…HERE ARE ALL OF MY ALBUMS TO DATE!…

You can sample some of my music by clicking on

the site-wide player on the right-hand side below.

(…Better yet, round up an album or two at BandCamp!…)

Reflections (for Paul Horn) (Bill McBirnie)
Forever with Bruce Jones (Bill McBirnie)
The Silent Wish with Bernie Senensky (Bill McBirnie)
Grain of Sand with Bruce Jones (Bill McBirnie and Bruce Jones)
Find Your Place with Bernie Senensky (The Bill McBirnie Trio)
Mercy with Robi Botos (The Bill McBirnie Duo/Quartet)
Paco Paco with Bernie Senensky (The Bill McBirnie Duo/Quartet)
Nature Boy with The Mark Eisenman Trio (Bill McBirnie)
Scratch It! (Extreme Flute)
Desvio with Bruce Jones (Extreme Flute)

[NOTE: Full BandCamp details are set out below. These albums are all available at BandCamp, iTunes, Amazon, and all other major music platforms.]

Reflections (for Paul Horn)

Bill McBirnie

Buy album

"A dreamy and sumptuous blend of peace, calm, and tranquility."

DEDICATION:

This album is dedicated to Paul Horn's wife, Ann Mortifee, and his sons, Marlen and Robin, in fond memory of Paul and the enormous contribution he made to the world of music...not to mention the enormous and lasting influence Paul has had on me personally...

BACKGROUND:

Paul Horn is unquestionably the earliest, the strongest and the most enduring of all my influences on this instrument, regardless of idiom.

Paul's landmark 1969 recording, Inside, cast him as perhaps something of an unwitting “Father of New Age Music”. However, my very own father actually introduced me to Paul's flute playing long before that (when I was growing up in Port Colborne, Ontario and learning to play the flute myself), with Paul's earlier and more straight-ahead 1962 recording, Profile of a Jazz Musician.

Paul had a unique and haunting sound on the instrument that struck me immediately. He was never a flashy technician. Instead, he relied on the use of space, coupled with what were often stark—but heartfelt—phrases to communicate musically. He was also very spiritually driven, and this aspect of his music was evident in all of his work.

Paul went beyond the conventional boundaries of the instrument. He was able to achieve a Miles Davis/John Coltrane kind of intensity, with a remarkably unhurried pace in his approach to improvisation, all of which he combined with a devout sense for the sound of the instrument.

It is precisely because of all these qualities that I have returned to Paul's flute playing...over and over again...and over many, many years...

Now, a decade after his passing, I decided to take some time and make an effort to acknowledge all he has done for me...and so many others...with a series of reflections which I hope will give you the same sense of comfort and solace I experience when I listen to Paul Horn.

Bill McBirnie

THANKS

My sincere thanks to each and every one of my supporters (notably Jaymz Bee and all the folks at Jazz.FM91). And of course, my eternal gratitude to Svetlana, my wife, who is my biggest supporter in all that I do.

And here are some other Extreme Flute albums that you might enjoy!

- Desvio (Bill McBirnie & Bruce Jones) – EF01
- Scratch It! (Bill McBirnie - Extreme Flute) – EF02
- Grain of Sand (Bill McBirnie & Bruce Jones) – EF07
- Forever (Bill McBirnie & Bruce Jones – E09-EP

PRESS EXTRACTS:

"Technical magnificence. McBirnie is one of the best living jazz flautists in the world. [Mercy] features technically stunning musicianship coupled with powerful emotions that combine grace and beauty, providing a bountiful feast of audio delight." (Paul J. Youngman, All About Jazz)

“In both duo and quartet formats, McBirnie dazzles...In every instance, his flute technique is flawless, dynamic and often simply jaw-dropping...McBirnie has been called Canada’s standout jazz flautist. I maintain he is one of the top two or three in the world." (Mark E. Gallo, JazzReview.com)

DOWNBEAT—"Opening for Eliane Elias, flutist Bill McBirnie proved a passionate and eloquent improviser with sure-footed support from pianist Bernie Senensky. Their set included a show-stopping finale penned by Senensky, inspired by Hermeto Pascoal and Charlie Parker.” (Allen Morrison)

JAZZTIMES—"Best Opening Act [at the Toronto Downtown Jazz Festival]—Eliane Elias delivered a solid, opening-weekend show at the Old Mill Inn…But it was the dynamic opening duo of pianist and composer, Bernie Senensky, and flutist, Bill McBirnie, that...truly set the expansive dining room aflame…For the uninitiated, check out their pairing on Paco Paco.” (Christopher Loudon)

JAZZIZ—“There’s an effervescent, joyous quality to the dozen takes on Bill McBirnie’s Find Your Place (Extreme Flute)...Those new to McBirnie will be amazed at his inventiveness and the winning charm of this exceptional date...” (Mark Holston)

“There are precious few flutists who can make the instrument burn with musical intensity the way McBirnie does...McBirnie shows a range of emotional colours on both Latin and jazz standards in duo and quartet configurations...McBirnie deserves to be placed alongside Moe Koffman and Herbie Mann in the pantheon of jazz flute." (Andy Sheppard, After Hours, CBC Radio)

“...A superior jazz flutist...As with many Canadian players, his fame has not often reached below the border into the United States but his music is well worth knowing. He sounds unlike anyone else having developed his own musical personality, yet within the traditions of the music. McBirnie has two recent releases, Nature Boy and Paco Paco. Both sets are highly recommended." (Scott Yanow, Los Angeles Jazz Scene)

“...[Paco Paco] is a masterful performance...Bill plays with classical virtuosity, jazz-swing intensity and Latin appassionata...He runs the flute through harmonious, melodic phrasing which is at times gentle as a breeze, but he can build a solo to a gale force wind, never losing the pleasing, melodic soul of the tune...Superb soloing...Nothing less than fantastic...Masterful brilliance and sumptuous beauty...” (Paul J. Youngman, Radio Vinilemania)

1

Reflections 3:47

0:00/3:47
2

Wind & Sky 3:24

0:00/3:24
3

Masada Sunrise 2:48

0:00/2:48
4

Kitten & Moth 4:14

0:00/4:14
5

Coral Garden 4:02

0:00/4:02
6

Awakening 4:10

0:00/4:10
7

Monk's Strut 2:46

0:00/2:46
8

Ode to Paul 4:05

0:00/4:05

FOREVER

Bill McBirnie & Bruce Jones

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PERSONNEL & CREDITS:

Bill McBirnie – flute & alto flute (all tracks)
Bruce Jones – guitar, percussion & synths (all tracks); vocal (track 7 only)
Robin Latimer – electric bass (all tracks except track 2)
Compositions – Bruce Jones (SOCAN)

Produced by – Bill McBirnie & Bruce Jones
Recorded at – Da Da Music Productions & Extreme Flute Studio, Toronto, Ontario
Engineered by – Bruce Jones
Edited & Mixed by – Bill McBirnie & Bruce Jones
Mastered by – Pacy Shulman at Hilo Studio, Toronto, Ontario
Cover Image by – Tim Moore (Collingwood Stream, 1993)
Layout, Design & Manufacturing by – Staci Patten, Accurate Audio, Toronto, Ontario

Bill is a Designated Hayes Artist. On this recording, he plays several Wm. S. Haynes flutes and, in addition, an Armstrong alto flute.

