New Album “The Parable” by the Jimmy Chamberlin Complex (Make Records).
Jimmy Chamberlin (drums), Randy Ingram (piano), Billy Mohler (bass), Chris Speed (saxophone/clarinet), Sean Woolstenhulme (guitar).
Jimmy Chamberlin Complex – “Horace and the Pharaoh” from album The Parable – LIVE at the Blue Whale in Los Angeles, CA 2/19/2018.
Jimmy Chamberlin (Drums), Randy Ingram (Piano), Billy Mohler (Bass), Chris Speed (Tenor Sax), Sean Woolstenhulme (Guitar).
A MAKE Records release
Randy Ingram Trio, featuring Adam Pache (drums) and Stefano Senni (bass) will be playing the following dates:
December 11: La Sosta (Villa San Giovanni, Italy)
December 12: Le Canteine de L’Arena (Verona, Italy)
December 13: Tibe Jazz Club (La Spezia, Italy)
December 14: AGUS Collective (Roma, Italy)
December 15: Jazz in Bess (Lugano, Switzerland)
December 16: Ricomincio Da Tre (Perugia, Italy)
Album trailer for The Parable, by the Jimmy Chamberlin Complex, featuring Randy Ingram.
“A wonderful duet album by New York City’s Randy Ingram, featuring Drew Gress on bass.
It’s one of those records that you can put on and listen to all the way through… Just a beautiful record. It’s called, simply, The Wandering.”
—Tom Schnabel, KCRW
Click to listen to this set of “New Gems” selected by Tom Schnabel, who premieres Randy Ingram and Drew Gress’ version of Jimmy Rowles’ “The Peacocks,” a track from The Wandering that Schnabel describes as “strange and mysterious.”
At The MacDowell Colony.
Several performances in Italy, including at Masada Jazz Club in Milan.
Piccolo estratto di Masada Jazz con RANDY INGRAM TRIO.Non mancate al prossimo appuntamento di Masada Jazz domenica 20 novembre con GREG OSBY "VERTICAL HOLD"https://www.facebook.com/pg/masadajazz/events/?ref=page_internal
Posted by Masada on Tuesday, November 15, 2016
Sold out duo performance with singer Brenna Whitaker, accompanied by Randy Ingram on piano, as part of the Washington D.C. Cherry Blossom Festival Opening Ceremony. Check out her album here.
Such a pleasure producing Jeremy Udden’s next “Plainville” record today. Featuring Jeremy Udden (compositions/saxophone), Kenny Wolleson (drums), Eivind Opsvik (bass), Pete Rende (wurlitzer) and Will Graefe (guitar) . Recorded at Big Orange Sheep, engineered by Michael Perez-Cisneros. This one is gonna be special!
Always a pleasure to play with my quartet at Smalls; this time featuring Matt Clohesy on bass, Mike Moreno on guitar and Ferenc Nemeth on drums.
Three live solo shows at Wave Hill in their 50th Anniversary “Night Lights” concert series.
Poster for show on Friday, February 27 at 8:15pm at Shapeshifter Lab, featuring Gilad Hekselman on guitar, Matt Clohesy on bass and Jochen Reuckert on drums. Hope to see you there!
“4.5 / 5 Stars! Sky/Lift communicates all of the optimism, love of life and the sheer joy of making music. Everything about Ingram’s music is completely self-assured and big, creating extended aural landscapes that envelop and excite, soothe and invigorate. Matt Clohesy and Jochen Rueckert are superb; Mike Moreno must be singled out for special attention. On the tracks on which he plays, Moreno seems to be psychically connected to Ingram. Thrilling to hear.”
—Budd Kopman, All About Jazz
The Randy Ingram Quartet had a great time recording a live session at WBGO’s The Checkout with Joshua Jackson, produced by Simon Rentner. Mark your calendars: the session will air on August 19 at 6:30pm! Here are some photos of the session, all taken by Tim Wilkins, WBGO. To become a member, visit wbgo.org and support one of the world’s top independent jazz radio stations.
