Angela Verbrugge - The Night We Couldn't Say Good Night (GUT STRING RECORDS February 1, 2019)

The Night We Couldn’t Say Good Night is the witty and joyful debut release from Vancouver-based vocalist Angela Verbrugge.

Verbrugge’s sound finds its home somewhere between vocal jazz, traditional pop and American Songbook/Broadway/Cabaret.

Some real-life stories are so remarkable, they take on a cinematic quality. In the case of  Verbrugge, her personal journey is filled with not one, not two, but three near-death experiences that have shaped her path, and have provided the fuel for her burgeoning music career:  “I was in a head-on collision, almost drowned, and then, when I had three kids under five, I got a very serious kind of cancer that had spread. I decided that if I could get through the treatments and survive it, and get my life back together, I would pursue my dream.” 

That dream is music.  Pursuit of this dream took her to the Vermont Jazz Centre to work with legendary jazz vocalist, Sheila Jordan.  It was there that she met Jordan's long-time bassist Cameron Brown, and when she was invited to go to New York to record with him, she jumped at the chance.  

Highlights abound on the album: on ‘I’m Running Late’, Verbrugge’s super-fast-paced vocals match the rushed theme of her witty lyrics...it’s a delightfully smart track with modern references listeners can instantly relate to.  ‘Speak Softly Love’ is elegant...a reverent reimagining of the beloved ‘Godfather’ melody.  The original ‘You’re Almost Perfect’ is another centrepiece, where intelligence and humour come together, with clever lyrics such as “you’re almost perfect, I want to change you!” 

In addition to the standout songwriting, Verbrugge at times incorporates her background as an actress into her vocal performances, elevating the songs and bringing her characters to life.

The Night We Couldn’t Say Good Night will be released on Gut String Records (NYC) on Friday, February 1st, 2019.

Angela Verbrugge - Vocals

Ray Gallon - Piano

Cameron Brown - Bass

Anthony Pinciotti - Drums

1. I’m Running Late (That’s The Question)* 4:34

2. The Night We Couldn’t Say Good Night* 3:52

3. Love Walked In 4:39

4. All Too Soon 5:14

5. You’re Almost Perfect* 3:27

6. This Could Be the Start of Something Big 3:00

7. Interlude (A Night in Tunisia) 3:12

8. Cool Baby 4:18

9. Si Tu Pudieras Quereme 3:41

10. Speak Softly, Love 3:53

11. Plus Je T’Embrasse 3:01

12. The Moon Was Yellow 3:06

13. How Did I Know This Was the End?* 3:18

(Asterisk denotes compositions written/co-written by Angela Verbrugge)

Jon De Lucia Octet + Ted Brown: Live at the Drawing Room (GUT STRING RECORDS 2018)

NEW RELEASE OUT TODAY!

“This impassioned group swings…For this gig, the Octet had a great spiritual asset in the gently fervent playing of Ted Brown, a sage of melodic invention. I am grateful that Jon De Lucia has created this group: so delightful in whatever they play.  You’ll hear it too. “

Michael Steinman, JazzLives

Saxophonist Jon De Lucia met the great tenorist Ted Brown in 2014, and got to play with him soon after. He was and is struck by the pure lyricism and honesty in his improvising. One of the original students of forward thinking pianist Lennie Tristano in the 1940s, Brown, along with Lee Konitz, is among the last of this great school of players. Later, when De Lucia discovered some of Jimmy Giuffre’s original scores from the Lee Konitz meets Jimmy Giuffre session of 1959, which Brown and Konitz both participated in, he knew he wanted to put a band together to play this music with Ted.

Thus the Jon De Lucia Octet was formed. A Five Saxophone and Rhythm lineup with unique arrangements by the great clarinetist/saxophonist Jimmy Giuffre. The original charts featured Lee Konitz on every track, and the first step in 2016 was to put a session together reuniting Brown and Konitz on these tunes. An open rehearsal was held at the City College of New York, Lee took the lead and played beautifully while Ted took over the late Warne Marsh’s part. This then led to the concert you have here before you.

