sábado, 1 de abril de 2017
Festival International de Jazz de Montréal: Wax Tailor and Bokanté join the program, additional concerts for Pink Martini and Jesse Cook!
Drummer Billy Jones “3’s A Crowd” East Coast CD Release Show Thursday, April 6th 7:30 pm - 9:00 pm Collingswood Community Center
Drummer Billy Jones
“3’s A Crowd”
CD Release Show
Thursday, April 6th
7:30 pm - 9:00 pm
Collingswood Community Center
30 W. Collings Ave.
Collingswood, NJ 08108
Artist: BILLY JONES
Title: 3’S A CROWD
Label: AC Recording AC-49
Produced by: John Vanore
Release Date: MARCH 24, 2017
1. 3’s A Crowd 6:34 George Young
2. Song for Meg 6:27 Tony Micelli
3. The Call 4:27 John Vanore
4. John Cage Scared My Dog 6:55 Mick Rossi/Billy Jones*
6. Just Above The Clouds 5:48 Kenny Stahl/Billy Jones*
7. GoneNow 6:34 TyroneBrown
8. A Monotony of Hazards 6:40 Stu Reynolds
9. Chant of the Soul 8:58 Scotty Wright/Billy Jones*
* denotes totally improvised
BILLY JONES, DRUMS with:
EAST COAST MUSICIANS
George Young, alto sax
John Vanore, trumpet
Mick Rossi, piano
Tony Micelli, vibraphone
George Genna, piano
Tyrone Brown, bass
WEST COAST MUSICIANS
Scotty Wright, vocal
Kenny Stahl, ute
TStu Reynolds, bass clarinet
Gary Meek, tenor sax
Excitement through spontaneity... and with the freedom of this environment comes the responsibility to shape the form of the composition. Communication and empathy create the thread from track to track that is the essence of the project. Empathy supported by the presence of longtime friends and musical colleagues... now collaborators. —Billy Jones, 2017
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 / firstname.lastname@example.org
Follow Up to 2015's Kind of New Features Ten Arrangements of Producer/Keyboardist's New Composition Written in Reaction to 2015 Paris Terror Attacks
"Jason Miles has raised the level of excellence for the musicians who have had the good fortune of working with him, myself included. The work he did with my friends Miles Davis and Marcus Miller have helped to define the modern face of jazz music."- Roberta Flack
The album's inspiration can be tracked back to 2015, when Jason found himself in Paris doing promotion for his critically acclaimed release Kind of New (Whaling City Sound), a collaboration with trumpeter Ingrid Jensen. He was so moved by the spirit of the city in the face of the horror and tragedy of the attacks, a spirit which he describes as "incredibly resilient," that when he returned home with the intent of working on music for a second Kind of New album, the first track that emerged was "Blue is Paris."
As he pondered over how to integrate the track into a second Kind of New album, a surprising idea presented itself: why not recruit an assortment of other musicians and allow them to offer up varied arrangements of the track? The concept for the album hearkens back to Jason's childhood. "In the late 1950's my father bought an album, Lullaby of Birdland, which was that same George Shearing song done twelve times by twelve different musicians and arrangers.
I found the album in my vinyl collection that he left to me, and I thought, 'Wow, this could work if I did the same thing.'" Jason found additional inspiration from his years working with Miles Davis. "I then thought about Miles, who said to never stay in the same place and always explore and try new things."
On that debut Kind of New album, Jason chose to work with trumpeter Ingrid Jensen because her playing was very much in the spirit of Miles. "I chose to emphasize the trumpet because of how iconic it is when it comes to representing everything that Miles stood for," says Jason. On Kind of New 2: Blue is Paris, he's expanded that concept to work with four impressive trumpet players - Russell Gunn, Theo Croker, Patches Stewart and Jukka Eskola - who have all been influenced by Miles but who each plays in his own powerful style.
