martes, 17 de mayo de 2016

Playlist for Tom Ossana / Dane Brewer – The Thin Edge – May 18, 2016 MST 7:00 to 9:00p.m.

TOM OSSANA


http://www.kzmu.org/listen.m3u ~ Use this link to access the show online.



The great Jack DeJohnette joins forces with saxophonist Ravi Coltrane and bassist Mathew Garrison in an unusual cover of Earth Wind & Fire's "Serpentine Fire" from their new ECM In Movement to kick off tonight's broadcast. Barcelona guitarist Albert Vila, backed by Reinier Elizarde: bass & Jorge Rossy: drums, follows covering Bill Evans' "Very Early" from Vila's 2016 Quadrant Records Standards. Antonio Adolfo, a Brazilian pianist who's gaining international attention, is next with a delightful ensemble take on Horace Silver's "Song for My Father". Responding to a frequent request from SLC's famed guitarist, J. D. Moffat, we'll close this half-hour with "Barney's Blues" from Barney Kessel's Kessel Plays Standards recorded by Contemporary in 1954. Barney's ensemble includes June Christy's husband Bob Cooper on oboe, Claude Williamson on piano and Shelly Manne manning the drums.

Beginning the second half we'll hear veterans Carla Bley, Steve Swallow and Andy Shepard tackle Bley's "Camino al Volver" from their 2016 ECM Andando el Tiempo. From Marco's Netherlands we'll enjoy the Bart Defoort Quintet having fun with Bart's "Bright Side" from his Inner Waves (W.E.R.F. 2016). Percussionist Billy Kilson and his trio - Henry Hey, piano and James Genus, bass - close this half covering Herbie Hancock's classic, "Dolphin Dance" from Kilson's 2016 Descension Rising.




A request from LA's Tim Withee led to "Gregory Is Here" - an overlooked gem from Horace Silver's In Pursuit of the 27th Man recorded by Blue Note in 1972, long after his heyday, I wrongfully judged. Pianist Horace surrounds himself with then young guns - Michael and Randy Brecker - and veterans like Bob Cranshaw - bass, Mickey Roker - drums and David Friedman - vibes. The genius behind the bop revolution, Charlie Parker, follows with a 1947 78rpm shellac from Savoy "Cheryl" featuring Miles on trumpet, Bud Powell on piano and Max Roach on the drums. Brad Mehldau, four years absent from the recording scene, returns with a cover of Charlie's tune from his 2016 Nonesuch Blues and Ballads featuring Larry Grenadier and Jeff Ballard - bass/drums. Carlos Santana eases us into romance with the serene Jobim penned "Stone Flower" from Santana ~ Caravanserai, released by Columbia in 1972.
 
From 2016's Emerald City Records' The Songbook Sessions - Ella Fitzgerald, Jane Monheit gets us holding hands with her treatment of Macdonald/Gershwin/DeSylva's "Somebody Loves Me" featuring a laid-back Nicholas Payton on trumpet. Peter Bronstein's new Smoke Sessions Records Let Loose is next with Bronstein's "Cupcake", a feminine appellation like "Baby" used with caution. Michael Bublé returns to the show, this time with Nelly Furtadao, covering Tony Renis' "Quando, Quando, Quando". This comes from the David Foster led ensemble 2005 Warner recording, It's Time. From obscure recording company, Debut, we'll hear Miles Davis and an unique ensemble including Brit Woodman - trombone, Teddy Charles - vibes, Charles Mingus - bass and Elvin Jones - drums in a performance of Dietz and Schwartz's "Alone Together". Sarah Vaughan is next backed up by Jimmy Jones band - that also includes a young Miles on trumpet - singing the old chestnut "Ain't Misbehavin'" (Razaf - Walter - Brooks). To conclude the holding hands - on this end at least - we'll hear two gems from the 1949 Metronome All-Stars. Nat Cole is first with "Daddy Loves His Baby", apparently written by Nat, with his "bop" group Irving Ashby - guitar, Joe Comfort - bass and Jack Costanza - bass. 1949's Metronome best singer, June Christy follows with Nat and an all-star cast including "The Bean" Coleman Hawkins on tenor, Lawrence Brown - trombone, Johnny Hodges - alto, Buddy Rich - drums and even Eddie Safranski on bass in the on-the-spot "Why Do You Have to Cry" (approx). June and Nat's number is an unusual merger of "Swing" and "Bop."

