1.

Margot’s Mood (Chuck Israels) 7:17 Charlie Porter, trumpet

John Moak, trombone
2. Two Degrees East, Three Degrees West (John Lewis) 8:08 John Nastos, alto saxophone, flute
3. Fractal Shadows (Chuck Israels) 5:49 David Evans, tenor saxophone , clarinet
4. Concerto Peligroso (Chuck Israels) 4:47 Robert Crowell, baritone saxophone, bass
clarinet
5. Delicate Balance (Chuck Israels) 7:29 Dan Faehnle, guitar
6. All The Pretty Horses (traditional) 5:53 Miles Black, piano
7. The Sound of Sonny (public domain) 6:45 Chuck Israels, bass
Michael Raynor, drums
8. Dark Tapestry (Chuck Israels) 4:42
Jessica Israels, voice
9. Frankie and Johnny (traditional) 7:04
10. Swingin’ for the Fences (Chuck Israels) 7:04 Engineer: Bob Stark
11. Monk’s Dream (Thelonious Monk) 7:54 Mastering: Peter Axelsson
Project Manager: Jerry Roche
Graphic Design: Nai Zakharia
Cover Design: Nai Zakharia, Jerry Roche
All Arrangements by Chuck Israels Cover and inside photo: Charlie Porter
Recorded at Crossroads Productions, Vancouver WA, January 31 -
Special thanks to Kirby and Amy Allen and the Regional Arts and Culture Council. February 2, 2017
“
When my old friend Chuck Israels asked
me if I could join his Nonet for a recording
session, I understood that I would be
parachuting in to a well-rehearsed group,
subbing for regular pianist Dan Gaynor. Having
worked with Chuck for many years, I trusted
that he wouldn’t have asked me if he didn’t feel
that I could fit in. Chuck and I have done many
sessions and gigs together in varied formats,
and both shared a common love for the intricate
harmonies and rhythms of pianist Bill Evans, as
well as Ellington, Strayhorn, Sonny Rollins, etc.
On a windy February day I had the sublime
opportunity to meet all of the fine musicians
for the first time (with the exception of Dan and
Chuck) and hear these joyous arrangements.
Although clearly a serious musician, Chuck has
a fine sense of humour, and a great willingness
to share his wisdom with those who can hear
it.  Thanks to the Charles Henry Israels Nonet for
this opportunity!”
 1. Margot’s Mood:
IThe piece contains a finger twisting piano figure right off the top,
then sails along merrily over a familiar set of chord changes based
on “A Foggy Day”. Margot has many moods, apparently! The artful
intro figure re-occurs at the end of the piece, with a sly acknowled-
gement to Gershwin.
 
2. Two Degrees East, Three Degrees West:
This medium tempo blues “lope” floats along on such an even
keel, featuring wonderful solos with occasional horn interjections,
as if commenting on what just went down. After a brief ensemble
“head”, the soulful solos commence, all demonstrating restraint
and humor. A brief key change during the piano solo offers a
refreshing sonic lift then settles back to the original key for Chuck’s
tres groovy bass solo.  tapestry of this haunting arrangement.
3. Fractal Shadows:
Fractal: “a curve or geometric figure, each part of which has the
same statistical character as the whole. Fractals are useful in mo-
deling structures in which similar patterns recur at progressively
smaller scales, and in describing partly random or chaotic pheno-
mena.” The key choice of D Major is unusual in jazz, but abnormal
keys can often force a musician to find new creative solutions, as is
evidenced in this recording. This blues travels around harmonically,
landing on E Minor for the piano and guitar solos. Then to A Major,
and back to D Major!
 4. Concerto Peligroso:
A piano feature, “Concerto Peligroso” is aptly titled. “Peligroso” is
the Spanish word for “danger”. When I first played my piano part
at day one in the recording studio, I had no idea of what was going
to “surround” my parts and open solo sections….danger!! A tour de
force arrangement, in my opinion.
5. Delicate Balance:  9. Frankie And Johnny:
The intro to this delicately swinging affair pays direct homage to
Bill Evans, This piece is a contrafact of a very familiar jazz standard,
which frees up the soloists considerably. All of the solos on this
track are so personal and swinging. Like any great arranger, Chuck
makes this music sound spontaneous, yet well balanced and
cohesive.
 6. All The Pretty Horses:
Chuck rarely throws his music away. Instead, he diligently labors
on ways to present his material in new environments. Take this ar-
rangement of the folk song “All the Pretty Horses” as an example:
Although I hear Bill Evans in this music, Chuck’s distinctive musical
voice and the values he maintains help to weave the intricate
7. The Sound Of Sonny:
(based on  Sonny Rollins’ version of Toot, Toot, Tootsie, Goodbye)
Clearly, our band leader loves to mine well-known material. Jazz
lovers often refer to Sonny Rollins’ seminal album “The Sound of
Sonny” as one of the best in their collection. In this witty dedi-
cation to both Sonny Clark and Sonny Rollins, much is quoted,
borrowed, and jostled about. There are plenty of fine swinging
solos on this bright jazz romp.
8. Dark Tapestry:
The nonet arrangement offers several solos over varied time
feels, and of course, an intricate “dark tapestry” of sonic splendor.
Blessed with two very fine singers (in the form of wife Margot and
daughter Jessica), Chuck sagely decided to add a sinewy vocal line
to this arrangement. 
A familiar melody, stated wonderfully and lyrically by Chuck on the
bass is the perfect way to kick off this classic blues. The solos are
based on a blues in G. The way the band moves through the dra-
matic time shifts after the piano solo to recapitulate the melody is
pure genius. The piece ends as it begins: with a groovy two-chord
vamp and Dan’s soulful guitar. 
10. Swingin’ For The Fences:
Based on the harmonic framework of “Honey Deed I Do”, this
upbeat caper features strong soloing and the kind of super-articu-
lated ensemble playing that only a well-rehearsed group can pull
off.   Because this was my first experience hearing these arrange-
ments, I recall being utterly delighted by the fascinating music and
incredible musicianship during the recording process.
11. Monks Dream:
I love the bow on a bass, which Chuck uses this so deftly on the
opening statement of this tune by the great Thelonius Monk. The
ensemble catches the second chorus, followed by a fine “pizzicato”
solo by the arranger. I’ve always enjoyed Chuck’s solos, as they
always “say” something. His walking lines are a marvel too, deftly
changing directions yet with that sense of forward momentum
so necessary in a great bass line. Anyone familiar with Monk will
recognize where my head was at during the piano offering. The
out-head is tricky, man. But the cats nailed it, naturally. Because
they’re a BAND!!
Miles Black
May 22, 2017
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