jueves, 24 de julio de 2014

Ray Brown Jr. - The Best of Ray Brown Jr. (2014)

The adopted son of Ray Brown and Ella Fitzgerald, he was born in New York City, New York to Fitzgeralds half-sister Frances. Nat King Cole, Louis Armstrong, Frank Sinatra and many others were regular visitors during his childhood.

After moving to California when he was 10, Ray discovered a passion for the drums and for singing. He attended Beverly Hills High School where he sang with school groups which toured at local festivals and hospitals.

His father arranged for him to study with jazz percussionists Bill Douglass and Chuck Flores. Despite his jazz roots he admits that his interest in performing rock music was an act of rebellion. "I used to drive my parents crazy with this. I told my father a few years before he died, you know a lot of times I played that music cause I just wanted to see the look on your face.". His mothers 1964 single "Ringo Beat" was inspired by her sons interest in rock music.

He moved to Seattle in 1971, studying with another drummer, Bill Coleman, Sr. It was at this time that Brown, Jr. began writing songs in addition to playing drums and piano. In the late 1980s Brown toured the Pacific Northwest, Canada, Alaska, Japan, Korea and Guam performing in tours for the United States Department of Defense. Like his famous parents, Brown, Jr. says he loves performing on the road. He states, "I love to tour. Ive been able to see a lot of the world and I just absolutely enjoyed being able to be with different types of people, different cultures and to see the world. Its just kind of broadened who I am as a person, which eventually will filter down into the music, the influences.".

In 2001, Brown recorded his debut album Slow Down for Love on SRI Jazz, which reached the top 50 of the Gavin Report. His second album, Committed from the Heart, was released in 2003. His sound has been described as an adult contemporary pop sound layered with R&B. Ray Brown, Jr. wrote and arranged all the songs on both CDs. Additionally in 2003, Brown debuted on the Las Vegas Strip, performing five nights a week in the Le Bistro Theater at the Riviera hotel and casino. In 2007 he released the album Stand by Me.

In September 2008, Ray Brown Jr. released a duets-style album, Friends and Family, produced by Shelly Liebowitz, on SRI Jazz, a division of SRI Records. Vocal artists on this album include Jane Monheit, Melba Moore, James Moody, Maria Muldaur, Dr. John, Dionne Warwick, Freda Payne, Sophie B. Hawkins, Paul Williams, Dr. Lonnie Smith, Dave Somerville, Kim Hoyer, and Sally Kellerman. Additional Instrumental performances appear on some of the album tracks with artists David "Fathead" Newman, James Moody, Dr. John, Dr. Lonnie Smith and jazz vibraphonist Terry Gibbs. Also included on the album is Browns daughter Haylee singing "A-Tisket, A-Tasket", which song was made famous by her grandmother. There is also a bonus track with Rays parents in a live version of "How High The Moon", with Ella Fitzgerald and Brown Jr. on vocals and Ray Brown (musician) playing bass. His style has been described as more RnB influenced material. 

Ray Brown Jr. - vocals

01. On Broadway (5:24)
02. Can't Take My Eyes Off You (4:52)
03. Misty (3:18)
04. Sunny Side Of The Street (3:46)
05. Cheek To Cheek (6:04)
06. I Wish You Love (4:36)
07. Fever (5:38)
08. Everybody's Cryin' Mercy (4:04)
09. Lady Is A Tramp (3:17)
10. Ordinary Fool (4:29)
11. Oh Pretty Woman (3:31)
12. I'm Beginning To See The Light (2:41)
13. Who Can I Turn To (4:56)
14. Lullaby Of Birdland (3:30)

"Hearing is Everything" Peter Watkins


Ignasi Terraza Trio - Imaginant Miró (2014) VIDEO

Ignasi Terraza Trio - Imaginant Miró (2014)

El 8 de julio de 2014 se puso a la venta Imaginant Miró, nueva grabación de Ignasi Terraza Trío en Swit Records. En el CD participan Ignasi Terraza (piano), Horacio Fumero (contrabajo) y Esteve Pi (batería). El CD incluye ocho creaciones de Terraza compuestas a partir de otras tantas obras del pintor mallorquín. El CD se presentará el 8 de agosto de 2014 en Barcelona dentro de la programación del Festival Mas i Mas.