"Miles affected a paradigm change by continuing to reinvent 'jazz' time after time," explains Jason. "I'm trying to reinvent the possibilities that exist within a single composition, by allowing different feature soloists to each create his own impression. And that is exactly what Miles stood for...great possibilities."
In addition to Jason's version of "Blue is Paris" and the interpretations of the track by the above trumpeters, the album features performances by guitarist Ricardo Silveira; saxophonist Jeff Coffin; vocalist Maya Azucena; and Ricky Kej on various Indian instruments, including tabla, high tabla, santoor and dumbek. Joining Jason on the album is a core band comprised of Gene Lake on drums, Reggie Washington and Adam Dorn on bass, Jay Rodrigues on tenor sax and bass clarinet and Vinnie Zummo on guitar.
The collection of artists that Jason tapped for the project speaks in a large sense to the spirit of unity through diversity that speaks through Kind of New 2: Blue is Paris. Grammy-winning Indian composer Ricky Kej notes that, "The Paris attacks left me horrified, and I felt a need to express myself through music. The romanticism, beauty and resilience of Paris can be interpreted well by improvisational Hindustani classical music, which I did though the bansuri, santoor and tablas." Finnish trumpeter Jukka Eskola continued in the same vein. "Even though the inspiration for this track comes from a tragedy, the song, with its loose and relaxed groove has a positive feeling to it and reminds us that life goes on." Guitarist Ricardo Silveira, who has collaborated with Jason since he released Cozmopolitan in 1979, brings his decades as a prime purveyor of Brazilian jazz to the mix.
"What makes each track different is the concept of what melodic content these very different artists each came up with, what they each heard in order to bring their own musical personalities into their tracks," says Jason. "Once they sent me their performances, I got very inspired to create a musical environment for each track that was true to the song but still distinctive in its own right."
About Jason Miles
He's been nominated for an Emmy award, a Latin Grammy award, and three Grammy awards, taking home a Grammy as the producer of A Love Affair: The Music of Ivan Lins, which featured Sting's Best Male Pop Vocal award winner "She Walks This Earth." Jason also won the Billboard Latin Jazz Album of the Year award in 2002 for Gato Barbieri's Shadow of the Cat.
Although he's best known in jazz circles, Jason's work has also extended beyond the boundaries of contemporary jazz. He ventured into country with his production of Suzy Bogguss' Sweet Danger (2006/Loyal Dutchess Records). His three recordings with Global Noize, a musical partnership with DJ Logic (2008's eponymous release, A Prayer for the Planet in 2011 and 2013's Sly Reimagined), represent a transcendent blending of genres, bringing together artist from across the spectrum: John Poppper, Me'Shell Ndgeocello, Cyro Baptista, Roberta Flack, and Nona Hendryx among them.
This is the 7th album project produced by Jason for Lightyear Entertainment. He's also made musical contributions to film scores, a made-for-television movie (VH1's A Diva's Christmas Carol starring Vanessa Williams) and national commercials, including a five year national American Express campaign. For a full bio and discography, visit his website.
Ils sortent un premier album en 2014 ("From the Ground Up") et s’en suivent de nombreux concerts en Suisse romande et France voisine. Ils créent ensuite plusieurs projets, dont le plus connu est "Soul Connection", avec les chanteurs Yael Miller (Orioxy) et Ernie Odoom (Le bocal, NK), avec qui ils jouent au Cully Jazz Festival en 2015.
Le trio trouve vraiment sa voie suite à un hommage à Jimmy Smith, pour un concert “Jazz this town”. En revisitant la musique de l’icône de l’orgue hammond, ils affinent leur son, puissant et contagieux, et développent un groove et une énergie débordante.
Leur deuxième album “Botanic Mood” est le résultat d’une subtile synthèse entre ces influences et leur propre personnalité. Avec ce nouvel opus, Organic Flowers propose une musique à la fois irrésistiblement dansante et profondément spirituelle. C’est un retour à l’essentiel, une communion magique du corps et de l’esprit, portés par un son et une complicité unique.
