Vincent Meissner Trio - Bewegtes Feld (2021 ACT Music)

It is hard to believe it as one listens to this album: pianist Vincent Meissner is just twenty years old. The drummer in the trio, incidentally, is even younger. Recognition for this major talent has started to grow, however, and the prizes are rolling in. Meißner has so far won six: the Bechstein Piano Competition, the Concert Prize of the Jazzopen Stuttgart, the Förderpreis of the German Jazz Union, the Jazzhaus Competition Freiburg and the Central German Jazz Prize. And he is also already showing quite some capacity to make smart decisions and follow them through. When he was chosen as to represent Saxony in the prestigious “Jugend jazzt” event in 2019, he opted to take a new approach to presen-ting his music. Rather than building pieces out of fragments or sketches, as he had done until then, he created a suite of connec-ted pieces. This mature quality, the desire to present a coherent programme is also a hallmark of his debut album "Bewegtes Feld".

For the past year and a half, Vincent has been studying at the Leipzig Hochschule, where Michael Wollny is among his teachers. So, when Wollny heard that Meissner had been offered the opportunity to make a recording at Bauer Studios in Ludwigs-burg, he offered to be involved. As Wollny explains: "I saw several good things coming together here. A highly talented young pianist and composer with his own genuine 'working band' ...being given the opportunity to record the material they were creating...under perfect conditions in a top studio. Since I was familiar with the development of his compositions and ideas from supervising his studies anyway, it seemed only logical to take a role in the record-ing and to go into the studio with the trio as producer."

Vincent grew up in a small village near Dresden. Essential-ly, the story starts with what he found lurking on the shelves of a chain-store in the nearby university town of Freiberg. The young Vincent – at that point he was not playing the piano yet – found a selection of jazz CDs. Most of the stock was from the two renow-ned German labels which are both identified by having three let-ters in their names. Here was music to discover, to make his own, to become increasingly deeply involved with – to the point where what started as a passion became a life-goal. At sixteen, he went off to Dresden to the Landesgymnasium für Musik. It was there that he met drummer Henri Reichmann, and their friendship flou-rished: both of them were finding music to animate and inspire them. And so they listened, they practised, they sparked off each other, fanning the flames of their enthusiasm by continuing to make new discoveries: Oscar Peterson, Dave Brubeck and Bud Powell were followed by Paul Bley, Monk, Craig Taborn, Vijay Iyer. And there were German musicians too: Pablo Held, Joachim Kühn and Michael Wollny. Making the journey brings its own rewards. Vin-cent has remained a seeker and discoverer, immersing himself in the piano music of our time.

All of this shines through on his CD, which already brings this early phase of his career full circle. And how! You don't hear sla-vish imitation here, this is an astonishingly balanced statement of intent from a highly original talent. He is fully aware of the founda-tions that his predecessors have left him, and is able to use them as the jumping-off point into his own expressive world. Since forming his piano trio with double bassist Josef Zeimetz at the beginning of 2020, they have – to put it mildly – not had the best of circumstances to deal with. In fact, Corona has meant that they have only performed one live gig. "We are a 100% studio band," says Vincent ironically, with a big smile. The three players are based in Leipzig, Dresden and Amsterdam, but they were able to get together for intensive weeks of rehearsal together. And the result of that work is worth listening to – here is a young trio who are clearly ready to bring their freshly created music out of the studio and rehearsal room and onto the stages of clubs.

Vincent and his fellow musicians are concerned above all to be honest and authentic in what they do. Indeed, that is some-thing they see as far more important than being revolutionary fire-brands. These are musicians with a clear sense of form and struc-ture, sometimes finding the humorous and the euphoric, at others the melancholy and the poetry of ballads. At any event, each of them has many different sides to him as a musician, and together they find surprises and all kinds of fascinating and many-hued timbres as they develop Vincent's compositions through playing them. They experiment with complex shapes and rhythms, and yet we hear their joy in playing together. There is also a remarkable sense for melodies that are unusual and memorable. Vincent loves metaphors, and uses one to describe the way they discover as they play: "When we play, each time it is as if we’re walking across an orchard. finding different fruit to pick." That idea cap-tures the spirit of the CD title "Bewegtes Feld".

The field also perhaps being a demarcated area within which Vincent, Henri and Josef can move. There is exploration going on here, and connec-tions and reconnections to be found as they shake up the material and put it back together in different permutations. There is always a big picture, but the listener is also drawn in to uncover the detail, to follow the music’s many twists and turns. This is spontaneous music, and yet there is nothing random about it. Ideas are develo-ped, refined and deepened. Vincent Meißner describes this with another image:"My compositions are as if we had a shelf in the room, and everyone puts things onto it." That might sound like a long process, but they always do get very quickly to the point. And that is the raison d’etre of these three musicians who have come together to form a trio of equals. Another metaphor: "We are like a young wine which is now maturing. It's only the second year after the grapes have been harvested!"

Robust...refined...subtle...sparkling! This is Young, even very young, German Jazz at its best and most life-affirming.