See more atignasiterraza

Imagen cortesía del gran fotógrafo Roberto Domínguez

Una proposta artística diferent que uneix la música de jazz i la pintura a càrrec del pianista i compositor Ignasi Terraza i el seu trio.

La Suite Miró és una interpretació molt personal d’una sèrie de quadres de Joan Miró: Terraza convida el públic, que escolta la música a contemplar una obra pictòrica amb la imaginació. En la penombra d’una sala, el públic és convidat a imaginar una sèrie de quadres de Miró a través de la música de l’Ignasi Terraza Trio que sorprèn pel seu ritme i les seves sonoritats, i que mitjançant la seva interpretació jazzística ens convida a fer una suggestiva interpretació de l’obra d’art.

A partir d’una sèrie de descripcions sonores de cadascun dels quadres, Ignasi Terraza i el seu trio presenten els temes inspirats en la pintura de Miró. D’aquesta manera es convida als espectadors a desenvolupar la imaginació pictòrica per donar color a les imatges a través de la música de jazz. La capacitat de despertar emocions i sensacions de Terraza s’ha demostrat al llarg de tota la seva carrera, en particular amb l’espectacle Jazz a les fosques, un projecte que va seduir al públic per la seva originalitat i personalitat única.
La historiadora de l’art Carlota Polo és l’autora de les audiodescripcions dels quadres, caracteritzades pel seu realisme pictòric i una gran qualitat literària.

Un altre atractiu de l’espectacle són les imatges projectades obra de l’artista visual David Cid, que ens proposa un diàleg entre imaginació i realitat. Imaginant Miró al mateix temps també vol sensibilitzar al públic en general sobre l’ús de les eines d’accessibilitat per a persones amb discapacitat visual en museus i instal·lacions culturals.


“Imagining Miró” is developed through eight pieces of music created by Terraza based on eight works by the Majorcan painter, as well as certain truths: “Everyone will imagine the picture in a different way, whether or not they can see it”, he points out. “It is like when you ask someone to draw you a bird; you won’t find two people who draw two the same.” Some time ago the jazz pianist surprised us with “Jazz in the dark”, where musicians and audience shared his experience as a blind person, now he is inspired by the description of works he cannot see to offer us his vision of them in sound. Horacio Fumero (double bass) and Esteve Pi (drums), with whom Terraza has already been to Washington, join in with the pianist’s game. “They haven’t seen the pictures either; they have also come to them through the descriptions,” he says.

“…Duke Ellington isn’t the likeliest supporting act, but it was he, accompanied by bassist John Lamb and drummer Sam Woodyard, who opened for pianist Ignasi Terraza and his trio on Saturday night at Luz De Gas. The trio performed a suite of Terraza’s original compositions, titled Imaginant Miró in tribute to the famed Catalan artist and jazz lover Joan Miró. Obviously Ellington didn’t make the support slot in person. In 1966 the pianist and the artist met in the south of France. Ellington played a couple of numbers, watched over by Miró, and the impromptu performance was captured on film. The film of one of the tunes, a blues which Ellington eventually called “The Shepherd (Who Watches Over His Flock),” served as the introduction to Terraza’s own performance.