Let's have some fun!


A special thanks to KZMU's Music Director, Serah Mead and the troops @ RoJ for their help putting the show together: Agenor (BRA), Chris do Brasil (BRA), Domi & Victor (SPA), GAB (BEL), JR (SPA), Javi (SPA), Jazzzz61 (SPA), Lira (BRA), Luisa, Menos Que un Perro (ARG), Marcos (BRA), Melokan (VEN), Raz (ISR) and Sonia (SPA). Also friend, Raul Boeira, the Brazilian based in Passo Fundo and Spain's Javier Carrete.


Aruán Ortiz's upcoming dates Spring / Summer 2016


"Aruán Ortiz... a creative force at least since the release of his debut album 20 years ago.  – Nate Chinen, NY Times

"a solid and unique new sound in today’s jazz world."  – Matthew Fiander, PopMatters

ARUÁN ORTIZ'S UPCOMING SUMMER SHOWS

May 16-22
Aruán Ortiz/Grete Skarpeid CD Release TOUR 
Osasalen, Voss, Norway 

May 25th
Adam Rudolph Trio at Stone
with Graham Haynes
Stone, NYC, 9pm

May 26th
Fay Victor Trio
with Marty Ehrlich on sax and AO on rhodes.
55 Bar, NYC, 7:30pm

June 17th-19th
Nicole Mitchell's Moments of Fatherhood CD Release party.
Constellation, Chicago, IL

June 30th
with Nasheet Wait's Equality Quartet featuring Darius Jones, Mark Helias
Ljubljana Jazz Festival, Slovenia 

July 2nd
Aruán Ortiz Trio "Hidden Voices" featuring Brad Jones and Gerald Cleaver/Randy Weston African Rhythm Quintet.
Montreux Jazz Festival 50th Anniversary

July 4th 
Aruán Ortiz Trio "Hidden Voices" featuring Brad Jones and Gerald Cleaver
Albinea Jazz Festival, ER, Italy

July 6th
Aruán Ortiz Trio "Hidden Voices" featuring Brad Jones and Gerald Cleaver
Rome, IT

July 9th
Aruán Ortiz Trio "Hidden Voices" featuring Brad Jones and Gerald Cleaver
North Sea Jazz Festival, Rotterdam, NL

August 11th
Aruán Ortiz Trio "Hidden Voices" featuring Eric Revis and Gerald Cleaver
Blue Whale, Los Angeles, CA

August 12th
The evolution of Cuban Piano
Aruán Ortiz Trio "Hidden Voices" featuring Eric Revis and Gerald Cleaver/ Fabian Almazán Group
San Francisco Jazz Center, CA 

August 14th
Aruán Ortiz Solo,
Fresh Sound Music Series, San Diego, CA

★★★★★  Jazzism, Netherlands,  
★★★★ Downbeat Magazine, USA,  ★★★★  Jazzmagazine, France
★★★★  The Irish Times, Ireland,  ★★★★  Jazzwise, UK,  ★★★★  Jazz'n'more, Switzerland


Aruan Ortiz Trio "Hidden Voices" EPK 2016 from NauraZitro Music Productions on Vimeo.

Ximo Tébar - Soleo (2016)


Label: Warner Music Spain, s.l. bajo licencia de Omix Records
Source: Media Markt 


Ximo Tébar es uno de los grandes guitarristas de la escena jazzística internacional, pero su interés no se limita a su virtuosismo interpretativo, porque también es un (merecidamente) reputado profesor, compositor, arreglista y productor.
Activo como líder desde finales de los 80, su dilatada trayectoria incluye proyectos clave de jazz tradicional y también de jazz-fusión progresivo y de vanguardia, en los que integra, por ejemplo, flamenco o pop en un contexto jazzístico, además de músicas étnicas y latinas.
Esta predilección y enorme facilidad para la fusión es la que ha favorecido que su música se califique de “Son Mediterráneo”, tomando el título de uno de sus discos más representativos.
Este año celebra sus 25 años de trayectoria discográfica con este maravilloso “Soleo”.
 


