Post-Bop Violinist Christian Howes
Breaks Out With Heartfelt


National release set for September 9th on Resonance Records

After releasing a string of potent CDs as a leader, a majority of which flew under the radar of most jazz critics, violinist Christian Howes is set to make a big splash with Heartfelt, his spectacular debut on Resonance Records. Rather than exhibiting the charming delicacy of a Stephane Grappelli or the jaunty Swing era bounce of a Joe Venuti, Howes is a wildly inventive post-bop burner with monstrous facility, a wide expressive range and a take-no-prisoners approach to soloing. On Heartfelt, he parlays his Herculean chops, blistering intensity and haunting romanticism into a winning combination that is eminently accessible without sacrificing his obvious skills.
 
One of the most original voices on the instrument today, violinist Howes had a promising career interrupted when he was convicted of selling LSD to an undercover cop back in 1992, shortly after he had turned 20. The experience of serving a four-year prison term in Ohio not only introduced him to the uplifting joys of gospel music but it also made him more determined than ever to have a career playing jazz. "That's when I really got introduced to the whole black cultural thing, in prison," says Howes. "Before that I had been pretty strictly into classical music but in prison I was playing in gospel church services and that was the first time that I was really exposed to a kind of energy of soul and swing and blues and these kinds of ideas. That music made such a deep impression on me that it was then that I got this feeling of, 'I should really be exploring this more on the violin.' And that's what led me to study anybody who had anything to do with the blues or soul or these kinds of quintessential elements of jazz. And it turned out that I didn't really find a lot of inspiration from violin players, necessarily. I was more often looking to piano players, horn players, vocalists and guitar players for my inspiration in jazz. And I tried for a long time to really pursue that thread of the blues and swing and stuff until within the last few years, I kind of freed myself from that restraint...to the point where I could get into the other things that influenced me early on like classic music and rock music, which I love, and kind of crazier stuff too. So I think I have started to embrace some of the other inherent things in the last few years and it's starting to reflect more in my current music."
 
Howes emerged from jail in 1996 with a new lease on life and a newfound commitment to the music. "I made a commitment a long time ago, when I was 24, right after I was released into the free world, that I was going to do whatever it took and I wasn't going to wait on anybody else. I promised myself that at least I'd make one record every year, and if nothing else it would be a way of getting better at making records, so I could be good at that and eventually show people what I could do. Because I had a real strong desire to get out there and do it, and I believed that I had something to say. So I put one out just about every year, whether it was on my own or in collaboration with a group."
 
In recent years, Howe's career has taken a remarkable upturn. He has become an in-demand violinist on the New York scene, performing and recording with a bevy of jazz artists, including alto saxophonist Greg Osby, pianist D.D. Jackson, guitarists Les Paul and Joel Harrison, drummer Dafnis Prieto and vibraphonist Dave Samuels's Caribbean Jazz Project, as well as New Orleans legend Dr. John, crossover pioneers Spyro Gyra, and pop singer Nancy Sinatra. Howes also appears on the soundtrack to the recent film, Nim's Island. On Heartfelt, the Ohio-born violinist collaborates with pianist-arranger Roger Kellaway, a legendary figure in his own right who recorded with jazz greats like Ben Webster, Oliver Nelson, Wes Montgomery, Sonny Rollins, Clark Terry, Kenny Burrell, Kai Winding, Stan Getz, Gerry Mulligan, Al Cohn and Zoot Sims before moving to Los Angeles in 1966 and becoming the musical director for Bobby Darin and working in the L.A. studio scene doing film scores and television work (his piano is heard playing the theme of TV's All in the Family). Kellaway has also worked with such pop stars as Joni Mitchell, Melanie, Maria Muldaur, Barbara. Streisand, Liza Minelli and Natalie Cole.
 
With all the parties brought together by Resonance Records founder George Klabin, Heartfelt is a beautifully balanced cross-generational project blending the wisdom of venerable jazz men (Kellaway and his longtime colleague on bass, Bob Magnusson) with the abundant energy and ideas of promising new youngbloods (Howes and Kneebody drummer Nate Wood). "Roger gave us a structure to work within, and I was allowed to suggest a few things as well, which was cool," says Christian. "He's a unique cat and he was very open in the studio. He wasn't closed off to suggestions. And I thought Nate was a good foil for Roger. Nate put him on his toes a little bit with the energy that he brought to the session. So with him and me, we kind of threw Roger for some loops with our stuff, which hopefully made it fun for him. And vice versa. Roger brought a certain confidence and energy and maturity to the session that really made me want to strive for something."
 
They open with an orchestral version of Russ Freeman's dreamy "The Wind," brilliantly arranged by Kellway, allowing Howes to showcase his unhurried, lyrical side. This is followed by an evocative movie theme, "Cinema Paradiso," by the great Italian soundtrack composer Ennio Morricone, rendered in a lush, orchestral setting. Next comes a  burning uptempo swinging rendition of "Alone Together," which features some virtuosic playing from both Howes and Kellaway, along with the requisite exchange of hot eights with drummer Wood. Next is a tasty and gorgeous orchestral rendition of Eliane Elias's "That's All It Was", followed by Kellaway's alluring "Invasion of the Forest," underscored by an infectious "Poinciana" groove by Wood, with Howes indulging in some guitar-like pizzicato work. Then Howes gets playful on a sprightly, swinging rendition of Bill Evans' "Walkin Up."
 
Following is an intimate, moving orchestral arrangement of Jimmy Rowles's melancholy but beautiful composition, "The Peacocks." Kellaway and Howes combine for a rare piano-violin duet on Benny Goodman's "Opus Half," which has the pianist dipping into some spirited stride playing while Christian sails over the top. An interpretation of Ralph Burns's romantic ballad "Early Autumn," underscored by Wood's sensitive brushwork, has Howes overdubbing several violin and viola parts.
 
The set ends with everyone swinging like demons on "Bernie's Tune," which features Howes on the Octave Geiger, a rare instrument with a range between viola and cello, as well as some flowing, Bensonesque guitar work by special guest Andreas Oberg.
 
"I think what George (Klabin) wanted to accomplish on this record was to put a world-class frame around my playing," says Howes. "His perception is that I've been doing it on my own for all these years and that he had the ability to help me rise above the do-it-yourself level by surrounding my voice with a world class production, so that people could hear it in a context that makes sense to the mainstream jazz audience." They succeed marvelously on Heartfelt.
 
Howes, who counts Stuff Smith, John Blake and Nashville-based Billy Contreras as his biggest violin influences, endorses Yamaha violins and D'Addario strings. He is also the founder of the Creative Strings Workshop in Columbus, Ohio.