Imaginant Miró was characterised by a meditative approach and a calm, relaxed, stage presence. The suite was beautiful—at times haunting, at others graceful and, in its occasional upbeat moments, filled with a joyous positivity. The opening section, a slinky blues-based tune, was reminiscent of the version of Jon Hendricks and Harry “Sweets” Edison’s “Centrepiece” recorded by Joni Mitchell—another jazz-loving artist with the initials JM…”

Ignasi Terraza (piano)
Horacio Fumero (double bass)
Esteve Pi (drums)

01. Imaginant Miró
02. El Segador
03. Nocturn
04. Polaritats
05. Noias, Jacints i Futbol
06. Van Gogh
07. Improvisació Serial
08. Dança Tribal
09. Caricies Sinusoidals
10. Espirals Cósmiques
11. Duke's Visit

"Hearing is Everything" Peter Watkins



Sean Jones Quartet - Im·pro·vise Never Before Seen (2014)

A major event in that evolution occurred when he chose to step down from his longtime position as Lead Trumpeter of the Jazz At Lincoln Center Orchestra in 2010. But touring with Wayne Shorter and Herbie Hancock’s Tribute To Miles the following year made a truly profound impact on his personal journey.Celebrating his 10 th anniversary with Mack Avenue Records, internationally acclaimed composer/trumpeter Sean Jones views his 7th album, im•pro•vise (never before seen), as “a reintroduction of who I am.” Although he has clearly established himself as a formidable leader through recordings and live performances, this album reflects his “conscious decision to approach this latest step in my artistic evolution as a trumpet player, a composer and a leader.”

“I have so much respect for those men, so I asked them how I could best contribute to this music. Without hesitation and in one voice they said: ‘Lead. That’s what we hired you to do.’ That brought it all together for me.”

Through that epiphany, Jones set out with a new motivation firmly in place, and im•pro•vise began to take form. Paring his artistic viewpoint down to the basics, he decided to make his first quartet recording with his longtime bandmates, the dynamic pianist Orrin Evans, and the seamless bass/drum tandem of Luques Curtis and Obed Calvaire. Furthermore, he chose to do it old school.

“All of my previous albums were ‘productions’ with overdubs, etc,” says Jones. “This time it was just the four of us in one room, no barriers between us, playing live.” The sense of immediacy and urgency that has always been a key element of the jazz art at its highest level is front and center throughout this entire album. Another essential tradition of looking back to look forward is also omnipresent here, and that includes the full scope of that legacy from its blues roots to its freer explorations.

That perspective is clearly expressed from the very beginning with the opening track “60 th and Broadway,” as the influences of iconoclasts like Don Cherry and Lester Bowie are included in the vernacular over which Jones displays his flawless command. “This piece was a nod to all the great years I spent at Lincoln Center,” says the trumpeter. “I’m so grateful, but it was time to move on.” Clearly this movement is both focused and bold, as this piece demonstrates a group synergy locked into a unity of purpose and joy of discovery.

There are five more Jones originals on the album, each of them exquisitely crafted as an ideal launching point for the improvisational exploration. These are not head-solo-head constructs. Instead, the approach on these pieces—and on the entire repertoire—is one of evolution and organic development. Appropriate to that vision, there is a floating sense of time, with a rubato feel often at play alongside distinct rhythmic sections, creating a context that is almost cinematic. These are tales sometimes told gently, sometimes with vehemence; sometimes cryptically and others in matter-of-fact terms. “All of my compositions have a specific meaning,” explains Jones, “something that has happened to me, or affected me in some way.”

“Dark Times” was written over 10 years ago while Jones was pursuing his Masters Degree at Rutgers. “It’s a reflection of a time of struggle and uncertainty…and my decision to put it aside and just move ahead.” As the atmospheric, darkly lustrous rubato opening moves into the fluidly lyrical theme, that depiction is vividly stated. With a freely floating tone reminiscent of Miles’ Filles de Kilimanjaro period, Sean demonstrates his command of the Miles philosophy of time and space where what’s not played is as important as what is.

The opening and closing movements from the five-part “Date Night Suite” are included here. “New Journey” is a joyful romp—open, freewheeling, but anticipatory and speculative. The closing movement, “The Morning After,” begins as a lovely anthem-like ballad “reflecting on the night before,” explains Jones, “then hopeful, speculative,” as an exuberant foray erupts with joyful possibilities.

