Tuesday, October 4, 2016

Quinta, 6 Outubro 21h30: Lançamento CD Pedro Neves Trio / Mané Fernandes 'BounceCore' (Carimbo PORTA-JAZZ)


Auditório da FEUP (Porto)
Quinta, 6 Outubro - 21h30
Pedro Neves Trio
Lançamento CD Carimbo Porta-Jazz

 Pedro Neves - piano
Miguel Ângelo - contrabaixo
Leandro Leonet - 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, ilustrada por Miguel Ângelo e Leandro Leonet.

05:21 é o 27º disco com Carimbo Porta-Jazz

Café Casa da Música
Quinta, 6 Outubro - 22h
Mané Fernandes 'BounceCore'


The Wee Trio - Wee + 3 (2016) BIONIC RECORDS


The Wee Trio, James Westfall (vibes), Dan Loomis (bass) + Jared Schonig (drums), proudly announce the September 30, 2016 release of their fifth recording, Wee + 3, recorded at Systems Two in Brooklyn, NY, and featuring three musicians who are near and dear to the members of the Trio; the legendary trumpeter/composer Nicholas Payton (tracks 4, 5 & 6), guitarist/composer Nir Felder (tracks 1, 10 & 11), and pianist/composer Fabian Almazán (tracks 2, 3 & 9). Inviting guests to join this established, working group was born out of the band’s collective love of collaboration.

Wee + 3 is an album about relationships. Dan Loomis is from Middle America, Jared Schonig is from the West Coast and James Westfall is from the South. Together they have traveled to every corner of the country and the songs on this album celebrate their individual roots and their travels together. The bonds that The Wee Trio formed as a band happened very soon after they all moved to New York City and has strengthened over the years. In short, musically and personally, they are thick as thieves, and their camaraderie is fully explored and realized on the band’s previous four recordings, Capitol Diner Vol. 1 (2008), Capitol Diner Vol. 2 – Animal Style (2010), Ashes To Ashes – A David Bowie Intraspective (2012) and Live at The Bistro (2013). With Wee + 3, the fans are bearing witness to the first expansion of the trio as they welcome in three critically acclaimed, world-class musicians to the fold. Each guest artist has a unique personal relationship with the individual members of the band and all of the music on this record was composed for each of these guest artists, creating a stylistic spectrum that takes the listener through three different worlds, but all within the galaxy of The Wee Trio.

The guest artists also represent three distinct narrative points in the history of the band. Dan Loomis explains further, “Nicholas Payton is the prelude to our story as a band. We say that the trio connects so well because we had listened to so many of the same records. Mr. Payton’s music was definitely an important part of all our lives. His playing, his intention as a bandleader, and his compositions were important building blocks for all of our own musical conceptions and development. Nir Felder is the present tense in the story of the band. We all met Nir very soon after we moved to the city and played with him a lot in our first years here. Our encounter with Fabian Almazán is a look to the future. Jared has known Fabian for a several years, but James and I just started playing with him for this project. Fabian plays with relentless creativity that really brings out the best side of the band. We love to play familiar material and take a lot of risks with it – push it to see what new options we can find hidden in it. With Fabian we got a chance to expand that approach to a quartet setting and bring it some new material that we wrote especially for him. We think the results are magical!” In drummer Jared Schonig’s words, this record was, “really a dream for us to make, both compositionally and musically. We had many long discussions over two years, deciding who our guests would be, and we feel that we made such great choices. To add a fourth musical voice was like taking cake and putting more frosting on it just for the fun of it.”


 More about the music on WEE + 3:
“R T 3” (feat. Nir Felder) – This song is the sound of the ocean as nearly as bassist Dan Loomis can capture it. You can hear the seagull cry in the intro. “My mother grew up in California and spent a lot time exploring the Pacific coast. I was born in Redwood City but raised in the Midwest. I always loved my trips back to California and I never feel right visiting without at least one visit to the ocean,” said Loomis.

