Noah Peterson is a sound artist.  While primarily a saxophonist, Noah does play other instruments from time to time and is guilty of being a vocalist on occasion.   He has recorded on many projects and performed with many bands.  While he is forever branded a Jazz musician (he's made some lovely jazz recordings,) Noah enjoys a host of genres.  As a creator, he writes and records many styles of music and enjoys performing as a soloist and with bands outside of the jazz continuum.  His explorations of technology (synths and loop stations) continues to evolve as he dives into his tech searching for new sounds, grooves, and ideas.   Enjoy his music.

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Bump

Noah Peterson

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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

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Solo Sax Sessions

Noah Peterson

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Experience the musical mayhem of this one-man sax-looping machine.

“Solo Sax Sessions” My “Solo Sax Sessions” has been one of the most fulfilling, fun and creative efforts I’ve ever taken on in my career. I figured out how to create a one-man, sax orchestra of my original compositions using a loop-station and effects pedals. It was been a lot of fun, and a little bit frustrating, figuring out how to get it all just right. I keep bringing in new tunes, new gear and I love to play my show anywhere and everywhere I can.
In 2012 I did 250 shows across the U.S. with this show. I saw a lot of beautiful country, met a lot of great people and played some pretty crazy places. But no matter where I did it, the number of people who wanted a recording of this show was overwhelming. I made it for all of you who have requested it. Thank you for supporting my music, thank you for listening, thank you for buying this record. This whole experience has been pure joy. This is my show, created the same way you see me perform it – live without a net, unedited; a one-man music machine. You asked for it and it was my pleasure to make it for you. I hope you enjoy it.

THANK YOU: These efforts are never singular or done without help. I want to thank God first. For the blessing of being able to make music my vocation, I thank You. My wife, Marina – for all of the little things, and the big ones too. You put up with my absence and my presence and all my ways. My co-creators: Tony, Zach and Emmett: it’s always a pleasure to make music with you guys. I wish we had more occasion to do it. My brother Travis, your hounding me about this made it happen sooner than later. Phillip Luna, hands down, the coolest man in San Antonio. Dick Weissman; your advice and friendship has changed my life. My friends and family; you put me up when I come through town and share your lives with me. I love getting a peek inside. Thank you. My fans and listeners – without you, none of this would be possible. I hope my music gives you pleasure for years to come.

  1. Poortown Scrub : This tune was written on my There And Back Again tour. A three month, 13,000 mile tour. I was about half-way through my tour when Zach Spiezer (My co-writer , friend and musical collaborator from my CD “Bump” ) and I met-up in North Ft. Meyers Florida. Zach was visiting his mother and she was gracious enough to put me up for a few days. Zach had the initial riff and idea for a dub-step groove, but it wasn’t complete. So we spent a couple of nights recording and trying out some ideas. We came up with what we thought was a pretty groovy track. I took what we came up with and re-arranged the lines, harmonies, added a different groove underneath it and, of course, the big finish to get a nice version for my loop show. A little different from the “original,” but a great version nonetheless.

  2. Bad Mother: This tune was originally written for my first band, “Miles Ahead.” It’s a swinging blues. We were doing a lot of modal jazz at the time and I wanted something with a little more movement and fun. I always liked the tune because it uses a lot of parallel intervals in the melody. It’s a very open sound and a nice groove. I originally recorded it with a trio for my “Live at Marylhurst Drive” CD. Despite the title, my mom loves this tune. And for the record (pun intended!) she was a great mother!

  3. I Just Can’t Believe It: This tune came from my collaboration with poet Emmett Wheatfall. I wrote this for Emmett’s first CD, “When I Was Young.” Emmett had a great poem about a love betrayed and I wanted a groovy, hip blues that stood on its own to back it up. And we did a very fine version of it. Personally, I love this song. It’s all about the bass line. This version is a little more aggressive and my “lyrics” add some comedic fun. After all, it is my audience participation song. Get your grunt on!

  4. Follow Me: This riff is taken from a project called “Grunglefunk.” A two-sax led jam band. One of my old buddies from the Marines would have basement parties with his friends and we would jam for hours and hours. Someone would start an idea and everybody else would join in and it would morph into whatever. People would trade instruments, players would come and go…I got the idea to record it. So five of us went into a studio and made a CD Grunglefunk “American Housewives: Cuz They’re Fat.” Follow Me was a simple riff that was just that. I started it, and everyone else just followed along. I was surprised and how well suited the G-funk material was for the loop station. I dressed this tune up with a couple of extra riffs. It came together very nicely.

