viernes, 21 de octubre de 2016

Dave Douglas & Frank Woeste - Dada People (2016) GREENLEAF MUSIC

In the years between the two World Wars, the Dada movement questioned, altered, teased and undermined the very idea of art. A century later, trumpeter Dave Douglas and pianist Frank Woeste draw inspiration from that “art of reinvention” with their collaborative album Dada People, due out October 2016 via Greenleaf Music. 

Perhaps no single artist embodies Dada’s slippery juxtapositions quite like Man Ray. Both French and American, commercial and avant-garde, Jewish by birth and mysterious by design, Man Ray epitomized the conflicting personae and attitudes that have come to define so much of the modern art world of the last century. Bridging the Atlantic through support from the French American Jazz Exchange, Douglas and Woeste explore those concepts through a 21st century lens, realized by a stellar quartet rounded out by bassist Matt Brewer and drummer Clarence Penn.

01. Oedipe 06:17
02. Mains Libres 06:14
03. Spork 07:32
04. Montparnasse 06:47
05. Transparent 06:55
06. Art of Reinvention 08:51
07. Emergent 05:42
08. Noire et Blanche 03:40
09. Longings and Illusions 05:42
10. Danger Dancer 05:17

Released October 14, 2016 

Produced by Dave Douglas and Frank Woeste 
Recorded at The Samurai Hotel Recording Studio, Astoria NY on January 21-22, 2015. 
Recording Engineered by David Stoller 
Mixed and Mastered by Tyler McDiarmid 

Artwork and Design by Russell Moore 
Photography credit: Portrait of Man Ray and Salvador Dali, Paris. Library of Congress, Prints & Photographs 
Division, Carl Van Vechten Collection, LC-USZ62-42535 

Clarence Penn plays Canopus drums, Aquarian heads and Zildjian cymbals and sticks. 

Thanks to Matt and Clarence, David Stoller, Tyler McDiarmid, Mark Micklethwaite, Jakob Flarer at Saudades Tourneen, Reno di Matteo at Anteprima Productions, the French American Jazz Exchange and the Mid Atlantic Arts Foundation. 

Thanks also to Ibrahim Maalouf, Emmanuel Morlet, Sara Donnelly, Jeannette Vuocolo, Angela Morris, Lia, Oscar, Leon and Clara. 

DADA PEOPLE has been made possible through the French-American Jazz Exchange, a joint program of FACE Foundation and Mid Atlantic Arts Foundation, with generous funding from the Cultural Services of the French Embassy, Doris Duke Charitable Foundation, Florence Gould Foundation, Andrew W. Mellon Foundation, Institut Français, Ministère de la Culture et de la Communication and Société des Auteurs et Compositeurs de Musique (“SACEM”).

Damana (Dag Magnus Narvesen Octet) - Cornua Copiae (2016) CLEAN FEED RECORDS

DAMANA, the octet of Dag Magnus Narvesen, assembles some of the very best jazz musicians in Norway, coming from slightly different corners of jazz. Some of them, you might have heard of already, like the reed section of the band – Kristoffer Alberts, Jørgen Mathisen and André Roligheten – who all come from the more progressive parts of the Norwegian jazz scene. 

The brass players – Hayden Powell and Kristoffer Kompen – are also familiar names for anyone who listens to lyrical jazz and traditional New Orleans jazz made in Norway. The young, and very exciting Øyvind Dale shows a deep integrity and musical mastery of the piano and comes across as a name for the future, and Adrian Myhr is one of the most innovative and versatile bass players in the field of improvised music.

With this strong team, Narvesen guides his fellow musicians to some of the corners of his musical universe on their debut album “Cornua Copiae”. Although he might be operating slightly under the Scandinavian jazz radar, Narvesen is no light-weight himself, frequently playing and collaborating with some of the heaviest names on the European progressive avant-garde jazz scene.

With one foot in the free jazz tradition and the other stepping into free improvised music territory, this mini-big band is exploring new possibilities without forgetting what’s still valid in the old ones. The music is exciting, vibrant and sometimes even urgent, with that kind of vigor, freshness and wonder only possible through players with a deep musical sincerity and strong artistic conviction.