“Titan UP” (feat. Fabian Almazán) – Westfall grew up in Houston, Texas and was an avid Houston Oilers fan. In the mid 1990’s the Oilers packed their bags and relocated to Tennessee changing their name to the Titans. Since Westfall’s recent arrival to his new home in Nashville, he has re-adopted the NFL franchise that moved away from him.

“Climb” (feat Fabian Almazán) – An epic composition written by Schonig to feature both Almazán’s creativity and Loomis’ strength moving around the bass. The title represents the climb to the top that we all inevitably face daily in life.

“Sabotage” (feat. Nicholas Payton) – One of the nation’s best venues is in St. Louis, MO (Loomis’ hometown), Jazz at the Bistro. The Wee Trio played there many times and even spent a weekend recording a live album there (Live at The Bistro from 2013). Loomis explains, “The second night of the recording we went to play our first set only to discover (mid-song!!) that the microphone cables had been cut!! We never found the culprit but clearly someone set out to sabotage the band! Thus Jared had a title for his new song.”

“No Justice” (feat. Nicholas Payton) – This song is a tribute to Loomis’ hometown, St. Louis, and particularly the suburb of Ferguson. “We have all been angered and saddened by the senseless violence by police against so many black youth across our country. But these events take on another dimension when they happen close to home. In the aftermath of tragic events like these, one thing that we can do is come together to make our voices heard against a culture that allows such actions. My partner and young boys have been to many demonstrations protesting these events and my kids’ favorite chant at these demonstrations is ‘No Justice, No Peace!’” said Loomis.

“Belle Femme De Voodoo” (feat. Nicholas Payton) – “As a former resident of New Orleans, this piece was written as a homage to the city. I spent the better part of 15 years living there and the city’s influence will always be burned in my personality. One of the city’s biggest musical influences today is Nicholas Payton. I’ve had the privilege of sharing the stage with him about a dozen times while living there and each of those gigs was a huge learning experience that I never took for granted. Having him be a part of this record was an honor. It was only fitting that Nicholas would be featured on a song written for New Orleans. Nicholas’ style is the perfect blend of Old New Orleans and New World,” said James Westfall.

“Lola” – This is a composition by Meshell Ndegeocello that Schonig arranged for the band. Schonig says “The band originally decided against having covers on this recording, but made an exception for an exceptional artist that we all admire.”

“Sound Evidence” – The lone original trio composition comes from Schonig after he sought out to write something both rhythmically interesting yet open enough for the harmonic instruments to have complete freedom while improvising. The title comes from Schonig’s brother, who made an astute observation during a game of ping-pong with the band to prove a certain shot had hit the table!

“Redwood” (feat. Fabian Almazán) – This is a tribute to Redwood groves in Northern California. “Walking through them you can have a feeling in an endless horizontal and vertical space. This song tries capture that expansiveness,” said Loomis.

“Gibbs Street” (feat. Nir Felder) – Schonig and Loomis met at Eastman School of Music in downtown Rochester, NY. This piece by Schonig is a homage to his experience there, balancing all that life is throwing at you. “Sometimes college can seem incredibly chill and then one moment chaos can ensue; whether it be with schoolwork, gigs, relationships- I tried to encapsulate all of that in this piece,” said Schonig.

“Apparition” (feat. Nir Felder) – “Nir is one of our favorite guitarists because, like The Wee Trio, he’s not afraid to rock out. Performing the song quartet gave us the opportunity for me to personify a wraith during the melody. The composition’s simplicity gave the trio enough room to stylistically take the direction in a more organic world that is true to our influences. The composition is one big launching pad for a shredding Nir Felder solo meant to kick ass and melt faces,” said Westfall.


