domingo, 14 de agosto de 2016

Cameron Mizell - Negative Spaces (2016) DESTINY RECORDS



October 7

present


Guitarist Cameron Mizell Releases a Beautifully Produced, Melody-Minded Trio Album, Negative Spaces, via Destiny Records on October 7

Mizell’s fifth release finds the Brooklyn-based guitarist joined by kindred-spirit keyboardist Brad Whiteley and drummer Kenneth Salters in a set of irresistible originals

In the liner notes to Negative Spaces, the writer recounts a conversation he had with its maker, guitarist Cameron Mizell, about how it is absence as much as presence that defines music. Mizell explained: “As musicians develop their skills, the focus is on creating sound. Get the note out of the instrument, and then repeat… fill the silence with your sound. But there comes a point where you have to learn not to play. If you play constantly, the most memorable moment of your performance will be the time you didn’t play. An artist understands this and knows how to ‘play’ rests, how to let a musical idea breathe, develop and tell a story.” This ideal underscores the title of Negative Spaces, Mizell’s fifth album, a trio disc with kindred-spirit keyboardist Brad Whiteley and drummer Kenneth Salters, to be released on October 7, 2016, by Destiny Records. 


The spaces between the notes are indeed as vital as the notes themselves on Negative Spaces, with an emphasis on less is more; the magic of this music lies in melody, the catchy tunes hinting at not only vintage jazz but rock’n’roll and all manner of Americana, with Mizell’s guitar ‘singing’ a set of irresistible instrumental songs. If “Big Trees” can evoke Bill Frisell in his avant-folk mode, the track “Take the Humble” is the sort of song that should make Steely Dan green with envy, the playful, syncopated tune seemingly tailor-made for some sly Donald Fagen lyrics. “On my past trio records, I composed from the groove up, but I wrote the songs of Negative Spaces from top down as if I were a vocalist, away from my guitar, with pen and paper,” explains the 36-year-old, Brooklyn-based Mizell. “I even transcribed singers like Sam Cooke to get into how they phrased a melody. The idea with a lot of improvised music is to see how far out you can get. But with this album, I wanted to rein it in, create singable melodies and allow room for music to happen around them.”

Negative Spaces follows Mizell’s Destiny album from 2015, The Edge of Visibility, an atmospheric solo EP that All About Jazz praised as “hypnotic.” The review in No Depression extolled the album’s virtues at length: “Combining improvisational jazz with traces of progressive rock and avant-garde experimentalism, Mizell explores the sounds of the dreaming and waking world. This is a thought-provoking album, one that lingers in the memory long after it has ceased spinning.” On The Edge of Visibility, Mizell created an enveloping aura of sound with only his customized Fender Telecaster, looping device and various tone-bending, oscillating effects. His playing remains gorgeous on the new trio album, yet the sound and gestures are leaner, even more dynamic. Negative Spaces still has a lush overall feel, with Mizell’s guitars complemented by Whiteley’s variety of keyboards: Hammond organ, Wurlitzer, piano, synth bass and Fender Rhodes. On drums, Salters can go from sounding like a full percussion section to adding apposite touches with only brushes.

About his trio partners, Mizell says: “Both these guys are such amazing, open-minded musicians. I met Brad 15 years ago playing in a big band at Indiana University, and he has been on each of my group records. He’s so versatile, playing synths with Regina Spektor and playing organ for mass in a cathedral in the Bronx, not to mention leading his own groups on piano. He always serves the music, being able to shred but not always feeling compelled to show it. If I’m the ‘singer’ on this record, then Brad is the ideal accompanist. Kenneth has crazy chops, too, but he’s also about favoring musicality over technique. In the song ‘Clearing Skies,’ he orchestrates this long, slow burn ideally; he stokes the dynamic energy of a track as well as any drummer I’ve heard.”


Negative Spaces ranges from ambient-accented ringing chords in the pair of title tracks to the rocking funk of “Get It While You Can.” The near-epic “Clearing Skies” features one of Mizell’s most dramatic guitar lines, while the groove of another album highlight, “Barter,” suggests John Scofield at his slinkiest. The title of “Yesterday’s Trouble” came from a phrase that the grandfather of Mizell’s wife liked to use, one that struck the guitarist as like a quip from a Tom Waits song. “I’m not Marc Ribot,” Mizell says, “but the playing in that track was my nod to the gritty, quirky sound he has given a lot of Tom Waits songs.” With the continuity of favorites from Frisell’s Disfarmer to Pink Floyd’s Wish You Were Here in mind, Mizell created melodies that echo and complement one another, imbuing the album with a satisfying, suite-like sense of unity. 

