1 (I Would Do) Anything for You
2 There's No You 
3 Lava				play
4 Blame It on My Youth 
5 Segment
6 High and Flighty 
7 Don't You Know I Care (Or Don't You Care to Know)
8 Jubilee  			      play
9 Careless Love
10 Imagination 
11 Love 

Personnel: 
Ken Peplowski (clarinet), 
Ed Bickert (guitar), 
John Bunch (piano), 
Tery Clarke (drums), 
John Goldsby (bass).

Ken Peplowski's debut as a leader has plenty of brilliant playing. Peplowski, doubling on clarinet and tenor, is joined by guitarist Ed Bickert, pianist John Bunch, bassist John Goldsby and drummer Terry Clarke. Although the repertoire includes Charlie Parker's "Segment" and Hank Mobley's obscure "High and Flighty," Peplowski comes across as a superior swing specialist, particularly on such numbers as "I Would Do Anything for You," "Jubilee" and "Careless Love." A superb start to an important career. ---Scott Yanow

This was Ken's debut album on what was the start of a fine career. On this he plays both tenor sax,4 selections, and clarinet, 6 selections. He seemed to concentrate more on the clarinet later on and I don't know if it was because of the Benny Goodman influence (he played in Benny's last band) or whether his tenor sax style was so similar to that of Scott Hamilton, with whom he often recorded, that I had trouble telling them apart. Obviously at this time you could hear the sax influence of Zoot Sims, Ben Webster and Lester Young.

The clarinet cuts are reminiscent of the Benny Goodman-Charlie Christian recordings. A lot of that may be credited to the excellent guitar work of Canadian Ed Bickert who I have always thought to be under rated. Ed has a similar style to Jim Hall which can best be attested by his recordings with alto sax great Paul Desmond. The rhythm section of pianist John Bunch, bassist John Goldsby, an drummer Terry Clarke help make this an exceptional swing album. ---Robert J. Ament

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(7:19) 1. Topsy
(4:42) 2. Anouman
(4:54) 3. Crepuscube
(4:26) 4. Tears
(7:33) 5. I'm Confessin'
(4:35) 6. Minor Swing
(4:24) 7. Solitude
(5:18) 8. Nympheus
(4:15) 9. Please
(5:33) 10. Nuages
(4:26) 11. I've Hat My Moments
(2:46) 12. Time On My Hands

Ken Peplowski: tenor saxophone, clarinet; 
Bucky Pizzarelli, 
Howard Alden: guitars; 
Aaron Weinstein: violin; 
Frank Tate: bass; 
Chuck Redd: drums.

This is a gypsy combo of the Django Reinhardt persuasion, rather than being fully-crazed wedding party cacophony. In fact, reedman Ken Peplowski makes matters even more specialized by concentrating on a preponderance of slow plodders rather than the frenetic hurtling that many gypsy jazz guitar outfits now prefer. The album's cover is slightly strange. Two pseudo-brides in billowing white silk cavort with a pair of goats. Is this what gypsy life entails?

Half of the compositions are written by the old Belgian guitar master Reinhardt, with Peplowski flanked by guitarists Bucky Pizzarelli and Howard Alden, which is certainly an impressive way to be surrounded. This is a world where reeds are not always invited, but Peplowski smoothly slides in his clarinet and tenor saxophone, delivering some of the most sensitive solos of his career. Pizzarelli and Alden opt for steely picking, bright with a percussive attack, but it sounds like it's the former who's taking most of the solos.

The playing, arrangements and production qualities make this a disc to savor, even though it would benefit from a few more briskly trotting numbers. Peplowski's oozing clarinet closeness on "Anouman" sinks the listener into a less familiar Reinhardt tune. Next up, his tenor tone on "Crepuscule" is magnificent; sounding like the mic is buried deep inside its velvet-lined bowels.

Violinist Aaron Weinstein isn't around much, but when he's soloing, the impact is noticeable. He's half slick sluice, half hot friction. The guitars engage in a dialogue during "I'm Confessin,'" the leader layers up both of his horns on "Please," conversing with himself, while it's just Peplowski and Pizzarelli together for the closing "Time On My Hands." This album is an oldster's reflection, but this is no bad thing. Peplowski burns up frequently during other sessions, so a reclined set makes for a pleasurable change. ---Martin Longley, allaboutjazz.com

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01. Memories Of You - 5:36
02. I'll Be Seeing You - 3:53					play
03. Bright Moments - 5:11
04. In A Sentimental Mood - 6:55
05. Dream Dancing - 8:24
06. Last Night When Well We Were Young - 4:46   	play
07. It Might As Well Be Spring - 7:53
08. Lotus Blossom - 5:10
09. But Not For Me - 7:36
10. Poor Butterfly - 6:31
11. Memories Of You II - 6:52

