It is commonplace to describe many of today's jazz musicians as "sharp-eared," "having lightning reflexes," or "uncanny musical ESP" and this is many times true even for one-off gigs.
As new generations of performers and composers mature in front of our eyes and ears, the level of musicianship continues to rise to astounding levels. New recordings constantly surprise with modes of expression that feel completely natural while being fresh and new.
Despite so much good music appearing almost daily, the trio that is Stream -pianist Yago Vazquez, bassist Scott Lee and drummer Jeff Hirshfield- must be placed in the highest echelon of such groups.
Their music combines the qualities of depth with lyricism, intensity with calm assurance and an elastic, yet sure handed rhythmic sense. Stream's hallmark sound is one of graceful chamber jazz, which nevertheless, has a taught core.
The qualities that each player brings to whatever group in which they find themselves are perfectly balanced when brought together in Stream. Lee and Hirshfield, having played together for a long time, have now almost become one. As Hirshfield's delicate, yet insistent cymbals fill the sound space, Lee's bass lines simultaneously provide the bottom and counterpoint to Vazquez's piano. This supple and responsive "rhythm section" gives the younger Vazquez not only the freedom to lead, knowing Lee and Hirshfield will follow, but also the room to step back and provide accompaniment.
The music presented in Second Stream has many intertwining levels, and can be listened to in a number of ways; the most appropriate being with one's full attention, letting this master session weave its spell. -Budd Kopman
“the most expansive, expressive and exciting new jazz orchestral sound to have emerged in this country since the late-lamented Loose Tubes”– John Fordham, The Guardian “A force to be reckoned with on the British scene … his approach to the interplay of the historical and the contemporary is as open-minded as it is creative…”– Jazz Journal “an incredible achievement from Hans Koller, and has to be rated as one of the most important and musically rewarding releases in 2016.”– UK Vibe
When considering titles for his debut album, “Light Shines In”, on Fresh Sound New Talent Records, tenor saxophonist and clarinetist Adam Schneit was reminded of the chorus from his favorite Leonard Cohen song, “Anthem”: “Ring the bells that still can ring / Forget your perfect offering / There is a crack in everything / That’s how the light gets in.” “That line resonates with me so strongly,” says Schneit. “It took me a long time to finally record this music. I’ve always been somewhat of a perfectionist, or at least preoccupied with having things just right before I charge forward. And yet I’m most inspired by music and art that’s flawed and raw, that’s immediate and visceral rather than polished and pristine.” “Light Shines In”, an assured introduction to a musician with a unique instrumental and compositional voice, is also a reflection of the joy that comes with risking imperfection to arrive at something vulnerable and honest. It is this guiding impetus that unifies a program of affecting rock melodies, bracing free play, off-kilter vamps, and ethereal ballads. Born in Portland, Maine, Schneit completed his undergraduate studies at Harvard University before deciding to pursue music professionally and getting his Masters degree at the New England Conservatory of Music. While at NEC, he sought out teachers with strong, personal aesthetic visions, such as Steve Lacy, George Garzone, Bob Brookmeyer, and Joe Morris. After moving to New York in 2005, he became active in the freelance jazz and singer/songwriter scene, but was initially most interested in developing long-term group projects. He co-led and wrote much of the music for the band Old Time Musketry which, over the course of two critically-acclaimed albums and seven years of performances, put forth its own unclassifiable blend of Americana, folk, jazz, rock, and free improvisation.
When Old Time Musketry came to an end and presenting his music as a leader became more of a priority, Schneit already had musicians in mind. Kenny Wollesen, long-time drummer in Bill Frisell’s various groups (as well as John Zorn’s and countless jazz and rock settings), is master of a grounded, elastic beat. “There is so much space in Kenny’s playing,” says Schneit. “Whether he’s playing a backbeat or free, there is so much intensity but it still feels so open and supportive.” Eivind Opsvik (Tony Malaby, Dave Binney), whose long-standing relationship with Wollesen is documented on his four “Overseas” albums, is a bassist with a thick, resonant tone. He’s equally adept at anchoring the beat as at responding to and inciting the soloist with spontaneous counterpoint. Guitarist Sean Moran (The Four Bags) steers clear of much of the conventional jazz language often employed on his instrument, favoring singing melodies and rock-like textures.
