jueves, 29 de septiembre de 2016

Stuart McCallum & Mike Walker: The Space Between - NEW RELEASE 2016 (EDITION RECORDS)


STUART McCALLUM
& MIKE WALKER

The Space Between

STUART McCALLUM acoustic guitar and electronics
MIKE WALKER electric guitar


The first 50 copies will be signed


The Space Between is the second album by long-term friends & guitarists Stuart McCallum and Mike Walker. Following 2014’s self-produced Beholden, The Space Between is an album that expresses McCallum and Walker’s abiding love of melody and space, their friendship and respect, and the multifarious sounds and timbres that their instrument has to offer.

Beholden featured spacious reinterpretations of the guitarists’ compositions and jazz standards; the music was serene and elevated. The Space Between finds Stuart and Mike developing extra gravitas, focussing on McCallum originals written especially for the duo. In addition they include two exquisitely chosen standards: Bacharach & David’s Alfie and My Ideal, also covered by Sonny Rollins, that sit perfectly in the set, balancing the flow.





Fabrice Martinez Chut ! - Rebirth (2016)


par Anne Yven / citizenjazz.com

Précédé par les mises en lumière des projets auxquels ce musicien coloriste apporte sa palette d’émotions dans des explosions lyriques remarquables, le troisième album de Chut ! était attendu. Après avoir été l’un des disques remarqués du label Sans bruit en 2011, le quartet signe une production de 50 minutes qui réserve de belles surprises.

C’est aujourd’hui sur le label ONJ Records que ce Rebirth, regarde l’avenir droit dans les yeux. Fabrice Martinez y campe pleinement son rôle de « patron » (à sa façon, c’est-à-dire sans en faire trop) et ses acolytes, trois personnalités affirmées, prouvent ici leur valeur par leur malléabilité. Une écoute longue durée m’amène enfin à l’heure du verdict, éclairé – quelle chance – par une discussion émaillée de confidences de la part du trompettiste de l’ONJ, à qui la re(con)naissance va bien. Martinez a choisi une ambiance vintage pour nous recevoir chez lui. Distorsion, groove et basse funky marquant le fond du temps, effets fuzz « vintage », tout nous promet un retour vers le futur brillant comme une DeLorean sortie du garage.

On s’assoit confortablement dans le fauteuil mais on sursaute dès les premières notes du titre éponyme. « Rebirth » démarre non en fanfare mais avec un prog-rock lourd, dans lequel la basse abrasive achèvera de prouver la force de Bruno Chevillon, qui s’en tient d’ailleurs à l’électrique sur tout le disque. Couplée à la partition métronomique puissante de son complice de vingt ans, Eric Echampard, la formule fait mouche et fonce droit dans le mur (du son !), même allégée par les orgues seventies de Fred Escoffier (vieux complice de Martinez cette fois). On peine à croire que ces quatre-là ne se soient pas trouvés plus tôt, tant leur vision d’un jazz rock revival semble aller à l’unisson. Une ouverture aussi étrange que peu représentative des myriades de traversées tout en douceur, que nous réserve le voyage. La pochette signée Edward Perraud, un brouillard de lumière façon William Turner, présage que rien ici ne va se dévoiler trop vite.

C’est d’ailleurs au volant, au cours d’une écoute la nuit, traversant une ville endormie, que le potentiel dramatique et poétique des deux titres suivants m’a saisie. « Transe », chevauchée de huit minutes, dans laquelle le duo Martinez-Escoffier s’adjoint les services du guitariste Stéphane Bartelt, et « Smity », un hommage en creux à Marvin Smith, batteur de Dave Holland qui affectionnait autant le jazz, le rock que le funk, font décupler le pouvoir d’évocation du jeu de Martinez. Toutes les histoires et projections sont permises sur cet écran à ciel ouvert. Cool et très « Miles », en ce sens.

Car dès l’introduction de « Derrière la colline », le doute n’est plus permis. C’est bien la mélodie du bugle qui impulse les changements harmoniques, les variations d’accords des trois autres. Le solo du soufflant se déploie dans le temps et le marque également. La marque d’un grand. Martinez joue fort, et les trois autres se prennent au jeu. Il suffit d’écouter le morceau s’emballer, la batterie d’Echampard cavalcader, pour s’en convaincre. L’un des sommets de l’album.