“Sky/Lift, the Sunnyside label debut of pianist Randy Ingram and most welcome and overdue successor to 2009s The Road Ahead (Brooklyn Jazz Underground), announces itself immediately as an album of warmth, openness, buoyancy, thoughtfulness and optimism, and maintains a course reflective of these qualities in both clear-eyed and true fashion right through to its finish. The musicians–Mike Moreno (g); Matt Clohesy (b); Jochen Rueckert (d) and Mr. Ingram–reveal themselves to be both individualistically richly talented and a swinging, cohesive and communicative unit.
“All compositions except pianist Bill Evans’ Time Remembered are the work of the Alaskan-born, SoCal raised and current Brooklyn, NY resident pianist and session leader, with the first four tracks alternating quartet and trio performances respectively. The disc’s first and title track takes off in suspended fashion, as if floating on air or contemplating the sky above, inexorably building, during and following solo turns from Mr. Ingram and Mr. Moreno, towards its exciting and uplifting conclusion. At 12:00 minutes in length, the longest cut on the album, 99 hews close to its underlying rhythmic essence throughout. Proceeding with more linearity than its musical companions do, it’s a work that’s both grippingly propelling and solidly anchored, often offering a near-mesmeric listening experience. The spotlight rests almost entirely squarely on Mr. Ingram for the album’s two trio tracks, Silent Cinema, a work of melodious, low-lit melodrama and the airier and brighter Time Remembered. Whether a name-checked salute to the Missourian city, a tribute to Mr. Armstrong, or something else entirely, ‘St. Louis’ is a winningly effervescent number, with Mr. Moreno and Mr. Ingram, in that order, contributing solos.
“If interest has thus far been piqued, then rest assured the remaining three quartet tracks, The Sea, Late Romantic and the nakedly upbeat and concluding Nicky fulsomely maintain and extend the many and varied qualities described heretofore. Both Bassist Matt Clohesy and drummer Jochen Rueckert contribute in sturdy and often suitably subtle fashion throughout.
“It’s sometimes possible to listen to a jazz quartet and imagine it, whether through want or necessity, as a quintet or a sextet. In the case of this quartet, their sonic signature is so pleasing, exacting and precisely balanced as to render that imagined need or idea moot. In doubling the size of his leader discography, pianist Randy Ingram exponentially increases the listener’s need for more recordings, and the sooner the better.”
“Here’s a pianist that has a touch on the ivories I could listen to for weeks. Randy Ingram leads a quartet with Mike Moreno/g, Matt Clohesy/b and Jochen Rueckert/dr for eight originals that have a sound all their own. I’m sure there are influences of icons gone by, but his thoughtful touch mixes melody and gentle passion in a way I haven’t heard in years.
“Except for the quirky and kinetic “St. Louis,” all of the pieces have a gentle tidal flow to them. “Silent Cinema” and “The Sea” feature Ingram delivering elegiac intros that almost wish that the accompaniment would never arrive, but when it does you’re in for an even better ride.
“The gentle empathy on these pieces and “Sky/Lift” have a genteel ambulation that lets each artist create a symbiotic texture, yet each artist gets his own chance to shine as well. Moreno’s lithe guitar bends and gently twists on “99” and the aforementioned “St. Louis,” while otherwise providing accompaniment to Ingram on the statements of the themes. Clohesy and Rueckert work like a hockey front line passing the puck before the final slap shot. This is a band that needs to get to the Best Coast. Encore!”
Lots of serenity and introspection are found with Randy Ingram, who played the role of Bill Evans in the biopic about Monica Zetterlund that opened last month: “Sky Lift” offers a chance to hear a young pianist who plays in a tight, narrative way, along the lines of Aaron Parks. Mike Moreno (guitar), Matt Clohesy (bass) and Jochen Reuckert (drums) lift this album to a high musical level.
“Pianist Randy Ingram’s core group here is a trio, with bassist Matt Clohsey and drummer Jochen Ruckert, and their starting point is Bill Evans, making an explicit nod to that piano god with his “Time Remembered”. As you might expect, there’s the requisite, Evans-like flowing lyricism and ensemble elasticity throughout the album. In fact, the inclusion of guitarist Mike Moreno on five tracks is evidently and acknowledgment of Evans’ collaboration with Jim Hall.
