Take a trip around the galaxy and enjoy the music that paints a picture of the wonders in space.

This is a concept album. I've had the pleasure of being involved in many different kinds of music. My love of "space music" as I like to call it began long before I ever knew. Growing up watching Star Trek and educational films that featured all kinds

Take a trip around the galaxy and enjoy the music that paints a picture of the wonders in space.

This is a concept album. I've had the pleasure of being involved in many different kinds of music. My love of "space music" as I like to call it began long before I ever knew. Growing up watching Star Trek and educational films that featured all kinds of new music planted a seed within my ears that grew into a love of sound. In college, where I was introduced into technological music in the 20th century I gravitated to Edgar Varese and his lovely sounds. It seemed to be a natural sound accompaniment to my love of science fiction, astronomy, space anything...

While I've been doing some ambient live looping as a saxophonist, it's not the same thing. This project was me making music that I love with the right instrument for the job.

Big thanks to Blaine Matera for the loan of the synth. I hope you enjoy Ambient Space Sounds for years to come.

Noah

A journey of jazz through electric grooves: Soul-Jazz, Acid Jazz, Jazztronica and more.

A Song For You (Leon Russell)
Noah Peterson - Soprano Sax, Jay Stapleton - Guitar, Bass, Rick Maier -Drums, Mark Dixon - Congas/Bongos, Nancy King - Vocals

I Thank You (David Porter & Isaac Hayes) Noah Peterson - Alto & Tenor Sax, Jay Stapleton -

A journey of jazz through electric grooves: Soul-Jazz, Acid Jazz, Jazztronica and more.

A Song For You (Leon Russell)
Noah Peterson - Soprano Sax, Jay Stapleton - Guitar, Bass, Rick Maier -Drums, Mark Dixon - Congas/Bongos, Nancy King - Vocals

I Thank You (David Porter & Isaac Hayes) Noah Peterson - Alto & Tenor Sax, Jay Stapleton - Guitar, Bass, Rick Maier -Drums, Brian Hillman - Vocals, Damien Hayes AKA DJ Law - Turntables, Zach Spiezer - Samples

Feel Like Making Love (Eugene McDaniels) Noah Peterson - Tenor Sax, Jay Stapleton - Guitar, Bass, Rick Maier -Drums, Zach Spiezer, DJ FlipFlop, Damien Hayes AKA DJ Law - Turntables

Messin’ with the Groove (Noah Peterson) Noah Peterson - Alto Sax, Jay Stapleton - Guitar, Bass, Rick Maier -Drums, Mark Dixon - Congas/Bongos, Zach Spiezer & Damien Hayes AKA DJ Law- Turntables

Bump (Noah Peterson) Noah Peterson - Alto Sax, Jay Stapleton - Guitar, Bass, Rick Maier -Drums, Mark Dixon - Congas/Bongos, DJ FlipFlop - Turntables

Get Some (Noah Peterson) Noah Peterson - Alto Sax, Jay Stapleton - Guitar, Bass, Rick Maier -Drums, Mark Dixon - Congas/Bongos, Zach Spiezer - Samples, DJ FlipFlop - Turntables

Bass Driver (Zach Spiezer/NoahPeterson) Programming/Engineer - Zach Spiezer, Noah Peterson - Alto Sax, Laugh, Will Savory - Bass

Blue Bridge (Zach Spiezer/Noah Peterson) Programming/Engineer/Turntables - Zach Spiezer, Noah Peterson - Tenor Sax, Will Savory - Bass, Gabe Melman -Vocals

Mix da Juice (Zach Spiezer/Noah Peterson) Programming/Engineer - Zach Spiezer, Noah Peterson - Tenor Sax, Will Savory - Bass

Funk It (Zach Spiezer/NoahPeterson) Programming/Engineer - Zach Spiezer, Noah Peterson - Soprano Sax, Will Savory - Bass

Industrial Shuffle (Zach Spiezer/NoahPeterson) Programming/Engineer - Zach Spiezer, Noah Peterson - Tenor & Soprano Sax, John Mogish - trumpet, John Clark - Cello, Will Savory - Bass

Nation 2 Nation (Zach Spiezer/NoahPeterson) Programming/Engineer - Zach Spiezer, Noah Peterson Tenor Sax, Congas, Voice, Will Savory - Bass

Mowbile (Noah Peterson/Brian Chevalier) Programming/Engineer - Brian Chevalier.