To Mizell, music should also reflect the wider world. There are subtle sound effects – birdsong, kids playing, a boat horn – recorded in his Brooklyn neighborhood, along with references to personal experiences and special places. The song “Whisky for Flowers” got its title from Mizell’s customary exchange with his wife, who has become a connoisseur of bourbon, buying it for her husband as he buys her blossoms. Mizell’s wife was also the ideal sounding board for the sensibility the guitarist was trying to cultivate with Negative Spaces. “She’s my barometer for the writing and playing of music like this – chops don’t matter to her, not a bit,” he says. “If she hums something later that I’ve played her, I know I’m on the right track. And she hummed tunes from this record a lot.”


Cameron Mizell

Guitarist-composer Cameron Mizell, a Brooklyn resident for the past decade-plus, was born and raised in St. Louis and educated in music at the University of North Texas and Indiana University. In New York City, he has played with rock bands, singer-songwriters, bluegrass acts and Latin groups, as well as for Broadway musicals and dance companies. He has also worked in the music business on the label side, with years at Verve Records and, as label manager, Destiny Records.

As a bandleader, Mizell has ranged from jazz-funk to Americana, recording the album Tributary in 2010 with his trio featuring keyboardist Brad Whiteley and drummer Kenneth Salters. Prior to that, Mizell released a trio disc with Whiteley and drummer Mike Fortune, Life Is Loud, in 2007. The guitarist made his debut on record with an eight-piece ensemble for Cameron Mizell, released in 2004. His most recent release before new trio record Negative Spaces was a ravishingly atmospheric album for solo guitar, The Edge of Visibility, from 2015.

In 2008, Mizell decided to combine his knowledge of the industry with his understanding of life as a musician and put it to good use. Together with Dave Hahn, Mizell founded the website Musician Wages, which offers music industry advice geared toward the working musician. The site has become a thought-leader in the musician community thanks to Hahn and Mizell’s commitment to integrity, practicality and an honest perspective from their own careers.


Cameron has kindly asked me to say a few words about Negative Spaces, since I was there when he got the idea for it.  Am I a musician?  No.  I’m a dentist with chronic insomnia and an almost debilitating interest in space.  But let’s get on with the story.
It all started with the Cosmos series.  After tossing and turning one night I decided a show about science would be just the thing to put me to sleep.  But I ended up watching for hours, mesmerized by space—how its not just some empty thing we move through but that it can bend and twist and invert itself and all this other stuff.  I finished the series in three nights but I couldn’t stop thinking about space.  So I bought one of those little beginner’s books, A History of Space that Doesn’t Take Up Much.  Stupid title, I know, but it was fascinating. 

 It started with ancient philosophy, but the only thing I remember about that part was Plato’s idea that there was a sort of receptacle that acts as a cradle for the cosmos—as if even space had to have some other kind of other space to happen in.  
The really great stuff, though, was about the scientific revolution.  Isaac Newton said space was real and absolute, the way most people think of it. But he had this German rival Leibniz who said space wasn’t really a thing at all but was just our way of understanding the relations between things.  And apparently this debate never really ended and scientists like Mach and Einstein went on arguing about it into the twentieth century.  That last part about modern physics was a bit over my head, I admit.  But the gist of it is that instead of small particles we now think of the cosmos as composed of a bunch of tiny strings of different length vibrating at different frequencies.  Still though, nobody knows if the strings produce space or if, like Plato said, there has to be some kind of space already there for the strings to be in.  But I think my favorite bit was something Newton said about space being like the sensory apparatus of God.  How crazy is that—we’re all here moving around and bumping into each other without ever suspecting that we’re really inside God’s central nervous system!    

So one morning I call Cam, who might have been up already, and get him to meet me for coffee.  “We’re gonna talk about space again, aren’t we Hector?”  Indeed.  So he lets me go on for a few minutes and I’m doing my best to sound like I’ve been thinking about this stuff for more than a couple weeks.  I notice this guy at the table across from us—a real ancient mariner type, thin and with a gnarly dark beard.  In profile I could see his brown eye revolving slowly around the room.  He was nodding along sometimes like he was listening to us.  It was really eerie.  And he was nodding at the wrong times, like he was hearing the conversation with a ten-second delay.  Or maybe he was hearing it in advance.   Was that even possible?  I looked at Cam and motioned to the old sailor with my eyes.  “You’re paranoid Hec.”  Fine, so I went on with my little space jam. 

