Philippe Lemoine / Ulf Mengersen / Wolfgang Seidel - I (Berlin 2017) 2018

Philippe Lemoine, born 1970, is a french tenor saxophone player, based in Berlin (Germany) and Marseille (France). He is active in Contemporary Jazz and Improvised Music since the early 90’s.

He is exploring the expressive capacities of his saxophone, developing his own languages, with a wide vocabulary of dynamics, pitches, densities and speeds, pushing the acoustic limits of the instrument.

In abstract improvisation contexts (Ensembles Squid Lux, Via Lucis  Trio, Le Grand 8, duos with Simon Rose -baritone saxophone-, with Yorgos Dimitriadis -Drums-, with Wolfgang Seidel -synthesizers-, with avec Klaus Kürvers -doublebasse-), he use the saxophone as a generator of frequencies, a mechanism made of wood and metal to play with air and water, in a sound universe close to the  electro-acoustic music.

In Contemporary Jazz contexts (Quartets -ION, Philadelphie), he uses his mastery of saxophone’s sound and his proactive force to serve the sound of the ensemble. His fresh, winding and atonal phrasing, browses an almost four octaves range, included extended techniques like multiphonics, circular breathing, and voice/sound mixing.

With the program " Mélodramatic French Songs" by the trio "Le Maigre feu de La nonne en Hiver", Philippe Lemoine plays like a singer, phrasing with care in order to stand as close as possible to a human voice singing words, looking for the exact intention of each note.

As a soloist, Philippe Lemoine uses all those aspects of his strong personality, in a expressive, generous and challenging narrrative.

He was the leader of septet ‘Kassalit,’ which was awarded ‘best band’ and ‘best composition’ at La Défense Jazz Contest in 1997. From 2002 to 2005 he performed and toured internationally with the Orchestre National de Jazz under the direction of Claude Barthelemy. Playing a role in the underground arts scene in Europe, Lemoine has also been involved with numerous other collectives and collaborative bands in his home country, such as Circum Grand Orchestra, in Lille or “à plusieurs” in Argenteuil, and leaded and composed for his own quartet «Le Talent de La Colère».

1. I 01:02:10

PHILIPPE LEMOINE - TENOR SAXOPHONE

ULF MENGERSEN - DOUBLE BASS

WOLFGANG SEIDEL - DRUMS AND PERCUSSIONS

Lello Molinari - Lello's Italian Job, Volume 2 (FATA MORGANA MUSIC 2018)

Bassist/Bandleader Lello Molinari Returns to his Italian Roots, Reimagines Classic Repertoire in Stunning Modern Jazz Settings

Lello's Italian Job, Volume 2 features Italian and Italian-American musicians transforming folk and popular songs and classical arias from throughout Italy's rich musical history

"Lello's Italian Job, Volume 1 is a dynamic showcase for [Molinari's] instrumental skills... covering an all-star roster of Italian musical icons with passion, respect and imagination." - Stacey Zering, No Depression

"Molinari's music: in your face, a little raw, fiercely alive." - Thomas Conrad, DownBeat

CD Release Concert on Tuesday, March 13 at Regattabar, Cambridge, MA

It's often been said that "you can't go home again" - but with his Italian Job project, Lello Molinari proves that old cliché wrong. The acclaimed bassist has not only returned to his Italian roots, but brought with him three decades of experience as a bandleader, an educator, and a virtuosic bassist with his fingers on the pulse of modern jazz. Now he views the unparalleled musical traditions of his homeland through the lens of a lifetime's worth of accumulated musical knowledge, creating something that's both Old World and New, deeply personal while reflecting a profound tradition.

Molinari left his native Naples, Italy in 1986 to study jazz at Boston's Berklee College of Music. In the intervening years he's gone on to become a revered educator at that same institution, perform as an in-demand bassist on both the jazz and classical music scenes in Boston, tour the U.S. and Europe with his own Quintet, and venture to the leading edges of jazz in partnership with saxophone great George Garzone.

