sábado, 3 de diciembre de 2016

Marcin Wądołowski Trio - Standars (SOLITON 2016)

In 2016 an album named „Standards” was released via Soliton. The tracks are widely know standards performed by the classic jazz trio: The guitar, the double bass and the drums.

The album is dedicated to the memory of two Polish guitar virtuosos: Marek Bliźiński and Jarosław Śmietana. Thanks to their works and approach to music the “Standards” an album filled with passion, energy and positive vibrations could become reality.

All tracks were arranged by Marcin Wądołowski.

01. Equinox (J. Coltrane)
02. Solar (M. Davis)
03. All The Things You Are (O. Hammerstein/ J. Kern)
04. Central Park West (J. Coltrane)
05. Giant Steps (J. Coltrane)
06. Nardis (M. Davis)
07. Take Five (P. Desmond)
08. I Love You (C. Porter)
09. Have You Met Miss Jones (l. Hart/ R. Rodgers)
10. Now's The Time (Ch. Parker)

Marcin Wądołowski, electric guitar, acoustic guitar
Piotra Lemańczyka, double bass
Tylera Hornby, drums

Swell / Ullmann / Fred Lonberg-Holm / Zerang - The Chicago Plan (CLEAN FEED RECORDS 2016)

The Chicago Plan is Gebhard Ullmann (DE) – tenor saxophone, bass clarinet, octaver; Steve Swell (USA) – trombone; Fred Lonberg-Holm (USA) – cello, electronics; Michael Zerang (USA) – drums, percussion | Label: Clean Feed Records, 2016

Celebrating over ten years of collaborating together, Berlin saxophonist/composer, Gebhard Ullmann and NYC trombonist/composer Steve Swell join two of Chicago's finest improvising musicians; Fred Lonberg-Holm, cello/electronics and percussionist Michael Zerang for this new configuration. Building on the strength and ideals of those three cities the quartet creates enough fireworks to light up the night sky with their brilliant sound imagery. The Chicago Plan thoroughly breaks new ground for what Jazz and New Music ensembles' approach to what creative music should be.

"Here now was jazz energy. Here was meticulous virtuosity. Here was wild, driving rhythm and horns in a front-line part. Stopping on a dime, returning to the previous mood. Finding a way to end. The ebb and flow of formal composition and instantaneous improvisation is what makes this approach to music making so exciting" — Lazaro Vega, Jazz Director, Blue Lake Radio

1. Variations on a Master Plan, Pt 3. 6:02
2. Composite #10  18:45
3. Variations on a Master Plan, Pt 2 6:40
4. Rule #1 Make Sure You Can Play Your Own Tune 8:37
5. Déjà Vu 7:45
6. For Henry 7:46

Steve Swell  trombone
Gebhard Ullmann  tenor saxophone, bass clarinet
Fred Lonberg-Holm  cello, electronics
Michael Zerang  drums

Tracks 1, 3, 5 and 6 by Gebhard Ullmann (GEMA), 2 and 4 by by Steve Swell (Steve Swell Music, BMI)

Recorded on September 22nd, 2015 at Kingsize Sound Labs, Chicago, IL, by John Abbey | Mixed by Walter Quintus | Mastered by Walter Quintus

Produced by Steve Swell and Gebhard Ullman | Executive production by Pedro Costa for Trem Azul | Design by Travassos

Andy Scott - Angels (JAZZ LEGACY PRODUCTIONS 2016)

Angels finds Scott collaborating with jazz piano heavyweight Cyrus Chestnut, one of the finest American key-crackers, the two co-writing the title tune. In fact, whereas some jazz singers perform/record many done-to-death standards, Scott ups the ante by writing (or co-writing) nearly all the songs herein—like they say in the movies, this time it is personal.

The opener “Somebody Like You” sets the tone for Angels. Scott swings from the beginning—the band lays down an old school groove and Scott glides in, part starry-eyed romantic, part sophisticate, expressing himself with easy, adjusting to the fickle winds of romance with each syllable. The influence of the classy, jazz-based crooners is there—Nat “King” Cole and Johnny Hartman—but Scott doesn’t attempt to “sound like” them. He’s absorbed their styles and adapted them to his own singular approach, adding a bit of grit, a touch of irreverence, and a lot of heart. 