01. Tapatapa 3:07
02. Irgendwie, Irgendwo 5:02
03. Dalbrecht 6:32
04. Chokolypse 5:41
05. Karnivalissimo 5:38
06. Suynomi Lettre 5:27
07. Melitrugal 5:43
08. Palettfasett 5:43
09. Mannen I Tårnet 3:26
10. For J.R.M. 3:58

Kristoffer Alberts  alto saxophone
Jørgen Mathisen  tenor saxophone
André Roligheten  baritone saxophone and bass clarinet
Hayden Powell  trumpet
Kristoffer Kompen  trombone
Øyvind Dale  piano
Adrian Myhr  double bass
Dag Magnus Narvesen  drums

For J.R.M. is dedicated to the memory of Jan René Melling

Recorded on the 20th of November 2014 at Urban Sound Studio in Oslo, Norway

John Lindberg BC3 - Born In An Urban Ruin (2016) CLEAN FEED RECORDS

John Lindberg is known for two particularities: he’s one of the most exquisite double bassists around for some decades already and each one of his projects, be it a studio recording or a concert, is a meticulous and wonderfully sustained concept, always with a motto or a theme transcending musical subjects, generally concerning nature or the human condition. 

His brand new “Born in an Urban Ruin” belongs to this last category: the mentioned «urban ruin» is the Detroit Osteopathic Hospital, where he was born in 1959. You can’t get more symbolic than with this combination of two opposed factors, “birth” and “decadence.” If there’s in this collection of compositions a «post-industrial rust belt aesthetic», to use Lindberg’s own words, the perspective is positive and full of hope – the music is all about survival, «it’s endurance, it’s the spirit emerging forever triumphant».

You can resurrect on a ruin, and when this idea is staged by someone like John Lindberg, with the help of clarinetist Wendell Harrison and of vibraphonist and percussionist Kevin Norton, that process can only be a beautiful one.

A tribute in three parts to the late Roy Campbell is included, because the great jazz trumpeter is still among us and, after all, this CD is an ode to life.

01. Swooping Deep (Clarinet Version) 3:09
02. Vermont Roadside Family 5:59
03. The Left Wrist, Pt. 1 (For Roy Campbell, In Memoriam) 4:46
04. The Left Wrist, Pt. 2 (For Roy Campbell, In Memoriam) 6:11
05. The Left Wrist, Pt. 3 (For Roy Campbell, In Memoriam) 3:20
06. The Excavation 4:56
07. Swooping Deep 7:22
08. Devastation of Vegetation 4:13
09. Born in an Urban Ruin 6:25
10. Swooping Deep (Bass Version) 3:12

Wendell Harrison  Bb clarinet and Bb bass clarinet
John Lindberg  double bass
Kevin Norton  vibraharp and percussion

All compositions by John Lindberg (Lindy Publishing Company, (ASCAP/SACEM)

Recorded at Broadside Productions Recording Studio, Kalamazoo. Michigan, on May 17, 2016
Engineered, edited, mixed and mastered by Mike Roche
Produced by John Lindberg
Executive production by Pedro Costa for Trem Azul
Design by Travassos
Photography: FarHill Fotos

jueves, 20 de octubre de 2016

Ian Faquini + Paula Santoro - Metal na Madeira (2016) RIDGEWAY RECORDS

Ian Faquini + Paula Santoro

Metal na Madeira (Metal on Wood)

Now Available via Ridgeway Records Rising Stars

Once you've heard the luminous voice of Paula Santoro and the enthralling guitar virtuosity of Ian Faquini, their sound will become permanently etched into your heart. Metal na Madeira (Metal on Wood), their new collaborative album, takes inspiration from Xylography, a traditional art form from Northeastern Brazil in which the artist develops an image by engraving wood with a metal object. Likewise, Faquini and Santoro create their intoxicating music from the way in which the metallic harmonics of her voice affect and enrich the woody tones of his guitar.