In recent years, however, Molinari began to glance back over his shoulder at the wealth of musical riches to be found in the land of his birth. That adventure began as part of his 2000 album Multiple Personalities, which peppered three Italian tunes into an album that also veered from forward-leaning jazz to a Monk classic, and featured Garzone, guitarist Mick Goodrick, pianist Frank Carlberg and renowned Italian vocalist Chiara Civello. On the 2016 release Lello's Italian Job, Volume 1, he explored material from across the wide spectrum of Italian song - traditional folk music, classical arias, popular songs - and radically transformed them through his own singular jazz voice. Now, with Lello's Italian Job, Volume 2, he offers a second collection that marries timeless melodies to contemporary sounds.  The CD will be released on Friday, March 9, 2018 via Fata Morgana Music.

"I had a desire to reconnect with my roots," Molinari says. "But I also wanted to incorporate these new things that I've learned over the years here in the States to old material and give it a fresh look and a fresh take."

As on the first volume, Molinari leads a quartet of stellar artists who share his Italian heritage - and are all members of the Berklee faculty. Drummer Marcello Pellitteri is a fellow immigrant, hailing originally from Sicily, while saxophonist Dino Govoni and guitarist Sal DiFusco are both Italian-American. Their repertoire for Volume 2 varies from a Respighi tone poem to popular Neapolitan songs that have been sung for generations, to original music penned for the project.
With centuries of musical history to delve into, Molinari found that the hardest part of the project has been whittling down his list to just enough repertoire to fill (so far) two volumes. "Rather than picking which songs to do, I really had to think about which ones not to do," he says. "If you think about Italian music, it's like saying

'Jazz' - there's so much and it's so diverse that it's impossible to put it into one place. Because I play with a number of orchestras, I've reconnected recently with classical music and opera. Then there are certain pieces of music that I just adore and that I wanted to do with my group in my way. Others were songs that I grew up with, folk songs that I've known since I was a kid. So it was a natural process."

The insistent tap of Pellitteri's percussion opens "'O Sarracino," a popular song by legendary Neapolitan performer Renato Carosone, given a jazz-funk feel by Govoni's keening soprano, Molinari's slinky electric bass line, and DiFusco's strummed groove. "Jazz Tarantella" takes the melody that is the bane of every Italian's existence - you know the one, it accompanies every Italian stereotype and cartoon that's ever appeared on screen - and reimagines it as an alluring straightahead jazz tune in the vein of Miles Davis' "Dear Old Stockholm." DiFusco's original "Sulla Strada di Damasco" follows, inspired by the story of the conversion of Saint Paul and incorporating a vaguely Middle Eastern feel.

"Intermezzo Sinfonico," from Pietro Mascagni's operatic masterpiece "Cavalleria Rusticana," is jolted into the present via Govoni's EWI (Electronic Wind Instrument) and Lello's harmonies on Electric basses, while Pino Daniele's "'na Tazzulella 'e Café" makes the unlikely journey from Napoli espresso bar to Bourbon Street coffeehouse in Molinari's New Orleans-influenced arrangement. Ottorino Respighi's four-movement tone poem "Pini di Roma" becomes a lush, impressionistic ballad, followed by Luigi Canoro's famous mazurka "Tra Veglia e Sonno," which opens familiarly with a mandolin and percussion intro before Govoni's tenor shifts it firmly into the jazz realm.

"Lidio Napoletano" shows off the improvisational empathy of the trio, built on a short melody in the Lydian mode and created in homage to the treasured Boston band The Fringe, mainstays on the local scene for more than four decades. "Anema e Core," which has been sung in different languages by everyone from Perry Como to Andrea Boccelli, is a famous Neapolitan song written by Salve D'Esposito in 1950, rendered as a moving duet for bass and guitar. Another song that's traveled the globe, the famous "Torna a Surriento" has been recorded by everyone from Luciano Pavarotti to Dean Martin to Elvis Presley (as "Surrender"), its heartbreaking melody here pairing Govoni's EWI with cello played by Meena Murthy. The gorgeous melody of "Tu 'si 'na Cosa Grande" is set to a slow, swaying beguine, while Molinari and Pellitteri close the session with an improvised duet, evocatively titled "Neapolitan Snake."

