Pat Carey's Jazz Navigators - South by Southeast
  1. Manhattan Heat
  2. J & K 
  3. Realization
  4. Blues For Myles 
  5. The Journey 
  6. Strollin' the Key with Beverly 
  7. Cayo Oueso Breeze

Produced by 
Pat Carey and Steve Grisbrook

Pat Carey - saxophones
Ted Quinlan - guitar
Garth Vogan - bass
Jason Jestadt - piano
Tom Jestadt - drums
Howard Moore - trumpet

released 2006
catalogue # PCCD2006

Pat Carey's Jazz Navigators - Starlight
  1. J.D. (for Jack Dejohnette) 
  2. Go West 
  3. How Long Was It Going To Take 
  4. Blues For Duke 
  5. Me Or Reality 
  6. Father And Son 
  7. Rare Bird 
  8. Glacier Opportunity 

Produced by 
Pat Carey, Alec Fraser and Jason Jestadt

Pat Carey - saxophones
Ted Quinlan - guitar
Kieran Overs - bass
Jason Jestadt - piano
Tom Jestadt - drums
with guests
Laura Hubert - vocals
Janice Hagan - vocals
Tyler Yarema - piano

released 2002
catalogue # PC2-001

Pat Carey had a dream that has now been fulfilled, a dream of sharing his musical talents. He was searching for that superior quality that only his years of experience and special skills could find. In forming the "Jazz Navigators" he selected what he considered to be the "Prime Pick", the elite of his brethren, and in doing so, together these musical talents set sail on a journey. 
"A journey that finished at Starlight".

Click here for Pat Carey's Bio

Ted Quinlan is regarded as one of the most versatile guitar players in Canada.  His skills are highly in demand as a jazz player, session musician, writer and educator.  Ted is the head of the guitar department at Humber College’s highly regarded music program.  As a busy sideman, Ted has performed with Chet Baker, Freddie Hubbard, Eddie Harris, Jimmy Smith and Joey DeFrancesco.  His debut CD “As If”, which features a program of his original compositions, received a nomination for the 1998 Juno award in Contemporary Jazz.  His other numerous recording credits include his performances on Doug Riley’s CD “Con Alma” and Radioland Records’ compilation CD “A Tribute to Wes Montgomery” which features six major Canadian jazz guitarists.  Ted is the recipient of the 1998 Jazz Report Award for Guitarist of the Year.

Toronto born bassist Kieran Overs has been active on the Canadian music scene since 1970, first on guitar and electric bass and for the past 24 years on acoustic bass. He has studied bass with renowned Danish bassist Neils-Henning Orsted Pederson and arranging with the Boss Brass's Rick Wilkins. Working in Toronto as a sideman with such artists as Zoot Sims, Chet Baker, Sonny Fortune, Dewey Redman, Barry Harris, Kenny Barron, Bill Charlap, Harold Mabern Jr., John Stetch, Carol Sloane and Bill Mays and touring internationally with Moe Koffman, Dizzy Gillespie and Jane Bunnett, he has established a solid reputation in Canadian jazz.

To his credit Overs has three CDs on the Unity/Page label as leader/producer and many more as a sideman. He was one of only eight jazz artists selected to represent Canada on the four CD, 50-artistboxed set " HERE AND NOW", A Celebration of Canadian Music produced by the Canada Council to commemorate the fiftieth anniversary of the United Nations (released world-wide in October 1995). In 1994 Kieran was bassist, producer and recording engineer for Alex Dean's quintet recording "Kaitlyn's Waltz", that won The Jazz Report's "Best Jazz CD" of 1994 and was on New York's Village Voice "Top 10 Jazz Recordings" list for that year. He is currently a member of the Brian Dickinson Trio, Bernie Senensky's "Chalet' Trio, the Nancy Walker Trio, the Ted Quinlan Quintet, and leads his own quartet and dectet. As a member of the John Stetch Trio he participated in the 1998 Montreal International Jazz Festival where the trio won the Prix de Jazz award for 1998. The same trio has recorded a CD for Justin Time Records, that was released in March 1999. The trio then toured in Canada and Brazil. Kieran is featured on a new recording of Jane Bunnett's with special guests, Dewey Redman and Stanley Cowell. This marks his fourth recording with Bunnett. It will be released in 2002, as well as a new Kieran Overs quartet CD "For the Record". Also for release in the fall of 2002 are CD projects with Paul Read & Scott Robinson, Nancy Walker's trio featuring special guest Kirk MacDonald and vocalist Maureen Kennedy's debut recording that Kieran will play on and produce.

In addition to his freelance work, Kieran has taught bass, theory and ensembles at Toronto's Humber College, and was Artist in Residence for the fall term of 2000 at St Francis Xavier University. He also frequently adjudicates student recitals at the University of Toronto.

Compositions by Kieran Overs are featured in the Canadian Jazz Fake Book. A profile of Kieran’s career will be found in Mark Miller's newly released book "The Miller Companion to Jazz in Canada". 

Click here for Jason Jestadt's Bio

For the past thirty years, Tom has performed in almost every facet of the music business and in every genre including jazz, bigband, R& B, blues, pop and classical music. He has also been involved in both the recording industry and in many musical theatre productions including Cats, Durante, Crazy for You, and Jolson.  Over the years, Tom has accompanied a great variety of performers from The Drifters and Leslie Gore to Gerry Mulligan, Kai Winding, Roy Eldridge and Bud Johnson.  Currently, he is working in his fifth season at the Shaw Festival. 