The image that ultimately emerges from Metal na Madeira is more than a portrait of two artists creating together. It also conjures the timeless landscape of the Brazilian Northeast, from which both artists originally hail. Into that space, Faquini and Santoro invite an all-star cast of collaborators, including Brazilian saxophone great Spok, leader of Recife's Spok Frevo Orquestra; Bay Area multi-reedist Harvey Wainapel; trombonist Jeff Cressman; keyboardist and accordion player Vitor Gonçalves; bassist Scott Thompson; drummer/percussionist Rafael Barata; and pandeiro player Sergio Krakowski.

The album consists of nine original compositions by Faquini and presents a fresh take on traditional Northeastern rhythms such as Maracatu, Frevo, Baião, Xote, and Toada. Faquini's music keeps one foot firmly planted in the past while stepping briskly towards the future with modern harmonic and melodic structures. The songs' lyrics describe the exuberance and poverty of that region of Brazil -the joy, colors and natural beauty, but also sadness, drought and longing of a people who are accustomed to living with extremes. Their stories are movingly and compellingly expressed through Santoro's gift for storytelling and painting with words.

Ian Faquini was born in Brasília and has lived in Berkeley, California since he the age of eight. He graduated from the California Jazz Conservatory and was immediately invited to join the faculty, teaching guitar and Brazilian music. Influences include Guinga and Marcus Tardelli, with whom Ian studied for six years. 

Paula Santoro was born in Minas Gerais, where she began her career as part of the local vocal group Nós & Voz and toured the country as lead singer of the progressive rock band Sagrado Coração da Terra. Her enticing blend of jazz and Brazilian Popular Music (MPB) has since become well known through her recordings and frequent TV appearances. 

She won the Troféu Faísca Award, the Visa Award and was nominated for the Rival Petrobrás Music Award, all as best vocalist.  Santoro has performed with a range of luminaries including Edu Lobo, Yamandú Costa, Mário Adnet, Monica Salmaso, Renato Braz and the Muiza Adnet releasing the álbum Mario Adnet - a look on Villa-Lobos nominated for Best Classical Album in the Latin Grammy Awards.

She has earned wide critical acclaim in Brazil and Europe, and released numerous albums including Mar do meu Mundo on the Borandá label with special guests including UAKTI, and Paula Santoro, released by Biscoito Fino label, featuring special guests Chico Buarque, Toninho Horta and Jaques Morelenbaum.

Paula and Ian were introduced in 2007 by the influential Brazilian composer Guinga in Rio when Paula was collaborating with Guinga on a recording and tour. Ian had met Guinga at the age of 16, an encounter that changed his life and music. Hearing and falling in love with Guinga's music led Ian to devote himself to exploring his own Brazilian roots through music. Paula and Ian came together musically in 2014 when both were part of the faculty at California Brazil Camp, a performing arts camp focused on Brazilian music and dance. Their mutual admiration sparked a desire to work together, resulting in Metal na Madeira, recorded at the famous Fantasy Studios in Berkeley, CA in September of 2015.


"I'm glad every time I hear my songs interpreted with freedom and, above all, a lot of talent. Bravo!" – Edu Lobo about Paula and Daniel’s recording of his compositions
“Paula Santoro is one of those perfect singers: beautiful voice, perfect tuning and good taste in repertoire." – Antonio Carlos Miguel, 'O Globo' newspaper

Already critically and popularly acclaimed in her native Brazil, where her enticing blend of jazz and Brazilian Popular Music (MPB) has become well known through her recordings and frequent TV appearances, Paula Santoro is poised to bring her luminous voice and infectious sounds to listeners around the world.

Paula was born in Minas Gerais (Belo Horizonte) and began to sing with the encouragement of her grandfather, a physician as well as an amateur violinist. She began her career as part of the local vocal group Nós & Voz, through which she was discovered by violinist Marcus Viana, leader of the renowned Brazilian progressive rock band Sagrado Coração da Terra. She soon became the band’s lead singer, recording several albums and touring extensively throughout the country.

