viernes, 24 de junio de 2016

Wadada Leo Smith featured at Hammer Museum's Made in L.A. 2016

The great trumpeter/composer Wadada Leo Smith is a part of Made in L.A. 2016: a, the, though, only, the third biennial at the Hammer Museum in Los Angeles. Smith's Ankhrasmation scores, which use non-standard visual directions, are on view.  He'll also perform at the museum this Thursday, June 23 with bassist John Lindberg and video artist Jesse Gilbert. 

Smith, who received a prestigious 2016 Doris Duke Artist Award, is one of the most boldly original figures in American jazz and creative contemporary music. He has released more than 50 albums as a leader and maintains an active touring and recording schedule.  Most recently, he’s been touring widely with pianist/composer Vijay Iyer to support their March 2016 duo recording a cosmic rhythm with each stroke on ECM. 

Smith's upcoming events include

•  June 23 – Smith, John Lindberg and Jesse Gilbert – Hammer Museum, LA
•  June 25 – Smith and Vijay Iyer – Pittsburgh International LiveJazz Festival
•  July 7 – Smith and Iyer – Montreal International Jazz Festival
•  July 18 – Smith and John Lindberg – Jazz at Lincoln Center, NYC
•  July 21 – Smith’s Golden Quartet – Molde Jazz Festival, Norway
•  August 10 – Smith with Nublu Orchestra / DarkMatterHalo – Summer Stage, NYC
•  September 24 – Premiere of Smith’s opera /cantata Rosa Parks – FONT Festival, NYC
•  September 28 – Smith and Iyer – Amherst, MA
•  October 23 – Smith & John Lindberg duo Celestial Weather – Grand Rapids, MI
•  October 26 – Smith & John Lindberg duo Celestial Weather – Ann Arbor, MI
•  October 28 and 29 – Smith & John Lindberg duo Celestial Weather – Constellation, Chicago, IL
•  October 30 – Smith & John Lindberg duo Celestial Weather – Milwaukee, WI
•  November 3 – Smith’s Great Lakes Quartet performing The Great Lakes Suites – Berlin Jazz Festival
•  November 6 – Wadada with pianist Alexander Hopkins duet – Berlin Jazz Festival

Recordings scheduled for fall 2016 include Wadada Leo Smith: Nagwa (TUM), featuring Smith with guitarists Michael Gregory Jackson, Henry Kaiser, Brandon Ross and Lamar Smith, plus Bill Laswell on electric bass, Pheeroan akLaff on drums and Adam Rudolph on percussion. Also on TUM will be a solo recording of Monk’s music.  Cuneiform will release Wadada Leo Smith: The National Parks featuring Smith’s Golden Quintet plus cellist Ashley Walters.

For Immediate Release: January 20, 2016 (updated June 10, 2016)
Contact: Gia Storms, Hammer Museum, 310-443-7056,

Hammer Museum Celebrates the Opening of Third Biennial
Made in L.A. 2016: a, the, though, only
On View June 12 – August 28, 2016

(Los Angeles, CA) — The Hammer Museum celebrates the opening of Made in L.A. 2016: a, the, though, only, the third iteration of the Hammer’s biennial exhibition highlighting the practices of artists working throughout the greater Los Angeles area. Organized by Hammer curator Aram Moshayedi and Hamza Walker, Director of Education and Associate Curator at the Renaissance Society in Chicago, Made in L.A. 2016 is on view June 12 – August 28, 2016 at the Hammer Museum. Subtitled by the minimalist poet and writer Aram Saroyan as his contribution to the exhibition, Made in L.A. 2016: a, the, though, only includes 26 contributing artists and participants and is accompanied by a robust schedule of free public programs.

“Each Made in L.A. sheds a new light on the work being made by Los Angeles artists, expanding on previous versions of the exhibition,” said Hammer Museum director Ann Philbin. “Made in L.A. 2016 investigates what is vital and distinctive about this city as an international destination and cutting edge art center, and how its artists—from vastly different backgrounds and disciplines—resist and defy categorization.”

Made in L.A. 2016 features in-depth presentations of individual bodies of work—from condensed monographic surveys by artists Kenzi Shiokava and Huguette Caland to comprehensive displays of multiyear projects. This exhibition includes newly commissioned works from emerging artists, extending into such disciplines as dance, fashion, literature, music, and film. New projects by a selection of younger artists consider the roles of other visual and literary forms within their practices.