  5. Bump: Taken from my CD “Bump” this is a funky jam. The “Bump” is beat four of the two bar pattern. I love this groove. The original version has some outstanding turntable work on it. This tune gets busy. I love what I came up with for supporting parts. They add some fury and attitude to a groove that will get your booty moving.

  6. Everybody Knows: This is my tribute to hometown of Billings, Montana. Where, it seemed, everybody knew everything. I couldn’t get away with anything. I have another, slower version of it an Americana tune with the vocals on the recording “Beer Drinkin’ Songs” by Tip the Band. This version goes into a New Orleans street-band style with multiple melody and counter-melody lines. It’s a lot of fun and is down-home groove.

  7. Amy’s Lament: The only ballad on this recording. Co-written with my friend and cellist, Tony Rogers. This tune is a true story of Tony’s broken heart. I was touring through Austin, TX and staying with Tony a couple of weeks checking out central Texas. We had a gig a small venue and Tony wanted to jam on an idea he came up with. We had just had a very frank talk about how he was doing with the break-up and I could tell he was still hurting from it. He started this beautiful strumming and plucking over a very simple progression and the tune just came to me. He had been recording the whole show. He sent me the recording of our “jam” tune. There wasn’t really much to do. The tune was already there, the harmony was already there. I stripped it down a little and cleaned it up for a nice song form. This song is emotionally moving to me. Takes a little bit to get going because of the loop format, but I think it’s worth it.

  8. Another Beautiful Day: This song is about San Antonio, TX. Specifically the weather. I love sunshine and heat. I had spent 18 years in Pacific NW; where the skies were cloudy all day. Not much sunshine or heat. It was really getting to me and I needed a change. After moving to San Antonio and waking up every day to sunshine I found myself inspired to write a very happy tune.

  9. Ethan’s Blues: This tune is named for my nephew and godson, Ethan. It was written during a wedding. The happy couple wanted a New Orleans parade from the ceremony site to the reception site. But the budget was tight, so it was just me and a drummer. I came up with a nice little bass line to jam on while we would take our stroll. Long-story short – it took a lot more time than I had anticipated, during this time I wrote the tune; whilst jamming on the sidewalk with many people about. This is the 2nd recording of this tune, the 1st being on “Music for Film Vol 1: Sax & Bass.”

  10. A Smoldering Beguilement: This is a Brazilian influenced composition. This tune was written to be a cautionary tale. The idea is that you not get Beguiled from a Smoldering gaze across the room. I hear that can happen now and again. 

  11. Funk’n’A: Another selection from the Grunglefunk collection. I do quite a bit of material from that group although this riff and Follow Me are my favorites. What really does it for me are the supporting lines. For Funk’n’A ( funk jam in the key of A), I have a great harmonized, descending line to add drama. I like to work that line in and out while improvising. I change up from the riff by going into the spiritual “Wade in the Water” and then add the line in and out again while improvising underneath all of it.

  12. Sunshine and Smiles: This tune came about while jamming at home with my equipment. I had spent a few years playing reggae, world and African musics. This included a lot of listening to things like calypso, high-life, steel drum bands, Afro-Cuban, 70s African funk, etc… This tune reflects some of those influences. I wanted a “tropical” feel that had an uplifting beat with some few riffs that continued to build on each other, layer after layer. The name is for my nephew Bjorn; or “Smiles McGee” as I like to call him.

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Music for Film, Vol. 1: Sax and Bass

Noah Peterson

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Original music for sax and bass - groovy and outstanding!

This a fun collection of sax and bass tunes. Great grooves, lovely melodies. Fun, unexpected and delightful.

This project came about as an extension of my “Duos & Trios” CD. That concept was about using small, uncommon combos in a variety of musical setting. My first sax/bass recording was a version of “Georgia,” with soprano sax and upright bass featured on that recording. I was very pleased with how it sounded and started doing some performances. Ultimately I wanted something more versatile in styles but retaining the advantages of the openness of the sax/bass combo.

I ended up with the same bassist from the Duos & Trios recording, Dave Captein, but switched him over to electric for this recording. Dave and I have been doing alto/electric duos for a little while and we both having a lot of fun with it and people were really loving our unusual, little combo. I looked over at him at a show and said, we need to record this – it’s fun! I picked some of my tunes for our instruments and off to the studio we went! Enjoy….

