sábado, 6 de diciembre de 2014


Nuestro querido e infatigable amigo RONALDO ALBENZIO nos manda nuevos polvos mágicos. Variedad y versatilidad en esta remesa musical.  Contamos, entre otros, con:

Joe Henderson

Marcos Ariel

Helen Merrill

Phil Woods

Andrea Motis

Ken Peplowski

Julie London

Nico Assumpção



de la mano de


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


The Project H - We Live Among The Lines (2014)

Gab's Rating: ☆ ☆ ☆ ☆

 Project H and their latest We Live Among The Lines welcomes you to the land of rhythm and groove. This septet pops with a vibrant horn driven sound that might best be described as part retro Chicago horns and part Snarky Puppy...and you can dance to it! Kansas City is home to a vibrant jazz community, their achilles heel would be competing with similar cities such as San Francisco, Portland and Austin Texas, Project H is their ace in the hole and the Midwest's best kept improvisational secret. Jazz, funk and soul are brought together with an amazing consistency. There is no wheelhouse just good music!

"Do It Up & Do It Right" has the horn section firing on all cylinders and their stuff is tight! "Dozer" maintains a smoldering groove highlighting the bands innate ability to change harmonic direction on the fly. "Vandelay" is a syncopated percussive groove which again shows a tremendous consistency not to mention a chemistry that seems to scream from ones speakers. Other artistic comparison could easily be made but they would be incredibly unfair. Project H is a cultural by product of their own experience with a voice that is distinctive and talent that has placed them on stage with the previously mentioned Snarky Puppy and The Bad Plus.

Championing independent artists is an easy gig when the band is this insanely good. One of the better releases across any genre for 2014. There should be a law against music being this much fun!

1. Not A Person 02:29
2. A Bear's Cage 06:18
3. Devolver 06:10
4. Do It Up & Do It Right 05:57
5. Skyfinger 06:01
6. Uncool Kids 05:49
7. Dozer 05:57
8. The Fall and Rise Of... 04:47
9. Vandelay 05:55
10.Until The End Is Near 07:27

Clint Ashlock- trumpet
Ryan Heinlein- trombone
Brett Jackson- woodwinds
Matt Leifer- drums
Andrew Ouellette- keys
Dominique Sanders- bass
Jeff Stocks- guitars

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


Rhythm Method - By The Bye (2014)

Source: Marlbank
Gab's Rating: ☆ ☆ ☆ ☆

A quintet made up of trumpeter Bill Blackmore, guitarist Shane Latimer, keyboardist Darragh O’Kelly, double bassist Cormac O’Brien, and drummer Shane O’Donovan, Rhythm Method came together five years ago, founded by Latimer and O’Brien.

Recorded in Dublin’s Asylum Studios there’s a Kenny Wheeler-like melancholia in Blackmore’s part on ‘Sweet Candaay,’ a tune that shifts subtly in mood and tempo. But the quintet can do tougher mood pieces too, ‘Easy Peasy’ allowing Blackmore to experiment with some passion over the top of O’Kelly’s Marc Cary-like Rhodes keyboards vamp.
The title track, above, is led off by Latimer’s softly undulating John Abercrombie-like arpeggios, a subtle Rhodes underpinning, and then an exquisitely intimate and tender solo from Blackmore again entering that Wheeler space a little although this time perhaps with a nod to Dave Douglas (say the trumpeter's Moonshine period, perhaps) as well in terms of the group interplay certainly.
Rhythm Method successfully move the direction of travel away from chamber jazz atmospheres towards their more natural terrain, which seems to be the unsettled probing state-of-the-art modernism of, for instance, Ambrose Akinmusire’s contemporary approach. There’s little that’s introspective about a tune such as ‘Withdrawal’ (above, in a live videoed version) apart from the title, O’Donovan’s drum part taking on a scampering motion as O’Kelly turns up the heat. By the Bye is appealing and fresh, the high quality compositions written by four of the five in the band, and the nine tracks sound current rather than doggedly retro. Easily the best new Irish jazz I’ve heard all year. Stephen Graham

1. 12 Point 03:56
2. Working Title 05:40
3. Sweet Candaay 09:37
4. Christmas Tune 07:41
5. Easy Peasey 04:23
6. By The Bye 06:02
7. Withdrawal 06:47
8. Three Piece Suit 07:12
9. Paul's Theorem 05:29

Bill Blackmore - Trumpet
Shane Latimer - Guitar
Darragh O'Kelly - Rhodes
Cormac OBrien - Double Bass
Shane O'Donovan - Drums  

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


Gorka Benitez - Gasteiz (2014)

Source & Label: Fresh Sound New Talent
Gab's Rating: ☆ ☆ ☆ ☆ ☆  

"This project brought together three musicians of notably strong character, individuality and creativity on the stage of the Teatro Principal Antzokia in Gasteiz (Vitoria) in the Basque Country: Gorka Benitez, tenor sax & flute; Ben Monder, guitar; and David Xirgu, drums. For the project Gorka took along eight of his compositions and established a dramatic, aesthetic setting which encouraged the kind of comfortable interaction he was looking for with his cohorts.

This challenging framework sparked off some of Gorka’s most persuasively expressive and personal playing in recent years. These performances are marked not only by subtly recurring melodic and harmonic material, but also by calmly introspective, lyrical lines, explored in each musician’s uniquely personal sound. The music runs the gamut from mellow to frantic, sometimes overlapping both extremes of the emotional spectrum.

