SearchParty's first album, "Light in the Darkness", a 6 movement jazz suite commissioned by Spark and Echo Arts, musically explores the age-old struggle between light and darkness in the world through Daneman's original compositions.
From Stephen Rush's liner notes: « What we have here is new music. Free music. Ellington and Armstrong were right in not wanting to call it anything else but Music. Why put it in a sub-category? This belongs with the best of any new music, period. And this new music is created (with the assistance of Swell’s scores and direction) by an ensemble that knows how to both play and listen geometric and mystical constructions: some preconceived by the skillful pen of Steve Swell and some spontaneously shaped and formed. Lean in. Listen again. And swim upstream and down with the band – it’s completely worth it. » Ann Arbor, July 2017
From John Corbett's liner notes: « Trombonist Steve Swell's approach to a Bartók homage on Kende Dreams is a synthesis and it advisably leaves the encounter with the Hungarian a relatively loose and oblique affair, with specific points of convergence but an end product that feels more like it was inspired by the composer than obliged to adopt his methods. The seven tracks are creative music pitched at the highest level; as is that music's unalienable right, it absorbs and transforms things that it comes into contact with. So, unlike Milhaud's attempts to quote or characterize jazz, this is jazz eating and fully digesting modern classical music, turning it into something else completely. » Chicago, April 2015
When Keith Knox and I founded Silkheart Records in 1984, our main objective was to present the “new American jazz”, but also to record the lesser-known, under-recorded heroes of the seventies loft scene époque. We got off to a brisk start with the latter category by recording Charles Brackeen, Booker T., Ahmed Abdullah, The Ethnic Heritage Ensemble, Charles Tyler et al. About 1985 I had heard a tenorist playing in two separate locations in Manhattan, at the Times Square subway station and around Grand Central. His playing was challenging to say the least, but I didn’t pay too much attention at that time, unlike bassist Hilliard Greene whose attention was grabbed immediately (see his interview in Cadence, August 2006). A year or so later a friend sent Keith a tape of a tenor player, which he passed over to me. The sound quality was terrible and I didn’t think much of the music. I was told that the tenorist’s name was Charles Gayle and that he was homeless. I did not immediately drop the project and for some reason I was curious, so that when I visited NYC at some time in 1986 and learned that Charles was to play in a small apartment in Soho, I went there to hear him and realized... more
Over the years I've seen a lot of "new talent" come and go. Some are very young, some already over-the-hill. All eager to make it and to make the "SCENE." To be hip. Cool. It. Then there are those who come to play the music and to seek mentors and try to make it in the toughest possible scene there is. That being the world of so-called "avant-garde" or "free" jazz, where nothing is free but the music and even that comes at a high cost. No money. Few gigs. Lots of people to impress in a very small though widening community. Self sacrifice. Discipline. And above all finding one's own voice. Multi-instrumentalist Matt Lavelle (adept on both trumpet and bass clarinet) is the latter. He arrived in New York, to challenge and be challenged. To learn and take and give. And give he does with all his heart, soul, guts to the music and people he loves and... more
"Someday" by percussionist Heinz Geisser and pianist Guerino Mazzola is a companion album to "Folia/The UNAM Concert" by the same duo. These recordings were made at the Someday Club in Tokyo and at Sala Carlos Chávez in Mexico City during their autumn 2000 tour of Korea, Japan and Mexico. It is by comparing the "Someday" performances with each other, and with those on "Folia", that the extraordinary beauty of the duo's extemporising becomes clear. This is music of great sensitivity and shared, instinctively attuned responsiveness, with details rich in information and highly nuanced. Only the third CD by the duo from its remarkable ten years of existence, "Someday" is a tremendous listening experience. One to be savoured. Contemporary free jazz and improvised music are afflicted - to comparably ruinous degrees - by a malaise of overproduction. Musicians of questionable repute are happy for their names to appear on four or five albums per calendar year; musicians of more established renown see nothing amiss in releasing as many as nine or ten. In the context of such heedless profligacy, the Swiss duo of Heinz Geisser and Guerino Mazzola are a refreshing anomaly. Now heading into their tenth year of collaboration... more
Swiss drummer Heinz Geisser and pianist Guerino Mazzola have worked together since 1994, dovetailing their considerable creative energies into an ever-closer musical symbiosis. This recording was made in Mexico City in October 2000 under the best possible circumstances. A CD was played in the limousine which drove the duo to this concert of Rachmaninoff’s 'Corelli Variations', a reworking of a theme that had appeared earlier in Corelli’s 12th Violin Sonata in D minor. Even at that time it was a found theme originating in the 'Folia' madness, a fertility dance from the late 15th century. Rachmaninoff’s 'Folia' theme became a crucial agent in the Mexico City performance. As Mazzola reported, 'You can in fact hear this short theme all over the concert and it turned out that it fits incredibly well in my own harmonic, melodic and rhythmic strategies.' Geisser and Mazzola decided to call this CD Folia for its spontaneous mixture of madness and control. Their musical and improvisational abilities as a duo are nothing short of sensational throughout this exciting session. Time's Ecstasy Folía: the UNAM Concert is a recording in which two accomplished improvisers, already deeply familiar with one another's work, fold chance and circumstance into their developed dialogue to... more
