Da sab 24 feb a lun 7 maggio - Rudiae International Music Festival diretto da Alessandro Quarta a Lecce

dal 24 febbraio al 7 maggio - ore 21

Teatro Apollo - Via Salvatore Trinchese, Lecce

Ingresso da 18 a 40 euro (+dp)

Abbonamenti quattro concerti da 80 a 100 euro (+dp)

Prevendite on line e punti vendita circuito BookingShow 

Info 3385966934 - www.clubdelleidee.it

RIMF 2018 - RUDIAE INTERNATIONAL MUSIC FESTIVAL

La MAXIMAorchestra e gli artisti internazionali Sarah Jane Morris e Mario Rosini, Mike Stern, James Taylor Quartet e Dee Dee Bridgewater saranno i protagonisti della prima edizione del Festival organizzato e prodotto dall’Associazione Culturale CLUB delle iDEE con la direzione artistica e musicale del violinista e compositore salentino Alessandro Quarta. 

Proseguono nel circuito Bookingshow le prevendite di biglietti e abbonamenti della prima edizione del Rudiae International Music Festival che dal 24 febbraio al 7 maggio proporrà quattro inediti concerti al Teatro Apollo di Lecce. Il Festival, frutto dell'incontro artistico della MAXIMAorchestra con il violinista e compositore salentino Alessandro Quarta, ospiterà la cantante inglese Sarah Jane Morris, il pianista e cantante Mario Rosini e il chitarrista Tony Remy (sabato 24 febbraio),  il chitarrista e compositore statunitense Mike Stern (sabato 17 marzo), James Taylor Quartet, uno dei gruppi che ha definito il genere acid jazz (domenica 15 aprile) e la cantante statunitense Dee Dee Bridgewater, considerata una delle poche eredi delle grandi voci femminili del jazz (lunedì 7 maggio). Il RIMF 2018, con questo intenso programma, darà vita a quattro serate da non perdere che vedranno fondersi il repertorio dell’Orchestra con quello degli artisti ospiti, con la direzione artistica e musicale di Alessandro Quarta.

Il M° Alessandro Quarta ha studiato con Salvatore Accardo, Abraham Stern, Zinaida Gilels e Pavel Vernikov, ereditando dai suoi maestri la più grande tradizione violinistica classica. È poi maturato alla luce delle sue molte incursioni in territorio blues, soul e pop, fino a diventare il musicista non convenzionale che conosciamo oggi. Numerose le sue collaborazioni (Aretha Franklin, Ray Charles, Jamiroquai, James Brown, Carlos Santana, Tina Turner, Tom Jones, Joe Cocker, Lenny Kravitz, Jovanotti, Lucio Dalla per citarne alcune) e le sue esibizioni in Italia e all’estero. Il progetto che lo porta in giro per il mondo è sicuramente quello che ha arrangiato e interpretato su “Astor Piazzolla”. Il “musical genius”, come lo ha definito la tv statunitense Cnn, da pochi mesi dirige la MAXIMAorchestra, eclettica formazione composta da 30 musicisti pugliesi, che vanta numerose esibizioni in prestigiosi Teatri nazionali con eccellenti musicisti e con una formula innovativa e originale che, con i propri arrangiamenti inediti, hanno sempre entusiasmato il pubblico trasferendo emozioni e coinvolgimento. Il RIMF 2018 è organizzato e prodotto dall’Associazione Club delle Idee, con la sovraintendenza di Paolo Tittozzi, in collaborazione con Regione Puglia (Assessorato al Mediterraneo, Cultura e Turismo), Comune di Lecce (Assessorato Cultura, Turismo e Spettacolo) e con il sostegno di numerosi partner privati.

Programma

Sabato 24 febbraio (ore 21 - ingresso dai 18 ai 30 euro) il Festival prenderà il via con la cantante inglese Sarah Jane Morris, il pianista e cantante Mario Rosini, il chitarrista Tony Remy e la MAXIMAorchestra.

Classe 1959, la Morris inizia la sua carriera nei primi anni '80, frequentando anche gli ambienti musicali italiani. Nel 1986 duetta con Jimmy Somerville nel brano "Don't Leave Me This Way" dell'album d'esordio dei Communards. Come solista ha registrato numerosi album e si è esibita in giro per il mondo. Nel 1991 ha collaborato all'opera rock The Fall of the House of Usher di Peter Hammill (musica) e Judge Smith (libretto). Vanta varie partecipazioni al Festival di Sanremo in coppia con Riccardo Fogli, Riccardo Cocciante (vincitrice con "Se stiamo insieme") e Simona Bencini (Dirotta Su Cuba). 