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Duos & Trios

Noah Peterson

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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

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Ambient Space Sounds

Noah Peterson

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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

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Live at Biddy McGraw's

The Noah Peterson Quartet

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The Noah Peterson Quartet plays jazz, a swinging troupe of hep cats, these guys play like lions on the prowl; bold and fiery one passage, sweet and tender the next; like the best high wire act these gentlemen perform without a net.

The Noah Peterson Quartet - "Live at Biddy McGraw's"

It is no wonder that many of the truly classic jazz albums are recordings of live performances. The very nature of Jazz is based upon the improvisational interplay of the performers. The magical moment when a single rim shot or a tasty sax solo sets a fire in the players and the ensemble becomes one mind and heart. The players become like fingers on a hand; the group itself becomes an instrument for an intangible but very real muse. From Armstrong to Coltrane, from Brubeck to Gillespie, many of the greats of Jazz have found their most seminal and historical work to be recorded live club dates.

The Noah Peterson Quartet, appearing before what sounds like a small but appreciative audience in as unlikely a spot as a Pacific Northwest Irish bar, Portland's Biddy McGraw's; has created a truly classic, truly exciting Jazz album.

A strong and talented group of young players, relatively unknown outside of their local bailiwick, Peterson on sax; Jay Stapleton, guitar; Dennis Caiazza, bass; and Edwin Coleman III (E 3), drums; are a tight, fearless unit. They seem to understand that unlike in Rock music, egos are best left off the bandstand. They give themselves to the music, bringing the best out of each other and their material.

Like most great leaders, Peterson has a style all his own, sweet and tender one passage, wicked and fiery another. He clearly has listened to the players that have gone before, yet he escapes the trap of mimicking an earlier sound as he forges his own. The playing of the group's superb rhythm section, Caiazza on bass and E3 on drums are especially tasty confections. Stapleton reminds this listener of a young George Benson or vintage Wes Montgomery. His touch is skilled and his ear is sharp as he lays down marvelous support for the soloists, and shines with a deep brilliance in his own solo excursions.

Peterson leads his group through delightfully innovative renditions of classics such as "Take the A Train," "Watermelon Man," and "Junebug," The group brings a funky soulful feeling to the Rhythm and Blues groove of Eugene McDaniel's "Feel Like Making Love;" the song feels like a future fixture on jazz radio programming for years to come.

"So What" the Miles Davis standard is a touchstone for understanding the essence of this group. All members play fun, light hearted solos passing the musical baton while never losing the ensemble feel or the forward and upbeat direction.

Horace Silver's "Song for My Father" both opens and closes the CD. Recorded on separate engagements, the group uses the tune to showcase their versatile nature as they bring radically different styles to the work. The interplay of sax and guitar is slinky and playfully smooth on the first, using the melody as a starting point for eastern modal and bolero explorations. On the selection closing the CD the tune has a more open straight ahead groove, with the sax & guitar in a friendly competition for your attention as they embrace the melody, nursing the nuance and sweetness out of the tune itself rather than using it as a vehicle of exploration.

Bottom line, this is a very good record that any fan of Jazz from post-fusion newbie to pre-bebop die hard will enjoy and should add to their collection. The songs are classic, the group talented and deserving of attention; the performances are fun, light, funky and deep. How they managed to make a record this good outside of the New York and Los Angeles Jazz scenes is a wonder. Who knows maybe this is the first in a series, and one day 'Live at Biddy McGraw's' will mean as much on a record as the 'Live at the Bluenote,' and 'Live at the Village Vanguard,' announcement does now. It certainly holds true for this one.

The Noah Peterson Quartet – Live at Biddy McGraw’s

Song for My Father – H. Silver (8:51) June Bug - T. Turrentine (7:19) So What – M. Davis (6:04) Feel Like Makin’ Love – E. McDaniels (6:54) Take the A Train – B. Strayhorn/D. Ellington (6:27) But Beautiful – J. Van Heusen (6:58) Watermelon Man – H. Hancock (9:15)

Song for My Father – H. Silver (7:10)

“The Boys” Noah Peterson – sax Jay Stapleton – guitar Dennis Caiazza - bass Edwin Coleman III (E3) – drums

I would like to dedicate this album to my father, Grover Peterson, for his unflagging support, generous heart, words of caution, raging passion and unconditional love.

