lunes, 26 de junio de 2017

Ben Frost Quartet - Ben Frost Quartet (2017)


Vancouver’s Ben Frost is an emerging composer/trumpeter whose lyrical approach takes inspiration from traditional jazz as well as contemporary players such as Tom Harrell and Ingrid Jensen. His quartet featuring pianist Jenny Xu, bassist Stephen Edwards, and drummer Miles Wong artfully explores Ben’s emotional and thought-provoking originals.

1. Soho 07:22
2. Little Creatures 07:30
3. JJ 06:16
4. Under Over 07:41
5. Ona 08:15
6. Pete's Seat 06:54


Ben Frost - Trumpet & Flugelhorn
Miles Wong - Drums
Stephen Edwards - Bass
Jenny Xu - Piano

Dino Massa Kansas City Quintet - Echoes of Europe (ARC​-​2680) BURNETT MUSIC 2017


This compact disc release on the Artists Recording Collective (ARC) label is the product of an international musical collaboration between Christopher Burnett and his guitar quartet with Italian jazz piano virtuoso and composer, Dino Massa. It's a great story and a great recording. 

What the press is saying: 

“This record was immediately attractive on first listen, and subsequent plays have not dimmed my enthusiasm.” - Roger Atkinson reviews the debut recording by Dino Massa Kansas City Quintet in the April / May 2017 issue of Jazz Ambassador Magazine. 

“On This New Jazz Record, Kansas City And Italy Make Beautiful Music Together – It’s an exceptionally graceful album (Echoes of Europe) that imbues mainstream jazz with the elegant sheen of classical chamber music.” - Bill Brownlee for KCUR 89.3FM (Kansas City Star, Ink) 

“…rich watercolors of sound. 
Like listening to Monet.” 
- George W. Harris, Jazz Weekly 

“This is top quality jazz 
…highly recommended for both traditional and modern jazz fans.” 
- Jon Neudorf, Sea of Tranquility 

"Easy going jazz that isn’t easy listening, straight ahead ears will dig the proceedings. Well done throughout.” - Chris Spector, Midwest Record


01. Alone (Massa) 06:03
02. Echoes of Europe (Massa) 06:32
03. Imagine (Hampton) 06:08
04. Notos (Burnett) 06:10
05. Paris (Massa) 06:41
06. Remembering (Massa) 07:16
07. Tarantella (Massa) 08:51

Charles Gatschet – guitar 
Andrew W. Stinson – bass 
Clarence Smith – drums, percussion 

GUEST MUSICIANS 
Terri Anderson Burnett – flute 
Freda Proctor – flute 
Marcus Hampton – flugelhorn, composition 
Stanton Kessler – flugelhorn, trumpet

Yazz Ahmed - La Saboteuse (NAIM RECORDS 2017)


“..Gilles Peterson will be all over this..” - The Quietus 

“…let Ahmed take you on a beautiful journey of forward-thinking jazz compositions.” - Twistedsoul 

“its potent mix of post-bop lyricism and modern fusion soundscaping makes connections with both head and heart.” - Dave Sumner, Bandcamp 

“Even if you’re not familiar or terribly interested in jazz, Ahmed’s music deserves your attention, and she’ll most likely make you second guess your thoughts on jazz.” - Headphone Nation 


Bahraini-British performer, Yazz Ahmed, is transforming what jazz means in 2017. This trumpet and flugelhorn-playing artist has worked with Radiohead and These New Puritans, experiments with electronic effects, and combines sounds from her shared heritage to author a new narrative for the genre. Part of the new wave of artists credited with stirring up the sound, including Kamasi Washington, Yussef Kamaal, Sons of Kemet and The Comet is Coming, Yazz Ahmed is thrilled by the possibilities of making something new. “I feel like I’m a part of modernising jazz and connecting it with audiences today,” Yazz says. “It’s exciting.” 

Her new album ‘La Saboteuse’ is a deep exploration of both her British and Bahraini roots. Ably assisted by musicians including Lewis Wright on vibraphone, MOBO-winning new jazz kingpin Shabaka Hutchings on bass clarinet and Naadia Sherriff on Fender Rhodes keyboard, it’s composed of undulating rhythms, Middle Eastern melody and Yazz’s sonorous trumpet lines. The record sounds like the passage of a desert caravan, bathed in moonlight. The theme of ‘La Saboteuse’ is the sense of self-doubt that Yazz feels when she is creating, personified in a female saboteur, an anti-muse that spurs her into action. “Giving ‘her’ a name has really helped me to identify those negative voices we all get,” she says. “I know what it is and I know how to combat it.” 

