martes, 28 de febrero de 2017

Arnam Raz Quintet: March 9th At Williamsburg Music Center( WMC)

Hello Dear friends,

I would like to invite you all to my next show at the WMC. March 9th at 9:00. Our record label Rabbit Rabbit Rabbit Records are hosting an event. It's a double bill with the great band name Beekman-they are all a funtastic musicians. It's $10 at the doors and it is totally worth it. Come celebrate music and art with us. 

Where: WMC- 367 Bedford Ave, Brooklyn, NY 11211
When: Thursday, March 9th at 9:00 PM
How much: $10

I hope to see you there!

lunes, 27 de febrero de 2017

Flamenco Vivo, the Délice Network and an all-duck menu!

New Standard Duo (Robert Brooks & Eric Binder) - New Standard Duo (ROPEADOPE MUSIC 2017)

New Standard Duo is a hip, new take on the standard jazz duos of the yester-years. After years of playing together, New Standard Duo was officially named with this debut album. 

Jazz Journalist/Historian Scott Yanow says, "Drummer Eric Binder and tenor-saxophonist Robert Brooks, both of whom are based in Illinois, have stretched the idea a bit on New Standard Duo. While their improvising has its freer moments, they also stick to the framework and rhythm of the songs. When one considers that there are no chordal or harmony instruments, the fact that listeners can tell where the two musicians are in each tune shows how successful the musicians are at making every sound count, implying the chords and filling in for the "missing" instruments."

As a saxophone and drum duo, Robert Brooks (saxophone) and Eric Binder (drums) specialize in exploring jazz standards in unique ways. Brooks and Binder began playing together as a duo at the University of Illinois while working on Doctoral degrees in Jazz Studies.

1. All The Things You Are 07:04
2. Giant Steps 04:03
3. Pumpkin 04:56
4. Night And Day 05:04
5. Resolution 05:08
6. Alice In Wonderland 05:34

Trio 3: Andrew Cyrille, Reggie Workman & Oliver Lake - Visiting Texture (INTAKT RECORDS 2017)

Among other things, Visiting Texture illustrates the principle of addition by subtraction. Its the first studio album by Trio 3 as an actual trio with Oliver Lake on alto saxophone, Reggie Workman on bass and Andrew Cyrille on drums  in more than a decade, since the excellent Time Being in 2006. The intervening years have seen the group work powerfully with some serious guest pianists: notably Geri Allen, Irene Schweizer, Vijay Iyer and Jason Moran.

But theres a specific character to the groups trilateral rapport, which finds full expression here. The working history among these musicians stretches back several decades, rooted in an ideal of collectivity and intuition: their motto has long been a group where music is the leader. Improvisation to a large degree is always having an element of surprise, Cyrille reflects. Even if were playing something thats arranged, we want to spark it so that theres always a certain magic happening as the music is being developed. The entirety of Visiting Texture adheres to that conviction, bound by a spirit of real-time discovery.

01. Bumpe 05:40
02. Bonu 06:08
03. Composite 06:40
04. Epic Man 07:47
05. Stick 04:56
06. A Girl Named Rainbow 07:00
07. 7 for Max 02:52
08. Visiting Texture 10:42

Trio Heinz Herbert - The Willisau Concert (Live) [INTAKT RECORDS 2017]

Eine der grossen Überraschungen am Jazzfestival Willsau 2016 war das Trio Heinz Herbert mit Ramon Landolt, Dominic Landolt und Mario Haenni. Primin Bossart schrieb in der Nordwestschweiz:

Die wunderbar verspielten und gleichzeitig hoch konzentriert agierenden Musiker Ramon Landolt, Dominik Landolt und Mario Hänni legten mit ihrem akustisch-elektronischen Instrumentarium, elaborierten Sound-Landschaften und rhythmisch-dramaturgischen Bögen eine erfrischende Jazz-Ästhetik für die Zukunft.

Der Livemitschnitt des Trios Heinz Herbert wird im März 2017 auf Intakt Records erscheinen: Trio Heinz Herbert: The Willisau Concert. Trio Heinz Herbert feiert die neue CD mit einem 4-tägigen Konzert vom 24. - 27. März 2017 im Walcheturm in Zürich.