Liner notes: I wanted to capture something a little different kind of sound for this album. I wanted it raw, real, live and with that feeling that can only come from trying moving an audience. This is “The Boys” live, at Biddy McGraw’s. Biddy’s has been a musical institution in Portland for years. Biddy’s is traditionally where we cut loose – play whatever we want, get as silly as we like (check out Ed playing his stool on Song for My Father) make mistakes, try out new tunes, have a ton of fun, occasionally switch instruments and is the only Eastside club we’ve been playing for the past year.

Special thanks:

Jay Stapleton – my right hand man. You’ve opened my eyes, ears and heart to a deeper level of jazz. We’ve come a long way. I couldn’t have asked for a better band-mate.

I would like to express my appreciation to the following:

God – of all the things you made, I think I like music best.

“The Boys”

Edwin Coleman III – were it not for a rainy night in Eugene and your funky bunch (Lazoo) I don’t know if I ever would have had the courage to step out on my own.

Dennis Caiazza – unconscious competence and the immoveable groove. Your overwhelming presence and playing. Yeah baby.

Jay Stapleton – thanks for coming along on all my adventures. You are already missed.

Ian, Josh, Noah and the staff of Biddy McGraw’s – thank you for years of support of my music and letting us do our thing in your house. Larry & Sal at Monteaux’s Public House – thank you for having us so much and truly making us a part of the Monteaux’s family, I always look forward to your gig. Kinn Edwards at Big River – my oldest and most loyal supporter. Thank you for the work, food, conversation and great people. We love you. Steve & Ken of Bon Appetite for INTEL – thank you guys for so much work. Please keep it coming, I’ve got new stuff just for you! Bill Traeger – a true patron of jazz, the pleasure is always ours and your generosity and graciousness are appreciated. Jeffrey Dawkins – my friend and mentor. Your wisdom and light continually guide my way. My family for their support and criticism. My subs – there’s too many to list, the Portland jazz community is fantastic and I’m honored, thrilled and surprised to be a part of it. Thank you all for your hard work – I’ll be calling again real soon! Rick Maier – we’re a good team baby! My own personal “Blues Brothers” Rob Noe & Brian Chevalier, I love playing with you guys. Amor Aggari for his creative contributions to my interests. Marina Aragaki – your support in every way. Putting up with late nights, cancelled plans, rehearsals, doing it “my way”, the smell of cigarettes and scotch, 4 A.M. love notes and snacks, coming to so many gigs, your insight, your time, your smile, your patience & forgiveness. My love is yours. My fans – it warms my heart to see you at my shows. I do what I do for you. This CD is for you. Miles Ahead for teaching me how to be a band leader. Beth Anderson for broadcasting my music all over Santa Barbara. To Ecaroh Music, Inc & Horace Silver – thank you for a beautiful tune, I hope you like it what we did with it. Thank you Hancock Music. Thank you to our lovely dancers that evening and everyone who was at the gig! For anyone I forgot to mention and all of those who’ve been a part of my musical experience – thank you. And to those who enjoy this album, thank you for supporting live music!

Credits: *Recorded live at Biddy McGraw’s on Sept 11th , 2003 All other songs recorded live at Biddy McGraw’s on Oct 9th, 2003

Remote recording, engineer & mixing: Rick Maier Aloha Court Studio richard.maier@gte.net

Executive Producer: Noah Peterson Assistant Producer: Rick Maier Graphic Artist: Elin McLain

For fan, booking and management inquires – please contact me via my website:

www.noahpeterson.com

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Sax-a-Loop-a-Liscious

Noah Peterson

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An edited looping album of great songs, tunes, and jams from Noah Peterson and his Solo Sax Sessions live looping performance.

This is a really fun recording. I didn't want to do another pure "live-looping" recording. Mostly because I have such a nice collection of tunes. Rather than get a band together, I just looped everything in a single take and edited out the sections that were "building" layers. For example, you'll notice the grooves are always complete. When you see my live show, you have to watch me make everything one at a time. I still did it that way; but I just cut those parts out and started the track when the groove was fully done. Same thing with backing lines, harmonies, etc. I lot of the tunes are quick; but I wanted you to get a sense of what they are "supposed" to sound like.

Hope you enjoy it!

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