jueves, 27 de noviembre de 2014

Omelette - On This Day (2014)

Omelette is an ensemble that features such seasoned performers as Jordan Murray (trombone), Stephen Magnusson (guitar), Mark Shepherd (bass), Ronny Ferella (drums) that it really doesn’t get much better than this.

With much shared musical history the Quartet enjoy the opportunity to shape their unique repertoire into a seamless musical journey keeping themselves open to play with no expectation.

The music of Omelette pivots between written and improvised music-making.  The ensemble feel the written serves to suggest a direction, feeling or colour, the improvised to see this idea and sound to the next one and so on. Although influenced by all the music listened to there is a nod to the folk music traditions of East and West Africa, Persia and Cuba, Miles Davis, Tony Allen and Ornette Coleman.

Omelette hear this as their folk music, made in the moment.  On This Day is a wonderfully lush sound recording performed by exceptional players. Really, don’t miss it.

01. One For Four 04:39
02. Esteban 04:25
03. There You Have It 05:55
04. Astral 08:39
05. Trench Coat 04:25
06. Paris Texas Coburg 06:49
07. Jimmy Can Jump 08:05
08. Temporal Slave 06:39
09. You What? 07:06
10. Wave Rider 10:46
11. Love You Long Time 10:50
12. Not Strict 07:20
13. Who's To Know 06:59
14. Knock Yourself Out 10:06
15. Dance of the Woebegone 08:45
16. Pulse 08:34

Jordan Murray (trombone)
Stephen Magnusson (guitar)
Mark Shepherd (bass)
Ronny Ferella (drums)

"Hearing is Everything" Peter Watkins


miércoles, 26 de noviembre de 2014

Robert Burke - Do True (2014)

The idea of recording my own CD in New York was conceived in early 2013, but has been an aspiration since my early formative years of playing music. Over the last 30 years of my professional playing life, I had enjoyed developing artistic relationships with fantastic local musicians resulting in many CD recordings and performances nationally and Internationally, but I felt it was now time to collaborate with international artists that would further develop my creative scope outside ‘my village’, and a deeper understanding of music in a global sense of music-making.

The recording came to fruition with the help of Dave Schroeder (director of Jazz at NYU), who organised the recording studio engineer (Paul Wickliffe) and introduced me to brilliant New York jazz pianist Kenny Werner. Kenny and I discussed the rhythm section needed for the recording and suggested musicians that he had a strong rapport with: Johannes Weidenmueller and Richie Barshay - an empathy that is evident in this recording. The repertoire selected is a combination of Kenny Werner’s and my compositions and a beautiful tune composed by Paul Grabowsky.

1. Do True 07:02
2. Valse 07:06
3. Shivaya 06:18
4. The Prize 07:47
5. Angel 07:11
6. Georgia James 06:50
7. Keeper of Dreams 07:01
8. Pratology 06:34
9. Gerakan 08:14

Robert Burke - Tenor Sax, Soprano Sax, Bass Clarinet
Kenny Werner - Piano
Johannes Weidenmueller - Bass
Richie Barshay - Drums

Recorded 3rd October 2013 at the James L. Dolan Recording Studio, 6th Floor, 35 West 4th St, New York, USA (NYU)
Engineered: Paul Wickliffe (USA)
Recording of Bass Clarinet and Soprano - engineer: Prasheen Naran (Aust)
Mixed and Mastered by Phillip Rex at Paper Mache Studio - Australia

"Hearing is Everything" Peter Watkins


Robert Burke from Monash Arts on Vimeo.

Enrico Rava - The Monash Sessions (2014)

The Monash University jazz faculty, led by Rob Burke, has invited a series of jazz luminaries to attend the University as Artist In Residence. Previous guests have included George Lewis, George Garzone and Hermeto Pascoal. Normally the guest travels to Melbourne, joins staff and students and their labours are recorded by Jazzhead for release. In this instance the musicians reversed that rule by travelling to the Monash’s Italian campus in Prato to join the great trumpeter, Enrico Rava. The results are well worth the effort, it is very evident that Rava still plays at the top of his game, despite his 75 years; his fluid, warm tone is all over this disc. Rava’s contribution extends to his composing all of the tunes.

The potential problem with a concept such as this can be the disparity between the master and the students leading to a disjointed sound where the elder struggles against struggling students. That is not the case here, the addition of the above listed staff on some tracks and the quality of students to a great extent avoids that issue. Indeed the basic rhythm is provided solely by students, but on listening, you wouldn’t know it. The albums highlight is the ballad “Lulu”, Rava’s gorgeous tone bookends evocative solos from Grabowsky and Magnusson. The success of the Monash series is a credit to the faculty and the obvious empathy that developed in a short time between the students and the elder statesman.


