Jazz, according to some, is an educated genre of the musical spectrum; certainly not for everyone. Perhaps more suited for those with an elite edge. Those who seemingly exist above the fray. It is said that the complexity of jazz is difficult for many to understand. Only those who emanate ‘cool’ and ‘sophistication’ are truly able to grasp its

Jazz, according to some, is an educated genre of the musical spectrum; certainly not for everyone. Perhaps more suited for those with an elite edge. Those who seemingly exist above the fray. It is said that the complexity of jazz is difficult for many to understand. Only those who emanate ‘cool’ and ‘sophistication’ are truly able to grasp its full meaning, and are able to catch the purity of the rather obvious vibe. But what is the key to jazz music? Is it a beautiful chord progression based on the indelible theme, or is it the abstract, dissonant chord progression that seems to lack any coherency at all? Does it swing or does it agitate? Is it simple? Or have the intricate pieces of the puzzle been so neatly arranged that your imagination ignores its difficulty, and in-turn, appreciates its subliminal beauty? In Jazz: The 2920 Sessions, we have made a conscience effort to commit all of the above crimes. A few pieces like Jazz 31, Swing 280, Hound Dog Shuffle, Be Flat and Tranchante Mer Mineure are brand new. (Here's a little tip: translated, Tranchante Mer, Mineure means Sea Sharp Minor. It's my play on words for my French brother-in-law. The name of the song and the key it is in is C# Minor). All of the arrangements are new. Jazz: The 2920 Sessions is part of the ongoing 2920 Sessions which explores many genres of my music. I am having a great time working with a few very talented El Paso artists like bassist Curt Bushaw, pianist Ruben Gutierrez, vocalist Monica Gutierrez, vocalist Joshua Lucero, percussionist Eric Boseman, and saxophonist Frank Zona.