James Carter - Darkest Light (2017)

James is excited to announce the upcoming release of his second album Darkest Light in February 2017, recorded with ARIA award winning musicians Stephen Magnusson and Dave Beck.

1. White Jude by Jy James Carter & Stephen Magnusson 6:19

2. So It Goes by James Carter, Stephen Magnusson & Tom Barton 4:27

3. Left (For Ellery) by James Carter & Stephen Magnusson Left (For Ellery) 6:22

4. New by James Carter & Stephen Magnusson 5:06

5. Fractured in the Middle by James Carter, Stephen Magnusson & Dave Beck 5:13

6. Can't Read Mags Like a Book by James Carter, Stephen Magnusson & Dave Beck 5:55

7. To Be by James Carter & Stephen Magnusson 5:52

8. Eclipse by James Carter & Stephen Magnusson 6:23

9. Fractured in the Middle (Alternative Take) by James Carter, Stephen Magnusson & Dave Beck 7:07

CONCERTOS PORTA-JAZZ: Sala Porta-Jazz Sábado, 11 fevereiro - 19:00

CONCERTOS PORTA-JAZZ

Sala Porta-Jazz Sábado, 11 fevereiro - 19:00

PEDRO NEVES TRIO

Pedro Neves - piano

Miguel Ângelo - contrabaixo

Miguel Sampaio - bateria

Depois do álbum de estreia Ausente, lançado pelo Carimbo Porta-Jazz em 2013 com grande aceitação pela crítica especializada e com distribuição internacional no Japão, Pedro Neves apresenta o seu novo repertório original gravado em Março de 2016 e reunido neste disco. 

05:21 descreve o primeiro momento do amanhecer. A narrativa do álbum sugere o percurso de alguém que atravessa esta hora do dia recorrentemente, enfrentando um turbilhão de pensamentos e sensações que o levam numa viagem alucinante que apenas termina quando por fim consegue adormecer.

Esta é uma história escrita pela mão do pianista e compositor Pedro Neves, e ilustrada pelo trio.

05:21 é o 27º disco com Carimbo Porta-Jazz, a apresentar neste concerto.

PRÓXIMOS LANÇAMENTOS CARIMBO PORTA-JAZZ

Auditório da FEUP

- entrada livre - 

2 março, 21:30

MAP - "Guerra e Paz"

Paulo Gomes - piano

Miguel Moreira - guitarra

Miguel Ângelo - contrabaixo

Acácio Salero - bateria

27 março, 21:30 

Rui Filipe Freitas Sexteto - "Axis Mundi"

Rui Filipe Freitas - vibrafone

José Pedro Coelho - saxofone tenor e clarinete-baixo  

João Mortágua - saxofone alto e saxofone soprano

Mané Fernandes - guitarra

Filipe Teixeira - contrabaixo

João Martins - bateria

18 abril, 21:30

The Nada

João Guimarães - saxofone

Eurico Costa - guitarra

Simon Jermyn - baixo

José Marrucho - bateria

18 maio, 21:30

AP Quarteto

AP - guitarra

Carlos Azevedo - piano

Filipe Teixeira - contrabaixo

Acácio Salero - bateria

19 junho, 21:30

João Mortágua "AXES"

João Mortágua - saxofone alto e soprano

José Soares - saxofone alto

Hugo Ciríaco - saxofone tenor 

Rui Teixeira - saxofone barítono e clarinete baixo

Pedro Vasconcelos - bateria e percussões

Alex Lázaro - bateria e percussões

CICLO JAZZ DE SANTO TIRSO

Centro Cultural de Vila das Aves

- entrada livre -

25 fevereiro, 21:30 - João Paulo Rosado | Sinopse

João Paulo Rosado - contrabaixo / baixo eléctrico

João Guimarães - saxofone alto

AP - guitarra

Hugo Raro - piano

António Torres Pinto - bateria

1 abril, 21:30 - Renato Dias Trio

Renato Dias - guitarra

Filipe Teixeira - contrabaixo

Filipe Monteiro - bateria

16 junho, 21:30 - AP Quarteto

AP - guitarra

Carlos Azevedo - piano

Filipe Teixeira - contrabaixo

Acácio Salero - bateria

1 julho, 21:30 - Rui Filipe Freitas Sexteto

Rui Filipe Freitas - vibrafone

José Pedro Coelho - saxofone tenor e clarinete-baixo  

João Mortágua - saxofone alto e saxofone soprano

Mané Fernandes - guitarra

Filipe Teixeira - contrabaixo

João Martins - bateria

Nicholas Payton - Afro-Caribbean Mixtape (2017) 2 CD

The trumpeter’s new album fuses the traditions of his hometown, New Orleans, with modern jazz, hiphop, mixtape and spoken-word cultures.