 01. RT3 6:31
02. Titan Up 3:15
03. Climb 6:30
04. Sabotage 4:58
05. No Justice 7:20
06. Belle femme de voodoo 5:23
07. Lola 3:51
08. Sound Evidence 4:16
09. Redwood 6:31
10. Gibbs Street 6:10
11. Apparition 7:53

James Westfall (vibes)
Jared Schonig (drums)

Special Guests
Nicholas Payton (trumpet)
Nir Felder (guitar)
Fabian Almazán (piano)

Mezquida - Aurignac - Prats - M.A.P. (2016)

 Una fórmula especialmente querida por muchos aficionados desde los tríos de Bill Evans. Ya nos advierte la historia de la música que un buen trío es un solo instrumentista que suena como tres…en este caso piano-bajo-batería, pero les hay gloriosos con saxo o guitarras. No solo en el jazz, claro. Compuesto por el saxo alto malagueño Ernesto Aurignac, el menorquín –pianista- Marco Mezquida y el percusionista catalán Ramón Prats firman un glorioso cd de jazz que abarca desde el mencionado Evans hasta Fernández (Agustí) librepensador y libreimprovisador al que se aprecia más fuera que dentro de España. Jóvenes pero ya establemente instalados en los circuitos, clubes, festivales y premios del jazz en España.

Sabía de su existencia por conversaciones con Mario Benso (Dial Jazz, Músicas Creativas Valladolid) pero no había tenido acceso al cd hasta ahora.

De disciplina ornetiana se basan más en la creación de riffs melódicos que permitan improvisar y alterar intensidad y volumen que en estudiadas y complejas – que también las hay- progresiones de acordes, a esta idea responden temas como Armando Rampas que abre el cd y Discusión, perfecto en su fraseado e intenciones hasta el acuerdo final.

No eluden el lirismo y las melodías con mucho espacio entre notas – U– que avanza lenta, casi obsesivamente a la cumbre de sonido final…Keith Jarrett usa estas evoluciones, el King Crimson más metal también ¿Inspiraciones? Puede…al menos serán referencias…un tema que quedará en los anales de registros de jazz en España.

Descienden a la tierra en Salt (Girona, claro) para romper el climax obsesivo, jugar con notas y elementos percusivos, tema al que sigue otro de sonoridad clásica, Coral, muy apropiado por la perfecta armonización de sonidos…como en un coro.

Gloriosos e inspirados en las improvisaciones colectivas –MAP1 y MAP 2 con un cierto microtonalismo final-  y van cerrando el cd con temas como Obituario, con la pesadez inicial del dolor por “lo perdido” la gravedad de la situación marcada por los graves del bombo de la batería…un dechado de dramatismo con crisis final.

El cierre viene con la toma alternativa del tema Conan-canon, quizá la jazzy de todas las composiciones del cd…pero tienen en el pensamiento a  Steve Coleman claro, y es que los cuarenta y cincuenta nos quedan ya muy lejos…impresionantes pasajes free que hacen de contrapunto a una melodía y medidas endiabladas.

Uff..una tarde gloriosa de escucha (doble) después de haberlo intentado en situaciones nada apropiadas: coche, tareas domésticas…exige mucha demanda de atención y la recompensa merece la pena.

¿Disco de jazz del año? ¿Abrimos porra? Corran a una de las pocas tiendas de disco que queden en su ciudad o pidan por internet a la propia web de los músicos: www.mezquida-aurignac-prats.com. No se arrepentirán. Si además viven en Soria o alrededores pueden verles el 11 de noviembre en Envibop…suertudos son! Miguel Ángel Pérez Martín / docenotas.com

 01. Armando Rampas 3:42
02. Conan-Canon 2:32
03. Map 1 2:51
04. El Sueño de Oniria 3:05
05. Atlántida 1:55
06. Discusión 4:26
07. U 7:44
08. Salt 1:21
09. Coral 3:37
10. Map 2 3:20
11. Obituario 3:22
12. Conan-Canon Alt. Take 2:13

Marco Mezquida, piano


Marcello Pellitteri - Aquarius Woman (2016) MARPEL MUSIC


 "You can feel the love and passion they have for each other and the music. I’m inspired as well. Bravo!!! “  (Joe Lovano)

“I appreciate this music … A wonderful album … Listen to it." (Kenny Werner)

Award winning drummer Marcello Pellitteri has produced his second album dedicated to the memory of his daughter, Veronica Pellitteri (1991-2014). Profits from CD sales will go to the Veronica Pellitteri Memorial Fund. This fund will FOREVER give a scholarship to a talented graduating student from the Fiorello LaGuardia Performing Arts high school in NYC, where Veronica graduated from in 2009.