"I guess as I get more mature," Molinari concludes, "I don't need to play 'punk jazz' anymore or do music that's so difficult to listen to. I can enjoy a simple structure, a simple melody - Lello's Italian Job lets me do both, reinterpreting this old material from a new, contemporary jazz point of view."

www.berklee.edu/lello-molinari

John Zorn - The Urmuz Epigrams (TZADIK 2018)

With The Urmuz Epigrams Zorn returns to his roots, using the recording studio as instrument to create an intensely personal suite of compositions in the style of his legendary File Card compositions and Zoetropes. Dedicated to the visionary Romanian writer Urmuz whose small, scattered body of work predated Dadaism by decades, The Urmuz Epigrams is a suite of surrealistic miniatures more akin to philosophical aphorisms than actual music. The pieces are presented here in two iterations, as a set of “rare 78rpm records” complete with surface scratches and limited dynamic range, and as a modern reconstruction of same with the full blown studio sound presented in all its perplexing glory. Some of the craziest music in the Zorn catalog!

Modern Reconstructions

1. Disgusted with Life

2. This Piano Lid Serves as a Wall

3. With Wet Clothes and Disheveled Hair He Wandered in the Dead of Night in Search of Shelter

4. Then Again, Who Amongst us can Complain

5. A Rain of Threats and Screams

6. The Pelican or the Pelicaness

7. After That the Funnel Became a Symbol

8. Desperate from Having Been Left without a Bladder

Original versions, privately pressed on the Romanian Pahuciphone label circa 1923

 

Scott Johnson - Mind Out of Matter ((feat. Alarm Will Sound & Daniel C. Dennett) TZADIK 2018

Mind Out of Matter is a 74-minute, eight movement suite, that brings together Scott Johnson’s (composer) mix of pop sensibilities and classical rigor with his groundbreaking work in transcribing speech into music. The album features the voice and ideas of renowned philosopher Daniel C. Dennett, whose voice delivers not only his ideas but also the melodies and rhythms at the heart of the music. Musical styles as disparate as retro-funk and Baroque recitative blend to illuminate Dennett’s central claim: just as living organisms evolve in the physical environment, ideas and traditions compete within ecosystems made up of human minds and cultures. Those evolutionary forces shape the religious ideas that populate our minds, multiply within our cultures, and spread like viruses — sometimes to our benefit, sometimes not.

1. Cow Design

2. Invisible Agents

3. Winners

4. Good for Itself

5. Stewards

6. Surrender

7. Path Up

8. Awe

Alarm Will Sound

Miles Brown: Double Bass, Electric Bass, Voice

Caleb Burhans: Violin, Electric Guitar, Voice

David Byrd-Marrow: French Horn, Voice

Michael Clayville: Trombone, Voice

Stefan Freund: Cello, Voice

Michael Harley: Bassoon, Voice

Sam Jones: Trumpet

Erin Lesser: Flute, Piccolo

John Orfe: Piano, Keyboard

Courtney Orlando: Violin, Triangle, Voice

Alan Pierson: Conductor

Luke Rinderknecht: Percussion, Voice

Christa Robinson: Oboe

Nadia Sirota: Viola, Shaker, Voice

Matt Smallcomb: Percussion

Chad Smith: Clarinet, Saxophone

Elisabeth Stimpert: Clarinets

Chris Thompson: Drums, Percussion

Clément Simon - Man on the Moon (JAZZ FAMILY 2018)

A l'origine de "Man on the Moon", il y a la volonté de formaliser un répertoire de compositions que Clément portait en lui depuis des années.