Other Extreme Flute albums available at BandCamp:

Desvio (with Bruce Jones) – EF01
Scratch It! (Extreme Flute) - EF02
Grain of Sand (with Bruce Jones) – EF07

Contact: Bill McBirnie – Extreme Flute
Phone: (416) 652-1541
E-mail: extremeflute@look.ca
Website: extremeflute.com

LINER NOTES:

Several months into the pandemic, Bruce and I decided to work on our third Extreme Flute recording project, because we were both looking for something to do musically, and we also needed to maintain a sense of musical belonging in what had become very challenging circumstances, for all of us.

Of course, with COVID protocols in place, we had no choice but to tackle this project remotely, which meant we had to exchange sound files, back-and-forth, back-and-forth, throughout the entire process. So it felt as though this was taking us...forever!...

Nonetheless, it was a genuinely satisfying endeavour. Bruce’s compositions have always been a draw for me, because they are diverse, and inevitably infused with a Brazilian spirit. So we sorted through his current—and past—works, picking tunes that had a more relaxed vibe in the hope that this repertoire might resonate with our equally COVID-distressed family, friends, fans and followers. My wife, Svetlana, had a big hand in the final selection of tunes...so one of the new ones is dedicated to her!...

Bruce is a multi-talented vocalist, instrumentalist and engineer whom I have respected and admired for many years. In fact, when I first heard Bruce play with his band, Da, at the Toronto Downtown Jazz Festival about 30 years ago, I said to my friends at the time, “I want to be in this band!”...And soon enough, I was!...

So I have been playing and recording with Bruce from the very beginning of my career as a freelance flutist.

In keeping with our earlier Extreme Flute projects, Bruce laid down the bed tracks, I overdubbed my flute lines and improvs, and then we mixed the tracks. However, what makes this Extreme Flute project different—and a genuine treat as well—was having bassist, Robin Latimer, record with us. She displayed outstanding workmanship and provided a solid foundation for this most recent incarnation of Extreme Flute.

Finally, Bruce and I would like to convey our continuing gratitude to Canada’s premier jazz station, Jazz.FM91, for including music from both of our earlier Extreme Flute albums (Desvio and Grain of Sand) in their spin cycle for what is now close to two decades.

And so even if it felt like it would take us forever to finish, FOREVER is finally here...and now!...

Bill McBirnie

EXTREME FLUTE REACTIONS:

"...McBirnie’s brilliant flute technique and sensitive improvisatory style happily unite with Jones’ diverse skills and genuine gift for songwriting as they demonstrate their shared love for Brazilian music. You will sense the empathy between them immediately, from the opening track of the album, “Grain of Sand”, where bossa nova is fused with the plaintive melody of traditional Portuguese fado. Flickering like a candle caressed by the wind, the sound of Bill’s flute enchants the listener, right from the first few bars. And following this tender opening comes a whirlwind of samba rhythms combined with hip-hop vocals and yet more flawless flute improvisation on “If I Stay With You”. Just the two opening tracks portray the scope of moods in the music awaiting you on the rest of this album!…” (LEONID AUSKERN, JazzQuad)

"Hi Bill, I meant to write you months ago when I first listened to your record [Grain of Sand]. It is without a doubt the most outstanding record by a flute player that I’ve heard in a very long time. I loved everything you did on it, including the overdubbing, the alto flute, and all the rest. It’s just a great record and I carry it everywhere. In fact, I loaded it into my iTunes library so that I can listen to some decent flute playing while on the road." (SIR JAMES GALWAY, February 2016)

“I have always admired Bill's great technical facility, melodic clarity, and seemingly effortless inventiveness...Here he swoops and soars with his trademark mix of bebop and Latin jazz phrasing.The settings range from sambas and bossa novas (reflecting Bruce Jones’ Brazilian upbringing) to rock, hip-hop, fado and other folkloric elements that he has integrated into his own very personal mode of expression.” (PETER WESTBROOK, The Flutist Quarterly, Spring 2016)

“…McBirnie fits into this style of music perfectly as he demonstrates remarkable power and control. He is a superb soloist. As I listened to this CD, over and over again, I noticed how fluid all the arrangements were. The whole album flows, from one moment to the next…” (DAVID SWIDERSKI, BandBlurb.com)

“…Drawing inspiration from Brazilian samba, maracatú, forró and choro, Bill McBirnie and Bruce Jones create a fresh, unique, seductive and focused sound…Although each of the fourteen pieces has its own identity, they share a consistency that could easily be perceived as a discourse on one continuous thought…” (RAUL DA GAMA, Latin Jazz Network)

“…A fine album! I look forward to playing the tracks on Stolen Moments!...” (DAVID BASSKIN, Jazz.FM91, Canada's premier jazz station)

“…Bill McBirnie and Bruce Jones blend a delightful taste of jazz with soul to deliver a thoroughly compelling performance…From the production level, to the musicianship, to the mind-blowing flute solos, “Grain of Sand” delivers in grand fashion…” (CHRIS JACQUIN, Rock n’ Roll View)

“…This record really excited me because it’s outside the realm of our typical submissions, but even more so because this Extreme Flute album has kept my spirits high, my mind focused, and my mood uplifted…” (JOSHUA SMOTHERMAN, Middle Tennessee Music)

“…The strategic interweaving of melody and impressive flute performances are an absolute delight…” (NICK KOTTENSTETTE, GigBand.com)

“This CD is wonderful! BRAVO!” (PAULA ROBISON, Distinguished American Classical Flute Soloist)

1

Criole Blessing (Saravá Criola) 4:35

0:00/4:35
2

Song For Svetlana (Um Choro Para Svetlana) 3:10

0:00/3:10
3

This Passion (Está Paixão) 4:37

0:00/4:37
4

It's The Time (Saber Se Amar) 3:23

0:00/3:23
5

Forever (Eternamente) 3:29

0:00/3:29
6

Dreams And Light (Canta Canção) 4:45

0:00/4:45
7

Full Moon Blue Wolf (Lua Cheia Lobo Azul) - Bonus Vocal Track 3:28

0:00/3:28

The Silent Wish

Bill McBirnie with Bernie Senensky

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The Silent Wish is a 2020 JUNO Nominee for "Best Instrumental Album of the Year".

Here are just a few responses to the duo work of Bill McBirnie and Bernie Senensky:

SIR JAMES GALWAY—"I want to tell you how much I enjoyed your latest, and greatest, CD. I’ve listened to it several times and it’s a really terrific record. You are my favourite jazz flutist…This album is a real knock-out!…"

DOWNBEAT—“Toronto’s deep pool of local talent was on display at dozens of events…Opening for Eliane Elias, flutist Bill McBirnie proved a passionate and eloquent improviser with sure-footed support from pianist Bernie Senensky. Their set included...a show-stopping finale penned by Senensky...inspired by Hermeto Pascoal and Charlie Parker.” (Allen Morrison)

JAZZTIMES—"Best Opening Act [at the TD Jazz Festival] – Eliane Elias delivered a solid, opening-weekend show at the Old Mill Inn, focusing squarely on selections from her recent Chet Baker tribute, I Thought About You. But it was the dynamic opening duo of pianist and composer, Bernie Senensky, and flutist, Bill McBirnie, that...truly set the expansive dining room aflame and, ironically, provided far more satisfying dips into the Brazilian songbook.” (Christopher Loudon)

PERSONNEL & CREDITS

Bill McBirnie – flute (alto flute on track 10)
Bernie Senensky – piano

Produced – by Bill McBirnie
Co-produced – by Pacy Shulman
Engineering, mixing & mastering – by Pacy Shulman of Hilo Studio
Picture of Bill's hands – by Bill Beard (courtesy of Jazz.FM91)
Picture of rain-drenched branches – Image 306339 (courtesy of Wall Haven)
Layout, design & manufacturing – by Staci Patten of Accurate Audio & Design

Recorded June 4th and 5th, 2018 at Hilo Studio, Toronto, Ontario

Bill is a Designated Haynes Artist and, on this recording, he plays a vintage silver Wm. S. Haynes flute (equipped with Jim Schmidt's gold flute pads, a David Welans headjoint and a Robert Bigio titanium crown and stopper). On track 10, Bill plays a vintage Armstrong alto flute.