1. Jaco Opus Town (Ximo Tébar) Jaco Pastorius Tribute
2. Soleo (Ximo Tébar)
3. Luna Llena (Ximo Tébar)
4. Nardis (Miles Davis, Arr. Ximo Tébar)
5. Soliloquio (Ximo Tébar) To the memory of George Duke
6. Tarantza (Ximo Tébar)
7. Son Mediterráneo (Ximo Tébar)
 


Ximo Tebar
Orrin Evans
John Benitez
Donald Edwards
Santi Navalón
Ricardo Belda
Ramón Cardo
Claudia Tébar
Fernando García 


BUY IT @ 


 

Jeff Lederer's Brooklyn Blowhards - Brooklyn Blowhards (2016)


Label:


Imagine seeing a despondent Albert Ayler walking around Brooklyn on a cold November day in 1970, with his tenor saxophone under his arm. Some say he threw himself into the East River, a suicide by drowning. His loss, our loss, was one a true original voices in jazz.

Now picture Ayler with a copy of Moby-Dick; or, The Whale tucked under his arm. Reading the 800-plus pages of Herman Melville's opus has been attempted by many, but completed by a few (probably more than Joyce's Ulysses, but less than Pirsig's Zen & the Art of Motorcycle Maintenance). Ayler would have endured, reading and incorporating the whaling novel into his ethos. Well, at least that is what the sea shanty cover band Brooklyn Blowhards are telling us.

Saxophonist Jeff Lederer is perhaps the foremost expert and interpreter of Ayler's music performing today. He incorporates a little Ayler into every project he works on, from his Shakers N' Bakers, a reimagining of Shaker religious hymns, his stellar quartet recording Sunwatcher (Jazzheads, 2011), and his work with his wife Mary LaRose. He can also be heard as a member of the trad/jazz combo Swing n' Dix, and in drummer Matt Wilson's quartet.

But what of Ayler and sea shanties? Actually, the combination is quite congruent. Ayler's marching themes and love of anthems were all the constructs of work songs, just as these shanties. The disc opens with the classic Ayler composition "Bells." A parade of drums escorts the Blowhards into the hyperspace squeals and shrieks of the brass chase. But there is also Art Bailey's accordion on board, adding to the maritime theme. Ayler covers only comprise five of the fourteen tracks, but as with Albert's music, traditional songs—folk music—was a big part of his repertory. "Shenandoah" spreads out under the mellifluous voice of LaRose, Lederer's Mary Maria Parks and Gary Lucas' guitar. She speaks/sings "Island Harvest" Ayler's island carnival song with dancing horns of Brian Drye's trombone, Kirk Knuffke's slide trumpet, Lederer and Allison Miller and Stephen Larosa.

The joy is how a cover of "Omega" yields itself to a shanty, and "Shanty Anno" or "Black Ball Line" could easily be mistaken for Ayler originals. Cheers to the Brooklyn Blowhards, and Lederer, who needs more "Arrr's" in his name.  



Bells
Haul Away Joe
Dancing Flower
Black Ball Line
Shallow Brown
Santy Anno
Island Harvest
Heavenly Home
Hail On The Bowline
Dancing Waters
Omega
Shenandoah
The Language Of Resistance
Insular Tahiti (“The Seaman’s Hymn”)



Jeff Lederer: tenor saxophone, soprano saxophone
Petr Cancura: tenor saxophone
Kirk Knuffke: cornet, slide trumpet
Brian Drye: trombone
Art Bailey: accordion
Matt Wilson: concert percussion, ship’s bell, chum bucket, chain
Allison Miller: concert percussion, ship’s bell, chum bucket, chain
Stephen LaRose: concert percussion, ship’s bell, chum bucket, chain
Mary LaRose: vocals (5,7,10,12,14)
Gary Lucas: guitar (5,10,12)






 

Jane Ira Bloom - Early Americans (2016)


