Entre el 2003 y el 2006, esta enigmática formación grabó cuatro originales discos para este sello discográfico, que cosecharon muy buenas críticas de grandes especialistas como Ben Ratcliff (New York Times), Jordi Pujol, Roger Roca e importantes medios como Rolling Stone u All About Jazz.
Ahora, trece años después de su debut discográfico, Unexpected, formado por tres de los más valorados músicos de la esfera española, como el pianista catalán Sergi Sirvent, el contrabajista argentino Esteban Hernández y el baterista gallego Dani Domínguez, vuelve a entrar en un estudio de grabación para materializar un nuevo proyecto y seguir explorando su propio y vasto universo.
01. Samuraiarumas 5:33
02. Quintes asimètriques 3:27
03. Coso 5:03
04. Odisseo 6:00
05. Twice 4:02
06. Crazy Latin Dance for Cooking 10:21
07. Se me va la voz 4:34
All compositions written by Sergi Sirvent, except "Odisseo" and "Twice" by Dani Domínguez, and "Se me va la voz" by Guillermo Klein.
Sergi Sirvent Escué (piano, vocal on #7, ocarina on #4)
Esteban 'Tempe' Hernández (bass)
Daniel Domínguez (drums, percussions on #6)
Recorded at Estudi Laietana, Barcelona, on July 22, 23 & 24, 2013
When Dresch starts a solo, you get the feel that you are reading his mind. That little bird of a melody trembles first when it opens its wings, ventures upwards, and also ponders the depth below. It crosses forests and pastures before the journey ends. Dresch is a perfectionist, no doubt about that, but he never wanted to display fireworks, he is too straightforward not to speak his mind. Instead of positioning himself out front all alone, he was always interested in teaming up with players who think along similar terms as he does, while doing some of those things in a different way.
Potter is the perfect guest: he never becomes too talkative, nor does he just nod away at the ideas Dresch raises. Check out Legényes, the tune which is the type of music accompanying the peacock-like solo dance of young lads, first trying to catch the attention of the girls, and then speeding up into a virtuoso display of jumps and kicks, slapping their ankle proudly to the rhythm. Potter has mastered the rhythms and harmonies of the Hungarian and other ethnic components, he is able to show that there is rhapsody in his soul, too, elegantly filling the framework of the folk-songs that are in fact compositions of Dresch. In the duos with the bandleader and truly inspired by the forward-moving bandwagon you can hear hilarious dance-driven passages in which they trade solos and go all the way together. Potter proves why he has become one of the top sax players on the global scene. While the drive, the urge, the vertigo (check out the final track) are the fruits of decades of determined work by Dresch and his quartet, fitting into all that so smoothly and so creatively on both his horns, in both the accompanying and the soloing roles, you needed somebody of the stature of Chris Potter. Kornél Zipernovszky
Kontrabasists Toms Lipskis izdod debijas albumu "Holographic Projections"
Kontrabasists Toms Lipskis 23. decembrī publiskojis savu debijas albumu "Holographic Projections", ko ierakstījis džeza kvinteta sastāvā. "Mūzika ir cilvēka personības atspoguļojums. Tas ir kā garīgs ceļojums starp dažādām dimensijām. Hologramma šajā gadījumā ir domāta kā trīsdimensionāls attēls, kurš ir uzburts ar cilvēka domu palīdzību, un albumā ietvertie skaņdarbi ir šīs hologrāfiskās projekcijas, kurās tiek atspoguļots autora pasaules redzējums," albuma ideju skaidro Toms Lipskis. Toma Lipska kvintetā spēlē saksofonists Dāvis Jurka, tompetists Oskars Ozoliņš, pianists Dāvis Bindemanis un bundzinieks Rūdolfs Dankfelds. Ierakstā piedalījušies arī vijolnieki Aleksejs Bahirs un Ivars Brīnums, čellists Jānis Pauls un altu iespēlējusi Zane Dziesma. Albums ierakstīts Sound Division studijā, miskēšanu un māsterēšanu veicis Ivars Ozols.