Kelly Akashi (b. 1983, Los Angeles, CA)
Huguette Caland (b. 1931, Beirut, Lebanon)
Eckhaus Latta (est. 2011; Zoe Latta, b. 1987, Santa Cruz, CA, Mike Eckhaus, b. 1987, New York, NY)
Rafa Esparza (b. 1981, Los Angeles, CA)
Lauren Davis Fisher (b. 1984, Cambridge, MA)
Todd Gray (b. 1954, Los Angeles, CA)
Joel Holmberg (b. 1982, Bethesda, MD)
Margaret Honda (b. 1961, San Diego, CA)
Arthur Jafa (b. 1960, Tupelo, MS)
Labor Link TV (est. 1988; Fred Lonidier, b. 1942, Lakeview, OR)
Laida Lertxundi (b. 1981, Bilbao, Spain)
Adam Linder (b. 1983, Sydney, Australia)
Guthrie Lonergan (b. 1984, Los Angeles, CA)
Rebecca Morris (b.1969, Honolulu, HI)
Shahryar Nashat (b. 1975, Geneva, Switzerland)
Silke Otto-Knapp (b.1970, Osnabrück, Germany)
Gala Porras-Kim (b. 1984, Bogotá, Colombia)
Sterling Ruby (b. 1972, Bitburg, Germany)
Aram Saroyan (b. 1943, New York, NY)
Kenzi Shiokava (b. 1938, São Paulo, Brazil)
Daniel R. Small (b.1984, Centralia, IL)
Wadada Leo Smith (b.1941, Leland, MS)
Martine Syms (b. 1988, Los Angeles, CA)
Kenneth Tam (b. 1982, New York, NY)
Mark Verabioff (b. 1963, Kingston, Canada)
Dena Yago (b. 1988, New York, NY)

As part of their research, Moshayedi and Walker visited studios across Southern California, spanning Chinatown, Compton, Downtown, East Los Angeles, Echo Park, Highland Park, Inglewood, Joshua Tree, Ladera Heights, Leimert Park, San Diego, Santa Monica, Venice, and Ventura.

The exhibition addresses Los Angeles as a nexus of activity inseparable from the global network of art production, revealing how artists move fluidly between contexts and respond to their local conditions. The participating artists come from countries such as Australia, Brazil, Canada, Columbia, Germany, Lebanon, Spain, and Switzerland, and disregard any pretense of a unifying regional aesthetic, sensibility, or identity that has tended to be historically associated with Los Angeles.

Made in L.A. 2016 focuses on a selection of artists from different disciplinary backgrounds, allowing the individual projects to guide the shape and parameters of the overall exhibition. For their contribution, fashion designers Eckhaus Latta create merchandise and marketing campaigns specifically for the Hammer that are inherently tied to the objectives of their clothing label; and the work of artist Guthrie Lonergan inhabits the museum’s expansive digital spaces, including the website, that are normally reserved for external communications.

Aram Saroyan’s subtitle—a new poem commissioned specifically for Made in L.A. 2016: a, the, though, only—functions in a similar manner, occupying the space of the exhibition’s marketing and communications while lacking any physical presence in the galleries. The tendencies of ephemerality and physicality are further underscored by such artists as Todd Gray, who goes about the routines of his daily life independently of the exhibition at the Hammer while wearing the clothing of his late friend and collaborator Ray Manzarek—co-founder and keyboardist of The Doors—until Made in L.A. 2016 closes on August 28. 

Performances and public programs also play a central role, accompanying the exhibition and taking place within the context of site-specific installations by artists Rafa Esparza, Lauren Davis Fisher, and choreographer Adam Linder. Additionally, artists such as Martine Syms, Shahryar Nashat, and Kenneth Tam debut film/video works that were produced as part of Made in L.A.’s emphasis on new commissions.