Cette cohésion est le fruit d’un travail mûri. La méthode appliquée dans les Studios Ferber, où il a été fabriqué, a été de faire naître ces titres en prenant le temps, à quatre, à l’ancienne, en les enregistrant ensemble dans une même pièce, sans quasiment aucun recours au montage et au re-recording. La réussite de la renaissance, ou de la « Re-re »naissance de ce quartet, après le départ de son premier bassiste, Fred Pallem, en dépendait.

Finalement, la grande force de l’album se trouve en avançant un peu plus, dans les interstices, les décalages et les moments doux-amers qui résident dans l’expressivité du jeu du trompettiste. Malgré le bonheur palpable qu’elle véhicule, cette musique cache aussi son lot de douleurs (écoutez la fin de « P and T ») et de désarmement. L’album se termine sur « Prune », chargé de déflagrations d’où naît une radieuse accalmie, celle d’un dernier duo Martinez et Escoffier, ici au piano, jamais plus beau que dans l’épure.

Rebirth et ses chants resteront lovés tout l’été, dans nos tympans, sacrés. Ils démontreront toutes les possibilités de la musique d’un quartet bien campé sur ses bases pour le grand saut, l’envol.



Miguel Ângelo Quarteto - A Vida de X (2016) PORTA-JAZZ



Depois de ter lançado "BRANCO (carimbo porta-jazz)" em 2013, o seu álbum de estreia como líder e compositor, o contrabaixista Miguel Ângelo promove o seu segundo trabalho "A VIDA DE X (carimbo jazz)" em 2016, mantendo a formação em quarteto com os seus habituais companheiros: João Guimarães, Joaquim Rodrigues e Marcos Cavaleiro. 

O segundo álbum "A VIDA DE X" é constituído por dez composições inspiradas em personagens fictícias ou em histórias imaginárias ou reais a que o quarteto deu vida e espera que cada ouvinte crie a sua própria visão e, desta forma, ganhe uma nova vida. 

"A VIDA DE X" não é uma simples vida, é um emaranhado delas!...


After having launched "BRANCO (Carimbo Portajazz)" in 2013, his debut album as a leader and composer, bassist Miguel Ângelo promotes his second "A VIDA DE X (Carimbo Portajazz)" in 2016, keeping the formation in quartet with their usual companions: João Guimarães, Joaquim Rodrigues and Marcos Cavaleiro. 

The second album "A VIDA DE X" consists of ten compositions inspired by fictional characters or imaginary or real stories that the quartet gave life and hopes that each listener create his own vision and this way, X gets a new life. 

"A VIDA DE X" is not a simple life is a tangle of them! ...





01. Missão ao Planeta RJ45 07:04
02. O0 05:56
03. Feriró & Putchin 05:21
04. Unveil 06:50
05. A Vida de X 04:28
06. Pop & Lume 07:34
07. Cinzento 08:15
08. 1 de Abril 04:43
09. Qualquer Coisa 09:09
10. E Viveram Separados Para Sempre... 06:52

Joăo Guimarăes - Saxofone 
Joaquim Rodrigues - Piano 
Marcos Cavaleiro - Bateria (Drums)

BUY
BandCamp  |  CDBaby  |  ITunes  |  Amazon  |  Google Music

miércoles, 28 de septiembre de 2016

São Paulo Underground - Cantos Invisíveis (CUNEIFORM RECORDS) 2016





Brazilian/American Trio São Paulo Underground
Expands Psycho-Tropicalia into New Dimensions on Cantos Invisíveis,
a Global Tapestry that Transcends Place & Time

PRE-ORDER LINKS

“A visionary jazz-rock trio.”
- The New York Times

“Limitless in its possibilities.”
- Rolling Stone

“A modern approach to Brazil's Tropicália, that takes into account advances in sound manipulation and engineering. It is street music from the Brazilian subterranean avant-garde and it is confusingly wonderful.”
- All About Jazz

“The Post-Don Cherry melodic splendor of Chicago cornetist Rob Mazurek has never been clearer, and it finds a simpatico home amid the polyrhythmic chaos forged by his Brazilian cohorts. This high-energy romp takes the sting out of the term fusion in the best possible way.”
- DownBeat


Cantos Invisíveis is a wondrous album, a startling slab of 21st century trans-global music that mesmerizes, exhilarates and transports the listener to surreal dreamlands astride the equator. Never before has the fearless post-jazz, trans-continental trio São Paulo Underground sounded more confident than here on their fifth album and third release for Cuneiform. Weaving together a borderless electro-acoustic tapestry of North and South American, African and Asian, traditional folk and modern jazz, rock and electronica, the trio create music at once intimate and universal. 