1. Eröffnung ( Vincent Meissner) 00:46

2. Stadt Land Fluss ( Vincent Meissner) 04:18

3. Traum und Erwachen ( Vincent Meissner) 04:28

4. Bewegtes Feld ( Vincent Meissner) 05:29

5. Lindenort ( Vincent Meissner) 02:50

6. Gravity ( Vincent Meissner) 02:52

7. Zwischenspiel ( Vincent Meissner) 00:44

8. Rot Gelb Grün ( Vincent Meissner) 03:24

9. Wurmgott ( Vincent Meissner) 03:00

10. Trichter ( Vincent Meissner) 01:20

11. Schlaflied ( Vincent Meissner) 02:24

12. Untitled ( Vincent Meissner) 04:30

13. Invalid Data ( Vincent Meissner) 01:49

14. Wiedereröffnung ( Vincent Meissner) 01:32

15. Menschen Tiere Sensationen ( Vincent Meissner) 06:11

Vincent Meissner / piano

Josef Zeimetz / bass

Henri Reichmann / drums

Recorded by Johannes Kellig at Bauer Studios Ludwigsburg, January 15 -17, 2021, except 01, 02, 04 & 15 recorded by Nico Raschke at Hansahaus Studios Bonn, February 17 -19, 2020

Mixed by Johannes Kellig

Mastered by Klaus Scheuermann

Produced by Michael Wollny

Cover by Siggi Loch

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Nils Landgren Funk Unit - Funk is my Religion (2021 ACT Music)

Back in 1994 when Nils Landgren started up his Funk Unit, there were those who asked whether there was actually any need for Swedish funk. After seventeen years, ten albums and several hundreds of concerts, the question has basically answered itself: to find the most fired-up take on this music anywhere, a sound which is inextricably welded into soul, rhythm and blues and jazz, and in which all of the instruments – and the vocals too – have an irresistible rhythmic urgency about them, this is definitely the band to see and hear. And if one turns to the pioneers, godfathers and grandees of the funk world – Maceo Parker and Fred Wesley, the musical prime movers behind James Brown, Ray Parker Jr., or Joe Sample from the Crusaders – then there’s no need to look any further: each and every one of them has played with the Funk Unit.

And the Funk Unit’s story is far from over. Not even this pandemic was going to hold back their eleventh album. "Originally we wanted to record at Palma Studios in Mallorca, but Corona put a stop to that," Nils Landgren explains. "Then we decided we’d record at "Redhorn District" in Bad Meinberg, but nothing was working in Germany either. So what should we do. Give up? The Funk Unit? No chance! I asked my friend Björn Yttling if we could go to his Ingrid Studio in Stockholm, and he said ‘No problem.’ A few days before the session, the Swedish authorities decided that no more than eight people could assemble indoors at once. So, with the six of us plus just one sound engineer, we managed to stay under the limit."

So it is the core members of the Funk Unit who are to be heard on this album. Together, they form a close-knit clan from the "Stockholm Underground". Apart from Landgren himself, there is Magnum Coltrane Price on bass – he has been a member of the band right from the beginning, and also has a producer credit here. The others, who have gradually become part of the fabric of the band, are Jonas Wall on tenor saxophone, Andy Pfeiler on guitar, Petter Bergander on keyboards and Robert Ikiz on drums. What unites them is best expressed through the title of the new album: "Funk Is My Religion". And it is indeed that veneration of the great idols, combined with their own qualities – personal, individual, and European – which lie at the heart of the unparalleled success of the Nils Landgren Funk Unit, and may also be the secret behind its remarkable and possibly unique longevity.

Everything that goes to make up superb funk is to be found on "Funk Is My Religion" – and more. It starts with the warm soul of the opener "Amanda", in which gentle keyboards, a soft brass section and a dreamy trombone solo all set the tone. Then we move into funk which is still calm but also hard-hitting on "Anyway You Want It". The tempo picks up a lot with "See Ya In Court", then settles into a bouncy groove in the title track and also shows the melancholic, bluesy side on "ES In Memory". Classic, gospelly syncopated funk to get people singing and bopping along to is there in "Doing It For The People"; we’re into a thrilling remi-niscence of James Brown in "Play Funk", the jazz soloists have their way with "Brand New Funk" and then on into the exuberant final anthem. We have some great basslines, some slick and ener-getic back-and-forth between in instrumentals and vocals. As the title of their 2013 album reminds us, there is some top-notch "Teamwork" going on here: as well as Landgren, the album has numbers composed by Price, Pfeiler and Wall.

"Each of the pieces tells a story," says Nils Landgren. "Some-times they are about people who have inspired us or whom we admire, sometimes they are simply things that need saying - in the same clear way that the title of the album sums up what it’s all about." Among the people remembered here is the great Esbjörn Svensson, who tragically died, and far too young. He helped to launch the Funk Unit, and here Landgren plays "ES In Memoriam", a beautiful, sad melody on trombone. Another hallmark of Landg-ren is his admiration for strong women. So, on this album, young poet Amanda Gorman, "who made such a strong impression at the inauguration of Joe Biden", and Kamala Harris, the first female, black and Asian-American vice-president are both dedicatees of songs which express respect and admiration, soulfulness and love.

The album is in part a celebration of the USA as "the largest and most important democracy. I keep in touch with events there in spite of the pandemic and want to pay tribute to those who have fought for its founding principles," says Landgren. It is also the country which allowed him to find the musical roots which he has gone on to develop. "Without my father playing jazz trumpet, and without the soul records my older brother played me, what we do wouldn't exist. This is such a tasty soup with so many ingredients." In essence, "Funk Is My Religion" also carries the legacy of many predecessors and role models for this incomparably physical and vital music: "It's fantastic. It’s no plastic!", as the lyrics of "Play Funk" describe it. What started in Sweden can reach out to the whole world. As the title of the closing track makes unmistakably clear: "NLFU will never stop"!