A ballad of filigreed beauty, “We’ll Meet Under the Stars,” is a serenely evocative piece, with the melodic line caressed lovingly between Evans and Jones, cushioned by marvelously subtle bass and drums interplay.

“There are times when you just have to say ‘I don’t give a damn’ and go with what your feelings are,” expresses Jones, and thus, the “I.D.G.A.D. Blues,” written on the bandstand in the middle of a wee-hours set. The blues is the core of jazz expression and this piece has that late night intimacy where the musicians are just playing for themselves—and whoever happens to be lucky enough to be there to hear it.

While one can easily envision that blues being played by Roy Eldridge and Teddy Wilson, another staple of the jazz repertoire receives a most unusual treatment. “How High the Moon”—a longstanding vehicle for jam sessions, vocalists, swing bands and bop ensembles—is constructed, deconstructed and reconstructed, offering a surprising new chapter to an often told story in an unexpected time and place. The trumpeter also provides a fiery new interpretation of Jackie McLean’s “Dr. Jekyll” (best known from Miles’ Milestones album). “I wanted to let everybody stretch out in the tradition,” says Jones, and stretch out they do, in breathtaking and virile terms. Jones includes a piece by another outstanding altoist with “Interior Motive” by Joe Ford. “Joe has always

been very inspirational to me, encouraging me since we worked together with the Fort Apache Band and with Charles Fambrough,” reflects the trumpeter. Built upon a richly wooded bass vamp and splendid drumming, the piece weaves in and out of various rhythmic contexts and shifts moods audaciously, but with perfect continuity.

Pianist Evans contributes “Don’t Fall Off the L.E.J.” for the album. “You can’t play with a band unless you take chances while playing together,” says Jones of this spirited excursion, delivered in straightforward fashion, delightfully syncopated and swinging fervently.

This extraordinary album concludes on a most poignant note with Stephen Sondheim’s “Not While I’m Around,” dedicated to Jones’ mother. “My mother has been so crucial in my life. I love Sondheim, and this piece just encapsulates her essence to me.”

Powerfully committed to his art and clearly focused upon where he wants to take it, Jones has developed one of the most impressive and compelling ensembles on today’s scene, all of whom are committed to performing together and taking their place alongside the most affecting and important ensembles in jazz.

Together this quartet generates the consummate energy to which all truly dedicated jazz artists should aspire. The musicians bring everything they have to the table, making the music their own, yet always understanding that the purpose is to fulfill the vision of the leader. “I want to reflect the tradition of what jazz is,” says Jones, “and my voice is a voice that needs to be part of it.” 

Sean Jones: trumpet
Orrin Evans: piano
Luques Curtis: bass
Obed Calvaire: drums

01. 60th & Broadway
02. Dark Times
03. Interior Motive
04. The Morning After
05. I Don't Give A Damn Blues
06. Dr. Jekyll
07. How High The Moon
08. We'll Meet Under The Stars
09. New Journey
10. Don't Fall Off The L.E.J.
11. Not While I'm Around

"Hearing is Everything" Peter Watkins


Rick Braun - Can You Feel It (2014)

If you’ve ever seen Rick Braun perform, you know what a high-energy entertainer he is. But ask him to talk about his career and the gregarious, charismatic musician-songwriter-producer becomes visibly uncomfortable and awkwardly quiet.

“The collective moments are one big unfolding story that’s still not done. I just sit back and be grateful to still be making music with friends,” says the humble trumpeter-flugelhorn player-vocalist Braun, a consistent chart-topper who has amassed a catalogue of No. 1 Billboard Contemporary Jazz chart and radio hits throughout his solo career that began in earnest in 1992.