Mario Rosini, pugliese, è un cantante, pianista, compositore molto duttile. Nel 2004 ha conquistato il secondo posto a Sanremo ma il suo repertorio spazia tra pop, funk, hip Hop, jazz, new age e musica sacra. Nel corso degli anni ha collaborato, tra gli altri, con Rossana Casale, Mick Goodrick, Anna Oxa, Grazia Di Michele, Mia Martini, Edoardo De Crescenzo, Gino Vannelli, Irene Grandi, Alex Britti, Dirotta Su Cuba e Tosca. Dal 2008 ricopre la carica di Presidente della Commissione artistica dell’ambito Premio Mia Martini. Attualmente è docente della cattedra di Canto Jazz al Conservatorio "Egidio Romualdo Duni" di Matera.

Sabato 17 marzo  (ore 21 - ingresso dai 18 ai 30 euro) ospite della serata il chitarrista e compositore statunitense Mike Stern, con la MAXIMAorchestra. Classe 1953, cresciuto a Washington, ha studiato al Berklee College of Music di Boston, dove conosce Pat Metheny e Mick Goodrick. Nel corso della sua lunga carriera ha collaborato, tra gli altri, con Blood Sweet & Tear, Miles Davis, Jaco Pastorius, Bob Berg, Dave Weckl, David Sanborn, Randy Brecker, Chris Minh Doky, Steve Vai, Eric Johnson, Lenny White, Teymur Phell incidendo numerosi lavori discografici, esibendosi in giro per il mondo e guadagnano varie nomination ai Grammy Award. Nel 2008 ha fondato la Mike Stern Band con Randy Brecker, Dave Weckl & Chris Minh Doky.

Domenica 15 aprile  (ore 21 - ingresso dai 18 ai 30 euro) sul palco del Teatro Apollo approderà, insieme alla MAXIMAorchestra il James Taylor Quartet che, con oltre 30 anni di attività alle spalle, è considerato uno dei gruppi che ha definito il genere acid jazz. La loro proposta è una miscela esplosiva di Soul, Funk, Jazz, Spy Movies, R'n'B, il tutto capitanato dallo splendido suono dell'organo Hammond di Taylor. Negli anni ottanta, in particolar modo, la band si è fatta conoscere grazie alla versione di “The Theme from Starsy and Hutch” che l’ha portata a collezionare le più svariate partecipazioni ai dischi di artisti del calibro di U2, Pogues, Manic Street Preachers,Tom Jones e Tina Turner fino ad arrivare alla colonna sonora del film Austin Powers.

Lunedì 7 maggio (ore 21 - ingresso da 25 a 40 euro) la prima edizione del Festival si concluderà con la cantante statunitense Dee Dee Bridgewater, considerata una delle poche eredi delle grandi voci femminili del jazz, insieme alla MAXIMAorchestra. Classe 1950, mei primi anni ’70 collabora con l’orchestra di Thad Jones/Mel Lewis e con grandi artisti come Dexter Gordon, Dizzy Gillespie, Max Roach e Sonny Rollins. Negli stessi anni la Bridgewater è nel cast del musical “The Wiz”. Dopo essersi trasferita in Francia all’inizio degli anni ’80, le viene riconosciuto grande talento sia da parte del pubblico che della critica. Una delle sue canzoni più famose è “Till The Next Somewhere (Precious Thing), interpretata in duetto con Ray Charles. Nel 1990 la cantante vince il Festival di Sanremo dove si esibisce con “Angel Of The Night” (versione inglese di “Uomini soli” dei Pooh). Nel 1991 propone - fuori gara - "Just Tell Me Why", versione in inglese del brano "Perché lo fai", che vale il terzo posto a Marco Masini. Dopo cinque anni lontana dagli studi di registrazione la vocalist torna con un nuovo album "Feathers" che vuole ricordare il decimo anniversario della devastazione di New Orleans a causa dell’uragano Katrina.

