"Rejuvenation" is exactly that; a refreshment of the musical experience both for the musician and the ear of the listening. This new collection of compositions is interlaced with that same elixir, a tonic of complexity and movement, of color and contrast to enliven the senses. "Rejuvenation" also represents a satisfaction, the attainment of a musical passage and ascension to an openly expressed level of intuitive playing, with the realization that this has all been done before but has been lost, set aside in attention to other music and life influences. But the commitment found here in this collection more than signifies a triumphant return to the root fervor of “what is jazz” and the force jazz music can impose.

It is with honor and humility that it is presented here. May you also feel and enjoy the powers of "Rejuvenation."

Some notes about these compositions and the composing process.

Although the music seems to arrive “out of thin air,” the process is much more complicated, but with the “out of thin air” magic. I have attempted many times to accurately explain the idea of original thought but still it remains vague. Maybe that is how it should be. My best reasoning is that original music or idea development is based on preparedness and skill. The invention of a theme is rooted in experience and memory along with life impressions and optimism. The optimism is most vital in that I can sense the nearness of something and give it positive passage to show itself and be born. This is a great responsibility as it will need a name and a respectable place in the world. Ideas for music are captured as to the present need or current harmonic study or sound I may be involved with at the time, but still there are other things.

A composer has his own emotions to deal with, his feelings of self, feelings for others, feelings for his world, and in composing, unknowingly the music is effected by all of these. Still, there are times when a composition will fly in quite out of nowhere and complete itself right there before you using your eyes, your hands, and your piano and be done in fifteen minutes. This is amazing!

The songs composed here were written quite rapidly as if poised for arrival. There was little struggle. There was a need, there was a harmonic study, there were some gigs, and there was a great excitement and desire.

Each song was a joy to discover and unique unto itself. Each suggested it’s name very clearly. “Mister Pacific” was a development of the harmonies of “Rejuvenation.” “Rejuvenation” was conceived with the help of bassist Don Russo and represents an abandonment of old disciplines allowing a joyous release of energy. “One Fin Up” was conceived to be a relaxed idea played in the style of pianist Tommy Flannagan, allowing the music to breath and revitalize itself. “Pegasus” was originally meant to be mean and hard-shelled but with a soft center and that’s just how it ended up. The odd one was “Montooth Dragon,” expressly written for Albuquerque drummer Diego Arencon as a format for him to develop and expand in his own way. As a result Diego has become and will forever be the “Montooth Dragon.”

The two standards, “Autumn Leaves” and Miles Davis’ “Nardis” are rendered respectfully as recognizable vehicles of the improvised jazz tradition. Don Russo’s opening solo clearly displays his passion for the song “Nardis” and exposes the rich sound of the bass.

1. Definition
2. Rise
3. One Fine Thing
4. Made
5. Bad Boys
6. Coy Madden
7. Godfire Mantra
8. Dare Devils
9. Duke's Choice (I X's Love)
10. Steps

The new 2007 release of “Bad Boys,” “The Russo Alberts Trio” has been getting a lot of attention since the first airing on KCSM in San Mateo by Broadcaster Sonny Buxton. The CD features ten new recordings, nine originals by Don Alberts and one by Charles Mingus. Published on the Sims Road Music label it is now available on many outlets including CD Baby.com and other iTunes.

Bad Boys-represents the past of us all, how we came back from the depths to find each other again and continue this music after years of being misfits. It is the perfect setting for this band.

Coy Madden: It was originally the extension of a poem, the song came one afternoon at the piano alone in the house with conflicting feelings of loss or abandonment. As it turns out it was not about that at all, but uplifting and smart. The people in L.A. loved it and that made it a permanent part of the band's music.

One Fine Thing- is a minor blues. It pivots on an introductory figure that resolves to solos in F minor. It is a joy to play and "One Fine Thing."

Definition- evolved out of the many versions of the form we use and served to define the musical configuration as a model.

Rise- is the first excursion in the use of a device to expand the harmonic influence combining Lydian harmony with the bebop forms without sacrificing melodic beauty and content. This might have been the title song.

