sábado, 8 de noviembre de 2014


JAZZ by JAZZ, el programa que lleva en el aire 13 años en RADIO  UNIVERSITARIA Fm 107.5 Mhz, UBERLANDIA, MINAS GERAIS, todos los DOMINGOS a las 19:00h . (hora brasileña). Su objetivo es la promoción y difusión del músico y de la música de Jazz en todas sus fases y aspectos, incluyendo músicos y artistas brasileños.

Durante los últimos años el espacio JAZZ by JAZZ está considerado en Brasil como unos de los 10 mejores programas de Jazz. Este nivel de calidad ha sido posibles a su productor, director y presentador, RONALDO ALBENZIO.



de la mano de


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



Source & Label: Whirlwind Recordings
Gab's Rating: ☆ ☆ ☆ ☆ ☆ 

We Make The Rules is the debut WWR release from the multifaceted drummer & composer Jochen Rueckert, a German native who's been based in NYC since 1995, where he's become one of the preeminent artists of his generation known for his work with Marc Copland, Kurt Rosenwinkel, Nils Wogram's Root 70, Sam Yahel, Will Vinson and Seamus Blake. Jochen is also renown for his work in electronic music under the alias "Wolff Parkinson White" as well as his long running book series "Read the Rueckert- travel observations and pictures of hotel rooms".
The album features Reuckert's quartet, a truly stellar cast of players which has been together since 2009, featuring long standing musical cohorts Mark Turner on tenor saxophone, Lage Lund on guitar and Matt Penman on double bass, all three guiding lights of their generation. Rueckert explains, "I've known Mark for about 18 years, I've played in his band occasionally and also got to know him while playing in Kurt Rosenwinkel's band. He's my favorite tenor player and I used to be at Smalls Jazz Club every Tuesday when he would play in Kurt's famed group when I first got to NYC in the 90s. Lage I've known for 10 years and I love both his tone and the harmonic flow he brings to my songs. We've played together a lot, especially in alto saxophonist Will Vinson's band. Matt is the first great bass player I ever played with and it was an eye-opener. We've known each other for over 20 years and were roommates for about four years. We have been playing in Nils Wogram's band 'Root 70' for over a decade and in Sam Yahel's trio for about 10 years. Playing with him is like riding a bicycle."
Indeed this playing history and group cohesion is immediately apparent on We Make The Rules, which features all original music that was written by Rueckert around 2011 and subsequently toured internationally before going into the studio to record. "I'm getting a little allergic to 'project style recordings', where you play music in the studio without being able to fine tune it on the road," Rueckert adds. "All said and done, the music on the album was recorded in only seven hours and six of the tracks are first takes, the rest second takes. The perks of having a working band!" The album boasts a pristine sound quality to boot as a result of post production work carried out by one of NY's all-time sonic gurus James Farber.
Compositionally, the music was conceived with each of his band members in mind and covers a lot of ground while featuring the use of Rueckert's penchant for writing understated melodies. 'Yellow Bottoms', for example, is reminiscent of early 60s compositions by Wayne Shorter or Herbie Hancock, who are among Jochen's favorite influences. Drawing from the compositional styles of his peers Hayden Chisholm and Nils Wogram, who churn motives and rhythms around while adding a lot of contrast throughout a song's sections, 'Pretty From Afar' implores these devices by starting out anthemic, then dissolves, picking up again just to ultimately peter out in the last section which ends softly with almost a sense of despair or disappointment. Other influences can be pinpointed to Rueckert's formative years in the 1990s: Kurt Rosenwinkel, Mark Turner and Reid Anderson; there are even hints of 1900s classical music and a quote from a Deftones song on 'Saul Goodman'. Rueckert's experiences working in the bands of other musicians come into play as well: "I get frustrated as a sideman when I have to read overly complicated forms, or when the solo sections are then simplified or some separate thing. I purposefully wrote most of the music so that the solos are on the actual forms of the songs, making them more of a complete and cohesive piece. I also tried to not shy away from having a fair amount of swingers which I really miss on many recent albums."
As much as the songs on the album were written as vehicles for his bandmates to take on improvisational flight (and in that capacity they shine brilliantly), they were also inspired by Jochen's life experiences. As he explains: "'Alloplasty' is meant in the psychoanalytic way, not the surgery. I am plagued by intense fear of flying and it's one of the things that comes up in therapy. 'Pretty From Afar' is about a girl I saw once in Helsinki at a gig. The band was watching her throughout the set in the back of the club, intrigued. We were all talking about her but later she came up to us and was ugly as sin. 'Manong Twilight At The Whatever Hotel' is named after a piece of art by my uncle Carlos Villa from San Fransisco. He was an enthusiastic jazz fan and saw everybody play in the 60s. He passed away when I was writing that tune.
One of Jochen's catch phrases is the ability to "have many moods to choose from" and as a composer he succeeds greatly at presenting an album that reflects this notion as well as tackling the great challenge of coalescing life's concepts and feelings with instrumental music. No doubt We Make The Rules will further solidify his reputation as one of the premier drummer/bandleaders working in jazz and improvised music today.

1. Eggshells    7:30   
2. Pretty from Afar    9:36   
3. Saul Goodman    6:55
4. We Make the Rules    6:06
5. Bess    5:45   
6. The Cook Strait    7:40
7. Alloplasty    5:35   
8. Yellow Bottoms    6:16
9. Manong Twilight at the Whatever Hotel    7:52

Jochen Rueckert - drums
Mark Turner - tenor sax
Lage Lund - electric guitar
Matt Penman - double bass

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


Miguel Zenón - Identities are Changeable (2014)

Gab's Rating: ☆ ☆ ☆ ☆ ☆  

It would simply be enough to just hear Miguel Zenón's saxophone; its fluid, darting, humming bird-like maneuvers, soulful and piercing. Yet as one of the most distinctive altos in jazz, the Grammy nominated and Guggenheim and MacArthur Fellow is also a gifted composer who continues to deliver insights into his culture as vividly expressed in 2011's Alma Adentro: The Puerto Rican Songbook and 2009's Esta Plena, both released on Marsalis Music.