On Cantos Invisíveis, nine tracks celebrate humanity by evoking lost haunts, enduring love, and the sheer delirious joy of making music together. São Paulo Underground fully manifests its expansive vision of a universal global music, one that blurs edges, transcends genres, defies national and temporal borders, and embraces humankind in its myriad physical and spiritual dimensions.

Featuring three multi-instrumentalists, São Paulo Underground is the creation of Chicago-reared polymath Rob Mazurek (cornet, Mellotron, modular synthesizer, Moog Paraphonic, OP-1, percussion and voice) and two Brazilian masters of modern psycho- Tropicalia -- Mauricio Takara (drums, cavaquinho, electronics, Moog Werkstatt, percussion and voice) and Guilherme Granado (keyboards, synthesizers, sampler, percussion and voice). They’re joined on several tracks by Swiss-born, São Paulo resident Thomas Rohrer (rabeca, flutes, soprano saxophone, electronics, percussion and voice), who made a memorable contribution to Mazurek’s Black Cube SP on the transcendent 2014 Cuneiform release Return the Tides: Ascension Suite and Holy Ghost. Together, these singular and wildly imaginative sonic explorers create music unlike any other ensemble.


In many ways the music on Cantos Invisíveis is a celebration of camaraderie and the spaces that allow love and friendship to unfurl.

Alchemical aural conspirators for over a decade, the group has developed its own approach to structure, with slippery forms, unabashedly beautiful melodies and lapidary textures laced with disquieting electronica beats and stutter-stepping improvisation.

Rather than evoke a particular time and place, the music inhabits multiple planes simultaneously as “a projection of sound that celebrates as well as mourns past, present and future times,” Mazurek says. “The vocal quality of this particular music shouts and hollers for love and compassion, the joy and sorrows of life. It’s a street parade for everybody.” In the transcendent spirit of the Second Line, São Paulo Underground summons a joyful noise for all mankind.

The experience of listening to Cantos Invisíveis often feels like stepping through the fourth wall, as if you’re in the room with the musicians, watching the instrumental conversations unfold in real time. 

The production enhances the intimacy, creating a space to enter the music rather than building a protective shell around it. It’s a communion that can only develop “as a result of a lot of time spent together working on music and ideas and then travelling together playing throughout the world,” Takara says. “I think there’s a certain atmosphere that only living and spending time together brings, and the record captures that beautifully.”

The title Cantos Invisíveis translates from Portuguese as “invisible corners” or “invisible songs” or “disappearing corners or songs,” and the music evokes the elusive nature of these phantom songs, “always masking it in some kind of way, a disappearing through layering and sound manipulation,” Mazurek says. “The songs kind of disappear in a way like a cloud of pink in the sky. We create atmospheres that cause form and melody to disappear,” and to reappear, enticing savvy sound explorers to join São Paulo Underground on a journey, like following a mountain trail obscured by drifting clouds.


The album opens with the elegiac “Estrada Para o Oeste,” a buzzy, fuzzy processional that flows and ripples into a band incantation, an invitation for revelry. The party kicks off with the brief percussion-driven “Violent Orchid Parade,” which quickly gives way to a very different celebration on “Cambodian Street Carnival,” an unhurried piece based on a wordless chant.

While it opens with electronic blips and beeps, Takara’s wheezy “Lost Corners Boogie” gradually dials into an eight-legged Rube Goldbergian contraption, with each player providing locomotion. The tune paints a vivid interactive portrait of funky street life, simultaneously taking in, documenting and participating in the passing parade.

Mazurek unleashes on Takara’s quicksilver “Fire and Chime,” while the whole band summons spirits with “Olhaluai,” a mesmerizing, revelatory looping chant that feels like the album’s emotional centerpiece. 

The celebration comes to a conclusion with the shimmering Beach-Boys-meets-Pharoah-Sanders good vibrations “Of Golden Summer,” a piece featuring Mazurek’s exquisite melodic horn. For the after party, where the piper is paid and the dawn brings new insight, São Paulo Underground offers what amounts to a mini-suite. 