“But Ingram tends to think on a different scale than his hero. Take “Silent Cinema”, which is more rhapsodic than Evans’ tune-based pieces. And “99” (for the Occupy movement) is more in the post-rock mode of Brad Mehldau and Kurt Rosenwinkel.
“Moreno, meanwhile, articulates far more aggressively than Hall. All of these are good things, distinguishing the music as Ingram’s own. Especially appealing is the simpatico playing of Ingram and Moreno. Their unison melody lines punctuate the ascent of the title cut, and Ingram seems to take special pleasure in commenting on Moreno’s solos both rhythmically and harmonically, punching up the velocity with his chording or whispering quiet encouragement.
“In a different mood, the guitarist and pianist take turns skating over the very Evans-like glide of the triple-time “Late Romantic”. On “St. Louis”, the spiky, broken unison line of the theme, with Rueckert playing freely across his kit, recalls some long-lost Keith Jarrett/Sam Brown/Paul Motian collaboration of yore. And “Nicky”, for the late rock pianist Nicky Hopkins, is a kind of country-rock shuffle that allows everyone ,especially Moreno, to cut loose. It might make you forget all about Bill Evans. Which can also be a good thing.”
“It is really exceptional. Ingram writes real compositions: not songs, not heads or themes that provide pretext for “blowing,” but long melody lines, sometimes articulated by the leader and guitarist Moreno in tandem. The title track, which is the record’s opener, feels a bit like a relay race for tones taken at half-speed; after a sprightly, tinkling opening from Ingram, a single long line is taken at a graceful but not sleepy pace by Ingram and Moreno, after which they chat amiably in fours before taking off on solo flights, Ingram first, Moreno second.
“Ingram is a canny but not a tricksy pianist; if he’s soloing, he won’t necessarily do anything counterintuitive or stealthily-genius with his left hand while his right hand is making the statement; no, he’ll throw in the accents and the intimations of a bass line, or maybe nudge his solo in the ribs with a dissonant elbow, or raise an eyebrow of counterpoint, but he’s not into misdirection or prestidigitation as such. Similarly, his band, while not what you’d call “reined in,” is solidly supportive but doesn’t push him as such; rather, they keep the ground tidy, but not bland, for the compositions.
“The keywords here are coherence and clarity. Both the lead players favor a crisp, open tone. Moreno’s hollow-body guitar work seems virtually effects-free, and when he goes for sustained notes you really hear his finger on the fret. Ingram gives every note he pulls from the piano a considered amount of weight; he’s never overbearing or overload, nor does he ever let his tones approach a mode you could call impressionistic, let alone mushy. It is not for nothing that the maestro of modulation Fred Hersch is an admirer of Ingram’s.
“But Ingram has a way of surprising you when you think you’ve got him figured out. The nice thing is that the surprises don’t jar—Sky/Lift is a very well-integrated listening experience—but do make you prick up your ears, which are then rewarded. The album’s fourth track, “Time Remembered” seems clearly a title with a double or even triple meaning, as Ingram’s playing here is practically explosive, replete with spiky note clusters and dizzying runs that stop well short of maximum dissonance while still making the hairs on the back of the neck stick up, not least because of the way his interpolations push up against the tune’s meter and tempo, a shifty bottom that threatens to turn into quicksand at times. After the careening theme of “St. Louis,” it’s back to more comfortable ground; both “The Sea” and “Late Romantic” are tunes that completely live up to their titles.
“The album’s next curveball, and final tune, isn’t really a curveball at all, because why shouldn’t a contemporary jazz musician have grown up hearing and loving rock and roll? “Nicky”is a homage to the classic rock session pianist Nicky Hopkins, whose lush rhythmic chording enhanced and/or defined recordings such as The Stones’ Beggar’s Banquet and Quicksilver’s Shady Grove, and who played in one of Jerry Garcia’s solo bands (which largely aspired to place jazz improvising techniques in a rock and soul context). Fans of Hopkins’ work will likely break out grinning at the rolling intro and theme of the piece, which is quintessential Nicky. The playing on the rest of the tune is the most relaxed on the album; it’s a very enjoyable way to go out.”
Beloved by children everywhere as Jeremy Plays Guitar, Jeremy Zmuda shows his singer-songwriter chops on this new EP.
