [Western] roots.” — JAY DESHPANDE, ALL ABOUT JAZZ “Marc Rossi is equally conversant in European, American, and Indian music traditions. Because he has a genuine love of these styles, it shows in his ability to symbiotically integrate these disciplines. These tracks reflect an ongoing deep commitment to fusing elements from all these musics. Serious listeners will be in for a rewarding experience.” — CHARLIE BANACOS, RENOWN JAZZ EDUCATOR “Marc Rossi’s music incorporates an intriguing blend of influences from jazz, Indian music, and beyond. He brings his own approach to the tradition of George Russell, Jimmy Giuffre, Gil Evans and other composers.” — LEWIS PORTER, NOTED JAZZ HISTORIAN/PIANIST DEDICATED to Maharishi Mahesh Yogi 1914-2008, George Russell 1923-2009, Charlie Banacos 1946-2009, Ali Akbar Khan 1922-2009, and to my parents: William S. Rossi 1912-2010 and Christine G. Rossi 1920-2009. Jai Guru Dev. SPECIAL THANKS to Frank Bennett, Geetha Bennett, Bob Reardon, Charlie Banacos, George Russell, Siona Benjamin, Fred Bouchard, Pradeep Shukla, RAIN Recording Labs, Genelec USA, Jerry Bussiere, Walter Kolosky, Sue Kelman, Brian Rust, and Carl Riley at Berklee. © 2011 ALL RIGHTS RESERVED. UNAUTHORIZED DUPLICATION IS PROHIBITED BY LAW.