Enrico Rava: trumpet
Josh Kelly: alto sax
Paul Cornelius: tenor sax
Paul Grabowsky: piano
Josh Manusama: double bass
Rob Mercer: drums

Enrico Rava: trumpet
Josh Kelly: alto sax
Mirko Guerrini: tenor sax
Paul Grabowsky: piano
Hiroki Hoshino: double bass
Zeke Ruckman: drums

03. LULU
Enrico Rava: trumpet
Robert Burke: tenor sax
Stephen Magnusson: guitar
Paul Grabowsky: piano 
Hiroki Hoshino:  double bass
Zeke Ruckman: drums

Enrico Rava: trumpet
Robert Burke: tenor sax
Stephen Byth: tenor sax
Stephen Magnusson: guitar
Dan Mougerman: piano
Hiroki Hoshino: double bass
Zeke Ruckman: drums
Rob Mercer: drums

Enrico Rava: trumpet
Paul Cornelius: tenor sax
Joel Trigg: piano
Hiroki Hoshino: double bass
Rohan Moore: drums

Enrico Rava: trumpet
Josh Kelly: alto sax
Stephen Byth: tenor sax
Paul Grabowsky: piano
Josh Manusama: double bass
Zeke Ruckman: drums

Enrico Rava: trumpet
Paul Cornelius: tenor sax
Paul Grabowsky: piano
Josh Manusama: double bass
Rob Mercer: drums

Enrico Rava: trumpet
Mirko Guerrini: tenor sax
Joel Trigg: piano
Hiroki Hoshino: double bass
Rohan Moore: drums

09. RAIN
Enrico Rava: trumpet
Robert Burke: tenor sax
Jonathan Skourletos: guitar
Josh Manusama: bass
Rohan Moore: drums

Enrico Rava: trumpet
Stephen Byth: tenor sax
Jonathan Skourletos: guitar
Hiroki Hoshino: double bass
Rob Mercer: drums

Enrico Rava: trumpet 
Mirko Guerrini: tenor sax
Paul Grabowsky: piano

"Hearing is Everything" Peter Watkins


Enrico Rava Album Launch from Monash Music on Vimeo.

Matthew Sheens - Untranslatable (2014)

With his impressive debut Every Eight Seconds (Self Produced, 2012) garnering universally positive reviews, Australian-born, New York-based pianist Matthew Sheens returns with an even meatier, juicier follow-up. Every Eight Seconds introduced an original composer, one whose melodic and rhythmic ideas championed narrative over virtuosity. There’s perhaps more of Sheens the Downbeat poll-winning pianist this time out but significantly Untranslatable ups the ante compositionally, with the Yanni Burton String Quartet leaving an indelible stamp on a third of the tracks.

This isn’t jazz with strings either, for Sheens’ sophisticated string arrangements for two violins, viola, cello and double bass add a visceral edge–in addition to lush buoyancy–to these engaging contemporary compositions.

The riffing strings that announce the title track, alternate between urgent motif and warm, sustained lines. Drummer Kenneth Salters and bassist Linda Oh inject rhythmic elasticity, laying the path for Sheens dancing, right-handed solo. Teasingly brief, this episodic miniature – bold and lyrical – hints at more engaging narratives to come. Strings and piano trio also combine to graceful effect on the melodically striking ‘Adriana’s Song’, with Salter’s poppish beat conveying mainstream accessibility.

As on his debut release Sheens employs vocalist Sara Serpa, who brings her wordless, horn-like lines to a handful of tunes. On the atmospheric vocal/piano duet ‘L’Arlesienne (The Girl from Arles)’ Serpa’s crystalline melodies soar and gently glide like a Kenny Wheeler score. On ‘Wabi Sabi’ singer Michael Mayo joins Serpa in flowing unison, with guitarist Mike Moreno and Sheens intermittently boosting the chorus. It’s a delightful, cinematic tune that marries the romanticism of Burt Bacharach and the dynamism of Pat Metheny.

The hugely influential Boston guitarist’s DNA also colors ‘Dépaysement’; Serpa, Moreno and Sheens weave cheery overlapping lines over Rogerio Boccato’s shuffling percussion before the guitarist carves out an elegant solo, with Sheens immediately following suit. In the end, however, it’s Serpa’s wonderfully lilting melody that sticks in the memory. In tandem with Sheens, the Portuguese singer also seduces on ‘Alfonsina y el Mar’ – Ariel Ramírez/Félix Luna’s heart-rending ode to Argentinian poet Alfonsina Stori, who committed suicide in 1938.