‘La Saboteuse’ will be released in four chapters incrementally, unravelling the story, before the full version is available. Each chapter has its own cover, with beautiful illustrations by Bristol artist Sophie Bass. “I feel really touched, nobody’s created art from my music before, it’s really special,” Yazz says. 

Yazz spent her early childhood in Bahrain, her paternal homeland, before moving to London with her English mother at the age of nine. There, she became fascinated by her grandfather’s trumpet playing, and vowed to learn the instrument herself. “My grandfather, my mum’s dad, was a trumpet player, and I was quite taken by him, inspired. I wanted to learn the trumpet at school.” Jazz became her chosen form of expression, because “I loved the spirit of the music, the freedom. There’s a lot of joy, mystery. I connected with it”. Yazz’s sound is unique. Her take on jazz weaves in Arabic melodies to evocative, cinematic effect. “I love the sounds of Arabic music. The traditional folk singing is so heartfelt, elemental and passionate. I absorbed it as a child, but only in the past few years has it come to the surface in my playing and writing. I want to embrace my culture and my British jazz heritage, the music my grandfather played to me.” 

Jazz has traditionally been a male-dominated sphere, though Yazz is challenging that notion. To start with she found it a hindrance, but has been empowered by a new wave of women musicians. “There are more female jazz musicians and attitudes are changing,” she says. “People see that women can play just as well as the men. But there are still areas that haven’t caught up with the rest of society. It’s getting better, but we can do more.” 

Future-facing and fascinating, Yazz Ahmed is part of a glimmering new constellation in the jazz firmament. And her next project is destined to take her further into the stars. “I’m planning to write a piece inspired by the ever-changing structures of the universe,” she concludes.

domingo, 25 de junio de 2017

Even Chick Corea endorsed this album: Dave Kline Band - Shifting Borders (September 1, 2017)


Dave Kline Band
Street Date: September 1, 2017



Dave Kline Band CD Release Party at Blues Alley (8pm Show)

On Monday, September 18th, 2017, the Dave Kline Band will return to Blues Alley for their CD release party. The new CD is titled Shifting Borders. It looks and sounds fabulous and the band is thrilled to be releasing it at this venue. The band sold out the 8 pm show in March and the audience was blown away. (We apologize to those fans who were unable to get into the 8pm show! Please grab your tickets once they are on sale so you will not be disappointed  this time around.) 

They will be playing a 10pm show also and, if you're able, we'd love to see you at that show!

We really want to make a statement at this CD release party, bring your balloons and party favors, we are going to rock out!!

Shows at 8PM & 10PM
Tickets: TBA


sábado, 24 de junio de 2017

viernes, 23 de junio de 2017

Giovanni Mattaliano - Spirit (JAZZLIVEIMPROVISATION 2017)




Giovanni Mattaliano ensemble e il suo Spirit

Giovanni Mattaliano, clarinetto, clarinetto basso e composizioni

con

(Enzo Puccio pianoforte e sinth, Davide Mazzamuto violino, Giovanni Punzi clarinetto,

Antonino Anzelmo clarinetto basso, Gianluigi Cristiano chitarra classica, Gabriele Giambertone chitarra acustica,

Daniele Schimmenti hang drum e percussioni, Massimo Patti contrabbasso, Giuseppe Urso batteria.)


Si chiama Spirit il nuovo lavoro discografico dell’eclettico clarinettista e compositore siciliano Giovanni Mattaliano, prodotto dall’etichetta jazzliveimprovisation (www.jazzliveimprovisation.com) e realizzato con la partecipazione di alcuni sensibili musicisti, con i quali collabora da diversi anni alla ricerca di dimensioni creative. Un richiamo all’anima e alle sue poliedriche emozioni sonore. Undici brani strumentali che sfiorano vari mondi, dal pop al jazz, dal concertismo neoclassico a quello etnico, dal tango alla liricità gridata. Ricerche d’arte, ricordando il suono dei numerosi viaggi vissuti in variegati paesi, dai balcani al nord Africa, dalla Cina al nord Europa. Spirit, Il giorno della vita, Bannata, 25 aprile, Zeta World, Volo one, Rif Lif e Gea, sono i nuovi brani composti da Mattaliano per intercettare i suoni e le arti degli uomini, oggi più che mai in movimento sul pianeta, riverberi di paesaggi preziosamente immaginari, di un’umanità che vive tra gli incroci di culture ben assimilate pronte a mettersi in discussione, tra le preghiere di un’arte futura in ripristino. Completano il disco un brano in duo con il pianista/compositore Enzo Puccio (Tired) e infine due brani della tradizione bulgara e sefardita. La fotografia è curata da Giuliana Torre.