1. Amanda ( Nils Landgren) 05:28

2. Anyway You Want It ( Nils Landgren) 04:21

3. See Ya in Court ( Jonas Wall) 04:23

4. Funk is my Religion ( Magnum Coltrane Price) 04:49

5. ES in Memoriam ( Nils Landgren) 06:22

6. Doin’ It for the People ( Andy Pfeiler / Magnum Coltrane Price) 05:01

7. Brand New Funk ( Nils Landgren Funk Unit) 05:12

8. Play Funk ( Magnum Coltrane Price) 02:34

9. Kamala ( Nils Landgren) 04:55

10. NLFU Will Never Stop ( Andy Pfeiler) 04:30

Nils Landgren / trombone & vocals

Magnum Coltrane Price / bass, vocals & additional keyboards

Jonas Wall / tenor saxophone & vocals

Andy Pfeiler / guitar & vocals

Petter Bergander / keyboards & vocals

Robert Ikiz / drums

Recorded by Gustav Lindelöw at Ingrid Studios Stockholm, November 3 - 7, 2020

Additional recordings at Retrotech Studio, Tudeludan 3, Daion Studio, Skyclose Studio and Brottby Recording

Rhythm arrangements by Funk Unit

Horn arrangements by Jonas Wall

Produced and mixed by Magnum Coltrane Price at Retrotech Studio

Mastered by Hoffe Stannow at Cosmos Mastering

Cover art inspired by Andy Warhol (detail)

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Birgit Minichmayr - As An Unperfect Actor (Nine Shakespeare Sonnets) 2021 ACT Music

Birgit Minichmayr captures the imagination and holds centre-stage on “As An Unperfect Actor – Nine Sonnets by William Shakespeare”. This won’t come as a surprise to peop-le in the German-speaking world, where the Austrian actor is well-known from countless appearances on TV and a substan-tial filmography. Perhaps equally unsurprising is the deep expe-rience she can bring to Shakespeare: as an ensemble member of the Burgtheater company in Vienna, she has repeatedly lived out the searingly dramatic lives of the Bard’s characters, no-tably the daemonic anger of Lady Macbeth, the sadness of Ophelia, and even the uncomfortable truths of the Fool in King Lear.

What might be more of a surprise, however, is the exhila-rating musicality she shows on this, her first complete album as a vocalist. One could have predicted the crystal clarity, mean-ing and intent in her words – the desolation in her voice in “the very birds are mute...the leaves look pale” in Sonnet 97, for example. And yet there is more, much more, not least Minich-mayr’s uncannily natural instinct to find artful and felicitous ways to shape musical phrases.

Composer/ pianist Bernd Lhotzky has provided her with a wonderful array of musical contexts. As Minich-mayr says: “He got so deep into the meaning of each sonnet, his music made it different every time. And we talked a lot about the colour, the meaning of each poem.” The opening track, “Mistress Mine”, Sonnet 130 is a masterfully deft piece of gender-fluid irony. In the poem, a man is describing possibly the ugliest woman he has ever seen – while also declaring that she is the one he loves. Lhotzky gives us an acerbic version in that most male-led of dances, the tango, complete with bando-neon, in which the words are sung by...a woman. Minichmayr then gives a masterclass in how to end a song as she hits, holds and nails the words “false compare” with triumphant fearlessness.

Throughout the course of the album, we are magically transported to new musical and emotional places. As Minichmayr says: “Through singing, through just doing it, I was able to find deep love, or deep sadness. I was really touched by it.” We are straight into the elegiac world of “Sin Of Self-Love”, or into world-weariness, tinged with an unmistakable irritation, of “Tired With All These”. And then, unforgettably, we land in the major-key contentment of “Mine Eye Hath Played The Painter”.

One of the secrets to this album’s success is Lhotzky’s wish to find melodies which have a certain ease and straightforwardness about them. He says that he approa-ches all music – whether he is listening to it or writing it – with one simple and direct question: “What story is this telling me?” Lhotzky is known for his work in the field of early jazz, but the range here is far broader, with allusions to examples of fine songwriting: Brassens, Robert Plant, James Taylor...

The collaboration between Minichmayr and Lhotzky had a very propitious start and has gone from strength to strength. They were invited to work together on a Dorothy Parker project in the Austrian spa town of Bad Schallerbach in the summer of 2019. Minichmayr had been booked to do rea-dings, but was also keen to sing...Cole Porter’s “Just One of Those Things,” with its reference to Dorothy Parker in the first line. That worked out so well, it led Lhotzky to suggest a Shakespeare project to her which he had already embarked upon – it has been briefly glimpsed already on ACT, on one track of “Winter at Schloss Elmau”.

The instrumentalists are a Munich based group named Quadro Nuevo, with Philipp Schiepek’s contribution a stand-out. As Lhotzky says: “He’s a phenomenal guitarist, and really young. With his acoustic guitar he brings us back to the origins, to Dowland's songs with lute. And the fact that he also plays electric jazz guitar provides a connecting link across the centuries.” And then there is bassist D.D. Lowka’s large-scale Charlie Haden-ish bass sound. “D.D. and Philipp are a dream team,” says Lhotzky. And reedsman Mulo Francel brings a whole range of colours from luscious contrabass clarinet to fluent jazz soloing on saxophones. Accordionist Andreas Hinterseher? “He’s just a phenomenon,” says Lhotz-ky, “he hardly said a thing in the sessions, but every take was perfect.” Bernd Lhotzky's piano playing, for example as he sets the scene for "Let not to the marriage" has a deliciously under-stated and laid-back eloquence and elegance.

Bernd Lhotzky’s kaleidoscopic musical vision and Birgit Minichmayr’s instinct for mood-setting have combined triumphantly in “As An Unperfect Actor”. In this “perfect ceremony of love’s rite,” they never seem to run out of joyous surprises for the listener.