Marion Meadows - Soul City (2018)

'Soul City', Marion's most intimate and heartfelt album to date, is a star-studded event that takes the listener on a sensuous journey through a soundscape of brilliant original compositions and masterful improvisations. The album is co-produced by Marion's long time hit-making collaborators, Chris "Big Dog" Davis (Will Downing, Gerald Albright, Maysa), Rahni Song (Najee, Melba Moore, Freddie Jackson) and Dave Love. With special guests: Will Downing, Norman Brown, Peter White, Peabo Bryson, Maysa and more!!

Another great recording from one of the finest saxophonists around. Mr. Meadows consistently delivers smooth and funky jazz and his latest offering is no exception. He teams up with smooth jazz titan, Mr. Chris "Big Dog" Davis (and other special guests) and the results are true pleasure for the ears. If you are a fan of smooth jazz, you need to grab this and add it to your collection! Patrick Houlihan

1. Soul City

2. Consequences

3. You

4. Playa

5. Merry Go Round

6. Be With You

7. No Wind No Rain

8. Time After Time

9. Dreamin'

10. Only

Marion Meadows Website

Marques Carroll & Trumpet Summit - In Stride We Keep Steppin' (Live at Andy's Jazz Club) 2018

Marques Carroll's ensemble, The Trumpet Summit is a six piece jazz ensemble that features Chicago's finest trumpet players, while paying tribute to the many trumpeters and other jazz musicians through arrangements and original compositions.

The Trumpet Summit is led by Trumpeter Marques Carroll who helped birth the ensemble four years ago with trumpeters Marquis Hill and Shaun Johnson. Since then, the ensemble has gone through many changes as it has settled into its groove and voice to the music. The current lineup that includes Victor Garcia, Quentin Coaxum, Ryan Nyther (alternate), Amr Fahmy (piano), Andrew Vogt (bass) and Isaiah Spencer (drums) have dedicated the group to paying tribute to the great trumpeters of the Jazz idiom also known as BAM (Black American Music). The group has adapted original works from trumpeters Wynton Marsalis, Roy Hargrove, Nicholas Payton, Lee Morgan, Clark Terry, Freddie Hubbard and others into their songbook through each member arranging for the ensemble while also presenting original works from each member as well. You can hear this ensemble on their latest work and debut album, In Stride We Keep Steppin’. The ensemble is in their fourth year residency at Andy's Jazz Club and will spend the majority of the year presenting original works from each artist in the group while dedicating one night a month to a particular trumpet player and other artists. 

1. The Mountaings (Live) 10:13

2. Oriental Folk Song (Live) 15:41

3. Egad (Live) 11:31

4. The Bell Ringer (Live) 12:52

5. Peyote (Live) 7:31

6. In the Zone (Live) 12:40

7. Absolutions (Live) 16:27

8. Izzy's Lullaby (Live) 7:46

9. Speak No Evil (Live) 12:27

10. Silver's Serenade (Live) 9:56

11. The Double Up (Live) 8:24

Bill Frisell - Music IS (OKEH RECORDS / SONY MUSIC March 16, 2018)

Almost every day, Bill Frisell gets up in the morning, has some coffee, and writes music. At this point, there are piles and piles and piles of single pages of staff paper filled with his graceful script. “I don’t know where the melodies come from,” says Frisell. “I try not to judge anything and just let them be.”

Frisell’s mantra, or motto so to speak, is, “Music is Good” – a statement said to him by his dear friend and great banjo player Danny Barnes. “That is something that I can say is always true. It’s so perfect. Everything I need to know is that phrase, ‘Music is Good.’ I almost called the album that, but then I thought that might be too literal. It’s good to leave it open.”

Music IS – to be released March 16 on OKeh/Sony Music Masterworks – marks the first solo album from the master of his craft since the release of Ghost Town, released on Nonesuch 18 years ago.

“Playing solo is always a challenge,” Frisell says. “For me, music has all along been so much about playing with other people. Having a conversation. Call and response. Playing all by myself is a trip. I really have to change the way I think. In preparation for this recording I played for a week at The Stone in New York. Each night I attempted new music that I’d never played before. I was purposely trying to keep myself a little off balance. Uncomfortable. Unsure. I didn’t want to fall back on things that I knew were safe. My hope was to continue this process right on into the studio. I didn’t want to have things be all planned out beforehand.”

