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Pianist Bradley Young studied composition and arranging with John La Porta in Boston, recorded with Chet Baker, played with many in the '80's jazz scene in Chicago and went on to become a commercial bandleader in demand by the black tie set in both Chicago and Los Angeles. On this recording, Young shows us that his piano chops are not only intact but have grown, and he is also a fine composer.
Despite his love for the jazz icons of the last sixty years, Young has chosen the commercial side of jazz to frame his piano. Apart from solo piano, everything is based on rock and Latin rhythms fused with modern jazz harmony. However, what sets this apart from the overworked smooth jazz formula, is the deep content of both the compositions and performances, highlighted by the use of real instruments. The strings are gorgeous because they are real strings. Percussionist Rick Vitek has thankfully replaced the drum machine, and the grand piano is recorded exceptionally well. The production values here could be used as a model for all to behold. Producer Michael Logan must be commended for his impact on the recording, mixing and mastering.
The musical program is based on new compositions: six of the eight compositions are originals, three by Young and another three by Young's collaboration with bassist Geoffrey Lowe. The title track, "Midnight Rhapsody", is a moody minor key melody reminiscent of Joe Sample's work, complete with string counterpoint, use of chromatic harmony and high-end lyrical right hand piano that never loses sight of the blues. "Laguna Breeze" gives us Bob Frankich's soprano sax with a lazy melody set against a Latin/bossa rhythm from Vitek and percussionist Rick Purro. "Reaux Peaux Shuffle" features an angular line with an edge, created by Steve Cole's sax and Pat Fleming's overdriven guitar, juxtaposed against a string pad and spiced with Young's acoustic piano fills-a very pleasant fusion!
Bradley Young and his crew have created a great CD, a fine work of art. Jazz purists may be somewhat critical, but they are the enemy of creativity. There is far too much originality, solid playing and beautiful moodiness here than will ever be heard in the elevator.
-Marshall Vente - Jazz Institute of Chicago - Marshall Vente
Pianist Bradley Young studied composition and arranging with John La Porta in Boston, recorded with Chet Baker, played with many in the '80's jazz scene in Chicago and went on to become a commercial bandleader in demand by the black tie set in both Chicago and Los Angeles. On this recording, Young shows us that his piano chops are not only intact but have grown, and he is also a fine composer.
Despite his love for the jazz icons of the last sixty years, Young has chosen the commercial side of jazz to frame his piano. Apart from solo piano, everything is based on rock and Latin rhythms fused with modern jazz harmony. However, what sets this apart from the overworked smooth jazz formula, is the deep content of both the compositions and performances, highlighted by the use of real instruments. The strings are gorgeous because they are real strings. Percussionist Rick Vitek has thankfully replaced the drum machine, and the grand piano is recorded exceptionally well. The production values here could be used as a model for all to behold. Producer Michael Logan must be commended for his impact on the recording, mixing and mastering.
The musical program is based on new compositions: six of the eight compositions are originals, three by Young and another three by Young's collaboration with bassist Geoffrey Lowe. The title track, "Midnight Rhapsody", is a moody minor key melody reminiscent of Joe Sample's work, complete with string counterpoint, use of chromatic harmony and high-end lyrical right hand piano that never loses sight of the blues. "Laguna Breeze" gives us Bob Frankich's soprano sax with a lazy melody set against a Latin/bossa rhythm from Vitek and percussionist Rick Purro. "Reaux Peaux Shuffle" features an angular line with an edge, created by Steve Cole's sax and Pat Fleming's overdriven guitar, juxtaposed against a string pad and spiced with Young's acoustic piano fills-a very pleasant fusion!
Bradley Young and his crew have created a great CD, a fine work of art. Jazz purists may be somewhat critical, but they are the enemy of creativity. There is far too much originality, solid playing and beautiful moodiness here than will ever be heard in the elevator.
-Marshall Vente - Jazz Institute of Chicago - Marshall Vente
In the liner notes to his beautifully crafted, romantically inclined debut "Midnight Rhapsody" (Omnibus Records), Chicago-based pianist/ composer Bradley Young offers an encyclopedic list of straight-ahead jazz influences. Yet in the midst of the Oscar Petersons and Art Tatums, he mentions Alex Bugnon. And there's no doubt that his light, playful elegance, bluesy funk and intensely melodic ways were also inspired by young contemporary, pop-driven masters like Brian Culbertson and Joe McBride. What he achieves with all this is a swinging smooth jazz work that bebop purists will also find hard to resist. To ingratiate himself to new listeners who only know the bigger names, Young includes two familiar R&B covers which he has fun twisting according to his unique "part jazz, part smooth" agenda. "We're In This Love Together" begins close-to-the-vest, his Joe McBride-like lush melody sprawling over a mid-tempo groove amidst a restrained choir of backing vocalists. Then, he branches into an increasingly wild solo territory, improvising and jamming as the tune builds momentum; the mini-choir repeats the lyric, but Young is on his own wonderful journey. On "Where Is The Love", he again eases us into a pleasant straightforward cover for the first two minutes. Then, Geoffrey Lowe's bass and Rick Vitek's high hat swing into high gear and Young turns the tune into a temporary straight-ahead date, before snapping back to light funk. His originals offer a solid variety of moods, from the tender dream states of the title track and the contemplative new age piano solo "Lullaby For A Lost Cherub," to the bouncy, Yellowjackets-flavored "Journey of the Spirits," on which Young takes an early supporting role to lead melody sections played by Lowe and saxman Steve Cole. Young also pays homage to fusion pioneers like Herbie Hancock and Chick Corea with the adventurous "Reaux Peaux Shuffle," blending synth lines with Pat Fleming's scorching electric guitar and going off again to frenetic ivory tangents as the brooding atmosphere builds and the drums pound.