De Lucia steps into Lee’s shoes, while the features have been reworked to focus on Brown, including new arrangements of his tunes by De Lucia and daughter Anita Brown. The rest of the band includes a formidable set of young saxophonists, including John Ludlow, who incidentally was a protege of the late Hal McCusick, who also played on the original recording session of Lee Konitz meets Jimmy Giuffre, and plays the alto saxophone, now inherited, used in the session. Jay Rattman and Marc Schwartz round out the tenors, and Andrew Hadro, who can be heard to great effect on Venus De Milo, plays the baritone. In the rhythm section, Ray Gallon, one of NYC’s most swinging veterans on the piano, Aidan O’Donnell on the bass and the other legend in the room, the great Steve Little on the drums.

Little was in Duke Ellington’s band in 1968, recording on the now classic Strayhorn tribute ...and His Mother Called Him Bill, before going on to record all of the original Sesame Street music and much more as a studio musician.

The show was sold out at Brooklyn’s now defunct Drawing Room, operated by Michael Kanan and Stephanie Grieg. Along with the music previously mentioned, De Lucia had recently acquired some of the original parts from Gerry Mulligan’s Songbook session, which featured Konitz, Al Cohn, Zoot Sims and Allen Eager in another great sax section recording, this time arranged by Bill Holman. Here the band plays “Sextet,” and “Venus De Milo” from that session. Brown, here making the band a Nonet, plays beautifully and takes part in every tune, reading parts even when not soloing. Not included in this CD is an extended take of Konitz’s “Cork n’ Bib” and Giuffre’s piece for three clarinets, “Sheepherders.” Possible bonus releases down the line!

Since this concert, the Octet has taken on a life of its own, covering the repertoire of the original Dave Brubeck Octet, more of the Mulligan material, Alec Wilder, and increasingly De Lucia’s own material. De Lucia continues searching for rare and underperformed material, rehearsing regularly in NYC and performing less regularly. One can hope there is much more to come from this talented group!

Ted Brown, Lee Konitz and Jon De Lucia

Peter and Will Anderson - Wind Power (GUT STRING RECORDS 2018)

Wind Power is the Anderson’s third album in the trio format, featuring the Parisian guitarist Felix Lemerle in his recording debut with Peter and Will. They’ve decided to showcase several iconic American works by their favorite composers, namely Richard Rodgers, George Gershwin and Duke Ellington. Rodgers’ “My Favorite Things,” from The Sound Of Music (1959), has, like many Rodgers’ hits, stood the test of time due to its singable diatonic melody, but Andersons drew inspiration from John Coltrane’s 1961 modal instrumental version, and fit it all into their trio. Also fitting well for the trio is their arrangement of George Gershwin’s “It Ain’t Necessarily So,” from one of the most groundbreaking musical productions in American history, Porgy and Bess.

Gershwin’s songs have been popular choices in jazz musicians’ repertoire for decades, but his most famous work, Rhapsody in Blue, is rarely performed in a jazz setting due to it’s complex form. The Andersons swinging trio version of the Gershwin masterpiece was partially influenced by Leroy Smith’s 1928 fox-trot version. Peter and Will depart from the Great American Songbook by offering their own rousing version of the classic piano piece, Clair de Lune by Claude Debussy, who’s music deeply influenced American composers; Ellington and Gershwin in particular. Horace Silver’s The Preacher is based on the chord structure of the 1925 English pop song “Show Me the Way to Go Home,” which Silver often used to end his concerts. Silver had a special ability to blend jazz, blues, R&B, and church hymns together seamlessly in his compositions. 

Peter, Will, and Felix were lucky to spend 10 weeks performing together during a cross-country USA tour, Spring of 2018, in preparation for this recording. They sincerely want to thank Zac and Brent at Night Train Studios for going above and beyond and making the recording process so enjoyable. Peter and Will also want to thank their family for all of the support: Jim, Kathy, Jane, Halim, Teo, Serra, Rachel, and Tooban. Peter and Will endorse D’Addario woodwind products and Selmer saxophones. For more information and tour dates, visit www.PeterAndWillAnderson.com

Peter Anderson  tenor saxophone & clarinet

Will Anderson  alto saxophone, clarinet & flute

Felix Lemerle  guitar

1. My Favorite Things 5:06

2. It Ain't Necessarily So 4:23

3. Rhapsody in Blue 5:25

4. Purple Gazelle 5:02

5. Clair De Lune 5:36

6. Chega De Saudade 4:44

7. The Preacher 4:11

8. Mood Indigo 4:50

9. Caravan 4:09

10. The Surrey with the Fringe on Top 4:11

11. Jitterbug Waltz 5:44

12. Moonglow 3:50

13. I Can't Give You Anything but Love 4:58

Jamale Davis - Morse Codes from the Opposite Land (GUT STRING RECORDS 2018)