1. My Mistress’ Eyes - Sonnet No. 130 ( Bernd Lhotzky / William Shakespeare)04:39

2. When In Disgrace - Sonnet No. 29 ( Bernd Lhotzky / William Shakespeare)04:43

3. Tired With All These - Sonnet No. 66 ( Bernd Lhotzky / William Shakespeare)03:16

4. When Most I Wink - Sonnet No. 43 ( Bernd Lhotzky / William Shakespeare)03:33

5. Sin Of Self-Love - Sonnet No. 62 ( Bernd Lhotzky / William Shakespeare)05:26

6. As An Unperfect Actor - Sonnet No. 23 ( Bernd Lhotzky / William Shakespeare)05:40

7. Mine Eye Hath Played The Painter - Sonnet No. 24 ( Bernd Lhotzky / William Shakespeare)04:38

8. Let Me Not To The Marriage Of True Minds - Sonnet No. 116 ( Bernd Lhotzky / William Shakespeare)04:43

9. How Like A Winter - Sonnet No. 97 ( Bernd Lhotzky / William Shakespeare)05:22

Birgit Minichmayr / vocals

Bernd Lhotzky / piano & musical director

Mulo Francel / tenor sax, clarinet, double-bass clarinet & sansula

Andreas Hinterseher / accordion, bandoneon, vibrandoneon

Philipp Schiepek / guitar

D.D. Lowka / double bass & percussion

Nine Sonnets by William Shakespeare

All songs composed and arranged by Bernd Lhotzky

Recorded by Stefan Gienger at Mastermixstudio, Munich

January 29th and 30th, 2021

Mixed & mastered by Stefan Gienger

Produced by Bernd Lhotzky

Executive Producer: Siggi Loch

Cover photo by Sascha Kletzsch

Photo Birgit Minichmayr © Tomas Dashuber

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June 13: Pianist/composer Lafayette Gilchrist headlines virtual benefit concert

Baltimore pianist/composer Lafayette Gilchrist headlines Spring Jazz Brunch benefiting hospice services in Baltimore 

Virtual event will be held on Sunday, June 13

The brunch also features Baltimore Symphony Orchestra’s OrchKids

Gilchrist, Maryland’s largest provider of serious illness and end-of-life care, will hold its fifth annual Spring Jazz Brunch on Sunday, June 13, at 11:00 a.m. The event will benefit Gilchrist’s Baltimore City inpatient hospice center. The Jazz Brunch will feature acclaimed Baltimore-based jazz pianist and composer Lafayette Gilchrist, whose compositions have graced the soundtracks of David Simon's acclaimed series The Wire, The Deuce and Treme. (Lafayette Gilchrist is not affiliated with Gilchrist, the organization). The Baltimore Symphony Orchestra’s OrchKids will also perform. To learn more and register for the Spring Jazz Brunch benefiting Gilchrist Center Baltimore, visit www.gilchristcares.org/jazzbrunch.

 

The event, held virtually this year, will include a brunch delivery from the Classic Catering People for those who purchase tickets. A free option is available without brunch. Proceeds from the event will help provide inpatient and residential hospice care at Gilchrist Center Baltimore for adults and children at the end of life. Gilchrist offers services to anyone in need, including low-income, uninsured and homeless city residents. The facility is the only residential hospice center in Baltimore and houses the only pediatric inpatient hospice unit in Maryland.

 

“Gilchrist’s Jazz Brunch brings together the sounds and tastes of Baltimore with those who care about helping our city’s most vulnerable,” said Catherine Hamel, president of Gilchrist. “It’s a wonderful cause, and Gilchrist is committed to ensuring that every city resident who needs care and support at the end of life is able to receive it, regardless of ability to pay.”

 

Gilchrist will relocate its Baltimore City inpatient facility later this year to a new center at Stadium Place on East 33rd Street, the former site of Memorial Stadium. Currently under construction, the new 30,000 square-foot Gilchrist Center Baltimore, situated on 1.5 acres, will contain 18 private adult and four pediatric suites for inpatient residential hospice and respite care. The center will continue Gilchrist’s 30-year legacy of providing end-of-life care for city residents.

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Lars Danielsson Liberetto - Cloudland (2021 ACT Music)

When it comes to delivering up music with dreamy melodies, dense atmospherics, and folk music conversational stylings, Lars Danielsson does not disappoint. The Swedish double bassist is joined on this new-school Euro-jazz session by pianist Grégory Privat, guitarist John Parricelli, drummer Magnus Öström and guest trumpeter Arve Henriksen, and clarinetist Kinan Azmeh. Sometimes, the music generates an engaging dialogue; other times, it ranges into daydream territory. But it always radiates a friendly warmth and music like a welcoming smile.

We’ll end this month’s column with a shout-out for some older music.

1. Vildmark 01:12

2. Lars Danielsson feat. Arve Henriksen & Arve Henriksen - Cloudland 04:34

3. The Fifth Grade 05:37

4. Nikita's Dream 04:40

5. Lars Danielsson feat. Arve Henriksen & Arve Henriksen - Tango Magnifique 03:53

6. Lars Danielsson feat. Kinan Azmeh & Kinan Azmeh - Desert of Catanga 06:17

7. River of Little 03:22

8. Lars Danielsson feat. Arve Henriksen & Arve Henriksen - Yes to You 03:35

9. Lars Danielsson feat. Kinan Azmeh & Kinan Azmeh - Intermezzo 01:58

10. Villstad 04:12

11. Lars Danielsson feat. Arve Henriksen & Kinan Azmeh & Arve Henriksen & Kinan Azmeh - Sacred Mind 05:02

12. Imagine Joao 03:41

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Hemai - Strange Beauty (Deluxe Edition) 2021 Tru Thoughts

“Fretless bass and splashy synths… Don’t mind if I do!” Lauren Laverne (BBC 6Music)

“This is something special. It’s like Jazz from Mars” Jack Saunders (BBC Radio 1)

“Amazing stuff....I really do love that.” Tony Minvielle (Jazz FM)

“Amazing!” Papaoul (Worldwide FM)

“The Birmingham maestro has lit a fire in the UK jazz underground” Clash Magazine

‘Strange Beauty’ is the debut album from producer and multi-instrumentalist Hemai. A collection of stories of the love, spirit and balance of the universe, the hotly tipped 22-year-old experiments with the idea of movement and the present, bringing together some of his favourite sounds from around the world and melding them with his UK roots.