Click here for Laura Hubert's Bio

Janice Hagan sings jazz with a strong voice, embodying Duke Ellington's observation "that good dance musicians must be dancers". Highly respected by the dancers, she inspires them to understand the music better.

Toronto Star writer Rob Salem affectionately refers to Janice as "The little lady with the big
voice." Janice Hagan is a powerhouse singer, dynamic entertainer, and leader of one of the
hottest jaz:z swing groups in Toronto. Belting out great tunes from the master's like Bessie
Smith, Ella Fitzgerald, Louis Armstrong and many more, Janice has been able to showcase her fiery vocals and stellar band every Thursday night. With Janice running the show, it truly is a night not to be missed.

Janice owes a lot to the roots jazz approach. A natural singer from a young age, Janice turned
audiences her way in Karaoke bars where few could resist her charming and soulful way of
giving an extra something to the meaning of a lyric. Janice's winning demeanor and big gutsy
voice never loses touch with the audience; in the Sinatra style she can make her singing come off like an intimate, mesmerizing conversation. 

Toronto pianist-vocalist Tyler Yarema this high-energy player displays everything that’s right about the current crop of young, talented musicians sweeping the North American music scene. His driving percussive left-hand and expressive melodic right-hand is complemented by a smooth, fiery vocal delivery.

When Tyler Yarema started playing the piano at 16, he gravitated towards exploring modern blues stylings, but as his technique developed, he began the process of discovering and studying the works of older musicians like Otis Spann, Meade Lux Lewis, Albert Ammons, Pete Johnson, Fats Waller, Duke Ellington and Lionel Hampton. This combination of early blues and boogie piano players with the more harmonically sophisticated works of prominent jazz composers has been an influence that he has now integrated into his own compositions and interpretations of their many standards.

After moving from his hometown of Thunder Bay to Toronto in 1994, Tyler quickly established himself on the local music scene as a high demand sideman. Over the next four years, he recorded and performed with a who's who of the Toronto blues world including such artists as Snooky Pryor, Phil Guy, Downchild Blues Band, Little Mac, King Biscuit boy, the Sidemen and Hock Walsh along with leading his own unit

As a leader, his band has become one of the most sought-after swing, boogie-woogie groups in the city. With regular appearances at The Reservoir Lounge and numerous other performances at clubs, festivals and galas, Tyler Yarema and His Rhythm has developed a large, loyal following that continues to grow.

Review of "Starlight" by GlasJAZZ - Mar2003
You’ll enjoy this CD if you fancy dropping in on a live, mellow jazz gig featuring experienced musicians who like good tonal jazz and play a varied programme including some bebop, a bit of swing, blues, a jazz ballad, a couple of vocal numbers, and even a bit of reflective steelstring a la Ry Cooder’s Paris Texas sound. The album is not in fact ‘live’ but the recording has the reverb setting of a room or small hall and at times Pat Carey’s sax comes off the mike slightly as sometimes happens in a gig. You feel there have not been a lot of takes and this is to the good. There is a relaxed spontaneity in the performances generally while the band are tight playing the ‘heads’ of the tunes.

Pat Carey’s saxophone has a great sound, very clearly steeped in the blues but also at home with jazz phrasing that shows a broad width of experience. Ted Quinlan’s guitar style varies effortlessly to suit the required mood. These guys are comfortable with their instruments and it shows. But this is clearly not about demonstrating technique, this is about the music.

The CD opens with ‘J.D’ on an up tempo major pentatonic riff with extended bass pedal, followed by neat soloing for a comfortable 6/7minutes; in the second track a contemplative steel string guitar is featured solo in an atmospheric composition; track four has a really great 5/4 jazz blues feel; ‘Father and Son’is a latin-tinged number contemplative steel string guitar is featured solo in an atmospheric composition; track four has a really great 5/4 jazz blues feel; ‘Father and Son’is a latin-tinged number featuring a different, more modern, electric reverb guitar sound and in keeping with this mood Pat Carey also develops another assured solo with ‘edge’. Throughout, the piano of Jason Jestadt is inventive and supportive, as are Kieran Overs’ bass and Tom (father of Jason) Jestadts’ drums. (It reminds me of our own Scottish live jazz dynasty with Ronny Rae’s son John on drums following his own career but also popping up to support his father in various live and CD lineups). On track three, a bright swing melody with vocal by Janice Hagan, the combination of a steady rhythm guitar playing ‘four to a bar’ with a tinkling piano support by guest Tyler Yarema, was a joy to listen to. Two guest vocalists complete the eclectic feel of the album. Both clearly enjoy singing and manage the somewhat jaded, cynical ‘now I’ve seen it all’ feel of the songs’ lyrics with humour. ‘How long was it gonna take?’- asks Janice Hagan, meaning for the relationship with her man to flounder. Well er,…as it turns out, ‘as long as it takes for him to get caught’ (with another woman we assume). Her voice is attractive, straight ahead and strong with little vibrato, good in this kind of swinging, jaunty number, probably not strictly a voice for jazz we assume). Her voice is attractive, straight ahead and strong with little vibrato, good in this kind of swinging, jaunty number, probably not strictly a voice for jazz ballads, but who knows. The other guest Laura Hubert takes a bluesy tune and with something of the Eartha Kitt treatment criticises her man for his ‘me,me,me,’ mentality. She has a nice blues tone.

A very engaging album which will be interesting throughout, to those who enjoy good music and are not too precious about putting jazz into exclusive boxes. Hey! It’s not often you can move from bebop to steel string contemplation, to a harangue by a woman about men being selfish and all on the one album!

Give it a listen.