Throttle Elevator Music's "Retrorespective" reunites Gregory Howe and Matt Montgomery with tenor Saxophonist Kamasi Washington for a fifth recording. This release contains nine original new compositions by Matt Montgomery, Gregory Howe and Kamasi Washington. Throttle Trumpet player Erik Jekabson and Kamasi sound amazing together throughout the title. This time around they are joined by rhythm section drummer Thomas McCree, guitarist Ava Mendoza, and bassist/pianist Matt Montgomery.
1. Liminality 8:21
2. Playing The Alleyway 5:25
3. February Drift 7:01
4. Flux And Solder 3:26
5. Retrorespective 2:43
6. Second Liminality 5:54
7. Subtract Limited 4:03
8. Rapid Rotation 2:22
9. February 15 7:51
Erik Jekabson
Erik Jekabson is an American trumpet player, composer, and music educator from Berkeley, California. He appears on Throttle Elevator Music IV and Throttle Elevator Music Area J.
Gregory Howe
Gregory Howe is a producer, engineer, musician and owner and founder of Wide Hive Records. Howe is an accomplished producer who has released over thirty albums through Wide Hive Records.
Kamasi Washington
Kamasi Washington is featured Saxophonist on Both Throttle Elevator Music and Phil Ranelin's Perseverance. Also as a composer Kamasi has scored for several films including Stacey Peralta's recent Independant Lens feature: Crips and Bloods: Made In America.
Matt Montgomery
Matthew Montgomery has performed or recorded with, abbreviated for brevity’s sake would include: Faye Carol, Calvin Keys, Donald “Duck” Bailey, Graham Connah, Hafez Modirzadeh, Eddie Gale, Mark Levine, Kevin Carnes and David Boyce (Professor Borris Karnaz and Black Edgar Kenyatta of BROUN FELLINIS), and Kat Ouano (CROWN CITY ROCKERS).
JOE LOVANO: tenor saxophone (1 &7), G mezzo soprano (8)
LAWRENCE FIELDS: piano
GERALD CANNON: bass
ROMAN DIAZ: congas (1, 8 & 9)
BILL STEWART: drums
All compositions by Steve Slagle,
Except “Body & Soul” by J. Green;
“Guess I’ll Hang My Tears Out to Dry”;
J. Styne & S. Cahn; ”Inception” by M. Tyner
Produced By: Steve Slagle
Executive Producer: Rick Simpson
Recorded August 6, 2016 At Trading 8’s Studio, Paramus, NJ Recording & Mix Engineer: Chris Sulit
Photography & Graphic Design: Christopher Drukker
Steve Slagle on Alto Sax and Flute leads a new recording with a great line-up of diverse players who inspire a wide range of music playing five new exciting originals for the first time, as well as two classics and one solo alto sax piece. Alto Manhattan, is latino for the NYC neighborhood steve lives in-‘upper manhattan’or ‘the heights’ and the program here is: FAMILY—This composition for 2 saxes+2 drums is pure jazz, with Cuba and Africa in the make-up of what is a big family. Note Roman Diaz,from Cuba, and his great sound on Conga, as well as the whole group inter-play--all in the family! ALTO MANHATTAN, song #2 is so nice they play it twice! The first fiery take is with quartet and then later down the line Joe Lovano is added on tenor to create another harmony ( A.M.) Bill Stewarts contribution,on both takes, proves,as many know, he is one of a kind as a drummer. I KNOW THAT YOU KNOW is a lyrical alto blues oriented song that allows everyone to ‘let their hair down’. Bassist Gerald Cannon gets all the way down here! BODY+SOUL showcases Steve’s Alto alone, joining the canon of sax players who have attempted this classic ballad as a solo piece. Done in one take, Steve references Monk,Duke,’Bird and Ornette (twice!) within the structure of this classic song. INCEPTION came about after Slagle recently was asked to play with McCoy Tyners Quartet. This challenging McCoy composition eventually opens up into an extended minor blues. This is the first take of the date and notice the immediate empathy of all the players! I GUESS I’LL HANG MY TEARS OUT TO DRY, a beautiful ballad starting with the often forgotten verse, is given the romantic treatment here..Lawrence Fields piano mastery helps make this a shining version of a deep song. Finally Alto Manhattan ends with two flute pieces which are also very central to the sound of the record. HOLIDAY, the most thru-composed piece of the date,Slagle first wrote with harmonica master Toots Thielman in mind and dedicates this first recording of the song in memory of maestro Toots. Joe Lovanos G mezzo soprano along with the sound of the flute really takes the listener on a musical vacation. And with that, we have VIVA LA FAMALIA to end the proceedings -- a jam for 2 drums,bass and the flute lead. A fresh,original first take played spontaneously at the end of this unique and outstanding recording. Yes,Viva la Famalia!!