Au menu, du jazz, de la modernité, du swing, des effluves cinématographiques et même des climats tropicaux...

Quelques répétitions, concerts et péripéties plus loin, cela donne un premier EP en 2016 puis un album à paraître en février 2018 chez Jazz Family, de belles collaborations et une indiscutable efficacité en concert.

Les protagonistes de cette aventure sont Romain Cuoq (ts), Anthony Winzenrieth (gt), Damien Varaillon (cb) et Clément Cliquet (bt), tous membres émérites de la scène parisienne.

1.Babel 05:45

2.Suricates 05:09

3.Boléro en Bouteille 06:50

4.People Unite 07:15

5.No Pain No Gain 07:47

MERCREDI 14 MARS 2018 / 21H00 / Sunside / 20,00€

Timothée Robert - Vide médian (ILONA RECORDS 2018)

Il n’a que 27 ans, mais déjà riche d’une expérience musicale où il s’est frotté à différents courants du jazz et aux musiques africaines, du Kora Jazz Trio, à Xalam, en passant par Cheick Tidiane Seck, ou l’électro-jazz du groupe Antiloops. Il fait aussi partie du nouveau projet « Chronicles » (orienté vers le jazz-funk)  du chanteur David Linx.

Pour ce premier album, Timothée Robert a réalisé un disque ambitieux et touffu, composé de treize morceaux qui se télescopent dans une belle et fluide narration. Une histoire forte, inspirée par les écrits de François Cheng et de Bergson, et surtout par le taoïsme, avec la notion du vide médian, qui se manifeste à chaque fois que le Yin et le Yang sont en présence, comme un troisième souffle porteur d’une puissante transformation créatrice. Il en sort une formidable et étonnante création musicale autour d’un quintette de jazz (sax, trompette, piano, basse, batterie) où l’on retrouve le claviériste d’Antiloops : Nicolas Derand.

Une formule idéale pour jouer du hard-bop, sauf que Vide Médian n’a rien à voir avec ce courant, en proposant une musique innovante et inclassable, imprégnée de magie et de mystère. Une musique d’aujourd’hui, fortement lyrique et méditative, qui conjugue avec bonheur écriture et improvisation, et où le jazz, la musique contemporaine, les gammes indiennes, et les musiques actuelles, font bon ménage dans une parfaite homogénéité. En tant que bassiste, Timothée Robert aime placer le groove au centre de ses compositions, et l’interaction qu’il propose avec son batteur Clément Cliquet est impressionnante autour de rythmiques impaires, de changements de rythmes, et de brisures, avec parfois des clins d’œil aux drum & bass des musiques électroniques.

Il affectionne les climats mouvants et les contrastes, chères à la musique contemporaine, et laisse volontiers son saxophoniste Melvin Marquez et son trompettiste Olivier Laisney proposer des chorus simultanés qui s’enchevêtrent avec bonheur dans un savoureux tissage. De jeunes musiciens qui proposent une musique mature et réfléchie, avec une forte cohésion sonore, marquée par une remarquable interaction et une entente musicale réjouissante. Timothée Robert a choisi des musiciens qu’il connaît bien, capables de s’investir à fond dans ses compositions et son univers, en étant toujours au service de la musique, et en ne tirant jamais la couverture vers eux. D’où cette agréable impression d’architecture sonore, impeccablement structurée et inébranlable.

Timothée Robert ouvre avec Vide Médian des ponts entre l’occident et l’orient, entre la spiritualité et la musique, et entre la philosophie et la création. Sa musique contrastée oscille en permanence entre des ambiances sombres et des éclats lumineux, axés sur les notions de tension et de détente. Un voyage spirituel qui nous surprend en permanence en traversant des zones de créativité intense innervées par le vide médian.