DEDICATION

My wife, Sveta, comes out to many of my gigs and, when she does, I often make it an occasion to say to the audience, “The band does not take any requests, except from my wife!” Of course, I say this in mock dismay, and after many years of having to put up with this, I like to think that Sveta has come to see this remark as mildly amusing.

...However, I could be wrong...

And if I am, then I want you to know that The Silent Wish was inspired by Sveta and is whole-heartedly dedicated to her, because she has been, and continues to be, my most steadfast and dedicated support...in everything I do...

This project came about because Sveta had been asking me for years to record an album consisting exclusively of tunes she likes, because she says, “What I like, others will like too, Billy.” So at last I am honoring her “request”, and while some of her picks may appear obvious (such as “Black Orpheus” or “Blue Bossa”), many are not (such as “Saber Cair”, “Cabana Boy” and “Away From Home”). In any event, Sveta's Russian spirit radiates throughout, because every song she has chosen is in a minor key, and this feature of the repertoire weaves a thread and imparts a theme that I think will resonate with anyone and everyone (...and there is no doubting Sveta's good common sense and astute judgement...in this as well as many other things...)

Finally, the title of the album, The Silent Wish, is a fragment from the lyrics to the closing track, “What Are You Doing The Rest Of Your Life?” This fragment has a certain charm and mystique about it that I would like to think is relevant to all of us. But most of all, to Sveta whom I trust will always be near enough to hear...the silent wish I make...

Bill McBirnie

ACKNOWLEGEMENTS

For the past 15 years, I have been playing with one of this country's most formidable musicians, Bernie Senensky. This started about 15 years ago when Bernie recruited me to play flute for his Moe Koffman Tribute Band which Bernie put together after his own 20-year tenure in Moe's band.

When I first moved to Toronto in the '70s to attend university, I would go to the jazz clubs (including George's Spaghetti House) where I would often get to hear Moe and Bernie (though as little more than “an adoring fan” because I had stopped practicing the flute while pursuing another discipline altogether at that time).

In my mid 20s, I started to practice the flute again and decided that, instead of being “script bound” by classical music, I would improvise instead. After some years of what was largely self-study, it came as a complete surprise when Bernie asked me to serve, not just one but two of the musicians (Bernie and Moe, both of whom I had long admired) by joining the Moe Koffman Tribute Band.

I have subsequently worked with Bernie in a broad range of circumstances. Indeed, this is the third album where I have recruited Bernie to perform with me in, what is here, a very direct and immediate duo format.

***
On the last four of my recordings, Pacy Shulman of Hilo Studio has always done a fantastic job of engineering, mixing and mastering. Yet again, you get to listen to everything with crystal clarity.

***
I would like to convey my gratitude to Canada's premier jazz station, Jazz.FM91, for its longstanding support of my work (as well as that of other Canadian indie musicians) which, in my particular case, began in 1998 with the release of my very first Extreme Flute project (Desvio) and has been ongoing ever since.

WHAT ARE YOU DOING THE REST OF YOUR LIFE?

What are you doing the rest of your life?
North and south and east and west of your life
I have only one request of your life
That you spend it all with me

All the seasons and the times of your days
All the nickels and the dimes of your days
Let the reasons and the rhymes of your days
All begin and end with me

I want to see your face in every kind of light
In fields of dawn and forests of the night
And when you stand before the candles on a cake
Oh, let me be the one to hear
The silent wish you make

Those tomorrows waiting deep in your eyes
In a world of love you keep in your eyes
I'll awaken what's asleep in your eyes
It may take a kiss or two

Through all of my life
Summer, winter, spring and fall of my life
All I ever will recall of my life
Is all of my life with you

TRACK LISTING:

1 Reflection (Ray Bryant) – Latin/swing
2 Black Orpheus/Morning Of The Carnaval (Luis Bonfa) – slow bossa nova
3 Saber Cair/Knowing How To Fall (Louis Simão & David French) – Maculelê
4 Cabana Boy (Michele Mele) – relaxed bossa nova
5 My Heart Belongs To Daddy (Cole Porter) – up swing
6 First Song (for Ruth) (Charlie Haden) – ballad
7 Recado Bossa Nova (Djalma Ferreira) – up bossa nova
8 Dança da Solidão” (Paulinho da Viola) – relaxed samba
9 No Moon At All (David Mann) – medium swing
10 Away From Home (Bill McBirnie & Bruce Jones) – rhapsody
11 Blue Bossa (Kenny Dorham) – medium bossa nova
12 What Are You Doing The Rest Of Your Life?
(Michel Legrand, Alan & Marilyn Bergman) – ballad

CONTACT:

Bill McBirnie/Extreme Flute
Phone: (416) 652-541
e-mail: extremeflute@look.ca
Website: www.extremeflute.com

1

Reflection - (Latin/swing) 3:41

0:00/3:41
2

Black Orpheus / Morning Of The Carnival - (slow bossa nova) 5:35

0:00/5:35
3

Saber Cair / Knowing How To Fall - (Maculelê) 3:29

0:00/3:29
4

Cabana Boy - (relaxed bossa nova) 6:42

0:00/6:42
5

My Heart Belongs To Daddy - (up swing) 4:06

0:00/4:06
6

First Song (For Ruth) - (ballad) 4:28

0:00/4:28
7

Recado Bossa Nova - (up bossa nova) 5:26

0:00/5:26
8

Dança da Solidão (relaxed samba) 3:47

0:00/3:47
9

No Moon At All - (medium swing) 4:18

0:00/4:18
10

Away From Home - (rhapsody) 5:05

0:00/5:05
11

Blue Bossa (medium bossa nova) 4:47

0:00/4:47
12

What Are You Doing The Rest Of Your Life? - (ballad) 5:47

0:00/5:47

Grain of Sand

Bill McBirnie & Bruce Jones

Buy album

CRITICAL REACTION

"...McBirnie’s brilliant flute technique and sensitive improvisatory style happily unite with Jones’ diverse skills and genuine gift for songwriting as they demonstrate their shared love for Brazilian music. You will sense the empathy between them immediately, from the opening track of the album, “Grain of Sand”, where bossa nova is fused with the plaintive melody of traditional Portuguese fado. Flickering like a candle caressed by the wind, the sound of Bill’s flute enchants the listener, right from the opening few bars. And following this tender opening comes a whirlwind of samba rhythms combined with hip-hop vocals and yet more flawless flute improvisation on “If I Stay With You”. Just the two opening tracks portray the scope of moods in the music awaiting you on the rest of this album!…” (LEONID AUSKERN, JazzQuad.ru)

"Hi Bill, I meant to write you months ago when I first listened to your record [Grain of Sand]. It is without doubt the most outstanding record by a flute player that I’ve heard in a very long time. I loved everything you did on it, including the overdubbing, the alto flute, and all the rest. It’s just a great record and I carry everywhere. In fact, I loaded it into my iTunes library so that I can listen to some decent flute playing while on the road." (SIR JAMES GALWAY, February 2016)

