domingo, 23 de abril de 2017


A split vinyl album, more associated with the punk movement, now combines the Tampere's finest in the Finnish spiritual jazz and world music scene unveiling new and fresh unreleased material.

Nothing can replace or emulate the ESP like-minded musicians develop through playing together over a long period of time. Multi-instrumentalist Kusti Vuorinen, saxophonist Masa Orpana and drummer Janne Tuomi have performed and recorded together in various guises since the early 1990s, and this mutual understanding they now draw upon as main songwriters of the unique and mysterious Rakka.

As documented on the critically acclaimed albums ‘Soutu’ (2012) and ‘Mykorritsan valtakunta’ (2014), this colourful and extraordinary Finnish group draws on a variety of sources such as free improvisation, the European schlager tradition, marching band music and soundtrack melodies when creating their aural canvases of miracle and wonder.

Made whole by the talents of trumpeter Tommi Kolunen and bass player Ville Rauhala, who also writes music for the collective, Rakka is all about refining their intricate interplay and conveying an ever expanding spectrum of emotions. And just like audience reactions from cities such as London and Berlin prove, the organic sound of the quintet, ranging from melacholy dirges to spiritual outbursts of joy and beyond, is highly contagious by nature.

Side A: Rakka
1. Eskosfääri Vuorinen 05:01
2. Kauramoottori Vuorinen 05:46
3. Ikuisilta näyttävät tähdet Vuorinen 05:02
4. Kuuma Narttu Vuorinen 05:50

Kusti Vuorinen: organ, accordion, percussion, mbira
Tommi Kolunen: trumpet
Masa Orpana: tenor saxophone, clarinet
Ville Rauhala: double bass
Janne Tuomi: drums, percussion
+Inari Ruonamaa: alto saxophone on Kauramoottori

All songs written by Kusti Vuorinen
Recorded by Kusti Vuorinen, Antti Ilola and Pekka Pirttikangas
Mixed by Pentti Dassum
Managed by Annamaija Music Company

Founded by saxophonist Sami Sippola, bassist Ville Rauhala and drummer Simo Laihonen, Black Motor crashed on the Finnish jazz scene with a furious attitude in 2005. The sound, exactly like later described by one of their heroes and collaborators, saxophonist Peter Brötzmann, was ”refreshingly hard and gruff” when it propelled the expression of masters such as John Coltrane, Edward Vesala and Albert Ayler straight into the future.

Like a breath of scorching air, the trio blazed through the competition leaving behind unforgettable shows – sometimes with guests like saxophonist Juhani Aaltonen, guitarist Raoul Björkenheim and trumpeter Verneri Pohjola – and nine albums such as ’Vaarat vastukset’ (2008), ’Hoojaa’ (2011) and ’Yöstä aamun kynnykselle’ (2013) before coming to a watershed.

After well-received shows in London and New York City and a full ten years of action behind them, Black Motor underwent the first line-up change when Tane Kannisto replaced Sippola as the reedsman. However, determined to face every challenge vigorous as ever, the rough and ready Black Motor now became even more headstrong about taking rootsy high-octane improvisation to the next level.

Side B: Black Motor
1. Longer The Distance, Sweeter The Sound Rauhala 05:10
2. Lähempänä Taivasta Rauhala 04:51
3. A Sudden Twist… (and then it hurts) Rauhala 03:30
4. Ich habe dich schon vergessen Rauhala 08:06

Jouni “Tane” Kannisto tenor saxophone, flute, bells
Ville Rauhala: double bass
Simo Laihonen: drums

Compositions Ville Rauhala, arrangements BM
Recorded and mixed by Juuso Nordlund at JJ Studio, Tampere

Mastered by Jaakko Viitalähde
Liner notes by Petri Silas
Cover art by Kai Johansson

"Branches" record release@Kulttuuritalo Telakka w/ Koskinen/Romus/Hauta-Aho
@ Kulttuuritalo Telakka, Tampere
31 May 2017, 21:00
Release concert of "Branches" (on We Jazz Records) w/ Mike Koskinen (digital trumpet), Rent Romus (reeds) & Teppo Hauta-Aho (double bass) -> Kulttuuritalo Telakka -> We Jazz
in 38 days and 10:19 hours.

"Branches" record release@jaZZanti
@ Ravintola Laulumiehet, Helsinki
13 June 2017, 19:00
Release concert of "Branches" (on We Jazz Records) -> jaZZanti/Helsinki Jazz ry -> We Jazz
in 51 days and 08:19 hours.