By LARRY BLUMENFELD / WSJ

Early in a recent performance at Dizzy’s Club Coca-Cola, within Jazz at Lincoln Center, a casual listener might have assumed Nicholas Payton to be a keyboardist with a fondness for Fender Rhodes electric piano and a way with a slow tempo. Minutes later Mr. Payton lifted a trumpet to his lips with his right hand and began to blow, while playing keyboard with his left, and a fuller profile began taking shape. Soon—his horn now gripped in both hands—Mr. Payton revealed the strength, agility, sweetness and bite upon which he established a career more than 20 years ago.

On trumpet, Mr. Payton can ignite a room with a fiery solo or silence it with a tender passage; he did both at Dizzy’s. Yet these days his music doesn’t rely on those abilities or that horn.

Mr. Payton arrived on jazz’s scene cast as a gifted neotraditionalist. He has spent the decades since departing from that mold. His new release, “Afro-Caribbean Mixtape” (Paytone/Ropeadope), out Friday, is his clearest and boldest expression of an aesthetic he’s long pursued. It’s sprawling (two CDs with more than two hours of music), involves more than a dozen musicians, and yet sounds focused and personal.

That cohesion is due largely to tightly interlocked elements: the flexible, quicksilver rhythmic dialogue between Joe Dyson’s trap set and Daniel Sadownick’s hand percussion; the layers of texture woven by Mr. Payton and Kevin Hays, who both play keyboard and piano on several tracks; and the dance of accents from bassist Vincente Archer and turntablist DJ Lady Fingaz.

There’s also a strong conceptual through-line. Beginning in 2011, Mr. Payton has raised a fuss online with blog posts rejecting the term “jazz” as limiting, or worse; he proposed the moniker, “Black American Music.” This new album lends more graceful expression to his argument—for an enduring black aesthetic that bows to jazz masters without implying servitude, and that embraces African influence across several genres. Words prove critical here, too. In the mix—sometimes buried, other times clear—are sampled snatches of spoken-word sources, manipulated by the turntablist. On “Jazz Is a Four-Letter Word,” the voice of Max Roach (from a 1993 interview that Mr. Payton found on YouTube) describes an unbroken line of ingenuity from Charlie Parker to Michael Jordan to Michael Jackson. On the title track, Greg Kimathi Carr, head of Howard University’s Afro-American Studies Department, explains “African ways of knowing.”

Still, nothing seems academic. The album flows, moving joyously from, say, Mr. Payton’s trumpet playing, supporting by a string quartet, on “Jewel,” to the disco-tinged funk of “Junie’s Interlude.” Some tracks ride easy grooves, others move fitfully within densely constructed soundscapes. There are compelling examples of Afro-Cuban rumba and, yes, modern jazz, but these all seem like momentary means toward a larger and unified end.

Mr. Payton’s wide-ranging liner note cites a paternal ancestor in his native New Orleans, who is said to have played with Buddy Bolden and to have formed Henry Payton’s Accordiana Band “before anyone was thinking about jazz.” His own problem with the word “jazz” is the sense that someone else is trying to box him in. “Afro-Caribbean Mixtape” is a work of great rigor and discipline, steeped in jazz tradition and yet utterly unbound.

David Gilmore - Transitions (CRISS CROSS RECORDS 2017)

Available: February 15, 2017

On his Criss Cross leader debut, Transitions, guitarist David Gilmore pays tribute to recently deceased masters Bobby Hutcherson, Toots Thielemans and Victor Bailey, the legendary trumpeter Woody Shaw, and living elders Annette Peacock and Hermeto Pascoal, by interpreting their music along with two original compositions.