The release follows previous singles “Relight feat. Laura Roy & Woddy Green” which plays with shifts in tempo to accentuate the hidden depths of the track; Japanese Bossa Nova inspired “Noa Noa feat. Emilia Anastazja”; and the mystical and uplifting “Love Dancer feat. FiFi Robo”.

The vivid and visceral world of ‘Strange Beauty’ is unearthed with opener “We Could Be Jaded feat. Layfullstop”. From the first notes of Melbourne-based musician Erica Tucceri’s flute, the electric warmth of the LP is ignited; “the arrangement takes the shape of the horizon”, Hemai explains. Though indicating the beginning of a journey, the track embraces the importance of being grounded in the present, enticing the listener into the experience of Hemai’s ‘Strange Beauty’.

Hemai utilises the elements around him as a driving force throughout the LP. From the imagery of a beautiful sky on “Awake Indigo feat. Ruby Wood” – a song born out of his love for music that makes you dance, featuring the Submotion Orchestra vocalist – to the beach and coastal ideas that inspire the freedom and boundless instrumental tracks “When Day Breaks” and “Gone Fishing”, the release radiates the joy and spirit that only the natural world can provide.

This Deluxe Edition of 'Strange Beauty' is exclusive to Bandcamp and includes an extra 8 Instrumental versions. 

1. We Could Be Jaded feat. Layfullstop 04:07

2. Vertigo feat. Wallace 04:29

3. Noa Noa feat. Emilia Anastazja 04:08

4. Love Dancer feat. FiFi Robo 06:36

5. Awake Indigo feat. Ruby Wood 04:23

6. When Day Breaks 03:26

7. Bandit's Pockets feat. FiFi Robo 05:10

8. Brother's Shuffle feat. Maralisa 05:12

9. Relight feat. Laura Roy & Woddy Green 04:21

10. Gone Surfing 03:14

11. We Could Be Jaded (Instrumental) 04:07

12. Vertigo (Instrumental) 04:29

13. Noa Noa (Instrumental) 04:08

14. Love Dancer (Instrumental) 06:36

15. Awake Indigo (Instrumental) 04:22

16. Bandit's Pockets (Instrumental) 05:10

17. Brother's Shuffle (Instrumental) 05:12

18. Relight (Instrumental) 04:21

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Synthesis - Ostrov (June 10, 2021 SJF Records)

1. Jano Janovice 05:19

2. Ostrovo 06:31

3. Moma Katerina 04:55

4. Filka moma (feat. Vlatko Stefanovski) 06:07

5. Dima ljubit samovila 04:39

6. Sadila Jana 05:51

7. Smiljana mi se armasa (feat. Vlatko Stefanovski) 04:46

Goce Dimovski - kaval, gaida, zurla

Vane Jovcev - piano

Marjan Jovanovski - tambura

Goce Uzunski - tapan, tarabuka

Radoslav Shutevski - drums

Mirjana Majnova - vocals

Biljana Stojanovska - vocals

Aneta Velkoska - vocals

Goran Geshovski - bass

Special guest: Vlatko Stefanovski - guitar (4, 7)

All music traditional arranged by Synthesis

except track 2 composed and arranged by Synthesis

Produced by Synthesis and Angel Kjosev

Recorded and mixed by Angel Kjosev, studio Podrumot

Executive producer: Oliver Belopeta

Design and layout: Ivan Durgutovski

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Art Lillard / Michael Jefry Stevens Quartet - Forgotten Wish (June 2021)

Originally recorded in 1984 in New York City, this becomes the earliest recorded release of mine. All original music by myself and Art Lillard featuring Billy Drewes on saxophones and Keiichi Ishibashi on bass.

1. Dedication 06:14

2. Idle Wisdom 05:43

3. Forgotten Wish 06:58

4. Invocation 07:25

5. Waltz Whitman 05:45

6. Sin City Shame 04:02

7. It's Soon 04:38

8. Today, This Moment 18:07

9. Red's Blues 05:33

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Greg Burk - Simple Joys (June 28, 2021 Tonos Records)

Recorded one week before the lock down of 2019, this recording is a celebration of melody, groove and the simple joys that music brings.

"Simple Joys" is the debut recording of pianist Greg Burk's quintet featuring:

Greg Burk - piano, fender rhodes

Daniele Tittarelli - alto and soprano saxophones

Andrea Molinari - guitar

Jacopo Ferrazza - bass

Reinaldo Santiago - acoustic and electronic drums

1. Simple Joys

2. Morning Ashes

3. Every Little Thing

4. All At Once

5. Big Bird

6. Violet

7. Take Me Away

8. Tomorrow is Today

9. Sequoia Song

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La La Lars - La La Lars III (2021)

Over the course of three albums, Lars Skoglund’s La La Lars ensemble has focused intricate music through the lens of a crystal clear melody. A quintet of drummer Skoglund (also on acoustic guitar and keyboards), trumpeter Goran Kajfeš, tenor saxophonist Jonas Kullhammar (also on flute and bassoon), pianist Carl Bagge (also Wurlitzer 200A and organ), and bassist Johan Berthling show that a light-hearted delivery and a riveting presence aren’t mutually exclusive. The music of La La Lars is a heady drink, with a rich palette that goes down smoothly.

