Tuesday, March 20, 2018

Trio HLK - Standard Time (May 11, 2018)

Trio HLK's debut album reworks well-known standards, drawing on techniques from Contemporary Classical composition, weaving familiar fragments into complex, intricate new pieces.

Trio HLK is the union of three distinct, forward thinking musical personalities.

A belief in the high art of improvisation and intrigue with the infinite art and science of rhythm is what brings H, L and K together. Together they address ambitious improvisational frameworks which often resemble contemporary classical music more than jazz.

1. Smalls (feat. Steve Lehman)
2. Extra Sensory Perception part i (feat. Evelyn Glennie)
3. Extra Sensory Perception part ii (feat. Evelyn Glennie)
4. painS part i (feat. Steve Lehman)
5. painS part ii (feat. Steve Lehman)
6. Twilt
7. Dux
8. Chewy
9. Stabvest
10. The Jig (feat. Evelyn Glennie)

Steve Lehman- Alto Sax
Evelyn Glennie- Vibraphone and Marimba
Rich Harrold- Piano
Ant Law- 8-string Guitar and effects
Richard Kass- Drums and percussion

Compositions by Rich Harrold. Drum parts by Richard Kass

CD album / Double Vinyl album / Digital Album

Peripheral Vision - More Songs About Error And Shame (2018)

JUNO-nominated Canadian jazz quartet, Peripheral Vision launches their fourth album, More Songs About Error And Shame. "A rules-breaking quartet made up of some of the best modern players around" (CBC), Peripheral Vision extends their no-holds-barred performance aesthetic into the production concept on this album. Once again, they have teamed up with mad-scientist engineer, Jean Martin (Barnyard Records) to orchestrate a bigger sound for the record, adding layers of overdubs and studio treatments to the live-off-the-floor recordings. Peripheral Vision has always been a live show band, and the seven new Herring and Scott originals on More Songs About Error And Shame show what can be gained from years of touring, including three recent tours throughout Europe as well as many trips across Canada. 

Co-leaders Michael Herring (bass) and Don Scott (guitar) delve into their own neurotic psyches, finding inspiration not only in music, but also in art, literature and standup comedy. The album title is a reference to the iconic album by famously neurotic band, Talking Heads, and this cross genre nod is indicative of how they like to mix genres and themes, blending classic and modern jazz, the rock music of their youth, and non-musical influences such as the Catalonian artist Miró, and British comedian Stewart Lee. 

This is a working band with a long-time rapport - Herring and Scott have been joined by drummer Nick Fraser and tenor saxophonist Trevor Hogg since the band’s inception in 2008. Peripheral Vision is fuelled by this long-time musical friendship, bringing years of tour van talks about music and life to the stage and studio, and this dynamic group interaction creates the provocative sound of More Songs About Error And Shame.

1. The Blunder 08:02
2. Syntax Error 07:40
3. "And the metaphysical concept of shame." 07:46
4. Portrait of a Man in a Late Nineteenth-Century Frame 05:57
5. Chubby Cello 06:19
6. Mycelium Running 07:25
7. Click Bait 09:31

The recording was made possible through a grant from the Ontario Arts Council

Produced by Michael Herring and Don Scott with Jean Martin
Recorded at Canterbury Studios by Jeremy Darby
Mixing & Additional Recording at the Farm by Jean Martin
Mastered by Fedge
Art & Design by Howie Shia & Leo Shia
© 2018 Don Scott & Michael Herring (SOCAN)



April 2018
Apr. 3 The TranzacCD RELEASE PARTY!

May 2018
May. 1 The TranzacOpening Band: Stephan Heggerat 

June 2018
Jun. 5 The TranzacOpening Band: Tara Kannangara 

July 2018
Jul. 3 The TranzacOpening Band: Andrew Marzotto

August 2018
Aug. 7 The TranzacOpening Band: TBA

September 2018
Sep. 4 The TranzacOpening Band: TBA

October 2018
Oct. 2 The TranzacOpening Band: TBA

November 2018
Nov. 6 The TranzacOpening Band: TBA

December 2018
Dec. 4 The TranzacOpening Band: TBA

Monday, March 19, 2018

Ben LaMar Gay - Downtown Castles Can Never Block The Sun (INTERNATIONAL ANTHEM RECORDING May 4, 2018)

"Downtown Castles Can Never Block The Sun" is as much a 'greatest hits' as it is a 'debut album' for Ben LaMar Gay. It's a collection of music composed, performed & produced by the anomalous Southside Chicago-born, sometimes Brazil-residing artist, compiled from 7 albums he made over the last 7 years but never made the effort to actually release. 

With its title taken from the mantra Ben repeats across several tracks on "Grapes" (1 of the 7 aforementioned albums), "Downtown Castles Can Never Block The Sun" is our effort to channel the rainbow of sonic expressions, art & poetry beaming from the ark of his unreleased catalogue into a cohesive & communicable compilation. It's as good of an introduction to Ben LaMar Gay as we could fit onto a single LP. To call it "eclectic" would only scratch the surface. This music is everything.