1 Misra Ata, Pt. 2 4:44

2 Aaron Song 4:52

3 Mararanjani 5:22

4 Mr Potion 6:38

5 Opening of Metaphysique 1:46

6 Metaphysique 3:11

7 M Eleven 5:17

8 Nasika Bhushani 5:22

9 Vide médian 5:36

10 From 16 to 26 2:10

11 Mother Song 6:05

12 Testaments 6:08

13 Mi C si T 6:14

Melvin Marquez : Saxophone Tenor

Olivier Laisney : Trompette

Clement Cliquet : Batterie

Nicolas Derand : Piano

Timothée Robert : Basse/Composition

JEUDI 15 MARS 2018 / 21H00 / Sunset / 20,00€ 

Festival Paris Music

Aruán Ortiz Trio - Live in Zurich (INTAKT RECORDS March 16, 2018)

When Aruán Ortiz appeared with his new trio at Zürich’s unerhört!-festival on 26 November 2016, the sense of anticipation was palpable; how would the music from the well-received studio album Hidden Voices feel in a live context. The trio were at the end of their first European tour, and on a roll. Immediately after the concert Ortiz was already enthusing about the interaction and musical dialogue.

“Mulling it over” – like the aging process of wine; carrying one or two pieces around with you for years, till the final versions emerge. In Ortiz’ case this applies to compositions such as “Fractal Sketches” and “Analytical Symmetry”, which were first heard on the studio album Hidden Voices, here in a new line-up, with Brad Jones on bass and Chad Taylor on drums, after an intensive two-week tour. That close relationship between the musicians and the song grows tremendously the more you play it, and it develops a musical trust within the band. When all goes well, the sound and energy are in tune with the compositional idea. On this live CD we can hear just how well it went on 26 November 2016 at the unerhört!-festival in Zürich. From the liner notes by Christian Broecking

Soundsamples of this CD

Emmet Cohen - Masters Legacy Series Volume 2 featuring Ron Carter (CELLAR LIVE 2018)

Masters Legacy Series Volume 2 is a record that simultaneously features and pays tribute to Sir Ron Carter. Masters Legacy Series Volume 2 is a record that simultaneously features and pays tribute to Sir Ron Carter. Carter is among the most original, prolific, and influential bassists in jazz. With more than 2,000 albums to his credit, he has recorded with many of music's greats. Here is is accompanying a bright young star on the jazz scene today, Emmet Cohen.

Is there any way you can go wrong when you pick up a record that says Ron Carter on the cover? Especially when he's given the space and respect to do things his way? I think not! An utterly smoking piano trio date that seems to slyly take you on a history trip through jazz, this is the kind of well played date that ranks in the good as it gets pantheon. Killer stuff by pros that are shining. - Chris Spector --Midwest Record

1 All Of You 10:14

2 Opus One 8:42

3 Hindsight 4:25

4 Holy Land 7:17

5 Dear Ruth 3:00

6 It's About Time 7:34

7 Any Old Time 7:16

8 Hatzi Kaddish Intro 1:08

9 Hatzi Kaddish 7:50

10 Light Blue 6:53

11 Ron Carter Speaks 4:02

12 Joshua 7:50

Emmet Cohen - piano

Ron Carter - bass

Evan Sherman - drums

Van Morrison and Joey DeFrancesco - You're Driving Me Crazy (SONY LEGACY April 27, 2018)

Van Morrison Joins Forces with Joey DeFrancesco on ‘You’re Driving Me Crazy,’ a New Studio Album Available Friday, April 27

Morrison's 39th Studio Collection Showcases Electrifying Musical Collaborations, Fresh Interpretations of Blues/Jazz Standards and Deep Cuts from Van's Songbook. Legacy Recordings, a division of Sony Music Entertainment, will release Van Morrison's new 39th studio album, You're Driving Me Crazy, a musical collaboration with Hammond organ virtuoso and trumpet master Joey DeFrancesco, on Friday, April 27.

The successor to Versatile, Van's chart-topping jazz album from 2017, You're Driving Me Crazy will be available in 1CD/2LP physical configurations. A limited edition 7" single--featuring Van Morrison's "Close Enough For Jazz" b/w Morrison's stunning rendition of Guitar Slim's "The Things I Used To Do"--will be available for Record Store Day 2018 (celebrated at independent record stores nationwide on Saturday, April 21).