1. Häxa 03:47

2. Dur 05:20

3. Oår 04:37

4. Det Blev Sent 03:19

5. Kolsvarta Natten 04:51

6. Pour Qui Pourquoi 04:48

7. Ett Nytt Kapitel 03:42

8. Vart Ska Du? 04:23

Jonas Kullhammar - Tenor Saxophone, Flute and Bassoon,

Goran Kajfeš - Trumpet

Carl Bagge - Piano, Wurlitzer 200A and organ

Johan Berthling - Bass

Lars Skoglund - Drums, Cymbals, Acoustic Guitar and Additional Keyboards

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Various Artists - DJ Amir Presents ‘Strata RecordsThe Sound of Detroit’ Volume 1 (2021 180 Proof Records)

In association with DJ Amir and 180 Proof Records, BBE Music presents ‘Strata Records – The Sound of Detroit – Volume 1’, a new compilation taking in just a few highlights from the short-lived but hugely influential jazz imprint.

With a raft of Strata material now entering entering the BBE Music catalogue for the first time, joining together with already-released gems such at the long-lost Charles Mingus live album ‘Jazz In Detroit’, we asked 180 Proof founder and Strata catalogue curator DJ Amir to compile a selection of tracks as an introduction to the uninitiated.

Over to DJ Amir to tell us more:

I carefully selected my top-choice select tracks that have not been already bootlegged or comp’d in the past; from the well-known fan favourites, to the obscure, to the previously unreleased cuts. This is by no means an exhaustive and comprehensive compilation, but these are the songs that truly represent the catalog and help to tell the story of Strata.

I thought it would be fitting to begin the compilation with one of my all-time favourites from the catalog, ‘Beyond the Dream’ by Kenny Cox, a spiritual groover, highlighted with the haunting mellotron strings and soulful vocals from Detroit legend Ursula Walker. And I absolutely love the ending, with the chanting of “Vamonos Que Ya Fiesta Se Acabo” (“It’s time to go because the party is coming to an end”)!

When I originally issued the previously unreleased album ‘Mirror, Mirror’ by Sam Sanders in 2013, the track ‘Face At My Window’ that features an unknown vocalist instantly became a fan favourite thanks to its hypnotising vocals and mellotron strings.

How could I not include my all-time track from Lyman Woodard, ‘Saturday Night Special’? This track represents the best of that lo-fi jazz funk organ groove and bass combined, again, with those mellotron strings. And after meeting Lyman in 2008, I became even more of a fan! His magnum opus that is ‘Saturday Night Special’ began my journey to re-introducing the world to the Strata label.

After a chance discovery of a Strata master with only the letters ‘TJ’ written on the front, I took a chance and digitally transferred the master. Unfortunately, the master was in awful shape, but what I discovered was truly a stunning recording! At first, I thought I was listening to a young Shuggie Otis but then I quickly realised that I was not. TJ, armed with a basic drum machine, guitar, and incredibly infectious vocals, was able to communicate the pain and joy in his soul so clearly in tracks like ‘Time Is Wasting’.

With further tracks from Kenny Cox featuring the Contemporary Jazz Quintet (CJQ), Larry Nozero (saxophone player on ‘What’s Goin’ On’ by Marvin Gaye), to the ever-elusive and spiritual deep Maulawi Nururidin, to a few previously unreleased gems from Ursula Walker, Mixed Bag, and the Soulmates, hopefully, you’ll be inspired to dive deeper into the Strata catalog!

Enjoy!

Amir Abdullah aka DJ Amir

1. Beyond The Dream – Kenny Cox 13:22

2. Tune For L.N. – Larry Nozero 05:48

3. Face at My Window – Sam Sanders 03:29

4. People We Got to Do Better – The Soulmates 03:18

5. Scorpio’s Child – Bert Myrick 13:55

6. Norwegian Wood – Mixed Bag 04:00

7. Noh Word – The Contemporary Jazz Quintet 01:58

8. Joy Road – The Lyman Woodard Organization 04:57

9. Time Is Wasting – TJ 03:48

10. Root in 7/4 Plus – Maulawi 05:46

11. Salsa Pt. 1 – Fito Foster 03:21

12. Maiden Voyage – Ursula Walker 05:09

13. You’re the One – TJ 03:56

14. Chronicle Of The Murdered House Pt. 1 – Larry Nozero 03:55

15. Chronicle Of The Murdered House Pt. 2 – Larry Nozero 05:10

16. Where Is The Place? – Maulawi 04:19

17. Saturday Night Special – The Lyman Woodard Organization 07:08

18. Island Song – Kenny Cox 09:12

19. Inner City Player – Sam Sanders 05:01

20. Bees – Ron English 05:47

21. Pithecanthropus Erectus- Charles Mingus 25:04

22. Dizzy Profile – Charles Mingus 12:52

23. All But Blind – Mixed Bag 06:35

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Girls in Airports - Leap (2021)

The modus operandi of the ensemble Girls In Airports, featuring saxophonist Martin Stender, keyboardist Mathias Holm, percussionist Victor Dybbroe, drummer Anders Vestergaard, and violinist Nils Gröndahl, is to combine moody melodic perspectives with a propulsive attitude. Their collaboration with the Aarhus Jazz Orchestra nurtures both of these qualities, while also allowing new facets to emerge. Sunnier tones and a vast harmonic horizon give this music a bigger, brighter sound, and opens up new possibilities to explore.