Finally I asked him what he thought.  “Listen, unless you’re Stephen Hawking you’re probably not going to understand space just by thinking about it.” I admitted I was no Steve H.  So what do you do?  “You get to know space by learning how to manipulate it.  For me that’s about music.  People always associate music with time but when I’m playing I usually think about space.  Groove doesn’t exist without rests and harmony is as much a sum of pitches as it is the absence of others. Melody has to be phrased between pauses, just as intonation is determined by the space between pitches.”  “Bring it down a little, man.  I played the recorder for like two months.”  

“Okay, think of it this way.  As musicians develop their skills, the first thing they learn is to play. The focus is on creating sound. Get the note out of the instrument, and then repeat it until you can do it consistently.  Fill the silence with your sound. But there comes a point where you just have to learn not to play. If you play constantly, the most memorable moment of your performance will be the time you didn't play.  The artist understands this and knows how to play rests, how to let a musical idea breathe, develop, and tell a story.  Without negative spaces, music would be…”  “Noise,” I said, happy to fill in the blank.  “Sure, why not.”  

I slowly let the idea of negative spaces sink in.  “Right, so you make meaning through a pattern of negative spaces—a poetry of precise absences.”  Come on, that’s pretty good for a dentist!  I went on in my most scholarly voice: “It reminds me of the Australian aborigines.  For millennia people have discovered shapes in the Milky Way, but they were the only ones who found a pattern in the darkness between the stars.  A pattern of negative spaces in the shape of an emu.”  “Yeah, I know.  I saw Cosmos.”  Should have quit while I was ahead.  But now that the ball was rolling we came up with more and more examples—from music and language to sex and sound and trees and the deep web.  Some were better than others.

And all the while the old sailor’s head moves up and down thoughtfully, like he’s right there with us.  I saw him take a bottle of Wild Vines out of his jacket pocket.  No cap.  Guess he didn’t need it.  As he takes his swig he turns his whole face to us and for the first time I notice he’s got one brown eye and one blue one.  And one of those old Roman noses.  I always notice noses because an ancestor of mine wrote a book about them.  He puts the bottle away and slowly says “En-ri-que.”  I guess it was his name but he said it more like it was a comment on something.  Then this young waitress walks by and you could see his head turn.  The old sailor had a wandering eye.  Which one?

“Look at the light shine through that!” he says.  What?  “They go all the way up!”  “Her legs?”  “Nawh man the spaces!  Sexiest part of a woman, professor.  And it ain’t even there!  Put that on the list.”  And with that the ancient mariner left us, if he was ever even there.  I couldn’t believe it.  “This is a sign.  Obviously.  We need to write this up.   A theoretical study of negative spaces, with chapters on the cosmos, the human body, and the arts and sciences.  It’s going to mean lots of long nights but we can do it. It’s what Enrique would want.”  Cam wasn’t convinced.  “Come on, man, I need this.  I need something to do and I’m so fucking tired of teeth!”

“I just don’t see it as a book.  Maybe an album.”

“Fine.  But can I pullease write the liner notes?”            
    
Hector Slawkenberg, DDS.


1) Negative Spaces I (2:56)
2) Big Trees (2:50)
3) Yesterday’s Trouble (6:09)
4) Whiskey For Flowers (5:18)
5) Take The Humble (4:36)
6) Clearing Skies (7:39)
7) Get It While You Can (4:33)
8) Barter (4:58)
9) A Song About A Tree (4:13)
10) Unfolding (5:33)
11) Negative Spaces II (2:36)
12) Echoing, Echoing (5:39)

All music composed by Cameron Mizell (BMI)

Cameron Mizell: Electric and Acoustic Guitars // Brad Whiteley: Hammond C3 Organ, Wurlitzer, Piano, Synth Bass, Fender Rhodes // Kenneth Salters: Drums, Tambourine, Triangle, Finger Chimes

Produced by Cameron Mizell // Recorded by George Shalda





NEGATIVE SPACES CD RELEASE SHOW



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Pierre Dørge & New Jungle Orchestra - Ubi Zaa (Live) 2016 STEEPLE CHASE RECORDS


September 16, 2016. 