Funded through the generosity of Los Angeles philanthropists and art collectors Jarl and Pamela Mohn, The Mohn Award ($100,000) and the Career Achievement Award ($25,000) will be selected by a professional jury, and the Public Recognition Award ($25,000) will be determined through a public vote. All the artists in the exhibition are eligible to receive the awards. In 2014 Alice Könitz, creator of The Los Angeles Museum of Art, received the Mohn Award; Magdalena Suarez Frimkess and Michael Frimkess received the Career Achievement Award; and Jennifer Moon received the Public Recognition Award. In 2012 Meleko Mokgosi received the Mohn Award.

Jarl Mohn said, "The Hammer's Made In L.A. biennial has quickly become known as definitive source of recognizing brilliant new emerging artists and long time under-recognized creators of innovative art. This biennial is the early forecast system for creative genius in Los Angeles."


Made in L.A. 2016: a, the, though, only is accompanied by a fully-illustrated catalogue that functions as an extension of the exhibition. Built around a broad range of material, developed in collaboration with each participating artist and contributor, the catalogue includes commissioned essays and texts by artists, curators, critics, and writers, including George Clark, María Palacios Cruz, Raquel Gutiérrez, Sandy Lajer, Sarah Lehrer-Graiwer, Sohrab Mohebbi, Ed Moses, Janet Sarbanes, Rachelle Sawatsky, Kitty Scott, Oscar Tuazon, and Robert Wilhite. The catalogue is designed by Joseph Logan Design, a New York-based design studio, and is co-published with DelMonico Books, an imprint of Prestel Publishing.


The Hammer’s biennial exhibition series Made in L.A. focuses exclusively on artists from the L.A. region with an emphasis on emerging and under-recognized artists. The Los Angeles biennial debuts new installations, videos, films, sculptures, performances, and paintings commissioned specifically for the exhibition and offers insight into  the current trends and practices coming out of Los Angeles, one of the most active and energetic art communities in the world. Made in L.A. began in 2012 with a second iteration in 2014, and followed the tradition of the Hammer Invitational exhibitions, which occurred every two years and included Snapshot (2001), International Paper (2003), Thing (2005), Eden’s Edge (2007), Nine Lives (2009), and All of this and nothing (2011). 

Made in L.A. 2012 was organized by a team of curators from the Hammer Museum and LA><ART: Hammer Senior Curator Anne Ellegood, Hammer Curator Ali Subotnick, LA><ART Director and Chief Curator Lauri Firstenberg, LA><ART Associate Director and Senior Curator Cesar Garcia, and LA><ART Curator-at-large Malik Gaines.

Made in L.A. 2014 was co-curated by Hammer Chief Curator Connie Butler and Los Angeles based independent curator Michael Ned Holte.

The exhibition is presented by
The Hammer is pleased to have Wells Fargo once again as Made in L.A.’s Presenting Sponsor, showing their continued and substantial commitment to this biennial event.

“Wells Fargo has a long and robust tradition of supporting arts and culture across Los Angeles. We are honored to be part of what has become one of L.A.’s most exciting and ongoing cultural events showcasing emerging and under-recognized artists,” shares David DiCristofaro, Wells Fargo Lead Region President for Greater Los Angeles. “Made in L.A. demonstrates the Hammer’s commitment to Los Angeles’s artistic community and reflects their broader commitment to Los Angeles. It is that kind of cultural and civic leadership that Wells Fargo is proud to support and celebrate as it brings visibility to the dynamic talent and experiences that make up our great City of Los Angeles.”

The exhibition is made possible, in part, by the Mohn Family Foundation and members of the Hammer Circle.  

Major support is provided by Nick Grouf and Shana Eddy-Grouf. Generous funding is also provided by Viveca Paulin-Ferrell and Will Ferrell, Dori and Charles Mostov, Beth Rudin DeWoody and The May and Samuel Rudin Family Foundation, and The Fran and Ray Stark Foundation. Additional underwriting by Andrew Nikou, the Pasadena Art Alliance, and Mark Sandelson. 


The Hammer Museum at UCLA offers exhibitions and collections that span classic to contemporary art, as well as programs that spark meaningful encounters with art and ideas. Through a wide-ranging, international exhibition program and the biennial, Made in L.A., the Hammer highlights contemporary art since the 1960s, especially the work of emerging and under recognized artists. The exhibitions, permanent collections, and nearly 300 public programs annually—including film screenings, lectures, symposia, readings, music performances, and workshops for families—are all free to the public.


