jueves, 7 de agosto de 2014

Tingvall Trio – Beat (2014)

Source: skiprecords

The three players come from different countries. Despite the wide variety in their backgrounds, a level very much their own emerged from their creative alliance. Among the mentors who taught Swedish pianist Martin Tingvall his craft was Bobo Stenson. Jürgen Spiegel from Bremen, Germany gigged with artists like Nneka, but audiences were “boffoed” above all by his enormously multifaceted playing and the vividness of this percussion work. Double Bass player Omar Rodriguez Calvo from Cuba was already a sideman of Ramon Valle and Roy Hargrove among others. With the addition of Calvo , the music fluctuating back and forth between Scandinavian Jazz/Folk melodies and straight 4 rock rhythms obtained a southern lightness that easily brought listeners to their feet. Meanwhile is seen as one of Europe’s top jazz acts at all.

01. Den Gamla Eken
02. Hamnen
03. Spksteg
04. Beat
05. Cowboy
06. I Skuggorna
07. Heligt
08. Pa Andra Sidan
09. Beat Train
10. Vagskal
11. Tres Bandidos
12. Den Vilsna Tomten

Martin Tingvall - piano
Omar Rodriguez Calvo - bass
Jurgen Spiegel - drums

"Hearing is Everything" Peter Watkins


Paolo Sapia - Mostly Music (2014)

Source: Paolo Sapia
Label: Steeplechase

“Miles Davis is my main inspiration in music, he always played real music and not just notes, his solos are always logical and coherent and full of melodies, that’s what I’m looking for when I’m playing. Other musicians that inspire me are: Jackie Mclean, Chet Baker, Joao Gilberto,  Mozart, John Coltrane,  Kenny Garrett,  Massimo Urbani…”
Paolo is originally from Italy and he has played Jazz Piano professionally for years, playing in several Jazz Festivals and Jazz Clubs such as the Blue Note in Milan, the Italian Way of Jazz, Trenzano Jazz Festival, Ottagono Jazz Festival among others. In 2004 Paolo decided to start playing the Alto Sax and in 2005 he moved to New York after receiving a Scholarship at the Jazz and Contemporary Music program at the New School University in New York , after that he received a MA degree from The Queens College in New York City as well.
From Blue Note to the Kennedy Center in Whashington D.C or the Italian Cultural Institute Paolo has performed, recorded, and studied with a broad range of musicians: , Eric Mcpherson, Jimmy Cobb, Antonio hart, Kevin Hays, Bob Mover, Jeremy Manasia, Mark Turner, Reggie Workman, Quincy Davis, Sam Harris, Eden Ladin, Marco Panascia, Harold O’neil, Vincent Herring, Joseph Lepore, Luca Santaniello. Philip Dizak, Peter Zak, Rafal Sarnecki, Joel Holmes, Wayne Escoffery, Reggie Quinerly, Mike Eckroth, Jimmy Owens and many others.
In June 2013 Paolo has recorded his first album as leader to be released soon  “Mostly Music” featuring an amazing band which includes the great Jimmy Cobb on Drums, Philip Dizak on Trumpet, Peter Zak on Rhodes and Piano and John Webber on Bass.


PAOLO SAPIA, alto saxophone
PETER ZAK, piano, Fender Rhodes

Recorded June 18th 2013.


01 Desire
02 Where Are We Now ?*
03 Old Folks
04 621 Willoughby Ave
05 Don't Follow The Crowd
06 Planet P
07 Stapled Mates
08 Saudade de Bahia
09 On A Clear Day
10 Pure Imagination 



Albare - Midnight Blues (2014)

Source: Albare

As he takes to the stage, elegant in a tailored black suit, very obviously comfortable in his skin and toting one of his Gibson Custom Shop hollow-body Les Paul or perhaps his L5, guitarist & producer *Albert Dadon* is every inch the consummate professional, nodding to his fellow musicians who return the compliment, all equals regardless of however many years individuals may have been serving their art. They're all there to serve the music after all, and that music is jazz.

