Kari-On Productions is proud to introduce
Jimmy O’Connell Sixtet

Artist: Jimmy O’Connell Sixtet

CD Title: Arrhythmia

Add Date: August 22, 2016

Street Date: September 9, 2016

Label: Outside in Music

Artist Website

Scroll down for Bio, CD Description, Tracks, Times and Composers and Players.

  • Arrhythmia - Jimmy O'Connell SiXTET
    Arrhythmia - Jimmy O'Connell SiXTET Live @ Smalls
  • Lament - Jimmy O'Connell SiXTET Live
    Lament - Jimmy O'Connell SiXTET Live @ Smalls

Originally from the Metro Detroit Area, Jimmy O’Connell has quickly established himself as an in demand trombone player on the NYC jazz scene. Relocated to New York in 2009, O’Connell pursued and attained a Master’s Degree from the Manhattan School of Music, and has since been performing around NYC and the tri-state area. He has performed at some of NYC’s premiere venues such Carnegie Hall, the Blue Note, Smalls, and many others as both a leader and a sideman, and has shared the stage with some of the greatest living jazz musicians like Dave Liebman, Joe Lovano, Paquito D’Rivera, and Randy Brecker.

“The “SixTet” is comprised of the people who have really made an impact on me as both a musician, and a person” O’Connell says of Arrhythmia. “These people are some of my best friends and my constant inspiration to continue making music.” The album’s rhythm section features two of NYC’s most in demand musicians in the form of Peter Slavov on the bass, and Jimmy Macbride on the drums. Filling out the rhythm section is pianist Tuomo Uusitalo, and O’Connell’s long time friend Tim Basom on the guitar. Alto saxophonist and friend Andrew Gould joins O’Connell on the front lines to round out the sextet.

Arrhythmia opens with an original arrangement of “Lament,” one of J.J. Johnson’s most famous compositions. “I started playing this song back in my early years of college, and it always stuck with me,” says O’Connell “and as a trombone player, I felt that it was vital to pay homage to one of the masters.” The only other two standards on the album are Cedar Walton’s “Bolivia” and David Mann’s “In The Wee Small Hours of the Morning.” O’Connell states that “[standards] are something that I love, and I have always loved. They’re where I come from and where my heart was musically for a very long time.”

The remainder of Arrhythmia is comprised of O’Connell’s original music, and has a modern feel to it. “Gray Matter” begins with a bass ostinato, and features lush textures for the soloist to improvise over. “I wanted this tune to be dark and open, ...like a blank canvas for the soloist to wander through. The progression is decidedly modal, and that leaves a lot of decisions up to the band.”

The title track “Arrhythmia” is named after a heart condition called supraventricular tachycardia that O’Connell has had for his whole life. It starts with an unaccompanied bass solo by Slavov which slowly morphs into the pieces central theme, a bass line. “When I wrote this so many years ago, I wrote the bass line first, and all of the pieces started to come together around that. The bass line is like the heartbeat of the song, so I thought it was fitting to name it after my condition. The tune is nothing like how I originally wrote it, but the bass line has been the same since day one.”

“(Millie) In June” is a straightforward swinger, reminiscent of the tradition. It’s harmonically and melodically simple and is reminiscent of a “jazz standard.” “I wrote “(Millie) In June” on the piano and by the time I was finished with it, I was so surprised at how playful it sounded that I named it after our dog, Millie!” says O’Connell. “I was writing something that went back to my roots, which are of course, American songbook standards. I wrote it as a reminder to myself that its okay to lean on the past for inspiration and guidance.”

O’Connell’s “Crayons” is an odd meter, straight eighth tune and is named as such because of how it was written. “... I had this thought that I wanted to write a tune in seven, and when I finally came to a melody that I liked, the only thing around me to write with was a crayon, so...”

Arrhythmia closes out with “Solidarity” a simple groove tune with a heavy back beat and simple harmonies. “I originally wrote this song as a closer for live shows, something that the band could groove out to while I talked to the audience. It was meant to be a sort of ‘Stinger’ for the band, but I liked playing it so much, I decided that I wanted it on the album.”