1. Myanmar 06:23

2. Dovetail 06:40

3. Violet 02:28

4. Weaver 05:19

5. Outside Looking In 06:00

6. Vejviser 06:22

7. Sea Trail 05:43

8. Anima 07:58

9. Memory Wagon 07:56

10. Myanmar 06:23

Girls in Airports x Aarhus Jazz Orchestra

Leap

Martin Stender, saxophones

Mathias Holm, keys

Victor Dybbroe, percussion

Anders Vestergaard, drums

Nils Gröndahl, violin

Aarhus Jazz Orchestra

All music and arrangements by Girls in Airports

Recorded and produced by John Fomsgaard

Mixed by August Wanngren

Mastered by Noel Summerville

Recored at Lundgaard Studio in January 2021

Cover photo by Nicholé Velasquez

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UNDP Collective -Esto Sí Se Llama Querer (2021 UnderPool)

Similar to the function Smalls played in the New York City jazz community, Underpool has been rehearsal space, record label, social center, and second home to Barcelona’s jazz community. Esto Sí Se Llama Querer marks the label portion’s 50th release. Reflecting the familial relationship the musicians have to the venue—and one another—an astounding 64 musicians contribute to this recording. Constructed with the bolero as a guiding vision, individual singers and arrangers, paired up for each of the album’s 12 pieces, decide upon the composition and instrumentation. It’s a sublime recording, and a worthy celebration of Underpool’s remarkable achievement as a focal point of both the Barcelona scene and the worldwide jazz landscape.

1. Martín Leiton & Lucia Fumero - Mi Amor Fugaz 04:03

2. Rubén Fernández & Néstor Giménez - Encadenados 05:18

3. Mayte Alguacil & Ester Quevedo - Te Me Olvidas 05:35

4. Eva Fernández & Lluís Vidal - Negrura 04:38

5. Rita Payés & Jordi Matas - Esto Sí Se Llama Querer 03:31

6. Marbis Manzanet & Jaume Llombart - Por donde pasas tú 02:40

7. Miquel Casals & Àlex Cassanyes - Cita a las Seis 03:54

8. Yadira Ferrer & Roger Mas - Duele 06:59

9. Juan Carlos Piñol & Alfred Artigas - Triste, Muy Triste 05:46

10. Carme Canela & Toni Vaquer - Qué Sabes Tú 06:09

11. Laia Cagigal & Javier Galiana - Alitas Rotas 03:36

12. Sílvia Pérez Cruz & Alfred Artigas - El Seductor 03:59

Adrià Plana - guitarra

Alba Careta - trompeta

Àlex Cassanyes - arranjador

Alfred Artigas – guitarra, veu i arranjador

Àlvar Monfort – trompeta

Ana Fernández - violí

Anna Llorens – cello

Armando Osuna Gradaille “Mandy”- conga, bongo, cub de llauna

Cándido Rodríguez – trompeta

Carme Canela – veu

Dani Pérez Amboage – guitarra

David Mengual – contrabaix

David Xirgu – bateria

Dídac Ruíz – bougarabous, cítara i percussions

Ester Quevedo – piano i arranjadora

Eudald Payés – trompeta

Eva Fernádez – veu

Eva Monroy – violí

Fernando Brox - flauta

Gabriel Amargant – clarinet i saxo alt

Irene Reig –saxo alt

Jaume Llombart – guitarra, veu i arranjador

Javier Galiana- arranjador

Joan Mar Sauqué – trompeta

Joan Moll – bateria

Jordi Guasp - trompa

Jordi Matas – guitarra i arranjador

Jorge Retuerta – viola

Jorge Rossy - vibràfon

Juan Carlos Piñol - veu

Juan Pablo Balcázar – contrabaix

Laia Cagigal - veu

Laura Pacios– violí

Lluc Casares - clarinets

Lluís Vidal – piano i arranjador

Lucía Fumero – veu, piano i arranjadora

Marbis Manzanet – voz

Marc Ayza - bateria

Marc Cuevas - contrabaix

Marcel·lí Bayer – clarinet Baix

Marta Roma - violoncel

Martín Leiton- veu, guitarra, contrabaix i arranjador

Mayte Alguacil – veu

Miguel Villar ‘Pintxo’– saxos

Néstor Giménez – piano i arranjador

Noè Escolà – saxo baríton

Oriol Roca – bateria

Pablo Gómez- congas

Pablo Selnik - flauta

Pau Lligades – contrabaix

Pau Sala – baix

Pedro Campos –contrabaix

Rita Payés –veu i trombó

Roger Mas – piano i arranjador

Roly Berrío – voz

Rosa Garcías - flauta

Rubén Fernández - veu

Santi Colomer - bateria

Sergi Felipe - flauta

Sílvia Pérez Cruz – veu i arranjadora

Toni Vaquer - arranjador

Vicent Pérez – trombó

Víctor Carrascosa -trompeta

Yadira Ferrer – veu

All music recorded at UnderPool Studio except marked (see detail on track 2, 6, 9).

Mixed by Sergi Felipe at UnderPool Studio.

Master Eivind Opsvik Greenwood UnderGround, Brooklyn, NYC

Design by Pepon Meneses

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Oriol Vallès 4tet - Recer (2021 The Changes Music)

Before the vaccine, physical distance was the basic measure against the pandemic. The lockdown in March 2020 meant a dramatic change for both individual and collective lives. At first sight, some advantages could be observed after this new situation; in our case, digressing from social events and more time to compose. Quickly, this apparent opportunity changed to a widespread yearning to produce through social media, telework became fundamental and boundaries between retreat and work became blurred. 

1. Pur Entreteniment (Oriol Vallès)

2. Recer (Oriol Vallès)

3. Quarantena Song n.28 (Xavi Torres)

4. Ribs (Oriol Vallès)

5. Quarantena Song n.27 (Xavi Torres)

6. Represa (Oriol Vallès)

Oriol Vallès – trumpet

Xavi Torres – Rhodes

Giuseppe Campisi – bass

Andreu Pitarch – drums

Recorded at Magneti Studio, 27-7-2020

Recorded by Marc Ribera

Mixed by Quim “Kato” Puigtió

Cover by Joel Codina

Produced by Oriol Vallès

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Irene Reig - Mira (2021 The Changes Music)

“Ladies and gentlemen, please welcome the Irene Reig Trio!!!”