1. Vitus Labrusca
2. Muhal
3. Music For 18 Hairdressers: Braids & Fractals
4. Jubilee
5. A Seasoning Called Primavera
6. Miss Nealie Burns
7. Me, JayVe & The Big Bee
8. Uvas
9. Galveston
10. Swim Swim 03:22
11. Kunni
12. Melhor Que Tem
13. Gator Teeth
14. 7th Stanza
15. Oh no...not again!

Compiled & Sequenced by Scott McNiece & Ben LaMar Gay

Mastered by David Allen

Hegarty / Steinbeck / Robles - HSR. Live. (2018)

This album was recorded live on February 20, 2018 in Davis Music Hall at Principia College. The music features analog audio tape loops of excerpts of speeches or writings of three women's rights advocates. The tape recorder is visible behind Paul's bass. When I introduced the piece, I told the audience it just seemed like this is something that needs to be said today. 

I interactively controlled the level of the tape loops with a mixer. Additionally, I performed samples of Charlie Parker and Art Pepper solos using a Wacom tablet controlling a Kyma Capybara. We received a standing ovation and decided to play a short encore.

1. HSR Live, Sojourner Truth: “Ain't I A Woman” read by Ashna Rodjan 15:47
2. HSR Live, Fannie Lou Hamer 15:50
3. HSR Live, Nikki Giovanni: “Talk to Me Poem, I Think I've Got the Blues” 19:17
4. HSR Live: encore 06:49

James Hegarty, piano and electronics
Paul Steinbeck, bass
Shane Del Robles, drums

Gillian Whitehead - Shadows Crossing Water (RATTLE RECORDS 2018)

This project began with a concert of my music in Prague in 2012, curated by American-born Prague-based pianist Patricia Goodson and featuring some of Prague's most respected musicians, including the Stamic Quartet, oboist Vilém Veverka, and Patricia on piano.

Subsequently, with funding from Creative New Zealand, my sextet for string quartet, oboe and piano, Shadows cross the water, was commissioned and premiered in the EuroArts Festival in Prague in 2014. With the prospect of two further performances in Berlin in 2016, one in the Czech Embassy and another in the Matthäus- Kirche, we decided to capitalize on the opportunity and record the pieces in Prague. The music was recorded in late 2016 and early 2017 by one of the best Czech audio engineers, Ondřej Urban.

This is an important album for me, containing several substantial pieces that are very close to my heart. The programme consists of eight pieces that span my compositional career, from Three improvisations for solo oboe (1963) to Shadows cross the water (2016). The recording features six outstanding musicians, artists who are sympathetic to my music and perform it brilliantly with authority and understanding.

Gillian Whitehead

01 Clouds over Mata-au
for string quartet (7:55)

In 2010 I was fortunate to hold a residency run by the Henderson Arts Trust and to live for a while in the house designed by Austrian architect Ernst Plischke, which is built high above the powerful Mata-au (Clutha) river in Central Otago. The first of two string quartets on this album, Clouds over Mata-au was the last piece I wrote in that evocative landscape. It was premiered in Prague by the Stamic Quartet.

02 Three Improvisations for solo oboe

I wrote these pieces in 1963 as an undergraduate at Victoria University of Wellington. They are not really improvisations (I wasn't very good at naming pieces back then), but I'm still happy with them all these years later.

03 Arapātiki
for solo piano (5:32)

Commissioned by pianist Stephen De Pledge for his Landscape Preludes project, Arapātiki translates from the Māori language as 'the path of the flounder'. It refers to the sand flats in front of my house on the Otago peninsula, and the two main ideas in the piece are based on the inexorable ebb and flow of the tide and the call of the korimako (bellbird).

04 Tom's serenade for Ann Morris
for oboe, violin, viola and cello (13:45)

While I was composer-in-residence with the Auckland Philharmonia in 2001, Tom Morris (a great supporter of the orchestra) bought a piece of mine at a fund-raising auction for the orchestra. He named the piece for his wife, Ann, and requested it for the specific orchestral players he had sponsored.

05 Tūmanako: Journey through an unknown landscape
for solo piano (6:37)

This piano piece was also the result of a fund-raising auction, this time for SOUNZ. Dedicated to the grandchildren of the successful bidder, Helen Kominik, Tūmanako translates (which translates as ‘hope’) was the name of Helen’s childhood home. Written shortly after I returned from Yunnan, a province in southwest China, the piece evokes a journey through a landscape where you know nothing beyond what you actually see, and also a journey through a musical score.

06 No stars, not even clouds
for string quartet (9:45)

This is a single movement piece commissioned by Chamber Music New Zealand in 2012 for the New York-based Enso quartet.

07 Tōrua
for violin and piano (4:45)

Commissioned by Hilary Hahn for her 27 Encores project, I began writing this piece for violin and piano in February 2011 just as the second devastating Christchurch earthquake shook the country, and something of this event affected the work. The Māori title embodies ideas of duet, pattern weaving, and a change of wind or current. I've used a different song of the korimako here.

08 Shadows cross the water
for oboe, piano, and string quartet (17:25)

2014 marked the seventieth anniversary of the arrival of New Zealand’s first refugees, more than 700 Polish children who were cared for at a specially prepared camp at Pahīatua, which led me to consider the terrible and dislocating movement of children in times of war. As I wrote this piece, two significant and dear friends – Peter Maxwell Davies and Jack Body – were terminally ill, so there are many interpretations of the title (which was taken from a Greg O'Brien poem).