Admission to all exhibitions and programs at the Hammer Museum is free, made possible through the generosity of benefactors Erika J. Glazer and Brenda R. Potter. Hours: Tuesday–Friday 11 a.m.–8 p.m., Saturday & Sunday 11 a.m.–5 p.m. Closed Mondays and national holidays. Hammer Museum, 10899 Wilshire Boulevard at Westwood, Los Angeles. Onsite parking $6 (maximum 3 hours) or $6 flat rate after 6 p.m. Visit for details or call 310-443-7000.


Made in L.A. 2016 Performances 

Adam Linder, Kein Paradiso
SUN, JUN 12, 2:30PM                                             WED, JUN 29, 6:30PM
WED, JUN 15, 6:30PM                                             SUN, JUL 3, 2:30PM
SUN, JUN 19, 2:30PM                                             WED, JUL 6, 6:30PM
WED, JUN 22, 6:30PM                                             SUN, JUL 10, 2:30PM

Kein Paradiso is a choreography for three performers: Adam Linder, Jennie Mary Tai Liu, and Stephen Thompson. Situated within a visually abstract scenario, the performers try to find their way back to distinctions of representation and away from the universalism inherited from the lineages of modern and postmodern dance.

Words & Cello
Two multidisciplinary artists come together for one night of poetry and music. The poet, novelist, and playwright Aram Saroyan has been widely regarded for his minimalist poetry, and immunobiologist and cellist Georgia Lill moves from the laboratory to the recording studio with ease. Saroyan, the author of Made in L.A. 2016’s subtitle—a, the, though, only— reads a selection of his poems and longer poetic anthems, accompanied by Lill’s musical improvisations.

Wadada Leo Smith & John Lindberg in Concert
The scores of Made in L.A. 2016 artist Wadada Leo Smith are composed in the musical language of Ankrasmation, figuring as both aesthetic objects and musical roadmaps that encourage their performers to think deeply about improvisation as a resistance to classical notation. Bassist John Lindberg, a frequent collaborator who has been described as an unheralded master of modern jazz, joins Smith for a performance of Smith’s spontaneous existential compositions, along with projections by video artist Jesse Gilbert.

Rafa Esparza
mas gestos y mas caras
Conceived and performed as part of Rafa Esparza’s installation for Made in L.A. 2016, mas gestos y mas caras is a durational work that narrates the conditions of invisibility through the processes of masking and molding. Dependent on the use of plaster bandages to obstruct Esparza’s breathing throughout the day, this work culminates in a series of readings by invited guests on the topics of brown and queer presence.

Rafa Esparza
RED SUMMER, freedom is an endless meeting. and i don’t miss your heat. but here we are again.
Rafa Esparza’s RED SUMMER, freedom is an endless meeting. and i don’t miss your heat. but here we are again., is a meditation on the year 2015—the bloodiest in the recorded history of police killings in the United States. In a work that takes the form of a durational poem, elapsing over the course of a day from sunrise to sunset, Esparza will enact the ritualistic practices of digging as a way of highlighting the prevailing effects of a local and national militarized police force.

Made in L.A. 2016 Conversations

Arthur Jafa & Greg Tate
From 1990 to 2007 the filmmaker Arthur Jafa filled nearly 200 three-ring binders with images from various sources that reflect aspects of black culture. These “picture books,” on display in Made in L.A. 2016, form unexpected and lyrical juxtapositions that represent Jafa’s interest in black aesthetics and his experiments with context, belonging, and alienation.  Jafa will discuss representation and black cultural production with the writer and musician Greg Tate.

Excavating The Ten Commandments 
Daniel R. Small & Jack Green
Daniel R. Small’s contribution to Made in L.A. 2016 centers on the archaeological excavation of the site where Cecil B. DeMille filmed The Ten Commandments (1923) and the ways that this and other filmic imagery have colored notions of ancient Egypt in the popular imagination. Small and Jack Green, deputy director of the Corning Museum of Glass, will discuss the artist’s foray into amateur archaeology and excavation in its myriad forms.