Two brief piano/Rhodes interludes serve as palette cleansers, but in just one and two minutes respectively Sheens weaves a little minimalist magic, with damped piano strings and judicious use of effects evoking the artistry of German prepared piano maestro Hauschka. Strings underpin the joyously dramatic ‘Madrugada’, a vaguely Latin-tinged, percussion-driven orchestration that features an extended rally between Sheens and Oh, plus another finely crafted intervention from Moreno.

Sheen’s ‘Translate from My Heart’ and the classic ‘Old Devil Moon’ both feature the stylish Mayo. The pianist’s inventive arrangement on the original provides a bold frame for Mayo that contrasts with the spare, piano-cum-vocal setting of the Burton Lane/E.Y. Hamburg jazz standard.

Sheens has really hit his stride on Untranslatable, a consistently satisfying effort that purveys melody and adventure at the same time. The signposts indicate that Sheens could push off from here in any number of directions, towards contemporary classical music or experimental solo piano; jazz, in the second decade of the twenty first century, seems increasingly able to accommodate it all. Whichever path or paths Sheens chooses to go down it’ll be a journey well worth following.

Tracks on the album

01. Untranslatable
02. Adriana's Song
03. L'Arlesienne (The Girl From Arles)
04. Wabi Sabi
05. Translate From My Heart
06. Interlude #1: Untranslatable
07. Depaysement
08. Alfonsina Y El Mar (Ariel Ramirez)
09. Interlude #2: Adriana's Song
10. Madrugada
11. Old Devil Moon (Burton Lane/ Lyrics E.Y Harburg)

All compositions: Matthew Sheens, except where indicated

In the band

Matthew Sheens; piano/ rhodes 
Sara Serpa; vocals 
Michael Mayo; vocals 
Mike Moreno; guitar 
Linda Oh; double bass 
Kenneth Salters; drums 
Rogerio Boccato; percussion

Yanni Burton String Quintet

Stefani Collins; violin 1
Francesca Dardani; violin 2
Yumi Oshima; viola
Hiro Matsuo; cello

"Hearing is Everything" Peter Watkins


Dylan Howe - Subterranean (New Designs on Bowie's Berlin) 2014

Dylan Howe is one of the UK's most versatile drummers—a long-standing member of The Blockheads, part of Wilko Johnson and Roger Daltrey's band on the chart-topping Going Back Home (Chess Records, 2014) and (alongside keyboard player Ross Stanley) part of his father, Steve Howe's, guitar trio. He's also responsible, with Will Butterworth, for a critically-acclaimed duo recording of Igor Stravinsky's Rite Of Spring (Stravinsky—The Rite Of Spring, Motorik Records 2010).

On Subterranean: New Designs On Bowie's Berlin Howe delves into David Bowie's early back catalog. It's not the "everybody on the dance floor" Bowie of "Jean Genie" or the quirky folkster of "Space Oddity." Howe concentrates instead on the instrumentals of Bowie's Berlin period, a crucial part of his 1977 RCA albums Low and Heroes. The results are quite superb.

What do the Howe re-imaginings have to offer that Bowie's originals don't? A greater warmth, a more positive feel, less sense of menace. Although electronics play a large part in Howe's versions, acoustic instruments are crucial to the feel of the music on Subterranean: New Designs On Bowie's Berlin. The tunes are also often appreciably longer than Bowie's recorded versions, giving Howe and his fellow musicians the chance to explore the music's structures and textures and allowing greater opportunities for the musicians to solo.

The results are recognisable to Bowie fans, but striking in their freshness and openness. "All Saints" opens with Mark Hodgson's deep, resonant, double bass, accompanied solely by Howe's drums. After a minute or so the main theme emerges on synth then the band shifts between this theme and a post-bop groove led first by the saxophones then by Stanley's attacking piano then the saxophones once more—it's a heady mix of electronica and classic jazz that Bowie never attempted. "Some Are" has a spooky edge. "Warszawa," featuring Adrian Utley on guitar, is lovely: its flowing grace countered by an urgent, driving saxophone solo from Brandon Allen.

"Neuköln—Night" and "Neuköln—Day" are atmospheric trio pieces on which Howe (on drums and synth) and Stanley (on piano) are joined by bassist Nick Pini. Howe Senior replaces Pini for the third trio outing, "Moss Garden," playing the koto. This is a softer-toned version of the tune, Howe's performance on koto emphasising its ethereal beauty.

