Republic of Jazz

Sunday, April 10, 2016

Murray Allen & Carrington Power Trio - Perfection (2016)

Label: Motema

Recording artist and producer Terri Lyne Carrington has combined forces with David Murray and Geri Allen on a new CD project, Perfection. The newly formed Murray, Allen & Carrington Power Trio will release the CD on Motéma Music on April 15. The Carrington-produced album (co-produced by Murray and Allen) was recorded in June 2015.

Murray, Allen & Carrington Power Trio: Geri Allen, David Murray, Terri Lyne Carrington

“I wrote ‘Geri- Rigged’ for the amazingly talented Geri Allen," says Carrington. "She is one third of the Murray, Allen & Carrington Power Trio along with David Murray and myself. Geri and I have been playing together for over three decades. We have a strong synergy and a deep musical understanding that feels uncanny, due to having had similar reference points that helps us to know where each other are going. I tried to write something that reminded me of her and that was challenging for us as well. The Murray, Allen & Carrington Power Trio is a perfect outlet to play with two incredible musicians that push the envelope. David Murray’s credentials speak for themselves. He has accomplished more in his lifetime thus far than many people would ever dare to dream. He is a real force to reckon with and I am trying to keep up with the two of them."

JazzTimes is pleased to present this exclusive preview of "Geri-Rigged" from the Murray, Allen & Carrington Power Trio's Perfection.

1 Mirror of Youth
2 Barbara Allen
3 Geri-Rigged
4 The David, Geri & Terri Show
5 The Nurturer
6 Perfection
7 D Special (Interlude)
8 Samsara (For Wayne)
9 For Fr. Peter O'brien
10 Cycles and Seasons

David Murray
Geri Allen
Terry Lyne Carrington

David Murray, Geri Allen, Terri Lyne Carrington Power Trio

Wed, May 18, 2016

Doors: 7:30 pm / Show: 8:30 pm

Birdland

New York, NY

$40.00

There is a $10.00 food or drink minimum per person. Dinner is served between 5pm-1am

Birdland

315 West 44th St

New York, NY 10036

http://www.birdlandjazz.com

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Walt Weiskopf - The Way You Say It (2016)

Label: Posi-tone

Source: Allaboutjazz - Mark Corroto

Do jazz jukeboxes exist? I'm not referring to an online streaming service that tells you what to like. I'm talking about a mechanical box in a roadhouse you put money in, and everyone in the joint listens to your selections. If there are such establishments with said jukeboxes, I'm certain customers would select WW1, WW2, WW3, et cetera, for most of the tracks on Walt Weiskopf's The Way You Say It.

The saxophonist a veteran of the big bands of Buddy Rich and Toshiko Akiyoshi, plus a requested sideman with Steely Dan, has produced a dozen outings as a leader, first for Criss Cross, and three now for Positone Records. The latest follows Open Road (2015), a quartet and the sextet Overdrive (2014) both with pianist Peter Zak. With The Way You Say It, he swaps piano for the organ of Brian Charette, an instrument we haven't heard with the saxophonist since A World Away (Criss Cross, 1995).

Charette, the de facto house organist for Positone, comports himself quite well here, supporting Weisskopf and vibraphonist Behn Gillece, who we heard on Overdrive. With drummer Steve Fidyk, the quartet can negotiate a speedy burner like "Inntoene" and "Blues Combination" with jaw-dropping ease. Weiskopf has all the tools, a broad and deep sound with a very well balanced attack. In other words, a beautiful tone. That richness is showcased on the flavor-rich ballad "Candy" and "Invisible Sun." Weiskopf penned ten of the twelve pieces here. "Envisioned" allows for each musician to stretch out a bit as it burns with a hot blue flame.

The quartet picks through two contrasting covers, Charlie Parker's "Segment" and the Weather Report classic "Scarlet Woman." The quartet turns Joe Zawinul's fusion into a stormy blues romp with Bird's music sailing with a nonchalance befitting such a sprezzatura artist as Weiskopf.

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Daniel Díaz - Swan Song (2015)

This album is called Swan Song. Here you will find the last chapter in the research I started with my very first album in 1993. In terms of style, Swan Song can be considered as the third and last part of a trilogy (started with The Years Alone and Segundo Ciclo in between) of solo "composer" albums where I can also show my skills as a multi-instrumentalist and arranger, and gather compositions written in different places and times, with varied styles and instrumentations.

