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Roger Kellaway Cello Quartet

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Roger Kellaway launched his reputation as a consummate iconoclastic musician with this album, which was considered an elegant breakthrough in its time. He assembled a novel quartet featuring his piano, the late Edgar Lustgarten's classical cello (Kellaway's favorite instrument), Chuck Domanico on bass, and Emil Richards on marimba and percussion, writing pieces using chord symbols and notes without stems to allow for improvisation. The resulting album falls ever so neatly between the cracks of classical music and jazz, sometimes leaning in the latter direction (e.g., the Latinized groove of "Jorjana #2"), but mostly occupying a never-never land of Kellaway's own invention. Lustgarten's lush, dark tone establishes a haunting classical ambience, which creates weird stylistic juxtapositions in pieces like the boogie-based "Esque"; on a few tracks, there is some truly quirky writing for a full studio symphony orchestra conducted by Kellaway. The most memorable composition of the lot is the instantly winning, deceptively simple "Morning Song" (later published in a version for tuba and piano!), where Kellaway throws in more than a hint of barrelhouse piano. This album became a cult favorite, in and out of print on LP and CD, but never too difficult to locate. ~ Richard S. Ginell, Rovi


Nacido(a): 01 de noviembre de 1939 en Newton, MA

Género: Jazz

Años de actividad: '50s, '60s, '70s, '80s, '90s, '00s

A virtuosic pianist whose phenomenal technique rivals Dick Hyman's, Roger Kellaway's work in commercial settings prior to the 1980s led to him being initially overlooked in the jazz world. He played piano and bass at the New England Conservatory (1957-1959) and actually left school to play bass with Jimmy McPartland. Switching permanently to piano, Kellaway picked up experience working with Kai Winding, Al Cohn/Zoot Sims, and Clark Terry/Bob Brookmeyer (1963-1965). He recorded with many players,...
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Roger Kellaway Cello Quartet, Roger Kellaway
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