Joined by a top-shelf New York quartet comprising tenor saxophonist Mark Shim, pianist Victor Gould, bassist Carlo DeRosa and drummer E.J. Strickland (vibraphonist Bill Ware plays on Hutcherson's "Farallone"; harmonicist Gregoire Maret plays on Thieleman's "Bluesette"), Gilmore navigates both the acoustic and plugged-in spaces with equal fluency, showcasing his lovely sound, improvisational prowess and focused intention within an array of stylistic formats.

A glimpse at Gilmore's distinguished discography (it includes four prior leader records, and consequential sideman stints with -- to name a short list -- Steve Coleman, Wayne Shorter, and Meshell Ndegeocello, as well as more recent Criss Cross dates with Donald Edwards [Criss 1365 ; Criss 1386] and Boris Kozlov [Criss 1389]), gives a sense of the breadth and accomplishment of this bracing recital.

1. End Of Daze (David Gilmore) 6:28

2. Beyond All Limits (Woody Shaw) 5:31

3. Blues Mind Matter (Bobby Hutcherson) 7:06

4. Bluesette (Toots Thielemans) 5:57

5. Both (Annette Peacock) 5:05

6. Spontanuity (David Gilmore) 6:32

7. Kid Logic (Victor Bailey) 5:37

8. Farralone (Bobby Hutcherson) 9:13

9. Nem Un Talvez (Hermeto Pascoal) 4:36

David Gilmore (G)

Mark Shim (Ts)

Victor Gould (P)

Carlo DeRosa (B)

E.J. Strickland (D)

Grégoire Maret (Hca) [4]

Bill Ware (Vib) [8]

Total Time: 56:10

Recorded September 19, 2016 in Brooklyn, NY, USA by Joe Marciano

David Binney - The Time Verses (CRISS CROSS RECORDS 2017)

Available: February 15, 2017

For his eighth date for Criss Cross as a leader or co-leader, alto saxophonist-composer David Binney documents the quartet with which he most frequently works in New York City (pianist Jacob Sacks, bassist Eivind Opsvik, and drummer Dan Weiss) for the first time since the 2009 recording Aliso (Criss 1322 CD).

It's an episodic, thematically cohesive, 65-minute suite on which Binney and his upper-echelon bandmates solo through the shifting moods and environments -- tracking his responses to the diurnal cycle -- with characteristic inspiration and derring-do.

01. Dawn (David Binney)  0:26

02. Walk (David Binney)  10:55

03. Arc (David Binney)  5:10

04. Morning Tide (David Binney)  0:24

05. Strange Animal (David Binney)  8:55

06. Seen (David Binney)  7:25

07. Noon Tide (David Binney)  0:25

08. The Reason To Return (David Binney)  6:08

09. Time Takes It's Time (David Binney)  6:12

10. Evening Tide (David Binney)  0:18

11. Where Worlds Collide (David Binney)  11:24

12. Fifty Five (David Binney)  6:15

13. Arc Reprise (David Binney)  1:14

14. Dusk (David Binney)  0:27

David Binney (As / Vc / Electronics)

Jacob Sacks (P)

Eivind Opsvik (B)

Dan Weiss (D)

Jen Shyu (Vc) [6]

Shai Golan (As) [11]

Total Time: 65:59 

Recorded February 17, 2016 in Brooklyn, NY, USA by Max Ross

Arnan Raz Quintet - Soul Talk (Live at Cornelia Street Cafe - New York)

Hello Friends. This is a new video from a live show we played a few weeks ago in New York at Cornelia Street Cafe. The name of the tune is "Soul Talk". The opossite of "Small Talk". I hope you like the music. I also hope that people will find a way to live with each other in this world. Let's hug more. Arnan Raz

Arnan Raz Quintet - Soul Talk (Live at Cornelia Street Cafe - New York 01/18/2017)

Arnan Raz - Tenor Sax

Eyal Hai - Alto Sax

Daniel Meron - Piano

Will Slater - Bass

Dani Danor- Drums

Video by Efrat Kariv

Video Editing by Eyal Hai

ARNAN RAZ WEBSITE

1982 - Chromola (HUBRO MUSIC 2017)

There are trios, and there are trios: ‘power’ trios, ‘feel’ trios, piano, bass and drums trios. What’s especially distinctive about 1982 – the trio of Nils Økland, Sigbjørn Apeland and Øyvind Skarbø – apart from the unusual instrumentation of violin or Hardanger fiddle, harmonium and drums, is the empathy displayed by the group as a whole; the hyper-sensitivity with which each individual member appears to respond to the contributions of the others in the pursuit of a collective goal, however obscure or unknowable that goal might be.  Such extreme alertness to subtle changes of mood and nuance, and to the evolving sound-world of each, totally improvised, performance is rare in music of any type. 1982 have made it their signature.  