“Randy Ingram was part of a cluster of new talent that was being brought to light by the Brooklyn Underground Jazz record label in the late aughts. The Road Ahead (2009) was a solid debut for the California-raised pianist and composer. As good as that is, Ingram was intent on improving on it; that’s why his the follow-up has taken five years to materialize.
“Ingram retained his rhythm section of Matt Clohesy (bass) and Jochen Rueckert (drums) during the long layover, replacing a highly regarded sax player (John Ellis) with an equally highly regarded guitarist (Mike Moreno), and he’s moved over to the Sunnyside Records. Sky/Lift reflects a musician who started out with a lot of maturity but worked hard to further deepen that maturity. Instead of applying his creative interpretive skills to acts as wide-ranging as the Beatles, Cole Porter and Thelonious Monk, Ingram seems to be finding his inner Bill Evans this time.
“His only cover for the new album, in fact, is Evans’ sublime composition “Time Remembered” where the progression of expressionistic chords is same as original, but he puts his own mark in the interpretation via subtle differences in the cadence and flow. Elsewhere, Ingram’s songs and the way he performs them evokes Evans, but infused with an affinity for contemporary styles of music both within jazz and outside of it, he brings the icon’s vision forward into the present. “The Sea,” for example, is updated modern take on Evans’ harmonic structures accomplished by blending in rock progressions.
“Viewed within that context, adding Moreno was the crucial move in realizing what Ingram set out to do. The opening track “Sky/Lift” is full of light-footed melodic passages, and Ingram and Moreno are working close together to illuminate them, much as Jim Hall and Evans combined to make songs more melodious. The twelve-minute “99″ (not the Toto song) is an epic where the formula has it finest moment. The resonance of Moreno’s guitar is paired with the resonance of the piano to transmit a highly pleasing tone, as Rueckert’s Elvin Jones shuffle lends the song an additional spiritual pulse. Moreno peels away on a sensitive solo, making every note count as the song traverses over an unexpected but entirely appropriate bridge, and Ingram counters with an impassioned showcase.
“Ingram also proves to be a master of manipulating rhythms to shape the songs as much as he does with harmony. He suspends timekeeping altogether on the tender piano ballad “Silent Cinema,” and even Clohesy is following the piano more than the bassist is following the drums. “St. Louis” marries a more complex melody to a free, untethered tempo in a way that hints at harmolodics, but Ingram’s shapes impart a sentiment that’s easier to embrace. And “Late Romantic” is a lilting melody set to a waltz that’s often implied, not made explicit.
“The whole batch of recordings ends with a tribute to unsung rock session pianist Nicky Hopkins. Ingram used the occasion of “Nicky” to show how Hopkins’ blues-rock style can fit in a modern jazz setting without losing any of its vitality.
“The huge leap Randy Ingram made in fine-tuning his craft made the five-year wait for Sky/Lift entirely justifiable. With nothing approaching filler in it and full of understated, gleaming performances, this is an album deserving of a lot of notice.”
“It’s hard to make a piano sing. You can’t breathe into it, you can’t slide from one note to another. The piano is a mechanical music-maker, and it takes a real artist—an Ahmad Jamal, a Bill Evans, a Fred Hersch—to make it come alive. Pianist Randy Ingram is one of those artists.
“He has an immaculately honed touch and an unforced sense of lyricism. His graceful melodies never feel tethered to the ground. It is appropriate then that Ingram named his new album Sky/Lift (Sunnyside). Featuring an all-star cast of collaborators—Mike Moreno on guitar, Matt Clohesy on bass, and Jochen Rueckert on drums—Ingram’s set of original compositions take flight on the backs of clear melodies and fleet-footed rhythms.” Read more…
UPDATE – due to the weather, the show has been rescheduled to Wednesday, March 19th. Hopefully winter will be OVER by then!
Randy Ingram Quartet (Thursday) On his new album, “Sky/Lift,” due out this month, the pianist Randy Ingram pursues a spirit of fluent modernity, with help from the same close collaborators who join him here: the guitarist Mike Moreno, the bassist Matt Clohesy and the drummer Jochen Rueckert.