In recent years songs by rock and folk composers such as Tom Waits and Leonard Cohen have become a standard part of the jazz repertoire. As yet, Bowie hasn't had the same impact on jazz. Howe's imaginatively interpreted "new designs" show that Bowie's body of work has plenty to offer the more adventurous jazz musician. So, as Keith Jarrett's 2-CD improvisation on "The Laughing Gnome" has failed to see the light of day, Subterranean: New Designs On Bowie's Berlin will stand as the album that brings jazz and Bowie together—and does so in splendid style.

Dylan Howe: drums
Brandon Allen: tenor sax
Julian Siegel: tenor sax
Ross Stanley: piano, synthesizers
Mark Hodgson: double bass
Nick Pini: double bass (5, 8)
Adrian Utley: guitar (7)
Steve Howe: koto (9)

3. ALL SAINTS 11:04
4. SOME ARE 06:29
5. NEUKÖLN - NIGHT 04:59
6. ART DECADE 04:41
7. WARSZAWA 11:07
8. NEUKÖLN - DAY 05:28
9. MOSS GARDEN 06:23


martes, 25 de noviembre de 2014

Donatello D'Attoma - Watchdog (2014)


1. Eyes Around the World
2. Fascinating Berlin
3. If You Can Think and Not Make Thoughts Your Aim
4. Kick Off
5. Looking Away from Here
6. Music My Dear
7. Organik Brain
8. Watchdog


Tracks 1, 2, 3, 6, 8
Donatello D’Attoma: piano, fender rhodes
Francesco Angiuli: double bass
Domenico Caliri: guitar
Vladimir Kostandinovic: drums

Tracks 4, 5, 7
Donatello D’Attoma: piano, fender rhodes
Luca Alemanno: bass
Alex Milella: guitar
Lello Patruno: drums

Recording Data

Recording & Mix: March 2014 at International Sound Studio, Conversano (BA)
Producer: Donatello D’Attoma
Executive Producer: Marco Valente
Sound Engineer: Riccardo Tisbo
Artwork: Enzo Rosato
Photos: millaphotographer


Fabrizio Bosso & Julian Oliver Mazzariello - Tandem (2014)

Source: velvetmusic

Fabrizio Bosso e Julian Oliver Mazzariello: un “Tandem” con Fiorella Mannoia e Fabio Concato

Esce il prossimo 4 novembre Tandem, nuovo album di Fabrizio Bosso realizzato con il pianista Julian Oliver Mazzariello e che si avvale anche della partecipazione straordinaria di Fiorella Mannoia e Fabio Concato. Bosso e Mazzariello, per la presentazione ufficiale del disco, saranno il 23 novembre al Blu Note di Milano e poi torneranno in concerto a Orvieto per l’Umbria Jazz Winter, in programma dal 28 al 31 dicembre.

Tandem si può già prenotare su iTunes, ottenendo in anteprima il brano Wide Green Eyes di Bosso. La versione digitale, inoltre, contiene la bonus track Estate. “Ci sono due modi – è scritto in un comunciato – di fare le cose insieme: perseguire due strade parallele che portano alla stessa meta, oppure pedalare all’unisono. Quest’ultima è la scelta che hanno fatto Fabrizio Bosso e Julian Oliver Mazzariello e l’album ‘Tandem’ è l’approdo naturale di un rapporto artistico già rodato, di un’unione iniziata sul palco ma che trascende le regole delle classiche collaborazioni“.

Per quanto riguarda i due ospiti eccellenti, Fabio Concato propone la sua celebre Gigi “dove la tromba di Bosso e il piano di Mazzariello si fanno più lievi, come ad accompagnare, con discrezione, un testo importante che racconta un padre attraverso parole in cui ognuno può ritrovare la propria espressione del rapporto con un genitore“; la Mannoia, invece, per la prima volta interpreta il classico di Trovajoli-Garinei-Giovannini Roma nun fa la stupida stasera: “una voce elegante al servizio di uno dei celebri brani della tradizione romanesca“.

Bosso e Mazzariello interpretano grandi canzoni e temi della musica internazionale, senza distinzione di genere: da Oh Lady Be Good di George Gershwin a Luiza di Antonio Carlos Jobim, dall’omaggio al grande Michel Legrand in una versione di Windmills of your Mind al tema di Taxi Driver di Bernard Herrmann, brani che confermano nuovamente, dopo l’interpretazione di Nuovo Cinema Paradiso, l’omaggio a Nino Rota e la sonorizzazione de Il Sorpasso, la fascinazione di Fabrizio per il mondo del cinema. Spazio anche ai brani originali con Wide Green Eyes e Dizzy’s Blues di Fabrizio Bosso e Goodness Gracous di Julian Oliver Mazzariello.