All compositions © Gillian Whitehead

Stamic Quartet
Jindřich Pazdera (violin)
Vilém Veverka (oboe)
Patricia Goodson (piano)

Produced by Markéta Janáčková 
Recorded by Ondřej Urban at Sound Studio HAMU, Prague
Design by UnkleFranc
Printing by Studio Q

Eve de Castro-Robinson - The Gristle of Knuckles (RATTLE RECORDS 2018)

This album is a sideways manoeuvre for me. My previous recordings are faithful renditions of meticulously scored works, but this one is an entirely different beast. Sitting at my 60th birthday concert listening to Callum Passells’s coruscating take on Countercurrents and Ashley Brown’s thrillingly reworking of Tumbling Strains, I immediately felt a collaborative album of reimagined versions of my music coming on. The title for the album leapt out from a page of jazz poetry, the gristle of knuckles by Kyle Dargan, and soon after Steve Garden and I got to work.

Eve de Castro-Robinson

01 Doggerel
Nathan Haines (alto flute, C flute, bansuri)

02 ConunDRUMs 
Ron Samsom (drum kit, cymbals, percussion)
Kingsley Melhuish (hue puruhau, pumoano, tuba)

03 The long dream of waking
Don McGlashan (voice, guitars, horns, keyborads, percussion)  

04 Trouble, trouble mind
Delaney Davidson (voice, guitars, and various other instruments) 

05 Hau
Mere Boynton (voice, glass)

06 small blue 
Ron Samsom (cajon)
Kevin Field (piano)

07 Passion Flower
Kevin Field (piano) 

08 Countercurrents
Callum Passells (saxophone) 

09 Stumbling trains
Ashley Brown (cello, treatments)

10 Key rings 
Eve de Castro-Robinson (toy piano, kalimba, chiming toy, music box)
Steve Garden (chiming toy, arrangement)

All compositions © Eve de Castro-Robinson 2017, except Stumbling Trains by Eve de Castro-Robinson and Ashley Brown © 2017, and Key rings by Eve de Castro-Robinson and Steve Garden © 2017

Al Fraser & Phil Boniface - Ponguru (RATTLE RECORDS 2018)

Phil and Al began performing together in 1998 while studying jazz performance at Massey University Conservatorium of Music, now the New Zealand School of Music. Al’s journey with ngā taonga pūoro began in 1999 and he is now one of the leading performers of Māori musical instruments. Phil’s journey as a jazz bassist and composer led him to Canada for more than a decade where he played with some of the finest jazz musicians on the West Coast. With Ponguru, Phil and Al bring together the low voice of the double bass and the many voices of taonga pūoro in an exploration of timbre, space, melody, and our shared musical language.

01 Form (2:37)
02 Matter (3:17)
03 Space (3:28)
04 Kõrorohua (3:22
05 Kõrerorero (3:34)
06 Snare (1:52)
07 Time (3:15)
08 Rēkohu (2:31)
09 Conveyance (2:35)
10 Pūrerehua (2:57)
11 Pūtõrino Suite (7:32)
First Light (1:32)
Crossing (1:48)
Waiting (2:26)
Wayfaring (1:46)
12 Ponguru (3:13)

All compositions © Al Fraser and Phil Boniface, except Ponguru by Al Fraser, Phil Boniface, and Steve Garden

Al Fraser (ngā taonga pūoro)
Phil Boniface (acoustic bass)

Produced by Al Fraser and Phil Boniface
Recorded by Lee Prebble at The Surgery, Wellington, Sept 2017 and Feb 2018
Mixed and mastered by Steve Garden at Garden Shed Music Studio, Feb 2018
Design by UnkleFranc
Printing by Studio Q

Space by Phil Boniface and Al Fraser from Al Fraser on Vimeo.

GRG67 & Roger Manins - The Thing (RATTLE RECORDS 2018)

On December 10, 2016, GRG67 performed ‘recital no.3’ as part of Roger Manins's Doctor of Musical Arts requirements. This album represents just some of the music performed that afternoon. KungFu Alto, Bicycle Buddies, Dark Bright, Chook 40, and Psalm were recorded live at the recital, while 10:15, The Thing and Crab Empathy were recorded later in the day.

01 10:15 (8:40)
02 KungFu Alto (12:17)
03 Bicycle Buddies (8:27)
04 The Thing (5:18)
05 Dark Bright (6:55)
06 Chook 40 (7:14)
07 Crab Empathy (7:10)
08 Psalm (5:53)

Roger Manins (saxophone)
Michael Howell (guitar)
Mostyn Cole (bass)
Tristan Deck (drums)

Produced by Roger Manins
Recorded by John Kim at the Kenneth Myers Centre, University of Auckland
Mixed by Steve Garden, Roger Manins, and John Kim at Garden Shed Music Studio
Design by UnkleFranc
Printing by Studio Q

Tony Chen Lin - Disgressions (RATTLE RECORDS 2018)

Life seems to be an endless stream of unforeseen digressions; it is often difficult to distinguish them — when they occur, what they depart from, where they lead to. Seen in this light, the realisation of a debut album has certainly been a happy and fortuitous “digression” in my life, and I am thrilled to present it here on Rattle.