Todd Gray & Hamza Walker
For one year, the artist Todd Gray wore the clothes of his friend and mentor the late Ray Manzarek, a founding member of the Doors. An act that went beyond artistic homage or memorial impulse, Gray’s gesture is being restaged for Made in L.A. 2016. In this program, Gray’s readings from letters he wrote to Manzarek’s widow about his desire to bring Ray “into the orbital sphere of the art world” will be followed by a discussion with Hamza Walker, cocurator of Made in L.A. 2016 and associate curator at the Renaissance Society.

Kenneth Tam & Bruce Hainley
Kenneth Tam’s recent videos are the outgrowth of encounters between strangers, developed with participants the artist has met through online social forums. In these scenarios, barriers of intimacy become unhinged and vulnerabilities are shared through various activities that are performed in the presence of a camera, which acts as a conduit between an anonymous interior space and the outside world. Tam will be in conversation with the writer Bruce Hainley, alongside a screening of specially selected videos.

Guthrie Lonergan & Joel Holmberg
Through their respective practices, the artists Guthrie Lonergan and Joel Holmberg approach the digital age with an awareness of its limitations and an appreciation of its finer details. In this multimedia event, Lonergan and Holmberg present a fictional narrative that meditates on the transformation of the web into a platform for professional aspiration.

The Streisand Effect
What happens when artists lose control of the narrative of their work, when ideas are misappropriated and instrumen­talized by others with differing agendas? A panel including Made in L.A. 2016 artist Dena Yago, her frequent collaborator Sean Monahan, and Rachel Berks of Otherwild Goods and Services addresses the implications of these questions amid the ever-expanding role and function of today’s creative industries and the blurring of lines between art and commerce.

Made in L.A. 2016 Screenings

The 1920 Battle of Matewan was a pivotal moment in the history of labor organizing and union busting. Shot in gritty tones by the late Haskell Wexler, John Sayles’s award-win­ning film brings the power struggle between miners, the coal company, and town officials into stark relief. The film will be followed by a discussion and Q&A with Made in L.A. 2016 artist Fred Lonidier, the guiding force behind Labor Link TV, a union activist collective that focuses on local labor movements. (1987, dir. John Sayles, 142 min.)

Vicky Funari and Sergio De La Torre’s searing documentary focuses on the abominable working conditions of maquiladoras in Tijuana, a subject close to the heart of the artist and activist Fred Lonidier. Lonidier, through his own practice and that of the collective Labor Link TV, has explored the ways in which photography can inspire and sustain political activism, turning his attention recently to the cross-border labor struggles between the United States and Mexico. The film will be followed by a screening of Labor Link TV Program #66B, Han Young Workers Vote and a discussion with the artist.
(Maquilapolis, 2006, dirs. Vicky Funari and Sergio De La Torre, 70min; Labor Link TV Program #66B, 1997, 9:30 min.)

Spectrum Reverse Spectrum
Color Correction 
Two Films by Margaret Honda
SUN, JUN 12, 3:30PM, WED, JUL 6, 7:30PM, SUN, AUG 7, 2PM
Copresented with Los Angeles Filmforum
Spectrum Reverse Spectrum is a cameraless film, made by exposing 70mm print stock to colored light in a film printer. The result is a uniform field of color on screen that moves gradually through the light spectrum, from violet to red and back to violet. Color Correction was made using only the color correction timing tapes for an unknown Hollywood feature without the corresponding negative. The result is a film without images or sound that consists of a succession of different colors of unpredictable duration. The duration of each color corresponds to the length of a shot, but the story that determined those shots has disappeared. (2014, 70mm, aspect ratio 2.2:1, color, silent, 21 min.; 2015, 35mm, aspect ratio 1.85:1, color, silent, 101 min. dir. Margaret Honda.)

Ruins with Jesse Lerner & Gala Porras-Kim
Copresented with Los Angeles Filmforum
Jesse Lerner’s Ruins mixes real and fabricated archival footage to document the restoration of artifacts and monuments from Mexico’s precolonial era. Interrogating the problematic and often Eurocentric nature of historical conservation, Ruins resonates with themes explored in the work of Made in L.A. 2016 artist Gala Porras-Kim. After the screening, Lerner and Porras-Kim will discuss how the value of particular objects shapes the interpretation of culture. (1999, dir. Jesse Lerner, 16mm, black and white, 78 min.)