1. Granulaire Liebe / LEI 18:08
2. Fragment Z / Brugguda 11:51
3. Hyper Down 11:45
4. Heinz Steps 8:38
5. Planet Cita K 8:29
6. Gumpi Ball 0:59

Greg Abate with the Tim Ray Trio - Road to Forever (WHALING CITY SOUND RECORDS 2017)

Fluent in both saxophone and the great language of bebop, Greg Abate has done nothing if not worked tirelessly across five decades to keep the flame of classic jazz lit. In the hands of a skilled musician like Abate - who made his new record, Road to Forever, with Tim Ray’s trusty trio featuring Ray, John Lockwood and Mark Walker - life and music intertwine on his saxophone. The sound of his brass is an extension of his heart, with no filter or contrivance. Abate’s emotions emerge in nearly every note. “I relate music to life as a parallel outlook,” says Abate in the liner notes of his new recording. 

“Like many artists, life and music are working together in us to bring out creative ideas.” In fact, there are creative ideas across all of Road to Forever. “The Dancing Panda” has an agile, danceable groove and a slinky, sexy chord progression. “Farewell Phil Woods” is dedicated to Abate’s inimitable bandmate and collaborator, a talent the bandleader calls “a force of nature.” Abate’s alto sax, laid lightly atop Ray’s piano, resonates with a deep melancholia. But the blue mood is fleeting, as the next track, “Whaling City Sound,” boasts a chill, electric fusion of keys and bass that lifts the tempo with the trio’s inventive ideas. Abate is a musician that is born to play, to create, to collaborate. He is the consummate sharer of the stage, who respects talent and ability and knows that a high tide lifts all boats.

Indeed, Ray, Walker, and Lockwood elevate every project, and Abate provides them with a slate of perfect, largely straight-ahead, compositions for them to dig into. Recorded in a single session with virtually no rehearsals, Road to Forever is as pure as it gets, and a tribute to the power and glory of real bebop.

01. Road to Forever 8:06
02. City of 2-5's 5:39
03. The Dancing Panda 7:07
04. Take the Crowell Train 5:00
05. Farewell Phil Woods 8:26
06. Whaling City Sound 7:05
07. Red Fish Boulevard 5:46
08. Seasons 6:50
09. Buzzardology 6:56
10. Mr. Parker 7:44

Greg Abate, alto & tenor sax, flute
Tim Ray, piano
John Lockwood, acoustic bass, electric bass
Mark Walker, drums and percussion

Omar Sosa & Seckou Keita - Transparent Water (2017)

Omar Sosa seemingly can do no wrong.

Every album the jazz pianist releases is, if not exactly better than the last, arguably more profound. His exploration of Afro-Cuban music in all of its forms ends up sounding like an intense Yoruban meditation on life cycles and existence. His piano is not a musical instrument but a conduit to spiritual awareness. Live and on record, I'm often transported and seduced by his music, which reaches for the sublime and eternal. (Can you tell I'm a fan?)

And just when I thought "No, way, he can't keep raising the bar with every release!" along comes Transparent Water, a record co-credited to Senegalese kora master Seckou Keita.

The music instantaneously transports listeners from the very first notes. But in addition to journeys within, there are real world travels across the globe on this album. The cast includes: Venezuelan percussionist Gustavo Ovalles; Silk Road member and Chinese sheng master Wu Tong; and Mieko Miyazaki on the Japanese koto. What could have been a multi-culti mess is instead a powerfully elegant statement of joy over shared musical discovery.

I'll leave you with this: While living with this album for some time before I tried to put words to my fascination, I often imagined Omar Sosa lifted up to the Yoruban spirits in the form of a swarm of butterflies. Such is the beauty of his musical spirit.

In The Forest
Black Dream
Another Prayer
Fatiliku; Oni Yalorde
Peace Keeping
Moro Yeye

Omar Sosa: piano, keyboards, electronics, marimba, vocals
Seckou Keita: kora, djembe, talking drum, sabar, vocals
Gustavo Ovalles: bata drums, culo'e puya, clave, maracas, guataca, calabaza

Mieko Miyazaki: koto
Wu Tong: sheng, bawu
Mosin Khan Kawa: nagadi
E’Joung-Ju: geomungo
Dominique Huchet: bird EFX

Dmitry Baevsky - The Day After (JAZZ FAMILY RECORDS 2017)

“The Day After” présente Dmitry Baevsky au sommet de son art... Avec cet album, il continue son exploration musicale et prouve une fois de plus qu’il est sans doute l’une des voix les plus exaltantes du moment à l’alto.

Le saxophoniste et compositeur new-yorkais est entré en studio avec ce quartet inspiré pour enregistrer un sixième album en tant que leader. Le répertoire compte six compositions originales, dont l’explosif blues mineur « Rollin’», « Hotel Baudin » aux harmonies complexes, et la valse « Would You?» qui ouvre l’album.