“…A fine album! I look forward to playing the tracks on Stolen Moments!...” (DAVID BASSKIN, Jazz.FM91, Canada's premier jazz station)

“I have always admired Bill's great technical facility, melodic clarity, and seemingly effortless inventiveness...Here he swoops and soars with his trademark mix of bebop and Latin jazz phrasing. The settings range from sambas and bossa novas (reflecting Bruce Jones’ Brazilian upbringing) to rock, hip-hop, fado and other folkloric elements that he has integrated into his own very personal mode of expression.” (PETER WESTBROOK, The Flutist Quarterly, Spring 2016)

“…Drawing inspiration from Brazilian samba, maracatú, forró and choro, Bill McBirnie and Bruce Jones create a fresh, unique, seductive and focused sound…Although each of the fourteen pieces has its own identity, they share a consistency that could easily be perceived as a discourse on one continuous thought…” (RAUL DA GAMA, Latin Jazz Network)

“…McBirnie fits into this style of music perfectly as he demonstrates remarkable power and control. He is a superb soloist. As I listened to this CD, over and over again, I noticed how fluid all the arrangements were. The whole album flows, from one moment to the next…” (DAVID SWIDERSKI, BandBlurb.com)

“…Bill McBirnie and Bruce Jones blend a delightful taste of jazz with soul to deliver a thoroughly compelling performance…From the production level, to the musicianship, to the mind-blowing flute solos, “Grain of Sand” delivers in grand fashion…” (CHRIS JACQUIN, Rock n’ Roll View)

“…This record really excited me because it’s outside the realm of our typical submissions, but even more so because this Extreme Flute album has kept my spirits high, my mind focused, and my mood uplifted…” (JOSHUA SMOTHERMAN, Middle Tennessee Music)

“…The strategic interweaving of melody and impressive flute performances are an absolute delight…” (NICK KOTTENSTETTE, GigBand.com)

“This CD is wonderful! BRAVO!” (PAULA ROBISON, Distinguished American Classical Flute Soloist)

LINER NOTES

Bruce Jones and I first collaborated about 15 years ago on my debut album, Desvio (which was subsequently nominated for a Toronto Independent Music Award). This initial recording project came about as a consequence of working regularly with Bruce's Brazilian rock band, Da, and as a further consequence of dressing tracks for Bruce on his various Da, Amazon Dreams and other recording projects. After a while, I had done so much work with Bruce (whose songwriting I always admired) that I suggested to him, “Maybe we should try and do a flute-oriented project.” To my surprise, Bruce was more than happy to oblige and that suggestion evolved into our first album, Desvio, which he dubbed “extrema flauta” (and which we anglicized as “Extreme Flute”).

Our musical paths diverged thereafter but, about a year ago, Bruce asked me to do some dressing for a couple of tracks he was working on. This went really well and, in the course of doing so, I learned that Bruce had a lot of material in various stages of completion on his hard drive. Once again, I suggested to him, “Maybe we should extend ourselves and do another flute-oriented project.” Yet again, Bruce was happy to oblige and Grain of Sand is the result. As fate would have it, this project has evolved into another incarnation of Extreme Flute!

Bruce is—and always has been—enormously talented, on multiple dimensions. Musically, what he does is ostensibly Brazilian (in no small measure because he was raised in Brazil). However, he combines that rich musical heritage with many other influences, ranging from rock & roll and hip-hop to new age. For me, the big draw in working with Bruce has always been both the diversity of his material and his openness to improvisation (which is what I like to do most of all). These features of his work have always provided us with a solid basis for collaboration—both then and now.

A project of this nature—involving just the two of us—takes considerable time to complete and so it inevitably proceeds in stages. Each track starts with Bruce writing, playing and recording whatever idea he has in mind. After Bruce has laid down what is often a fairly complete track, we then overlay any flute melodies he has in mind. In addition, we conjure up shots and harmony parts and overdub these. After that, we go back and I improvise over the entire track. Finally, we take whatever we have (...which is typically far too much...) edit it and mix it down. Of course, we “subtract” far more than we “add” as the process unfolds until sooner or later (...usually later...) we find what we're after.

The end result of this most recent collaboration, Grain of Sand, is both a fitting theme and title, because there always has been—and there always will be—a lot more from wherever this came.

Finally, Bruce and I would like to express our sincere gratitude to Canada's premier jazz station, Jazz.FM91, for including “Tudo Bem” (a track from our first collaboration, Desvio) in their spin cycle for what is now close to 15 years!

Bill McBirnie

PERSONNEL & CREDITS

Bill McBirnie – flute, alto flute (tracks 3 & 14) & piccolo (track 9)
Bruce Jones – guitar, vocal, percussion & synths

Compositions – by Bruce Jones (SOCAN); except tracks 3, 5, 9, 11 & 13 by Bruce Jones & Bill McBirnie (SOCAN)

Produced by – Bill McBirnie & Bruce Jones
Co-Produced by – Martha Cisneros
Recorded at – Da Da Music, Toronto, Ontario
Engineered by – Bruce Jones
Edited & Mixed by – Bill McBirnie & Bruce Jones
Mastered by – Pacy Shulman at Hilo Studio, Toronto, Ontario
Cover Photo by – Gongbass
Layout, Design & Manufacturing by – Staci Patten, Accurate Audio

Bill plays a Wm. S. Haynes flute, a DynaLance headjoint (made by Guo Musical Instrument Co.), an Armstrong alto flute and a Gemeinhardt piccolo.

Contact: Bill McBirnie – Extreme Flute
Phone: (416) 652-1541
E-mail: extremeflute@look.ca
Website: www.extremeflute.com

TRACK DETAILS

(1) Grain of Sand (Grão de Areia)
- fado, bossa nova (instrumental)

(2) Se Eu Fico Com Você (If I Stay With You)
- hip-hop, samba, rock (with voice)

(3) Quando A Chuva Cai (As The Rain Falls)
- ambient (instrumental)

(4) Izabel (Isabel)
- bossa nova (with voice)

(5) Lembrando Paul Horn (Remembering Paul Horn)
- ambient (instrumental)

(6) Breque Trio a Trêz (Break Samba Trio for Three)
- samba de breque (instrumental)

(7) Carnaval Blue (Blue Carnival)
- funk, samba (with voice)

(8) Vai Bem Devagar (Proceed With Caution)
- 6/8 bossa (instrumental)

(9) Cê Tá Com Tudo (You Are Everything)
- samba, rock (with voice)

(10) A Ponte Para Carlton (The Carlton Bridge)
- 6/8 afro brasil (instrumental)

(11) Na Quinta Esquina (On The Fifth Corner)
- ambient (instrumental)

(12) Motel Cê Que Sabe (...Who Knows Motel...)
- flowing samba (instrumental)

(13) Com ou Sem Você, Meu Amor (With or Without You, My Love)
- hip-hop samba (with voice)

(14) Grão de Areia (Grain of Sand)
- folkloric (with voice)

grão de areia
(Portuguese lyrics)

sâo mais de sete billões de estrelas
que brilham na noite de lua cheia
e eu sou só um pingo de agua
e eu sou só um grão de areia
e a chuva que cai

o vento vem, maré tambem
a onda quebra, e eu tambem
o vento vem, maré tambem
eu sem você...eu sem nimguém...

grain of sand
(English lyrics)

there are more than seven billion stars
that shine in this moon-lit night
and i am just a drop of water
and i am just a grain of sand
and the rain falls

the wind blows, the tide comes in
the wave breaks, and so do i
the wind blows, the tide comes in
i'm without you...i'm all alone...