Made in L.A. 2016 Artist Announcement from Hammer Museum on Vimeo.


jueves, 23 de junio de 2016

Mike Jones Trio- Roaring (2016) CAPRI RECORDS


Featuring bassist Katie Thiroux and drummer Matt Witek

Cover design by David Silverman of Simpsons fame; liner notes by author Neil Gaiman

“Mike Jones approaches the keyboard as if it were a jazz band, simultaneously unfurling walking bass lines, exquisite inner voices and running top notes that would seem to require four hands rather than two. The beauty of Jones’ touch, the wit of his phrasing and the intelligence of his improvisations ennoble standards…”Howard Reich, Chicago Tribune

Roaring, pianist Mike Jones’ second release for Capri Records, brings sparkling new life to standards from the 1920’s. Teaming up with the marvelously sympathetic rhythm team of Katie Thiroux on bass and Matt Witek on drums, Jones takes on such “Roaring Twenties” favorites as “I Found a New Baby,” “Mean To Me” and “Me and My Shadow,” fully displaying the dexterous technique, style and taste that have brought him acclaim from both jazz cognoscenti and critics alike. 

Roaring features an original cover illustration by David Silverman of Simpsons fame (rendered in the iconic style of “Jazz Age” artist John Held Jr.) and liner notes by the renowned writer Neil Gaiman. Recorded in a single four-hour session, the album demonstrates how superior instrumentalists can come together, without rehearsal and without having played together as a group, and effortlessly meld into an indivisible unit. All but one of the tunes were done in one take. Together, Jones and company brush off the dust from Great American Songbook classics originally introduced in the 1920s, imbuing each with vitality and renewed spirit. The CD will be released July 15, 2016.

Celebrated as one of the most adept keyboard practitioners of mainstream jazz, Jones has also gained international attention for his work with Penn and Teller. Over the past fifteen years, millions of Las Vegas visitors have heard the versatile pianist play with the eminent magic team at the Rio All Suites Hotel and Casino. Jones is not only the opening act for the show, he is also the music director and composer for the production. Roaring was made while Jones was appearing in the sold out “Penn & Teller On Broadway” show.


Protean Reality - Protean Reality (2016) CLEAN FEED RECORDS


Here is one more – and particularly notable – example of the most blasting jazz made today. Protean Reality is a trio using the conventional instrumentation born with hard bop and free jazz: sax, bass and drums. But there’s nothing conventional in Chris Pitsiokos, Noah Punkt, and Philips Scholz’s approach. With a clear reference to the New York no wave scene of the Seventies, here jazz meets noise meets contemporary classical music. Mix Ornette Coleman, Sex Pistols and Iannis Xenakis in your mind and you’ll be close to what’s inside the package. Intensity, immediacy and forward propulsion are key words to describe this music, but there’s also lots of lyricism and abstract detail to deal with in the three long pieces of this CD. And if this band may be a novelty to you, the three musicians have a past. Pitsiokos has worked with the likes of Joe Morris, Peter Evans, Tyshawn Sorey, Nate Wooley, Paul Lytton, and Weasel Walter. We almost forgot: also with Lydia Lunch. Punkt has played with Tim Daisy, Peter van Huffel and Tobias Pfister. Scholz has had Rudi Mahall, Claudio Puntin and Pablo Held as partners. They’re no strangers to the business, but highly convincing representatives of a new generation of improvisers who celebrate the death of fusion jazz with joy, rage, inventiveness and zero taboos.

Torturer's Horse
Green Water
Calmly On

Chris Pitsiokos: alto saxophone
Noah Punkt: electric bass
Philipp Scholz: drums and percussion


Noertker's Moxie & The Melanchoholics - Curious Worlds / The Soundtrack (2016)

Bill Noertker first met David Beck in the late 1990s while playing in a jazz quartet called Playland. At first Noertker had no idea that in addition to playing the baritone saxophone Beck was a highly regarded sculptor of intimately scaled works. As he discovered Beck's work, Noertker was pleased to find that, in addition to the exquisite beauty of the work, much of it also displayed the dry humor that first attracted him to Beck.

In 2004, for his show La Naturecanique at the Allan Stone Gallery in NYC, Beck made a black-and-white super-8 film, Animatique, of seven of his works. Aware of Noertker's interest in using the visual arts as inspiration for his musical compositions, Beck asked him to score the film. Thus began their cross-disciplinary collaboration.