One of those memorable moments for Braun occurred twenty years ago at influential Los Angeles radio station 94.7 The Wave with friend and fellow contemporary jazz star Peter White. The two had a hit from Braun’s 1994 breakthrough release Beat Street entitled “Club Harlem,” a horn and nylon string guitar duet. It was a track that came at a time when both artists were being propelled from being first-call sidemen to solo recording artists. Braun recalls turning to his frequent collaborator and asking, “How long do you think we’ll be able to keep doing this?”

As Braun cranks up the machine in advance of his 16th release, Can You Feel It, he says, “I’m grateful that people still want to hear what I have to say [musically]. That’s beautiful and miraculous. ”You can feel his genuine sense of gratitude as much as you can feel the joy he pours into his music and the fun he has creating it. On Can You Feel It, Braun fondly conjures the spirit of Beat Street in a return to his jazz-funk roots while continuing to record and collaborate with old and new musical friends.

“When I started working on this album, which was about a year in the making, there were two goals that I had in mind. I wanted it to be really organic and have a lot of my friends playing on it. Young players—like Third Richardson, who is one of the best drummers in the world and Nathaniel Kearney Jr., an extraordinary bassist—melding together with the old faithful; guys like Nate Phillips [bass] and Randy Jacobs [guitar]. It’s a return to the sound and style of Beat Street, which essentially was a tribute to my years playing in War. I took out all of the sequencing with one exception and made the record like a garage band using great live players. It was a lot of fun making the record. It’s energetic and earthy. We hit it hard—kind of like Tower of Power—capturing the energetic, funky horn band sound. I wanted lots of horn section parts on the album,” explains Braun.

Braun, who produced the collection and wrote or co-wrote 9 of the 11 songs, opens with the title track brimful of excitement and energy, capturing the classic sound his adoring fans across the world know and love. Can You Feel It is packed with horn section parts, the melodic trumpet lead riding the crest of a funky R&B groove. Of note on this cut and throughout the album is Braun wielding a relatively new weapon in his arsenal: valve trombone. “It’s got a funky sound, really unique and fun to play. It’s got a great sound.” A recurring partner in crime, Philippe Saisse, wrote the song with Braun. “Philippe is a harmonic wizard. He’s adventurous whereas I can be practical. He’ll go out on a limb and I bring him back.”

Friend and neighbor Brian Culbertson duets with Braun on “Back To Back” on which the keyboard sensation’s signature sound merges with the trumpet on the brisk energizer. “There’s a nice interplay and synergy. We have always brought that out in each other on our collaborations. After writing it with Phil Davis, I kept hearing Brian on it in my head. He did a wonderful job on the track.”

A longtime Al Green fan, Braun invited soul singer Elliot Yamin and saxophonist Euge Groove to join in on the fun party jam “Take Me To The River.” “Elliot’s an old soul with a soulful voice. He’s classic R&B right down to his shoelaces. He’s a character who sounds like he’s been around forever putting in the time playing dark and dusty clubs. He sang the song in one pass. He’s the real deal, right down to the Jack Daniels he had during the session,” says Braun with admiration. Lingering memories of a romantic vacation with his wife, Christiane, inspired Braun to pen “Mallorca,” a sultry and exotic contemporary jazz tryst.

“Get Up And Dance” is an energetic frolic with Dave Koz during which the trumpet and sax engage in a playful discourse that sounds like a summer smash. “Dave came over to shoot a video segment for his internet TV show and the invite to play on the track came about organically,” reveals Braun, who wrote the album’s first single with co-producer Bud Harner. “Bud really stepped up and helped me to focus while working on the album.”

Saisse wrote the stunning “Another Kind Of Blue,” a gorgeous yet somber reflection with a sweeping silver lining chorus. Braun’s expressive flugelhorn conveys layers of emotional depth on the R&B ballad. “It’s a beautiful song, the one tune on the album that’s a showcase for what I do so I just let it fly spontaneously.”

Braun and keyboard pioneer Jeff Lorber combine forces on “Delta,” a taut, punchy R&B-funk-jazz hybrid. “As I was writing and working like crazy on the album, Jeff sent track after track—so many tracks over the span of months. I’d listen and then work on it. We wrote ‘Delta’ together, which is a quintessential horn-funk song.”

