'Tales from the Blue Lounge' is the debut instrumental jazz release from Richard Underhill. This outstanding CD won a 2003 Juno Award and was nominated for the Prix du Jazz at the 2003 Montreal Jazz Festival. 'Tales from the Blue Lounge' features 10 original compositions that touch on important modern jazz elements and reference jazz greats from Monk to Mingus to Ornette Coleman to Mancini.

Varied in arrangement style and instrumentation, these memorable compositions are brought to life by some of Canada's top jazz musicians including George Koller on bass, Ted Warren on drums, David Restivo on piano and Bob Brough on tenor sax. The album was produced by Underhill and Mark Mariash and mixed by Jono Grant.

'A stellar effort' - Echo Weekly - Kitchener
...'tales from the blue lounge' is a stellar effort and well deserving of the Juno kudo. The feeling harkens back to the mid-late 60s jazz in the style of Rollins or Cannonball Adderly. Underhill himself refers to this sound as "modern vintage," an apt description. Highly recommended.

'A wonderfully diverse and appealing album.' - Allaboutjazz.com

'Underhill emphasizes prime Blue Note muscle'
The sweetest surprise is "Lazy Afternnon," a ballad without apology - Johnny Hodges with added lemon. Underhill may prove the missing link between mass appeal and dignity' - Randal McIlroy, CODA issue 311 Sept 2003

Randal McIlroy

'A stellar effort'
Echo Weekly - Kitchener - Tales From The Blue Lounge

...'tales from the blue lounge' is a stellar effort and well deserving of the Juno kudo. The feeling harkens back to the mid-late 60s jazz in the style of Rollins or Cannonball Adderly. Underhill himself refers to this sound as "modern vintage," an apt description.

The compositions are a somewhat diverse collection of 10 tunes with nothing too outrageous or too mundane - just solid joyful tunes filled with rollicking solos and a delightful feel all around. Some parts are positively Demonesque while others harken back to a New Orleans style. This is an lp to get lost in and be totally happy about it. Highly recommended!

'A real treat!'
allaboutjazz.com
Tales From The Blue Lounge Richard Underhill | Stubby Records

Tales From The Blue Lounge is Canadian alto saxophonist Richard Underhill's debut solo album and the winner of the 2003 Juno Award for Jazz Album of the Year. After a long and winding career that has included membership in the eclectic Shuffle Demons and the electronica-based Astrogroove, this disc of ten original compositions finds Underhill exploring classic sounds that wouldn't sound out of place on a mid-1960s Blue Note Release.

"Surfing" kicks off the album with the fleet confidence of a fighter entering the ring, bouncing about, eager with anticipation for the bell to sound. Underhill, tenor saxophonist Bob Brough, and bassist George Koller each take strong, assured solos, seemingly feeding off the shared confidence. Notice must also be given to the fine production that captures the drive and presence of the band, not just on this track, but throughout the album.

Elsewhere, Underhill employs ensembles of varying sizes, adding a welcome sense of range to the proceedings. The title track sways with a Latin groove, aided by added percussion from Luis Orbegosa and Jose "Papo" Gonzales. "Big" struts soulfully with driving guitar from Jake Langley and shimmering organ from Dave Restivo. "The Old Guys" features a clever arrangement from Underhill that skillfully references some sunny big band motions, with a dash of Mingus' gospel fire.

Tales From The Blue Lounge is a real treat-an album inspired by past musical forms that never sounds tired or dated. Old-fashioned styles are summoned with real joy and a knowing wink. This is accomplished and assured music that has the added benefit of being a lot of fun.