1

Grain of Sand (Grão de Areia) 4:47

0:00/4:47
2

Se Eu Fico Com Você (If I Stay With You) 5:00

0:00/5:00
3

Quando A Chuva Cai (As The Rain Falls) 4:40

0:00/4:40
4

Izabel (Isabel) 4:03

0:00/4:03
5

Lembrando Paul Horn (Remembering Paul Horn) 2:05

0:00/2:05
6

Breque Trio a Trêz (Break Samba Trio for Three) 4:39

0:00/4:39
7

Carnaval Blue (Blue Carnival) 3:24

0:00/3:24
8

Vai Bem Devagar (Proceed With Caution) 5:24

0:00/5:24
9

Cê Tá Com Tudo (You Are Everything) 4:42

0:00/4:42
10

A Ponte Para Carlton (The Carlton Bridge) 4:33

0:00/4:33
11

Na Quinta Esquina (On The Fifth Corner) 4:05

0:00/4:05
12

Motel Cê Que Sabe (...Who Knows Motel...) 5:06

0:00/5:06
13

Com ou Sem Você, Meu Amor (With or Without You, My Love) 5:14

0:00/5:14
14

Grão de Areia (Grain of Sand) 3:35

0:00/3:35

FIND YOUR PLACE

An Organ Trio with Bernie Senensky & Anthony Michelli

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CRITICAL REACTION

- There’s an effervescent, joyous quality to the dozen takes on Bill McBirnie’s Find Your Place (Extreme Flute)...Those new to McBirnie will be amazed at his inventiveness and the winning charm of this exceptional date... (By Mark Holston, JAZZIZ / Roundup / Hammond Organ / Spring 2014)

- Toronto-based Bill McBirnie plays with an earthy potency and attack that is every bit as virile as the sound of the larger instrument, albeit with added silvery sophistication and breathtaking velocity...McBirnie’s solos are melodic constructions of real musical substance with nary a wasted note. (By Euan Dixon, Jazz Views)

- It’s not that easy for someone to keep “out-doing” himself, but that’s exactly what virtuoso flautist Bill McBirnie has done again with his latest release, FIND YOUR PLACE. It’s McBirnie’s sixth album as a leader and, he and his trio explode with some real, honest playing that is so gratifying! Make sure you listen…and keep listening...all the way through on this. (By Joe Caroselli, JazzMonthly.com, Artist Spotlight)

- This disc features Bill McBirnie (a Canadian flutist who is now one of the most important figures on the instrument on the international scene today) along with veteran, Bernie Senensky, on Hammond B3 organ and drummer, Anthony Michelli. It is clear that these musicians are of exceptionally high caliber and that they qualify fully in this historical context, on all dimensions, due in no small part to the virtuosity of the leader who solos simply takes your breath away. (By Vittorio, MusicZoom.it)

- Canadian flautist, Bill McBirnie, isn't quite as well-known in American jazz circles, but he's no slouch. He's worked with pianist Junior Mance, vocalist Emilie-Claire Barlow, and Cuban super group, Irakere. He's also won numerous awards and received high praise from none other than THE flute kingpin, Sir James Galway...Galway even tapped McBirnie to serve as the "resident Jazz Flute Specialist" at his website... (By Dan Bilawsky, AllAboutJazz.com)

- It has been some time since the flute maestro, Bill McBirnie, released an album. His last one was Mercy (2010) after which now comes this new outstanding release, FIND YOUR PLACE. McBirnie is one of the finest flutists in Canada – perhaps in all of North America. His technique is flawless and he plays with a faultless intonation. His enunciation is sophisticated and...his sense of melody is the epitome of perfection. and he creates and constructs masterful lines. McBirnie is at the top of his game, never faltering, not even for a nano-second. (By Raul da Gama, Latin Jazz Network)

- While most jazz flute players have been doubling saxophonists, McBirnie is a rarity, a musician whose dedication to the flute has shaped his musical voice. It’s apparent throughout the CD with McBirnie demonstrating fluent lines, subtle rhythmic inflections and timbral shifts that you’re more apt to hear on a saxophone. It’s fine music, all delivered with infectious swing and cheerful effervescence. (By Stuart Broomer, The WholeNote, jazz, eh)

- The flute has been long been overlooked or relegated to the status of a Latin-only instrument. However, McBirnie is cut from that Hubert Laws/Sir James Galway cloth, and still he represents a completely unique experience and artistic voice yet to be reckoned with. I first became acquainted with Bill's work when reviewing the latest Four80East release where I witnessed an entirely new voice for modern jazz flute! Here, McBirnie demonstrates his command of multiple genres and a chameleon-like ability to find a lyrical home in each. (By Brent Black, www.criticaljazz.com

THANKS & ACKNOWLEDGEMENTS

This trio would not be the unique combination that it is without the support of two enormously talented Canadian musicians―namely, Bernie Senensky on the Hammond B3 organ and Anthony Michelli on drums. To both of them, I offer my utmost thanks—first, for agreeing to participate in what was a rather eccentric "organ trio” project to start with—and, second, for exercising such superior workmanship in doing so.

I would also like to thank my co-producer, Pacy Shulman, for his customary sonic craftsmanship and for being so easy to work with throughout the entire process.

I would also like to take this opportunity to express my longstanding gratitude to both the staff and volunteers at Canada's premier jazz station, Jazz.FM91, as well as to Bob Parlocha in the USA, because they have all provided me with much needed—and much appreciated—support over the years.

I will also take this occasion to acknowledge some of the musicians who have had a direct, lasting and personal impact on me in the course of my musical development, notably (and in chronological order), William Hoare, Junior Mance, Robert Aitken, Frank Falco, Mike Segal, Bruce Jones, Memo Acevedo, Sir James Galway, Louis Simao, Ruben Diaz and Emilie-Claire Barlow.

Finally, in addition to providing relentless encouragement and support, my wife, Svetlana, has always taken the time to critique me, thoughtfully and intelligently. So, in picking the tunes for this project, I tried to reciprocate, at least in part, by selecting more minor pieces than I otherwise might have (including the title track which is, of course, for her) because not only do minor tunes seem to resonate with her Russian soul but, more importantly, because in choosing to be with me, she has enabled me to...find my place..

Bill McBirnie

BACKGROUNDER

Bill McBirnie has achieved something decidedly unlikely for a Canadian flute player, raised in the small town of Port Colborne, Ontario. Despite a rather unremarkable musical beginning, he has succeeded in attaining an international standing as one of today's foremost jazz flutists, all whilst rarely setting foot outside of his native city of Toronto, Ontario.

What has made his slow but steady progress possible has been a long and diligent study of both jazz and classical techniques which Bill combined with a patient determination to make the flute sound natural and convincing in non-classical contexts.

Bill's longstanding commitment to the instrument has earned him consistently unequivocal acclaim and awards, both here in Canada and abroad, including Flutist of the Year (Jazz Report Awards), winner of all three of the Jazz Flute (1) Soloist, (2) Masterclass and (3) Big Band Competitions (National Flute Association in the USA), Best Jazz Album (Toronto Independent Music Awards) and nomination for Best Jazz Album (Independent Music Awards in the USA).