SCCD 31819 Pierre Dørge & New Jungle Orchestra “Ubi Zaa”
Featuring Kirk Knuffke

Danish avant-garde, modern jazz guitarist/composer and most famously leader of “one of Europe’s most sophisticated bands” (Norman Weinstein) has always prided himself on the longevity (since 1980) of his constantly active New Jungle Orchestra.

On this new live recording Dørge features his favourite American cornetist Kirk Knuffke and writes music with Kirk’s sound in mind. With the help of engaging audience in Copenhagen NJO delivers one amazing concert here.


PIERRE DØRGE guitar, conductor
KIRK KNUFFKE cornet
JAKOB MYGIND tenor- & soprano saxophone
ANDERS BANKE tenor saxophone, clarinet, bass clarinet
KENNETH AGERHOLM trombone
IRENE BECKER piano, synthesizer
THOMMY ANDERSSON bass
AYI SOLOMON congas, percussion
MARTIN ANDERSEN drums
Recorded September 2015

1 I WAS SURPRISED TO KNOW (Pierre Dørge) 4:52
2 UBI ZAA (Pierre Dørge) 4:14
3 I MAY REMEMBER (Irene Becker) 7:45
4 AI PIEDI DELLA SCALA (Pierre Dørge) 10:18
5 SONG FOR ORNETTE (Irene Becker) 5:15
6 JEG HAR EN ANGST (Egil Harder) 4:49
7 HUGO AT BURESØ (Pierre Dørge) 9:12
8 THE ENIGMATIC REALITY OF TIME (Pierre Dørge) 6:12
9 PRELUDE TO ETERNITY (Pierre Dørge) 10:25

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Bobby Kapp & Matthew Shipp - Cactus (2016) NORTHERN SPY RECORDS


Releases September 16, 2016



present


In Valerie Wilmer’s important socio-political history of the jazz vanguard As Serious As Your Life (Serpent’s Tail Press, 1977), the chapter on pianist Cecil Taylor is subtitled “Eighty-Eight Tuned Drums.” Textually this reference advances the role of the piano in free music as percussive in large part, especially as the chordal and melodic directions taken after Ornette Coleman in the late 1950s often appeared to circumvent the more fixed tonalities of the keyboard. Drummers and pianists have been one core team in this music, going back to the forbears and scions of the modern-jazz era — Buddy Rich and Nat Cole; Art Blakey and Herbie Nichols or Thelonious Monk; Denis Charles, Sunny Murray and Andrew Cyrille with Taylor — whether the pianist may work percussively or sculpt the music temporally and melodically. 

Drummer Bobby Kapp (b. Robert Kaplan on April 11, 1942 in Perth Amboy, NJ) and pianist Matthew Shipp (b. December 7, 1960 in Wilmington, DE) are a team that has only recently come together, though their affinity for one another is natural and rewarding. Cactus is their first duo recording, a spontaneous set coming on the heels of 2015’s Themes 4 Transmutation, the latter waxed under the drummer’s leadership and featuring Shipp, reedist Ras Moshe and bassist Tyler Mitchell. While the cognoscenti may be aware of Kapp’s name as a firebrand in the mid-60s New York free music underground, he didn’t record as a leader back then. In recent years, after relocating to Mexico, he’s co-led the standards-rooted Fine Wine Trio with pianist Richard Wyands and bassist Gene Perla, and reunited with alto saxophonist Noah Howard before the latter’s untimely passing. 

Kapp’s restless energy and streetwise lyricism, yen for the blues and supple templates for unfettered expression took him from New Jersey and Staten Island to Berklee College of Music, where he studied with Alan Dawson, and then Lower Manhattan. There, he played and recorded with alto saxophonists Marion Brown and Noah Howard, pianist Dave Burrell and tenor saxophonists Leandro ‘Gato’ Barbieri and Pharaoh Sanders before eventually settling in an artist’s colony in San Miguel de Allende. Kapp’s sideman recordings in the 1960s are scant, comprising two full LP appearances (Barbieri’s In Search of the Mystery and Howard’s At Judson Hall, both on ESP), two individual LP halves (Brown’s watershed Three for Shepp on Impulse! and Burrell’s High on Douglas), and film footage of Brown’s trio was captured in 1967 by Henry English, but all of this work presents a rolling, massive and fleet economy somewhere between Elvin Jones and Shelly Manne. 

His more recent outings have been somewhat under the radar, but the aspects that entice—a sure, tempestuous detail—are toned with age, experience and fidelity. 