Daniel Martyn Lewis - BACH Well-tempered Clavier II (ODRADEK RECORDS 2017)

Bach’s name in German means brook or creek, but as Beethoven put it upon seeing his scores, this was “Bach the Sea”. And so it was, at the seaside, that Daniel Martyn Lewis passed hours listening  to these works for the first time. He presents now his magnificent and powerful reading of Bach on his first disc with Odradek dedicated to the Well Tempered Clavier II.

Daniel Martyn Lewis
Well-Tempered Clavier II

The music of J.S. Bach is a rare combination of profoundly human expression and fiercely intellectual power, with the ability to move and fascinate listeners in equal measure. The Well-Tempered Clavier consists of two monumental volumes, spanning every key available, and it is the second of these two volumes which has been recorded for Daniel Martyn Lewis’ Odradek debut, The Well-Tempered Clavier II.

As the CD’s title reveals, Daniel Martyn Lewis has chosen to perform these exquisitely crafted works on the piano rather than on the harpsichord, and through the sonorities of the piano he presents this music in fresh guises, shedding new light on Bach’s extraordinary work.



The enduring appeal of Bach lies partly in the fact that fresh interpretations of his music are always possible. The Well-Tempered Clavier II is so intricate, so finely honed, yet not prescriptive in its nuances, enabling each interpretation to bring something different to the listener, who in turn will experience the music in a unique way. For Daniel Martyn Lewis, Bach’s music is the epitome of beauty and joy, and he communicates that sense of joy in radiant performances throughout this disc.

As a pianist, Daniel Martyn Lewis immersed himself in music of many eras before feeling compelled to return to his first love, Bach, and focus the greater part of his attention on interpreting that master’s music. This CD represents the fruits of that dedication to Bach’s output.

FRI., APR. 28, 7PM: Jazz master Onaje Allan Gumbs speaks 'Truth to Power' at City College Center for the Arts


Onaje Allan Gumbs and Trio Plus with special guests Nana Camille Yarbrough and Mem Nahadr set 
to perform at Aaron Davis Hall on Friday, April 28 at 7 p.m.

The City College Center for the Arts (CCCA) presents “Truth to Power,” featuring Onaje Allan Gumbs and Trio Plus, at Aaron Davis Hall on Friday, April 28. The musicians will be joined by special guest artists Nana Camille Yarbrough and Mem Nahadr for the 7 p.m. concert. 

“This dynamite trio of Onaje, Camille and Mem is an experience you just can’t miss. Each performer has a unique sound and texture, and when you combine them it’s just brilliant, powerful art,” said CCCA Managing Director Gregory Shanck.

The 2006 NAACP Image Award Nominee for Outstanding Jazz Artist for his album “Remember Their Innocence,” Gumbs has worked with such esteemed artists as Billy Cobham, Kevin Eubanks, Will Downing, Angela Bofill and Cassandra Wilson, as a producer, arranger and pianist. Gumbs composed, arranged and performed the original score for the Showtime film “Override,” directed by actor and producer Danny Glover.

“Truth to Power is an expression of our Blackness and a defiant assertion of our humanity. We are thrilled to bring our music and our message to new audiences and new generations, and to be able to have so many talented artists join us,” said Onaje Allan Gumbs. The concert’s star-studded line-up will include musicians V. Jeffrey Smith, Marcus McLaurine, Vince Ector and Gary Fritz. Poetry will be performed Yarbrough as well as Whitney Asoul Pulliam and Luquan Graham (Luquantumleap), who will be reciting a new poem entitled “Truth to Power,” written by Abiodun Oyewole, one of the founding members of the trailblazing spoken-word and music group The Last Poets. The concert will also feature vocalist Tulivu-Donna Cumberbatch.

Yarbrough is an award-winning performance artist, author, cultural activist, educator, dancer and griot. Dubbed “a hip hop foremother” by Spin Magazine, she is known as a spoken-word performer and performer from the Black Arts Movement, a dancer with the Katherine Dunham Dance Company, a speaker and an educator at the City College of New York. The 2000 re-release of her spoken word CD “The Iron Pot Cooker” (Vanguard Records) garnered wide acclaim. One of the songs from that album (“Take Yo’ Praise”) was covered by British DJ Fatboy Slim.

The soulful Mem Nahadr, also known as “M,” is an internationally acclaimed American performance artist and vocalist who is known for her performance of the song "Butterfly" composed by Yoko Kanno for the movie “Cowboy Bebop.” A composer, author, poet, filmmaker and activist, Mem’s most recent album, 2015’s “Femme Fractale: An Opera of Reflection,” received four stars from All About Jazz.