Part invocation and part country lament, the 16-minute “Falling Down From the Sky Like Some Damned Ghost” offers a final and utterly unexpected trip around the universe.

With Cantos Invisíveis, São Paulo Underground expands into realms seen and unseen, deconstructing the material (defying borders and genres) and manifesting the spiritual (universal human spirit and emotion) to create a new organism. 

Each of the album’s resulting songs is a breathtaking musical world, a living planet within São Paulo Underground’s visionary universe. 

Based on the extraordinary music on Cantos Invisíveis, as well as the dynamic albums the trio released in the past, the universe that São PauloUnderground is boldly charting will continue to flourish, evolve and expand.

SÃO PAULO UNDERGROUND: BAND BIO


São Paulo Underground was born at the end of Mazurek’s eight-year Brazilian sojourn, when he began collaborating with the group’s co-founders Takara and Granado in São Paulo. In 2006, São Paulo Underground released its mind-bending debut Sauna: Um, Dois, Três (Aesthetics/Submarine). 

This record established the ensemble as a singular São Paulo/Chicago axis, with contributions by Hurtmold, Marcos Axe, Tiago Mesquita, Wayne Montana, Damon Locks, Joshua Abrams and Chad Taylor. Following up with The Principle of Intrusive Relationships (Aesthetics/Submarine) in 2008, the band expanded to a quartet with the inclusion of drummer Richard Ribeiro. 

By the time the group recorded its 2011 Cuneiform debut Três Cabaças Loucuras, Ribeiro was on the way out and São Paulo Underground took its present form as an expansive trio. In 2013, Cuneiform released the trio’s critically acclaimed fourth recording, Beija Flors Velho E Sujo.

ROB MAZUREK


It’s difficult to overstate Mazurek’s immersion in the experimental ethos of Brazil’s avant garde. 

From 2000-2008, he moved between the denseAmazon jungle of Manaus, the Oscar Niemeyer-designed architectural wonderland in the capital Brasilia and the megalopolis São Paulo.

This brought him recognition throughout Brazil and allowed him to make lasting ties with leading artists and musicians that he continues to collaborate with today. 

Simultaneously, Mazurek continued his ascent stateside, in Europe and in Asia, by maintaining an intense touring schedule and constant flow of critically acclaimed, genre-defying recordings.

A polymorphously creative bandleader, Mazurek directs, composes and performs in a wide array of ensembles, from his highly interactive Chicago Underground Duo with drummer Chad Taylor, which released Locus (Northern Spy) in March 2014, to his talent-laden octet, which was captured on 2013’s Skull Sessions (Cuneiform), and of course São Paulo Underground. 

Always looking for synergistic cross-fertilization, he brought together his two subterranean ensembles, Chicago Underground and São Paulo Underground), and paired them with tenor saxophone legend Pharoah Sanders in Pharoah and the Underground, which released the CD Spiral Mercury and the LP Primative Jupiter (Clean Feed) in August 2014.

His latest releases include a duo with Jeff Parker, Some Jelly Fish Live Forever (Rogue Art), and Alien Flower Sutra (International Anthem Recording Company), a science fiction song cycle with singer/songwriter Emmett Kelly of The Cairo Gang. Exploding Star Orchestra remains one of the most important vehicles for Mazurek’s increasingly ambitious orchestral compositions.

This constantly shifting and capaciously inventive large ensemble has featured the likes of Roscoe Mitchell, as well as the late Bill Dixon and Fred Anderson, with Nicole Mitchell, Angelica Sanchez, Matana Roberts, Jeff Parker, John Herndon, Chad Taylor, Matt Bauder, Damon Locks, Mauricio Takara and Guilherme Granado, among others. 

The volatile ensemble released Galactic Parables: Volume 1, the most recent of nine Mazurek suites written for Exploding Star Orchestra, on Cuneiform in 2015.

Born in Jersey City, New Jersey, Mazurek moved to the Chicago suburbs as a child. In 1983, wanting to follow the example of his hero Sun Ra, he moved to the city and immediately immersed himself in the eclectic Chicago scene, playing alongside and studying with jazz masters like Ken Prince, Jodie Christian, Earma Thompson, Billy Brimfield, Fred Hopkins and Lin Halliday.