Fabrizio Bosso, trumpet & flughelhorn
Julian Oliver Mazzariello, piano

Fiorella Mannoia, vocals on "Roma Nun Fa' La Stupida Stasera"
Fabio Concato, vocals on "Gigi"

01 You Don't Know What Love Is 04:46 Fabrizio Bosso, Julian Oliver Mazzariello
02 Gigi 08:23 Fabrizio Bosso, Julian Oliver Mazzariello, Fabio Concato
03 Have You Met Miss Jones? 03:54 Fabrizio Bosso, Julian Oliver Mazzariello
04 Wide Green Eyes 04:40 Fabrizio Bosso, Julian Oliver Mazzariello
05 Dizzy's Blues 03:53 Fabrizio Bosso, Julian Oliver Mazzariello
06 Luiza 04:01 Fabrizio Bosso, Julian Oliver Mazzariello
07 Goodness Gracious 04:26 Fabrizio Bosso, Julian Oliver Mazzariello
08 Roma Nun Fa' La Stupida Stasera 04:11 Fabrizio Bosso, Julian Oliver Mazzariello, Fiorella Mannoia
09 Windmills Of Your Mind 03:49 Fabrizio Bosso, Julian Oliver Mazzariello
10 Oh Lady Be Good 01:28 Fabrizio Bosso, Julian Oliver Mazzariello
11 Taxi Driver 04:44 Fabrizio Bosso, Julian Oliver Mazzariello


Vic Juris & John Etheridge - Bohemia (1988)

This has to be highly recommended. The liner notes describes the album as 'a pure jazz guitar album for string purists',and I couldn't describe it any better, except to add that the appel will exted well beyond the guitar world. JURIS and ETHERIDGE are supberbly compatible, and their four acoustic duets are a particular delight. Just hear their thoughtful version of You've Changed " Etheridge on classical nylon string guitar and Juris on Ovation steel string" or their bossa-nova interpretation of Con Alma and you'll be hooked. The four quartet tracks demonstrate that VITOUS is a world-class bass player "listen to his arco work on Sim", though I must say that the quartet tracks, particularly "L", don't hold my interest to the same extent as the duos, if all of the album was up to the standard of the duets it would have to be considered for the end of year top 10. jazzjournal J.R. Brown 3/1989

Vic Juris on the left channel, John Etheridge on the right channel. Miroslav Vitous acoustic bass and Marcello Pellitteri drums on " There is no greater love", "L", "Georgeiana" and "Sim". Miroslav Vitous appears courtesy of ECM. Marcello Pellitteri plays Sabian Cymbals.

Vic Juris, guitar
John Etheridge, guitar
Miroslav Vitous, bass
Marcello Pellitteri, drums

1. There Is No Greater Love
2. You've Changed
3. Con Alma
4. L
5. Georgeiana
6. Chips
7. A Keen Bat
8. Sim


lunes, 24 de noviembre de 2014

Vic Juris - A Second Look (2005)

What has Vic Juris learned from a career that's put him in the professional company of the likes of Dizzy Gillespie and Phil Woods? Besides the skills and flexibility of a virtuoso guitarist, he's seemingly gained a sense of humility that leads him to disregard any impulse for the flashy stuff he could surely coax out of his ax. Even his tone-effected subtly with a haze of reverb and chorus-renders his melodies as mirages of sound, dreamy and never clamoring for attention.

On A Second Look, Juris is his usual, laidback self, and a fitting foil to the more outgoing Dave Liebman, who adds his tenor and soprano Coltrane-isms sporadically throughout. Occasionally, as in a sleepy "All the Things You Are," Juris plays his thoughtful lines on a nylon-string guitar instead of his usual electric.

Juris wrote half the tunes, and though he doesn't often strike a catchy melody of his own, his composing still intrigues because lines don't resolve as expected. He and his bandmates, bassist Jay Anderson and drummer Tim Horner, never fail to find ways to play in the crevices and imbue the music with a sense of mystery and wonder, keeping it far from the redundancy of average, head-solos-head fare.