Today, the jazz route Dadon, who creates his musical landscapes under the name *Albare*, is taking is very much the gentler, often introspective but always accessible and melodic one. He first came to my attention twenty years ago when his musical journey was taking him down a more "funk-driven'" route, his first Australian album, 1992's *Acid Love*, an energetic celebration of his musical evolution to that point, fired by the innovative jazz-rock that was very much the currency of his teenage years in the late 1970s early 1980s, yet skilfully understated nonetheless.

Over the next couple of years other elements were brought into Dadon's music, heady elements we tend to define as World, as nebulous as that catch-all term is, but in reality merely other elements drawn from the kaleidoscopic rainbow of sonic colours available to all and as much a natural part of his musical evolution as you'd expect from a man who has lived in a variety of cultural contexts, whether in his birthplace Morocco, in Israel, France or indeed his hometown for the past thirty years, multicultural Melbourne, Australia. After all, jazz long ago embraced those "World Music" elements - Gypsy, Latin, Arabic, Mediterranean, even Chinese - as part of its vocabulary, long before "rock" and "pop" audiences ever did, so how could they not also seep into the jazz of this most cosmopolitan of renaissance men.

Dadon's commitment to the jazz form is obvious not only in the music he makes but in his determination to raise its profile within the wider community in his adopted homeland. Over the years, I've interviewed several of the younger Australian jazz musicians who have been recipients of a Bell, the prestigious Australian Jazz Award Dadon established back in 2003 to recognise and nurture excellence in the genre, its name a tribute to one of Australia's pioneer jazz musicians and educators, the late Graeme Bell. It's made a hell of a difference to their careers, raising the profiles of emerging musicians and celebrating the artistry and legacy of some of Australia's "unsung" masters of the craft, from veteran vocalist Judy Jacques and drummer and poet Allan Browne, who were award winners in its inaugural year, to international trailblazers The Necks to pianist, accordionist and composer Joe Chindamo, whose debut album, *The First Take* (*A History Of Standard Time)*, Dadon produced.Chindamo won the 2006 Bell for Best Australian Classical Album of the Year, *Live At Umbria Jazz '05*, recorded at the festival Dadon brought to Melbourne that year, and there of course is another extraordinary aspect of this remarkable man, so passionate about his chosen artform. In 2000, Dadon took over as Director of the Melbourne International Jazz Festival, becoming the Festival's Chairman in 2003 and then bringing the Umbria Jazz Festival to Melbourne, rebranding it as "Umbria Jazz Melbourne '05". Appointed Artistic Director of the Festival in 2006, he rebranded it once again as Melbourne Jazz, inviting more than 200 artists from around the world. Since 2007 however, Dadon has concentrated solely on writing, recording, producing and performing his own music.

For all that, you can hear the humility of the man - guitarist, composer, bandleader and producer - in his playing, never flashy, ever mellifluous, always subservient to the work at hand, always attentive to the sounds being created in the moment by his musical collaborators, a quiet smile lighting up his face as one or other takes his composition to another place for a few blissful moments. 

The beauty of music in general is that, once you know the language, a true musician can step into any configuration of fellow musicians and the magic happens. That magic can go even deeper in jazz. In Dadon's hands, it all sounds so effortless, flowing silky smoothly from one theme to the next, each musician within his always meticulously handpicked ensemble stepping up to add their ideas seamlessly to the mix.

Throughout his past two decades as a recording and performing artist, Dadon has surrounded himself with some of the finest exponents of the art of contemporary jazz Australia and the world has to offer. Among his Australian collaborators, he has shared his vision with the aforementioned Joe Chindamo, drummers Andrew Gander, Tony Floyd and Darren Farrugia, percussionist Alex Pertout, saxophonists Tony Hicks and Rob Burke, and bass players Jonathan Zion and, perhaps most importantly, Melbourne-based Australian-Greek Cypriot bass player and composer Evripidis Evripedou, with whom Dadon has performed for more than a decade and who accompanied him onto the international stage in 2012 with the recording of Dadon's first release for the prestigious Enja records, *Long Way*, under project name Albare iTD (International Tour Diary). That album maintained its place on the national Jazz Week Chart for an impressive 18 weeks. His next, 2013's *The Road Ahead*, sat in the US Top 50 jazz radio charts in the US for 16 weeks.