A highlight of the evening will be the presentation to Gumbs of the first-ever Bob Cranshaw Community Award by the Jazz Foundation of America. The award is named in honor of the renowned jazz bassist who passed away in 2016.

Tickets for the concert are $20 reserved seating and $10 for seniors and students and can be purchased online at or by calling the box office at (212) 650-6900. Patrons wishing to buy tickets in person may visit Aaron Davis Hall Tuesday through Friday from noon to 6 p.m. Aaron Davis Hall is located on the campus of the City College of New York, at West 135th Street and Convent Avenue (129 Convent Avenue).

City College Center for the Arts can be followed on Twitter at @ccnyarts. For more information on the concert and other performances at Aaron Davis Hall, visit


Onaje Allan Gumbs started playing piano at age seven. He graduated from Manhattan’s High School of Music and Art as well as the State University of New York at Fredonia.

He spent two years as pianist, composer, and arranger in the band led by the late, great trumpeter Woody Shaw.

Gumbs’ solo projects include “Onaje” (SteepleChase, 1976), “That Special Part of Me” (MCA/Zebra, 1988); “Dare to Dream” (MCA/Zebra, 1991); “Return to Form” (Half Note, 2003); “Remember Their Innocence” (Ejano, 2005); “Sack Full of Dreams” (18th & Vine, 2007), which was a Jazz Improv magazine pick among best albums of the year; “Just Like Yesterday” (Pony Canyon,  2010); and “Bloodlife” (solo piano, Ejano, 2013).

He is the featured pianist on Avery Sharpe's albums including, “Legends and Mentors” (2008), “Autumn Moonlight” (2009), “LIVE” (2010), “Running Man” (2011) and “Sojourner Truth, Ain't I A Woman” (2012).


The City College Center for the Arts hosts an ambitious, year-round calendar of student and professional performances.  The mission of the City College Center for the Arts is to provide a creative arts center and focal point for the City College of New York, building a sense of community within the College, elevating the profile of Aaron Davis Hall in the greater New York area, and connecting the College to the surrounding community through the arts.

sábado, 22 de abril de 2017

Great New Releases from Randy Ingram & Mike McGinnis! (SUNNYSIDE RECORDS)

Two Fantastic Releases Out Today (4/21/17)!

Randy Ingram's The Wandering and Mike McGinnis's Recurring Dream!

Pianist-composer Randy Ingram has put himself in a position to reveal more about his musical identity by scaling down to record The Wandering, a sophisticated, personal and enlightening duo album with bassist Drew Gress.

While other instrumentalists can choose a different mouthpiece or effects pedal to modulate and personalize their sound, pianists must develop their identity by how and what they play. Ingram has established his identity through his pianistic touch and sense of orchestration, earning many accolades over the years.  As Kevin Laskey of NYC’s Jazz Gallery says, “It’s hard to make a piano sing. You can’t breathe into it. You can’t slide from one note to another. The piano is a mechanical music-maker, and it takes a real artist – an Ahmad Jamal, a Bill Evans, a Fred Hersch – to make it come alive.  Pianist Randy Ingram is one of those artists. He has an immaculately honed touch and an unforced sense of lyricism.”

Ingram explains, “A jazz pianist’s true identity is defined equally by their tone and by the content of what they play:  the specific shades and colorations of their harmonies, the types of textures they favor and the way they think about orchestrating and stating melodies – especially in the context of ‘standard’ repertoire.”

Ingram’s thoughts were reinforced by the opening of a new NYC venue, Mezzrow, that featured stripped down performances, mainly by pianists and bassists, filling a void created by the closing in the mid-1990s of the famed Bradley’s on University Place. Mezzrow has become an incubator and stage for pianists of all sorts to display their talents with the minimum of dressings, typically in duos with bass.  The duo format resonated with Ingram, as one of the formative experiences in his musical development was a steady gig while at the University of Southern California with bassist Billy Mohler. Says Ingram, “I believe much of my stylistic identity started to form through playing that gig my last two years of college, and my memories of it have always made the duo format a very familiar and welcoming sound.”

As Ingram was developing repertoire for the followup to his previous Sunnyside release, Sky/Lift (2014), he began to feel a pull in a different direction. The music he was writing for his quartet focused on deeper interplay between piano and guitar, becoming more densely orchestrated and heavily structured. Ingram found himself thinking about ways that his pianistic voice could be more clearly and spontaneously be heard.