Watch Frisell jam out on his new, alternate version of “Rambler” below. Click here to receive “Rambler” as an instant download when you preorder the album.

Charlie Peacock - When Light Flashes Help Is on the Way (2018)

Multifaceted Californian keyboardist Charlie Peacock, a Nashville resident, has built a personal vision of jazz deeply entangled with a myriad of styles such as funk, rock, folk, gospel, and pop, styles he continues to embrace whether as a composer, singer, instrumentalist, or record producer. 

For his most recent album, When Light Flashes Help Is On the Way, he surrounded himself with a set of competent musicians who have demonstrated creative means to step up the eclectic compositions. Among them are his regular collaborator and member of Bela Fleck and the Flecktones, Jeff Coffin on saxophones and woodwinds, the impeccable Icelandic guitarist Hilmar Jensson, rock-centered guitarist Jerry McPherson, the melodious trumpeter Matthew White, the exciting electric bassist Felix Pastorius, and the undeviating drummer Ben Perowsky. Depending on the mood envisioned for a song, other members join the primary crew.

The opening track, “Wendell Berry in the Fields at Night”, flashes with a gaudy African kizomba rhythm and features authoritative saxophone solos flanked by accordion glibness. It's a very danceable piece.

“Blue Part II” is a free-funk exertion with Afro beats and other world music connotations. Melodically driven by trumpet, the tune acquires a special taste when Coffin, playing a heavenly flute, steps to the forefront to improvise over Perowsky’s steady drumming. The sparse fills have a very positive effect and the song ends with a trumpet-flute completion for the melody.

Dedicated to Herbie Hancock and his faithful producer David Rubinson, “Automatt” is another punch-drunk jazz-funk lifted by restless bass grooves executed with tapping technique and dipped in wha-wha effect. The electric guitar chops are dead-on, the fiddle injects a dramatic classical feel, and the pace is subjected to multiple variations before the band reaches the flamboyant finale.

If Daniel Lanois’ “Still Water” offers traditional pop textures with pronouncedly folk statements coming from the violin and the accordion, “Samuel and the Icelandic Indigo”, co-written by Peacock and Jensson, leaps into a sort of alternative jazz-rock while displaying beautiful acoustic guitar forays whose textural complexity recalls some older work by Marc Ribot. 

Emotionally strong and sank in the fulfilling plucks delineated by the guest contrabassist Matt Wigton, “The Intimate Lonely” is an imaginative, trumpet-led ballad that also showcases the bandleader’s pianistic competence. Still, the peak of the emotions occurs on Bob Dylan’s hit “Masters of War”, here packed with devotional saxophone lines, uttering violin shrieks, and bluesy guitar ululations.

The record finishes with “Gift Economy”, a psychedelic blend of Tom Tom Club's humorous post-disco, Kraftwerk’s synthpop artificiality, and a more serious current of folk-rock. It acquires jazz contortions during the feline guitar solo regardless.

Charlie Peacock makes use of his cross-genre easiness with intelligence. Bountiful, he assures there is plenty of room for his peers to stretch out, orchestrating and leading as a legit master.

1 Wendell Berry in the Fields at Night 4:28

2 Blue Part Two 3:45

3 Automatt 6:10

4 Still Water 5:10

5 Samuel and the Iceland Indigo 2:20

6 The Intimate Lonely 5:22

7 Masters of War 5:59

8 Gift Economy 5:38

Charlie Peacock: Rhodes, organ, piano

Jeff Coffin: saxophones, flute

Matthew White: trumpet

Hilmar Jensson: electric and acoustic guitar

Jerry McPherson: electric guitar

Andy Leftwich: mandolin, fiddle

Jeff Taylor: accordion

Felix Pastorius: electric bass

Ben Perowsky: drums + guests

Option 3 - Peaberry (2018)

Recorded in 2013, this is Option 3's second release. Option 3 breathes new life into the familiar setting of the traditional jazz organ trio. Based in Los Angeles, organist Joe Bagg and guitarist Jamie Rosenn have united with Brooklyn drummer Mark Ferber to form a trio that specializes in original based, interactive, modern jazz. The three musicians developed their intuitive rapport over the past 10 years, performing and recording with the quintet, Us and Them, the Alan Ferber Septet and eventually became Option 3. Bagg has performed with such diverse artists as Bobby Hutcherson, Anthony Wilson and Madeleine Peyroux and has been in the Downbeat Critics Polls for 4 years running. Rosenn co-leads the bass-less trio JoE-LeSs shOe, which recently released its self titled debut and also teaches at the Musician's Institute and Saddleback College. Ferber has played with such notables as Lee Konitz, Fred Hersch, Billy Childs and Ralph Alessi. Option 3 released their first CD, "Points Subtracted" in 2008.