And because 1982 have so singularly created their own identity and sound, they can do anything they like. Normal conventions of style and genre, format and duration cease to matter: it is all 1982 music, anchored in the strong personalities of the three players and their respect for the primacy of the group as an entity in itself. Thus they can record as a trio – as on the group’s first two albums, ‘1982’ (from 2009) and ‘Pintura’ (their Hubro debut, from 2011) –  or with guests, as in the acclaimed ’1982 + BJ Cole’ (from 2012), and the collaboration with composer Stian Omenås and a quintet of wind players for ‘1982: A/B’ (from 2014). There was also the unique ‘message in a bottle’ intervention of ‘The Bottlemail Project’, begun in 2011, whereby 15 copies of a new recording were ‘distributed’ via USB sticks enclosed in bottles and released into the open sea from Bergen and various worldwide locations.

The new album, ‘1982: Chromola’, as well as marking the group’s tenth anniversary, represents a return to the essential identity of the trio playing alone, without guests. Recorded at Sandviken church in Bergen on the day following an evening concert, the album uses material from both occasions, engineered once again by Davide Bertolini, who worked on the band’s four previous recordings. As an album it is remarkable for many things, but perhaps most notably for the role of Sigbjorn Apeland, who plays pipe organ on all buthu one of the seven tracks rather than harmonium, which features only in the closing, seventh, piece.

While one might have expected the use of the organ (or organs, for Sandviken has two resident instruments, both of which Apeland played) to create a more liturgical or contemplative feel to the overall sound, the effect is much closer to prog-rock than it is to the church. On the opening two pieces (titled, as is 1982’s custom, only by track number and duration), and intermittently elsewhere, Apeland’s ghostly wails, drones and ornamental flourishes may even carry echoes of early Pink Floyd, accentuated by drummer Skarbo’s occasional use of timpani-beaters, and heavy, unapologetically meaty pulse, or recall the proggish minimalism of Terry Riley and John Cale. Heard amidst the spacey sonic background of Apeland’s atmospheric burbling, squawky interjections and impassioned mini-cadenzas, together with Skarbo’s readiness to find a groove and stick to it, Nils Økland’s fiddling appears to take on a new, emphatically bluesy quality. At times, playing like a man possessed, his long, arabesque, Eastern-oriented lines can seem to go on and on, reaching peak after peak, as if to demonstrate his unequalled virtuosity as a soloist, whatever the musical setting.

Subsequent tracks return to what might seem a more conventionally experimental mode, before picking up the pace again a number of times. But what is perhaps most striking about ’1982: Chromola’, despite the variety of the music it contains, is that everything remains all of a piece. There’s a governing sense of intense exploration within self-imposed limits; of going further and further into a particular sonic palette whose colours derive from the individual instruments, the recording venue, and the countless combinations between them, and whose meanings deepen and deepen as the exploration continues. As improvised music goes, this is close to state-of-the-art.

1. 07:56 7:55

2. 06:19 6:19

3. 06:37 6:36

4. 07:00 6:59

5. 04:03 4:02

6. 04:45 4:45

7. 04:09 4:09

Günter Baby Sommer: Le Piccole Cose -Live At Theater Gütersloh 2016 (European Jazz Legends Vol. 9) 2017

Unter Jazzfreunden kann man herrlich darüber streiten, ob »Europäischer Jazz« ein nützlicher Gegenentwurf zur amerikanischen Tradition ist, eine originelle Ergänzung dazu oder »auf dem Markt weniger wert als amerikanischer«, wie es in einem Wikipedia-Forum nachzulesen ist. Außer Zweifel steht allerdings, dass es auch diesseits des Atlantiks begnadete Musiker gab und gibt, die den Jazz seit Jahrzehnten geprägt und geformt haben. Dabei haben sie ganz eigene Spielweisen entwickelt, indem sie europäische Musiktraditionen mit den amerikanischen Einflüssen zusammenbrachten. Diesen Pionieren des europäischen Jazz eine Bühne zu geben, das war die Idee zur Artikelserie »European Jazz Legends«, die im Magazin Jazz thing in seiner 100. Ausgabe im September 2013 startete – und die inzwischen auf mittlerweile 18 Folgen zurückblickt. 