A new milestone in Van Morrison's ever-expanding catalog of essential recordings, You're Driving Me Crazy finds the iconic Irish singer-songwriter-performer exploring a variety of jazz and blues standards and classics ("Miss Otis Regrets," "The Things I Used to Do," "Every Day I Have the Blues") alongside fresh interpretations of songs from Van's own catalog ("Have I Told You Lately," "The Way Young Lovers Do," "Magic Time").

You're Driving Me Crazy finds Morrison collaborating in the studio with DeFrancesco and his band--including Dan Wilson (guitar), Michael Ode (drums) and Troy Roberts (tenor saxophone). DeFrancesco, who signed his first deal with Columbia Records at the age of 16, has performed with Miles Davis, John McLaughlin, Grover Washington, Jr. and many more while leading his own band, and is responsible for bringing the classic Hammond organ sound back to the world of jazz in the late 1980s.

The release of You're Driving Me Crazy caps more than a year of non-stop activity for Van Morrison, who released his 37th and 38th studio albums (Roll with the Punches and Versatile) in quick succession in the fall and winter of 2017. Roll With The Punches became his 13th album to reach the Top 10 of the U.K. charts, while Versatile topped Billboard's jazz chart.

The world of jazz has provided a vital ongoing influence on the music of Van Morrison, whose acclaimed 1968 studio masterpiece, Astral Weeks, showcased jazz musicians Connie Kay, Jay Berliner, and Richard Davis. Inspired by the spontaneity, soul and sound of jazz, Morrison has performed on stage and/or in the studio with a variety of jazz and blues musicians including John Lee Hooker, Ray Charles, Mose Allison, Bobby Bland, Solomon Burke, Jeff Beck, Georgie Fame, Robbie Robertson, Freddie Hubbard, Chick Corea, Herbie Hancock, Maceo Parker, Candy Dulfer and others.

Joey DeFrancesco is a prolific American jazz organist, trumpeter, and vocalist and Grammy-nominee who signed his first record deal (with Columbia Records) at the age of 16 and has gone on to release more than 30 albums. He has performed on stage and in the studio with a wide variety of artists including Miles Davis, Jimmy Smith, Ray Charles, Bette Midler, David Sanborn, Arturo Sandoval, Larry Coryell, Frank Wess, John McLaughlin, Danny Gatton, Elvin Jones, and many more. DeFrancesco is a nine-time winner of the Down Beat Critics Poll (organ) and has won the Down Beat Readers Poll every year since 2005. He has won a number of JazzTimes Awards and is an inaugural member of the Hammond Hall of Fame.

You're Driving Me Crazy Features:

1. Miss Otis Regrets (Cole Porter)

2. Hold It Right There (Terry, Grey, Vinson)

3. All Saints Day (Van Morrison) 

4. The Way Young Lovers Do (Van Morrison)

5. The Things I Used To Do (Eddie Jones)

6. Travellin' Light (John Mercer, James Mundy, James Young)

7. Close Enough For Jazz (Van Morrison)

8. Goldfish Bowl (Van Morrison)

9. Evening Shadows (Van Morrison / Acker Bilk)

10. Magic Time (Van Morrison)

11. You're Driving Me Crazy (Walter Donaldson)

12. Every Day I Have The Blues (Peter Chatman)

13. Have I Told You Lately (Van Morrison)

14. Sticks and Stones (Titus Turner)

15. Celtic Swing (Van Morrison)

Stream the 'You're Driving Me Crazy' title track or pre-order the album

John Stowell / Ulf Bandgren Quartet - Night Visitor (ORIGIN RECORDS 2018)

Roaming the world with his guitar over the last 40 years, John Stowell has developed significant musical relationships with numerous artists along the way, including Swedish guitarist Ulf Bandgren who has been a consistent and inspired partner for ten years. Last heard together on their 2012 duo recording, "Throop," they gathered in Boston in the spring of 2016 to record this quartet set with the accomplished rhythm section of bassist Bruno Raberg and drummer Austin McMahon. The band's easy chemistry, engaging original compositions and rhythmic vitality make for a compelling and entertaining listen. "John Stowell plays jazz, but he doesn't use any of the cliches; he has an incredible originality. John is a master creator." - Larry Coryell.