1. Peaberry 05:26

2. Ba-Ba-Do-Op 06:05

3. Saturday Pants 08:30

4. Dropping Darkness 05:42

5. Indolent Fowl 05:08

6. A Gerbil's Hearth 05:45

7. Cousin Jim 06:08

8. Brief Bob 04:25

Jamie Rosenn - guitar

Joe Bagg - organ

Mark Ferber - drums

Hot Texas Swing Band Around Central Texas

Around Central Texas

Tuesday, February 20 5:30 - 7:30

Jazz, TX Happy Hour

Pearl Brewery, San Antonio

jazztx.com

LIve Radio Interview before the show about 4:00

KSYM, San Antonio, 90.1 FM

ksym.org

Saturday, February 24 8:00 - 11:30

Hondo's on Main

312 W. Main, Fredericksburg

www.hondosonmain.com

Saturday, March 3 6:30 - 9:00

Central Market Westgate

4477 S Lamar Blvd

centralmarket.com/austin-westgate

New CD

HotTexasSwingBand.com

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New CD Info

Hot Texas Swing Band “Off the Beaten Trail” (Indie 1701) 

Street Date: November 6, 2017

Alex Dormont- Vocals and Upright Bass, Selena Rosanbalm- Vocals, Liz Morphis- Vocals,

Cat Clemons- Guitar, Ileana Nina- Fiddle, Stephen Bidwell- Drums, Joey Colarusso- Sax,

Jimmy Shortell- Trumpet,

Dave Biller- Steel Guitar, Dan Walton- Piano

Media Contact

Jim Eigo Jazz Promo Services

Ph: 845-986-1677 / jim@jazzpromoservices.com

www.jazzpromoservices.com

"Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

Bobby Previte - Rhapsody (RareNoise Records 2018)

In 2015, Previte received the Greenfield Prize in music at the Hermitage Artist Retreat to create a new work. Terminals Part II: In Transit (or RHAPSODY) is the result. RHAPSODY is the second in a three-part series exploring the experience of travel. Terminals Part I: DEPARTURES, is a set of five concertos written for the visionary percussion group SO Percussion and five improvisers. This piece premiered at Merkin Hall in New York City in 2011 and the recording was released on Cantaloupe Music in 2014. In RHAPSODY, the improvisers from DEPARTURES, each of whom had been selected based on their ability to separately carry fifteen-minute concertos, were thrown together into one ensemble.

Beginning from the point of view of a passenger sitting comfortably in an airplane, RHAPSODY twists and turns, until the traveler finally arrives at a strange shore - on a raft.

What is the experience of being in transit? Separated from your home but not yet at your destination, you are neither here nor there, confined with strangers in an intimate environment for a predetermined amount of time. Uncomfortable, yet somehow free. To travel is to be bound with these strangers by faith—faith in the vessel which carries you, faith in the people who operate it, and ultimately, faith in the strangers waiting at your destination.

"In what may prove to be a landmark event, New Music New College presented the world premiere of Bobby Previte’s “Rhapsody (Terminals Part II: In Transit)” at the Mildred Sainer Pavilion on the New College of Florida campus before a near-capacity and highly enthusiastic audience on Friday evening. The concert was the result of Previte winning the 2015 Greenfield Prize.

Composer Previte and his ensemble delivered a remarkably energetic and compelling performance. Their skill and unflagging energy proved to be essential to the performance of this challenging composition, focusing on a sometimes obscure scenario: a recreation of the experience of being “in transit” in life. Many of us have experienced the pervasive combination of both the excitement of discovery and the lack of traditional roots as we move forward in our lives and careers, but have seldom heard this sensation expressed publicly and so expertly as in this intense performance."