Aus der symbolischen Bühne ist nun eine tatsächliche geworden – und sie steht in Gütersloh, mitten in Europa. Begleitend zu jeder Ausgabe des fünfmal jährlich erscheinenden Heftes findet in Kooperation mit unserem Label Intuition, der Stadt Gütersloh und WDR 3 ein eigens für diesen Anlass konzipiertes Konzert mit einem aktuellen Protagonisten der Serie statt, moderiert von Götz Bühler. Das Konzert inklusive Gesprächsrunde mit Götz Bühler wird aufgenommen und vom WDR 3 zeitversetzt gesendet; die musikalischen Highlights des Konzertes werden auf einer CD veröffentlicht. 

Für jedes Jahr bis Ende 2017 sind also fünf Konzerte und fünf CDs zur Serie »European Jazz Legends« geplant, am Ende wird ein Buch entstehen, für das die Artikel aus dem Magazin überarbeitet und ergänzt werden, u. a. um Eindrücke aus den Konzerten und Gesprächsrunden. Die CD von Günter »Baby« Sommer ist bereits die neunte Veröffentlichung der »European Jazz Legends«-Reihe. Wir von Intuition sind stolz darauf, unseren Beitrag leisten zu können und danken allen Partnern und insbesondere den Musikern – und hoffen, dass sie den Hörern, die nicht live dabei sein konnten, Freude bereitet. Und denen, die im Publikum saßen, eine schöne Erinnerung darstellt.

»Wir nennen uns »Günter Baby Sommer's Quarteto Trionfale«, betonte der 73-jährige Schlagzeuger aus Radebeul bei Dresden direkt vor dem Konzert, um sicherzustellen, dass die Band korrekt vorgestellt wird. »Du weißt ja: wie ›Art Blakey's Jazz Messengers‹«. Die Tatsache, dass sich Sommer mit den Afro-Amerikanischen Wurzeln tief verbunden fühlt, ist auch an seinem Spitznamen zu erkennen. Dieser kann zurück geführt werden auf den Schlagzeuger von Louis Armstrong: »Baby Dodds«. Das steht überhaupt nicht im Widerspruch dazu, dass dieses »Baby« zu der Generation ostdeutscher Musiker gehört, die vor ungefähr vierzig Jahren für reichlich Aufregung sorgten: mit ihrer weitgehend frei improvisierten Musik in und um die damalige DDR. 

Als Klangkünstler im Allgemeinen und Percussionist im Besonderen sowie als Solist oder Instrumentalist in einem Ensemble war und ist Sommer immer interessiert an der Ausdehnung des klanglichen Spektrums seines Schlagzeugs und an der Entdeckung neuen Repertoires. »Wenn man Afro-Amerikanische Kollegen fragt, woher sie kommen, antworten sie: ›von Mutter Afrika‹. Aber woher kommen wir? Diese Suche nach der Antwort begann mit dem Zentralquartett mit Uli Gumpert, und wir wurden fündig in den mittelalterlichen Liedern. Für westdeutsche Kollegen wie Brötzmann und andere war schon der Gedanke daran ausgeschlossen. Für uns aber stand das Wort ›frei‹ für die Freiheit, in jede Richtung zu denken.« 

Für dieses Konzert in der Reihe »European Jazz Legends« im Theater Gütersloh am 31. Oktober 2016 – präsentiert von WDR 3, Jazz in Gütersloh, Intuition und Jazz thing – hat Günter »Baby« Sommer (nahezu) eine Band wiedervereinigt, die erstmals 1979 in der Jazzwerkstatt Peitz spielte. Um den möglicherweise »kompromittierenden« Einfluss des westdeutschen Trompeters Manfred Schoof zu mindern, hat die Kulturbehörde der DDR verlangt, dass zu der Band auch Musiker anderer Länder eingeladen werden. So kamen dann der italienische Bassklarinettist und Altsaxophonist Gianluigi Trovesi und der amerikanische Bassist Barre Philips zum ersten Konzert des Quartetts nach Peitz. Schon seit einiger Zeit spielt nun statt Barre Philips der in Berlin lebende Italiener Antonio Borghini den Kontrabass – der übrigens auch in der Band Alexander von Schlippenbach's spielte, veröffentlicht als European Jazz Legends Vol. 4.