As a testimony to his noteworthy place in the international flute community, Bill was solicited personally by the esteemed classical flutist, Sir James Galway, to serve as his resident Jazz Flute Specialist at Sir James' official web site—and this despite Bill’s limited renown and virtual seclusion in Canada.

PERSONNEL & CREDITS

Bill McBirnie – flute
Bernie Senensky – Hammond B3 organ
Anthony Michelli – drums

Produced – by Bill McBirnie
Co-produced – by Pacy Shulman
Engineering, mixing and mastering – by Pacy Shulman of Hilo Studio
Hammond B3 Organ - provided by Phil Manning of Artist Piano Care
Rock sculpture and photo – by Peter Riedel
Graphic layout and design – by Staci Patten of Accurate Audio

Bill is a designated Haynes Artist. He plays a Wm. S. Haynes Classic Fusion O as well as two vintage, handcrafted Haynes flutes.

Bill McBirnie/Extreme Flute
Phone: (416) 652-541
e-mail: extremeflute@look.ca
Website: www.extremeflute.com

1

So In Love 5:45

0:00/5:45
2

Yes Indeed! - for Sir James Galway 4:02

0:00/4:02
3

Sister Sadie 4:23

0:00/4:23
4

Oh! Darling 4:21

0:00/4:21
5

Minority 3:42

0:00/3:42
6

Estate 4:10

0:00/4:10
7

Jeannine 5:20

0:00/5:20
8

Gee Baby, Ain't I Good To You 4:29

0:00/4:29
9

Yes Or No 5:18

0:00/5:18
10

Soy Califa 4:23

0:00/4:23
11

Rhythm-A-Ning 4:37

0:00/4:37
12

Find Your Place - For Svetlana 5:24

0:00/5:24

Mercy

The Bill McBirnie Duo/Quartet Featuring Robi Botos

Buy album

CRITICAL REACTION

Having a ballad and a slow rhapsody on a straight-ahead jazz/Latin flute record could be a risk but, for flautist Bill McBirnie, taking that risk actually worked...Toronto born, Bill McBirnie, has released an album of quartet and duo performances of well-known swing, bebop, bossa nova and Dixieland covers that really works. Accompanied by the superb piano playing of Robi Botos, Mercy is not just a plate of “Stuffy Turkey”. It comes complete with cranberries and gravy with a kick. This is a full course meal. BRENTON PLOURDE (JazzTimes)

“I have been listening to [Mercy], non-stop, for the last two days and I can only say it is AMAZING...Fantastic!” SIR JAMES GALWAY

“Clean, pure bebop flute played with disgusting control and shameless ease. And then Robi Botos. That guy is a killer!” HENDRIK MEURKENS

Toronto-based flautist, Bill McBirnie, presents a handful of jazz and Latin classics in a whirlwind tour of everything from a cha cha version of Hubert Laws’ dynamic “Baila Cinderella” to takes on “Yardbird Suite” and “Moment's Notice”... In both duo and quartet formats, McBirnie dazzles...In every instance, McBirnie’s technique is flawless, dynamic and often simply jaw-dropping...McBirnie has been called Canada’s standout jazz flautist. I maintain he is one of the top two or three in the world. MARK E. GALLO (JazzReview.com)

This indie release offers a dozen-track, dazzling display of technique, dynamic range and stunning musicality...This is not neo-jazz comfort food but rather a feast of elegantly executed ideas with a live concert vibe. Highlights abound. Quick-witted interplay, adventurous flow and sophistication. This disc’s a keeper. GEOFF CHAPMAN (WholeNote Magazine)

Bill McBirnie, comes out swinging in mixed duo and quartet formats featuring the unique talents of jazz pianist, Robi Botos who—together with McBirnie—craft a diverse selection of sparkling contemporary jazz that commands serious attention...With a crisp and fluid sound on flute, McBirnie succeeds in laying down the charm in an amazing performance that is ably supported by the gifted pianist, Robi Botos, as well as John Sumner and Pat Collins who round out the excellent rhythm section in a musical statement that is well worth the listen. EDWARD BLANCO (www.ejazznews)

I stumbled across Bill McBirnie while reviewing a new]Four80East album (Off Duty) which offered a rare find...The Bill McBirnie Duo/Quartet and Mercy is an eclectic mix that is as echnically proficient and artistically gifted as any flute recording to date...McBirnie has the uncanny, ability to transcend styles, genres and format-driven radio with ease and without ever sacrificing his artistic integrity...Hard-hitting swing combined with a stellar rhythm section takes this myriad of styles and bebop-infused genres to a completely different level...You may have just found the best flute player to hit the scene in a quarter century. From a pristine sound to the skill and finesse of a surgeon, everything works here. BRENT BLACK (Critical Jazz)

There are both hard swinging and tender moments throughout, with alternate stops in between...A gale force wind from the Great White North that is anything but icy... IRA GITLER (Apple Chorus Column, Jazz Inside NY)

Technical magnificence...McBirnie is one of the best living jazz flautists in the world while Botos, also an award-winning pianist, is one of the strongest jazz piano players on the scene today. Together, they have produced a power-packed album that highlights their virtuosic talents. Technically stunning musicianship is coupled with powerful emotions that combine grace and beauty... PAUL J. YOUNGMAN, AllAboutJazz.com

There are few flautists in this world who can negotiate the harmonic language of jazz convincingly. Bill is clearly one of that elite club. Accompanied by Hungarian pianist, Robi Botos, Bill’s improvised lines are right on, propelling each tune with his trademark urgent and grooving intensity...This is a thoroughly enjoyable straight-ahead album which any aspiring jazz flautist should own. MIKE MOWER (Flute, The Journal of the British Flute Society)

Flutist-led jazz records are quite infrequent which makes one of genuine quality all the more of a find...The diversity in styles, from trad jazz to Latin, does not in any way affect the unity of the recording but creates a unique multifaceted whole, thanks to McBirnie's versatility and superlative musicianship. McBirnie is a well-known flautist with numerous recognitions and recordings to his credit and, on Mercy, he lives up to his reputation...He swings hard during the up-tempo pieces and shows remarkable sensitivity without losing the creative edge during the duets and ballads with Botos. ...All three sidemen demonstrate remarkable artistry throughout the set, both in the group interplay and when under the spotlight...An enormously and highly enjoyable experience. HRAYR ATTARIAN (AllThatJazz.com)

Mercy includes works by Monk, Gillespie, Coltrane and Rollins , all performed by the charismatic flutist, Bill McBirnie, and the amazing Roma pianist, Robi Botos. This is bebop, bossa and swing performed with astonishing dexterity...McBirnie’s previous two CDs, Nature Boy and Paco Paco vindicate everything I have said and with equally enthusiastic reviews. It is obvious that McBirnie enjoys such esteem only because he chooses excellent repertoire which he then proceeds to perform with perfect tone, style and empathy....This is an absolutely fantastic recording... KORNILIOS DIAMANTOPOULOS (Jazz & Tzaz, The Hellenic Jazz Magazine)

Bill McBirnie weaves a magic spell as he embarks on a musical journey which stops at twelve distinctive vantage points...McBirnie has established an enviable reputation as a flautist with an emphasis on Latin jazz. However, here he goes way beyond that calling as he plays bebop, swing, Dixieland, bossa nova and a little rock 'n' roll by way of New Orleans. Not only is he remarkably comfortable in every style but he also elevates each to a high plateau...With each track carving its own beguiling niche, the music is, to put it quite simply, awesome! JERRY D'SOUZA (AllAboutJazz.com)

...The flutist's self-produced, Mercy, is a true gem...The album comprises a series of duo and quartet recordings—duets featuring the unbridled talent of a young, Romani pianist from Toronto, Robi Botos—and quartets with Botos, bassist, Pat Collins, and drummer, John Sumner...The repertoire consists of beautifully chosen charts which highlight the flutist's skill in both jazz and Latin music...In an unassuming manner, McBirnie recasts the way the flute is played...Mercy is a record that flows in gorgeous rivers of sound, and one which defines how the modern flute can be played. RAUL D'GAMA ROSE (All About Jazz, Senior Editor)

LINER NOTES

On my previous two acoustic projects, I have had the good fortune to work with two of the finest jazz pianists in this country—indeed, anywhere—namely, Mark Eisenman on Nature Boy and Bernie Senensky on Paco Paco. Evidently, my good fortune with world-class pianists has yet to come to an end because, for this acoustic project, I teamed up with a relatively new but undeniably formidable talent—the remarkable Romani pianist, Robi Botos.