JIM EIGO, JAZZ PROMO SERVICES
272 State Route 94 South #1, Warwick, NY 10990-3363
Corpo de Dentro é o álbum de estréia do compositor, arranjador e guitarrista Lourenço Rebetez. Produzido por Arto Lindsay (Caetano Veloso, Ryuichi Sakamoto, David Byrne, Marisa Monte), o disco conta com uma formação instrumental ambiciosa: 8 sopros (trompetes, saxofones, trombones); 3 percussionistas (atabaques, timbaus, surdos virados, caxixis); piano, baixo acústico e bateria. São dez composições inéditas que, se por um lado têm o jazz evidente na maneira de tocar e nas ricas texturas harmônicas dos arranjos, têm firmes raízes no universo percussivo afro-brasileiro. Nesse sentido, a presença dos percussionistas baianos Gabi Guedes, Iuri Passos e Ícaro Sá é marcante no disco. A percussão aqui não tem uma função meramente decorativa. Pelo contrário, os naipes de atabaques, timbaus, surdos virados, combinados em arranjos inspirados, fazem deste um disco de apreensão “corporal”, feito pra se ouvir com o quadril tanto quanto com os ouvidos.
Mas, para além do uso intenso dos instrumentos de percussão nos arranjos, há ainda um sentido mais profundo, pois é das claves dos toques de candomblé e das levadas dos blocos afro-baianos que vem a matriz composicional desses dez temas instrumentais, o que faz deste um álbum de jazz profundamente brasileiro. São ritmos como opanijé, aguerê, ijexá, samba-reggae, samba afro, vassi e bravum, que se somam à cozinha potente de Henrique Gomide, Bruno Migotto e Vitor Cabral para formar os grooves enérgicos de O Corpo de Dentro. Diz Zuza Homem de Mello: “Eis Lourenço Rebetez, um jovem de 30 anos que aflora com seu corpo de dentro. Junta a riqueza rítmica da música brasileira com sopros do jazz. Com sua turma, ele provoca quem sabe ouvir música”.
01. Abertura (O Avesso das Coisas)
02. Ozu
03. O Mais Profundo é a Pele
04. Interludio 1 (Opanijé)
05. Imã
06. Pontieva
07. Birjand
08. Interludio 2 (Supernova)
09. Punjab
10. Sombrero
Lourenço Rebetez é músico de São Paulo, Brasil. Trabalha com composições e arranjos de linguagem jazzística e em colaboração com artistas de dança contemporânea, cinema e teatro. Estudou guitarra com Chico Pinheiro, composição popular e ritmos afro-brasileiros com Letieres Leite (Orquestra Rumpilezz),composição erudita no ciclo avançado da EMESP, além de piano e percussão brasileira. É formado pela Berklee College of Music em guitarra e jazz composition.
