This is a tune I wrote many years ago I dedicated to the great Cedar Walton, who just passed a couple of days ago, August 19, 2013. The band performing this is The Capital Jazz Project. Recorded in 2000 at The Hangar by yours truly. The members of CJP are Joe Gilman piano, Mike McMullen tenor sax, Henry Robinett guitar, Kerry Kashiwagi bass, Rick Lotter drums and, at that time, Phil Tulga on trombone. We augmented the group with Steve Campos trumpet. 

This is from The Capital Jazz Project first CD. 

Apologies. The mix is a little weird. Tenor sax is too far back, drums are perhaps too up front. But the important thing is - this is for Cedar Walton. RIP.

Photograph of Cedar Walton playing at Keystone Korner 1977 by Kathy Sloane

Cedar

PINS & NEEDLES

AM i GETTING THE WHOLE MESSAGE?

visions (high)

26th Sense

Now That It's Over

Now That It's Over (feat. Hether)

Thee Sacred Souls ft Jensine Benitez  Let Me Feel Your Charm

Banned By Kaytranada

Who Playin?

u-love freestyle

Does It Hurt

Standing on Giant Shoulders

Attack of the Dreadlocks

Benny Sings’ award winning composition for the ‘Meer Verhalen Gastvrije Randmeren’ podcast 
In assignment for Van De Jong Production.

Randmeren

I'm a jazz guitarist, composer and recordist. I also taught jazz at the University Of The Pacific and Consumnes River College. I own a recording studios - Henry's Place a tracking facility out of my home. My band is The Henry Robinett Group, which has been in existence in one form or another since 1985. We released 5 CDs.  The latest, "I Have Known Mountains" is the 5th in the series but without the group. I also play with The Capital Jazz Project.  In addition I'm active in producing various artists across the stylistic spectrum. 

I've taken a lot of my inspiration from my late cousin,  jazz great Charles Mingus. I lived and studied with him briefly in the mid-late 70s.

On this site I will put things up, all unfinished works in progress, unless I indicate otherwise, to either show what I'm working on or to give an overview.  We're working on a couple of CDs.  There's a wide variety of material, so I don't know whether it will become two or three different CDs, straight ahead jazz, my more accessible material or what. Many of the pieces here I have no plans to release on a CD. But it's good to get some feedback or just a feel for what folks are listening to. 

On another note, as I'm sure there's enough music here to upset everybody. Part of the pleasure of being a guitarist who plays jazz is being exposed to a wide variety of music in the popular idiom.  And frankly I love all genres. Part of my uniqueness, if there is any,  is being willing and able to play at most styles.  I don't consider my more "accessible" elements selling out, because I really like them, and I still play everything in my own style, rather than trying to cop anyone else either compositionally or guitaristically. What's more what personally drives me crazy is the narrow minded, musical fascism; almost a form of musical bigotry, that an artist has to stay within the confines defined as X or that anything but X is invalid as an art form worthy of ones attention.  The timbre of guitar and music has changed over the years. I like to explore it all. 

I believe part of an artists responsibility to is write what he hears and play what he imagines, if he likes it, regardless of other peoples considerations or pressure, one way or the other. If I only did straight ahead jazz or only did funk or only rock, I'd be dishonest.

Cedar

Henry Robinett

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