“Silk” was one of Braun’s earliest ideas when he started composing material for the set. Tension builds on the gentle piece that has “a delayed resolution and a delayed chorus. I wrote it late one night in the studio after my wife and the kids had gone to bed. I got in the studio and had this quiet moment alone. ”Speeding from the start, “Radar” is another Braun and Lorber co-write with trumpet blazing the path. “I had to play it hot to honor Lorber. You can’t play low-key on a Lorber track because he’s high energy, attack mode all the way. It’s like an athletic event,” laughs Braun.

The rhythm section carves a nice pocket for Braun’s trumpet lead on “The Dream” accentuated with flugelhorn flourishes. Braun says that Richard Freemont’s flute emerging late on the track “keeps it really interesting. I’ve always loved the classic CTI Records sound and this track has that type of energy and feel.”

Braun declares the album closer, “Dr. Funkenstein,” is “the cornerstone of the record. It gives the entire set validation. This song is true to my original concept. It’s very much in the spirit of Beat Street, and was written while jamming in the studio with Nate [Phillips] and Sergio [Gonzalez]. It’s got so much energy. It feels like Tower of Power to me,” says Braun. The boisterous joint attacks instantly with a monster funk prescription powered by fiery horns, rousing Hammond B3 organ blasts and old school R&B guitar licks.

Looking at his diverse, award-winning career that spans jazz, pop and rock, the Allentown PA native says, “There have been many great moments with so many great artists in the studio and live.” Co-writing the Top 20 pop hit “Here With Me” for REO Speedwagon was his entry, and the gifted horn player became a highly-respected sideman touring and recording with Rod Stewart, Sade, Tina Turner, Natalie Cole and Tom Petty.

Spending years on the road with Stewart, Braun remembers the pivotal moment when he had to decide what type of musician he wanted to be. “I got a call from my manager telling me that ‘Cadillac Slim’ was a big hit. I had to either continue touring with Rod or really commit to my solo career. Instinctually I made the decision right away and never looked back,” recalls Braun. “My dream ever since I moved to Los Angeles in 1977 when I would drive back from Los Angeles into the valley at night and see all the magnificent lights was that I wanted to hear one of my songs playing on the radio while I was doing the drive. That dream came true with ‘Club Harlem.’”

Braun has not only crafted his own definitive hits that have been radio staples since the ‘90s, but he’s produced No. 1 hits for David Benoit, Marc Antoine and former Rod Stewart band sidekick Jeff Golub. He’s achieved collaborative success on massive hits with Boney James, as a member of RnR with saxman Richard Elliot and with BWB, a powerhouse trio completed by Grammy® winners Kirk Whalum and Norman Brown. His enthusiasm for collaborating carries over to his concert schedule. Not only is he a popular headliner on his own, but Braun regularly shares the spotlight touring as part of top drawer packages such as Jazz Attack, comprised of the trumpeter along with White and Groove with whom he will tour much of this year supporting Can You Feel It.

Although his horn work has been his signature voice establishing him as a preeminent player and genre icon, Braun realized another dream when he took to the microphone to croon jazz standards on his two most recent releases, Sings With Strings (2011, Artistry Music) and the Christmas collection Swingin’ In The Snow (2012). He’s toured and supported the discs by performing with orchestras and string sections that allowed the artist to explore new and different areas of his creative muse. “I’ve realized that I have two different careers that have little to do with each other and I’m okay with that. They were certainly departures for both me and my fans, and I relished the opportunities to make those albums,” Braun reflects candidly.

Can You Feel It instinctively brings Rick Braun back full circle, an offering guaranteed to satiate listeners who have been on the carousel with the multidimensional horn man while luring new ones to climb aboard. There is a crisp freshness and vibrancy evident in the new material mirroring the great pleasure he derives from making it. The devoted family man feels most comfortable when surrounded by friends while making funk-enriched contemporary jazz using live instrumentation. “It is a return to who I’ve been for so many years,” Braun concludes. “It is a return to being funky. It felt like it was time to keep the funk element alive and well.” And that it is.