The title of this recording comes from a conversation I had with its dedicatee. M-Ferghu, a fine pianist-composer whom I count as one of my great mentors, apparently wasn’t feeling particularly up that day. He was going to quit playing as the effort of presenting excellence was wearing him down after a few decades. Needless to say I was, shall we say, nonplussed. A fine musician, who dedicated his life and love to the art of this music, should say such a thing? Something was very wrong here. An artist of his caliber should have a better reward than this from the American Jazz Community. Hence, OPPOSITE LAND.

Sacha Perry  piano

Jamale Davis  bass

Charles Goold  drums

1 Let’s Face The Music And Dance (I. Berlin)

2 Jump Little T (Sacha Perry)

3 Monkey Play Time (Perry)

4 Boo Bear Any Minute (Perry)

5 C Minor Rig (Perry)

6 Livin’ With Hobson’s (Perry)

7 The Far Shore (Perry)

8 Bee Hive (Perry)

9 Nobody (B. Williams)

Yoav Trifman - Nu Yo (GUT STRING RECORDS 2018)

Overcoming the challenges of the present has always been the artist’s charge. Today’s crop of emerging artists face a unique set of hurdles, but with enough talent and dedication, some fly above and achieve heights that sustain our cultural vibrancy. Exhibit A: Nu Yo.

An exciting new entry to the composer/arranger/player category is trombonist Yoav Trifman. He presents to us a menu of nine songs featuring original works, innovative arrangements, top-level improvisation, and a groove that swings. The leader sees this set of world premieres recorded in New York City as a jazz message in a bottle: “I wanted to play my best so that I’d have an accurate memory of this specific time.”

At age 24, Trifman has acquired wisdoms both artistic and practical. He carries the player-leader duties with passion and urgency. His writing is compelling and intentional, evoking Dameron, Strayhorn, Monk, Mingus. But these are new sounds: 2018 sounds.

Unleashing a repertoire that stylistically combines new and old also requires skill in building a team. The core rhythm section provides the required energetic punch to drive the listener through these nine selections and want more. Guitar prodigy Félix Lemerle effortlessly switches between shining on his solos and returning to his supportive rhythmic and harmonic duties of comping. Jamale Davis is a powerhouse of pulse who skillfully evades cliché. Drummer Scott Lowrie could land smack in the middle of a vintage recording of the 1950s – if that were possible. However, this group isn’t in the business of looking backward. They are here to stay, with many more groundbreaking projects ahead of them.

Trifman’s front line balances today’s top emerging and veteran players. The young Italian tenor saxophonist Salvo Losappio, who memorized all of his music for the session, brings thoughtful and inspiring soloing. Also from Italy is Stefano Doglioni, an artist on a mission to retroactively include the bass clarinet as a defining component of the classic jazz sound. Journeymen John Mosca and Don Hahn complement the younger players on trombone and trumpet respectively. Each horn player is given a chance to shine, with tremendous results.

Yoav Trifman shows accelerated maturity in knowing what to control and what to allow to happen. His tightly-woven arrangements are unpredictably presented, but the group sound is defined by the nature of each individual.

Yoav Trifman  trombone & euphonium (#4 & 5)

Salvo Losappio  tenor sax (#1-3 & 5-9)

Stefano Doglioni  bass clarinet (#1-3, 6, 8 & 9) 

Felix Lemerle guitar

Jamale Davis  bass

Scott Lowrie  drums

Don Hahn  cornet (#4 & 5) 

John Mosca  trombone (#4 & 8)

1. Uws 4:33

2. Blues for Allison 5:24

3. Indefinite Plans 5:53

4. The Fruit 7:14

5. Melody for C 4:21

6. Mosca-Ism 3:22

7. Humble Hampton 3:19

8. Too Early 4:36

9. Luminescence 5:07

Doron Tirosh - Simply Because It's Winter (GUT STRING RECORDS 2018)

Many listeners eye even the gentlest-spirited drummer with suspicion, and they have reason.  Drummers HIT things while the band is playing.  But Doron is no musical bully-boy.  His melodic lyricism is the equal of heroes Michael and Neal.  If you want a gorgeous example of lyrical democracy in action, savor WRITTEN IN THE STARS.

