(Smooth Jazz, Fusion) [CD] Pete Levin (w/ Mike Stern, Lenny White, Danny Gottlieb, Mark Egan, Lew Soloff) - Party In The Basement - 1990, FLAC (tracks+.cue), lossless

(Pete Levin) - 1,2,3,5,6,7,8,9
(George Gershwin, adapted by Pete Levin from a Gil Evans arrangement) -4
(Steven Sondheim) - 10
Executive producer: Jonathan F.P. Rose
Produced by: Pete Levin
Recorded at: Creative Audio, New York City; Gramavision Studio, New York City; RPM Studio, New York City
Recording engineers: Alec Head, Jason Baker
Assisted by: Tim Casey
Audio post production: Creative Audio by Jason Baker & Shelly Palmer
Mixed at: Carriage House Studios, Stamford, CT; Soundtrack Studio, New York City
Mixed by: Alex Head
Assisted by: Matt Lane (Carriage House), Rich July (Soundtrack)
Mastered at: Masterdisk, New York City by Bob Ludwig
Photo by: Phoebe Chase Ferguson 1990
Design and Cover Art Work: Chermayeff & Geismar Associates
In a diverse music career spanning several decades, keyboardist/arranger Pete Levin has performed and recorded with hundreds of Jazz and Pop artists - including Paul Simon, Annie Lennox, Miles Davis, David Sanborn, Lenny White, Wayne Shorter, Jaco Pastorius, Robbie Robertson and John Scofield - receiving critical accolades for his work during a 15 year association with the legendary Gil Evans, and his 8 year stint with jazz icon Jimmy Giuffre. Says Levin,
“What I got from Gil was the unshakable notion that playing music was to create from a place where there are no boundaries. If it can be imagined then it can be done.”
While playing French Horn with the Gil Evans Orchestra in the early 70s, Levin brought a Moog Synthesizer to a gig at New York’s Village Vanguard. Already known as a “go to” synthesizer specialist, Pete was at the vanguard of that technology. Gil loved it and Levin’s role was permanently changed as the band transformed itself into the electric/acoustic hybrid ensemble that captivated audiences worldwide for years, winning two Grammy® awards along the way.
“I started bringing a Clavinet, too. Eventually Gil brought John Clark into the band because I couldn’t get back to my horn in time. After a while, I just stopped bringing it. Name another band leader that would let a sideman do that! I owe him a lot.”
An in-demand New York session keyboardist, Levin has also created electronic realizations for hundreds of TV commercials, dramatic series and feature films, including “Missing in Action,” “Lean on Me,” “Silver Bullet,” “Red Scorpion,” “The Color of Money,” “Maniac,” “Spin City,” “America’s Most Wanted” and “Star Trek.” In a dizzying array of unrelated commissions, Levin composed orchestral scores for the feature film “Zelimo” and for a stage production of “The Dybbuk;” had the honor of composing the anthem for the 1992 United Nations Earth summit, “The Future is in Our Hands,” performing it twice for the U.N. General Assembly; and, as far removed from Jazz as it gets, was awarded the Army Commendation Medal for writing the official military band arrangement of the U.S. Infantry song.
But Levin, whose wry sense of humor is never far from the surface, reveals that his all time favorite recording session produced the top-40 hit single “Close to You” by The Clams, a Spike Jones tribute band formed with his brother, bassist Tony Levin (Peter Gabriel, King Crimson), drummer Steve Gadd (Eric Clapton, Paul Simon) and Grammy® winning recording engineer Dixon Van Winkle (Paul McCartney, Frank Sinatra). Thirty years later the recording is still a cult classic.
“All my arranging and orchestrating work is grounded in what I experience in live performance, interacting with other musicians and audiences. That’s what I was trained to do. Synthesizers and computer programming came later. My best and most creative ideas come from playing live.”
In 1990, Levin signed with Gramavision to release his first solo jazz album, “Party in the Basement,” followed by “A Solitary Man” in 1991. Collaborating with drummer Danny Gottlieb, Pete released “The New Age of Christmas” on Atlantic and “Masters in this Hall” for Gramavision. In the years following, he released four New Age CDs for Alternate Mode Productions, and a variety of eclectic albums for independent labels.
With “Deacon Blues,” Pete Levin re-emerged in 2007 as a band leader and master of reinvention, embracing his roots and first love, the Hammond Organ, while working with a group of iconic jazz sidemen (Joe Beck, Danny Gottlieb, Tony Levin, Mike DeMicco). Expanding on the traditional organ trio format, his innovative arrangements are flavored with soul, samba and hip-hop grooves.
“The Hammond Organ has got such a rich history. There’s really no other sound quite like it. Even the best synth simulations fall short. You crank up the motor, you hit a note and it sings to you. It’s like the soul of every organ player is being breathed out from the instrument.”
Veteran career side men and solo recording artists, both Levin brothers produce their own albums close to home, collaborating with other world-class musicians in their Woodstock, New York community. Pete’s Hammond is featured on Tony’s latest critically acclaimed Narada release, “Resonator,” while Tony’s basses grace several tracks on Pete’s “Deacon Blues.”
“It’s predictable that most of my oldest and best friends are musicians. But, it’s amazing how many of them have had an impact on the way their instruments are played, and are respected by fans and peers all over the world. And I've got all their phone numbers and you can't have them. Eat your heart out!”
Pete currently tours with an organ trio, featuring guitarist John Cariddi and drummer Harvey Sorgen.

Pete Levin: piano, organ, drum programming, synthesizers, banjo
Alex Foster: tenor sax (1,5,6,8,9), soprano sax (5,6)
Howard Johnson: baritone sax (1,5,6,9), bass sax (1), tuba (1,5)
Kevin Kuhn: guitar (1,3)
Mike Stern: guitar (2,5,6,9)
Gordon Gottlieb: percussion (2)
Danny Gottlieb: percussion (2), drums (3,6,9)
Lenny White: drums (2,4)
Mark Egan: bass (3,6,9)
Lew Soloff: trumpet (4,5,6,7,9)
Dave Bargeron: trombone (5,6,9)