In 1998, soon after releasing her debut solo álbum, Santo, Paula moved to Rio de Janeiro and was invited to take part in the Brahma Brasil Festival in France, one of the highlights of the events surrounding the 1998 World Cup, where she shared the stage with the legendary Gilberto Gil. Two years later she was one of the vocalists chosen for the pioneering project Novo Canto (New Singers), which gave incentives to young and talented artists in Brazil. She performed with Elza Soares and Chico César, among others, at Canecão, one of Rio’s best-known music halls, having hosted everyone from Pixinguinha and Antonio Carlos Jobim to Ray Charles and Black Sabbath.

That same year, Paula’s voice reached millions of television viewers throughout the country when she became the singing voice of actress Maria Fernanda Cândido, star of the incredibly popular TV Globo soap opera Aquarela do Brasil. Paula was soon featured in every major Brazilian magazine and made the rounds of the country’s most popular TV talk shows. 

In 2002 Paula was one of three winners of the vaunted Visa Music Awards, which attracted more than 2,000 candidates from all over the country. The following year she left Brazil for her first solo tour in Europe, where she performed to enthusiastic and receptive audiences in Luxembourg, Germany and England. Her London appearance at Momo’s Kemia Bar, prompetd an invitation for her to return for a performance at the London Forum in November, as part of the Brazilian Contemporary Arts project Forever Samba, where she performed with 2003 Grammy winner, Alcione. 

While in London for her Forum concert, Paula performed live on BBC Radio and on Britain’s top televised music program, Later with Jools Holland – appearing on the same episode as Amy Winehouse, at the beginning of her own remarkable career. Paula also contributed to a tribute album to Tom Jobim that was released in the UK by Union Square Music in 2004. 

Throughout her recording career, Paula has worked with such greats of Brazilian music as Ivan Lins, Chico Buarque, Toninho Horta, Jaques Morelenbaum, Nélson Motta, Wilson das Neves, Rodolfo Stroeter and Rafael Vernet. She has graced the stage at popular festivals and events including Tudo é Jazz in Ouro Preto and Projeto Pixinguinha, and performed at important jazz clubs and cultural centers like Jazzkeller in Frankfurt, Gasteig in Munich and Guanabara in London, among others. Alongside these successes, she’s also performed as both singer and as an actress in a number Brazilian musicals, with scores by the likes of Horta and Buarque.

Recently, Paula has toured internationally with the virtuoso guitar player Daniel Marques, considered one of the most important musicians of the new Brazilian generation, and performed in Austria with guitarist/composer Alegre Correa, a veteran of Weather Report co-founder Joe Zawinul’s band, the Zawinul Syndicate.

Paula’s most recent release is “Metal na Madeira,” a collaboration with the talented young composer and acoustic guitar player Ian Faquini, which also features guest appearances by a host of amazing musicians from Brazil and the U.S.

About Paula Santoro

"I am very happy for having participated in Paula Santoro’s CD, which in my view is one of the great new Brazilian Popular Music (MPB) artists, in addition to being one of the best singers in Brazil. Her voice rings smooth when required, but can also cut through space with firmness, clarity and even poetry, depending on the music style. It was a pleasant surprise to meet a singer with a differentiated voice timbre, fine-tuned and musical and with a first class repertoire. Congratulations, Paula, I am your great fan! I wish you great success, which you so much deserve.” Toninho Horta

“From the lyric elegance of Madame Butterfly to the melodic chanting of the washerwomen, to the melancholic wailing of lamenting mourners, to the sultry huskiness of Clementina, Satchmo and Nélson Cavaquinho, all would not amount to more than cries and whispers, breeze and silence, for the voice is but an instrument. The difference, and a place also reserved for Paula Santoro, is when the voice is indeed the instrument and life is thus the argument.” Guinga

"In recent decades, Brazil has shown great singers who gave life and consolidated the 'Brazilian Songbook' around the world. To honor this tradition, and for the happiness of we all, from time to time, an special artist arises as the unique singer Paula Santoro. A performer of a highest quitate, combining vocal technique, soul and sensibility - bringing to each song, rare moments of beauty." Chico Pinheiro