Not everyone knows about Robi—but certainly more and more are finding out about him. I have known Robi since 1998 when he first immigrated to Canada from Hungary. On the rare occasions we have played together—most were long ago as a duo at the former Rhodes Restaurant shortly after Robi’s arrival in Canada—both of us inevitably agreed that, at some point, we simply had to record together. However, I can safely say that neither of us ever thought it would take us ten years to get around to doing so.

For those of you who are not familiar with Robi, you will soon learn that he is something of a prodigy. For those of you who are already familiar with his work, you will be entirely aware of Robi’s full-blown mastery—both in terms of the instrument and the idiom—a mastery which he seems to have realized as the result of a rare gift as well as a deep dedication to his craft.

As I indicated earlier, this recording forms part of what is an ongoing personal “acoustic jazz series”. Like its two predecessors (i.e., Nature Boy and Paco Paco), the Mercy sessions were recorded over a two-day interval utilizing a quartet format one day and a duo format the next. For the initial quartet session, I combined Robi with two of my favourite rhythm section players here in Toronto; namely, Pat Collins on bass (who, in my view, has never been exploited sufficiently—either live or on record) and John Sumner on drums (who is yet another woefully underutilized resource with an equally strong and infallible sense of time). To Robi, Pat and John, I offer my sincere gratitude for delivering such coherent performances in just two short recording sessions—and despite having never played (much less rehearsed) together before.

I am also pleased to introduce Pacy Shulman of Hilo Studio on this project who engineered, mixed and mastered the album. Pacy maintained a steady hand at the board as well as a cool and attentive head during the mildly chaotic nature of these blowing sessions. Furthermore, his technical sixth sense was as often mystifying as it was an enormous aid to me throughout the entire process.

Finally, I would like to take this opportunity to dedicate the opening two tracks on this recording to the two jazz flutists who have undoubtedly exerted the greatest influence on me over the years. The first, Baila Cinderella, is dedicated to Hubert Laws who has always struck me with his impeccable technique and musical taste. The second, Willow Weep for Me, is dedicated to Jeremy Steig whose hard-hitting debut recording, Flute Fever, continues to spin on my platter after more than 45 years from the date of its original release.

In conclusion, I would like to dedicate what is the closing and title track, Mercy (a beautiful rhapsody composed by Robi Botos), to my wife, Svetlana, who is—and will remain—my soul to love—and who said to me, in utter astonishment, after the very first set of my first duo gig with Robi Botos at Rhodes Restaurant ten years ago, “Billy, you really must do a recording with this boy, Robi!”...So here it is, Honey Pie!...

Bill McBirnie

ACKNOWLEGEMENTS

I would like to thank Canada’s premier jazz station, Jazz.FM91, for their continuing and ongoing support of this music (...not to mention mine along the way... :-) and, in addition, Bob Parlocha, Sir James Galway, Robert Aitken, William Hoare, Frank Falco, Memo Acevedo, Louis Simao and, more recently, Ruben Diaz.

PERSONNEL & CREDITS

Bill McBirnie – Flute
Robi Botos – Piano
Pat Collins – Bass
John Sumner – Drums

The quartet tracks (1, 3, 4, 6, 8, 10 and 11) were recorded on Monday, August 24, 2009. The duo tracks (2, 5, 7, 9 and 12) were recorded on Tuesday, August 25, 2009.

Produced by Bill McBirnie
Co-Produced by Pacy Shulman
Engineered, Mixed & Mastered by Pacy Shulman at Hilo Studio
Graphic Design by Staci Patten of Accurate Audio
“Hands” by Greg King

Bill plays a vintage Wm. S. Haynes flute with a Robert Bigio crown and stopper.

Bill McBirnie—Extreme Flute
Website: www.extremeflute.com
Phone: 416.652.1541
e-mail: extremeflute@look.ca

1

Baila Cinderella (cha cha cha) - for Hubert Laws 4:32

0:00/4:32
2

Willow Weep For Me (ballad) - for Jeremy Steig 6:04

0:00/6:04
3

Airegin (bebop) 4:42

0:00/4:42
4

Stuffy Turkey (medium swing) 6:13

0:00/6:13
5

Gentle Rain (slow bossa nova) 4:54

0:00/4:54
6

I'm Walkin' (medium swing) 5:23

0:00/5:23
7

Yardbird Suite (bebop) 4:46

0:00/4:46
8

Way Down Yonder in New Orleans (Dixieland) 3:18

0:00/3:18
9

Moment's Notice (up swing) 4:18

0:00/4:18
10

Minha Saudade (medium bossa nova) 6:01

0:00/6:01
11

Groovin' High (bebop) 3:59

0:00/3:59
12

Mercy (rhapsody) 5:45

0:00/5:45

Paco Paco

The Bill McBirnie Duo/Quartet

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CRITICAL REACTION

Dear List, Dear Maestro McBirnie,...When I saw that Bill McBirnie had a new recording out, I ordered it immediately…It just blew me away...I would recommend that you all pick up a copy…Bill, when you read this, I have to take my hat off to you. This is great playing by any standard...Best wishes, SIR JAMES GALWAY (Galway-Flute-Chat)

Toronto's Bill McBirnie occupies the rarified air of jazz flute with a sense of style and swing that sets him apart. There are precious few flutists who can make the instrument burn with musical intensity the way Bill does. On his new album, Paco Paco, McBirnie shows a range of emotional colors on both Latin and jazz standards in duo and quartet configurations... Bill McBirnie deserves to be placed alongside Moe Koffman and Herbie Mann in the pantheon of jazz flute. ANDY SHEPPARD, After Hours, CBC Radio One, Pick of the Week

This is one of those CDs where I find it really difficult to choose favourite numbers. The entire album is a joy to listen to, not only for Bill's beautiful playing but also, as one would expect, for the musicality and sensitive contributions from pianist Bernie Senensky, bassist Neil Swainson and drummer John Sumner. JIM GALLOWAY (The WholeNote)

Widely acclaimed for his remarkable flute playing, Bill McBirnie has comfortably stretched his repertoire to include bop and the classics, Latin music and original compositions...Throughout this CD, Bill's melodic leanings are vividly apparent and his improvisations demonstrate an enviable fluidity...Very striking music, played with skill and warmth. Indeed, it is not at all hard to see why classical flutist, Sir James Galway, says of Bill McBirnie, “I have never heard anyone play like this.” BRUCE CROWTHER (Swing2Bop.com)