Because of Noertker's long-standing musical relationship with Beck, Olympia Stone asked him to score her film Curious Worlds: The Art & Imagination of David Beck. She and Noertker decided that the score would include some original music composed specifically for the film, some music from Animatique, some tunes that Beck and Noertker had written and performed as the Melanchoholics, and some music performed by Noertker's working band Noertker’s Moxie. Most of that music can be heard here on this soundtrack CD.

1. Curious Worlds: Opening Music
2. Something You Know
3. Moth en Stereo
4. Curious Worlds: L'Opéra
5. Kleine Komposition II
6. In Blue
7. Little Jester in a Trance
8. Meet Me at the Edge of Noon
9. L'Éléphant Blanc
10. Fork
11. Way Gone Cool, Cool Cat
12. More Fun
13. Dona del Càntir
14. Animatique

All music composed and arranged 
by Bill Noertker
except track 2, 8, 11
composed by David Beck and Bill Noertker
© 2016 William Noertker, all rights reserved
(Deuh Jauh Music BMI)


Noertker's Moxie
(tracks 1, 3-7, 9, 10, 12-14)
Annelise Zamula  flute, alto sax, tenor sax
Bill Noertker  contrabass
David Beck  baritone sax
Jim Peterson  alto sax, baritone sax
Amber Lamprecht  oboe
Jenny Maybee  piano
Brett Carson  piano
Jason Levis  drums
Dax Compise  drums
Dave Mihaly  drums
Niels Myrner  drums

The Melanchoholics
(tracks 2, 8, 11)
David Beck  baritone sax
Bill Noertker  contrabass


miércoles, 22 de junio de 2016

Playlist Summary for Tom Ossana / Dane Brewer – The Thin Edge – June 22, 2016 MST 7:00 to 9:00p.m. ~ Use this link to access the show online

Juan Duran, reading my mind as usual and knowing that I rank Marcin Wasilewski on top of jazz pianists world wide, insisted that I get a copy of the SIMPLE ACOUSTIC TRIO's ~ 20TH GETXO JAZZ FESTIVAL (Hillargi Records 2000. From this live recording we'll hear "Habanera Excéntrica," a tune we've heard often from the group's 2000 Not Two Records of the same name. Cellist Erik Friedlander is next with "Risky Business" from his new SkipStone Records' Rings featuring Shoko Nagai (p) and Satoshi Takeishi (d). Solo pianist Denny Zeitlin covers Wayne Shorter's "E.S.P." from his 2016 Sunnyside Records' Early Wayne - Explorations of Classic Wayne Shorter Compositions. Makiko Hirabayashi & Bob Rockwell's Gong (GATEWAY MUSIC 2016) closes this segment with a cover of Horace Silver's "Peace."

From KZMU's Music Director Serah we get Holland's finest pianist, Wolfert Brederode, anointed by Munich based Manfred Eicher's ECM, kicking off the second half with his "Olive Tree" from his new outing, Black Ice, with help from Gulli Gudmundsson - Double Bass and Jasper van Hulten - Drums. Also coming from Spain's Juan we'll hear an interesting cover of Miles' "Milestones" performed by Arturo Serra's Sextet, also from an earlier Getxo Jazz Festival (1993), Getxo Jazz 93: XVII Festival de Jazz, featuring Arturo's vibes with Albert Bover (p) Matthew Simon (tr) and Jesus Santandreu (reeds). New from Posi-Tone Records, well listen to David Gibson's Inner Agent in a cover of Billy Taylor and Dick Dallas' "I Wish I Knew How It Would Feel To Be Free." David's trombone leads an ensemble including Theo Hill (p) and Freddie Hendrix (tr). Although recorded in 1967/68, Miles' Water Babies spent eight years before being paroled from Columbia's vaults. The recording holds its own with the earlier Miles Smiles and Sorcerer. The lineup is also the same (Miles, Wayne, Herbie, Ron and Tony), taking a shot at Wayne's "Sweet Pea," referring to a tantalizing Italian flower.