Here you’ll find simple and catchy instrumental compositions with strong, sensitive melodies, passionate and sophisticated harmonies and atmospheres, rather gentle rhythms and a variety of instruments and sounds.

In Swan Song there are tracks with odd and irregular metric, unexplained modulations, dozens of time-signature changes, erroneous dissonances, tempo shifts, etc. But hopefully it all goes unnoticed (only visible to the musicians who read the sheet music and to those who try to transcribe this music).

DD November 2014

Daniel DIAZ is an Argentinean bass player and multi-instrumentalist, arranger, producer and composer. He recorded several solo albums, from 1993 "The Years Alone" to 2015 "Swan Song", including his best sellers: 2010 "Musique Mécanique" and 1997 "LOW Vol. 1": an album fully performed on acoustic and electric basses.

His production music (films-TV) is present on some of the most prestigious publishers and music libraries in the world.

In the above menu you'll find his Bio in three different languages, as well as full discography and links mp3 samples.

01. Otoño y Martes (love theme number 1) 02:25

02. Os Historicos 01:41

03. Romantica Cromatica 07:18

04. Antefinal 06:55

05. Ganimedes 04:31

06. Erik Satie’s Farewell 05:33

07. Alexis Luminoso 01:48

08. Tristesse Collateral 03:33

09. Same Old Song 03:35

10. Harold's Lake 05:04

11. Resumé (Swan Song) 04:59

Released October 15, 2015

Composed by Daniel Díaz.

Performed by D.D. : basses, guitars, pianos, vibes, hang, harmonium, percussion, accordina, charango, ukelele, synths

These great musicians gave life to these songs and added musicality and talent to Swan Song. They managed to interpret the meaning I intend of all this: simplicity and beauty prevail over technique.

Steve Arguelles (UK) Drums

Patrick Bebey (Cameroun): Fender Rhodes

Gustavo Bulgach (USA/Arg) Clarinet

Javier Estrella (Argentina): Drums

Leandro Guffanti (Argentina/FR): Soprano sax

Damian Jarry (France) Cello

Line Kruse (Danemark) Violin

David Lewis (Australia) Flugel Horn

Olivier Manoury (France) Bandoneon

Daniel Miguez (Argentina) Drums

Norberto Pedreira (Argentina): Guitar

Bobby Rangell (USA): Sax & flute

Luis Rigu (Argentina/FR): Quena, Sikus, Flutes

Inor Sotolongo (Cuba): Congas

Miguel Yanover (Argentina/FR): Tenor Sax

Cover photo: Juan Hitters

READ MORE

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ROJ TEAM

Daniel Diaz - Tristesse Collateral

Saturday, April 9, 2016

Thomas Florin 4tet - Weather Has Time (2016)

Intégrant l’impétuosité de notre époque à la tradition de la musique de Jazz, l’univers du quartet contribue à sa manière à l’infatigable avancement de cette musique intense.

Avec sensibilité et conviction, ces quatre musiciens proposent des performances énergiques et fiévreuses, riches de développements improvisés.

Ils suivent la tradition de formations emblématiques du Jazz Moderne, comme le Second Grand Quintet de Miles Davis, le quartet de John Coltrane, et d’autres musiciens chers à leur coeur.

Ce projet est initié par Thomas Florin, qui, pour ce nouveau groupe, a souhaité travailler avec des musiciens d’exception dont il admirait la musicalité et avec lesquels il partage des affinités certaines.

Le répertoire actuel du groupe a suivi une démarche compositionnelle originale. Depuis quelques années, Thomas Florin a développé une méthode personnelle de composition consistant en des « re-compositions » ou « re-arrangements » de pièces existantes. L’idée est de choisir un groupe ou un compositeur, et de prendre ses oeuvres comme base de création de nouvelles compositions.

Cette méthode a su créer une étonnante cohérence de la musique et des surprises, amenant des pièces aux antipodes de leur atmosphère initiale.

Après avoir choisi Bill Evans pour le répertoire du Thomas Florin Septet en 2013 et 2014, c’est Weather Report, groupe emblématique de Fusion, que Thomas Florin a choisi pour la musique du quartet.