Dmitry Baevsky nous livre un disque brillant... Le son profond et chaleureux qu’il tire de son saxophone, sa créativité sans fin et la complicité avec ses trois sidemen font de l’écoute de ces dix pistes un moment jubilatoire, à la hauteur de ses concerts sur scène. Fils unique d’un écrivain et d’une traductrice, Dmitry a grandi à Saint Petersbourg au milieu des livres... C’est à l’âge de 19 ans que la New School University de New York le remarque et lui offre une bourse... Quelques années après, il est entouré de Cedar Walton et Jimmy Cobb pour son premier album, “Introducing Dmitry Baevsky”. 

Il s’est depuis fait un nom sur la scène internationale grâce à un son immédiatement reconnaissable et un jeu lyrique et puissant.... Dmitry a enregistré et joué avec une liste impressionnante de musiciens dont Benny Green, Peter Bernstein, David Hazeltine, Jeremy Pelt, Joe Cohn, Roger Kellaway, Eric Alexander, Harry Allen... 

Nominé en 2016 dans la catégorie “Best Alto Saxophonist” du prix du public de Hot House Jazz Magazine à New York.

“ Dès son tout premier enregistrement, il s’est d’emblée imposé comme une importante nouvelle voix du saxophone alto. Avec un son puissant, une conception harmonique brillante et un sens du rythme inébranlable, le jeune homme attire par son lyrisme et intrigue par son originalité.” 

“Rien n’est fragile dans le jeu de Baevsky. Son timbre est profond et riche, avec une envergure semblable à celle des tenors ou altistes pre-bop, et un swing irrépressible attisé par toute une gamme d’idées et de chemins d’improvisation.”

1. Would You? (D. Baevsky) 6’40
2. Rollin’ (D. Baevsky) 6’38
3. Chant (D. Pearson) 5’30
4. Minor Delay (D. Baevsky) 6’39
5. Hotel Baudin (D. Baevsky) 7’21
6. The Wise Ones (J. Patton) 5’06
7. The Day After (T. McIntosh) 6’37
8. Four Seven Nine One (D. Baevsky) 5’39
9. Delilah (V. Young) 9’34
10. I’ve Told Ev’ry Little Star (J. Kern) 7’39

Dmitry Baevsky saxophone alto
Jeb Patton piano
David Wong contrebasse
Joe Strasser batterie

domingo, 26 de febrero de 2017

Maria Merlino - Alos (RUDI RECORDS 2017)

Starting from a strong academic background (classical and jazz) Maria Merlino, young Sicilian saxophonist, is developing a personal musical path that goes without any hesitation in the "open ground" of the Creative Music.

Alos, corresponds to a sequence of 11 original tracks, with a poetic dedication to Anthony Braxton (she played with him, in the European premiere of the "Sonic Genome", in Turin). Music with thematic parts that act as spark for collective improvvisations based on dialogue between the rhapsodic and humoral voice of the Merlino's sax, the vehemence of the electric guitar of Giancarlo Mazzù and the sound full and balanced of the bass of Domenico Mazza.

Maria Merlino, sax, shells, walnuts
Giancarlo Mazzù, guitar, drums
Domenico Mazza, electric bass

Jihye Lee Orchestra - April (2017)

Composer/bandleader Jihye Lee Turns Tragedy into Lavish,
Heart-Wrenching Inspiration on Debut Orchestral Album
Written in response to the sinking of the Sewol ferry, April features guest artist Sean Jones and a 20-piece orchestra of Berklee faculty

Available February 24, 2017

"Not your typical big band music It's very original, very beautiful, and very well thought-out, well orchestrated music." - Greg Hopkins

"Jihye Lee is emerging as a strong voice in the next generation of composers for large jazz ensemble. Her music is imaginative and creative, and she's not afraid to take some exciting chances in her writing." - Jim McNeely

On the morning of April 16, 2014, tragedy struck South Korea when the ferry Sewol capsized and sank, killing more than 300 passengers. Half a world away, composer and native Korean Jihye Lee (pronounced Gee Hey) watched on in horror from Boston, where she was studying at Berklee College of Music. As the hours, days, weeks and now years have passed, reactions to the disaster have mingled grief and anger, sorrow and outrage, protest and sympathy as human tragedy collided with political controversy.

Not long before the wreck of the Sewol (pronounced Sae Wal), Lee had written two pieces that came to prove eerily prophetic: "April Wind," which gradually builds from gentle and tender to majestic and powerful; and "Deep Blue Sea," through which Lee's soaring voice wends an emotional, wordless lament before being overwhelmed by swelling tides of sound. "Destiny is a big word," Lee admits, "but maybe I was meant to make this album."