At 9 and 11 p.m., The Jazz Gallery at Salt Space, 1160 Broadway, fifth floor, at West 27th Street, 646-494-3625, jazzgallery.org; $15 in the first set, $10 for members; $10 in the second set, $5 for members. (Chinen)
On February 18, 2014, my new record Sky/Lift will be released by Sunnyside Records. It’s been five years in the making. I am honored to be part of François Zalacain’s Sunnyside Records catalog with many of my favorite musicians. You can now listen to a free track, “St. Louis,” on the Sunnyside Records blog. Here are links to pre-order the album on iTunes or Amazon. Also, if you’re in NYC, join me and the Quartet for our record release show on Thursday, February 13 at 9pm at The Jazz Gallery–hope to see you there!
At The Blue Whale playing trio with Hamilton Price on bass and one of my oldest friends, Nate Wood, on drums. Here’s an NPR story about owner/curator Joon Lee and his venue, one of my favorite places in LA.
After a wonderful time playing in Norway, I’m looking forward to some upcoming shows in Ireland with Kevin Brady on drums and Dave Redmond on bass. For the full list, including Jazz at the NYC and JJ Symth’s, check the Itinerary page.
I’ll also be teaching two solo Masterclasses–one at University College on November 20 and one at The Newpark Music Centre on November 22–both in Dublin!
A wonderful concert photographer, Ketil Hardy, took these pictures of me playing with Bjorn Solli on guitar, Jon Wikan on drums, and Phil Donkin on bass performing at the Lundetangen Pub, on November 15 and 16, 2013 in Skien, Norway.
Great show at the Oslo Konserthus in Norway, with Bjorn Vidar Solli on guitar, Phil Donkin on bass, and Jon Wikan on drums (and hilarious in the flyer)!
At Smalls with the Randy Ingram Quartet–Mike Moreno on guitar, Matt Clohesy on bass, and Colin Stranahan doing a great job filling in on drums–we had a special guest…
Playing with the Mike Fahie Jazz Orchestra.
New York Times listing for upcoming gig:
Randy Ingram Quartet (Tuesday) A young pianist drawn to contemporary harmony and a sleek rhythmic sensibility, Randy Ingram convenes the same musicians who appear on his forthcoming second album: the guitarist Mike Moreno, the bassist Joe Martin and the drummer Jochen Rueckert. From 7 to 9 p.m., 55 Bar, 55 Christopher Street, West Village, (212) 929-9883, 55bar.com; no cover, with a two-drink minimum. (Chinen)
Randy Ingram Trio–with two of my favorite musicians, Matt Clohesy on bass and Jochen Rueckert on drums–at Smalls.
Touring Japan with the Shusaku Yamano Quartet!
At the Guimaraes Jazz Festival in Portugal!
Flyer for “An Evening of Jazz for Obama,” a benefit concert at Le Poisson Rouge, with great musicians including Steven Bernstein, Briggan Krauss, Tony Scherr and Kenny Wollensen (Sex Mob); Noah Preminger, Jeff Davis, Ben Monder and Matt Pavolka (The Noah Preminger Quartet); and a special edition of the Randy Ingram Trio with Joe Martin on bass, Marcus Gilmore on drums, and Ingrid Jensen on trumpet!
Photos from the Quartet at Smalls last night.
Greetings and Happy Springtime!
Lots of news to report:
– Congratulations to my friend John Yao on the release of his debut recording, In The Now on Innova Recordings. I play piano, rhodes and hammond organ on the record. You can catch the CD release concert on Thursday, April 25th at the Cornelia Street Cafe.
– Had an absolute blast performing with Meah Pace last week at Thursday Nite Live at John Varvatos Bowery NYC. Meah and I are currently finished up the mixes of her EP, but for a sneak peak check out some videos from the show here…
I’m looking forward to my upcoming trio gig at Smalls! Here’s the info:
Randy Ingram Trio
Randy Ingram, piano
Phil Donkin, bass
Jochen Rueckert, drums
Live at Smalls Jazz Club
Monday Dec. 5, 7:30-9:45pm (two sets)
183 West 10th St, NYC
OK, the website is finally getting up and running! In the meantime, happy thanksgiving!