For Ingram’s debut performance at Mezzrow, bassist Drew Gress was his ideal duo partner.  Universally praised as a master accompanist and soloist, Ingram had long admired Gress’s playing, being familiar with the bassist’s solo recordings and work with Fred Hersch. The duo’s first gig together was exemplary: Gress’s playing was wonderfully supportive but also motivating, pushing Ingram to explore new musical areas.  At the conclusion of the duo’s first performance, Ingram’s friend, the saxophonist Jeremy Udden, described what he had heard as a stripped down, truthful statement on the identity of “Randy the player–Randy the pianist”. 

Purchase Here:

Stream: "The Rising"

The romantic dream of many aspiring jazz musicians is to sail into New York City, drawn by the magnetism of the metropolis, and to seek an apprenticeship amongst the heroes and legends of the music. It isn’t often that these dreams come true, but for saxophonist/clarinetist/composer Mike McGinnis they did in his friendship and collaboration, with jazz legends Art Lande and Steve Swallow, showcased on the trio’s Recurring Dream.

Originally from Maine, McGinnis grew up focusing on classical saxophone, leading him to the Eastman School of Music, where pianist Michael Cain introduced him to a coterie of musicians who experimented in melding jazz and classical musical concepts, including what was called Third Stream music in the 1950s and 1960s. Cain also led McGinnis to the music of pianist Art Lande, whose remarkable playing is beyond category on his own far reaching projects and those by his early band, Rubisa Patrol. Both musical conceptions had a big impact on McGinnis.

It wasn’t long before McGinnis met Lande at a friend’s wedding, where the intimidated McGinnis jammed with the pianist. There was an immediate creative spark between the two and they began to correspond, becoming close friends and collaborators for the next 15 years.

McGinnis had seen Swallow’s name tagged to tunes with bizarre titles in the Real Book but it took until this time and really hearing the bassist’s incredible playing for McGinnis to study his expansive oeuvre. In 2006, Ohad Talmor asked McGinnis to sub in his chamber ensemble for a European tour, where, remarkably, Swallow was the featured composer and in the bass chair. McGinnis took quick advantage to develop a relationship with Swallow, savoring his stories, witticisms and generous spirit.

McGinnis was able to finally realize his dream in 2016 as he invited Lande and Swallow to Brooklyn for a weekend of performing and recording. The trio recorded nearly three hours of music at Systems Two Recording Studios, which was winnowed down to the program on the arresting Recurring Dream.

Purchase Here:

May 5 - Romero Lubambo - Sampa
May 19 - Diego Barber - One Minute Later
May 26 - Carlos Franzetti & Allison Brewster Franzetti - Luminosa
June 2 - Dan Tepfer Trio - Eleven Cages
June 2 - Adam Kolker - Beckon
June 9 - Dominique Eade & Ran Blake - Town & Country

Tim Allhoff Trio - There Will Be Light (UNIT RECORDS 2017)

Two-time winner of the prestigious ECHO JAZZ, winner of the NEW GERMAN JAZZ AWARD and a welcomed guest at many renowned festivals and stages - German pianist Tim Allhoff's Trio is undeniably a constant magnitude on the national jazz scene. The »ZEIT« proclaims »Intelligent Music for the Masses«, the »Sueddeutsche Zeitung« cheers: »Yes, this is jazz! And what jazz it is!« On their fourth release "There will be light", the band once again demonstrates their mutual attachment and understanding, extraordinary interplay and individual class.

After the first three successful Trio-albums, the three companions return to straight acoustic sound on the brand new release, except for the Fender Rhodes, which delightfully appears on some tracks. Apart from a few arrangements of jazz standards and pop songs, this album features mainly original compositions by the bandleader Tim Allhoff.

1. Improvisation I 1:16
2. Avalon 8:33
3. Burn The Witch 4:46
4. There Will Never Be Another You 4:30
5. End Of September 8:11
6. Improvisation II 3:39
7. Reach For The Star 3:48
8. Tune No. 8 6:38
9. Birthday Song 7:06
10. Seven Daily Sins 6:19
11. Satoru Nakata's Dream 6:26
12. Hollow Talk 6:59

Tim Allhoff - Piano and Fender Rhodes
Andreas Kurz - Bass
Bastian Jütte - Drums

Kiesewetters Gammarama - The Mission (UNIT RECORDS 2017)

Woodwind and composer Jan Kiesewetter ventures forth on 'The Mission', his band's second release. While the debut 'For the Cats' (2014) already veered towards euphonious originality its successor 'The Mission' intensily advances another cornerstone in Kiesewetter's sonic cosmos.

He takes his musicians, guitarist Bernd Huber, double-bass player Uli Fiedler and drummer Tilman Herpichböhm on quite a trip. A trip to artisticly phrase his innate fondness for music. A trip that retains the fascination and the evidently endless delight in playing and experimenting. 