O’Connell’s debut recording gives insight into his past, present and future, bringing together all of his influences in one stylistically unique album. Arrhythmia is a testament to O’Connell’s personal journey through NYC and provides a foundation on which he hopes to build for years to come.

CD Description

“The “SixTet” is comprised of the people who have really made an impact on me as both a musician, and a person” O’Connell says of Arrhythmia. “These people are some of my best friends and my constant inspiration to continue making music.” The album’s rhythm section features two of NYC’s most in demand musicians in the form of Peter Slavov on the bass, and Jimmy Macbride on the drums. Filling out the rhythm section is pianist Tuomo Uusitalo, and O’Connell’s long time friend Tim Basom on the guitar. Alto saxophonist and friend Andrew Gould joins O’Connell on the front lines to round out the sextet.

Arrhythmia opens with an original arrangement of “Lament,” one of J.J. Johnson’s most famous compositions. “I started playing this song back in my early years of college, and it always stuck with me,” says O’Connell “and as a trombone player, I felt that it was vital to pay homage to one of the masters.” The only other two standards on the album are Cedar Walton’s “Bolivia” and David Mann’s “In The Wee Small Hours of the Morning.” O’Connell states that “[standards] are something that I love, and I have always loved. They’re where I come from and where my heart was musically for a very long time.”

The remainder of Arrhythmia is comprised of O’Connell’s original music, and has a modern feel to it. “Gray Matter” begins with a bass ostinato, and features lush textures for the soloist to improvise over. “I wanted this tune to be dark and open, ...like a blank canvas for the soloist to wander through. The progression is decidedly modal, and that leaves a lot of decisions up to the band.”

The title track “Arrhythmia” is named after a heart condition called supraventricular tachycardia that O’Connell has had for his whole life. It starts with an unaccompanied bass solo by Slavov which slowly morphs into the pieces central theme, a bass line. “When I wrote this so many years ago, I wrote the bass line first, and all of the pieces started to come together around that. The bass line is like the heartbeat of the song, so I thought it was fitting to name it after my condition. The tune is nothing like how I originally wrote it, but the bass line has been the same since day one.”

“(Millie) In June” is a straightforward swinger, reminiscent of the tradition. It’s harmonically and melodically simple and is reminiscent of a “jazz standard.” “I wrote “(Millie) In June” on the piano and by the time I was finished with it, I was so surprised at how playful it sounded that I named it after our dog, Millie!” says O’Connell. “I was writing something that went back to my roots, which are of course, American songbook standards. I wrote it as a reminder to myself that its okay to lean on the past for inspiration and guidance.”

O’Connell’s “Crayons” is an odd meter, straight eighth tune and is named as such because of how it was written. “... I had this thought that I wanted to write a tune in seven, and when I finally came to a melody that I liked, the only thing around me to write with was a crayon, so...”

Arrhythmia closes out with “Solidarity” a simple groove tune with a heavy back beat and simple harmonies. “I originally wrote this song as a closer for live shows, something that the band could groove out to while I talked to the audience. It was meant to be a sort of ‘Stinger’ for the band, but I liked playing it so much, I decided that I wanted it on the album.”

O’Connell’s debut recording gives insight into his past, present and future, bringing together all of his influences in one stylistically unique album. Arrhythmia is a testament to O’Connell’s personal journey through NYC and provides a foundation on which he hopes to build for years to come.

Track [Time]

  1. Lament [7:59]
  2. Gray Matter [8:01]
  3. Bolivia [6:17]
  4. Arrhythmia [9:33]
  5. In The Wee Small Hours [4:53]
  6. (Millie) in June [6:47]
  7. Crayons [7:17]
  8. Solidarity [7:15]

Player and instrument:

Jimmy O’Connell (trombone)

Andrew Gould (alto, soprano sax)

Tim Basom (guitar)

Tuomo Uusitalo (piano)

Peter Slavov (bass)

Jimmy MacBride (drums)

One Sheet: Click image to view PDF