Godfire Mantra- is an excursion to the"outside," a meditation if you allow it. Don Russo and Art Lewis shine in this openness as it approaches complete freedom touching at the formless and setting the stage for future explorations, a sophisticated genre Art Lewis knows well from his times with Andrew Hill and Dewey Redman.

Made-came into fullness quite unexpectedly at rehearsal through rhythmic impressions of Art's drumming. Together we developed the form to its completion based on that rhythmic idea. The title "Made," came from our realization that on one particular gig situation we could do no wrong, we were "Made." That fact has stayed with the band.

Dare Devils: A song that was influenced by Sonny Stitt. He would have loved the exotic fast moving blues changes.

Duke's Choice: A song by Charles Mingus that sings his haunting style. Though dedicated to his mentor, "Duke Ellington," it echos the purity of Mingus' concept, rooted strongly in the blues with a theme that becomes unforgettable.

Steps- is purely original, it forces its way into an energetic ride across the bars in the 7/4 melody and opens the door to an almost free improvisation. It is the longest track in this collection but well worth the listening experience. Don Alberts

Review by Sonny Buxton:

If there had not been an economic crunch on clubs throughout the country in the middle of the last century, we may never have seen the emergence of the sound of the "TRIO." The retreat of the big bands, the return of the combo, and its resulting popularity, by necessity, created a need for the smallest of compact units to be able to deliver a satisfying alternative to the loss of the big bands. The smaller swing bands, such as those led by John Kirby, Artie Shaw and Benny Goodman were successful for hotel starlight venues. However, few smaller units could match the musical and entertainment quality of the groups led by Louis Armstrong and Louis Jordan. They were both highly skilled instrumentalists, vocalists, and artists eager to please their fans.

On the other side of the coin were the adventurers, the rebels, the be-boppers. These smaller groups were also made up of highly skilled musicians, playing a brand of music not designed for the masses. They excluded dancers, demanded the audience to listen, and stretched the musical boundaries to the limit. The be-boppers quickly developed a cult-like following and were accused of creating the music that killed the big swing bands. They survived the acrimony, and carved their own individual niche. In the middle of small swing bands, rhythm and blues groups, bebop quintets, there slipped in a little group that would be become the cornerstone within all musical genres: the trio.

The King Cole Trio, in my estimation, is the benchmark for all musicians aspiring to perform in a three person setting. From the outset, they were entertaining, swinging, and true innovators in an historical context. Their harmonic structures within the melody were challenging, yet not so far flung that the they lost touch with the audience. Nat Cole was one of the great jazz piano players, and not a bad singer. His trio, with the piano, bass, guitar and vocal, was copied worldwide by thousands of musicians; not just in structure, but note for note. Not to be ignored was the size of the Cole led group and the instrumentation - ideal for saloons and lounges. Listening closely to a real trio in action is an adventure unto itself. Whether it be the King Cole Trio, Bill Evans, Oscar Peterson, Chick Corea, or Keith Jarrett, one is struck by the discovery of the ability to surrender within the tight confines of a small band. It does mean giving it up, playing as one for the benefit of the group.

There is one standard piece of advice for would-be musicians in a trio setting: Listen, and then, play your instrument. Being a member of a trio is no easy task. Many qualified musicians wash out and never return to the format. You will hear the same refrain from those who have abandoned the notion: "I couldn't get with that, or those cats" - "I couldn't feel it" - "it just didn't work for me" - "I felt naked up there" - "I need more."

Most excuses for wanting out of the trio are centered around "me." There is no "me" in the trio. That is exactly what makes it stand apart from most contemporary bands. The Bay Area based, Alberts/Russo Trio, is the real deal. As in the profiles of outstanding trios from the past, the trio is their choice and their passion. You will hear the history of this small unit form in tact. They are adventurous harmonic-ally, the melodies are original, they swing, and they are entertaining.

The CD is titled, "The Bad Boys." This is not to be confused with another popular style of commercial recordings. Alberts/Russo have their analysis for the title, and I have mine: In the vernacular of the tried and true - they are "Bad cats" - indeed. I hope you will take time to listen, as I have, and enjoy the music these fine musicians have put together.

Sonny Buxton KCSM Jazz Radio FM 91 San Mateo, Ca.