L'album CD sort le 12 novembre, et un album vinyle s’en suivra le 5 mai 2017 avec Le Pop Club Records.
After a concert dedicated to Jimmy Smith during the event "Jazz this Town" in Geneva, the trio finally hit its musical path: revisiting the repertoire of the master of the Hammond Organ, they refined their sound, powerful and contagious, and developped a groove with an overflowing energy.
Their second album "Botanic Mood", is the result of this subtle combination between these influences and their own personality.With this new opus, Organic Flower offers an irresistibly dancing music, as well as profoundly spiritual. Driven by a unique sound and complicity between them, they go down to what is essential, creating a magic link between the soul and the body.
The CD album is to be released on the 12th of November, and a Vinyl will follow may 5th 2017 with Le Pop Club Records.
1. Travelin (Trad.)
2. Down Here On The Ground (G. Garnett, L. Schifrin)
3. Cheval De Troie (D. Robin)
4. L’Esprit Des Plantes (D. Robin)
5. Go To Hell (M. Bailey Jr)
6. The Rock (C. Schaerer)
7. Cotton’s Dance (C. Schaerer)
8. Moon River (H. Mancini, J. Mercer)
9. Jeannine (D. Pearson)
10. Gondon (D. Robin)
11. Noé’s Blues (C. Schaerer)
12. The Turnaround (H. Mobley)
13. I Beeped When I Should Have Bopped (P. Brenner, B. Wayne)
"Continuum" is an attempt to continue the tradition set by the masters of all musics. Embracing the past while stretching the limits. This is the 4th CD of Stafford Hunter as a leader. Each one demonstrating the growth of Stafford's compositions. But, it's the excellent musicians that make this a must have CD.
1. Continuum / Stafford Hunter 08:06
2. The Outside Looking In / Stafford Hunter 06:21
3. Lament / Stafford Hunter 08:50
4. Giant Steps / Stafford Hunter 06:18
5. A Walk In Bari / Stafford Hunter 06:55
6. Ector's Vector / Stafford Hunter 09:06
7. New Beginning / Stafford Hunter 07:44
8. Line In The Sand / Stafford Hunter 06:03
Todd Bashore: Alto/Sop Saxes
Victor Gould: Piano
Luques Curtis: Bass
Vince Ector: Drums
Luca Mannutza is among the finest Italian jazz players today, who even released two albums on the legendary Blue Note with the High Five Quintet. “The Remembering” is pure American-rooted jazz, rich in experimentation by a rhythmic point of view, which fully reflects the personality of its composer in its elegance and refinement, never over the top or self-indulgent. Apparently simple and immediate, despite its inherent complexity, it will satisfy much more than just a set of jazz music listeners.
1. Blake Runner (Luca Mannutza)
2. Dedalo (Luca Mannutza)
3. I'll Remember April (Gene De Paul, Don Raye)
4. Silent Prayer (Luca Mannutza)
5. Circles (Luca Mannutza)
6. The Remembering (Luca Mannutza)
7. Solar (Miles Davis)
8. Vortex (Luca Mannutza)
9. Will You Still Be Mine (Thomas M. Adair, Matt Dennis)
10. Gira Mondo Gira (Luca Mannutza)
Paolo Recchia (as)
Enrico Bracco (g)
Luca Bulgarelli (b)
Nicola Angelucci (ds)
El colectivo colombiano Manteca Blue debuta con la grabación Si Suena!, produccion discográfica que incluye números ineditos en su totalidad. Con invitados como el pianista Edy Martinez, el saxofonista Jacobo Velez (El Callegüeso) o William Angulo (Herencia de Timbiqui), Si Suena! presenta un discurso musical con la clave como protagonista personal. Conformados en Cali por el pianista Daniel Gutierrez, inicialmente como una iniciativa de Diego Pombo para el festival Ajazzgo, Manteca Blue reúne a una pléyade de músicos de primer nivel que se foguean en los mejores escenarios del mundo.