Si le nom du set actuel du quartet, Weather Has Time, a évidement été inspiré par Weather Report, la musique que propose le groupe n’a souvent plus grand chose à voir avec les pièces originales, du moins dans son esthétique. L’intérêt est également pour les connaisseurs de reconnaitre ça et là les éléments survivant à la « transformation ».

1. La Nuée 07:31

2. Weather Has Time 06:09

3. Pilum 06:56

4. Liar 03:56

5. Le Requin Baleine 06:13

6. Trois Secrets Pour Un Vieux 08:53

7. Xin Dao 03:12

Released April 8, 2016

Thomas Florin p+compo

Manuel Gesseney as

Ninn Langel cb

Francois Christe dms

Recorded and mixed by Antoine Estoppey, Blend Studio

Mastering by Renaud Millet-Lacombe

Cover by Antonio Vizcaino

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ROJ TEAM

Arnito - Ekut (2016)

Arnaud FILLION-ROBIN « Arnito » is a french guitar player, versatile musician and composer. His style integrates various influences and techniques derived from flamenco, jazz, classical and folk. He travels around the world to share and feed his passion for music. His authenticity and artistic exchange’s quest took him from malian villages to indian ground, through andalucian gypsy’s community.

In addition to his large live and studio experience (more than a thousand of concerts, 13 self-products albums, and dozens of various styles recording sessions ), Arnito proposes diverses artistic, creation and teaching project, to transmit his particular vision of music.

Arnito gives solo concerts on 7-string guitar. He's also performing with various bands formules (duet, trio, quartet...)

Musicien, compositeur et arrangeur français aux multiples facettes, Arnaud FILLION-ROBIN « Arnito » parcourt le monde pour partager et nourrir sa passion. Son style regroupe diverses influences et techniques dérivées du flamenco, du jazz, du classique et du folk. Sa quête d’authenticité et d’échanges artistiques l’a mené des villages maliens aux terres indiennes, en passant par les communautés gitanes d’Andalousie.

Outre les milliers de concerts et jam-sessions à son actif et son investissement en studio (13 albums autoproduits et participation à une douzaine d’autres en tant qu’invité, dans différents styles), Arnito propose différents projets de création ou pédagogiques pour transmettre sa vision de la musique et favoriser les échanges culturels et humains.

Arnito présente un programme de concert en solo sur une guitare à 7 cordes, ainsi que différentes formules de groupes (duo, trio, quartet...)

Arnito : guitares, percussions, violoncelle, saz, oud, basse, banjo, voix

Naz Aksoy-Fillion : voix (5,8)

1. Klejmaik

2. Eop

3. Esboço

4. Dulce Locura

5. Ciel Pourpre

6. Lucioles

7. Istanbul

8. Spirale

9. Ilham Perisi

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Domi

Ciel Pourpre

Friday, April 8, 2016

Yoshiaki Okayasu (Trio & Quartet) - Live at Island Cafe (2016) CD 1

Una agradable sesión en directo

DISC1

01. Dear Old Stockholm

02. Will You Still Be Mine

03. My Romance

04. Just Squeeze Me

05. Take The “A” Train

06. C Jam Blues

07. The Things We Did Last Summer

Yoshiaki Okayasu (Trio & Quartet) - Live at Island Cafe (2016) CD 2

Yoshiaki Okayasu, guitar

Keiichi Yoshida, piano

Teiji Sasaki, bass

Toru Abo, tenor sax

DISC 2

01. Blue Bird

02. Jumpin’ With Symphony Sid

03. When I Fall In Love

04. La Petite Mambo

05. Falling In Love With Love

06. The Preacher

07. Good Bait

08. Trio

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Domi

Galen Weston - Plugged In (2015)

Plugged In represents a type of sonic exploration; a two-year journey I took with my yellow Stratocaster, my ES-335 and many other beloved instruments. Drawing inspiration from many of my favourite jazz and instrumental rock influences, I spent hours taming the howling of vintage Big Muff’s, cleaning tape heads on old echo machines, and tweaking the tone knobs on my classic Marshall and Fender amps...all in the simple yet constant search for that perfect tone. I hope you enjoy the ride as much as I have.