About "Bump" - This recording was the direct result of a "Bump" in the road of my own musical journey. The majority of this project took place after the disbanding of my quintet, Miles Ahead, and during the search for players for The Noah Peterson Quartet. Although I released "The Noah Peterson Quartet Live at Biddy McGraw's." in 2003, the majority of the tracks on this CD were recorded prior to that. It is a transitional CD that was originally conceived as an exploration into acid jazz. What I ended up with is Acid Jazz, Jazztronica, Electronica and Techno. All of which reflect the musical areas I was exploring at the time.

During this period I was playing in jazz, funk, rock, hip-hop, folk and jam bands ...meeting all sorts of musicians and interesting people. Zach Spiezer, my main collaborator for this project, and I met in a hip-hop band. We hit it off right away, became close friends and started hanging out, listening to music and recording. That inspired me to being work on "Bump." One hard day of recording, a few sessions of overdubs, ridiculous sessions at "The Roost," a few years, a trip to Chicago, some studio magic and finally this journey has been completed.

Taking the first steps Into the Land of the Groove, "Bump" starts with a groovy ballad to get you into the mood and is followed by some jazzed up soul-music with turntables. My original compositions bring a harder edge and begin to shake loose of strict form and dives full-on into Acid Jazz. Moving away from live musicians, the journey continues into "Jazztronica" with the band being replaced with samples, programming, loops and instrumental overdubs. Going into "Chill" and ambient music with construction of songs by use of previously recorded samples we enter into "Electronica." As a capstone piece the completely synthesized and techno collaboration literally ends the CD, this diversion caused by my own personal bump and this project. I hope the emotions put into this album are blazoned into your heart every time you listen.

This album is dedicated to Zach Spiezer, co-creator and close friend. This CD, while my brainchild, was inspired by the music Zach exposed me to and the recording we did. This is our work. Without Zach, this album would never have come about.

I would like to give special thanks Rick Maier, co-producer, engineer, drummer and friend. For his work, his time and every critique that started with “Well, to tell you the truth…” Rick was my hands for this project. Jeffrey Dawkins for our midnight chat on the porch and other divine conversations. My heartfelt thanks to the Groove Crew: Jay Stapleton, Rick Maier, Mark Dixon, Zach Spiezer and the musicians who played on this CD. Thank you to Brian Chevalier, Grover & Joan Peterson, Marina Aragaki, the wives and girlfriends of those whose time and talent was spent on this project, the clubs, radio stations and other fantastic patrons who have supported my musical endeavors, my family, friends, fans, band mates and God Almighty for this fantastic thing called music!

Zach Spiezer would like to thank the following: My family for their unending love and affection, my very best friends, old and new and Rine Boyer for all the support and love during our years together. Also many thanks to James Brown, I.S.P, Amon Tobin, Gil Scott Heron, Carlos Santana, John McLaughlin, Sonny Terry, Q-Bert, Mark Kellick for all that you are to me, The Library of Congress, Sylvan Morris, J. Dick, My crew across the land and sea, all of the musicians, who worked as hard as they could for me and of course Noah for being there every step of my way.

Executive Producer: Noah Peterson Produced by: Noah Peterson Co-producer: Rick Maier Recorded at Aloha Court Studio, The Roost, Zach's Chicago Apartment. Mixed at: Aloha Court Studio Mastered at: Superdigital Engineer: Rick Maier Art Work: Mark Staker Management: Peterson Entertainment www.petersonentertainment.com

All rights reserved. BMI. Copyright 2002 & 2006

Jazz, modern, folky and great for summer days, long drive and good company.

This CD is dedicated to the soldiers, sailors, airmen and Marines who have sacrificed life and limb for freedom and democracy in the Middle East.

About "Duos & Trios"

I began this project after an inspirational phone call from George Fuller of KRML (Carmel, CA). George

Jazz, modern, folky and great for summer days, long drive and good company.

This CD is dedicated to the soldiers, sailors, airmen and Marines who have sacrificed life and limb for freedom and democracy in the Middle East.

About "Duos & Trios"

I began this project after an inspirational phone call from George Fuller of KRML (Carmel, CA). George called me after I sent him my "Live At Biddy McGraw's" CD and we had a great conversation about jazz and radio. The thing he said that was the impetus behind this recording was how much he liked the sax/guitar combo instead of the usual sax/piano. This was significant to me as I had a conversation with Horace Silver about recording "Song For My Father" for the "Live at Biddy McGraw's" CD. When we discussed the arrangement I mentioned it was a quartet with no piano, he was intrigued and said he wanted to hear it. That, coupled with George's conversation, gave birth to the idea of doing a recording of small combos in non-standard instrumentations. Short tunes designed to fill time slots between DJ's, programs, and to close out sets. This was, in essence, a concept project for airplay that would help DJ's get some interesting programming, make transitions smoother and give the listeners something hip and fun. The sax/guitar, sax/bass and sax/keyboard were to give a different sound than is normally found in the majority of jazz recordings. Plus I'm a guitar nut; I don't know how I ended up playing sax (my dad, mom and grandfather all played sax, so I guess it’s not a huge mystery); guitar is my favorite instrument, and I love playing sax/guitar duos.

