"His solos are a near-perfect amalgam of power, finesse and logic." -David A. Orthmann (Allaboutjazz.com)

Photo by Andrea Canter

One of the leading purveyors of modern trumpet will join forces with one of the unsung heroes of 21^st Century piano when the Jim Rotondi Quartet arrives for a three-night stand at the Artists Quarter in St. Paul (April 8-10). Long considered a leader among his generation, trumpet master Rotondi will share the bandstand with Twin Cities’ native son Bill Carrothers, a giant of keyboard improvisation who is more often on tour in Europe than in his home territory. The confluence of these great artists makes for an unforgettable weekend of cutting edge jazz

Jim Rotondi grew up in Butte, MT where his mother (a piano teacher) introduced him to piano at age 8. The trumpet attracted his attention at age 12. Initially he enrolled at the University of Oregon but ended up spending his tuition money on records. Recognizing that music was his destiny, he switched to the jazz program at North Texas State Univeristy. But even before completing his undergraduate studies, Rotondi was making sonic waves, winning the International Trumpet Guild Competition in 1984. His first job after college was with the Ray Charles Orchestra (an association that continues today); he was a featured soloist at the 1992 Chile International Jazz Festival in Santiago, along with saxophonist Joe Lovano and pianist Danilo Perez. Other touring credits include the Lionel Hampton and Toshiko Akiyoshi orchestras. Citing as key influences the great trumpeters Dizzy Gillespie, Freddie Hubbard, Woody Shaw, and Clifford Brown, Rotondi’s mentors have included trumpeter Bill Hardman, and saxophonists Junior Cook and Cecil Payne; he currently tours with Payne’s Sextet as well as with the Dizzy Gillespie All-Star Big Band, the Joe Farnsworth Quintet, Eric Alexander Group, Bill Mobley’s Space Time Big Band, and the Gregg August Group. He is a founding member of the ensemble One for All (with Eric Alexander and Steve Davis), co-leader of Full House with David Hazeltine, and leads his own ensembles, including his Quartet, Quintet (featuring Eric Alexander or Joe Locke), and his Jim’s New Electric Band. In addition to Alexander, Farnsworth and Locke, his compatriots often include pianist Rick Germanson and drummer Bill Stewart.

Jim Rotondi is a busy recording artist as well as touring performer. He has released six acclaimed CDs on Criss Cross including the just-released Iron Man, as well as two for Sharp Nine. He also appears on recordings of Charles Earland, Eric Alexander, the George Coleman’s Octet, and Ray Appleton’s Sextet, as well as on a number of releases with One For All. Currently based in New York, Rotondi keeps a busy teaching schedule, which has included clinics at Emory University, the Stanford Jazz Workshop in Palo Alto, CA, and serving on the affiliate faculty of the State University of New York at Purchase. He also presents workshops and clinics throughout the U.S.

The return of internationally acclaimed pianist Bill Carrothers is always a much-anticipated event in the Twin Cities’ jazz community. The Excelsior, MN native has been garnering rave reviews throughout the U.S. and Europe for his 2004 recording, Armistice 1918, and was nominated for the 2005 French “Grammy” equivalent, Les Victoires du Jazz. Next week (at the Dakota, April 12^th), Carrothers will celebrate the recent release of Shine Ball (Bridgeboy Records) [ Click here for Jazz Police review], an all-improvised set with bassist Gordon Johnson and drummer Dave King.

Photo by Andrea Canter

Bill Carrothers hardly followed the typical path of a musical prodigy. Growing up on the edge of the Twin Cities metro area, he heard lots of jazz at home, from his father’s recordings of Dixieland and Gerry Mulligan to his mother’s singing and piano playing. He started out with lessons from his church organist at age five, and eventually was turned on to jazz by his piano teacher, the late Bobby Peterson, who introduced young Bill to Bill Evans, Herbie Hancock, and most importantly, Miles Davis. Starting with Davis’ Greatest Hits, he was mesmerized: “I wore it out. I listened to it 100 times. I'd never heard anything like that before.” After playing in his high school jazz bands, Carrothers moved on to the jazz program at North Texas State on a scholarship. However, he found the formality of college music studies frustrating. “I decided that the best way to learn it was to start buying every kind of jazz music I could find and start listening to it...” Gradually, Carrothers gained experience playing with visiting artists like James Moody and Billy Higgins, and recorded a well-received CD (A Band in All Hope) in 1986. By 1988, he’d had enough of college studies and headed to New York, where he recorded with Gary Peacock and Bill Stewart, and had gigs at the Village Gate, Birdland, and Visiones. But the big city never felt like home, and after five years and leading one recording (The Artful Dodger), Carrothers gave up on the Big Apple, and relocated to upstsate to Woodstock. After a few years, he returned to the Midwest, and now makes his home in Michigan’s Upper Peninsula.

For much of his music, however, Carrothers spends his time in Europe, where he finds more work and a more open attitude toward jazz. As a sideman he has appeared with Joe Beck, Scott Colley, Buddy DeFranco, Dave Douglas, Curtis Fuller, Billy Higgins, Lee Konitz, James Moody, Dewey Redman, Charlie Rouse, and Toots Thielemans, among others; as a leader he has released a dozen acclaimed recordings. European honors have included the 2000 French Diapason d'Or de l'année and the German Schallplatten Preis for his Birdology recording, Duets With Bill

Photo by Andrea Canter

Recently, Bill Carrothers has taken on projects reflecting his interest in American history, including tributes to the Civil War. His 2004 release, Armistice 1918 (Cryptogramophone), earned rave reviews. Noted the Jazz Society of Oregon, “This is serious material to be listened to closely. It has clout, poignancy, and a strong message for our country at this very moment.” His 2005 release, I Love Paris (Pirouet, 2005), goes in a much more mainstream direction, focusing on tunes from the 20s-40s.

Photo by Andrea Canter

Joining the quartet this weekend will be local virtuosos Gordon Johnson on bass and AQ owner Kenny Horst on drums. A gig with either Rotondi or Carrothers is ample reason to drop all plans and head for the Artists Quarter. A weekend with these two innovators on the same stage, and in the company of such potent timekeepers as Johnson and Horst, is due cause to consider camping out on the 7^th Place Mall—you don’t want to miss a single set.

The Jim Rotondi Quartet with Bill Carrothers will play two (or more) sets each night, Friday and Saturday, April 7-9, starting at 9 pm ($12), and Sunday April 10^th at 8 pm ($10). The Artists Quarter is located on 7^th Place at St. Peter Street in the lower level of the Hamm Building in downtown St. Paul, 651-292-1359; www.mnjazz.com. No-smoking ban now in effect. (Smoking fans are advised that it is a short stairway or elevator ride to the main floor, with a pedestrian mall outside the door, when you need a break. That’s a lot closer than driving to a bar in the ‘burbs and the music is a lot better!)

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