Scott makes his way down Lonely Avenue, a street of dreams where the blues are kept at bay by “Valium & Soda”—he’s a nightclub philosopher in the manner of Jimmy Scott and Bob Dorough, singing in a sly, worldly drawl. Chestnut’s piano is luminous in a spare, funky manner and Freddie Hendrix’s trumpet provides a sweet balm for Scott’s condition.

01. Somebody Like You 3:01
02. Angels (Always Welcome 'Round Here) 4:19
03. What Magic Is This 4:11
04. Valium & Soda Pop 3:22
05. Haunted House (The Other Side of Blue) 3:25
06. The Things We Leave Behind 4:24
07. Ninety-Nine 5:00
08. Someday You'll Be Sorry 3:22
09. Learning to Fly 5:27
10. Whatcha Gonna Do on Monday 2:33
11. Blowin' Kisses at the Moon 4:09
12. Bye, Bye, Blackbird 3:46
13. Swingtime Lullabye 4:23

ANDY SCOTT – vocals

ABELITA MATEUS – vocals & fender rhodes piano (track 3)
RONELL BEY – vocals  (track 7)
YOTAM SILBERSTEIN – guitars (tracks 1,2,3,7,9,10)  
GREG GISBERT – trumpet (tracks 3 & 5)
FREDDIE HENDRIX – trumpet (track 4)
ANDRES BOIARSKY – tenor sax & clarinet (tracks 4, 5,6,11)
ANNE DRUMMOND – alto flute (tracks 1 & 3)
CAFÉ – percussion  (track 3)
VINCE ECTOR – drums & percussion (tracks 2 & 7)
ROGER SQUITERO – percussion (tracks 3 & 7)
ROSENA HILL JACKSON – background vocals (track 7)
SONNY WILLIAMS – background vocals (track 7)
TONY HEWITT – background vocals (track 7)

Produced by: John Lee
Executive Producer: Lisa Broderick

Friends & Neighbors - What's Wrong (CLEAN FEED RECORDS 2016)

Here is another gem from the Norwegian scene, showing us that music can be energetic and melodic at the same time, as it was proposed by free jazz mavericks like Ornette Coleman, Archie Shepp, Pharoah Sanders and John Carter. The songs are even more melodic than those played by the bands in which we find André Roligheten, Thomas Johansson, Oscar Grönberg, Jon Rune Strøm and Tollef Østvang, namely Team Hegdal, Frode Gjerstad Trio, Cortex and All Included, and even the intensity and density of the music seems more compact and in-your-face.

The overall sound is the same of the most traditional jazz, and that is intentional and even programmatic, but you won’t find chord progressions in the new “What’s Wrong?”. Jazz can survive to its own stereotypes, and this collective has that notion as a purpose. The music is free, faithful to its historical references, but also disciplined, with no sounds in excess or missing and, above all, with none of the usual tics and tricks keeping the musicians in a comfort zone. Grab it before it vanishes.

Adam Schneit Band - Light Shines In (FRESH SOUND NEW TALENT 2016)

When considering titles for his debut album, “Light Shines In”, on Fresh Sound New Talent Records, tenor saxophonist and clarinetist Adam Schneit was reminded of the chorus from his favorite Leonard Cohen song, “Anthem”: “Ring the bells that still can ring / Forget your perfect offering / There is a crack in everything / That’s how the light gets in.” 

“That line resonates with me so strongly,” says Schneit. “It took me a long time to finally record this music. I’ve always been somewhat of a perfectionist, or at least preoccupied with having things just right before I charge forward. And yet I’m most inspired by music and art that’s flawed and raw, that’s immediate and visceral rather than polished and pristine.” “Light Shines In”, an assured introduction to a musician with a unique instrumental and compositional voice, is also a reflection of the joy that comes with risking imperfection to arrive at something vulnerable and honest. It is this guiding impetus that unifies a program of affecting rock melodies, bracing free play, off-kilter vamps, and ethereal ballads. 

Born in Portland, Maine, Schneit completed his undergraduate studies at Harvard University before deciding to pursue music professionally and getting his Masters degree at the New England Conservatory of Music. While at NEC, he sought out teachers with strong, personal aesthetic visions, such as Steve Lacy, George Garzone, Bob Brookmeyer, and Joe Morris. After moving to New York in 2005, he became active in the freelance jazz and singer/songwriter scene, but was initially most interested in developing long-term group projects. He co-led and wrote much of the music for the band Old Time Musketry which, over the course of two critically-acclaimed albums and seven years of performances, put forth its own unclassifiable blend of Americana, folk, jazz, rock, and free improvisation. 