In 1994, he and guitarist Jeff Parker launched the Chicago Underground workshop at Chicago’s storied jazz club The Green Mill. The workshop featured many of the scene’s rising stars including drummer Chad Taylor. Eventually the workshop gave birth to the Chicago Underground Collective, an ensemble that recorded several albums for Delmark, Thrill Jockey and most recently Northern Spy. Mazurek’s collaborations include a wide cross section of leading figures and ensembles in jazz, electronic, rock and improvised music, including the late Bill Dixon, Yusef Lateef, Naná Vasconcelos and Fred Anderson, Pharoah Sanders, Roscoe Mitchell, Mike Ladd, Emmett Kelly, Jim O’Rourke, Sam Prekop and Isotope 217.

More than a prolific composer, Mazurek is increasingly recognized by major arts institutions as an accomplished visual artist and has received a number of grants and commissions for multi-media projects and collaborations. 

In 2016, he was awarded a grant from Chicago’s Graham Foundation for Advanced Studies in the Fine Arts for a film shot in collaboration with Lee Anne Schmitt at Mies van der Rohe’s iconic Farnsworth House. In 2015, Marfa Book Company presented “Marfa Loops Shouts and Hollers,” a solo exhibition of paintings, sculpture and sound by Mazurek. 

In 2013, he received a Helen Coburn Meier and Tim Meier Arts Achievement Award and was given a residency at the famed URDLA Centre International Estampe & Livre in Villeurbanne, France where he realized four 3D lithographs to be used as graphic scores for improvisation. 

In 2010, Mazurek received a Commissioning Music USA grant from New Music USA for a multi-media work developed in collaboration with video artist and choreographer Marianne Kim. In 2005, the year before he founded São Paulo Underground, he was awarded a prestigious artist residency at the French Abbaye Royale de Fontevraud, which gave him the opportunity to hone his interest in multi-media works.

Mazurek received a commission from the French Ministry of Culture in 2015 for a new work for a 17-piece ensemble comprised of French and American musicians. In 2013, the Sant'Anna Aressi Jazz Festival commissioned Mazurek’s Galactic Parables: Volume 1, which was performed live on Italian Rai Radio3. 

He topped off a highly productive 2012 by being voted International Musician of the Year alongside Wadada Leo Smith by Musica Jazz, Italy's top jazz magazine. In 2011, the Jazz & Wine Festival in Cormons, Italy commissioned him to compose his Violent Orchid Suite and the Sant'Anna Aressi Jazz Festival in Sardinia, Italy commissioned the Transgressions Suite.

MAURICIO TAKARA

Mauricio Takara is considered one of the leading voices in the new post-Tropicalia wave of Brazilian music. 

A São Paulo native, Takara has performed and recorded with a dazzling array of artists. From Brazil, key connections include Paulo Santos, Toninho Horta, Nacao Zumbi, Vanessa Da Mata, Sabotage, Naná Vasconcelos and Marcelo Camelo. 

On the international scene he’s allied with heavyweights such as Pharoah Sanders, Archie Shepp, Yusef Lateef, Tony Bevan and Prefuse 73. Besides São Paulo Underground, Takara has also worked with other Chicagoconnected projects and artists such as Exploding Star Orchestra, Joshua Abrams and John Herndon. Born in 1982, Takara started playing the acoustic guitar at the age of seven. Two years later, he took up drums. 

He played with local hardcore punk bands throughout the ‘90s and started Hurtmold in 1998, releasing six records on the Submarine label. Most recently, Selo Sesc released a collaborative recording, Curado, featuring Hurtmold with Brazilian multi-instrumentalist Paulo Santos. Since 2003, Takara also released five solo albums on Desmonta Discos including Puro Osso in 2014 and Sobre Todas e Qualquer Coisa in 2010. 

Takara has toured extensively in Europe (Sonar Festival/Barcelona, Roskilde/Denmark, WOMEX/Seville & Club Transmediale/Berlin), the US, India (World Socials Forum) and Brazil (Nublu Jazz Festival, SESC Pinheiros, and opening for Lo Borges and Milton Nascimento at Coquetel Molotov Festival).