Shipp’s piano is the perfect foil for Kapp’s dryly doled-out metric inventions, his sinewy but factual movements through erudite melody, resonant stomps and granular sideways gestures creating fields and objects through which the drummer’s open, supple brushwork and woody rolls float, undercut and weave. Shipp has worked with a wide range of individual, creative drummers—including Newman Taylor Baker, Whit Dickey, Guillermo E. Brown, Susie Ibarra, Marc Edwards and Steve McCall—and says of Kapp that “Bobby is a marvel as he combines the best of old school drumming with a real feel for pulse and breaking the circle that exists in the avant-garde. However, he can open the beat up in a way where you can flow with the wave and never lose the line. His touch is really refined and that adds to the beauty of his sound. 

I am always looking for ways to make my comping deeper and working with someone who has played with all the people he has deepens my thing. Also, the sound he gets off the cymbals has a resonance that is beyond deep—it’s like swimming in pure vibration.” On Cactus, nine spiny and flowering dialogic arms are presented in gorgeous sound, creating a language that stems from bebop, free improvisation and classicism but are of the present and specific to these two musicians. Rigorous, spontaneous play that feels this good is something to hold onto. 
– Clifford Allen 

“Practically without parallel — Matthew Shipp is the connection between the past, present and future for jazzheads of all ages.” - Downbeat 


“...In the 1960’s, Bobby was a seminal figure in the so-called new music movement in NYC, recording with Gato Barbieri, Archie Shepp, Noah Howard and others.” - Ron J. Pelletier

1. Overture
2. Before 04:26
3. During
4. Money
5. Cactus
6. After
7. Good Wood
8. Snow Storm Coming
9. The 3rd Sound

Matthew Shipp, piano
Bobby Kapp, drums


Before

Pablo Sanguinetti Cuarteto - Dionisio (2016)


Por: Rodrigo Pallares / Revista Influencia

El pianista y compositor se estará presentando el próximo viernes 6 de mayo en Palermo y contó todo acerca de su carrera y su nuevo trabajo discográfico junto a músicos de la talla del “Pipi” Piazzolla.
Bar La Apasionada en Florida, provincia de Buenos Aires. 

Pablo Sanguinetti está sentado en una mesa cerca de la puerta y toma una limonada con menta y jengibre, en un tarro de mermelada. “Me gusta definirme como músico y punto”, explica el pianista. Es que la obra de Pablo mezcla muchos ritmos variados como el jazz, la bossa nova y el candombe uruguayo. “Me gusta mucho el lenguaje del jazz, la posibilidad de improvisar. Es un género al que respeto profundamente, hay que estudiarlo muchísimo para tocar, pero así mismo me gustan todos los estilos”.IMG_9955

Pablo comenzó a aprender música desde muy chico. “Dejé el secundario por varios motivos, entre ellos, mis ganas de dedicarme a la música”, cuenta el compositor y agrega que en el colegio, “la pasaba muy mal y me aburría”. Vale aclarar que, sin embargo, finalizó sus estudios años más tarde. Apenas entró en el conservatorio su vida cambió. Le empezó a ir muy bien y a “mejorar también como persona”, había una fuerte vocación. Comenzó a conseguir laburos de músico en hoteles, colegios y bueno, afirma Pablo con una sonrisa: “La vida me fue llevando por este camino que tanto disfruto”.

Recuerda las enseñanzas de muchos de sus maestros. “La que más me marcó fue mi profe de piano clásico, Susana Bonora. Una de las mejores del país”. También aprendió improvisación con Hernán Lugano, quién definió su gusto por el jazz, y pasó tardes escuchando vinilos de Chick Corea, abstraído de toda realidad, en el living de “Pichona” Sujatovich.

Este hombre es un tipo que nunca para de producir, y hoy en día está terminando de grabar su último disco, Dionisio, acompañado de un bandón. Se va a estar presentando el próximo viernes 6 de mayo en el Espacio Cultural Borges.



Entre los músicos que lo acompañan se encuentra Daniel “Pipi” Piazzolla. “Es un placer estar tocando con el “Pipi”. Es un tipo al que yo admiré toda la vida. La tiene re clara y hace sonar cualquier música a un nivel mayor”, se alegra Pablo. “Pipi” forma parte del Pablo Sanguinetti Cuarteto junto a Carlos Álvarez y Santiago Martínez.

Formaste una banda de puta madre para grabar tu disco y presentarlo. ¿Es fácil congeniar entre tanto cerebro musical todos juntos en un mismo espacio?