- SARASOTA HERALD TRIBUNE

Jen Shyu - voice, er hu

Zeena Parkins - harp

John Medeski - piano

Nels Cline - acoustic guitar, slide guitar, twelve string guitar/p>

Fabian Rucker - saxophone

Bobby Previte - trap drums, percussion, autoharp, guitar, harmonica

Rhapsody will be released February 23rd 2018 as CD, double LP and multiple download formats

Pre-Orders start February 16th 2018

Victor Assis Brasil - Esperanto / Toca Antonio Carlos Jobim (FAR OUT RECORDINGS 2018)

Gifted his first saxophone by his aunt at the age of fourteen, only four years later the inherently gifted and determined young musician Victor Assis Brasil recorded his debut album, with a second to follow only a year later. The prodigious young carioca was subsequently granted a place to study at Berklee College of Music, where he played alongside the likes of Dizzy Gillespie, Clark Terry, Chick Corea and Ron Carter. It was also during this period he recorded Esperanto and Toca Antonio Carlos Jobim with Roberto Quartin, upon returning to Brazil in the summer of 1970. 

Recorded in the same sessions as the Toca Antonio Carlos Jobim album, Esperanto consists of some of Assis Brasil's most mesmerising original compositions, as well as a heavy-swinging latin-jazz cover of Jimmy Heath’s ‘Ginger Bread Boy’. 'Quarenta Graus A Sombra’ typifies Assis Brasil's wild, frenetic jazz sound, while ‘Marilia’ and ‘Ao Amigo Quartin’ provide more melancholic moments. Esperanto’s influences span both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin’s perfectionist approach to sound elevating the already incandescent music to divine new heights. The band consists of some mercurial greats of Brazilian music: Dom Salvador (bass), Edison Machado (drums), Helio Delmiro (guitar) and Edson Lobo (Bass). 

On Toca Antonio Carlos Jobim, Victor Assis Brasil morphed Jobim’s soothing originals into raw, deep jazz cuts: a product of its time as the smooth 'n' easy groove of the bossa beat no longer reflected the politics of a nation under the cosh of military dictatorship. 

Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point his status was already cemented as one of the most talented musicians in Brazil’s history. 

*The CD and digital product is a double album release, containing both Esperanto and Toca Antonio Carlos Jobim.

1. Ginger Bread Boy 06:14

2. Children 10:16

3. Marilia 06:44

4. Quarenta Graus A Sombra 09:12

5. Ao Amigo Quartin 05:07

6. So Tinha De Ser Com Voce 04:01

7. Wave 09:49

8. Bonita 06:39

9. Dindi 05:04

10. Marilla (Alternative Version) 07:52

11. Ao Amigo Quartin (Alternative Version) 07:51

Ryan Porter - The Optimist (WORLD GALAXY RECORDS February 23, 2018)

On February 23, 2018, West Coast Get Down's Ryan Porter will launch the 2CD / 3LP set The Optimist on World Galaxy. The Optimist pulls together veterans of the LA music scene, including West Coast Get Down alumni Kamasi Washington (tenor saxophone), Miles Mosley (upright bass), Cameron Graves (piano, fender rhodes), Tony Austin (drums), Jumaane Smith (trumpet), Edward Livingston (upright bass), Aaron Haggerty (drums), Brandon Coleman (fender rhodes), Dominic Therioux (electric bass), Robert Miller (drums), and Lyndon Rochelle (drums).

The Optimist was recorded at Kamasi's parents house between 2008 and 2009, captured inside a small tiny basement area their crew called "The Shack." This was before The Epic catapulted the group into the highest stratospheres of jazz music and feature associations started to populate through the world of Kendrick Lamar. 

Ryan Porter has spread his craft to the masses for decades, included on critically acclaimed albums such as the Original Netflix Series soundtrack The Get Down, Push The Sky Away from Nick Cave & The Bad Seeds, The Epic LP and Truth EP from Kamasi Washington, To Pimp A Butterfly from Kendrick Lamar, and many more. The Optimist represents these albums and the incubation period that's continually reverberated through his career, seasoned with the brilliance these individuals build on as a unified cell.