When Old Time Musketry came to an end and presenting his music as a leader became more of a priority, Schneit already had musicians in mind. Kenny Wollesen, long-time drummer in Bill Frisell’s various groups (as well as John Zorn’s and countless jazz and rock settings), is master of a grounded, elastic beat. “There is so much space in Kenny’s playing,” says Schneit. “Whether he’s playing a backbeat or free, there is so much intensity but it still feels so open and supportive.” Eivind Opsvik (Tony Malaby, Dave Binney), whose long-standing relationship with Wollesen is documented on his four “Overseas” albums, is a bassist with a thick, resonant tone. He’s equally adept at anchoring the beat as at responding to and inciting the soloist with spontaneous counterpoint. Guitarist Sean Moran (The Four Bags) steers clear of much of the conventional jazz language often employed on his instrument, favoring singing melodies and rock-like textures. 

The band’s sensitivity speaks to a rapport stretching back several years: Opsvik and Moran have been regular members since 2009 and 2011, respectively, and Wollesen was enlisted in 2014, soon after Schneit started playing in the drummer’s anarchic marching band, the Himalayas. Each player has an unmistakable sound but also huge ears, and the quality of listening and support is evident throughout the album. 

The music on “Light Shines In” reflects Schneit’s deep love for melody in all its manifestations, ranging from pared-down rock tunes to denser “free” excursions. “I’m inspired by musicians like Keith Jarrett, Neil Young, Bill Frisell, and Ornette Coleman, where things can get loud or soft, chaotic or rhapsodic, and at the core there’s always melody. By which I mean something vocal and human, a real sense of song.” 

The selections on the album all develop out of this foundation of song. “A Clearer View” is a Neil Young-inspired folk-rocker, starting relaxed and down-home but building in intensity over the course of nine minutes. “Different Times” spins from its oddly-resolving changes into thorny free improvisation and back again. “Old Time Musketry” features a winding, joyful, somewhat gospel-like tune over rapidly-shifting chords.

The sole clarinet track, “Hope for Something More”, is a brooding rock-ballad with a mantra-like melody. “Light Shines In”, a solemn but brightening rubato meditation, is followed by the raucous, angular madness of “My Secret Hobby.” Closing out the album is “Song for Silence”, a fragile, yearning melody with a darkly insistent hook.

Released December 2, 2016

1. A Clearer View 09:03
2. Different Times 07:03
3. Old Time Musketry 05:24
4. Hope for Something More 08:41
5. Light Shines In 03:59
6. My Secret Hobby 05:49
7. Song for Silence 08:01

Adam Schneit - saxophone, clarinet, songs 
Sean Moran - guitar 
Eivind Opsvik - bass 
Kenny Wollesen - drums 

Recorded at The Bunker, Brooklyn, NY, February 9th, 2016 

Mixed by Eivind Opsvik at Greenwood Underground, Brooklyn, NY, Feb-March 2016 

Mastered by Nate Wood at Kerseboom Mastering 

Photography & Design: Bryan Murray 
Producer: Adam Schneit 
Executive Producer : Jordi Pujol

viernes, 2 de diciembre de 2016

7º FESTIVAL PORTA-JAZZ +BÓNUS! - The Rite Of Trio, 3 Dezembro, Sábado - 15h00

3 Dezembro, Sábado - 15h00
Natal... À Porta!
Rua Fernandes Tomás (porta do Mercado do Bolhão)

The Rite Of Trio

Por onde andará a ponta perdida do novelo musical a que viemos parar nos dias de hoje? Nos inicios do século XX com as últimas grandes peças da música erudita? Nos anos 70 com a tão anunciada pseudo-morte do jazz? Ou algures na massificação musical dos dias de hoje orientada não pela Arte mas pela dormência cultural que nos apresentam e nos fazem crer como valor?

The Rite of Trio afunda-se no novelo e pega em algumas dessas pontas soltas ainda com as impressões digitais de Stravinsky ou o cheiro estranho de Zappa e abraça a ideia erradamente utópica da criação musical que é altamente cerebral e ao mesmo tempo apaixonadamente emotiva.

