Nolan Shaheed - Trumpet
Zane Musa - Saxophone
Danny Grissett - Piano
Bobby Pierce - Piano
Ronald Muldrow - Guitar
John Heard - Bass
Robert Russell - Bass
Trevor Ware - Bass
Dell Atkins - Bass
Tony More - Drums
Quentin Dennard - Drums

"It's about time" is a phrase that can be used to relate to this CD. Nolan Shaheed is not new to the recording industry, having been one of L.A.'s top recording musicians, nor is he new to the Jazz scene having been a side man to some of the top Jazz men in the world including: Eddie Harris, Count Basie, Teddy Edwards to name a few. But, this is the first CD recorded by the trumpeter under his own name.

Of the musicians represented on this CD Nolan says, "These are the inspirations that made me finally want to do a recording. Zane Musa is an L.A. treasure whose potential hasn't even been tapped yet. Still in his early twenties, he possesses a maturity on Alto Saxophone far beyond his age."

Ronald Muldrow is a guitarist who is a bandleader in his own right who has several CD's to prove it. Of Ronald Nolan says, "I love his expression and warmth of his sound. I use him as a 3rd voice in the front line-up rather than in the rhythm section."

The pianist, Danny Grissett, another L.A. musician is so artistic and tasty Nolan calls him, "the tongue"! "He interprets my music as if he wrote it", Nolan muses. Bobby Pierce is one of the most underrated pianists in Los Angeles. "It's an honor to have him at the session."

On this CD Nolan uses two bassists and two drummers. "When it comes to traditional bass players, there is none better than John Heard. His tone, solo ability, and confidence makes him my favorite. On the contemporary tunes Trevor Ware is my bassist of choice. From the first time I heard him, I knew he was very special. Quentin Denard not only swings like crazy; he also is one of the funkiest drummers in town. When he couldn't make one of the dates I was hard pressed to replace him but Tony More did such a wonderful job, I use him every chance I get."

James Janisse - Program Host
Radio Station - KKJZ - 88.1
Long Beach, CA

I first became aware of Nolan Shaheed as a player when he was in the 'Sweet Baby Blues Band" of Jeannie and Jimmy Cheatham. The CD that I was playing for my radio audience listed him and "Snooky" Young as the trumpet players.

I met him shortly thereafter playing in the band of Al Williams' "Jazz Society." I was immediately struck by the dexterity he displayed in playing the trumpet. Over the years I've been privileged to be in attendance where he played in big bands and small combos, as well as, backing singers and he has always swung like crazy.

In all the years I've known him, dating back to the early nineties, I've never seen him lead a band like the one on this recording. And yet, he has been engineering and recording other bands mixing and composing as well for other people who rave at his abilities.

And now a work of art that he can call his own. Nolan has crafted a delightful collection of original songs that, to me, evoke the memory of the masters during the old Blue Note days of Donald Byrd, Lee Morgan, Booker Little, etcetera. All of the players on this effort are from in and around the Los Angeles area and are as fine a group of old and young professional as you'll ever find. They are leaders in their own right and are all veterans of the recording studio. It sounds as if they've been playing together as a unit for sometime. It's a tribute to the leader who has honed this aggregation to a fine edge.

The first of seven compositions on this album is a bonus track included only as an after thought after the original project was finished. It is musically different from the rest but the soulful, funky trumpet intro by Nolan introduces not only the song, "Wade In The Water", but the CD itself.

The second, it must be noted, is eerily reminiscent of Lee Morgan's "Search for the New Land." Indeed, "Lamentation from the Middle Passage" is a potent reminder of the power of song to resurrect memories of how songs were composed during a time when jazz was enjoying immense popularity in the 60's. Nolan's trumpet work is exceptional, and the alto saxophone of Zane Musa stands tall against a backdrop of solid rhythm laid down by guitarist Ronald Muldrow, pianist Danny Grissett, bassist Trevor Ware and drummer Quentin Dennard.

"Al-Kabulan" features drummer Tony More, who replaces Quentin, and immediately makes his presence known with a wonderful intro to a song that is definitely up-tempo hard bop, the likes of which I welcome. Ronald Muldrow's solo is, as always, wonderful to hear. The subsequent improvisational forays by Nolan and Danny serve as a tasteful handoff for Zane to carry into the final episode of the tune.

I find "Just Another Day" like a breath of fresh air. The kind you inhale deep into your lungs on a spring day after the rain. Bass players change as Dell Atkins replaces Trevor on this spirited romp through the musical meadows and babbling brooks of the minds eye of jazz.

Pianist Bobby Pierce and bassist John Heard aptly introduce "Burnin' Rhythm Changes" as only they can. Ronald Muldrow chimes in to enhance the groundwork for the horn players to build on. Their construct is the epitome of improvisation and group dynamics. Quentin continues to set and define the pace then simply closes the door to conclude a worthy performance.

"It's Magic" is magic in its approach and context. The decision to spotlight Trevor's bass work in the beginning is a master stroke by the leader to get players who do certain things well to place them in that circumstance and exploit it to the benefit of the listener. Ronald Muldrow plays the guitar with so much passion and verve. Surely his inspirations, Wes Montgomery, Grant Green, and Joe Pass are smiling down on him. Nolan and Zane give a beautiful and subtle call and response throughout this fine example of a jazz waltz that gently caresses the ear and soul.

The session ends with John Heard's bass intro to the "Swingin' Blues". Swing it does, the blues it is. Bobby Pierce is again the pianist who lays it down superbly for Nolan and Zane to make the case for the majesty of the blues. Ronald's work is swinging in the purest sense of the meaning. Then there's Bobby again emerging to lend class and style to the piece, which is but another vehicle for Quentin to drive, almost effortlessly to fine and mellow conclusion.

This project will be getting lots of airplay from me and my colleagues in jazz radio because this collection of songs is done right. It is my expressed hope that you enjoy the music as much as I do.

In the days of the African slave trade to the New World, the middle part of the slave's journey?i.e., the crossing of the Atlantic Ocean was called "The Middle Passage." From about 1518 to the mid-19th century, millions of African men, women, and children made the 21-to-90-day voyage aboard grossly overcrowded sailing ships manned by crews mostly from Great Britain, the Netherlands, Portugal, and France. Slaver captains anchored chiefly off the Guinea Coast for a month to a year to gather their cargoes of 150 to 600 persons. Then began a long period of continuous danger, threats of slave mutiny, epidemics, attack by pirates or enemy ships, and bad weather. During the Middle Passage, male slaves were kept constantly shackled to each other or to the deck to prevent mutiny, of which 55 detailed accounts were recorded between 1699 and 1845.

So that the largest possible cargo might be carried, the captives were wedged horizontally, chained to low-lying platforms stacked in tiers, with an average individual space allotment of 6 feet by 16 inches wide (183 by 41 cm). Unable to stand erect or turn over, many slaves died in this position.

If bad weather or equatorial calms prolonged the journey, the twice-daily ration of water plus either boiled rice, millet, cornmeal, or stewed yams was greatly reduced, resulting in near starvation and attendant illnesses.

In the daytime, weather permitting, captives were brought on deck for exercise (forced jumping up and down). At this time, conscientious captains insisted that the sleeping quarters be scraped and swabbed by the crew, but in bad weather the oppressive heat and noxious fumes in the unventilated and unsanitary holds caused fevers and dysentery, with a high mortality rate. Deaths during the Middle Passage, caused by epidemics, suicide, "fixed melancholy," and mutiny, have been estimated at 13 percent. So many bodies of dead or dying Africans were jettisoned into the ocean that sharks regularly followed the slave ships on their westward journey.

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