1 	Jazz In The New Harmonic 	8:26
2 	Broadway 	9:34
3 	American Culture X 	9:01
4 	Duke's Groove 	8:21
5 	Groove From The Underground 	9:56
6 	Deconstruction 	7:30
7 	Burnout 	9:15
8 	Transcendental Tripping 	7:12

Bass – Peter Washington
Drums – Billy Drummond
Piano – David Chesky
Tenor Saxophone – Javon Jackson
Trumpet – Jeremy Pelt

Jazz in the New Harmonic is a strange record. Pianist and composer David Chesky, who works in both the jazz and classical genres, combines them in a 21st-century take on the Third Stream concept. He unleashes a killer jazz quintet (trumpeter Jeremy Pelt, saxophonist Javon Jackson, bassist Peter Washington, drummer Billy Drummond) on tunes composed in contemporary-classical harmony. The resultant album evokes jazz/conservatory fusions of the late 1950s, but it emphasizes the most grating elements of that sound and era. It is deeply, unceasingly dark-too much so to be enjoyable. The rhythm section maintains a pattern throughout: monotonous vamps from Drummond and Washington; sparse, dissonant and blues-less comps from Chesky. The effect is cold and detached, giving even the hip-hop groove of “Burnout” a veneer of bleakness and isolation. The swingers, namely the title track and “Duke’s Groove,” only up the ante with overt noir affectations in their melodies and a sluggish pace. The echo-laden horns do little to help: Dissonant themes like that of “Broadway” enhance the music’s moodiness, but on “Transcendental Tripping” Pelt and Jackson’s vexed interplay cloaks a Latin groove that might otherwise have enlivened the affair.

None of this would be debilitating if the album’s gloom had any apparent thematic purpose. Instead, it’s more like an off-putting byproduct of this jazz-ensemble-meets-classical-harmony endeavor. That’s a shame, because the players on Jazz in the New Harmonic do superlative work. Jackson triumphs, with unexpectedly melodic solos on the title track and “Grooves From the Underground”; Pelt has a fine, bluesy muted solo on “Burnout” and Chesky himself adds artful suspense to “Broadway.” Washington has little to do but shines through anyway thanks to his enormous woody sound. They’re doing their best to develop decidedly unfriendly territory. --- Michael J. West, jazztimes.com

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1 	Rag No. 1 "The New Yorker" 	1:53
2 	Rag No. 2 "The Bernstein" 	2:06
3 	Rag No. 3 "The Duke" 	2:06
4 	Rag No. 4 "Times Square" 	2:39
5 	Rag No. 5 "Fourth Street" 	2:26
6 	Rag No. 6 "Third Avenue" 	2:21
7 	Rag No. 7 "Broadway Boogie Woogie" 	2:12
8 	Rag No. 8 "Fifth Avenue" 	2:12
9 	Rag No. 9 "Grand Central Morning" 	2:14
10 	Rag No. 10 "Seventh Avenue" 	2:27
11 	Rag No. 11 "The Circle At Fifth" 	2:21
12 	Rag No. 12 "The Park Avenue Rag" 	2:21
13 	Rag No. 13 "The Thanksgiving Day Parade Rag In 7/4" 	2:07
14 	Rag No. 14 "Kids You're Late For School Rag" 	2:09
15 	Rag No. 15 "The Manhattan Blues Variations Rag" 	2:17
16 	Rag No. 16 "Penn Station" 	1:59
17 	Rag No. 17 "The J Walker Rag" 	2:24
18 	Rag No. 18 "The Coney Island Rag" 	3:16

David Chesky - Grand Piano

David Chesky’s series of 18 modern virtuoso solo piano rags are inspired by life in the bustling and intense metropolis of New York City, a place he has called home since 1974. The work seems to owe as much to Henry Cowell and Charles Ives’ use of dissonance, Elliott Carter’s atonalism, Conlon Nancarrow’s experimental piano rolls, Leonard Bernstein’s syncopation, and Cecil Taylor’s whirlwind free jazz as they do to Joplin’s ragtime classics. These pieces are taken from Chesky’s unique rhythmic and harmonic style of composition, fused together with stride piano and ragtime to capture the everyday life of modern pulsating New York City.

This album was recorded in Binaural+ for both speaker and 3D headphone playback and has EXTREME dynamics, so please set your playback levels carefully. Recorded November 27th, 2012 at the Hirsch Center in Brooklyn, New York David Chesky - Piano

This album was made with the purest audio path, using the very best microphones, mic preamps, analog-to-digital converters, recorders, and cables with careful attention to detail to produce the most transparent and natural sound available today. Reviews This is certainly among the finest piano recordings ever made. This music and recording deserve the highest of high fidelity and that's just what the 192/24 delivers. - Andrew Quint, The Absolute Sound New York Rags FULL of riches. - Gary Walker, WBGO, chesky.com

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1 	Chorinho No. 4 "Washington Heights" 	2:14
2 	Chorinho No. 2 "Brooklyn Bridge" 	2:40
3 	Chorinho No. 3 "Sheep Meadow" 	3:41
4 	Chorinho No. 13 "Latin Fugue" 	3:21
5 	Chorinho No. 5 "Sutton Place" 	4:21
6 	Chorinho No. 10 "Soho Waltz" 	3:14
7 	Chorinho No. 15 "Summer Days" 	4:38
8 	Chorinho No. 12 "Park Avenue" 	3:35
9 	Chorinho No. 14 "Hudson Street" 	4:31
10 	Chorinho No. 17 "Times Square" 	4:31
11 	Chorinho No. 8 "Manhattan" 	4:51
12 	Chorinho No. 1 "New York" 	2:19
13 	Chorinho No. 6 "Broadway" 	3:19
14 	Chorinho No. 9 "Madison Avenue" 	5:52
15 	Chorinho No. 11 "Columbus Avenue" 	3:13
16 	Chorinho No. 16 "The Boat Pond" 	7:14

Guitar – Romero Lubambo
Piano – David Chesky

If someone were assigned to write a book about the history of Brazilian music, it would be a challenging assignment because so many different types of music have come from Brazil -- not only samba and the bossa nova, but also Tropicalia, forro, baião, embolada, frevo, serteneja, and lambada. Brazil is the largest country in Latin America, and a country that huge is bound to produce a variety of regional styles. In Rio de Janeiro, one style that preceded samba was choro, which goes back to the 19th century and continued to evolve in the 20th century (when everyone from Heitor Villa-Lobos to Laurindo Almeida to Eliane Elias embraced choro). The New York Chorinhos is David Chesky's inspired acknowledgment of choro; this 1990 effort finds the pianist/producer forming a duo with Brazilian acoustic guitarist Romero Lubambo and putting his own spin on the choro rhythm. A New Yorker who has a background in both classical and jazz, Chesky doesn't play choro like a true carioca (native of Rio). But then, that's what makes this CD intriguing -- Chesky plays choro on his own terms, and that means incorporating jazz and European classical elements. It also means doing all the composing. Chesky wrote all 16 of the pieces, and the titles have some type of New York reference -- titles like "Brooklyn Bridge," "Madison Avenue," "Park Avenue," "Washington Heights," and "Soho Waltz." A true carioca, of course, would be making Rio de Janeiro references. But then, Chesky never claimed to be a carioca. He's an American jazz/classical pianist who has a strong appreciation of Brazilian music, and that appreciation serves him well on this consistently interesting CD. ---Alex Henderson, AllMusic Review

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