Spirit verrà presentato in concerto con il Giovanni Mattaliano Ensemble il 30 luglio a Cefalù nell’ambito del Clarinet Sicily Festival e il 5 agosto a Palermo per la stagione estiva di Palazzo de Gregorio.


GIOVANNI MATTALIANO (CENNI BIOGRAFICI)

“Musicista di rara bellezza creativa…” così lo ha definito il regista francese Richard Martin (tournée della pace 2003 in 14 paesi del Mediterraneo). Ha superato i 3000 concerti, metà dei quali con produzioni di proprie musiche rappresentate in giro per il mondo (Usa, Cina, Bulgaria, Romania, Norvegia, Francia, Olanda, Belgio, Italia, Tunisi, Marocco, Algeria, ecc..), esordisce giovanissimo con il concerto K622 di Mozart per il bicentenario (1991). Insegna dal 2010 clarinetto jazz al Conservatorio di Palermo (prima cattedra in Italia). Vanta collaborazioni solistiche con artisti della canzone come Tosca, Sting, Claudio Baglioni, Beppe Servillo, Etta Scollo, Rossana Casale, Natalie Cole, Marco Massa, Aida Satta Flores, I fratelli Mancuso e grandi nomi del jazz come Gunther Schuller (Ia europea dell'opera Epitaph di C. Mingus- Orchestra Jazz Siciliana), Natalie Cole, Giorgio Gaslini, Paolo Lepore, Charles Floyd, Clarke Terry, David Miller, Bill Russo, Paolo Fresu, Enzo Randisi, Billy Childes, ecc.

Partecipa dal 2005 al 2008 come clarinettista/attore/improvvisatore alla pluripremiata produzione “Romana” (omaggio a Gabriella Ferri), con più di 200 repliche. Nel 2007 partecipa con la Nica Banda e Tosca al festival di Sanremo (7° posto), in diretta su Rai 1 e con una lunghissima tournée in Italia e all’estero. Fiatista siciliano, creativo e poliedrico collabora come compositore ed esecutore con i registi Michele Perriera, Renzino Barbera, Massimo Venturiello, Richard Martin, ecc. A lui sono state dedicate numerose partiture per clarinetto e orchestra ed ensemble da compositori quali: Marco Betta, Marcello Biondolillo, Oscar Del Barba, Antonio Fortunato, Ruggiero Mascellino, Ennio Morricone, Cesare Picco, Gaetano Randazzo, Giovanni Sollima, Paolo Ugoletti e molti altri, tutte eseguite in prima assoluta. Nel 2015 ha pubblicato il suo primo libro di poesie sul suono “ReMaRe” presentato in concerto il 21 marzo a Bologna in occasione della giornata mondiale della poesia. Ha prodotto e curato i testi, le musiche e la regia dei suoi recenti spettacoli “Quell’unico fiato”, “Colori d’anima mediterranea”, “Storie musicate di un amanuense”, “I suoni dell’isola”, “Fiati di corde”, “Soteira”, “Viaggiando”, “Spirit”. Ha inciso tre lavori discografici con proprie musiche: Voci del dove (2008), ..Soteira (2012), ..Spirit (2017) per l’etichetta indipendente jazzliveimprovisation records e collaborato a numerose incisioni con altri solisti d’arte. In questi ultimi anni si dedica alla composizione di brani per i suoi fiati (clarinetto, clarinetto basso, sax soprano), eseguiti dal Giovanni Mattaliano Ensemble e da altri solisti del panorama clarinettistico internazionale. Dal 2016 è uno degli artisti della Buffet Crampon di Parigi, storica casa di produzione di strumenti a fiato per la quale realizza dei workshop di clarinetto creativo con proprie musiche.