1. The Psalmnist

2. Obamanomics

3. Strugglesville 06:10

4. The Instrumental Hip-Hoppa

5. Déjà Vu

6. Night Court In Compton

7. K-Wash

8. Anaya

9. Little Sunflower

10. Impressions

11. Chocolate Nuisance

Mast - Thelonious Sphere Monk (WORLD GALAXY RECORDS 2018)

MAST’s Thelonious Sphere Monk is a cosmic journey reinterpreting the great Thelonious Monk Song Book in celebration of his 100th birthday. MAST tackles sixteen Monk compositions, including the acclaimed "Round Midnight," "Blue Monk," "Straight No Chaser," "Epistrophy" and "Well You Needn’t." As well as more obscure titles like "Misterioso," "Pannonica," "Friday The 13th" and "Bemsha Swing." MAST, aka Tim Conley, pays homage to the significant history of Thelonious Monk and his esteemed compositions while bringing them into the future using modern electronic bleeps, bloops, and beats. This is done in concert with the Low End Theory, Los Angeles beat culture Conley is a part of. Harmonious with the mystical and metaphysical hand painted cover art by Japanese artist Tokio Aoyama, each track created is a unique world unto itself and the listener travels from one musical planet to the next on the spaceship Monk. 

The sixteen track LP features a diverse cast of extraordinary musicians contributing instrumental virtuosity, which these Thelonious Monk compositions demand. NYC tenor saxophonist Chris Speed (Tim Berne, Jim Black) is haunting on "Well You Needn’t." Chicago drummer Makaya McCraven bashes and percolates on “Nutty” and “Let’s Cool One." As the album's lone piano protagonist, virtuoso Brian Marsella (John Zorn, Cyro Baptista) rises to the challenge and shines on "Ask Me Now," “'Round Midnight” and "Straight No Chaser." 

Philly born upright bassist Jason Fraticelli (Taylor McFerrin, Mark Guiliana) is expansive with endless improvisational ideas on "Blue Monk." And don’t forget the horns! Trombonist Jonah Levine, trumpeter Dan Rosenboom (Burning Ghosts) and baritone/alto saxophonist Gavin Templeton (Nels Cline) put power into Thelonious Monk’s prodigious melodies and flourish blistering solos on "Evidence", "Bemsha Swing," "Epistrophy," "Nutty" and "Let’s Cool One." MAST is an LA transplant via Philadelphia and a guitarist by trade. He approaches his six string leads on the album antithetically like middle-eastern influenced "Bemsha Swing," acoustically intimate "Friday the 13th," astral space fusion "Straight No Chaser" and melancholic jazz ballad "Pannonica." 

In totality, the intention of Thelonious Sphere Monk is equal parts depth and fun. The jazz purist or Thelonious Monk scholar will find each rendition to be immediately recognizable and performed at a high level, yet blossomed and opened in ways not yet imagined or sonically explored. To the unfamiliar jazz listener, the underlying layers of joyous fun, wit, and playfulness, which Thelonious Monk himself embodied, will hopefully inspire that listener to further explore the rich history of this cherished American pianist and composer. Thelonious Sphere Monk.

1. Misterioso (Reprise) 01:48

2. Evidence (feat. Jonah Levine Collective, Dan Rosenboom, Gavin Templeton) 04:50

3. Bemsha Swing 03:43

4. Ask Me Now (feat. Brian Marsella) 05:17

5. Well You Needn’t (feat. Chris Speed) 04:59

6. Epistrophy (feat. Dan Rosenboom, Gavin Templeton) 04:05

7. ‘Round Midnight (feat. Brian Marsella) 05:38

8. Blue Monk (feat. Jason Fraticelli) 04:21

9. Oska T 01:28

10. Nutty (feat. Makaya McCraven, Dan Rosenboom, Gavin Templeton) 05:06

11. Straight No Chaser (feat. Brian Marsella) 04:23

12. Friday the 13th 03:16

13. Let’s Cool One (feat. Makaya McCraven, Jonah Levine Collective) 03:50

14. Pannonica 04:24

15. Trinkle Tinkle 05:47

16. Misterioso 04:10

Tim Conley - Guitar, Bass, Keys, Synths, Drum Programming, Production 

Chris Speed - Tenor Sax (track 5) 

Dan Rosenboom - Trumpet (tracks 2, 3, 6, 9, 10, 13) 

Gavin Templeton - Alto Sax, Bari Sax (tracks 2, 3, 6, 9, 10, 13) 

Jonah Levine - Trombone (tracks 2, 3, 6, 9, 10, 13) 

Jason Fraticelli - Upright Bass (track 8) 