GETTING ALL THE EVIL OF THE PISTON COLLAR! é o título de estreia deste trio, editado pelo Carimbo Porta-Jazz em 2015.

Artur Akhmetov - Somewhere on the Other Side of the World (2016)

Artur Akhmetov is a young talented jazz guitar player from Russia, now living and playing in Europe and the US. He was born on the 2nd of December 1985 in UFA, a city in the East of Russia. His mother, who is a pianist, started to teach him classical piano when he reached the age of six. Despite of many intensive classical years, it was already soon that the Jazz music caught his ear. The only LP in that “Sovjet house” (of Duke Ellington) seemed to have some magical effect on him. He listened it over and over again, which made his mother realize that her son might actually be cut out for playing Jazz music. Although Artur eventually made the switch to Jazz and Jazz guitar, his engagement with (Russian) classical music is still influencing in his playing today. At the age of 14 Artur entered the Jazz department at the Music College in Ufa and at the age of 16 he got accepted at the Conservatory in Moscow (Jazz Department). His musical career started off very quickly from here. During this time in Moscow, Artur met a lot of musicians and managed to engage in different Jazz projects. At the same time he was busy with a bunch of Pop projects and Pop studio recordings at companies such as 'Infinity' and 'Soyuz'. He won 2 years in a row the first price for best Jazz guitar player in the national Jazz competition in Moscow and was, in 2007, awarded with a President Grant, for supporting Young Talents.

This Grant provided him the opportunity to study abroad. In the same year Artur was accepted at the Conservatory in Amsterdam and moved to Amsterdam soon hereafter. Here he started to study with great guitar players such as Jesse van Ruller, Maarten van den Grinten and Martijn van Iterson and took private lessons with Kurt Rosenwinkel and Jonathan Kreisberg. In Fall 2011 Artur completed an exchange program at Temple University in Philadelphia (USA). Here he studied guitar and composition with a broad range of teachers (e.g. Dick Oatts, Terrel Stafford, Bruce Barth, John Swana and Craig Ebner). Back in Amsterdam, he continued to work with his band on new material and completed his bachelor program. In September 2012, he was enrolled in the master program ‘New York comes to Groningen’ at the Prins Claus Conservatory (Hanze University) where he studied with David Berkman, Freddy Bryant, Gene Jackson, Robin Eubanks, Alex Sipiagin, Paul Bollenback, Adam Nussbaum, Don Braden and many more. This program also enabled him to live and study in New York. Here he studied privately with Mike Moreno, Nir Felder, Boris Kozlov and Obed Calvaire. He also recorded his album which is coming up soon: “Somewhere on the other side of the world” featuring David Berkman, Boris Kozlov, Gianni Gagliardi, Cory Cox and Adrian Moring.

1. Have a Passion (Dedicated to McCoy Tyner)
2. Train to Swana
3. Iceberg
4. Sleep to Dream
5. Bass Intro
6. Somewhere on the Other Side of the World
7. C.S
8. The Hive

David Berkman - Piano
Boris Kozlov - Bass
Gianni Gagliardi - Sax
Cory Cox - Drums

Swedish Mobilia - It's Not Jazz, It's Worse (AUAND 2016)

"Andrea Bolzoni, Dario Miranda and Daniele Frati share a perfect common view on how to interpret the sounds around jazz in a global way. In their opinion, the idea of an Afro-American sound works as a magnet, attracting a babel of contemporary languages and gestures. Rock, jazz and avant-garde are essential elements of the band’s concept of sound and space, one that pushes the boundaries of any genre. They decorate their music rooms with minimal sounds and turn into lyrics the dynamics of angular and irregular objects. They act in a dimension that is parallel to reality, a kind of a place where white noise, inaudible to most, dwells, thus being their zone of action. Here is where sounds outline the algebraic matrix of an apparently sidereal sequence, that is however nestled in the bowels of the everyday life, in the form of a fake “noise”. All the shrieking and metal clatter is just the melodic translation of ripped surfaces, grazed minerals and hypnotic waterfalls of matter. Expressive freedom and an urge for communication make the project poignant, all-changing, between urban mythology and post-modern narrative. “One needs a non-linear technique, simply because our lives today are not conducted in linear terms” (J.G.Ballard)" 
Testo di Flavio Caprera