Listening to McBirnie makes his credentials clear. He dips into the nectar of a melody and his dulcet tones rise to trigger the core of his imagination for some really amazing improvisational flights. These facets are abundantly manifest on Paco Paco. JERRY D'SOUZA, AllAboutJazz.com

The album is comprised of mainly familiar material...all imaginatively presented and skillfully executed. McBirnie and his band bring a fresh approach to the entire repertoire. One of the most striking features of McBirnie’s playing is his focus. His tone is crystal-clear, his execution is remarkably precise and he tempers his impressive technique with a strong sense of musicality as well as a refined approach to his improvisations. The result is a unique style from which all of these tunes benefit greatly. This album also has a very natural feel to it owing to an audibly comfortable relationship between the players, [and] the conversational interplay between McBirnie and Senensky, found throughout the album, is a testament to this relationship. JUSTIN LITUN (International Association of Jazz Educators)

Paco Paco is a collection of what are flute-based interpretations of some of great jazz classics. But this description does not adequately portray the creativity and uniqueness of McBirnie’s work. For example, Rollins’ “Doxy” and Monk’s “Hackensack” (and A reprise) come across as both familiar and new. His interpretations encourage the listener to gain a fresh perspective on pieces they have probably heard hundreds of times. PAUL SAKION (Jazz Improv Magazine, Spring 2008)

Bill McBirnie is a world-class musician who plays with classical virtuosity, jazz-swing intensity and Latin appassionato, beginning with [John Coltrane's] "Like Sonny" which introduces Bill McBirnie in a flash of brilliance. He runs the flute through its harmonious and melodic paces, at times gentle as a breeze, then building his solo to a gale force wind but never loosing the pleasing, melodic soul of the tune...The album also swings hard in straight ahead jazz quartet fashion...The rhythm section, propelled headlong into the glory of the [title track written] by Senensky, lets loose volley after volley of excitement...The duo selections with flutist McBirnie and pianist Senensky, two masters of their instruments, are nothing less than fantastic, performed...with brilliance and sumptuous beauty. PAUL J. YOUNGMAN (www.vinilemania.net)

Bill McBirnie's fourth CD for his Extreme Flute label, Paco Paco, covers a lot of familiar ground but with a fresh outlook...The one original is Senensky's turbo-charged, "Paco Paco", a demanding work which all of the musicians master with ease. Highly recommended. KEN DRYDEN (All Music Guide)

LINER NOTES

After my most recent and well-received CD, Nature Boy (featuring the Mark Eisenman Trio), I considered doing a Latin-oriented project because, after a long though not necessarily sought after hiatus of several years, I have enjoyed the opportunity of working in several excellent Cuban formats over the recent past; notably, with percussionists Wilson Acevedo (of Cache), Alex Godinez (of Proyecto Charanguero) and Daniel Stone (of Mamboso).

However, in what turned out to be a natural progression, I ended up approaching pianist, Bernie Senensky, because I have also had the good fortune to work with Bernie a good deal over the past couple of years—in his Moe Koffman Tribute Band, as part of the back-up team to vocalist/songwriter, Michele Mele, and simply as a duo.

Bernie has extensive and impeccable credentials and is indisputably a world-class performer. Stylistically, he is something of a “musical chameleon”—though always with his own striking iridescence. I have matched him here with Neil Swainson on bass (who is a stalwart and unflappable performer of truly remarkable skill) as well as John Sumner on drums (whom I see as a terribly overlooked resource in this country and whom I am, therefore, very pleased to have on this session). Combined, Neil and John provide what is a sure-footed foundation for the quartet tracks while, with respect to the duo tracks,...well,...Bernie and I are on our own...

I am also very pleased to have Inaam Haq of Cherry Beach Sound serving as engineer. He ensures a transparency and immediacy in the sound that is consistent with the spontaneous nature of this undertaking.

In terms of repertoire, I admit that I tend to shun original material, preferring instead to pick tunes I think the listener—as well as the musicians—will either know or be able to relate to quickly and easily. However, on this album, I made an exception of the title track, “Paco Paco”, which is an original by Bernie. Stylistically, this tune opens with a Cuban tumbao and then proceeds directly into a Brazilian groove. (Think Hermeto Pascoal...with a dash of bebop...which is also why Bernie routinely incorporates some swing into the delivery.)

Historically, “Paco Paco” formed part of the repertoire of the Moe Koffman Quintet. Moe performed this piece quite often and usually with a comic remark to the effect that Bernie had deliberately written the tune so that he might find himself in a good position to profit from “the day when musicians get paid by the note!” Bernie conceived the melody line for two flutes but, because there was only one flute player in the band (...namely Moe...), Bernie would always double the melody line...which is one of the reasons that the tune came to be called “Paco Paco”...instead of just...“Paco”...

Before the session, I indicated to Bernie that I was quite prepared to deviate from my “no originals” policy with respect to this particular piece because,...well,...if we didn’t record it, then it was not likely anyone else would do so anytime soon...and precisely because—as you will hear—it is a rather tricky piece of work...and one which I hope you will enjoy, nestled as it is amongst the more standard fare of Coltrane, Monk, Rollins...and the rest!

Bill McBirnie

ACKNOWLEDGEMENTS

My heartfelt thanks to Svetlana, Anastasia and Alissa for their love as well their patience but, most of all,...for just being who they are...My thanks also to Bernie, Neil and John for their superior craft and workmanship; to Memo Acevedo for initiating me into the Latin realm well over ten years ago (and ever so graciously bearing with my inexperience at the time); and, finally, to Jazz.FM91 for making a round-the-clock commitment to jazz—as well as Latin jazz—here in Canada.

PERSONNEL & CREDITS

Bill McBirnie—Flute
Bernie Senensky—Piano
Neil Swainson—Bass
John Sumner—Drums

Produced by Bill McBirnie's
Engineered & Mixed by Inaam Haq at Cherry Beach Sound,
Mastered by Andy Khrem at Silverbirch Productions
Photography by Jim Allen
Graphic Design by Bruce Longman

Bill plays a Wm. S. Haynes flute with a David Welans headjoint.

Bill McBirnie—Extreme Flute
Website: www.extremeflute.com
Phone: 416.652.1541
e-mail: extremeflute@look.ca

1

Like Sonny (Latin) 5:43

0:00/5:43
2

Hackensack (medium swing) 4:52

0:00/4:52
3

Stand Up, Stand Up For Jesus (mixed idiom) 6:32

0:00/6:32
4

Doxy (relaxed swing) 4:45

0:00/4:45
5

Bright Mississippi (up swing) 5:28

0:00/5:28
6

My Song (ballad) 5:49

0:00/5:49
7

Paco Paco (brisk samba) 4:22

0:00/4:22
8

East Of The Sun (medium swing) 3:59

0:00/3:59
9

This I Dig Of You (up tempo swing) 4:21

0:00/4:21
10

Hackensack (reprise) 4:53

0:00/4:53
11

The Great City (medium swing) 6:37

0:00/6:37
12

O Grande Amor (slow bossa nova) 6:27

0:00/6:27

EXTREME FLUTE - Bill McBirnie

Reflections (for Paul Horn)

Bill McBirnie

FOREVER

Bill McBirnie & Bruce Jones

The Silent Wish

Bill McBirnie with Bernie Senensky

Grain of Sand

Bill McBirnie & Bruce Jones

FIND YOUR PLACE

An Organ Trio with Bernie Senensky & Anthony Michelli

Mercy

The Bill McBirnie Duo/Quartet Featuring Robi Botos

Paco Paco

The Bill McBirnie Duo/Quartet

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