Brian Marsella - Piano (tracks 4, 7, 11) 

Makaya McCraven - Drums (tracks 10, 13) 

Anwar Marshall - Drums (track 2) 

Mastering - Daddy Kev at Cosmic Zoo, Los Angeles, CA

Sarah Buechi - Contradiction of Happiness (INTAKT RECORDS 2108)

After Flying Letters and Shadow Garden, Sarah Buechi is releasing her third album on Intakt Records, Contradiction of Happiness. She has seized the opportunity to take her music in a new direction, and has augmented her superb quartet – with pianist Stefan Aeby, bassist André Pousaz and drummer Lionel Friedli – with the addition of three string players. 

"The results are extremely convincing." writes Manfred Papst in the liner notes. "She demonstrates once again that her compositions are far more than run-of-the mill songs with verses, rhymes and a chorus. They are ingeniously structured mini-dramas in which complex stories are told in a confined space. They are poetically dense, with vocal beauty and an enormous spectrum of expression. Their music is sophisticated, thoughtful, but also very sensual. The wonderful ‘After We’ve Kissed’ on the new album is the best example of this.“

Soundsamples of this CD

1. Child of Our Times 4:42

2. Never Enough 5:49

3. After We’ve Kissed 8:00

4. Fahamore (Paradise) 8:25

5. Wheel of Temptation 5:23

6. Here and Now 5:24

7. The Word 7:20

8. Snow Trail 7:03

9. Schönschte Obigst ärn (Trad .) 5:01

Sarah Buechi: Voice

Stefan Aeby: Piano

André Pousaz: Double Bass

Lionel Friedli: Drums

Estelle Beiner: Violin

Isabelle Gottraux: Viola

Sara Oswald: Cello

Lyrics and compositions by Sarah Buechi (except “Schönschte Obigstärn”, trad.). 

Recorded by Andy Neresheimer at Hardstudios Winterthur June 8, 9, 10, 2017, for SRF Kultur and Intakt Records. 

Mixed and mastered by Martin Ruch, Berlin. 

Cover art: Conor Flynn O’Donnell. Graphic design: Jonas Schoder. 

Photo: Lisa & Remo Ubezio. Liner notes: Manfred Papst.

Produced by Sarah Buechi and Intakt Records, Patrik Landolt. Published by Intakt Records

Evan Parker / Barry Guy / Paul Lytton - Music For David Mossman (Live At Vortex London) INTAKT RECORDS 2108

Evan Parker, Barry Guy and Paul Lytton – three legendary figures in the field of improvisation – have each developed their own epochal styles. These long-time friends and collaborators now present the latest of their Trio recordings – part of an ongoing series that began in 1980 with the now out-of-print LP 'Tracks'. Their powerful improvisations reveal them as a trio of unyielding innovation, both conserving and constantly renewing a rich heritage of achievement in free jazz.

Evan Parker writes in the liner notes: "Collective free improvisation is the utopian state arrived at in that other «little life» as the late John Stevens called the mental space of music making that happens when musicians of a like mind («birds of a feather») play freely together. Paul Lytton and I first met in 1967 at a music festival in a park in Birmingham where I was playing in duo with John, Paul was playing with a jazz big band and Peter Green’s Fleetwood Mac were «topping the bill» (as they used to say). In the next years we all played together in different combinations and permutations including Barry’s London Jazz Composers Orchestra and the Parker-Lytton duo. In 1980 we started to play as the trio Parker-Guy-Lytton."

Soundsamples of this CD

1. Music for David Mossman I 12:50

2. Music for David Mossman II 11:58

3. Music for David Mossman III 24:15

4. Music for David Mossman IV 12:29

Evan Parker: Saxophone

Barry Guy: Bass

Paul Lytton: Drums

Music by Evan Parker, Barry Guy, Paul Lytton. Recorded live at Vortex Jazz Club London, July 14, 2016. 

Digital recording to multi track: Ali Ward. Mixdown to stereo: Sam Parker. Mastering: Adam Skeaping.

Post production and editing: Matt Wright and Evan Parker. 

Liner notes: Evan Parker. Cover art: Trevor Sutton and Ferdinand Penker.

Graphic design: Jonas Schoder. Photo: Caroline Forbes. 

Produced by Evan Parker and Intakt Records, Patrik Landolt.