Doron has a light touch — metaphorically as well as sonically.  He varies the sounds he gets from his kit with a deep intuitive intelligence, and he swings irresistibly: hear his solo introductions to PLENTY and W.B.  Like my percussive deities Jo Jones and Sidney Catlett, Doron dances in our heads.  His playing is crisp but never mechanical, delicate but never timid. And his originals come from the same place: they are blossoming interludes, not just chord changes tied up with twine.  In 2018, beauty is not always easy to find, but Doron, Michael, and Neal show us what it is, can be, and will continue to be. Michael Steinman, JAZZ LIVES

Doron Tirosh  drums

Michael Kanan  piano

Neal Miner  bass

1 Why Would You Treat Me That Way? 4:40

2 I Got Plenty o' Nuttin' 3:49

3 For W.B. 5:10

4 It Was Written in the Stars 4:57

5 Simply Because It's Winter 3:49

6 That Old Black Magic 3:55

Salvo Losappio - Long Story Short (GUT STRING RECORDS 2018)

“This is an excellent little album and a great introduction to Losappio and his talented band”.

— René Bayley, THE ART MUSIC LOUNGE

“It is testament to Italian born saxophonist Salvo Losappio’s dynamic skills as tuneful bebop and swing composer that the original songs on his deeply soulful yet joyfully frenetic debut album Long Story Short fit in cozily among his veteran quartet’s fresh interpretations of classics by several jazz legends”.

— Chris Spector, THE JW VIBE

The hand-picked selection of such musicians has been really made to endow my first album with the beauties of a peculiar tradition which I always loved.  My natural predilection for their playing made clear that these outstanding artists were the perfect choice to debut as leader and collect a formative precious experience.

1. Shaw 'nuff 4:17

2. The End of a Beautiful Friendship 5:57

3. Boerum Hill 6:09

4. Sophisticated Lady 6:01

5. Leo for Two 4:33

6. Avalon 4:40

7. Ghost of a Chance 6:05

Salvo Losappio (tenor saxophone)

Sacha Perry (piano)

Ari Roland (bass)

Phil Stewart (drums)

Recorder Park West Studios (33 E 16th St, Brooklyn, NY, 11226); Recording date: 30th January, 2018

Recording engineer: Jim Clouse; Artwork design: Valeria Parisi; Photographer credits: Yoav Trifma

Peter and Will Anderson - Blues for Joe (GUT STRING RECORDS 2017)

This album of music is dedicated to our longtime friend and private teacher for six years,  saxophonist Joe Temperley.  Joe’s youthful spirit, blunt humor, and strong Scottish accent filled  up the room wherever hewas.  His sound and finesse on the baritone saxophone was unparalleled,  whether he was roaring through Ellington's “Cottontail” or singing sweetly on “Single Petal of a Rose.”  It’s no surprise that Joe was recruited by some of the greatest orchestras in jazz,  including Buddy Rich, Woody Herman, Duke Ellington, and the Jazz at Lincoln Center Orchestra.  

"Double trouble!  It always makes my soul smile when I see siblings playing music together. Creating music is such a magical experience, and being able to do it with members of your family makes it even more special.  I also think Peter and Will have the telepathy thing going on because they've got such a cohesive sound.  When I listen to this album “Blues for Joe,” all I have to do is close my eyes and I feel as though I am transported right back to my days with Bird, Coltrane, and Cannonball!  It doesn't get any better than that.  These cats are definitely the future!

Peter and Will, my beloved brothers, big-time props for your awards.  You two deserve every drop.  I was very happy to hook up with both of you on my trip.  You are two beautiful 360 degrees human beings;my favorite kind.  You will take jazz into the future!"  -Quincy Jones, June 2017

Blues for Joe (Peter Anderson)

The Royal Standard (Peter Anderson)

Exceptional Elegance (Will Anderson)

Lush Life (Billy Strayhorn)

Relaxed Beauty (Will Anderson)

Minor Joe (Peter Anderson)

Vitality (Peter Anderson)

Body and Soul (Johnny Green)

The Truth Will Prevail (Will Anderson)

Few and Far Between (Will Anderson)

Peter Anderson (tenor sax) 

Will Anderson (alto sax) 

Peter Bernstein (guitar) 

Pat Bianchi (B-3 Organ) 

Kenny Washington (drums)

Recorded July 31st, 2016 in NYC