Label: Outline Records


Saxophonist/composer Jane Ira Bloom is one of the few jazz players to concentrate solely on the soprano saxophone. In 35 years she has recorded sixteen albums as a leader, most often in a quartet with piano. This is her first trio album, in the company of longtime playing partners bassist Mark Helias and drummer Bobby Previte. Their high level of communication is evident on a tune like "Singing the Triangle," which features a recurring theme that is clearly stated by all three instruments in unison (with Previte using his toms melodically). Both the head and the band's approach recall the late Steve Lacy, another soprano saxophone specialist and experimentalist. The start-and-stop "Gateway to Progress" has a similar feel (it also demonstrates how hard this band can swing). Bloom definitely has her own sound, but Lacy is the closest comparison that comes to mind.

The aptly-named opener "Song Patrol" demonstrates just how tuneful Bloom's composing can be, a fact that may be obscured by the avant-garde tag she is sometimes saddled with. She has long had an interest in live electronics and sound design, which first appears here in the panning between the left and right stereo channels on "Dangerous Times." I believe this particular effect was achieved the old fashioned way, by simply moving the horn between the pair of stereo microphones—there is a photo in the CD liners showing her playing in the studio with tape on the floor to mark the mic placement. Bloom also employs some discreet electronic processing on her saxophone. It's especially noticeable on "Rhyme or Rhythm," which also features overdubbed hand drums and agogô bell from Previte, creating a denser group sound with a latin flavor.

"Other Eyes" goes the other way, paring things down to a gentle saxophone/bass duet. Bloom closes the album with a beautiful solo rendition of Leonard Bernstein and Stephen Sondheim's "Somewhere." The whole program is full of variety, beautiful and exploratory at the same time. The trio format works so well that it is surprising that Bloom hasn't used it before. I'd love to hear more from these three.

Song Patrol
Dangerous Times
Nearly (For Kenny Wheeler)
Hips & Sticks
Singing the Triangle
Other Eyes
Rhyme or Rhythm
Mind Gray River
Cornets of Paradise
Say More
Gateway to Progress
Big Bill
Somewhere
 
 
  Jane Ira Bloom: soprano saxophone
Mark Helias: bass
Bobby Previte: drums 


 



 

Tank Trio - Primer Vuelo (2016)


Label: Self Released
Source: Tank Trio


Surge en 2013 en la Ciudad de México, en el afán de crear un ensamble de música original, basados en las composiciones de cada uno de sus integrantes.

Durante aproximadamente medio siglo, el formato “sax trío” (saxofón-contrabajo-batería), ha sido uno de los ensambles más interesantes para la ejecución de la música popular llamada “Jazz”, al no tener un instrumento armónico dentro de la instrumentación.

Si bien, como muchas otras músicas, se caracteriza por tener cierta complejidad para su ejecución, dado que el Jazz, per sé, tiene como parte fundamental de su estructura musical: la improvisación; un discurso o lenguaje que puede tomar décadas en ser encontrado por el ejecutante.

Y es justo en esa búsqueda en donde surge, TANK TRIO (Federico Hülsz/ Saxofón Tenor, Alonso López/ Contrabajo y Pablo Aguirre/ Batería). En donde cada uno de sus integrantes se ha sumergido en las diversas ramas de esta música popular, encontrándose y desencontrándose, pero siempre con la premisa de: ¿Hacia dónde vamos y finalmente qué queremos aportarle a la música al final de esa búsqueda individual y colectiva?

Surge a finales de 2013 en la Ciudad de México, en el afán de crear un ensamble de música original, basados en las composiciones de cada uno de sus integrantes, así como en composición colectiva o bien, en composición instantánea (improvisación libre) en cada uno de sus conciertos.