-- Jonathan Widran - Jazziz Magazine, March 2002
In the liner notes to his beautifully crafted, romantically inclined debut "Midnight Rhapsody" (Omnibus Records), Chicago-based pianist/ composer Bradley Young offers an encyclopedic list of straight-ahead jazz influences. Yet in the midst of the Oscar Petersons and Art Tatums, he mentions Alex Bugnon. And there's no doubt that his light, playful elegance, bluesy funk and intensely melodic ways were also inspired by young contemporary, pop-driven masters like Brian Culbertson and Joe McBride. What he achieves with all this is a swinging smooth jazz work that bebop purists will also find hard to resist. To ingratiate himself to new listeners who only know the bigger names, Young includes two familiar R&B covers which he has fun twisting according to his unique "part jazz, part smooth" agenda. "We're In This Love Together" begins close-to-the-vest, his Joe McBride-like lush melody sprawling over a mid-tempo groove amidst a restrained choir of backing vocalists. Then, he branches into an increasingly wild solo territory, improvising and jamming as the tune builds momentum; the mini-choir repeats the lyric, but Young is on his own wonderful journey. On "Where Is The Love", he again eases us into a pleasant straightforward cover for the first two minutes. Then, Geoffrey Lowe's bass and Rick Vitek's high hat swing into high gear and Young turns the tune into a temporary straight-ahead date, before snapping back to light funk. His originals offer a solid variety of moods, from the tender dream states of the title track and the contemplative new age piano solo "Lullaby For A Lost Cherub," to the bouncy, Yellowjackets-flavored "Journey of the Spirits," on which Young takes an early supporting role to lead melody sections played by Lowe and saxman Steve Cole. Young also pays homage to fusion pioneers like Herbie Hancock and Chick Corea with the adventurous "Reaux Peaux Shuffle," blending synth lines with Pat Fleming's scorching electric guitar and going off again to frenetic ivory tangents as the brooding atmosphere builds and the drums pound.
-- Jonathan Widran - Jazziz Magazine, March 2002
Discography
Midnight Rhapsody - 2000
Photos
Bio
Combining a profound sense of the past with a distinctive flair for the present, and offering exciting innovations for the future, pianist Bradley Young takes the standard definition of "virtuoso" to unique and promising new places on the musical horizon. Drawing upon a remarkably diverse series of historical and modern piano influences, Bradley has established himself as a dynamic player, composer and band leader in every genre from blues, soul, and boogie woogie to traditional and contemporary jazz, which is Bradley's first love. In fact, it is his passion for contemporary jazz that has inspired him to create Midnight Rhapsody, his newest CD release on Omnibus Records.
As a pianist, the Chicago native's eclectic and soulful performing and composing style is unique in that it is reflective of nearly the entire history of jazz piano. His own musical evolution was inspired over the years by everyone from stride and boogie woogie players like James P. Johnson, Willie "The Lion" Smith and Meade "Lux" Lewis, to swing and bop giants such as Bud Powell, Oscar Peterson, and Herbie Hancock, to contemporary jazz masters like Alex Bugnon, Brian Culbertson, and Joe McBride.
Bradley began classical piano lessons at age five, and by seven he was performing recitals with his own improvisational compositions. In his early teens, while studying privately at Northwestern University and the Evanston Conservatory of Music, a family friend, who was also a jazz pianist, gave Bradley his entire collection of blues and boogie woogie 78s, and Bradley became enamored with those genres. As he was performing his first professional gigs at Chicago blues hotspots with local legends like Freddie Below and Big Time Sarah, Bradley was also studying with famed Chicago blues pianist and recording artist Erwin Helfer.
He attended Columbia College in Chicago, then Indiana State University for a year before transferring to the renowned Berklee College of Music in Boston for three years. At Berklee, while still boogie woogie-ing by night, Bradley studied composition, harmony, counterpoint, arranging and music theory. Upon graduation, he returned to Chicago and built a late night reputation at top Chicago jazz clubs like Andy's, Pop's for Champagne, the Green Mill and the Gold Star Sardine Bar. Since establishing himself in the Los Angeles area,Bradley has continued to grow as an artist....studying with wonderful teachers like Alan Pasqua,Mike Garson,and Terry Trotter.He has appeared as pianist and music director for hundreds of distinguished special events throughout southern California,as well as performing at many local jazz clubs.Bradley has played with some musical greats... artists such as Chet Baker, Art Farmer, Buddy Childers, Sal Marquez,Steve Cole,Tony Dumas, Luther Hughes,Dave Carpenter, Peter Erskine and Jeff "Tain" Watts.
At the begining of 2007,Bradley began working with HWDFS Productions, co-directing and scoring a feature film,"Recycled Parts",a first in his career.The film is a blood curdling genre piece firmly rooted in the modern horror film tradition.Scoring the film gave Bradley a chance to write in a style that owes something to his favorite film music composers,such as Jerry Goldsmith,Bernard Hermann,and David Raksin.The film had its premeire screening in March 2007,and more about the film can be seen here at myspace/recycled parts.
In a recent interview, Bradley has this to say:"Its been alot of fun to be able to create music in a variety of styles and genres,from hip hop,funk,blues,and jazz to contemporary film music.I hope my music touches peoples' lives, and I believe music has an extraordinary ability to do just that."
With an exciting and distinguished résumé behind him and considering all that lies ahead, Young is certain to add to the traditions he so embraces as he emerges onto the national and international music scene.
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