Galen

An accomplished and refined player from Toronto, guitarist-composer Galen Weston cuts a wide stylistic swath on his long overdue debut as a leader. From his singing six-string work on the urgently funky "Bensonite", his mellow lyricism on the graceful "The Yellow Guitar," to his soulful expression on the gorgeous "Song for Daphne" and his unapologetic chops showcase on “Tasteless,” Weston wails with rare conviction and facility throughout Plugged In.

Accompanied by veteran Toronto session players: David Woodhead on fretless electric bass; Al Cross on drums along with versatile keyboardist Matt Horner; Richard Underhill on alto sax and Rick Lazar on percussion, the guitarist carves out some fresh new territory on this eclectic six-string manifesto.

Recorded at his beautifully-crafted, state-of-the-art Rose Room Studio in Toronto, Plugged In represents Weston’s return to guitar after following a lengthy period of running an internet business he founded. Now, after four years of dedicated woodshedding, he finds himself on the other side of the glass, cast in the performer’s spotlight. "I am on a mission to catch up from the years I lost with music," he explains.

His auspicious debut kicks off with "Funk Opus #2," a lyrical number that shows the influence of Texas guitar hero Eric Johnson. "I first heard Eric on the radio when I was working nights stocking shelves at a retail store," he recalls," and it definitely altered my life. "His affecting ballad "Song For Daphne," named for his youngest daughter, has already gained much attention on Facebook and SoundCloud. This tender number showcases Weston’s warm, inviting tone and expressive playing along with some potent testifying on the alto sax from Underhill.

"Bensonite" is a nod to one of Weston’s main jazz guitar influences. "The core of this piece started with George Benson in mind but morphed during the process to a bit of Larry Carlton style," says Weston. "It’s a fun song to play, particularly the samba outro." An infectious groover colored by Lazar’s churning percussion work, it has Horner switching to electric piano as Weston delivers some impassioned licks. This energetic number closes with a lively batucada jam that has the sound of cuica mingling with assorted Brazilian percussion.

"The Yellow Guitar(A Guitarra Amarela)"is a smooth offering that features some of Weston’s most seductive lines along the way. "I was going for Mark Knoppler here, I just love his tasteful playing," he says. "My solo was really trying to tap into some Stevie Ray Vaughan influence, particularly the clean playing on tunes like 'Riviera Paradise'".

For a change of pace, Weston delivers an intimate acoustic fingerstyle version of the melodious Keith Jarrett tune "Country" (from his classic 1978 ECM album, My Song). Woodhead contributes a singing fretless electric bass solo on this heartlandish number. Shifting gears radically, Weston and crew kick out Miami Vice style jams on "Galen’s Vice" - a tribute to the ‘80s. Underhill offers his plaintive alto cry throughout this piece while Weston dials up a quintessential ‘80s rock guitar tone on his incendiary solo here.

The soulful "Austin" has Horner doubling on piano and organ while Weston alternates between warm Wes Montgomery-styled octave playing and fluid single note lines on the engaging melody. Underhill really digs into this piece with abandon on his solo, Horner follows with some potent solo statements on both piano and organ and Woodhead contributes another wonderfully melodic bass solo.

The no-holds-barred rock anthem "Tasteless" is Weston’s tip of the hat to guitar god Steve Vai. His clean-tone re-imagining of Jimmy Van Heusen’s "Like Someone in Love" opens with a solo guitar intro that has Weston showcasing some accomplished chordal melody playing. Cross puts up a muscular backbeat behind the jazz standard as the core trio of guitar-bass-drums grooves along in mellow fashion.

"Late and Never" has Weston throwing his sustained, slightly distorted guitar lines around with rockish authority. There’s plenty of deft fingerstyle comping and slashing single note lines over a slamming groove before he takes it out in triumphant fashion with his distortion set on stun.

The collection closes with "Rock Jam," which opens with a dialogue of clean fingerpicked chords and contrapuntal bass lines. Another potent power trio number, it slowly builds in intensity to some aggressive fretboard flights.

"With this debut I feel like I am really on a good path," says Weston, "and I have so much more to do!" Stay tuned.

Bill Milkowski

Bill Milkowski contributes to Down Beat and Jazziz magazines and is the author of “JACO: The Extraordinary and Tragic Life of Jaco Pastorius”