1. Like Don 5:54

2. Inside Outside Shout 6:39

3. Mellow Mood 7:40

4. No Parietto 10:14

5. Andartes 6:02

6. Marias Miroloi 8:18

7. Hymnus 6:39

8. Interview With Günter Baby Sommer 11:06

Alto Saxophone, Alto Clarinet – Gianluigi Trovesi

Bass – Antonio Borghini

Design – Knut Schötteldreier

Drums – Günter Baby Sommer

Liner Notes – Götz Bühler

Photography By [Cover Photo] – Lutz Voigtländer

Producer – Volker Dueck

Trumpet, Flugelhorn – Manfred Schoof

Anna Maria Jopek & Gonzalo Rubalcaba - Minione (2017)

Po podróżach w głąb muzyki japońskiej („Haiku") i luzofońskiej („Sobremesa”) Anna Maria Jopek tym razem zaśpiewa po polsku z Kubańczykami. 14 lutego 2017 ukaże się płyta pt. „Minione”, którą Anna Maria Jopek nagrała z legendarnym pianistą kubańskim Gonzalo Rubalcabą i jego trio jazzowym. Wydaniu płyty towarzyszyć będzie trasa koncertowa w największych miastach Polski.

Płyta „Minione”, która ukaże się w Święto Zakochanych to wskrzeszenie najpiękniejszych przedwojennych tang polskich.

AMJ śpiewa je z kubańskim trio jednego z największych pianistów improwizujących naszych czasów - fenomenalnym Gonzalo Rubalcabą. Spośród setek starych tang i boler artyści wybrali te, które inspirują ich najbardziej (m.in. „To ostatnia niedziela", „Rebeka", „Twe usta kłamią”) i mogły stać się pomostem między tym co minione, światem lat 30-tych ubiegłego stulecia a współczesną muzyką wokalną. Pomostem między kulturami - polską, kubańską, żydowską, argentyńską i amerykańską.

„Kiedy pracuję z muzykami z różnych od mojej tradycji muzycznych, zawsze zachwyca mnie ich inność. To co wnoszą w nagrania staje się moim duchowym bogactwem. Zdumiewa ogrom piękną i prawdy na skrzyżowaniu kultur i ludzkich wrażliwości. Muzyka jest językiem jedności”- mówi AMJ. „Praca nad starymi tangami była magiczna. Rzadko zdarza się materiał takiej urody, nasycony i melancholią i tajemnicą i erotyką. Nagrywanie z Gonzalo to czysta mistyka. Obecność jaźni w każdej nucie uczy uważności i pokory”.

„Minione" produkuje i aranżuje Gonzalo Rubalcaba. Album w najwyższym standardzie audiofilskim zrealizował wielokrotny laureat nagrody Grammy Carlos Alvarez w legendarnym studio nagraniowym The Hit Factory w Miami na Florydzie.

01. Twe Usta Kłamią

02. Kogo Nasza Miłość Obchodzi

03. Co Nam Zostało Z Tych Lat

04. Nie Wierzę Ci

05. Besame Mucho

06. Co Nam Zostało... Wybrzmienie

07. Pokoik Na Hożej

08. To Ostatnia Niedziela

09. Miasteczko Bełz

10. Nie Wierzę... Detal

11. Rebeka

Anna Maria Jopek, voice

Gonzalo Rubalcaba, piano

MINIONE - trasa koncertowa

Anna Maria Jopek & Gonzalo Rubalcaba Ernesto Simpson * Armando Gola

21/03/2017 - TORUŃ / Centrum Kulturalno-Kongresowe Jordanki 

22/03/2017 - GDAŃSK / Polska Filharmonia Bałtycka

24/03/2017 - BIELSKO-BIAŁA / Bielskie Centrum Kultury 

25/03/2017 - POZNAŃ / Sala Ziemi

26/03/2017 - ŁÓDŹ / Wytwórnia

28/03/2017 - WARSZAWA / Teatr Roma - 2 koncerty 

31/03/2017 - KRAKÓW / ICE KRAKÓW Congress Centre

2/04/2017 - WROCŁAW / Narodowe Forum Muzyki 

4/04//2017 - SZCZECIN / Filharmonia

6/04/2017 - LUBLIN / Teatr Stary

7/04/2017 - LUBLIN / Teatr Stary

8/04/2017 - KATOWICE / NOSPR

Derby Derby - Love Dance (ORMO RECORDS) Out the 9th of February 2017

Derby Derby's debut album was recorded in Nantes last fall and entitled ¨Love Dance", a touch of humour for this unique track over 30 minutes long cut into two parts: “Love" slow and progressive and "Dance" rhythmic, charged and explosive.