Lee expanded upon those two compositions in the wake of the Sewol disaster, creating the heartfelt six-song suite that comprises her new album, April. Performed by a 20-piece orchestra culled from Berklee faculty and Boston-area musicians, the album (due out February 24, 2017) explores the myriad conflicting emotions that a tragedy like the ferry crash can engender, vividly embodied by an orchestra that can navigate fluidly from visceral force to impressionistic beauty. Lee composes from a wide palette, at one moment lush watercolors, the next bold splashes of action painting.

Being so far away from home as events unfolded, Lee says that the worst feeling was being unable to contribute to rescue and relief efforts. "If I were in Korea I would have done something," she says. "But in Boston there was nothing to do. My mind was so chaotic, I couldn't help but write this music."
"April Wind" opens the album, the calm before the storm that sets the scene for the events of the day to unfold. Alain Mallet's piano solo rides the orchestra's cresting waves, while Shannon LeClaire's alto and Allan Chase's soprano usher in the rising tide. It's followed by "Sewol Ho," named for the ferry itself, which begins with John Lockwood's churning, ominous bass, soon joined by frantic, cross-talking horn lines which build in tension and urgency. "Deep Blue Sea" is an oasis of serenity, seemingly peaceful but perhaps suggesting the stunned silence following unimaginable horror. Rick DiMuzio's tenor offers a soulful elegy.

The brisk, manic rhythms of "Whirlwind" capture the chaos of the sinking's aftermath: the frenzied worry of victim's families, the unanswered questions and political turmoil that persist nearly three years later. "Guilty" is aimed squarely at those whose neglect, greed and politicking led to the tragedy and its staggering death toll, the composer's seething contempt for the deceit and disregard for human life mutedly expressed in the tug of war between Bruce Bartlett's guitar and Rick DiMuzio's soprano. Finally, "You Are Here (Every Time I Think of You)" is Lee's outpouring of sympathy for those lost and those left behind, highlighted by the aching, sweepingly gorgeous flugelhorn of guest soloist Sean Jones.

The band was assembled and the album co-produced by trumpeter and longtime Berklee professor Greg Hopkins. "Greg really believed in me and my music," Lee says. "When I shared my vision he was really supportive." Hopkins also helped Lee set up the Kickstarter campaign that funded the album's recording.

Given the singular vision of Lee's writing for big band, which calls to mind the bold narratives and colors of the Maria Schneider Orchestra along with the intricate arrangements of Jim McNeely, with whom she's now studying at the Manhattan School of Music, it's surprising to learn that Lee arrived in Boston with no intention of leading an orchestra and very little knowledge of jazz in general. She'd worked primarily as a folk and R&B-influenced pop singer-songwriter in Korea but came to Berklee hoping to expand her musical horizons.

"I wanted to see something that I didn't see when I was in Korea," she recalls. "I really loved complexity in harmony and rhythm, but I didn't know what genre I could find it in. I just followed my gut, and my gut said you have to go to Berklee. I got to see a lot of concert jazz orchestra music there, and I was overwhelmed. I was enchanted by the energy and complexity, the richness and diversity that we can mix and use in different ways. That's how I got into jazz big band writing."

One of the most striking elements of Lee's pieces throughout April is the way she interweaves her own voice into the orchestral palette. She doesn't write lyrics, uncomfortable with penning words in English, but doesn't see the lack of them as inhibitive of communicating her messages. "Lyrics are too specific to convey some images or emotions that I cannot really express with words," she says.
The use of voice, though, came naturally from her background as a singer. "It was only natural. I think people are very drawn to the human voice because we're all human, and there's some things that only voice can express."

While she doesn't draw on explicit influences from her native country, Lee says that her essential Korean-ness comes through in every note that she writes. "Korean people are very emotional, very expressive," she explains. She mentions a Korean expression, han, that connotes a sense of deep, restrained emotion rooted in the country's long history of war and colonization, similar to the melancholic/nostalgic Brazilian term saudade but in an earthier, more inward form. The stoicism they display on the surface means that their sadness comes through in art as a howl of sadness. "I think it naturally comes through in my melodies: dramatic, lyrical, very sad, that kind of emotional statement."

The title April ties into her adopted home of Boston as well, given that the Boston Marathon bombing took place one year almost to the day prior to the Sewol. Lee hopes that her music offers a path to healing from both incidents. "April is a beautiful month, the beginning of spring when everything is new and beautiful and blooming," she says. "I want to make April bloom again."

Available February 24, 2017