The band’s sensitivity speaks to a rapport stretching back several years: Opsvik and Moran have been regular members since 2009 and 2011, respectively, and Wollesen was enlisted in 2014, soon after Schneit started playing in the drummer’s anarchic marching band, the Himalayas. Each player has an unmistakable sound but also huge ears, and the quality of listening and support is evident throughout the album.
The music on “Light Shines In” reflects Schneit’s deep love for melody in all its manifestations, ranging from pared-down rock tunes to denser “free” excursions. “I’m inspired by musicians like Keith Jarrett, Neil Young, Bill Frisell, and Ornette Coleman, where things can get loud or soft, chaotic or rhapsodic, and at the core there’s always melody. By which I mean something vocal and human, a real sense of song.”
The selections on the album all develop out of this foundation of song. “A Clearer View” is a Neil Young-inspired folk-rocker, starting relaxed and down-home but building in intensity over the course of nine minutes. “Different Times” spins from its oddly-resolving changes into thorny free improvisation and back again. “Old Time Musketry” features a winding, joyful, somewhat gospel-like tune over rapidly-shifting chords.
The sole clarinet track, “Hope for Something More”, is a brooding rock-ballad with a mantra-like melody. “Light Shines In”, a solemn but brightening rubato meditation, is followed by the raucous, angular madness of “My Secret Hobby.” Closing out the album is “Song for Silence”, a fragile, yearning melody with a darkly insistent hook.
Released December 2, 2016
1. A Clearer View 09:03
2. Different Times 07:03
3. Old Time Musketry 05:24
4. Hope for Something More 08:41
5. Light Shines In 03:59
6. My Secret Hobby 05:49
7. Song for Silence 08:01
Adam Schneit - saxophone, clarinet, songs
Sean Moran - guitar
Eivind Opsvik - bass
Kenny Wollesen - drums
Recorded at The Bunker, Brooklyn, NY, February 9th, 2016
Mixed by Eivind Opsvik at Greenwood Underground, Brooklyn, NY, Feb-March 2016
Drummer/Composer Shawn Baltazor, originally from the California Bay Area, was exposed early on to it’s richly diverse musical environment. He began performing professionally at the age of 10 with musical groups ranging from Rock and Roll to Traditional New Orleans Jazz. Moving to the east coast in his late teens to pursue his studies, he attended the renown William Paterson University where he was featured in performances with legends Clark Terry, Slide Hampton, Wynton Marsalis, Joe Lovano, Kenny Garrett and more.
Baltazor has performed internationally at the Festival International des Musiques Noires d’Abidjan in Cote d’Ivoire, the Jazzablanca Festival in Cassablanca, Morocco and the Risonanze Festival in Venice, Italy. US performances include the Kennedy Center, JVC Jazz Festival, Jazz at Lincoln Center, Merkin Concert Hall as well as many of New York City’s Jazz clubs. He has composed multiple scores for the New York City-based Daniel Gwirtzman Dance Company, having them performed by live chamber ensembles. As a performer and composer, his individual sound has been sought after more recently by a wide range of artists including Eric Reed, Kermit Driscoll and Grammy Nominee Darcy James Argue, with which he has premiered several works.
TRIANGLE is a contemporary jazz trio from Barcelona that equally attracts lovers of improvised music and fans of pop and rock. The talent of these young musicians creates a new brand of sound, bringing a groundbreaking project to the in the music scene.
Three young talents from the Catalan jazz scene give life to this trio formed by Joan Claver on piano, Pedro Campos on bass, and José Benítez on drums.
Triangle counts with a fresh, contemporary repertoire, full of striking original compositions and carefully picked versions. In this framework we discover the influence of groups and musicians such as the Esbjörn Svensson Trio, The Bad Plus, Brad Mehldau, Robert Glasper et al., music with clear roots in black music and pop.
Joan Claver, born in Vila-seca (Tarragona, 1988) started studying classical music at the age of 7. His teachers include Nuria Ruera and Cecilio Tieles. In 2011 he enters the Superior Conservatory at Liceu to enroll in piano jazz and modern music studies with Iñaki Sandoval, Albert Bover and Roger Mas. He was part of the Liceu Big Band under the direction of Sergi Vergès. He has played in several jazz and rock formations. He’s currently a member of Triangle, Funk Cake, and Distrito Rojo.