Vic Juris, guitar
Jay Anderson, bass
Tim Horner, drums
Dave Liebman, saxophone (1, 4, 9)
Kate Baker, vocals (8)

01. A Second Look
02. Barney K.
03. So In Love
04. All the Things You Are
05. Shades of Jazz
06. Very Early
07. Little Brian
08. Table for One
09. Dizzy, Trane and You
10. Indian Summer


Vic Juris - Blue Horizont (2004)

With a program of his own compositions, guitarist Vic Juris maintains a smooth concept for this dreamy project. A cool and calm sense of serenity pervades, highlighted by the blend of vibraphone and guitar timbres. Spanish classical guitar has left a significant impression as the composer paints pictures of various pastoral themes.

"889," the session's only up-tempo romp, emphasizes the leader's masterful technique and his powerful sense of swing. With Joe Locke, he lights fires along the road to straight-ahead bliss.

The remainder of the session deals with dreamier passions. Languorous in most aspects, the guitarist's smooth approach provides his audience with an overabundance of melody and harmony, while oftentimes placing rhythm in the background. Juris provides musical therapy for the soul. It's a session that can slow your heartbeat and calm your nerves.

"Labyrinth," well named for its woven melodic pattern, takes the listener on a dreamscape tour. "Kling On" drives moderately with an underlying, foot-tapping pattern, while guitar and marimba rise and fall with spontaneity. It's the album's high point. Here, both Juris and Locke have found a relaxed atmosphere that allows them to release their creative thoughts unencumbered. "Sunset on Vega" returns to a smooth, dreamy format that emphasizes the guitar's classical history, while "Uphill" churns forward to a walking bass pattern with a contemporary melodic style.

Juris, a veteran who's paid his dues many times over, has shown that his concept of modern jazz covers a lot of territory. The freedom that he has given himself here brings delight to the listener.

Vic Juris, guitars
Joe Locke, vibraphone, marimba
Jay Anderson, bass
Adam Nussbaum, drums
Jamey Haddad, percussion
Kate Baker, vocal on "Dancing Shadows"

01. Dancing Shadows
02. Soft Spoken
03. Labyrinth
04. Kling On
05. Uphill
06. Gojo Duo
07. Sunset on Vega
08. Domo Duo
09. The Spanish Horse
10. 889
11. Vjay Duo
12. Blue Horizon
13. I've Heard That Song Before


Juanma Barroso - Nairi (2012)

Source: Zona de Jazz
Label: Big Music Ediciones
Gab's Rating: ☆ ☆ ☆ ☆ ☆   

La portada, una foto de Juanma y su batería, nos dice explícitamente lo que vamos a encontrar dentro del disco: música, y de la buena.
Sin más artificios. Barroso, con ese look bohemio, mueve los brazos alrededor de su instrumento, como si fuera un druida del siglo XXI realizando su mejor pócima en un caldero. Los ingredientes para la receta druídica, el álbum, tienen que ver mucho con el título del mismo, NAIRI, una palabra formada con el nombre de sus dos hijas: Naima (NA-ima) e Íride(IRI-de). Naima es un nombre de origen musulmán que significa felicidad, de la que encontramos a borbotones en este trabajo y que transmite al oyente en la primera escucha.

En cambio Íride, nombre muy utilizado en Italia pero con raíz griega, lo traduciríamos como color, también muy bien reflejado en el disco con los distintos ritmos que podemos encontrar en él. Felicidad y color. Color y felicdad. Los dos puntales con los que Juanma Barroso construye este trabajo, que estilísticamente lo catalogaríamos como una revisión sobre el jazz de los años 60, aspecto éste que hará
las delicias del aficionado veterano al jazz, pero también con un empaque moderno, que lo hace
bastante escuchable y asimilable por cualquier profano al mundo jazzístico.

Para la ocasión, Juanma se ha rodeado de viejos amigos: Logan Ridcharson al saxo soprano y alto, Ariel Bringuez al saxo tenor y voz en el corte no 2, Jorge Vistel a la trompeta, Germán Kucich al piano y al piano eléctrico ( 5 y 8 ) , y para terminar Paco Charlín al contrabajo. Estos dos últimos junto a Barroso, formarían el magnífico trio que grabó “This is new”. Como artistas invitados tenemos a Yuviney Aguilar a las batás y prestará su voz en el tema no 2, y a Cristina Mora, voz al tema nº 5.

En cuanto a los cortes del disco podemos decir que son composiciones originales realizadas tanto por Juanma Barroso como por Paco Charlín:

– CORUXO (Paco Charlín): Encontraremos muy sugestivo este tema debido a su sonido tradicional y moderno en partes iguales. Por momentos se puede escuchar a Miles en la trompeta de Jorge Vistel y la influencia de Ornette Coleman al saxo.