The programme consists of three seemingly unrelated works presented in an order that exploits their contrasts to the fullest, suggesting a “narrative” in which each work digresses from a “main subject” to which we may or may not return. In lieu of the token classical sonata that often opens a concert, I jump in with Bartók’s utterly unapologetic Piano Sonata, a unique work deeply rooted in Baroque and Classical traditions — yes, as dissonant as it may sound! I conclude the recital with Schumann’s mercurial Humoreske, a work that exemplifies his polyphonic tendencies in forming ideas. In this respect, both works point to Bach (as great music often does) who occupies centre stage in the programme.

Squeezed in among these giants is my composition, which is partly inspired by the digressive nature of Schumann’s piano music, and partly from digressive — or rather, distracted — moments while studying the Humoreske. Thus, motifs from Schumann’s work surreptitiously find their way in. In concert I often serve it as an hors d’oeuvre of sorts to segue into the tender opening of the Humoreske, cheekily bypassing the difficulty of beginning a work that seemingly does not begin ... but I digress.

My thanks first and foremost go to Prof. Jack C. Richards, without whose generosity and support this project would only have remained a dream. I would also like to thank producer Kenneth Young for his sharp, discerning ear and for pushing me to perform at my best, and engineer Steve Garden, with all the magical powers he seems to possess. I am forever indebted to my wonderful mentors who have been an endless source of inspiration over the years: Rosemary Stott, Edith Fischer, Jorge Pepi-Alos, Balázs Szokolay, Andreas Immer and Neville Baird.

I dedicate this album to my parents, who support me in every way yet beckon me back whenever I digress too far, and to my friends, but above all to my audience. My heartfelt thanks goes to you all for your unwavering support, and for continuing to remind me at crucial moments that what I do actually matters.

Tony Chen Lin, February 2018


Béla Bartók
Piano Sonata BB 88 (Sz. 80)

01 i. Allegro moderato (4:44)

02 ii. Sostenuto e pesante (4:51)

03 iii. Allegro molto (3:41)

Johann Sebastian Bach
French Suite No.5 in G Major, BWV 816

04 i. Allemande (2:45)

05 ii. Courante (1:37)

06 iii. Sarabande (4:33)

07 iv. Gavotte (1:12)

08 v. Bourrée (1:12)

09 vi. Loure (2:21`)

10 vii. Gigue (3:19)

Tony Chen Lin
11 Digression (Meditation on R.S.) (5:15)

Robert Schumann
Humoreske Op. 20

12 Einfach; Sehr rasch und leicht; Noch rascher; Erstes Tempo, Wie im Anfang (5:45)

13 Hastig; Nach und nach immer lebhafter und stärker; Wie vorher, Adagio (5:18)

14 Einfach und zart; Intermezzo, Adagio (5:11)

15 Innig; Schneller (3:05)

16 Sehr lebhaft; Immer lebhafter, Stretta; Mit einigem Pomp (3:57)

17 Zum Beschluss (6:52)

TONY CHEN LIN: Digression from SOUNZ on Vimeo.

Steve Barry - Hatch (RATTLE RECORDS 2018)

It’s not hard to be daunted by the vast repertoire of music for solo piano. Propelled by my background in improvisation and jazz performance, my fascination with harmony and melody led me deeper into modernist classical music during my doctoral studies, across the gamut from Schoenberg to Ligeti, Boulez, Feldman, Cage, Stockhausen, Tristan Murail, Elliot Carter & Michael Finnissy, et al — a veritable baptism by fire. After a few initial years of research, it was oddly enough a five-week trip around India that catalysed the two-year consolidation of the insights gleaned from these masters with my existing practice as an improviser - the products of which are partly represented by this selection of original compositions for solo piano. Varying in construction from intricately notated to freely improvised, this collection reflects in various ways the milieu of influences that have occupied my ears for the past few years. 

Microcosm and Codify short sketch-like platforms for improvisation inspired by the cellular melodies wide-ranging improvisations characteristic of the new school of experimental & free improvisers – the likes of pianists Matt Mitchell, Kris Davis and drummer Tyshawn Sorey. Avian Bagatelle grew out of an extended period of listening to Ligeti’s Piano Etudes, while A Dance? owes at least some of its genesis to the work of Milton Babbitt. The pieces spawned by the latter — Tag! and Canon — divulge a love of counterpoint, marrying the linearity of Bach with free atonality of Hindemith’s harmonically wandering Ludus Tonalis. 

Mice echoes Debussy’s early 20th century character pieces, with its quirky melody and bi-tonal tendencies. Roundabouts (one of the bonus tracks available online) echoes the rich, harmonically dense chord structures of Messiaen’s piano music, using 8-note units as a platform for improvisation.

Dreamreader adopts the spaciousness and stemless notation characteristic of Morton Feldman’s piano music, while also — for the most part counter to Feldman’s aesthetic — calling upon the performer to use the piece’s inherent structures for their own personal improvisatory ends. Plink takes this concept to its nth degree, consisting of an open, time-space style array of notes with minimal performance instructions, limiting each realisation only to the imagination of the performer. 

Finally, interludes such as Meander owe much to the incredible pianism and improvised counterpoint of pianist Fred Hersch. 