The album will be released on the Nantes-based label Ormo in February on serigraphied vinyl and
cd.

Biography :
The 3 musicians met in spring 2016 to question themselves about time and space. Derby derby will release his debut album in February and has performed about 15 shows this year (festival Le Lac, Rendez Vous de l'Erdre, Lieu Unique...).

Derby Derby:
An instrumental Trio for a radical music, executed by a minimalist bass, a repetitive drum and an
electrified trumpet.

Beat obsession,drone and time dilatation ( or time stretching // le temps qui s'étire)...solid sound (or
full sound), comfy( or snug:douillet) and rough.

Derby Derby rushes into a circular and earthly dance (ou trance).

1. Love 20:03

2. Dance 10:52

Alan Regardin, electrified trumpet

Sylvain Didou, bass

Fabrice Lhoutellier, drums

DERBY DERBY « LOVE DANCE »

New album available (digitally, on Cd and 12'' vinyl)

Out the 9th of February 2017

BUY

On tour:

10/02/17 - Festival Inouie (La Roche/Yon)

11/02/17 - Garden Partie (Angouleme)

12/02/17 - l'Amanita muscaria (Toulouse)

17/02/17 - Brest

Guitarist Baron Tymas CD Release Event for Montréal, Beyú Caffé, Durham, NC Feb 11th

Guitarist Baron Tymas

CD Release Event

for "Montréal"

Beyú Caffé

341 West Main Street

Durham, NC 27701

Saturday, February 11th

7:00 pm - 10:00 pm, $12 per show

Tickets & Info

Featuring

Baron Tymas, guitar

Annalise Stalls, saxophone

Aaron Gross, bass

Thomas Taylor, drums

NEW CD

Artist: Baron Tymas
Title: Montréal

1. The Laval Syndicate (7:30)
2. Chasing Its Tail (6:42)
3. Orange et Vert (5:58)
4. Do Right (7:48)
5. And Oui (4:53)
6. Wishbone (6:05)
7. Chicken on the Beach (6:03)
8. Take the 24 (5:31)

All Compositions by Baron Tymas

Musicians: Baron Tymas, guitar; Joshua Rager, piano; Sage Reynolds, bass; Jim Doxas, drums. Special guests: Jeri Brown, voice on “And Oui;” Charles Ellison, trumpet on “The Laval Syndicate”

Production, Compositions and Arrangements: Baron Tymas Recording and Mixing: Mark Corwin

This recording by Baron Tymas is inspired by the warm-hearted city of Montréal, with some of the most superb jazz musicians associated with it today: vocalist Jeri Brown, trumpeter Charles Ellison, pianist Josh Rager, bassist Sage Reynolds and drummer Jim Doxas. The project represents part of Baron’s experience as a Fulbright Fellow at Concordia University in Montréal in late 2015. During that time, he wrote most of the music here, based on the sights, sounds and people of the city.

The songs reflect travel on the metro and bus lines, the beautiful weather of an unusually warm fall, the incredible food of the place, the harmonious and generally celebratory ambience of that multicultural city and the styles and musical personas of the players on the recording. A few of the tunes were written for and in other places--such as Durham, NC, where Baron lives—and the beautiful island of Virgin Gorda.

Baron Tymas Website

Itinerary

Feb 11, CD Release Event for Montréal, Beyú Caffé, Durham, NC

Feb 24,  Steve Bromberg Jazz Photography and Baron Tymas Trio, Watergate West, Washington, DC

March 17, with Concordia University Jazz Faculty, Montréal, Canada

March 31, Durham Jazz Workshop, Sharp Nine Gallery, Durham, NC

July 16-21, Blues and Swing Week, Davis & Elkins College, Elkins, WV

Press Contact

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