In these unprecedented times, this is the closest thing you'll get to a live concert. Originally planned as a live recording, the session took place last November at the Milano Jazz Club in Barcelona. It finally took place without an audience, apart from our loyal sound engineer, Kato. Nevertheless, the band were in great shape and ready to record, thrilled to be joined by one of their most beloved accompanists, the pianist Joan Monné, who added his beautiful touch to the last three pieces of the set.

Irene is so determined with this date that she is going all the way with it, publishing the music on vinyl. This makes me so happy as a member of the trio, of the label and as a designer, because it gives me the chance to once again participate beyond the drums alone.

This selection of music, almost completely original, creates within the listener the feeling of a packed club. Place the needle, sit down, and start swinging with us.

1. Borinquen 06:25

2. I let a song go out of my heart 05:35

3. Mira 05:59

4. The Sweetest Sounds 04:36

5. Kleinetjeeta 05:22

6. Bebesoy 05:08

7. Opus. 18 - Regar Regularment 05:18

8. Song for Monné 05:45

Irene Reig - Alto Sax & Compositions - bandleader

Pau Sala - Double Bass

Joan Casares - Drums

Joan Monné - Piano (featuring)

Recording, mixing and mastering: Quim "Kato" Puigtió

Recorded at Cafè Milano (Bcn) Nov 2020

Label: The Changes Music

Artwork by Joan Casares

Photos by Joel Codina and Maria Fuster.

All songs written by Irene Reig, except:

"Bebe-soy" by Joan Casares

"I let a song out of my heart" by Duke Ellington

"The Sweetest sounds" by Richard Rogers

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Joan Mar Sauqué - Gone With The Wind (2021 The Changes Music)

01. Bitty Ditty (Thad Jones)

02. My Dream (Tadd Dameron)

03. Ray's Idea (Ray Brown, Gil Fuller)

04. I Only Have Eyes For You (Harry Warren)

05. In The Land Of Oo-Bla-Dee (Mary Lou Williams)

06. I Cover The Waterfront (Johnny Green)

07. Gone With The Wind (Allie Wrubel)

08. Kitchenette Across The Hall (Tadd Dameron)

09. Bill (Jerome Kern)

10. Shabozz (Gigi Gryce)

11. Strictly Romantic (Gigi Gryce)

12. Stompin' At The Savoy (Edgar Samson)

Joan Mar Sauqué - Trumpet

Josep Traver - Guitar

Giuseppe Campisi - Double Bass

Recorded, Mixed and Mastered at Sotrack Records by Adrià Vidaña

Liner notes by Fernando O. de Urbina

Artwork and photography by Blanca Funes

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Fernando Brox Sexteto - Factor Humano (2021 The Changes Music)

New project of old friends and partners who have shared tablas, music and good moments on more than one occasion. For this time, Fernando Brox brings together some of the musicians that have influenced him in all aspects. They first introduced him in the world of Jazz some years ago. Without any doubt, they have showed him a vital course and a way (and a lot of them at once) of understanding music and life. As an excuse for getting this great personnel together, Fernando has come up with an original repertoire during the last year that reflects his most recent musical research.

“In a nutshell, this music works as a vehicle to acknowledge all that I've learnt from these great people and also to celebrate what I consider the most important thing when speaking about the musical phenomenon: to share and come together with the others and with ourselves, all from our common nature.

This project is for all people from all ages. The main objective, besides making a quality record and offering a live musical experience, is to put the spotlight on the high level of the Jazz we have in our country and to claim a more active presence of the local musicians in the Jazz festivals.” 

1. Lucky Strike 06:40

2. Eclipse 04:59

3. Cleopatra 04:31

4. EFG 07:22

5. Carnitas 06:18

6. D.D (to David Defries) 05:17

7. Candombe Ralente 07:42

8. Dark Water 04:11

9. Maytal's Party 08:08

Julián Sánchez - Trumpet

Enrique Oliver - Tenor Sax

Toni Vaquer - Piano

Bori Albero - Bass

Juanma Nieto - Drums

Fernando Brox - Flute & compositions

Sound Enginner: Manolo Toro en el

Recorded at Estudio Puerto Records (13 january 2020)

Mixing and Mastering by Curro Ureba at Trafalgar Studios

Art Work by José Such

Published by The Changes Music

CD's available (message us for more info)

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Ken Stubbs - 3 Shadows, 4 Angels (June 2021)

Ken Stubbs formed his first jazz group – ‘First House’, with fellow ex music biz sufferers, Tube driver and Demon of the double bass, Mick Hutton, the marvellous, number-crunching drum genius, Martin France and the formidable composer and magician-keyboardist, Django Bates.

They where fortunate to record twice for ECM, with the Perfectionist-German-Sound Wizard, Manfred Eicher.

1. 2 Ounces of Love 02:55

2. Melancholia 06:38

3. Nobody Else But Me 09:05

4. 3 Shadows (for Jonny Cash) - The Beast in Me 04:27

5. 4 Angels 11:15

6. En La Orilla Del Mundo 06:37

7. Wrap Your Troubles in Dreams 08:54

8. Unity Village 07:29

9. For Heaven's Sake 05:30

Ken Stubbs - Alto Saxophone

Ivo Neame - Piano

James Muller - Guitar

Brett Hirst - Bass

Simon Barker - -Drums

Recorded 2020 - 2021 In Australia

Recorded and mixed by Christian Pyle and Ken Stubbs

Mastered by Ken Stubbs

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