Pedro Campos, (Barcelona, 1992) began studying music at the age of 12, and at 16 he took up bass. His teachers include Felix Serra, Horacio Fumero and David Mengual. He’s currently involved in projects like the Barcelona nonet “DO: The Next Generation”, the alternative Big Band of Sergi Vergès (JODR), “BIG MENU” among others. He completed a superior grade in jazz and modern music at the Liceu Conservatory.
José Benítez (Algeciras, 1987) started playing drums at the age of 16. Ever since, he has studied with Aldo Caviglia, Quim Soler and Ramon Prats, among others. He’s now a member of La Canalla, “BIG MENU”, and other projects. He completed his studies in jazz and modern music at the Liceu Conservatory, where he was part of the Liceu Big Band.
Tracklisting:
01. I Promise You 5:51
02. Hypocrisy 3:26
03. Vertebrados 7:03
04. El Reencuentro 4:05
05. Post Mortem 4:41
06. Gymnopédie Nº1 5:20
07. Bring On The Night 6:30
08. Seventeen Minutes 9:09
09. Red Light 4:10
10. Bermudas 2:32
11. New World 3:46
Total time: 56:40 min.
All songs written by Joan Claver, except #7 by The Police, #6 by Erik Satie, and #11 by Björk
Personnel:
Joan Claver (piano)
Pedro Campos (bass)
José Benítez (drums)
Recorded at Conservatori Professional de Música de Vila-Seca, June 30 & July 1, 2015
Born in Tampere, Finland, Tuomo Uusitalo started to play piano at the age of 6. As a teenager he played different types of music from classical to pop/rock, and soon became fascinated by Jazz and the thrilling possibilities of spontaneous improvisation.
While studying music in Graz, Austria (University of Music and Performing Arts, the oldest jazz institute in Europe), Tuomo already had the chance to work and perform with many jazz legends including Bob Brookmeyer, Billy Hart, Curtis Fuller, Jimmy Cobb and Jim Rotondi, as well as many other well known jazz artists such as Steve Waterman, Riccardo del Fra, Wayne Darling, Juan Garcia-Herreros, Howard Curtis, Stjepko Gut, Charlie Miklin and many others. Since 2007 Tuomo has played and toured all around Europe (Finland, Estonia, United Kingdom, Germany, Holland, Austria, Hungary, Slovakia, Czech Republic, Slovenia, Croatia, Serbia, Montenegro, Italy) as a solo pianist and with various ensembles ranging from Piano Trio to Big Bands.
After graduating with honors from University of Music and Performing Arts in 2012, Tuomo moved to New York City, and has been living in the city since. He is performing regularly around the city at numerous venues including main jazz spots (Smalls, Mezzrow, Fat Cat, Zinc Bar, Cornelia Street Cafe, Cleopatra's Needle, ShapeshifterLab, Garage, University of the Streets, Arturo's etc.). During his time in NYC has worked with several legendary jazz musicians including Curtis Lundy, Tyler Mitchell, David Schnitter, Jeff Hirschfield, Johnny O'Neal, Greg Bandy and Philip Harper as well as many notable musicians in the scene such as Ulysses Owens Jr., Dayna Stephens, Obed Calvaire, Elliot Mason, Peter Slavov, Josh Evans, Brandon Lewis, Gerry Gibbs, Scott Tixier, Jason Brown, Luques Curtis, Tivon Pennicott, Troy Roberts, Russell Hall, Evan Sherman, Alexander Claffy and Kyle Poole, to name a few.
"Trio" is his sparkling 2012 debut CD. The album won the Downbeat Student Music Award in 2012 for the Best Small Jazz Group. At the same year he also won the same price for the Best Latin Group (Marco Antonio Da Costa Group). 2013 he was the recipient of prestigious Sir Roland Hanna Award from City University of New York.
2013 was also a year of his debut as a producer; "Johnny O’Neal, Live at Smalls", which fast became one of the most best selling albums of the label (SmallsLIVE). The album was mentioned and artist highly acclaimed in the New York Times, May 1, 2014 issue.
Tuomo had a chance to bring his original compositions to the Montreal Jazz Festival (Canada), where he was a part of the Jazz Composers-Series. Fall 2014 Tuomo was on the road with The One And Only Tommy Dorsey Orchestra, touring six weeks in US and Canada, and continues working with the band in the near future. At the same year he also started his twice a month - residency at the Smalls Jazz Club, performing his original music and hosting the jam session with his trio.
