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Saxophonist and flutist Arthur Barron, known for his work with Hilton Ruiz and Jerry Gonzalez, and legendary soprano saxophonist Dave Liebman, of Miles Davis, Elvin Jones, McCoy Tyner and Chick Corea fame, team up for an outing of original compositions and remake of John Coltrane’s Dahomey Dance with Miami-based keyboardist and production wiz Abel Pabon (Nestor Torres), bassist Josh Allen (Negroni’s Trio), bassist Eric England (Troy Roberts), drummer Michael Piolet (University of Miami Stamps Quintet) and vibraphonist and percussionist Alfredo Chacon (David Bisbal), delivering The Miami Jazz Project's brand of fusion soundtrack. Musicians are all influenced, in one way or another, by their predecessors. For me, it was jazz saxophonists John Coltrane, Joe Henderson and Dexter Gordon, as well as the avant-garde rocker Don Van Fleet (aka Captain Beefheart). And, of course, Miles Davis, whose seminal Jack Johnson LP was one of the prime motivators for my desire to become a musician. That innovative album, together with Miles’ subsequent recordings, ushered in a new jazz genre recognized as fusion. As Dave Liebman states in his book What It Is; “We are responsible….the people of my generation for keeping this music alive….the spirit of this music; its tradition; the people who came through it and why they created it; the blood, sweat and tears that were literally put into this. We are now left with the flame that’s been handed down to us and we have to be true to the cause. We are missionaries from the other side and we have continuous work ahead of us.” With Dave’s quote in mind, The Miami Jazz Project CD features its own brand of contemporary jazz. It can be regarded as an extension of the tradition that Miles and other bands like Weather Report laid down. The tracks include both acoustic and electric material with stylistic elements rooted in mainstream jazz, blues, jazz rock and world music - a fusion of harmonic structures and modal works. Although comparisons can be made to what came before, the depth of the performances along with the original compositions and the overall production sound results in this music taking on a life of its own on this recording, as well as representing how the fusion style has evolved over the decades since Miles broke ground. Arthur Barron DAHOMEY DANCE: this blues is one of Coltrane’s lesser played tunes, presenting the classic challenge of trying to be true to the original concept while at the same time giving it a contemporary approach and sound. The arrangement of the horns and the rhythm took care of that aspect with the solos reflecting our own individual slant applied to Trane’s chord changes. Dave Liebman LORDY LOURDES: inspired by a special lady friend Lourdes Gonzalez, this tune features an eclectic blend of a Middle Eastern influenced head and a blues-like bridge over an R&B styled vamp. Solos are based on diminished and Middle Eastern scales along with blues phrasings. I like an air of mystery in my work, and Abel’s co-writing and arrangement of the piece conveyed the feeling that I was seeking. Arthur Barron

TRACK LISTING:
1. DAHOMEY DANCE 5:11
2. LORDY LOURDES 5:40
3. JINNISTAN 7:16
4. WINTER DAY 6:57
5. MR. Q 7:07
6. Intro to Slow Dance on the Killing Ground: BLESSINGS ETERNAL 1:09
7. SLOW DANCE ON THE KILLING GROUND 6:16
8. SCHEER JOY 5:23
9. MISSING PERSON 3:19
10. TU AMOR NERI 7:59