Look out below-

We have been selected to become a part of the MTA's Music Under New York program. MUNY sponsors musicians to play in the subways of New York in an official capacity (meaning we have a sign and the cops leave us alone) in an effort to keep New York vital and liven up commutes. We are pleased to be joining this group, not only because they are hip and supportive as anything I have encountered in the music world, but also because it falls in line with our goal of bringing jazz to the ears of as many people as we can (whether they want it or not!). You can show your support by checking us out at these performances and teling your friends in the areas we will be performing. We will post out schedule every few weeks, and look forward to seeing you around!

Onwards and upwards with the arts! I mean...you know what I mean.

PWT

Here's what Ken Fields had to say about "Petals"-Ken is a fantastic poet and used to play jazz trumpet; he has been around the music for decades and has a great set of ears:

"What better way to start the new year than not having to recover from a
great party and listening to Patrick's lovely album.  What a gem, from that
beautiful Latin opening, all the way through.  I love that big tone (out of
the old legato cats I love) with modern harmonics.  It's clearly his trio,
and he's out in front, exposed, pulling it all off, but what a trio,
fabulous drums and bass.  They clearly are listening to each other, and
working without a piano really gives them an untethered or almost
untethered feeling, a real sense of lift that culminates with the last
song.  The arco passages give voice to another horn sound, just when we
want it.  The Ornette piece is inspired.  I love So in Love.  He's been in
the lower end of the horn for most of the album--or so it seems on a first
hearing--and moving up gives a stirring conclusion to a whole performance.
There's nobody like Porter for giving a sense of inevitability, almost like
fate, and So in Love is one of my favorites for its erotic momentum,
lyrics, melody, structure.  I'll treasure this one."

Thanks Ken!

Yeah, this is pretty lame, but until I get the whole marketing team in gear, copies of "Petals" are available directly through me- just drop me an email at wolffjazz@gmail.com, i'll tell you where to send the money, and i send you a cd. old school.

Well, this has taken way too long, but I am proud to say that the finishing touches are being applied, and "Petals" will be available at shows and online as of November 18th. We are having a release show at 9 PM at Zebulon in Brooklyn, and as an added bonus you can stick around and check out Asiko at 11.
The album is a good mix of the different styles we try to emulate, and really captures the overall sound we have. It is programmed as we would program a live set. We recorded all live with no headphones and virtually no acoustic barriers at Maggie's Farm in Pennsylvania. Much thanks to Matt Balitsaris, our engineer, who made this possible. The album was recorded more or less in a continuous take; although some of the tracks are alternates, the build of intensity that naturally occurs in a performance comes through clearly. It was a real treat to drive way the hell out in the country on a freezing day and have such beautiful studio and supportive engineer, and I couldn't be more proud of what we finished, so I'm excited to be able to share it now...

I am trying hard to make a positive statement about what we do rather relate negatively to what others are doing, but it is hard.
The current lack of venues, informed audience, and money has made the live performance of jazz music an extremely concentrated moment for musicians, tiny in proportion to the time spent in the classroom, practicing, rehearsing, and other preparations. This is problematic.
The preparatory acts are often isolating and introverted, whereas the performing act should be communal and outgoing. With the focus on individual artists' abilities and personality cults, it is difficult to comprehend what brought people to jazz in the first place.
I was lucky to bring this trio together through a regular engagement in a setting with an audience (bartender and clientele) genuinely appreciative of us, and we learned how good that felt. I believe that the music we play comes from that warmth and good feeling. I am not talking about pandering, but simply keeping eyes open and engaging with the room.
I hope that jazz can still make people feel the way it made me feel when I first started listening to it, but in order for it to remain a live art and not a collection of reissues, we need to seriously think about its role. It is my goal to bring live jazz into the everyday life of as many people as I can, not cut out a small audience of intellectuals. I want to reacquaint our generation with the tactile experience of three musicians with full, rich sounds playing as one, with the feel that once defined the music, and with melodies that the human voice can relate to.
Thank God for Monk and Coltrane, but the fact is that not all jazz belongs on stage at Carnegie Hall. It also belongs in our homes, in our bars, in our restaurants, and I hope to see you all soon in those places.