Rick Braun: Trumpet (1-5, 7, 9, 11) Valve Trombone (1-4, 7, 9) Flugelhorn (4,6,8,10) Keyboards (10-11)
Brian Culbertson: Piano (2)
Phil Davis: Keyboards (2)
Brandon Fields: Tenor & Baritone Saxophone (1,7,9) Baritone Saxophone (3,11)Richard Freemont: Flute (4,10)
Jon Gilutin: Hammond B3 Organ (1,11)
Sergio Gonzalez: Drums (11)
Euge Groove: Tenor Saxophone (3,11)
Adam Hawley: Guitar (2, 4-5, 8-10)
Randy Jacobs; Guitar (1,3,6,11)
Nathaniel Kearney Jr.: Bass (1,4,5-10) Additional Bass (3)
Dave Koz: Tenor Saxophone (3)
Braylon Lacey: Bass (2)
Jeff Lorber: Keyboards and Guitar (7,9)
Tony Moore: Drums (7)
Nate Phillips: Bass (11)
Frank "Third"  Richardson: Drums (1-6, 8-10)
Philippe Saisse: Keyboards (1, 4-6, 8)
Freddie Washington: Bass (3)
Elliot Yamin: Vocals (3)
Ramon Yslas: Percussion (1-11)

01. Can You Feel It
02. Back To Back
03. Take Me To The River
04. Mallorca
05. Get Up And Dance
06. Another Kind of Blue
07. Delta
08. Silk
09. Radar
10. The Dream
11. Dr. Funkenstein

"Hearing is Everything" Peter Watkins


Daniel Zamir - Missing Here (2010)

Total Time: 01:05:17 
Total Size: 143 Mb

1. Poem 33 (6:06)
2. Poem 54 (5:19)
3. Letter He (7:14)
4. Scent of an Apple Redness of Red (4:39)
5. Poem 42 (4:33)
6. Poem 51 (9:48)
7. Eleven (Question Mark) (6:29)
8. Poem 47 (Duet) (4:22)
9. 7 Measurements (6:22)
10. Love (7:18)
11. Missing Here (3:07) 

Daniel Zamir - Sax
Omer Klein – piano, 
Omer Avital – bass 
Aviv Cohen – drums.

Guest players include trumpeter Itamar Borochov and trombonist Avi Leibovitch. 
Israeli singer / pianist Eviatar Banai guests on the title track

"Missing Here" is the 7th album by brilliant Israeli saxophonist / composer Daniel Zamir, one of most renowned Israeli Jazz musicians born in the country, who also managed to establish an international career. Zamir was born to a secular family, but during his stay in the US re-discovered Jewish religion and became an orthodox Jew. Zamir lived in the US since 2000 and returned to Israel in 2006, where he now lives, writes music, performs and records. During his stay in US he was "discovered" by John Zorn and eventually recorded four (so far) albums for Zorn's Tzadik label. This is his third album recorded and released in Israel. His music is a wonderful mixture of Klezmer, Jewish music, Eastern European and of course Jazz, which is completely unique. His technical fluency and unlimited expressionist powers place his among the world's saxophone virtuosi. He now plays the soprano saxophone exclusively and his sound is often reminiscent of John Coltrane's. This album includes music composed entirely written by him and he's accompanied by some of the best Israeli Jazz players: Omer Klein – piano, Omer Avital – bass and Aviv Cohen – drums. Guest players include trumpeter Itamar Borochov and trombonist Avi Leibovitch. Israeli singer / pianist Eviatar Banai guests on the title track. The album is a beautiful listening experience to every sensitive music lover, with everybody being able to discover the many different facets of this great music. Wholeheartedly recommended!