I’m also grateful to the many Australasian pianists for their inspiration and encouragement: Mike Nock, Barney McAll, Paul Grabowsky, Tim Stevens, Matt McMahon, Tom O’Halloran, Marc Hannaford, Kevin Field, Mike Walker, Mark Isaacs and particularly Judy Bailey, with whom I’ve had the great pleasure to periodically collaborate with over two pianos since my undergraduate study with her in 2011. 

The list could go on, but I’ll let the music do the rest of the talking. Happy listening!

Erin McDougald's "Outside the Soiree" with Dave Liebman & Tom Harrell

Outside the Soiree: Erin McDougald’s latest album exemplifies the concept of thinking - and singing - outside the box

Featuring Jazz Luminary-Legends David Liebman & Tom Harrell

Available March 16, 2018 via Miles High Records

“...ebullient, deeply soulful singing.”—Chicago Tribune

CD Release Concerts: • April 20 – Bar Fedora, LA, CA • May 9, Small’s Jazz Club, NYC • May 30 – Vibrato Grill & Jazz Club, LA 

Ever feel left out of the party? Vocalist Erin McDougald’s fourth studio recording, Outside the Soiree, is a heartfelt ode to all the outsiders – those independent-minded souls who find themselves, by choice or by fate, living outside the halls of power: neglected by history, oppressed by the majority, lonely in love, bucking the trends, swimming upstream.

Due out March 16, 2018 (Erin’s birthday!) from Miles High Records, Outside the Soiree offers a thematic narrative explored through “McDougald’s evocative artistry” (Chicago Music Guide), a voice that Jazz Improv Magazine has called a “rare instrument to be savored... sweet and spicy, positively mercurial.” The subject matter is poignantly and uniquely expressed from unexpected musical angles as Erin seamlessly amalgamates, modernizes and reinterprets obscure standards, her own original composition and genres “outside” the jazz idiom within a progressive jazz mentality.  

She’s joined by a stellar band featuring guitarist and pianist Rob Block, bassist Cliff Schmitt, drummer Rodney Green, percussionists Mark Sherman and Chembo Corniel, and saxophonist Dan Block. The band is given the imprimatur of a couple of born outsiders who’ve become insiders (and legends) through decades of singular artistry: saxophonist David Liebman and trumpeter Tom Harrell.

McDougald is well acquainted with the outsider’s existence; she tends to be one herself. Known by her fans as “the Flapper Girl,” the Chicago-based improvisational jazz singer is a progressive thinker with a throwback aesthetic. She embodies the sensuality and fierce emancipatory attitude of an audacious fashionista and political egalitarian in her personality and artistry. With a moniker evoking a ‘20s-era flapper she’s not interested in glamorous nostalgia, but instead spotlights the formidable female icons that stemmed from an era of resistance that forever changed American culture and its musical heritage.

As McDougald regularly points out to audiences, flappers were suffragists, with libidos, rhythm, style and social cachet. As “the flapper girl of modern vocal jazz”, Erin’s artistry has become synonymous with marrying vintage foundations and contemporary concepts in her rhythmic, daring interpretations of era- spanning jazz, from American Swing through the Post-Bop catalogue. Her ability to borrow music from other genres and infuse a jazz treatment has garnered her fans of all ages, and collaborators with global renown.

Miss McDougald has appeared and or recorded with members of the elite jazz scene that include Nicholas Payton, Paul Wertico, Ira Sullivan, Carlos Henriquez, Ben Wolfe, Von Freeman, Howard Levy, Roy Hargrove and many others. Downbeat critic and Jazz Journalist Association President Howard Mandel declares, “McDougald is one of the finest and freest voices in jazz OR pop today.” The late Verve Records producer/conductor/arranger Buddy Bregman emphatically stated of Erin in 2006, “There’s an essence to her singing that is all her own... not a mimicked, watered-down version of someone else, but... a very deep, soulful connection to the songs she chooses. Her pitch and phrasing are superb, but there is something about her interior—very sweet... she has ‘It’. My favorite singer to come along since Anita O’Day in her prime.”

With performances in sold-out venues from Chicago to Paris, McDougald has headlined The Chicago Jazz Festival’s Heritage Stage, and premier jazz venues such as The Jazz Showcase, The Allerton, Green Dolphin Street, The Green Mill, 54 Below, Smalls, Anthology, Savanna Jazz, The Mint, Dizzy’s of San Diego, The Velvet Note, BluJazz, The Acorn Theater, Notes Jazz Club, and Le Bilboquet in Paris, among many others.

Outside the Soiree is a sublime symposium of venerable soloists and emerging talents that expose a raw synergy and emotive message. Erin’s keen idea to turn Charles Deforest’s obscure, melancholy 1950’s ballad “Don’t Wait Up for Me” into a liberating, rhythmic 5/4 proclamation also crystalizes the style and strengths of featured soloists David Liebman on soprano saxophone and Tom Harrell on trumpet (with impeccable embellishment by drummer Rodney Green). Likewise, the sophisticated and changing time signatures on Erin’s “Midnight Sun” shed light upon vibraphonist Mark Sherman’s musical eloquence where again Liebman shines in a flurry of pithy soprano sound.