Produced by Swedish Mobilia
Executive Producer: Marco Valente
Recording: HSR Studio, Milano – Italy
Engineer: Swedish Mibilia
Cover Photo: Lorenzo Palmieri

01 Two Nights in Tunisia
02 Don't You Mind
03 We've Been So Kind
04 Coffe to Go
05 Kiss Miss
06 Please
07 Red
08 Fifteen
09 Time for Tea
10 Thanks for Coming


Leandro Cabral Trio - Alfa (UNIVERSAL MUSIC 2016)

In his second album as leader, Leandro Cabral presents a grandious and yet introspective sound. Adding the precious acoustics of the Alfa theater, where the live recording sessions took place, to the well sedimented affinity of his trio and to the original compositions which engage on a brazilian contemporary world, Alfa is a singular album.

Accompanied by young musicians of high notability in their generation – Sidiel Vieira on acoustic bass and Vitor Cabral on the drums and percussion. Leandro proposes an interaction between brazilian music, jazz improvisation and a sort of introspection from the european jazz. On the album’s sole song there is the special attendance of the newly known “revelation” singer Vanessa Moreno and of the great saxophonist Cássio Ferreira.

Counterpoint structures, pulsating ancestral rhythmic claves, spaces and textures give their own colours. The liberty in interpreting each new performance creates a particular identity. A subtle and profound interaction occurs through a dance between the instruments and idioms. His piano has a comtemporary jazz character and some of his compositions have their roots in unusual brazilian rhythms for this ensemble such as the vassi (“O amor que se deu – Vassi n.2” and “Rute e sua grandeza – Vassi n.1”) and the ijexá (“Alfa”), both of them original from the percussive universe of Bahia. There is also space for bold arrangements of brazilian classics like “Rapaz de Bem” (Johnny Alf),  “Inútil Paisagem” (“If You Never Come to Me”) and “Outra Vez” (A. C. Jobim).

With absolute attention to every detail, all in all was carefully selected. The theater, the piano Steinway D Hamburg – which was chosen by Nelson Freire at the german factory – an impeccable audio capture and videos that reveal the essence of the album. Alfa opens a new path.

“Reflecting about the sound properties in an interview, which was later published in the book ‘On Music’, Karlheinz Stockhausen concludes that pitch was overrated during the period when the tonal music was prevalent. On the opposite pole, duration was ill-favored, maybe by the fact that the other properties presuppose it one way or another. Stockhausen denounces the misstep of this judgement, precisely because duration can bear a temporal phenomenon that is impossible for the other properties. The duration is capable of bearing silence. Silence is decisive for music. It confines initially the sound events. However, as soon as the whole of the musical play constitutes itself and intensifies itself by the aesthetical enjoyment, it is not rare for the situation to overturn, and the silences might as well act positively as the work’s kernel, submitting all resound to the function of delimiting its existence. Attentive to the subtleness of this condition, Leandro Cabral allows the emptiness, the spaces and the silence to conduct ever since the composition of his pieces to their incarnation in the album that arrives. For this reason, let us also permit ourselves to be conducted and to be capable of receiving it by it. 

‘Thirty convergent rays build up the wheel, but it is the central emptiness that makes it whirl (…) Walls and doors build up the house, but it is the inner emptiness the makes it habitable (…) The path is empty, so it can be walked, it can never be fulfilled (…); empty as such, similar to a bellows, its music is inexhaustible.’ Tao Te King 4, 5, 11.”

Silvio Moreira – Aesthete and professor M.A. at Souza Lima & Berklee faculty

01. O amor que se deu – Vassi n.2 (Leandro Cabral)
02. Outra vez (A.C. Jobim)
03. Rapaz de bem (Johnny Alf)
04. Rute e sua grandeza – Vassi n.1 (Leandro Cabral)
05. A dança (Leandro Cabral)
06. O grande azul (Leandro Cabral)
07. Valsa do amanhã (Leandro Cabral)
08. Alfa (Leandro Cabral)  
09. Marcela (Leandro Cabral)
10. Inútil Paisagem (A.C. Jobim)

Sidiel Vieira, double bass
Vitor Cabral, drums & percussion

Vanessa Moreno, vocals
Cássio Ferreira, sax