This album includes some of the best musicians in the international jazz music scene.

All the compositions are originals except for two cover songs by Stevie Wonder and Alicia Keys.

 Produced by Marcello Pellitteri
Recorded between Jan/Mar 2016 at:
Tac Recording Studio, Canicattini Bagni (SR), Italy
Studio 1141, Brooklyn, NY
Flying Frog Studio, Boston, MA

Recording engineers: Rino Cirinnà, JB Boclé, A. Mallet
Mixed and mastered by Robert L. Smith at Defy Recordings, NYC

Front cover “Self Portrait” by Veronica Pellitteri
Graphic Art by Fabio Baldanello

Tracks list:
01) Chasin' The Zone (M. Pellitteri)
02) Longing (M. Pellitteri)
03) Aquarius Woman (M. Pellitteri) poem "Greetings Of Hope" by Murtiningrum
04) Remind To Live (S. Bonafede)
05) Villeneuve (S. Bonafede)
06) Prelude to If I Ain't Got You (G. Bevilacqua)
07) If I Ain't Got You (A. Keys)
08) Twenty Three (M. Pellitteri)
09) Colors On Your Face (G. Bevilacqua - L. Campisi)
10) Absolute Beginner (S. Bonafefde)
11) Saxando (O. Maugeri)
12) Ribbon In The Sky (S. Wonder)
13) Strange Light (M.Todaro - G. Bevilacqua - M. Pellitteri) poem "Luce Strana" by Marcello Todaro

Total Time 54:47

Marcello Pellitteri - drums, percussions
(plays Istanbul Mehmet cymbals, Regal Tip sticks, PM snare drum)
Orazio Maugeri - alto sax (plays Yamaha Saxophone and CG Mouthpiece)
Salvatore Bonafede - acoustic piano, electric piano
Gabrio Bevilacqua - acoustic bass

Special guests:
George Garzone - tenor sax on track 1
Veronica Pellitteri - spoken words on track 3
Nedelka Prescod - vocals on track 7
Rino Cirinnà - tenor sax on track 11
Lauren Kinhan - vocals on track 12
Yvonnick Prene - harmonica on track 12
Marcello Todaro - electric guitar and spoken words on track 13

"I want to thank all the musicians, engineers for their amazing contribution to this project which also includes two poems.
The first, Greetings Of Hope written by Murtiningrum, an Indonesian Gerwani woman who, along with other women, was kept prisoner, tortured and abused for 14 years in Indonesia for political reasons.

The second, Luce Strana, written by the legendary guitar player Marcello Todaro, one of the original members of the Italian progressive rock band Banco del Mutuo Soccorso.

I also want to thank:
Fabio Baldanello for his art.
My mother and Tina Sebastiani for their patience, love and support.
Veronica for being the source of my inspiration not just in music, but also in life."
Marcello Pellitteri


The Rite Of Trio - Getting All The Evil Of The Piston Collar! (2016) PORTA-JAZZ


“Há momentos em que o jazz nos remete para bem longe do romantismo de lareira: momentos em que um artista e o seu interlocutor não pertencem sequer ao mesmo universo quântico; momentos em que a vida quase faz sentido, no seu senso distorcido.

Momentos como o rito: aqui tudo se conjuga de um modo altamente heterogéneo e friccionado e a verosimilhança para com a crua realidade é desconcertante e em simultâneo difícil de captar. O rito é uma passagem entre a vontade de agarrar na cadeira e ouvir e o apelo ao escapismo. 

GETTING ALL THE EVIL OF THE PISTON COLLAR! é uma promessa – o lugar é incomum, incerto e desconfortável. Mas a vida também não é um hotel de charme.”

– Daniel Orge

 Serious Business
Grab A Chair, Pick A Card
Slightly Out Of Tune
Challenging A Jazz Demigod
Getting All The Evil Of The Piston Collar!

André Bastos Silva: guitar, rosetta stone
Pedro Melo Alves: drums, gyroscopes
Nuno Mendes: fx solo (track 2)
Gon: demigod vocals (track 4)
Beatriz Nunes: vocals (track 6)