Included with several other Republic of Jazz - KZMU recordings, we'll get the third half started with GAB's Stefan Karl Schmid/Philipp Brämswig's Anima (Meta Records 2015) featuring Stefan's reeds, Philipp's guitar in a performance of Brämswig's "Chronos." Next comes Markus Stockhausen [flugelhorn/trumpet] (Composer Karlheinz Stockhausen's son) and Florian Weber [piano] from their new ECM Alba in a duet performance of Weber's "Emergenzen." From one of Italy's finest pianists, Stefano Bollani, we'll hear his "Vicoli" ("Lanes") in Decca Records' 2016 Napoli Trip featuring Jan Bang (d) Daniele Sepe (s) Hamilton de Holanda (mandolin) and Manu Katché (d). Closing this half-hour comes a mid-fifties jewel, 4, 5 and 6 fronted by Jackie McLean (Prestige 1956) with Jackie's alto, Donald Byrd's trumpet, Mal Waldron's piano and Doug Watkins and Art Taylor's propelling a performance of Jackie's often covered, "Contour."

Romance gets us arm in arm with a dazzling performance of the Calderazzo/Elling penned "The Return (Upward Spiral)" from Branford Marsalis' Upward Spiral released by Marsalis Music last month. Included in saxophonist Branford's ensemble are Joey Calderazzo (p), Eric Revis (b), Justin Faulkner (d) and the stunning vocals of Kurt Elling. Tim Withee suggested this next number from guitarist Chris Flory's 1990 Concord outing For All We Know in a cover of Coots and Lewis' title track. 

Our favorite Italian trumpeter returns with "Short Visit to Malena" (Trejo/Rava) from Enrico's 2006 Question Marks featuring Jack DeJohnette, John Abercrombie, David Horowitz and others. Next we'll hear Elmer Berstein's "Some other Time" from Bill Evans, Scotty LaFaro and Paul Motian in Evans' Waltz for Debby released by Riverside in 1962. This was Bill Evans' first trio. "The album was the fourth and final effort from the unit—LaFaro died in a car accident just ten days after the live date at the Village Vanguard from which Waltz for Debby and its predecessor, Sunday at the Village Vanguard were taken." ~ Wiki. It just makes sense to end this love-fest with the national anthem of modern jazz, "How High the Moon" joined at the hip with Parker's "Ornithology" (a "How High the Moon" contrafact, BTW) performed by the unique stylings of Karrin Allyson from her 1999 Concord Jazz, Azure-Té. As we heard Milton Suggs' "Lady Bird) in June 8's Thin Edge, Karrin will also scat the Charlie Parker solo from his circa 1947 "Ornithology." Now it's time to kiss and make up (or out).

Let's have some fun!

A special thanks to KZMU's Music Director, Serah Mead and the troops @ RoJ for their help putting the show together: Agenor (BRA), Chris do Brasil (BRA), Domi & Victor (SPA), GAB (BEL), JR (SPA), Javi (SPA), Juan/Jazzzz61 (SPA), Lira (BRA), Luisa, Menos Que un Perro (ARG), Marcos (BRA), Melokan (VEN), Raz (ISR) and Sonia (SPA). Also friend, Raul Boeira, the Brazilian based in Passo Fundo and Spain's Javier Carrete.


Esta canción está inspirada en el río Betis , el Guadalquivir , y es también un homenaje a un gran bluesman J.B.Lenoir de Mississippi, compositor e intérprete de la famosa Down in Mississippi. 

Junto con esta tributo a JB Lenoir hacemos un paralelismo entre el gran río norteamericano y el gran río andaluz , que es el río Betis. 

This song is inspired in the Betis River, Guadalquivir, and it' s also a tribute to a great bluesman J.B.Lenoir from Mississippi, composer and player of the famous Down in Mississippi. 

Around this tribute to JB Lenoir we make a paralelism between the largest northamerican river and the largest andalusian river, which is the Betis River.

1. BETIS RIVER 03:21
2. DOWN IN A HOLE 02:18
3. VERANITO (Summertime) 03:43
6. LA PÍCARA MiNNiE 02:20
7. YO MYSELF 02:14
9. FISHERMAN 03:30

Released June 21, 2016 

WiLLiE SANCHEZ: Voz + Drums. Letras Lyrics 
ICO ROCHA: Guitarra acústica + Kazoo. Arreglos Arrangements