– NAIRI (Juanma Barroso): Sonidos afrocubanos para este segundo corte que dá titulo al álbum. Las batás de Yuviney Aguilar estarán presentes en todo el tema, para finalizar con unos coros de él mismo junto con Ariel Bringuez.

– VINCENT (Juanma Barroso): Es una pequeña joya perdida dentro de un joyero. Un escueto sólo de batería que nos regala Juanma y que nos sirve de introducción para el siguiente corte.

– IT’S COMING (Juanma Barroso): Para mí, la mejor pieza del álbum. Un tema muy bop en el que Vistel, Kucich y Barroso hacen un magnífico trabajo.

– BLLAD (Paco Charlín): Canto de sirenas homérico compuesto por Charlín. Por momentos vemos la influencia del “Maiden Voyage” de Hancock y del “Return to Forever” de Corea. Cristina Mora a la voz y Germán Kucich al piano eléctrico se compaginan a la perfección. Otro de los temas sobresalientes.

– TALES FROM TAJUÑA (Juanma Barroso): Batería y contrabajo impecables en este cuento de Tajuña.

– REXOB (Paco Charlín): Un iluminado Logan Ridcharson al soprano cabalga a lomos de una batería perfecta y un contrabajo atrevido. Pero sobre todo destacar la gran clase de Kucich al piano. Se nota que estos chicos saben lo que hacen. Otro de los cortes destacables.

– FELLOW (Juanma Barroso): Ridcharson, al tenor esta vez, describe un sonido ondulante a través del fenomenal fender de Kucich que realiza un sólo de matrícula de honor. Concluyendo, un disco muy esperado que no defraudará a propios ni extraños. Músicos de gran nivel y a gran nivel, que es lo
importante, con un líder, Juanma Barroso, que modera el grupo sin aspavientos ni estridencias y de una manera muy solidaria, como sólo los grades saben hacerlo.

Si tuviera que ponerle nota, le pondría un notable alto, rozando el 9. Magnífico Juanma, tan sólo me queda una pregunta, ¿para cuándo el siguiente disco? .

01 Coruxo
02 Nairi
03 Vincent
04 It’s Coming
05 Bllad
06 Tales From Tajuña
07 Rexob
08 Fellow 

Juanma Barroso – Batería
Logan Richardson – Saxos (Alto, Soprano)
Ariel Bringuez – Saxo Tenor, Coros (02)
Jorge Vistel – Trompeta
Germán Kucich – Piano, Piano eléctrico (05,08)
Paco Charlín – Doble Bajo .
Yuviney Aguilar – Batás, Coros (02)
Cristina Mora – Voz (05)

"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 


Hironori Momoi - Liquid Knots (2013)

Label: Onaka Cube Music
Gab's Rating: ☆ ☆ ☆ ☆ ☆   

Hironori Momoi was born in Tokyo, Japan on August 29, 1984. His father always played music at home, so he grew up with music. He picked up the guitar as his first instrument at age 13. At age 15, he began to play drums and also piano. Growing up playing rock until at age 18, music had been the main thing of his life, but he realized that something was missing.
After he entered Sophia University, he discovered that missing piece, jazz. It brought him to a new world. He switched playing rock to jazz, and started dedicating himself to it. Since then, he had been performing in Japan, but as an aspiring jazz musician, he naturally decided to move to NYC to know jazz deeper.
In August 2007, Hironori moved to New York and started studying jazz at The City College of New York. He studied jazz/classical theory, playing in ensembles, composing and arranging with great musicians at CCNY, such as John Patitucci and Mike Holober. While a student, he won The Ervin Drake Scholarship and The Edward Rensin Memorial Award. In May 2010, he attained BFA degree in jazz drum performance from CCNY as summa cum laude.
His passion for jazz brought him to study in MA at Aaron Copland School of Music, Queens College from fall 2010. Graduated in May 2012 and studied with great musicians such as Billy Hart, Michael Mossman,David Berkman and Antonio Hart. Hironori has been selected among the students to perform on the radio,WBGO and his composition "Showers" was featured. He has also performed at Lincoln Center for Champions of Jazz Benefit 2011.
In September 2013, he released his first album as a leader, titled “Liquid Knots” featuring Chad Lefkowitz-Brown on tenor saxophone, Nir Felder on guitar, Julian Shore on piano and Sam Minaie on bass.
Since 2014, Hironori has moved back to Japan and he is currently based in Tokyo. While he was in NYC, Hironori has performed at many renown venues such as Lincoln Center, ShapeShifter Lab, Canal Room, Bar Next Door, Bitter End, Rockwood Music Hall and many more.
In February 2014, Hironori had a 3-week tour in Europe as a drummer of Kari Antila New York Trio. He also played at the biggest jazz festival in Finland, Pori Jazz Festival with Kari Antila quintet in July 2014.
Hironori also has performed with many international acclaimed musicians such as Chihiro Yamanaka, Gilad Hekselman, Nir Felder, Chad Lefkowitz-Brown, Joe Sanders, Sam Minaie, Alexi Tuomarila and more.