Brothers Rob and Dan Block create an ethereal, sorrowful beauty on the group’s Chorinho-styled adaptation of the Broadway musical song “Unusual Way;” Tomoko Block (Rob’s wife) teamed up with Rob to arrange this gem, showcasing Rob’s quietly weeping guitar solo and Dan’s haunting clarinet playing. Percussionist Wilson “Chembo” Corniel is strongly showcased along with bassist Cliff Schmitt on Erin’s original composition and title track “Outside the Soiree” in a connected, reflexive and moving journey through Erin’s poetic lyricism and mournful melody. Hard-swinging is Erin with her band on songs like “Spring Can Really Hang You Up the Most” and “Don’t Be on the Outside;” exceptional elements of avant-garde singing and playing are showcased on the CD’s final cut, “The Parting Glass,” a deftly reimagined traditional Irish funeral hymn in a minor key, performed with thundering gravity. The addictively nuanced Cha-Cha rendition of “Brother, Can You Spare a Dime?” gloriously highlights the band with undulating musicality and fervor.

McDougald celebrates with a concert on her birthday – the album’s release date – Friday, March 16, 2018 at The Acorn Theater in Three Oaks Michigan. Admission is $35 and includes a copy of the CD or $20 without a copy of the CD. Tickets should be purchased in advance at www.acorntheater.com.

Sunday, March 18, 2018

Glutenfree Trio - Farina del mio sacco (DODICILUNE / IRD March 20, 2018)

Prodotto dall'etichetta pugliese Dodicilune, martedì 20 marzo esce in Italia e all’estero distribuito da Ird e nei migliori store digitali, "Farina del mio sacco" il nuovo progetto discografico di brani originali del Glutenfree Trio, composto da Davide Di Camillo (basso elettrico), Christian Mascetta (chitarra elettrica) e Andrea Giovannoli (batteria), affiancati in quattro pezzi dal sassofonista Mattia Feliciani. Otto composizioni originali nelle quali il connubio tra funk, jazz, blues e rock genera melodie cantabili su un tappeto di energia e groove. Il disco sarà presentato ufficialmente in concerto sabato 7 aprile (ore 21 - ingresso libero) al Teatro Comunale di Città Sant' Angelo, in provincia di Pescara. 

"Se la musica è mia non può che essere senza glutine". Il Glutenfree Trio nasce nel 2016 dall'autoironica idea del bassista Davide Di Camillo che avverte l'esigenza di sviluppare le proprie idee musicali. Grazie a Christian Mascetta e Andrea Giovannoli, la band comincia a prendere forma partecipando a numerose rassegne ("Sabato in concerto jazz") e ottenendo i primi riconoscimenti (2016, primo premio al "Festival Nazionale dei Conservatori di musica Città di Frosinone"). A meno di un anno dalla sua nascita, il trio viene invitato a esibirsi a Instabul dal Comitato Nazionale Italiano Musica in collaborazione con l'Istituto Italiano di Cultura della metropoli turca. Il 2 maggio 2017 i tre musicisti entrano in studio per le registrazioni del primo disco. La scelta di suonare in trio (pur collaborando con con altri musicisti) non è casuale, anzi proprio dall'interplay e dallo scambio di idee tra i tre componenti nascono i brani originali di "Farina del mio sacco".

Classe 1991, il bassista e compositore Davide Di Camillo inizia a studiare chitarra moderna a 12 anni, sotto la guida del Maestro Paolo Giordano. Dopo un anno di lezioni, intraprende parallelamente lo studio della chitarra classica al conservatorio Luisa D'Annunzio di Pescara, sotto la guida del Maestro Michele De Angelis. A 16 anni forma la sua prima band (Mandal). A causa della mancanza del basso, ne acquista uno e comincia a suonarlo. Con i Mandal suona i classici del rock e brani originali in tutti i locali d'Abruzzo. La band apre il concerto dei Sud Sound System e il concerto del primo maggio a Pescara. La passione per il basso prende il sopravvento, così a 17 anni comincia a studiare con il Maestro Francesco Marranzino. A 21 anni comincia a frequentare il corso di basso elettrico popular music al conservatorio Luisa D'Annunzio di Pescara, sotto la guida del Maestro Maurizio Rolli. Durante questi anni intensifica la sua attività suonando in tanti progetti differenti: Orchestra giovanile Amadeus diretta dal Maestro Mike Applebaum, Luca Falsetti project feat. Francisco Morales, Adolfo Dececco Band col Maestro Vince Tempera e in svariate cover band. Partecipa alle masterclass di Alain Caron, Michael Manring, Gary Willis, Linley Marthe, Michael League, Jeff Berlin, Hadrien Feraud, Massimo Moriconi, Poalo Costa, Ciro Manna, Dean Brown e molti altri. Nel marzo 2016 consegue la laurea in basso elettrico popular music. In occasione della sua tesi di laurea sente il bisogno di tradurre in musica le sue idee e forma il Glutenfree Trio, col quale nel luglio del 2016 vince il primo premio al Festival nazionale dei conservatori città di Frosinone. Attualmente è iscritto al biennio di basso jazz al conservatorio Luisa D'Annunzio di Pescara sotto la guida del Maestro Maurizio Rolli. 