GUILHERME GRANADO

Also hailing from São Paulo, Guilherme Granado is in the vanguard of Brazil’s electronic spiritualism sound makers, devoted to promoting music, beats and ideas in Brazil. He’s been avidly sought after by a disparate array of artists, including Prefuse 73, Naná Vasconcelos, Tulipa, Pharoah Sanders and Exploding Star Orchestra. Granado is an integral member of the Brazilian rock group Hurtmold and has released five records under Bodes and Elefantes, his solo project. His 2014 release, Glaciers of Nice Vol. 1 (Propósito Records), is a glorious electronic-infused spiritual. 

In 2016, Granado released Bode Holofonico (Prop Recs) with Leandro Archela, Prestige Duo with Ricardo Pereira, Transition Hustle and Homeless Loops Vol. 2 (guilhermegranado.bandcamp.com).

THOMAS ROHRER

Born and raised in Switzerland, Thomas Rohrer has lived in Brazil since 1995. Rohrer began his musical studies as a violinist and studied saxophone in the Jazz Department at the University of Lucerne. Rohrer, now a master of the keening rabeca (Brazilian viola), earned his stripes through two decades of intense studies with leading practitioners in Brazil’s northeast. Using his classical training, extensive knowledge of Brazilian folk music and love of improvisation, Roher integrates his rabeca and soprano saxophone into collective improvisations and traditional Brazilian music. 

He is a member of Trio TEC, the free-improv Abaetetuba Collective, a trio with reed expert Hans Koch and percussionist Panda Gianfratti, and a duo with Kazakhstani singer Saadet Türköz. He also performs in a long-running duo with Gianfratti and has worked extensively with double bass player Célio Barros since 1996. A cultural catalyst, he’s curated a number of international free improv festivals in São Paulo and collaborated with legendary multi-instrumentalist Yusef Lateef on a series of performances in Brazil. He has also collaborated with the London Improvisers Orchestra, Terry Day, Marcio Mattos, Mauricio Takara, John Russell, Javier Carmona, Phil Somervell, Bella, Ute Wassermann, Audrey Chen, Sabu Toyozumi, John Edwards, Phil Minton and Roger Turner.


1. Estrada Para o Oeste (Takara, Mazurek) 13:44
2. Violent Orchid Parade (Mazurek) 1:51
3. Cambodian Street Carnival (Mazurek) 6:45
4. Lost Corners Boogie (Takara) 6:02
5. Desisto II (Mazurek, Granado) 3:36
6. Fire and Chime (Takara) 2:38
7. Olhaluai (Takara) 5:51
8. Of Golden Summer (Mazurek) 4:14
9. Falling Down From the Sky Like Some Damned Ghost (Takara, Mazurek) 16:20

São Paulo Underground
Rob Mazurek:
cornet, Mellotron, modular synthesizer, Moog Paraphonic, OP-1, percussion and voice

Mauricio Takara:
drums, cavaquinho, electronics, Moog Werkstatt, percussion and voice

Guilherme Granado:
keyboards, synthesizers, sampler, percussion and voice

Thomas Rohrer:
rabeca, flutes, soprano saxophone, electronics, percussion and voice
-
Dedicated to the Spirit of Armando Julio.
Recorded by Manuel Calderon (Comanche Sound) at Sonic Ranch, El Paso, TX.
Additional recording by Mark Mazurek.
Mixed by Rob Mazurek and Manuel Calderon (Comanche Sound) at Sonic Ranch.
Mastered by Marco Ramirez at Sonic Ranch.
Produced by Rob Mazurek.
Cover Design by Damon Locks.
Compositions by Rob Mazurek (OLHO, ASCAP) and by Mauricio Takara (Basement Brazil).
Special thanks to Mark, Jennie and Alex Mazurek for their support during the creation of this record.


ARTIST WEB SITES
Twitter: @rob_mazurek - Instagram: @androidlovecry

SÃO PAULO UNDERGROUND - TOUR DATES: FALL 2016


São Paulo Underground - Cantos Invisíveis (CUNEIFORM RECORDS)

PRE-ORDER LINKS



themattsmithneujazztrio - RETROgrade (2016)



2013 in San Diego, CA themattsmithneujazztrio just released album "Shorthanded." These are compositions of drummer/trombonist Matt Smith. Matt conceived the musical writing while pursuing and gaining a jazz trombone degree at CSU Fullerton. These rhythmically free and melodically driven compositions highlight the very essence of a young trio with overwhelming maturity. 