Musicians:
Ken Peplowski (Tenor Saxophone, Clarinet)
Ted Rosenthal (Piano)
Gary Mazzaroppi (Bass)
Jeff Brillinger (Drums)

Ken Peplowski is among the top clarinetists and tenor saxophonists of his generation. After a long, fruitful period recording as a leader for Concord, Peplowski started getting a number of offers to record for overseas labels. He alternates between the two instruments during these 2006 sessions, well accompanied by pianist Ted Rosenthal, bassist Gary Mazzaroppi (long Marian McPartland's bassist of choice), and drummer Jeff Brillinger, all veterans like the leader. Peplowski's lush tenor in the first interpretation of "Memories of You" recalls Ben Webster with his soft, breathy vibrato and lyrical style. He also caresses Roland Kirk's infrequently heard ballad "Bright Moments" and renders an elegant "Dream Dancing" as well. On clarinet, Peplowski's magical treatment of "In a Sentimental Mood" (backed solely by bass at first) suggests a bird's song. The cream of the crop is his warm interpretation of Billy Strayhorn's "Lotus Blossom." This set is perfect for late-night listening. --- Ken Dryden, Rovi

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1 	All I Need Is The Girl	5:26
2 	Chega De Saudade	6:18
3 	Estate	7:07
4 	If I Were A Bell	7:07
5 	Clarinet In Springtime	5:13
6 	When You Wish Upon A Star	5:13
7 	The Eternal Triangle	6:26
8 	Spring Is Here	5:49
9 	Duet	3:20
10 	The One I Love Belongs To Somebody Else	6:07
11 	I Like The Sunrise	6:42
12 	Come Back To Me	4:26

Bass – Nicki Parrott
Clarinet, Leader, Liner Notes – Ken Peplowski
Drums – Chuck Redd
Guitar – Matt Munisteri
Piano – Ehud Asherie
Saxophone, Flute, Clarinet – Adrian Cunningham, Carl Maraghi, Jack Stuckey, Jon Gordon, Mark Lopeman
Trombone – Bruce Eidem, Harvey Tibbs, Jennifer Wharton, John Allred
Trumpet – Andy Gravish, Jon-Erik Kellso, Randy Reinhart, Bob Millikan

Many contemporary big bands are all about "breaking new ground" and "exploring new pathways." Not this one. Ace clarinetist Ken Peplowski, who has performed and recorded with myriad large ensembles, at home and abroad, but has seldom led one—although he did record one other big-band album, Last Swing of the Century (Concord Jazz, 1999)—simply wants to make beautiful music, a goal he and his hand-picked corps of merry men (and one woman) easily reach on Sunrise, as they glide smoothly through a dozen numbers gleaned from the Great American Songbook and elsewhere.

Among Peplowski's choices are some pleasant surprises, starting with Billy May's walking arrangement of the seldom-heard "All I Need Is the Girl" from Broadway's Gypsy. It's the first of three charts by May, two coming from an album recorded by Frank Sinatra with the Duke Ellington Orchestra (the other being the Burton Lane / Alan Jay Lerner flag-waver, "Come Back to Me"). Four of the charts were mapped out by drummers, Antonio Carlos Jobim's "Chega de Saudade" and the Leigh Harline / Ned Washington classic "When You Wish Upon a Star" by the late Allan Ganley, the Latin favorite "Estate" and Frank Loesser's "If I Were a Bell" (from the Broadway smash Guys and Dolls) by former Basie timekeeper Dennis Mackrel. Saxophonist Mark Lopeman arranged Sonny Stitt's "The Eternal Triangle," Rodgers and Hart's "Spring Is Here," Ellington's "I Like the Sunrise" and Gus Kahn / Isham Jones' "The One I Love Belongs to Somebody Else," and Alec Wilder scored his own composition, "Clarinet in Springtime."

Having set the scene, it should be noted that unconditional admiration for Sunrise must clearly rest, in some measure, on fondness for the clarinet, as Peplowski—a versatile and creative soloist from the Goodman / Shaw / Jimmy Hamilton school of swing—is showcased on every number. For clarinet-lovers in general and music-lovers in particular, that's good news. It does mean, however, that solo space for other members of the band is limited. There's an uncredited trombone solo (John Allred?) on "If I Were a Bell," others by alto Jon Gordon (also uncredited), tenor Adrian Cunningham and pianist Ehud Asherie ("Eternal Triangle"), Asherie again ("The One I Love") and tenor Lopeman ("Come Back to Me"). Elsewhere, it's all Peplowski all the time.

To phrase it another way, there's no doubt that this is the Ken Peplowski Big Band. If that is to your liking, you'll no doubt welcome and appreciate this most pleasant Sunrise. ---Jack Bowers, allaboutjazz.com

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