*Long Way*, produced by the head of Enja, Matthias Winckelmann, with whom he signed in 2011, and which was recorded in Brooklyn, New York City, saw Dadon joined by German-born harmonica virtuoso Hendrik Meurkens, three-time Grammy Award-winning Mexican-American drummer Antonio Sanchez (Pat Methany Group), American saxophonist George Garzone (Joe Lovano Nonet) and Argentine-born pianist Leo Genovese (Esperanza Spalding). Today, Dadon's regular international touring (iTD) band includes Cuban bass player and violinist Yunior Terry (Steve Coleman, The Latin Jazz All Stars), Venezuelan drummer Pablo Bencid (Labeque Sisters, José Conde) and, the latest recruits, Cuban-American keyboards player Axel Laugart (Afro-Cuban All Stars, The Roots, George Clinton) and New York City percussionist Sammy Figueroa, whose extensive credits embrace not only jazz but R&B through rock, having recorded with everyone from Miles Davis to Chaka Khan to David Bowie. If you measure the man by the company he keeps, need I say more?

The fact that Dadon is now finding the international audience he has deserved for so long must be very satisfying, though again, he seems to be taking it all in his stride - no fuss, just getting on with the music.

Albare, guitar
and others

01. Midnight Blues
02. Journey
03. Signs
04. Zarathoustra
05. Things You Love
06. Brazil Blues
07. October Song
08. Morning
09. Message to Little Pie
10. Little Pie

"Hearing is Everything" Peter Watkins


Yaron Gottfried - The Baroque Jazz Project (2008)

I Capriol Jazz Suite (based On Peter Warlock Capriol Suite)

1. Basse-Dance (5:34)
2. Pavane (6:10)
3. Peid's en la Air (8:39)
4. Tordion (6:56)

II The well tempered unbalanced piano (based on J.S.Bach)

5. Bach: Fugue - in Dm no.6 - 2nd book (1:57)
6. Gottfried : Fugue - in Dm no.6 - 2nd book (2:37)
7. Bach: Fugue - in Gm no.16-2nd book (3:00)
8. Gottfried : Fugue - in Cm no.16 - 2nd book (6:09)
9. Bach : Prelude - in Cm no.2 - 1st book (1:33)
10. Gottfried: Prelude - in Cm no.2-1st book (3:54)
11. Bach: Prelude - in Dm no.6- 1stbook (1:38)
12. Gottfried : Prelude - in Dm no.6 - 1st book (6:54)
13. Gottfried :Fugue - in ? major no.23 - 2nd book (5:11)

III Swinging Mozart (Based on Symphonies no.36 & 40) -

14. Overture (3:11)
15. Allegro molto (7:08)
16. Andante (6:51)

tracks 1-13 - Live recording by Pedro at the Rebecca Crown hall, Jerusalem. 12.5.2002
tracks 14-16 - Live recording by Yosi Bermanat the Kfar Saba auditorium 29.3.07

Edited and mixed by Yaron Gottfried.

Contrabass: Yorai Oron
Drums: Roni Holan
Drums Eitan Itzkovich (tracks 14-16)
Vocal : Iris Portugali (tracks 12-13)
Israel Chamber Orchestra (tracks 1-13)
Israel Kibbutz Orchestra (tracks 14-16)

Yaron Gottfried Bio

The three works presented in the project: 
"Capriol Jazz Suite", "The well tempered, unbalanced piano" and “Mozart swings", have been performed over 35 times with many orchestras’ worldwide, receiving rave reviews and warm welcome from the audience. The Israeli opera house presented the works within a special series.
The compositions bring together two genres which I deeply love: the world of Jazz and the Baroque period. The works are written for a Jazz trio (Piano, Bass and Drums) and a chamber size orchestra. Each of these compositions interweaves naturally with works from the baroque period and works by Mozart, as well as any orchestral work inspired or influenced by Jazz, enabling to create an interesting, joyful and unique experience to any concert.