The expressivity of Gorka’s poignant tenor and his beautifullyarticulated dynamics lend authority to his work, aided masterfully by Monder’s imaginative arabesques and equally imaginative use of electronic devices, buttressed by the unobtrusive but propulsive drumming of Xirgu, a musician who always adds something special to any context of which he is a part.

On the opening A Marte otra vez, Gorka delivers the melody with passionate lyricism and unrelenting tension, but also adding a great deal of vitality. His work is full of vibrant, constantly on the move and suffused with a rough exuberance tempered with skill by Monder and Xirgu. It’s a mix of tense calm and bitter agitation which projects a sense of drama in which the players blend their sounds to match their tonal qualities while improvising in between, and the results are full of contrast, light and shade.

In El Duelo Gorka states the theme in a characteristically melodic vein, but with a firm, punching attack, and he grows more exhilarating as he moves away from the melody. The movement changes to a first quiet passage which Monder, a master in his own way, explores with magisterial aplomb, and accelerates in intensity in its center section, full of rhythmic strength and timbral combinations. The personification of burning creativity, Monder delivers a coruscating, multi-noted statement, yet always in a cohesive and empathetic fashion, while Xirgu react beautifully behind him and the dialogue grows in corrosive urgency, before peace is restored with a simple and eloquent re-establishement the theme.

Pan Duro is a tune with a dramatic yet lyric curve of melody, played with emotional commitment by Gorka, which leads to a persuasively articulated and sensitively nuanced solo that holds together all the way, coming in and going out swinging. The equally personal Monder delivers some fluent and pleasant string passages, and the ever amazing Xirgu maintains and amplifies the impetus behind the music.

On the strongly flavored pop numbers like Una y mil veces and Goazen, Gorka’s sax is a constant delight, whether caressing the melodic line or pushing it with dissonant chord clusters. Monder’s solos are full of rhythmic strength, and Xirgu proves that his jaz zinsights have made him an incredibly resourceful rock drummer, a quality which is particularly noticeable in Una y Mil Veces.

On the mellow and intriguing Falsa calma Gorka switches to flute, with Monder contributing cascades of arpeggios and colorful chords behind Benitez’ reverie. This develops into a second section of thematic variations with Monder giving a definitive guitar statement, in an arresting amalgam of unusual sounds and timbral combinations. There’s a beautiful diminishing of tension and tempo that leads to a recap of the romantic, clearly discernable main motif.

Idoia meanwhile, is a more conventional soothing statement of balladic proportions, a combination of sadness and beauty in which Gorka plumbs its emotional and dramatic core to discover its inner life, working around the theme’s opening line, and Monder extends it, inverts it, and asserts his unique mastery of the jazz guitar.

On the lilting swinging up-tempo of the closing Silbable, Gorka’s playing is straight-ahead, warm and flowing with a volcanic quality building over an intensifying rhythm accompaniment which leads into a dynamic and tasteful drums interlude that proves, yet again, that Xirgu’s mind and heart are in perfect accord, before the trio goes simultaneously to the end of the concert.

The musicianship that this daring trio personifies resulted in a spirited set of performances that maintained a high level of engaged creativity throughout. Their music relies on its ability to communicate directly, with no concessions to gimmickry, in an intelligent and successful fusion of melodicism with an open-ended approach in which every note has a definite meaning.

—Jordi Pujol

01. A Marte otra vez
02. El duelo
03. Pan duro
04. Una y mil veces
05. Falsa calma
06. Goazen (Vamos)
07. Idoia
08. Silbable

Gorka Benítez (tenor sax & flute)
Ben Monder (guitar)
David Xirgu (drums)

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


Piet Verbist Zygomatik - Cattitude (2014)

To refer to bassist Piet Verbist as cutting edge would be cliché, to refer to Cattitude as one of the most adventurous releases for 2014 would be an understatement. 

Brent Black / criticaljazz

Hybrid genres are nothing new. A largely acoustic ensemble that can pull from improvisational music along with soul, rock and funk and accomplish this daunting task utilizing their own artistic vision is remarkable at best.  A trio joined by two accomplished saxophonists pulls off a cutting edge recording that does a harmonic exploratory on a plethora of influence while never allowing one genre to over power the lyrical ebb and flow of this dynamic effort. Another melodic feather in their cap would be that these eight originals are meticulously constructed and equally as entertaining as anything on the shelf today.

Zygomatik easily avoids the sophomore slump and reaffirms their place as one of the top acts touring Europe at this time.

1. Cattitude
2. The Beauty In The Beast
3. LPG (Low Profile Giganticus)
4. Witches Stew
5. Aicha's Gift
6. Double Trouble
7. Wheel C
8. Zygomaticus Minor

Piet Verbist - double bass
Herman Pardon - drums
Bram Weijters - Wurlitzer, Fender Rhodes
Jeroen Van Herzeele - tenor sax, soprano sax
Vincent Brijs - baritone sax

Produced by Piet Verbist for Contour vzw
Recorded by Jan Willems at Studio KipKaas, Mortsel, Belgium
January 4 and April 16, 2014
Mixed by Floyd Reitsma at Studio Litho, Seattle, WA
Mastered by Dan Dean at Dan Dean Productions, Mercer Island, WA
Painting by MoinMoin
Photography by Eric Malfait
Cover design & layout by John Bishop

"Hearing is Everything" Peter Watkins