Panic Attack – Ryan Kisor
Like Horror Show, this one could induce a panic attack if you're not ready for it! The melody presents a stiff challenge for any instrument.
- Recording: Ryan Kisor - The Dream
- Recorded on: May 28, 2001
- Label: Criss Cross Jazz (1215)
- Concert Key: B-flat
- Style: Swing (uptempo)
- Trumpet - Ryan Kisor
- Piano - Peter Zak
- Bass - John Webber
- Drums - Willie Jones, III
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Ryan Kisor's compositions are frequently challenging workouts, and this one is no exception. The melody bristles with skips and chromatic side-slips; much of the melodic material is based on fourths and pentatonic runs. The first eight measures, the intro, appear again as the last eight measures of the head. In between are seventeen measures of lines, snaking between B♭ major and minor tonalties with a few B minor and E passing chords. There's not much subdivision of "sections" within the head, so there are no letters marking such sections except A. The ninth and tenth measures are almost the same as the 16th and 17th measures; thus the melody could be split up into sections of 8, 2, 5, 2, and 8 measures.
The solo section is 38 measures long (divided basically 8-8-8-6-8); as in Horror Show, the changes are based on the head changes but stretched out. In this case, the extension of the changes gets progressively less. The first eight measures of the solo section correspond to the first measure of the head; the second eight to the second and third measures, and the next 14 measures of the solo section basically correspond to seven measures of the head (the fourth through tenth). Finally, the last eight measures stretch out again, extending measures 11 and 12 of the head form.
In this version with piano and bass, the bass plays the figures written in the head. On the other recording, the organ's left-hand bass walks for most of the head.
The solo section is 38 measures long (divided basically 8-8-8-6-8); as in Horror Show, the changes are based on the head changes but stretched out. In this case, the extension of the changes gets progressively less. The first eight measures of the solo section correspond to the first measure of the head; the second eight to the second and third measures, and the next 14 measures of the solo section basically correspond to seven measures of the head (the fourth through tenth). Finally, the last eight measures stretch out again, extending measures 11 and 12 of the head form.
In this version with piano and bass, the bass plays the figures written in the head. On the other recording, the organ's left-hand bass walks for most of the head.
This quartet first recorded together in 1998 on Ryan's fourth album as a leader, "The Usual Suspects." Later the same year they were on Ryan's next album, "Point of Arrival" (which includes bassist's John Webber's composition Smoke Signal), and in 2000 they came together again for the album "Kisor," actually Ryan's tribute to Clifford Brown. After "The Dream," they next recorded together on Ryan's 2007 album "Conception Cool and Hot," also featuring alto saxophonist Sherman Irby.
The follow-up to Panic Attack was Horror Show, from the "One Finger Snap" album (2006) which also featured Ryan alongside Peter Zak and John Webber, with Joe Strasser on drums.
The title track of "The Dream," like Panic Attack, also appears on Ryan's Video Arts album The Sidewinder."
The follow-up to Panic Attack was Horror Show, from the "One Finger Snap" album (2006) which also featured Ryan alongside Peter Zak and John Webber, with Joe Strasser on drums.
The title track of "The Dream," like Panic Attack, also appears on Ryan's Video Arts album The Sidewinder."
- Recording: Ryan Kisor - The Sidewinder
- Recorded on: August 10, 2002
- Label: Video Arts Music (VACM 1221)
- Concert Key: B-flat, No key center
- Style: Swing (uptempo)
- Trumpet - Ryan Kisor
- Organ - Sam Yahel
- Guitar - Peter Bernstein
- Drums - Willie Jones, III
This organ/guitar version of Panic Attack is even faster. The guitar doubles the trumpet melody in the intro and on the last eight measures of the head. The organ left-hand "bass" walks for most of the intro and the head, playing the hits only on the 3rd and 4th, 7th and 8th measures of the intro (and corresponding part of the head), and the first, second, fifth and seventh measures of the head. In the solo section, Ryan and organist Sam Yahel trade choruses.
The album "The Sidewinder" is obviously a tribute to trumpeter Lee Morgan whose Sidewinder was a commercial hit for Blue Note Records in 1964; it features the title track as well as three other Lee Morgan songs. Panic Attack is one of three Kisor originals on this album; another one is The Dream.
"Sidewinder" is the second of three consecutive Ryan Kisor albums with Sam Yahel on organ and Peter Bernstein on guitar. The first, "Awakening," added tenor saxophonist Grant Stewart to this quartet, while the third, "Donna Lee," is another quartet album with Jason Brown on drums instead of Willie Jones. Kisor's first album with Yahel and Bernstein was 1997's "Battle Cry," with Brian Blade on drums; previously, Kisor had played on part of Yahel's first album as a leader, 1996's "Searchin'," which also featured Bernstein.
"Sidewinder" is the second of three consecutive Ryan Kisor albums with Sam Yahel on organ and Peter Bernstein on guitar. The first, "Awakening," added tenor saxophonist Grant Stewart to this quartet, while the third, "Donna Lee," is another quartet album with Jason Brown on drums instead of Willie Jones. Kisor's first album with Yahel and Bernstein was 1997's "Battle Cry," with Brian Blade on drums; previously, Kisor had played on part of Yahel's first album as a leader, 1996's "Searchin'," which also featured Bernstein.
Ryan Kisor
born on April 12, 1973
Perhaps best known for his work with the Jazz at Lincoln Center Orchestra, Ryan Kisor is an accomplished trumpeter and one of the rising names on the jazz scene. Firmly rooted in the post-bop tradition, Ryan has obviously done a lot of listening to giants like Clifford Brown and Booker Little and Woody Shaw. Of course, he's also been influenced by contemporary mentors including Clark Terry and Wynton Marsalis, both masters of the art of great trumpet playing. Read more...