Si, la verdad que sí. Mira, lo que creo que tienen estos músicos es mucha experiencia. Entonces es fácil tocar con ellos. Enseguida captan el estilo y lo captan a uno como persona. Tienen mucha experiencia en acompañar solistas, tocan con medio mundo todo el tiempo. Eso les da una flexibilidad tanto en lo musical como en lo humano, es increíble. Son personas súper abiertas, divinas. La grabación fue muy fluida, muy rápida y lo digo en el buen sentido. Esperamos que en vivo suene igual, seguro que sí.

Si uno escucha tu discografía de principio a fin, se percibe como una especie de evolución, de progreso, de variadas experiencias. ¿Te conectas de esta manera con la música a la hora de componer?

Yo creo que sí. Que en todo mi trabajo están presentes mis experiencias de vida. Uno va viviendo cosas y las va volcando al material que va haciendo, que va produciendo. Me pasa que hay experiencias de hace muchos años que recién ahora las plasme en la música. En este disco por ejemplo, hay una canción que es para mi abuelo y otra que cuenta de un viaje a Brasil que hice hace un tiempo con unos amigos. Tal vez para el que hace música comercial es otro el juego, se busca crear otro producto y bueno, ahí no sé. Pero en mi obra yo cuento mucho de mí mismo.

Pablo es un músico muy capaz, un buen compositor y una gran persona. “Cuando tocamos en vivo yo me la paso muy bien, más con tremendos músicos como estos, y como yo la paso bárbaro creo que transmito un poco esa alegría, y la gente piensa: Mira este tipo se está divirtiendo, y la pasa igual”. Sobre su próximo espectáculo, el pianista asegura que, “va a ser un show muy emocional, donde se presentarán temas de Dionisio interpretados por músicos excelentes”. 

En Dionisio se combinan temas con temáticas profundas, algunos otros más oscuros, otros más tranquilos y algunos bastantes melancólicos. Hasta hay un tango. “A esta altura de la vida lo mejor es poder sentir placer por hacer lo que a uno le gusta”, concluye Pablo. Termina su limonada y ríe, siempre ríe.


1. Milongas Blues 05:08
2. No todo es color de rosa 04:48
3. Por segundos veo 03:09
4. Algún dia 04:41
5. Almendron 06:23
6. Concreto 05:08
7. Para Tati 04:44
8. Melo y el rio 05:32
9. Dentro de tus ojos 05:21
10. Trueque 05:46
11. Nisio 05:49
12. Habana Vieja 04:44


+

Andres Chorny (armonica y voz, invitado) 
Pablo Aragona (bateria, invitado) 
Juan Maria Benitez (percusión invitado)


Ben Roseth - Ísaro (2016)




Ben Roseth (alto/soprano saxophone) was born and raised in Seattle, Washington. He pursued parallel degrees in Jazz Performance, at the New England Conservatory, and International Relations, at Tufts University. He has a unique concept of fusion between jazz and folk music from around the world.

1. The Soft Spot 06:06
2. Soapstone 03:20
3. Ode to Grandma 06:07
4. Ísaro 08:16
5. La Chibcha 05:20
6. Two Waves 05:45
7. Vibe City 04:51
8. Psalm for Spring 05:25
9. Cheeks 05:56

Released August 12, 2016 

All songs composed by Ben Roseth 

Alto saxophone: Ben Roseth 
Piano: Alex Brown 
Bass: Haggai Cohen-Milo 
Drums: Ferenc Nemeth 

Producer: Haggai Cohen-Milo 
Executive Producer: Viviana Roseth 
Design: Jon Goldman 
Photography: Jimena Villaseca 
Recorded on March 28, 2016 at Big Orange Sheep Studios in Brooklyn, NY by Michael Perez-Cisneros 
Mixed and mastered by David Kowalski

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Hieronymus Trio - Hieronymus Trio (2016)


Emerging voices in the newest generation of Australian jazz artists. Using their collaborative rhythmic language, their improvisations and arrangements are infused with sophisticated intensity, creating a unique and engaging listening experience.


1. Shabu 11:06
2. Turn up the AC 07:20
3. WTFOMG 03:43
4. Glad to be Sad 08:35
5. Insomnia 07:40
6. Bad Vibes 07:20
7. Crows Will Still Fly 06:09

Emma Stephenson (piano)
Nick Henderson (bass)
Oli Nelson (drums)

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