Cory Weeds Dig Weeds! 180g LP

The email read, "Are you Cory Weeds, the tenor player?" It was from Kevin Gray, who has worked on several mastering projects for my archival record label, Reel to Real. The question struck me as odd—my name is fairly unique, and thankfully, I'm pretty sure there's only one Cory Weeds. I replied, confirming that yes, I was indeed that guy. Kevin then asked if I wanted to make a record for him. My self-deprecating wit kicked in, and I responded, "Why would you want ME to make a record for you?" Kevin was very complimentary and shared a remarkable story: His granddaughter, Amber, is beginning to share his love of jazz music. One day, she saved a track she liked and thought her grandpa would like too. She played it for him, and Kevin was indeed impressed. It turned out to be "Blue Daniel" from my Dreamsville album, recorded with Jeff Hamilton. Receiving a compliment from Kevin Gray—a man who spends his days remastering Blue Note records by legends like Dexter Gordon, Hank Mobley, and Joe Henderson—is incredible. But making an impression on a college student still in her teens? That's something else entirely. Conversations began, dates were set, and before I knew it, I was on a plane to Los Angeles with my dear friend and pianist David Hazeltine. Recording for Cohearent Records is a unique experience, a throwback to the early 1950s. Musicians in tight quarters, all in the same room, with minimal microphones. There's no separation between instruments, no editing, and mixing happens in real-time. This setup demands that the band be tight and confident. David Hazeltine, one of my closest friends and favorite musicians on the planet, was the perfect choice for this session. David provided a stunning arrangement of the rarely played gem "Deep in a Dream" and co-wrote "Everything's Coming Up Weeds" with me, both highlights of the record. David's genius is subtle. He puts subtle magic touches on everything. The weekend before heading to L.A., David joined me in Vancouver to perform the material at Frankie's Jazz Club. Workshopping the music live was a critical step in making this recording a success. Joining us were bassist Neal Miner and drummer Byron Landham. Neal's incredible musicianship is matched only by his kindness. His big, phat, round sound was essential for the recording's intimate setup. Byron is a deeply swinging drummer with a great pocket, and he brought everything together beautifully. I've rarely worked with a producer on my own recordings, and when I have, it's always been someone I know and trust. So, when Kevin suggested Joe Harley as the producer, I was skeptical— not because I doubted his ability, but because he spends his time mining the Blue Note archives carefully selecting which records to reissue. He's always listening to the greatest tenor players ever. Did I really want that guy in the booth listening to me? NO! However, Joe's response to my initial email asking about his "style" of producing reassured me. His calm, warm approach set the tone for the entire session. He brought just the right amount of encouragement and advice, never getting stressed or impatient. This opportunity was one I'll never forget. Kevin and his team—including Charlene, who made an unforgettable chicken soup—created an incredibly comfortable and inspiring environment to record in. I think the music reflects that. I hope you enjoy,

—Cory Weeds