His ninth recording as a leader, Identities Are Changeable, is an ambitious project that finds Zenón with his longtime quartet (Luis Perdomo, piano; Hans Glawischnig, bass; Henry Cole, drums) and a large ensemble dubbed the Identities Big Band. The creative hook though is how the music is interwoven through a series of English-language interviews Miguel Zenón conducted with seven New Yorkers of Puerto Rican descent addressing what it means to be Puerto Rican in 21st-century New York City; questions that mirror Zenón's own identity since he moved from San Juan to New York in 1998.

Commissioned as a multi-media work by Montclair State University's Peak Performances series, the album version combines music and interviews into a brilliant program of jazz and dialog. The interviewees—who include Zenón's sister Patricia—make their introductions during the "¿De Dónde Vienes?" amidst churning horns and a spirited tempo. During the eight composition song cycle personal insights into the individual's backgrounds and aspirations emerge as the music colors its own narration.

Zenón's brings a fresh stylistic approach as a composer marked by melodicism and intrepid charts communicated in the ebb and flow of "My Home" with its elegantly sweeping movement that culminate in a powerful cyclical horn pattern. "Same Fight" encompasses a swinging Harlemesque blues vibe with interviews speaking of the cultural commonalities between African Americans and Puerto Ricans within the city. Music highlights abound such as Glawischnig's impressive bass solo in "Second Generation Lullaby" and the horn section's tumultuous trades with Zenón's serpentine solos. The charts give life to the interviewees' comments moving through polyrhythmic changes and moods.

Thought-provoking interviews, memorable performances, and excellent composition, Zenón's Identities Are Changeable has a distinct identity all its own.

¿De Dónde Vienes? (Overture)
Identities Are Changeable
My Home
Same Fight
First Language
Second Generation Lullaby
Through Culture And Tradition
¿De Dónde Vienes? (Outro)

Miguel Zenón: alto saxophone
Luis Perdomo: piano
Hans Glawischnig: bass
Henry Cole: drums
Will Vinson: alto saxophone
Michael Thomas: alto saxophones
Samir Zarif: tenor saxophone
John Ellis: tenor saxophone
Chris Cheek: baritone saxophone
Mat Jodrel: trumpet
Michael Rodríguez: trumpet
Alex Norris: trumpet
Jonathan Powell: trumpet
Ryan Keberle: trombone
Alan Ferber: trombone
Tim Albright: trombone

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



Pablo Held - The Trio Meets John Scofield (2014)

Label : Pirouet
Gab's Rating: ☆ ☆ ☆ ☆ ☆ 

Sometimes dreams become reality. Occasionally these dreams are the ones that seem to be the craziest. And so it is with this CD. The beauty of it is that the recording is also a dream for the listener. The concert at the Cologne Philharmonic is the first collaboration between the young German Pablo Held and his trio and the great American guitarist John Scofield – and it was recorded. Pianist Held exclaimed that the concert was "an amazing experience, something I'll never forget." For John Scofield, "The concert went really well – and I asked the trio if they would go on tour with me." So – to be continued... Here we have the tones of this landmark first contact – compelling pieces full of energy and sparkling inspiration. The gripping three-dimensional sounds cover a wide emotional range, and in response, the audience of 2000 responded with boisterous acclaim in the sold-out concert hall.  ...and here is the CD from that encounter. This is gripping, hands-on music in free flight, a memorable moment with the possibility of a sequel.

Kubrick / Camp Out
Imaginary Time

Pablo Held - piano
Robert Landfermann - bass
Jonas Burgwinkel - drums
John Scofield - guitar

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


Rex Richardson & Steve Wilson - Blue Shift (2014)

BLUE SHIFT is what happens when two world-class jazz musicians, Rex Richardson (trumpet) and Steve Wilson (saxophone), put together a modern jazz quintet with broad influences – ranging from the post-bop shades of Woody Shaw to the country-western inflections of Bill Frisell. BLUE SHIFT’s compositions epitomize the eclecticism of modern jazz, a contemporary shift where bebop and jazz-rock meet. Included in the lineup are Trey Pollard (guitar), Randall Pharr (bass) and Brian Jones (drums).

The International Trumpet Guild says, “Rex Richardson is among the very best trumpet soloists in the world today!” Style Weekly called him, “One of the world’s most engaging and astonishingly versatile trumpeters.” Richardson has performed in critically acclaimed ensembles and orchestras on five continents and shared the stage with countless legendary artists. He has taught at Virginia Commonwealth University since 2002 and served as artist-in-residence or visiting professor at colleges from New York to London. He was awarded the 2011 Theresa Pollack Prize for Excellence in the Arts and named the 2008 Brass Herald Personality of the Year. Yamaha has endorsed him since 1995.

Included in the lineup are Trey Pollard (guitar), Randall Pharr (bass) and Brian Jones (drums).

1. Tell, Tell Me Again
2. Red Shift
3. Cyclical
4. Seeing Star (Blue Shift)
5. The Benevolent One
6. Big Sur
7. Tomorrow's Destiny
8. Blues for David Henry

"Hearing is Everything" Peter Watkins