Scenes - Destinations (ORIGIN RECORDS 2017)



"After 15 years of performing together, the rapport between the legendary Portland guitarist John Stowell, and Seattlites, bassist Jeff Johnson and drummer John Bishop, has reached such a level of intimacy and connectedness, they transcend the traditional concept of a "guitar trio." Whether performing their intriguing originals or the thoughtful reimaginings of less-done classics, each piece is a ticket to somewhere unique, like a travelogue of where the trio's members have been and where they would like to go. Documented on five albums for Origin Records, their music continually inspires comments from reviewers bordering on the poetic: "Whispers of intelligent messages." Jazz Weekly 

"A long standing guitar trio of Portland/Seattle cross pollination, their sound and vibe only deepens with each outing. A solidly burnished set that stands toe to toe with any modern genre highlight, this is sitting down jazz that gets you standing up and cheering. Smart, angular stuff that'll more than bring out the high tone, up market listener in you." CHRIS SPECTOR, MIDWEST RECORD

1. The Mandy Walk (4:40)
2. Long Prairie (5:18)
3. Solar (6:27)
4. Für Heide (5:25)
5. Pretty Boy Floyd (5:03)
6. T.I.O. (6:34)
7. Psalm (7:15)
8. You And The Night And The Music (6:48)
9. Simple Pleasures (5:55)
10. Tapioca Time (4:27)



Produced by Scenes 
Recorded & mixed by Floyd Reitsma at Studio Litho, Seattle, WA 
on September 8, 2016 & March 9, 2017 
Mastered by Dan Dean at DDP Studio, Mercer Island, WA 
Cover Art by Rudy Bagozzi 
Photography by Eric Malfait, Carlos Pinto 
Cover design & layout by John Bishop

The Pogo Problem - The Pogo Problem (2017)


The Pogo Problem is an Icelandic/Danish collaboration under the leadership of Icelandic guitarist/composer Steinar Guðjónsson. He is accompanied by Anders Hellborn (Billow) on electric bass, and Kristoffer Tophøj (Tako Lako, Wangel, Interfoam) on drums. Their music is a fusion of instrumental pop, Nordic jazz, and progressive rock. The guys first met in Stockholm 2011 for the Young Nordic Jazz Comets Final, where Steinar’s Icelandic quartet Skver and Kristoffer’s Danish band Interfoam participated. The two guys later teamed up with Anders in Copenhagen.

They received a nomination as “Icelandic Music Award, Jazz composition of the year” for their tune “Difference of Opinion”.



All compositions by Steinar, exept "Over Time" by Anders and "Miderbarn, Teenager" by Kristoffer. 

Recorded and mixed by Thor Madsen and The Pogo Problem 
at Millfactory studios, Copenhagen, june 2016. 

Mastered by Finnur Hákonarson 
Photos by David Valentin Schweiger @schweigerphoto 
Layout by Schnauzer

Alex Goodman - Second Act (LYTE RECORDS June 23, 2017)


Guitarist / composer Alex Goodman Opens a New Chapter Featuring a Stellar Band of Next-Generation Jazz Voices on Second Act


On his fifth album, out June 23rd on Lyte Records, the Toronto native
stakes his claim on the New York City jazz scene alongside Matt Marantz,
Eden Ladin, Rick Rosato and Jimmy Macbride

"Excellent technique, a full, rich guitar tone and a definite unique musical voice." - Vince Lewis, Guitar International

 "Goodman has acquired a signature style that's definitely like no other...a jazz phenomenon the world over." - The Birmingham Times

"Shuns convention while merging disparate forces into a harmonious union...."
- Glenn Astarita, All About Jazz


After five years in New York City, Alex Goodman has not only established himself as a rising star and significant voice in the jazz mecca, but has gathered together a gifted group of peers, each of whom are quickly forging a path forward for the music's next generation. The guitarist/composer began his career in his native Toronto, becoming an integral part of the scene in the Canadian city and receiving a wealth of accolades across the country. The CBC News hailed him as having "taken the jazz world by storm [and] attained a level of fame and success in the insular jazz community that few other Canadian guitarists can match." In 2014 he received international recognition winning both first prize and the Public's Choice Award at the Montreux Jazz Festival International Guitar Competition in Switzerland.

Goodman's last release, Border Crossing, documented his initial reactions to his move to NYC and his acclimation to a new setting. With his fifth album, Second Act, Goodman looks poised to make a similar impact in his adopted home, revealing a vision shaped by the Big Apple's thriving modern jazz scene and by the dedicated and accomplished group of musicians with which he has surrounded himself.

As the title implies, Second Act (out June 23rd via Lyte records) signals a new beginning as much as the closing of a particular period, and the album's eleven striking compositions more than live up to that promise. A stunning departure from the chamber-jazz style of Border Crossing, the music on Second Act balances inventive composition and thrilling improvisation, with pieces that boast exhilarating, fluidly angular melodies and intricate architecture but which spark electrifying spontaneity from Goodman and his deft quintet.