1 Skiss - Ulf Bandgren 8:36

2 When Jasper Grows Up - John Stowell 7:07

3 Reunited - Bruno Raberg 8:10

4 Night Visitor - Bruno Raberg 5:44

5 Ode to Spring - Bruno Raberg 3:33

6 Taughannock Falls - Ulf Bandgren 6:23

7 Ghost in the Corner - John Stowell 5:42

8 Another Story - Ulf Bandgren 7:00

9 Tapioca Time - John Stowell 4:15

10 Early Five - Bruno Raberg 7:00

John Stowell - guitars

Ulf Bandgren - guitars

Bruno Raberg - bass

Austin McMahon - drums

Produced by John Stowell & Ulf Bandgren

Recorded by Bruno Raberg

at Soundsphere II Studio, Boston, MA

Recorded May, 2016

Mixed by Mike Doolin at House of Doolescu, Portland, OR

Mastered by Dan Dean at DDP Productions, Mercer Island, WA

Cover design & layout by John Bishop

Sergio Galvao / Lupa Santiago / Clement Landais / Franck Enouf - 2x2 (ORIGIN RECORDS 2018)

Two widely respected Brazilian musicians, originally meeting and performing together on a 2014 tour, saxophonist Sergio Galvao & guitarist Lupa Santiago developed a quick and exciting rapport, vowing to work more together. Soon after a second tour, Galvao relocated to France where he formed a trio with two dynamic French musicians, bassist Clement Landais and drummer Franck Enouf, making plans to record as a trio in the spring of 2017. By coincidence, Lupa was touring Europe during the same period and the idea to join the trio's recording was born. Meeting in the studio in Normandy on the first day of recording, they brought their compositions and after many jokes concerning soccer, the name for the recording and band came very easily: 2x2. The music presented is fully jazz, but infused with rich experiences and deep influence from their own cultures and travels.

1 TRAFFIC D'AFFLUENCE 5:14 Clement Landais

2 NAO EMPURRA NAO 5:07 Lupa Santiago

3 SANS GLUTEN 5:25 Sergio Galvao

4 MARROM 7:21 Lupa Santiago

5 MISS'S MISS 4:13 Clement Landais

6 ROUEN DONATO 3:27 Sergio Galvao

7 ANTES TARDE 5:16 Lupa Santiago

8 VIRGIN MOJITO 8:13 Sergio Galvao

9 SAMBA KEBAB 4:30 Sergio Galvao

2x2 is:

Sergio Galvao - sax

Lupa Santiago - guitar

Clement Landais - bass

Franck Enouf - drums

Produced by Sergio Galvao, Lupa Santiago, Clement Landais, Franck Enouf

Recorded by François Casays at Accès Digital Studio, Rouen, France

Recorded on May 1 & 2, 2017

Mixed & mastered by Dave Darlington at Bass Hit Recording, New York City

Artist photographs by Loic Serron, JB Darasco

Cover design & layout by John Bishop

Diane Moser "Birdsongs" CD Release Shows 4/14 Beattie Powers Place 4/22 Central Presbyterian Church of Montclair

Diane Moser’s Birdsong Trio

CD Release Concerts 

Presented by Planet Arts Jazz

Featuring:

Diane Moser-piano

Anton Denner-flute/piccolo

Ken Filiano-bass

Saturday, April 14th 5pm

Admission $10

Beattie Powers Place

Prospect Ave. & Bridge St.