Gema Corredera – Derramando Luz (2013)

Conozcas o no la música y el genio de Gema Corredera, después de escucharla cantar ¡jamás volverás a ser el mismo! El estilo de Gema tiene influencias de sus raíces cubanas, así como de la canción brasileña, la opera y el flamenco e incorpora elementos del jazz fusionados con la rumba cubana, el son, bolero y “fílin”, creando una brillante compilación de música cubana contemporánea única en su clase. Como intérprete, Gema es directa y sofisticada, con una presencia escénica sencilla y cautivadora a su vez. Su increíble rango vocal y versatilidad de estilo interpretativo es descrito por muchos como un estilo íntimo, sobrio, depurado, original y seductor, capaz de cautivar a todo aquel que le escucha. El perfeccionismo de sus interpretaciones, skattings e improvisación en sus canciones han convertido a Gema en la quintaesencia de las cantantes cubanas de la generación post-filin.

Después de su gran éxito con el dúo Gema y Pavel, Gema Corredera se consagra como solista con un sonido nuevo en su deslumbrante proyecto Derramando Luz. De la mano del maestro del jazz cubano moderno (ganador de Grammy) Yosvany Terry, como director musical, Gema ha creado una obra maestra multi-género que incluye el filin, la rumba, el cha cha chá, el jazz, vestigios de la timba cubana, elementos de R&B y música clásica. Con un timbre de voz inconfundible, derroche de técnica vocal, regias interpretaciones y una musicalidad impresionante, Gema Corredera hace gala en este proyecto de su absoluto dominio de la voz y conduce a los oyentes por intrincados fraseos, improvisaciones y gran virtuosismo, mientras disfrutan como si de la música más sencilla se tratara.

Derramando Luz reúne canciones cuidadosamente seleccionadas, escritas por los destacados compositores contemporáneos Marta Valdés, Pancho Céspedes, Pedro Luis Ferrer, Julio Fowler y los miembros de la venerada agrupación cubana Habana Abierta, Luis Barbería, Vanito Brown, Boris Larramendi, Alejandro Gutiérrez y José Luis Medina.

Gema es acompañada en este proyecto por una banda de virtuosos cubanos y caribeños, todos de renombre mundial. Yunior Terry en el bajo acústico, quien ha tocado con artistas de la talla de Gonzalo Rubalcaba, Eddie Palmieri, Steve Coleman, Lila Downs, entre otros; en el piano, Osmany Paredes, quien ha tocado con David Murray, Giovanni Hidalgo, Roy Hargrove, Diego El Cigala y muchos otros; en la batería, Obed Calvaire, quien ha acompañado a Wynton Marsalis, Richard Bona, Mike Stern, Danilo Pérez, por nombrar algunos; en la percusión y vibráfono, Alfredo Chacón, quien ha tocado con el distinguido Bebo Valdés; en el teclado, Manuel Valera que ha grabado con Arturo Sandoval, Paquito D’ Rivera, Brian Lynch; y el extraordinario Yosvany Terry en los arreglos, saxo, chekeré y dirección musical. Como nota especial en este disco el excepcional e internacionalmente reconocido pianista Gonzalo Rubalcaba hace duo con Gema en la pieza "Tengo" de Marta Valdés. Actualmente Gema Corredera reside en Miami, FL USA.

01. Chévere
02. Despacito
03. Derramando Luz
04. En el Mapa de Tu Cuerpo
05. Canción Breve
06. Ridícula Emoción
07. Filineándote
08. Tengo
09. Anana Oyé
10. Otro Lugar
11. Sangre Revuelta

Gema Corredera: Vocals
Yosvany Terry: Alto and soprano sax, chékere, güiro, back-up vocals
Osmany Paredes: Acoustic piano
Yunior Terry: Acoustic bass, back-up vocals
Obed Calvaire: Drums, back-up vocals
Alfredo Chacón: Percussion, vibes, back-up vocals
Manuel Valera: Keyboards on tracks 3,4,9

Special appearance by Gonzalo Rubalcaba on acoustic piano on track 8

"Hearing is Everything" Peter Watkins