1. Impending Launch
2. Showers
3. Defining You
4. Twice
5. Waiting
6. Not Lemonade
7. Wormhole
8. This Magnet
9. Strangers

Hironori Momoi (ds)
Chad Lefkowitz-Brown (ts)
Nir Felder (g)
Julian Shore (pf)
Sam Minaie (b)
Alexa Barchini (vo)

"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 


domingo, 23 de noviembre de 2014

Joel Silva - Geyser (2014)

Source: Joel Silva
Gab's Rating: ☆ ☆ ☆ ☆ 

"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 


sábado, 22 de noviembre de 2014





de la mano de


Todos los Domingos a las 19:00h. (hora Brasil)



Source: Nate Radley
Gab's Rating: ☆ ☆ ☆ ☆ ☆   

“There are guitarists who live on the edge and guitarists who play pretty. Few, like Radley, do both.” – Thomas Conrad, New York City Jazz Record
“Nate Radley eschewed the overindulgence of most jazz guitarists, in pursuit of a soloing style that flowed with thematic movement and intent compositional logic.” -Daniel Lehner, Allaboutjazz
"Radley is a mood architect who’s able to move from states of desolation to anger to repose with relative ease." -Dan Bilawsky, AllAboutJazz
"Radley plays from his home-base in order to reference outer space." Ariel Bitran, Stereophile.com
Nate Radley is Brooklyn-based guitarist and composer who leads his own group, can be heard with a variety of collaborative projects, and works as a sideman in numerous bands both in the New York area and around the world.
Nate’s first cd as a leader “The Big Eyes” came out in January of 2012 on the Fresh Sound/New Talent label. The cd includes nine of his original compositions performed by Nate on guitar, Loren Stillman on saxophone, Pete Rende on fender Rhodes, Matt Pavolka on bass, and Ted Poor on drums.
In addition to leading his own band Nate performs frequently with the collaborative band “Bad Touch” which includes Loren Stillman and Ted Poor, as well as Gary Versace on organ. This band has recorded one cd under its own name “Like a Magic Kiss” and a second “Winter Fruits” under the name of the Loren Stillman quartet. Together the band has toured Europe in 2011 and the U.S. in 2009.
Nate performs with a variety of groups as a sideman and since moving to New York in 2004 has recorded on over 20 cds. Some of the bands Nate has performed and recorded with include the Alan Ferber Nonet and Large Ensemble, Marc Mommaas’ “Landmarc”, the Jon Gordon group, Akiko Pavolka’s House of Illusion, the Andrew Rathbun ensemble, and the Dave Smith Quartet. Other bandleaders that Nate has performed with include John O’Gallagher, Tony Moreno, John McNeil, David Scott, Tom Beckham, Andy Statman, the Maria Schneider Jazz Orchestra, Aruan Ortiz, and Eric Rasmussen. Nate also plays regularly with the country band Hope Debates and North Forty.
Nate has recorded for labels such as Fresh Sound/New Talent, Sunnyside, Steeplechase, Artistshare, Pirouette, and Tone of a Pitch. He has performed throughout the U.S., Canada, Europe and at jazz festivals such as the North Sea Jazz Festival, the Montreal Jazz Festival, and the Atlanta Jazz Festival.
Nate studied jazz guitar and composition at New England Conservatory in Boston, MA where he received a Master’s in Music. He studied with John Abercrombie, Bob Brookmeyer, Jerry Bergonzi, and George Russell. He also has a bachelor’s degree in sociology from the University of Chicago.
Nate has over ten years teaching experience, and currently teaches jazz guitar, music theory, and jazz ensembles at the Center for Preparatory studies in Music at Queens College and at Hunter College. In addition Nate has taught clinics at high schools and universities throughout the Unites States.

01. Sunset Stomp 5:24
02. Glow 6:03
03. Dots and Rhythm 6:29
04. Travis 6:24
05. Forced Fun 6:30
06. Ramble 7:50
07. Long Notes 9:36
08. Mechanics 7:37
09. Squirelly 4:44

Nate Radley (g)
Loren Stillman (as, ts)
Matt Pavolka (b)
Ted Poor (d)

"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington -