Republic of Jazz: Jan 11, 2017

Wednesday, January 11, 2017

Just Released - Fay Claassen - Luck Child

With the album Luck Child a long-standing wish of jazz singer Fay Claassen is fulfilled. It is an ode to youth and beauty with a mix of old and new songs. This compilation album consists mostly of songs that she has been singing for many years but never recorded before. Famous and beloved songs by like Paul McCartney, Paul Simon, Burt Bacharach and Ennio Morricone are presented alongside new compositions by Paul Heller.

On her 8th solo album Fay Claassen again touches your heart with her beautiful voice and goes straight in to the listener's soul. This beautiful album is available now!

Watch and listen to the Youtube video of ''Luck Child''

Luck Child

Fay Claassen

Album Release tour:

13-01-2017 / Rotterdam / De Doelen

14-01-2017 / Amsterdam / Bimhuis

27-01-2017 / Tilburg / Paradox

28-01-2017 / Den Haag / Dakota Theater

24-02-2017 / Utrecht / Tivoli Vredenburg

11-03-2017 / Doesburg / Gasthuiskerk

19-03-2017 / Arnhem / Musis Sacrum

24-05-2017 / Munchen / Bunne frei in Studio 2

Line up concerts:

Fay Claassen - Vocals

Karel Boehlee - Piano / synthesizer

Peter Tiehuis - Guitar

Theo de Jong - Bass

Line-up album:

Fay Claassen - Vocals

Paul Heller - Clarinet

Ingmar Heller - Bass

Peter Tiehuis - Guitar

Olaf Polziehn - Piano

Carlos Falanga - Quasar (FRESH SOUND NEW TALENT 2016)

FOTO CORTESÍA DE ROBERTO DOMÍNGUEZ - FOTOGRAFIANDO EL JAZZ

01. Kein Angst 3:01

02. Circa ’92 3:02

03. Turangalila in Orion 4:10

04. Kinsal 4:38

05. Quasar #1 1:31

06. Ode to Raymond Scott 3:53

07. The Duellists 5:09

08. Semivibration 3:49

09. Luna Rosa 3:42

10. Vega 2:54

11. Old Sport 3:40

12. Quasar #2 1:05

All compositions by Carlos Falanga

Cesar Joaniquet (tenor sax)

Marco Mezquida (piano)

Jaume Llombart (Fender Rhodes, synth)

Jordi Matas (guitar)

Marko Lohikari (bass)

Carlos Falanga (drums)

Recorded at La Casa Murada, Banyeres del Penedès, Tarragona, on December 13, 2015

Sound engineer: Jesús Rovira

Mixing & mastering by Katsuhiko Naito at Avatar Studios, New York City.

Art cover & design: Eduard Arboç

Produced by Carlos Falanga

Executive producer: Jordi Pujol

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Ernie Watts Quartet - Wheel of Time (2016)

According to MIDWEST RECORD review "It's always a fine time when Watts brings his sax to a recording studio, even if he has to go all the way to Germany to do it. The kind of cat that still deserves his slot at a major label, he knows how to run his own session and plays like he enjoys the freedom of being able to wail with no one looking over his shoulder and give him session notes. With a crew that's been together for 15 years, the lights are low and the post bop grooves are swinging nicely. Solidly tasty work from a real pro, this is the real sound of contemporary jazz."

01. Letter from Home

02. A Distant Light

03. Inner Urge

04. Andi’s Blues

05. L’Agua Azul

06. You and You

07. Velocity

08. Goose Dance

09. Wheel of Time (Anthem for Charlie)

Ernie Watts: tenor saxophone

Christof Saenger: piano

Rudi Engel: bass

Heinrich Koebberling: drums

Rudi Records News 30% OFF CD DVD

New year, new promotion for all our customers

30 DAYS 30% OFF

Until the 15th February 2017, 30% discount on our catalog!

How get discount?

1. choose your music,

2. share your purchase on Facebook or Instagram (tag #rudirecords),

3. write to info@rudirecords.com asking the discount #30days30%off.

4. We will refund you!

go to our catalog

Spread the word, #listenrudirecords

the discount only applies to the music, not for the shipping costs

Contacts

Via Raffaello, 15

04019 Terracina (LT) Italy

phone +393474098316

info@rudirecords.com

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Curtis Brothers Quartet - Syzygy (TRUTH REVOLUTION RECORDS 2016)

“Joined by Richie Barshay on drumset and Reinaldo De Jesus on percussion, they navi- gate bebop, boogaloo, urban, bolero, bomba and rumba grooves on repertoire spanning Bud Powell (“Hallucinations”), Dizzy Gillespie (“Bebop”), Horace Silver (“Quicksilver”), Wayne Shorter (“Yes And No”), Charlie Palmieri (“Start e World”) and Mongo Santamaria (“Afro Blue”) as well as r&b and Tin Pan Alley material. Luques’ syncopation, time feel and note choices refract the essence of such Atomic Era jazz heroes as Paul Chambers, Oscar Pettiford and Wilbur Ware through a tumbao lens informed by González, Bobby Rodriguez and Cachao. ‘I think our ability to combine those different sounds into our own thing—blessed by the elders, you could say—is unique,’ Curtis said.

He referred to the aspiration- al message of the ‘Truth Revolution’ imprimatur: ‘It means being a free mind, doing something musically or spiritually positive. That’s our goal.’”

Excerpt from the article, “Pursuing Positivity” by Ted Panken, Downbeat Magazine, 2016.

01. Afro Blue (Mongo Santamaria)

02. Hallucinations (Bud Powell)

03. Bebop (Dizzy Gillespie)

04. Betcha By Golly Wow (Linda Creed/ Thom Bell)

05. Yes or No (Wayne Shorter)

06. Syzygy (Zaccai Curtis)

07. Start The World I Want To Get On (Charlie Palmieri)

08. All of You (Cole Porter)

09. Hi-Heel Sneakers (Tommy Tucker)

10. What’s Going On (Marvin Gaye/ Al Cleveland/ Renaldo Benson)

11. Cheer Up Charlie (Anthony Newley/ Leslie Bricusse)

12. Quicksilver (Horace Silver)

13. Hark! The Herald Angels Sing (Traditional)

Zaccai Curtis - Piano / Rhodes

Luques Curtis - Bass

Richie Barshay - Drums

Reinaldo De Jesus - Congas

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Jerome Sabbagh / Simon Jermyn / Allison Miller - Lean (2016)

Jermyn composed the title track, “Lean,” and his remarks could serve as something of a credo for the band: “I like words that can have more than one meaning depending on the context. As titles of tunes, the only context is the music itself. I also like when music can be heard different ways in terms of the feelings it might convey, rather than being really explicit. I was going for something like that with this tune.” Toward the end, an ethereal sound emerges in the background — it’s the melody, Jermyn explains, played backwards and up an octave through a looping pedal.

The leadoff track, Miller’s “Spotswood Drive,” first appeared on the 2013 release "No Morphine No Lilies" by her outstanding quartet Boom Tic Boom. That version featured violin and piano; here the piece takes on another character. Sabbagh starts and remains on a long tenor sax drone, in essence anchoring the bass, while Jermyn plays the main melodic role, filling out the harmony in his inimitable way with deft intervallic movement. The roles switch as Sabbagh begins to blow and Miller brings her abstract textural musings to the foreground. “The song means a lot because I wrote it for my first teacher,” Miller shares. “When we started playing it Simon would just take the melody sometimes, and I thought that was gorgeous, the way he loops — his sound on the electric bass is so beautiful. This song just floated in a natural way so I thought it would be great for the band.”

“Electric Sun,” by Sabbagh, is more immediately beat-driven, a clear and singable piece that first appeared on the saxophonist’s 2014 quartet outing "The Turn" (with Ben Monder on guitar). Jermyn’s warm and harmonically savvy approach to the tune highlights how he can enfold bass and guitar sensibilities into one. “I was going for a faster, meaner version of the song,” Sabbagh says. “The quartet version is pretty contemplative and after recording it I started playing the song faster in general.”

“Olney 60/30,” named for Miller’s Maryland hometown, was written around the time of the drummer’s 30th and her mother’s 60th birthdays. “Our birthdays are a day apart,” Miller says. The song first appeared on "Steampunk Serenade" (2011) by Miller’s Honey Ear Trio. “I’ve always wanted this song played with electric bass, and when this trio formed, I thought, ‘Well, here we go.’ We approached it in a fresh way, with some duo moments and other things. It ended up being very different than the original recording.”

Out of several purely free improvisations ventured on the date, “Bunker” and “Ghost” were the two that the trio decided to include. “We just tried to keep an open mind and play,” says Sabbagh. “We may have started with a sonic direction: maybe Simon’s loop pedal, maybe Allison’s ‘bike and effects’ rig.”

About that rig, which also crops up on “Spotswood Drive”: it’s an experimental instrument invented by Seattle’s Sean Lane — a stripped-down bike frame outfitted with various percussive instruments and a single electric bass string, as well as pickups and contact microphones, running a signal to a preamp and then out to an amplifier. “Because of the way Simon plays and the way he uses looping,” says Miller, “it really seemed natural to bring the bike into the recording. A lot of times I would bow that bass string and then run it through a whole system of pedals I use.”

“Otis,” by Jermyn, is a nod to legendary soul singer Otis Redding. “The great saxophonist Bill McHenry told me about a record called The Immortal Otis Redding,” Jermyn recalls, “and I ended up spending a lot of time with that music because it’s amazing!” The tune is direct and instantly appealing, somewhat like “Electric Sun,” with Sabbagh handling the legato melody as the band relaxes into a steady rock-like feel. Jermyn solos first, followed by Sabbagh and concluding with a capricious vamp that reflects Jermyn’s love of Malian and Senegalese pop.

“Comptine” first appeared on "I Will Follow You", Sabbagh’s evocative 2010 trio date with Ben Monder and drum veteran Daniel Humair. The version in question was just once through the melody and out, though the trio would always expand on it when playing it live. That process of expansion continues on "Lean". Miller’s colorful brushwork, Jermyn’s eerie water-like sounds, Sabbagh’s tenor lyricism and legato expression: it all grows out of the simplest of ideas, the “comptine” or French nursery rhyme.

“Fast Fish,” by Jermyn, takes inspiration from a passage in Moby Dick. According to the unwritten law by which a whaling ship can claim possession of a dead whale, the whale must be “fast” to the ship, bound by “a mast, an oar, a nine-inch cable, a telegraph wire, or a strand of cobweb, it is all the same.” Jermyn liked the image and its logic of firm and flimsy attachments being given equal weight. Otherwise, Melville’s prose has no direct bearing on the tune, which is slinky and polyrhythmically funky, a true rhythm section workout and a strong Sabbagh tenor feature as well.

“I really enjoy the variety of what this band can do,” Sabbagh offers in conclusion. “We go in and out of chords, grooves and textures but somehow it feels whole and connected. I think all three of us try to be in the moment and not prejudge or preconceive things. We trust each other enough to go on an adventure together. That’s what makes this band special to me and also enables us to play so many different kinds of material and still sound like a band.”

Jerome Sabbagh - tenor and soprano saxophones

Simon Jermyn - electric bass and pedals

Allison Miller - drums, "bike" and pedals

Recorded at The Bunker, Brooklyn on April 2 and 3, 2014 by Jacob Bergson

Mixed by Pete Rende

Mastered by Nate Wood at Kerseboom Mastering

Cover painting "Triangulations" by Kimberly Rowe

Design and layout by Gregory J. Del Deo

https://twitter.com/RepublicOfJazz

Gael Horellou Organ Trio - Moral de Fer (PETIT LABEL 2016)

A propos de ce trio de Gaël Horellou, sax alto «made in Normandie», dont le Petit Label propose ici le deuxieme album, après de nombreuses dates de concerts et tournées :

«Nourri au jazz de Johnny Hodges et de Charlie Parker, ayant assimilé les acquis du hard bop et du jazz modal, dégagé de ses influences, Gaël est devenu l’un des plus authentiques jazzmen que nous ayons jamais entendu dans notre caveau.

Quel que soit le tempo, ses solos possèdent une cohérence et une gradation dans le développement remarquables...Avec frédéric Nardin à l’orgue et Antoine Paganotti à la batterie, Gaël est accompagné par des musiciens à son niveau. Fred Nardin joue avec beaucoup de talent, construit ses interventions avec un sens rythmique imparable et surtout n’use pas des facilités qu’offre cet instrument...Antoine Paganotti déborde d’énergie et suit de près ses camarades, qu’il relance avec bonheur et un enthousiasme communicatif» (Charles Hug du Club ,One More Time)

Pour le repertoire,il s’agit surtout de compositions dont le titre de certaines est le nom d’un musicien qui l’inspire et auquel Gaël rend hommage : Rouse,Ray Barretto...Un standard de Duke Ellington,une chanson de Broadway, une composition de Wayne Shorter...

Seulement 100 exemplaires numérotés dans nos valises comme d’habitude : attention, ça part très vite !