Manteca Blue, un latin-jazz explosivo composicion de Jacobo Velez, destaca a Javier Ocampo en el saxofón, asi como a Felipe Medina y Julián Carvajal en el bajo y batería, respectivamente. Escuchame, un cha cha cha compuesto por Daniel Gutierrez que se transforma de manera sorpresiva en un mambo, presenta al mismo Daniel Gutierrez en un solo al piano, así como a Roger Torres en la trompeta. Son Funkyao, como su nombre lo indica es una conversación intima entre la música afro-americana y la cubana, un afro-cuban jazz con la intervención mágica de Gutierrez en el teclado, antes de darle entrada a un solo explosivo de Ibargüen en la tumbadora. Blurrulao tiende puentes entre la musical folclórica colombiana, en este caso el currulao, y el blues. Si Suena ? presenta al invitado especial Edy Martinez en el solo de teclado y el explosivo cierre de Carvajal en la bateria. Vamo´ a Hablar, un numero escrito por Xiomara Suescun, es vocalizado por Jacobo Velez (El Callegüeso y La Mambanegra). Esta salsa progresiva posee un golpe que hara brincar al mas cojo. Guajira Para Eva, una composicion de Felipe Medina, destaca los solos de Roger Torres en la trompeta y de Felipe Medina en el contrabajo. En Mc Coy Congo, en palabras del propio director Daniel Gutierrez: “es un homenaje musical a la obra de Mccoy Tyner, como referencia pianística y musical”, esta composicion de Jaboco Velez con arreglo del mismo Daniel, condensa la esencia de Manteca Blue, un septeto que se mueve con soltura por diferentes aguas.
Así Suena Feat Eddy Martinez
Vamo´a Hablar Feat Jacobo Velez "El Callegüeso"
Guajira Para Eva
Mc Coy Congo
Pa´Que No Muera La Ilusión
Eddy Martinez - Piano
Jacobo Velez " El Callegüeso"
William Angulo ( Herencia De Timbiqui)
In fact, my guitar playing is featured on many of my albums such as Breadcrumb Sins (Tzadik), Sunshine Seas (RareNoise) and Black Shabbis (Tzadik) as well as being prominently featured in my original score for the Oscar nominated film Murderball."On Serenity Knolls, Saft is paired with the legendary improviser, woodworker, instrument builder and leader of Larval, an influential Detroit improvising post-rock ensemble. “I met Bill in upstate New York where we both currently live in the Hudson Valley,” says Jamie. “Bill is a beautiful and diverse friend and it's a pleasure to improvise music with him.”
On spacious tracks like “Sweet Grass,” “Saddle Horn,” “The Great American Bison” and the title track, Saft creates that high and lonesome feel with his expressive slide guitar playing. He switches to lap steel on the droning “Bemidji,” “No Horse Seen” and the minor key “Greybull.”
“I've been fascinated by slide guitar styles for many years,” he says. “Initially I was exposed to these sounds through Bob Dylan's music, which quickly led me to the universes of country and bluegrass music. I wouldn't say I have specific role models for slide guitar — for me it is a means to produce sustained events from a guitar. I take a more orchestral approach to the instrument. I'm far from a great technician on these instruments. I’d never profess to be in the same league in any way as the legends of pedal steel and dobro. But to me, they are sonic tools to achieve a particular goal.”
Recorded at Potterville International Sound in Kingston, New York and mixed there by Saft and his colleague Christian Castagno (the same engineer who co-produced and mixed 2016’s Sunshine Seas), Serenity Knolls carries a compelling vibe created by Brovold’s atmospheric guitar in combination with Saft’s melodic gems on dobro and lap steel.
“Serenity Knolls is both an ideal state of mind as well as the name of the rehab center where Jerry Garcia died.”
The Great American Bison
No Horse Seen
Bill Brovold: electric guitar
Jamie Saft: dobro, lap steel guitar