Christian Mascetta, nato il 31 dicembre 1994 a Lanciano, vive a Chieti. Inizia gli studi di chitarra elettrica a sette anni che approfondisce (soprattutto nel campo del blues, jazz, rock) con il Maestro Roberto Di Virgilio, iniziando a suonare anche la chitarra acustica e a lavorare in studio. Frequenta il corso di chitarra jazz al conservatorio di musica Luisa D'Annunzio di Pescara con il Maestro Rocco Zifarelli. Ha partecipato anche a seminari con Steve Lukather, Stef Burns, Andy Timmons, Carl Verheyen. Nel luglio 2013 fonda insieme ad altri musicisti la band "RaiNotes" di cui è stato arrangiatore e compositore di alcuni brani. Dal 2014 inizia a collaborare con il batterista abruzzese Danny Manzo in un progetto jazz/rock. Dal gennaio 2015 collabora con la società di “Jamgle” e con Antonio Di Francesco (ideatore del sito), con il quale partecipa come dimostratore al NAMM di Los Angeles. Collabora con il bassista, compositore, arrangiatore Maurizio Rolli. Dal 2016 collabora con il Vocal Ensemble diretto dal maestro Angelo Valori. Nel luglio 2016 vince con il Glutenfree Trio il primo premio nazionale dei conservatori italiani. Nello stesso anno incide il suo primo disco inedito “istinto” con la Band dei SensAction. Nel Gennaio 2017 vince il concorso Chicco Bettinardi del Piacenza Jazz Festival con il quartetto dei Blackish, di cui è arrangiatore e compositore.

Andrea Giovannoli, classe 1992, a dieci anni inizia il suo primo approccio con la musica attraverso il pianoforte, ma è a tredici anni che segue la sua vera passione: la batteria. Studiandola diversi anni con il maestro Roberto Di Marco, matura un interesse tale e una voglia di fare musica che una volta finito il liceo decide di iniziare un nuovo percorso all’interno del conservatorio. Oggi è laureato con il massimo dei voti presso il Conservatorio Statale di Musica “Luisa d’Annunzio” di Pescara, al corso di Batteria e Percussioni per Popular Music. Grazie ai maestri Alessandro Svampa e Pierpaolo Bisogno ha approfondito ancor di più lo studio della batteria nei vari generi musicali. Ha partecipato a diverse Masterclass/concerto tenute in Conservatorio e non solo, con le scuole d’oltreoceano quali Berklee College of Music, Columbia College e alcuni dei principali batteristi italiani e internazionali. Ad oggi è batterista dei “Gluten free trio”, “Five years later”, “Dago Red”, con i quali ha preso parte alle registrazioni delle musiche che animano la graphic novel “Wrong Way Blues” di Colafella e Di Gregorio, “Project 7” e percussionista della “Mo’ Better Band”. Continua a maturare la sua esperienza in studio, collaborando, oltre che con i suoi progetti, con artisti e gruppi emergenti abruzzesi in qualità di session man. Matura anche la sua esperienza nei live: grazie ai progetti di cui fa parte ha suonato in teatri, rassegne e contest. Vince con i Back to Dust il “Mark world night”, concorso indetto da Marco De Virgiliis (fondatore della MarkBass), con i Profunk il “Teramo music fest” che lo porta a suonare sul palco di “Aspettando il primo maggio” e successivamente il premio Nino Dale. Vince, nel 2016, con il Gluten Free Trio il Festival nazionale dei conservatori italiani tenutosi a Frosinone. Con lo stesso Trio ha suonato presso l’istituto di Alta Cultura Italiana ad Istanbul. Attualmente collabora con diverse realtà musicali e con progetti propri, sia nei live sia in studio e alterna a queste l’attività di insegnante.

L’etichetta Dodicilune è attiva dal 1996. Dispone di un catalogo di oltre 220 produzioni di artisti italiani e stranieri ed è distribuita in Itali a e all'estero da IRD in circa 400 punti vendita tra negozi di dischi e store. I dischi Dodicilune possono essere acquistati anche online, ascoltati e scaricati su una cinquantina tra le maggiori piattaforme del mondo.

1 - Bruco Mela
2 - Un Passo alla Volta
3 - L’Ultimo Viaggio
4 - And So...
5 - Hey Repression!
6 - Arabiasaurita
7 - Life
8 - Mickey Mais

Compositions by Davide Di Camillo, Christian Mascetta, Andrea Giovannoli (1); 
Davide Di Camillo (2, 4, 6, 7, 8); Christian Mascetta (3, 5); (Dodicilune edizioni).

Davide Di Camillo - electric bass
Christian Mascetta - electric guitar
Andrea Giovannoli - drums
Mattia Feliciani - saxophone (4, 6, 7, 8)

Susan Krebs Chamber Band - Spring: Light out of Darkness (March 21, 2018)


SPRING ~ Light Out of Darkness is SUSAN KREBS’ sixth album as a leader and the second recording project for the SUSAN KREBS CHAMBER BAND. SPRING is the follow-up to the Chamber Band’s 2015 acclaimed release, SIMPLE GIFTS, taking the chamber band concept even further on this new project. 