Stephen Latessa

'Underhill emphasizes prime Blue Note muscle'
CODA, September 2003 - Tales From The Blue Lounge

'Underhill emphasizes prime Blue Note muscle in his original music with a a big sound that triumphs whether he's teaming with the tenor of Bob Brough or fronting a horn section rooted by Chris Gale's baritone. "Big" purrs on guitar, organ and conga and "The Blue Lounge" is a sexy rumba. The sweetest surprise is "Lazy Afternnon," a ballad without apology - Johnny Hodges with added lemon. Underhill may prove the missing link between mass appeal and dignity'

Randal McIlroy

'Lives up to the accolades'
Soundsoftimelessjazz.com - Tales From The Blue Lounge

Canadian alto saxophonist Richard Underhill delivers a hard-swinging CD that lives up the accolades it has received as 2003 Juno Award winner Jazz Album of the Year. TALES FROM THE BLUE LOUNGE reference jazz greats that range from Monk to Mingus to Ornette Coleman to Henry Mancini. The set opens with "Surfing," a hard-swinging tune that features Underhill's excellent command of the alto saxophone's range and dynamics. From honks to fog blasts and everything in between, you feel the improvisational excitement of his grooves. He closes with "Chillin'" a soul jazz swinger that is in direct contrast to the opener. With guitar, organ and great blowing by Underhill, this song swings with a feeling that harkens back to the 50s style of jazz when Jimmy Smith reigned on the organ. With a great solo by organist Dave Restivo, this song echoes enough sentiment and vitality to place him in the modern realm of new B3 players. Produced by Richard Underhill for Stubby Records, this recording is available at at www.richardunderhill.com

'A wonderfully diverse and appealing album.'
Allaboutjazz.com - Tales From The Blue Lounge

For those familiar with the jazz scene in Toronto during the eighties and the next decade will remember the impact the Shuffle Demons had. Richard Underhill was the leader and founding member of the band that flipped jazz over not only through the initial impact of their colorful costumes, but also with their outstanding musicianship. The Shuffle Demons split in 1997 and Underhill went out on his own and recorded his debut album in 2003, with a wealth of Canadian talent. It is well worth revisiting.

Underhill uses several idioms in his music. He does not miss out on the connect as he gets deep down into the groove and comes up with rhythms that sizzle. He drives the point home right away as "Surfing" gets off on a funky edge shifted by George Koller on bass and Ted Warren on drums. Underhill takes his alto into the curl and loop, his lines taut yet delving to capture the nuance of the melody. He breaks away to prod and probe letting Bob Brough to bring his big sound on the tenor and parlay a path that etches some deep lines. A great balance, indeed! Underhill utilizes an octet to give voice to "Big." This is a big (!), brawny production, the sound initially driven by Dave Restivo on organ before Jake Langley illumines the path on the guitar, countenanced by the horns in particular Underhill as he burrows a red hot trail. The title cut has a big band, 11 musicians gathering for a rumba which glides into sensuality on the horns. But Underhill is not content to rest on one aspect. He shifts time and tempo to give the song a broader scope, and in that a stronger impact. There's more in the way of marvelous tunes that make this a wonderfully diverse and appealing album.

Jerry DeSouza

'Solid but fertile musical directions'
Planet Jazz International Jazz Review - Tales From The Blue Lounge

This album has an infectious street quality earned honestly by Richard Underhill, with his Shuffle demons work, while evoking a 60's sensibility. Underhill has enlisted the talents of a variety of familiar artists in various combinations to support each piece. The band's performance has the feel of a journey through the complex ebb and flow of a large metropolis. This feeling is deftly established in the opening drive of "Surfing," with fine horn harmonies from Underhill's alto and the tenor work of Bob Brough. Following this is a Monkish rendition of "Mr. Fezziwig," which included an appropriate contribution from the piano of Dave Restivo. The tune "Big" is strongly suggestive of a '60's TV theme song, perhaps from the pen of Quincy Jones. This is especially true wit the addition of Restivo's organ work; he also shines on "Blues for Suze," as does the guitar playing of Jake Langley. Completing the period feel is a rumba rendition of the title song, with the horn harmonies illustrating the kind of work Underhill has been doing as an arranger for other artists for the past few years. On "The Old Guys" the music delves into a very swinging, up-tempo shuffle jive style, as it does on the tune "Chillin." Also contained on this release is a wonderfully riffy piece called "Pegasus," which is paced precisely by the drumming of Ted Warren, who never fails to play right on top of the beat.

This effort reflects the solid but fertile musical directions and ideas of Richard Underhill who, I'm sure, will be heard from again in the future.