"Second Act is my first CD comprised of a New York City based band that was assembled around the member's similar artistic vision," Goodman says. "All the music was written while I've been living here, and it all relates to the things that happen in the life of a musician living in New York City."

Given the agility of the playing and the depth of communication throughout the album, Second Act features a band that has obviously spent a good deal of time getting to know each other's sonic personalities. Goodman is joined by four peers who have also come to the city from a variety of disparate places and experiences: saxophonist Matt Marantz (Texas), pianist Eden Ladin (born in NYC but raised in Israel), bassist Rick Rosato (Montreal) and drummer Jimmy Macbride (Connecticut). They've each formed relationships with such envelope-pushing artists as Avishai Cohen, Will Vinson, Lage Lund, Nir Felder, Terence Blanchard and Jonathan Batiste, while working together in a variety of settings, spurring each other onward into exciting new territory.

"Everybody in the band is on the same wavelength both musically and personally," Goodman says. "I think we all share the same creative mindset, where everybody has a very firm foundation in the tradition of jazz but is also very creative and adventurous. Each one of them brings some of their own personality and identity to their playing, which I really value, but they're also very well rounded musicians who can do a lot of different things."


To enhance the music's already wide-ranging palette, Goodman added layers of human voice to the pieces after the initial studio sessions, writing new parts for the wordless vocals that interweave with not only his originally written material, but also the band's in-the-moment interpretations. He enlisted a talented pair of fellow Canadians to sing the parts: Felicity Williams, a longtime collaborator who also appears in a similar role on Border Crossing, and Alex Samaras, a key contributor to the Canadian jazz and new music scenes. Goodman often layers the two vocalists' contributions, offering him the option of employing sinuous lines or lush, swelling choruses as desired.

Rosato's knotty bass initiates "Questions," the album's brisk opening track, highlighted by the sauntering swing of Ladin's piano solo. "The First Break" is fueled by Macbride's intense, mechanistic rhythms and the composer's serrated guitar, while the infectious "Departure" gradually accumulates from a tenuous solo intro passed off from Goodman to Ladin, which finally unfurl into the piece's memorable melody. The leader's ringing, resonant solo playing provides an extended overture for the exultant "Losing Cool," a showcase for Goodman's alluring vocal writing.

"Empty" erupts from the outset with an overdriven rock urgency, contrasted by the mysterious, ethereal hush of "Heightened," before that piece gives way to sheer, joyous swing. Marantz wends a boldly eloquent solo through the bustling "Sharon," while Goodman's fleet fretwork and Ladin's burbling Rhodes intermingle rapturously on "Welcome To New York." "Apprehension" adds soaring vocals to an already lyrical melodic cascade before "Acrobat" closes the album on a wistful, free-floating note.

The bliss and brusqueness that Goodman balances throughout Second Act are an apt portrait of life in the jazz metropolis, reflecting what the composer calls "a tension that exists in living and being a musician in New York City. It's difficult and crazy and sometimes out of control, but at the same time there's something fulfilling and exuberant about it. It's so inspiring to see the level at which everything is happening all around you. Just to be a part of that has been really powerful and life affirming."


Alex Goodman has been hailed as "a definite musical voice" (Guitar International), "a jazz phenomenon the world over" (Birmingham Times), "genius" (La Presse) and "among the best in jazz today" (Improvijazzation). The Toronto native released his leader debut, Roots, in 2007 and his 2013 album Bridges was nominated for a JUNO, Canada's highest musical honor, as Contemporary Jazz Album of the Year.

Since moving to New York in 2012, Goodman has recorded with artists including John Patitucci, Dick Oatts, Kevin Hays and Rich Perry and performed with a variety of notable jazz musicians including Charles Lloyd, Eric Harland, Ari Hoenig, Jane Monheit, Ben Wolfe, John Ellis and John Riley. He was awarded a 2013 ASCAP Herb Alpert Jazz Composer Award, has written a book of solo guitar etudes and has composed extensively for jazz groups, chamber groups, orchestras, big bands, and string quartets. Along with performing at top New York City jazz clubs such as Smalls, the Appel Room at Lincoln Center, Mezzrow, 55 Bar, Smoke, National Sawdust and Cornelia Street Cafe, Goodman has toured the world, playing prestigious international venues such as the Kennedy Center in Washington D.C., Massey Hall in Toronto and Club Unterfahrt in Munich. He's also performed on the stages of prestigious international jazz festivals including Winter Jazz Fest in New York, the Montreal Jazz Festival and the Montreux Jazz Festival. He is a graduate of the Master's Program in Jazz Performance at the Manhattan School of Music.