“...Brazil also does a fine line in winsome, girlie singers, and this MPB double bill features the wonderful Paula Santoro. Santoro doesn’t yet have the profile of Bebel Gilberto or Cibelle, but she’d certainly impress the millions who’ve bought their albums. She specialises in beautifully arranged bossa nova classics and samba-pop ballads, switching between Spartan acoustic guitar or piano backing, jazz-edged rhythm sections or elegant string orchestrations. Oddly for a Brazilian singer, you’ll also hear touches of Portuguese fado, flamenco or even some of more stately Cuban folk forms. Proof  that the samba can continually reinvent itself for every generation.” John Lewis - "Time Out" - London, 2003

"...The new Rio sensation, Paula Santoro, skipped on stage with a rock star`s exuberance, but the intimate jazz style of her young trio and her versatile vocal style, with its Satchmo growls and luscious bossa notes, indicated a personally crafted samba-jazz..." Sue Steward - "Evening Standard" – London, 2003

“Paula Santoro from Minas Gerais is one of those perfect singers: fine voice, perfect pitch and excellent repertoire. As shown is the CD in her own name (Biscoito Fino), which among other hits, opens with a little remembered partnership of Moacir Santos and Vinícius “Se você disser que sim”, includes “Sem Fantasia” by Chico Buarque with his participation, and a pearl from Vitor Ramil “Não é Céu”. Antonio Carlos Miguel – O Globo – Rio de Janeiro, November 2005

Elliot Sharp Aggregat (feat. Barry Altschul) - Dialectrical (2016) CLEAN FEED RECORDS

Here’s the third Aggregat opus in which Elliott Sharp continues to go beyond the limits of the two previous releases of this project and again playing only saxophones and clarinets. The first Aggregat was a trio with Brad Jones and Ches Smith with Sharp’s unique guitar voice adding to his horn work. After that, Aggregat became a quintet with the addition of Nate Wooley and Terry Greene, Sharp putting his “six-strings” aside. Now, for “Dialectrical”, only Jones and Greene remain, with Taylor Ho Bynum trumpeting and the great Barry Altschul guesting at the drumset. 

The legendary member of the band Circle, with Anthony Braxton, Sam Rivers, Chick Corea and Dave Holland, and also a former Paul  Bley’s partner, now 76 years old, gives a solid anchor to Sharp´s idiosyncratic visions of the jazz tradition. Yes, the free bop you’ll find in “Dialectrical” is more edgy than ever, mixing compositions, simple structural instructions and improvisations in good measure. 

A tribute to Bley is delivered on this CD, but also to a few of the giants who recently passed away, namely Ornette Coleman, David Bowie and Pierre Boulez. This means the music you’ll hear has other musics folded inside and out – the norm with someone like Elliott Sharp, one of the most visionary and flexible musicians of our time.

1. Off-Objekt
2. We Control The Horizontal
3. Ununoctium
4. BBB
5. Oh See (For Ornette Coleman)
6. Firn Away
7. Tile The Plane

Taylor Ho Bynum  trumpet
Terry L. Greene II  trombone
Brad Jones  bass
Barry Altschul  drums and percussion

Black Bombaim & Peter Brötzmann - Black Bombaim & Peter Brötzmann (2016) CLEAN FEED RECORDS

This is a meeting written in the psychedelic sky. Everything seemed to announce it Ion the paths of
the Portuguese stoner rock band Black Bombaim and of the German free jazz saxophonist Peter
Brotzmann. The trio used to combine a saxophone to their music, usually choosing Rodrigo Amado,
a first line figure of the jazz scene in Portugal, and also the late Steve Mackay, the tenor we hear
on the pioneering (in what concerns this kind of mixtures) “L.A. Blues”, by Iggy Pop &The Stooges.