01. Slim Dusty Rides Again (M.Smith) 08:36
02. Amrita (E. Kornhauser) 05:42
03. Gnewt (M.Smith) 09:20
04. January (E. Kornhauser) 06:31
05. Fresh Pots (M.Leighton) 03:38
06. Major Shift (M.Smith) 07:08
07. Midwest (M.Leighton) 08:18
08. RETROgrade (M.Smith) 05:57

Released September 16, 2016 

Recorded at RAJ studios 
Engineered/Mixed/Mastered by Chris Hobson 
Produced by Kamau Kenyatta


John Raymond & Real Feels - Live Vol. 1 (October 7, 2016) SHIFTING PARADIGM RECORDS





John Raymond is an American jazz trumpeter, composer and educator living in New York City.

Rooted in both traditional and modern forms, John's music incorporates jazz, classical, folk and indie-rock influences. Recently selected by Downbeat Magazine's Critics Poll for the Trumpet "Rising Star" category, he has performed with musicians such as Billy Hart, Kurt Rosenwinkel, Orrin Evans, Linda Oh, Ethan Iverson, Dan Tepfer and Gilad Hekselman among others. He has also recorded with Grammy-nominated singer Sara Bareilles, Dove Award-winning producer Darnell Davis, and performed at events such as the Austin City Limits Music Festival and on NPR's 'Toast of the Nation.'

John's album "Foreign Territory," released in April 2015, received critical acclaim from the New York Times, Downbeat Magazine and others. Of note, his composition “Deeper” was chosen as a winner of the 2015 Herb Alpert Young Jazz Composer Award presented by ASCAP. His latest album "Real Feels" also received glowing reviews from many major publications (including a ★★★★ 1/2 star review from DownBeat Magazine), and was celebrated with a 24-city CD release tour in 2016. 

John has also established himself as a sought after educator in New York and beyond. He currently teaches at the United Nations International School in New York, and he is also an active guest clinician & soloist at schools around the world such as the University of North Texas, Oberlin College, the Brubeck Institutue, New Trier High School, and Lawrence University among others. 

Read John's recent editorial "Developing the Entrepreneurial Mind: Teaching Students How To 'Bloom Where They're Planted'" - recently published in the Jazz Education Network's JazzED Magazine. Read Part 1 and Part 2.

John is an Adams Brass artist, and plays Adams flugelhorns exclusively.


John is also a Torpedo Bags artist, and only uses Torpedo Bags to carry and transport his horns.


01. I'll Fly Away 13:31
02. Yesterday 09:47
03. Atoms for Peace 09:43
04. Amazing Grace 10:54
05. This Land Is Your Land 11:10

John Raymond - flugelhorn 
Gilad Hekselman - guitar 
Colin Stranahan - drums

Recorded live at BLU Jazz (Akron, OH) by Joe Scott 
Mixed & Mastered by Dave Darlington 
Artwork by RT Vreize and Knorth Studios


martes, 27 de septiembre de 2016

Tim Berne's Snakeoil - Anguis Oleum (2016)



The last time we heard from the masterful Snakeoil, it was on 2015’s You’ve Been Watching Me, a widely-acclaimed recording that perfectly captured the sizzling, enigmatic energy of Berne’s quartet. Anguis Oleum, their newest release, was originally paired with Berne and artist Steve Byram’s limited-edition collection of drawings and photographs, Spare. Now, it’s available for download on the Snakeoil Bandcamp page, and everyone can get a taste of what this group sounds like when it loosens the reins a bit. Anguis Oleum is not actually a collection of all-new compositions, but a live recording - it contains a couple of pieces that have previously appeared within Snakeoil’s studio output, as well as some unreleased material. As on You’ve Been Watching Me, Snakeoil consists of Berne on alto saxophone, Oscar Noriega on clarinet and bass clarinet, Matt Mitchell on piano, and Ches Smith on percussion. Guitarist Ryan Ferreira is nowhere to be found, unfortunately, but the rest of the players more than makeup for his absence.