Catskill, NY 12414

www.beattiepowersplace.blogspot.com

www.PlanetArts.org

For information and reservations contact Planet Arts at:

518.945.2669 or planetarts@gmail.com

Diane Moser’s Birdsong Trio

CD Release Concert

Featuring:

Diane Moser-piano

Anton Denner-flute/piccolo

Ken Filiano-bass

Sunday, April 22 5pm

Suggested donation $15

Central Presbyterian Church of Montclair

46 Park Street, Montclair, NJ 07042

For more information go to:

www.dianemosermusic.com

Award-winning jazz pianist and composer Diane Moser releases her 7 th CD, Birdsongs, inspired by nature’s most lyrical master improvisers—songbirds. Birdsongs combines virtuoso playing, heartfelt originality, and a unique and personal vibe, resulting in music that is exotic yet accessible, like the aural creations of Moser’s fine feathered friends. This new album is likely to vault the multi-talented pianist from her longtime local-favorite status into the top tier of national voices to be reckoned with in jazz. On Birdsongs , Anton Denner on flute and piccolo, and Ken Filiano on bass join the pianist in a trio setting to present nine songbird-inspired tunes, including seven originals. Over the past decade, Moser has performed Birdsongs at venues across the country with different instrumentation from solo piano to big band, acoustic to electronic, and everything in between. “The reason I decided on this group with Anton and Ken, to record all of my birdsongs, was to give the music a little more space and lightness,” Moser explains. “I also knew that both Anton and Ken would play sonically in those in-between places that is so much like the songs and calls that birds make, not always an exact pitch, but somewhere in between.

What The Press Is Saying About Diane Moser's Birdsong Trio

Dee Dee McNeil/Jazz Journalist Musicalmemoirs’s Blog March 4, 2018

“..a stunningly original package of music that celebrates birds in a very jazzy way..not only beautiful in sound and structure, but this is extremely relaxing music.”

“Here are three very talented human beings who desire to commemorate birdsongs on their instruments. I find them to be incredibly successful. This is a very beautiful production of original music by Diane Moser, capably interpreted by her stellar piano skills and the two talented musicians who accompany her on bass, flute and piccolo...not only beautiful in sound and structure, but this is extremely relaxing music.”

Dick Metcalf Contemporary Fusion Reviews February 26 2018

Diane’s wonderful piano compositions are supported impeccably by flute/piccolo from Anton Denner and bass by Ken Filiano... & don’t let the “avian” moniker throw you for a loop... this is some of the most beautiful jazz you’ll ever hear... I give Diane and her bandmates a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.99 for this splendid album.

Midwest Record February 20, 2018

“Very much in the realm of a Sunday afternoon egghead session, this recital is [a] well conceived round of sitting down jazz that’s a lot fun if you just let it be. Very much a welcome diversion.”

Leonid Auskern, Jazz Quad, February 2, 2018

Diane and her colleagues play chamber music, very refined, beautiful and inspired by the breath of wildlife. This, of course, is jazz, and high-end jazz. But if you are closer to academic music, then I think you will not be disappointed by Birdsongs. The musical impressionism of Diane Moser carries an almost religious feeling of admiration for the beauty and unity of music and nature.

Dodie Miller-Gould, Lemon Wire February 15, 2018

To many listeners, it will call to mind the way some bird species bob from branch to branch. All the while, the birds’ actual songs are replicated with the woodwind, and somehow, the sound of flapping wings appears to have been re-created, too. The song is fun, with listeners trying to match instrument sounds to bird behavior and songs. But the arrangement of sounds never allows audiences to forget that they are, in fact, listening to jazz. Moser [and her band] remind audiences to marvel at nature and enjoy the ways in which jazz can be used to express a variety of aspects of the human experience. 

Diane Moser "Birdsongs"  (Planet Arts 30174) Street Date: March 1, 2018

Diane Moser-piano, Anton Denner-flute & piccolo, Ken Filiano-bass

www.dianemosermusic.com

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