As I didn't have a strong musical direction for the project, I brought in my long-time mentor and friend, Jeffrey Dawkins, to be my producer. I told him what the concept was and that I wanted a "dirty, swinging, hip, little record." I wanted to use my right-hand man, Jay Stapleton, for the guitar and a couple of other players that I admired and liked to play with. Jay brought in a lot of original songs that have his modern approach, lyrical melodies, and moody spaciousness that Jeffery and I thought were ideal for the project. I brought in a couple of tunes, wrote one for recording, and Jay and I collaborated on another. Not all of them made the final cut. For additional players I wanted to use Dennis Caiazza on bass, Jay and I had a lot of experience with him and he's a freight train of groove. I also wanted to use Dave Captein on bass, I'm a fan and think he's an incredible player.

I totally agreed with Jeffrey's suggestion of Grammy nominee Janice Scroggins on keyboards, she's fabulous and knocked the tunes we did out of the park! Since this project, she has entered my staple of players and I always enjoy her extraordinary musicianship.

Like all independent recordings, this took place in bits and pieces (or duos and trios!) over a couple of years as I could afford it and find the time to get it done. We went to 3 studios, coordinated gigs so Jay could come up from California, recorded rehearsals in my dining room, and worked on it whenever we could. Chronologically speaking, this project was started about half-way through the completion of my acid jazz CD, "Bump." The tunes were selected for their jazz appeal, classic sensibilities, and how well they lent themselves to small combo arrangements. I had some specific ideas about the duos for "Georgia" (I think bass/soprano arrangement is great!), "Surrey," and "America;" while Jeffrey made some great calls with "Sugar Mountain" and "Harlem Nocturne." "My Name is Burns" is written for Burns, the hippest cat ever to hang out Jazz de Opus in Portland, OR. No first name, no last name; simply, and as he always introduced himself, "My name is Burns."

Since the concept of this CD wasn't musically thematic, and the recording sessions so far apart, keeping consistency and programming in mind was difficult. Fortunately, the project grew some legs and began to shape its own identity. That's reflected in the tracks that exceed 3 minutes. Of course, playing the form of "Harlem Nocturne" twice puts it over 4 minutes, and we stretched others as they musically demanded it. As we began picking tunes for the CD, it was pretty easy choosing what fit and what didn't. What was very different on this recording was lack of stress and tense situations that normally accompany these things. That's not to say there aren't a couple of "events" that will be (and have been) brought up from time to time, but this was a good effort all around and captures a pure, raw joy and emotional depth that is satisfying and good to listen to. This is my art, my music; it is the creative efforts of my friends, my fellow jazz artists, and my producer. This is jazz; dig it!

Noah

I would like to thank Jay, Janice, Dave, and Dennis for their musicianship and contributions to this CD. Thanks to Jay for his tunes and friendship. Thank you to Jeffrey; it's a been good work, and I appreciate your wisdom and effort. Thanks to my parents for their endless support, my fans for buying my records, coming to my gigs, commenting on my "editorials," and just listening. Thank you to Kinn Edwards for allowing me to start working my duos and to Michael Shea for my trios. Special thanks to Marina for the sacrifices of being with a saxophonist. I know it ain't easy baby, late nights, sleepless weekends, and long drives. You're the best; you make my life better, and you make me a better man. I love you, and I hope you hear it in the music.

Executive Producer Noah Peterson Producer Jeffrey Dawkins for Tiger Strikes Media Recorded at Cool Blue Studio, Superdigital & Tiger Strikes Studio Engineered by John Reynolds, Rick McMillen & Jeffrey Dawkins Mixed at Dead Aunt Thelma's by Dean Baskerville, Jeffrey Dawkins, Noah Peterson Mastered at NW Media by Todd Chatalas Art Director: Jeffrey Dawkins CD Art: Bart Pustkowski Photos: John Klicker & Julie Keefe, (And one shot by Marina Aragaki)

Personnel: Noah Peterson, alto and soprano sax; Jay Stapleton, guitar; Janice Scroggins, keyboard; Dennis Caiazza, bass (tracks 2, 5, 10, 13, 14); Dave Captein, bass (tracks 1, 3, 4, 8)

www.noahpeterson.com www.petersonentertainment.com