Enjoying a career which includes key roles with prominent UK symphony orchestras and big bands, plus recording/touring projects with Aretha Franklin, Quincy Jones, Tom Jones and Randy Brecker (to name but a few), trumpeter and composer/arranger Ryan Quigley now unveils his ten-track album What Doesn’t Kill You – a quintet release with Paul Booth (tenor sax, flutes), Steve Hamilton (piano, Fender Rhodes), Michael Janisch (double bass) and Clarence Penn (drums).
Having worked for a number of years with Scottish band Brass Jaw, as well as releasing his own album Laphroaig-ian Slip, Quigley’s experience shines through in this new set of originals which suggests the passion of early ‘60s hard-bop and early ‘70s fusion, yet is up to date in forward-thinking appeal. Here is music born out of strong compositional melody which, in turn, sparks honest improvisational freedom; and while it features the leader’s assured, incisive trumpet, the sense of group coequality remains blissfully evident throughout this near-hour-long session.
The swinging ‘Doctor Stage’ couldn’t be more infectious, Paul Booth’s effervescent tenor imaginings leaping off one of Quigley’s memorable, Freddie Hubbard-style unison riffs ahead of the trumpeter’s own, soaring improvisations. Slowly shifting ‘Fire Eyes’ shimmers broadly to Steve Hamilton’s piano and Clarence Penn’s soft-malleted percussion – a towering landscape of romantic horn textures embellished by distant, stadium-fanfare trumpet.
Characterized by Janisch’s simple, leaping figures and Clarence Penn’s softly pulsing rhythms, the lazy heat of ‘Green Light’ spotlights Hamilton’s eloquent piano, punctuated by gentle trumpet and sax phrasing; and an underlying poignancy in ‘Hymn To Their Homeland’ is affirmed by the creative openness of its solo bass introduction and the elegant mystery of Paul Booth’s low, swooning flute – an episode which is both affecting and majestic.
The deep groove of title track ‘What Doesn’t Kill You’ offers still greater freedom as Quigley’s blistering, stratospheric technique combines with Penn’s tumultuous drumming; and supported by Michael Janisch’s agile bass resonances, while Hamilton’s Fender Rhodes extemporisations are especially sweet. ‘Say What You See’ possesses that contemporary jazz-fusion edge, its rattling propulsion encouraging fiery soloing amidst the brightest ensemble colors (Penn matching both Quigley and Booth for voltaic energy); and the wide swing of ‘The Long Journey Home’ pulls out all the stops – a full-on vibe with the melodic framework to prompt powerful, often raucous individual expressions.
This release – bookended by lyrical, echoic solo trumpet – finds Ryan Quigley delighting in the opportunity of working with good friends who share his innate desire for musical integrity, and whom he also counts amongst his musical heroes: “My hope is that this recording captures something of that ambition, and that listeners can feel its warmth, depth of feeling… and friendship.”
“Live Jazz Playing at its best.”★★★★ The Guardian (live review)
"Full of sparkle and dynamics... Hugely enjoyable."London Jazz
"A fine band of like minded musicians... Classy."★★★★ Jazzwise Magazine
"An exhilarating evening of jazz... Steeped in the traditions of the idiom, but in no way restricted by those traditions."Seen & Heard International (live review)
"Strong melodic themes are a constant throughout and the playing from a stellar cast is terrific... Bright, inventive and vivacious."★★★★ The Jazz Mann
"Ryan Quigley proves with his latest recording that he can write swinging and engaging tunes as well as he plays them. A very satisfying set indeed demanding frequent replays."★★★★ All About Jazz
"Strong melodies, a cohesive, collective sound, and the assured improvisational flights one would associate with Quigley and his band mates."Bebop Spoken Here
"It’s a great set of tunes, firmly grounded in the tradition as codified in the hard-swinging 1970's, with everyone playing their hearts out and a real feeling of warmth and friendship between the participants."Jazz Views - Album of the week
"An absorbing album which shows how a contemporary sensibility can be applied to past jazz genres to create something new and original."Sandy Brown Jazz