The opening composition, “Deadbeat Beyonce,” is one of those that was previously unrecorded. It opens with a lovely run by Matt Mitchell, notes cascading over one another and gradually increasing in both intensity and complexity. After four minutes, the reeds join in with intricate figures that are instantly recognizable as coming from Berne’s compositional toolkit - minor-key, tense, and suggestive of a convoluted system of alleys in a bleak metropolis. As it unfolds, “Deadbeat Beyonce” gives way to a wild fervor; Berne is practically shooting flames from his alto, and Ches Smith pounds with an unbridled force that is particularly striking when compared to the restraint he exhibits at the beginning of the track. Even in their fiercest moments, however, the members of Snakeoil maintain a certain rigidity, a disciplined single-mindedness. The passage through the alleys may be winding, with sudden shifts and unexplained detours, but the destination is clear. At one point, it seems that the piece will close with Mitchell’s twinkling keys and Noriega’s wounded bird-calls, but that’s just a misdirect: the group come together in one last eruption, one that swells, sinks, then swells again, eventually coming to an abrupt close.

“Spare Parts” moves at a slower pace than “Deadbeat Beyonce,” taking its time to develop and stretch out. In the composition’s opening minutes, Ches Smith is on vibraphone, which is admittedly the perfect instrument to accompany the noir-ish sound-worlds that Berne constructs. As Smith taps the vibes and Noriega moves through a series of labyrinthine shapes, one can’t help but re-imagine that shadowy metropolis, steam rising from the gutters and streets perpetually soaked in rain. After some time, Smith is back on the drums, Mitchell comes in with his expressive, dramatic chord-changes, and Berne is blowing with his icy fire - a sound that is simultaneously fervent and frigid, searing and cool. “Lamé 3” is a shorter piece, but it somehow condenses the cinematic scope of the longer compositions into eight minutes - there are twists, turns, unfettered peaks, and trembling moments of tension. Also, some of the players here hit their stride: at one point, Ches Smith abandons all pretensions towards restraint and just pummels his kit. Likewise, Berne engages in a short stretch of insanity that was somewhat surprising at first; instead of that cool reservation that he typically exhibits, he practically screams with his alto saxophone, sending the track into the stratosphere.

“Oc - Dc” is the final piece here, as well as being the longest. Here, the group shows off their marvelous sense of interplay, with an almost lighthearted exchange of notes - melodies that bounce off of each other, diffract, and inexplicably change shapes as the composition moves forward. That lightheartedness is refreshing, especially in the context of Snakeoil; with this group, Berne has primarily delved into tones and textures that are on the “bleaker” side of things, and the pieces can occasionally feel airless. That airlessness is not necessarily a bad thing - in fact, it might be required in order to convey the atmosphere that the group wants us to hear. Thus, despite the fact that many Snakeoil compositions seem to work with “one note” (serpentine, minor-key, filmic), that note is played exceedingly well, and Snakeoil scratch a musical itch that no other groups can. Anguis Oleum is proof that, among Tim Berne’s manifold projects, Snakeoil is the most consistent and the most fully-developed. Now we wait for the studio follow-up to You’ve Been Watching Me!


01. Deadbeat Beyonce 21:24
02. Spare Parts 18:55
03. Lamé 3 08:34
04. Oc - Dc 24:31

Tim Berne - Alto Saxophone 
Oscar Noriega - Clarinet, Bass Clarinet 
Matt Mitchell - Piano 
Ches Smith - Drums, Percussion


Mats Eilertsen - Rubicon (2016) ECM


Norwegian bassist Mats Eilertsen has been a strong and supportive presence on a dozen ECM sessions to date. With Rubicon he steps forward to present his own music, with an international cast. The album features compositions originally written in response to a commission from the Vossajazz Festival. All About Jazz reviewed the premiere performance: “Rubicon proved to be a very dynamic work. Eilertsen ensured that each of the instrumentalists took their share of the spotlight, brought together combinations of players that emphasized tonal variation, and created ensemble sections bursting with life.” After fine-tuning the material on tour, Mats brought his septet to Oslo’s Rainbow Studio, where Manfred Eicher produced this definitive version of Rubicon in May 2015.


Canto
Cross the Creek
March
Balky
Lago
BluBlue
Wood and Water
September
Reminiscent
Introitus

Trygve Seim: tenor and soprano saxophones
Eirik Hegdal: soprano, baritone sax, clarinet and bass clarinet
Thomas Dahl: guitar
Rob Waring: marimba and vibraphone
Harmen Fraanje: piano, Fender Rhodes
Olavi Louhivuori: drums