1. Chilopa 07:11
2. Vuelo Nocturno 05:03
3. Nim 06:25
4. Flor 05:59
5. Ryoji Kaji 05:11
6. Zweifel 06:00
7. Jacinta 06:34
8. Alfredo 05:44
9. Claroscuro 07:38
10.Tutankamon 01:02
    

Federico Hülsz - Saxofón tenor
Alonso López Valdés - Contrabajo
Pablo Aguirre - Batería 







Cyro Baptista - Bluefly (2016)





A veteran of groups led by Herbie Hancock, Yo-Yo Ma, Laurie Anderson, Paul Simon, Phish, Sting and many more, Cyro Baptista continues to bring life, love and madness to every ensemble he works with. His own bands Banquet of the Spirits and Beat the Donkey tour the world to great acclaim and his CDs continue to be Tzadik best-sellers. Cyro’s latest project is a pop-infused psychedelic trip featuring Cyro with a huge lineup of all-star musicians. Three years in the making, this is groovy lyrical instrumental and vocal music that you will listen to morning, noon and night. A classic! 


 1. Menina
2. Trovão
3. Kong
4. Bala
5. Tarde (homage to luiz vieira)
6. Hammer
7. Aguidavi
8. From The Belly
9. T Rex Constitution
10.Love Song
11.Under The Influence
12.Menina Interlude

Cyro Baptista: Percussion, Vocals
Tim Keiper: Kamel Ngoni, Drum Set
Ira Coleman: Bass
Vincent Segal: Cello

Featuring
Romero Lubambo: Guitar
Brian Marsella: Shahi Baaja, Andes #25F, Fender Rhodes
Ikue Mori: Laptop
Amir Ziv: Drums
Mark Ari: Samples
Justin Bias: Samples
Kevin Breit: Mandolin Orchestra
Cabello: Percussion
Felipe Calderon: Samples
Andy Caploe: Samples
Alessandro Ciari: Samples
Cadu Costa: Guitar, Clarinet
Chikako Iwahori: Surdo
Franca Landau: Samples
Zé Maurício: Surdo
Marcelo Paganini: Samples
Max Pollak: Surdo
Steve Sandberg: Samples
Leni Stern
Gene Torres: Samples







 

Myriad3 - Moons (2016)


Label:


Someone's always trying to take a tried and true format out on a new tangent. Consider the piano trio: Bill Evans introduced deep, classically-influenced harmonics and a democracy of instrumental input in the late fifties and early sixties. The Esbjorn Svennson Trio (e.s.t.) brought in classical, rock, pop and techno elements; The Bad Plus plays with avant-garde jazz and pop/rock influences, and they can be loud. Even the tried and true changes. It's all good; and some of it is great.

Myriad3, a forward-leaning piano trio out of Toronto, Canada, has released their fourth CD, Moons, taking the piano trio format on a modernistic tangent of their own. It's three stellar musicians—all of them superior tune smith's—who take on the form with an equilibrium of input, an energetic verve and intelligence, some catchy grooves and strong compositions, straight through.

"Counter of the Cumulus," the only non-original of the set, opens with a majestic bombast before shifting into a Nik Bartsch-like groove. "Skeleton Key," from the pen of the group's pianist, Chris Donnelly, plays out as a rock dirge. Ernesto Cervini's drums shift from a muscular grandiosity to a whispered shuffle; Dan Fortin plays a yearning heartbeat to the pianist's delicate wind chimes, until the groove reasserts itself. A marvelously engaging, mood-shifting tune for the opening for an album.


Cervini's "Noyammas" has a dark, furtive quality, a beautiful avant-garde piece that evolves and changes shapes as it rides time's flow. Bassist Fortin's "Exhausted Clock" wraps the set up with a graceful, subdued ballad. Gorgeous and wistful, a small masterpiece of subtle three-way interplay.  


Skeleton Key
Noyammas
Unnamed Cells
Storner
Peak Fall
Counter Of The Cumulus
Ameliasburg
Sketch 8
Moons
Brother Dom
Exhausted Clock


Chris Donnelly - piano
Dan Fortin - bass
Ernesto Cervini - drums







Anat Cohen & Trio Brasileiro - Alegria Da Casa (2016)





One of the most difficult things to achieve in the art of musical performance is simplicity. The balance between technical skills and the spirit of the music is an elusive goal. I am very pleased to hear that Anat Cohen, Dudu Maia, Douglas Lora and Alexandre Lora have brilliantly achieved that goal in Alegria da Casa, the recording that I am listening to right now.
The music of Brazil is rich, varied and draws its inspirations from many different sources. Mastering its many idioms is a daunting task, even for Brazilians. However, when I hear the joy and bounciness of these tracks, I feel transported not to a serious concert hall, but to a happy gathering of friends in a botequim, or corner bar in a small Brazilian town, where the music flows spontaneously and everyone takes part in the roda, or circle of musicians. This is the soul that permeates this record, and that is why it is so enjoyable for me, a Brazilian musician in Seattle, to put it on, close my eyes and join the party. You can picture the smiles on the players’ faces as they captured these sounds. This music can be enjoyed by anyone, anywhere.