Chamber music is defined as “music composed for small instrumental ensembles and performed without a conductor. Traditionally intended for performance in a room or reception hall, often solely for the performers’ own pleasure.”  The idea for the jazz chamber band grew from salons hosted by jazz vocalist Krebs at her home. She calls these salons “ThemeScenes,” in which she and a small group of her close friends get together in front of an invited audience to explore various motifs through wide-ranging music, poetry and improvisation.   

Performing in an intimate space to a small audience of music lovers required Krebs to make creative choices about the instrumentation. There is no drum kit or bass on this project. Rather, the band, which is made up of some of the finest jazz musicians in Southern California, creates a full, rich and stirring sound with just piano, percussion, woodwinds, and violin. RICH EAMES, the versatile pianist, composer and arranger, who is Krebs’ longtime friend and musical collaborator, plays on this disc and arranged six of the seven tunes. ROB LOCKART, on woodwinds, is a busy sideman, who has performed with the Woody Herman Orchestra, Tom Harrell Big Band, Doc Severinsen Big Band, and Kurt Elling, among others, as well as appearing on numerous scores for TV and film. Master percussionist SCOTT BREADMAN has performed with Jose Feliciano, Lindsey Buckingham, and The Rippingtons, among many top music acts. LUIS MASCARO is the newest member of the Chamber Band. The Brazilian violinist, who is part of a new generation of creative string players, was one of the few musicians to perform live at the 50th Grammy Awards with the Foo Fighters.  

Although Krebs has created the central vision for the Chamber Band, the music they make is a conversation between kindred spirits who have an engaging synergy that comes from a deep familiarity and a shared musical vision.   

The overarching concept that binds the seven tunes on this CD is renewal. Like many people, Krebs is concerned about the problems that beset our country and, indeed, the whole world. For Krebs, change has to begin on a personal level. She connects to the world both as a musical artist and as a serious gardener, attuned to the rhythms of the natural world. Each of her previous CDs reflects her closeness to nature and her philosophical outlook. 

The compositions that Krebs chose comprise a mix of musical genres imbued with a jazz sensibility. Two classical pieces, “Spring,” one of the concertos from Vivaldi’s Four Seasons, and Stravinsky’s “The Rite of Spring,” are instrumentals. “The work we do in our salons is truly collaborative,” according to Krebs, “and most of the music grew organically out of the theme Awakening – Spring & Otherwise. The classical pieces just fit perfectly. I don’t sing every tune during a salon performance, and I didn’t have to sing on every track on the CD. I wanted this recording to really reflect the feeling of the salons.”  

Krebs opens with a joyful rendition of Rodgers and Hammerstein’s “Oh, What A Beautiful Morning,” awakening to greet the dawn of another day, the song overflows with optimism that sets the tone for the rest of the CD.  

“Spring,” the title tune, arranged by violinist Harry Scorzo, is highlighted by Lockart’s flute and Mascaro’s violin in synchronized harmonic lines, and the steady driving pulse of Breadman’s percussion. 

Krebs’ voice is sometimes sweet and sometimes throaty, but always suffused with emotion. She and the band put their own bluesy spin on Ray Charles’ “Light Out of Darkness,” the subtitle of the CD. Mascaro and Eames’ soulful solos highlight the song’s gospel-inflected provenance. 

Stravinsky described “The Rite of Spring” as "a musical-choreographic work, [representing] pagan Russia ... unified by a single idea: the mystery and great surge of the creative power of Spring." Although Stravinsky wrote it for an orchestra, Eames’ distilled arrangement captures its early 20th century modernistic essence overlaid with a contemporary jazz texture. 

Krebs was attracted to the innocence and droll metaphor of “Whispering Grass,” a song about lost love, which imagines Nature - its grass, trees, bees, et al - actively witnessing lovers kissing. Written in 1940 by Fred Fisher and his daughter Doris Fisher, the song was made popular by the Ink Spots when it was first released.  

“Some Other Time,” the bittersweet song by Leonard Bernstein with lyrics by Comden & Green, is given an atmospheric arrangement by Eames, with the passing of time implied in its rhythmic structure.

Krebs wanted to include “You Must Believe In Spring” because of its message of hope. The song opens with the lyrics, “When lonely feelings chill / The meadows of your mind / Just think if winter comes / Can spring be far behind.” For Krebs, the avid gardener, bird lover, performing artist and awakened citizen, you must believe in Spring and in the return of the Light Out of Darkness - especially in the troubled and challenging times in which we live. 

SPRING ~ Light Out of Darkness is infused with a reverence for nature, and, as with all of Krebs’ recordings and live performances, it is also imbued with her hopeful vision and generous soul.

SPRING ~ Light Out of Darkness will be available in stores and online everywhere on March 21, 2018.

1. Oh, What a Beautiful Morning (6:36)
2. Whispering Grass (4:48)
3. Some Other Time (5:33)
4. Spring (4:04)
5. You Must Believe in Spring (5:12)
6. Light Out of Darkness (4:50)
7. Rite of Spring (7:32)

The Chamber Band
Rich Eames piano
Rob Lockart  woodwinds
Scott Breadman  percussion
Luis Mascaro  violin 

arranged by Rich Eames Harry Scorzo (4)

produced by Rich Eames, Jerry Kalaf, Susan Krebs