'The Mission' sounds as blythely and boundless as a freshly recorded superb live gig. Swiss jazzlabel UNIT has released a contemporary feast for the ears.

1. The Pony 7:33
2. The Real Birdman 4:29
3. The Mission Suite: Preface 4:12
4. The Mission Suite: Main Part 8:59
5. The Mission Suite: Epilogue 5:18
6. Personal Work Song 5:54
7. Under Pressure 5:34
8. Hangin' Out (Nicely Exhausted) 8:01

Jan Kiesewetter - Saxophones, Clarinet, Composition
Bernd Huber - Electric guitar
Uli Fiedler - Double bass
Tilman Herpichböhm - Drums

All compositions by Jan Kiesewetter
Recorded at Realistic Sound Studio, Munich, Germany
Recording date: May 16 & 17, 2016
Studio engineer and mixing by Florian Oestreicher
Mastering by Moritz Illner
Produced by Jan Kiesewetter and Uli Fiedler

Caryl Baker Quartet - True Balance (UNIT RECORDS 2017)

With a combination of lyricism, rhythmical energy, restraint and exuberance, the music presented as it is makes a strong impression of its improvisational prowess, and it’s constant "search for sound" reveals the different musical personalities.

The music of the quartet puts great emphasis on themes and improvisation, sometimes developed on complex harmonies and rhythms. The saxophones are supported by an inventive and solid rhythm section, allowing the band total freedom and interactivity.

1. Understatement 5:41
2. Don't Loose It 5:30
3. Rue Franche 5:58
4. A Distinction Without a Difference 9:32
5. Destiny's Dance 5:33
6. Skyline 7:12
7. Southpaw 3:43
8. Ruse 10:29
9. The Essence of Silence (Live) 7:49
10. Plus de Nouvelles (Live) 3:27

Caryl Baker: piano
Luigi Galati: drums
Emanuel Schnyder: double bass
Daniel Erismann: trumpet / flugelhorn
Lucien Dubuis: bass clarinet (guest on 1, 2, 5, 6)

Chico Freeman: saxophone

Recorded and mixed on 18 - 20 March 2016 by Clé ment Gariel at Studio de Meudon, Paris, France 
Mastered by Julien Basserès at Studio de Meudon, Paris, France

All compositions by Caryl Baker and Chico Freeman 
Produced by Chico Freeman
Executive producers: Caryl Baker, Unit Records 
Photos: Ekaterina Semenova (front), Ferrucio Gadani (back), John Reift (inside)

Thanks to Of ce de la culture du canton de BerneSwisslos, Soutien culturel de la ville Biel/Bienne, Pourcent-culturel Migros / Tracks 9 & 10 recorded live at the Auvernier International Jazz Festival.

Special Thanks to Luigi, Emanuel, Daniel, Chico, Lucien, Bernard Faulon (for his warm welcome and wonderful studio), Clément, Julien, the Baker family and Federico Leonardi for their great dedication for making this project possible.

Lionel Beuvens & MOTU - Earthsong (IGLOO RECORDS 2017)

The drummer Lionel Beuvens has just unveiled his second album, "Earthsong": a tribute to earth, nature, adventure, freedom, and the energy released by strong, contrasting and complementary personalities playing off each other.

This project was created as part of a project for the Gaume Jazz Festival in 2011, which led to a debut album ('Trinity', 2013) and numerous concerts. This enabled the group to create its own identity where each member can freely express themselves. The many concerts were of such intensity that they quite naturally incited Lionel to write a new repertoire, and bring the group to the Gaume Jazz Festival for a second creation in 2015.

For this second opus, the quartet enlisted the creative forces of French saxophonist Guilhem Verger and singer Natashia Kelly. The sax boosts the possible interactions between the musicians and the breadth of the writing, while the singing focuses the energy and makes the music more accessible.

Lionel’s influences are wide and varied: grooves inspired by African music, Steve Coleman or even Greetings From Mercury; and the atmosphere of Bill Evans or Henri Purcell. The interaction between the musicians echoes the Miles Davis Quintet.

"Earthsong" follows in the path of the first release: a balance between tradition and modernism, where the groove is there for the melody and the melody is there for the groove. An album with a broad repertoire that boasts compositions of richness and depth.

Song of Ive
Earthsong III
Earthsong II
Earthsong I
Three Trees
Bridge House

Lionel Beuvens drums
Kalevi Louhivuori trumpet
Brice Soniano double bass
Alexi Tuomarila piano

Special Guests
Natashia Kelly voice
Guilhem Verger sax