Brotzmann had multiple experiences in the proximities of rock, from the group Last Exit, with Sonny Sharrock, Bill Laswell and Ronald Shannon Jackson, to Full Blast, in the company of Marino Pliakas and Michael Wertmuller, going through his partnerships with his son Caspar Brotzmann and with Fushitsusha, the band lead by Keiji Haino. 

The curious thing, in this collaboration, is that the guitarbass-drums power trio never goes out of their track to meet Brotzmann half way and their guest doesn’t try any compromise to approach them. Putting it very simply: it wasn’t necessary. 

Listening to this CD, we finally discover that there’s not much separating rock and jazz, at least when dealing with factors like jamming, exploring sound and having a cosmic understanding of creative freedom.

Final result: this is one of the discographic pearls of the year 2016.

1. Part I 13:04
2. Part II 8:37
3. Part III 11:32
4. Part IV 7:04
5. Part V 6:59

Executive-Producer [Executive Production By (Lovers&Lollypops)] – Joaquim Durães
Executive-Producer [Executive Production By (Shhpuma)] – Travassos
Mastered By – Chris Hardman
Mixed By – José Arantes
Music By [All Music By] [Uncredited] – Black Bombaim, Brötzmann*
Producer [Produced By] [Uncredited] – Black Bombaim, Peter Brötzmann
Recorded By – José Arantes, João Brandão

Steve Noble & Kristoffer Berre Alberts - Coldest Second Yesterday (2016) CLEAN FEED RECORDS

Here’s one more episode of the British / Scandinavian connection established in the domains of improvised music. And sure it’s a special one, reuniting a second generation figure of the 50 year old London scene, drummer Steve Noble, and one of the top saxophonists coming from the Trondheim’ creative jazz crib, Kristoffer Berre Alberts. 

Noble was a member of the legendary avant-pop band Rip Rig and Panic and a partner of Derek Bailey in many adventures, also playing with Tristan Honsinger, Alan Wilkinson and in the unforgettable collective Kahondo Style. Alberts is making waves in such different groups like Saka and Starlite Motel, with its strong rock pulse, and Cortex, known for its post-free jazz attitude. Together they act like an elephant in a porcelain shop, but in a good way. 

The music is dense and intense, seeming to drag everything that happens to be in their path, and yet it includes little details, inviting you in each moment to find them amongst the walls of sound. At the end of “Coldest Second Yesterday” you feel “experienced”, and that’s the best you can have from a recording.

1. Animal Settlement 6:41
2. Inclination 11:32
3. Order Left Behind 16:07

Recorded by Christian Obermayer 4th of august 2015 at Kulturhuset, Oslo
Mixed and mastered by Christian Obermayer
Produced by Noble and Alberts
Executive production by Pedro Costa for Trem Azul
Design by Travassos

Mark Dresser Seven - Sedimental You (2016) CLEAN FEED RECORDS

Just a quick note to share a timely track from bassist/composer Mark Dresser's upcoming CD Sedimental You, due out this November on Clean Feed Records.

In Dresser's words: "'TrumpinPutinStoopin' is not a pas de deux, but rather a pas il Duce!  Michael Dessen's trombone solo provides a cartoonish prelude to the contrapuntal theme in this tune – you can practically see the despots in animation!"

"TrumpinPutinStoopin" features bassist/composer Dresser with flutist Nicole Mitchell, bass clarinetist Marty Ehrlich, violinist David Morales Boroff, trombonist Dessen, pianist Joshua White, and drummer Jim Black. 

1. Hobby Lobby Horse 12:50 
2. Sedimental You 12:44 
3. TrumpinPutinStoopin 5:30 
4. Will Well (For Roswell Rudd) 9:43 
5. I Can Smell You Listening (For Alexandra Montano) 9:37 
6. Newtown Char 14:13 
7. Two Handfuls of Peace (For Daniel Jackson) 2:43 

Mark Dresser, bass
Nicole Mitchell, flutes
Marty Ehrlich, clarinets
Michael Dessen, trombone
David Morales Boroff, violin
Joshua White, piano
Jim Black drums, percussion