The Selection of great choro classics (Santa Morena, Murmurando) and original compositions is finely balanced We hear what we would expect, but then we are surprised by new pieces that coexist nicely in the recording as a whole.

I hope that everyone that hears it enjoys it as much as I do.

Jovino Santos Neto
Seattle, October 2014








No Explanations - No Explanations (2016)



Not Free Jazz.  Not some esoteric concept album that you either “get or don’t get.”  Not music that you have to work at.  A great CD to put on and groove to as are all the No Explanations projects.  At our first live show in 2014, we opened with a song that we composed on the spot.  This was our way of warming up and establishing our connection together while people were actually watching and listening.  We called that piece No Explanations.

That is exactly what we did this time in the studio.  We used that chord progression to warm up.  It became the title track.  Then we proceeded to create all new material on the spot, on the fly, for the rest of the CD.  Because the songs were created in the moment, we decided that the titles should simply be a listing of the actual time it took to create the pieces.  With the exception of the talking in between tracks, this CD only took as long to record as it takes to listen to.  No Explanations is actually a “live-to-tape,” completely spontaneous recording, never to be duplicated.

The Prophet, is a composed song which we built together, and then added vocals to.  There is an out-take from Round Trip called a Moment of Peace, which we really enjoyed playing in 2014, and wanted to share with our listeners now.  There is a solo, country, guitar piece, (Yep! Country - because we can), composed by Mark and performed by Dan called Mountain Air.  No Explanations is a true jazz CD in the sense that it involves improvisation at the highest level of communication.  It is a classical CD in the sense that the best classical musicians have always been able to create on the fly.  That is what composition is:  Improvisation slowed down and then documented.


The Round Trip CD (2014), is a combination of written material and sketches that were built on the fly in the studio. The entire Joie de Vivre recording (2015), started out as a jam session between Dan and Mark and it lead to documented pieces with minimal improvisation.  Our Christmas CD, December Moment (2015), is a collection of Christmas classics presented in a traditional jazz trio format, with little deviation from the original melodies. Our latest outing, No Explanations, is a completely spontaneous work of art.  It occurred in the studio on April 20, 2016.  We are certain that you will find it to be an uplifting and enjoyable listening experience.

We will now take the chords and themes that we came up with for this recording, and perform them live, as often as possible, until we have honed our skills further as improvisors and listeners.  The studio is more risky than the live arena if one is to truly throw caution to the wind.  We did not find this project to be scary or risky at all.  Years of practice, and trust in our mutual friendship eliminates all risk.  Couple that with the fact that all good music comes from God, and we are unconcerned with the judgments of anyone.  We are pleased to offer another eclectic recording to our fans.

No one creates from nothing.  God is always present during the creative process, and He is, without question, the initiator of the process.  You have here a jazz album well worth the price of the project, and a band of brothers in Dan and Mark that you, the listener, can trust to always be offering the real deal.

Dan Leonard
Mark Christopher Brandt

01. No Explanations
02. 3:35
03. 4:14
04. 6:04
05. 6:01
06. 2:57
07. 3:17
08. 6:22
09. 6:02
10. 3:37
11. The Prophet
12. A Moment of Peace (Alternate take from Round Trip Sessions)
13. Mountain Air

Dan Leonard: guitar
Mark Christopher Brandt: acoustic piano
The voice of The Prophet, James Majewski

All music composed by Leonard/Brandt except The Prophet, A Moment of Peace, and Mountain Air, composed by Mark Christopher Brandt.  All songs ©2016 Heart of the Lion Publishing Co/BMI.  All rights reserved.