This live recording was made in May 1999 at the Dream Palace in New Orleans during the annual jazz festival. The session was improvisationally interactive to an explosive degree, even for these four musicians, and the recording had become legendary a while before it was released. 'Kidd' Jordan is from New Orleans and that is where he’s mostly played, but lately he’s been in demand in New York and Chicago, and Europe too. Pianist Joel Futterman is a Chicagoan now based in Virginia and before he became a cohort of 'Kidd' Jordan he was a cohort of the late Jimmy Lyons. Alvin Fielder held the drum chair for the Roscoe Mitchell Sextet album, 'Sound' (Delmark DECD-408) when, in 1966, it signalled the appearance of new jazz activity in Chicago. He’s been on innumerable sessions since, including a number for Silkheart Records. Bassist William Parker is just about the most central, and creative, figure on the New York new jazz scene and has been for twenty years or thereabouts. The quartet’s 'New Orleans Festival Suite' confirms what may or may not be common knowledge, namely that the 'Kidd' Jordan Quartet is not only the senior improvising jazz group on the scene but also the hottest and the most excitingly... more
1. Decateur Street 28:10
2. Dream Palace 32:49
3. Ole Miss Lovesong 11:56
Edward 'Kidd' Jordan tenor saxophone
Joel Futterman piano, soprano saxophone, indian flute
German born saxophonist Thomas Borgmann was the last of a long line of hornmen to perform to the accompaniment of the famous rhythm team of Wilber Morris and Denis Charles. Earlier hornmen fired and inspired by Wilber and Denis have included David Murray, Charles Tyler, Claude Lawrence, Booker T. Williams, Bob Ackerman and Marco Eneidi. The Borgman/Morris/Charles Trio appeared at the Jazz auf Reisen Festival in Weiden in der Oberpfalz, Germany on March 6th, 1998, and this became the very final date for Denis Charles who died very shortly thereafter. The CD is released in memory of Denis Charles, who played fabulously well on this his final engagement. I was not present in Weiden in der Oberpfalz during the Jazz auf Reisen concert by the Borgmann/Morris/Charles Trio in Max Reger Hall on March 6th, 1998, on what I'm told was a very rainy day. There were two sets and the music for each set was quite different. The audience was extraordinarily quiet and attentive and evidently quite close to the musicians on stage. The improvisations were trancelike in their intensity, and it speaks wonders for the fine German engineering of the Bavarian Radio sound team that they were able to capture the music so well. When applause broke out it immediately became clear how big the hall was and how many people were there to... more
Be a part of our most diverse, inclusive, and ambitious season yet.
Our 2018–19 concert season is a fantastic selection of performances that bring together artists of all backgrounds. The artistic diversity of our lineup showcases how the versatility and inclusvity of jazz turns barriers into bridges. Join us as we swing into the 2018–19 season and celebrate America's music at its finest.
Wadada Leo Smith: America's National Parks — Wadada Leo Smith brings us a multimedia concert experience including visual projections that blend real-time footage of the five-piece band with moving images which celebrate of America's National Parks.
Wynton Marsalis and Ken Burns: Country Music — In this collaboration bewtween documentarian Ken Burns and the Jazz at Lincoln Center Orchestra with Wynton Marsalis, we'll see clips of Burns' new documentary Country Music, paired with the JLCO's reimagining of classic country music tunes.
Learn more about what we have in store for our upcoming season. Review our season highlights and purchase your tickets today.
Featuring fiddle virtuoso Mark O’Connor with Maggie O’Connor and Kate Lee on fiddle and vocals, Forrest O’Connor on mandolin and vocals, Geoff Saunders on banjo and bass, National Flatpick Guitar Champion Joe Smart, and vocalists Alvin Youngblood Hart and Lizz Wright.
Wynton Marsalis and bassist Rodney Whitaker lead an all-Ellington showcase with 16 of the best young professionals on the scene, many of whom came up through our Essentially Ellington High School Jazz Band program.
“Exciting cineastic soundworlds (…) they can become an example of the European jazz piano trio scene” Jazzthing
“This beauty comes from within, from the depth of the music, and leaves space for always new associations” Jazzpodium
#A collection of poetic and soulful music” Jazzflits
“You believe to be taken into the depths of the soul” Jazzhalo
Marco Zenini/Christian Pabst/Erik Kooger (photo by Bart Voorbergen)
“Brilliant and deeply emotional” Musenblätter
“A mysterious sound-world whose fundament is an intriguing balance between composition and improvisation” wegotmusic.de
“Pabst is a virtuoso on his instrument as well as his musicians.
A virtuoso, complex but always melodic jazzalbum” Der Kultur Blog
“**** ”Inner Voice” pays dues to its title and is thus anything but a loud work. And especially because of that it has a lasting impact. Poetic, introverted and with great intimacy (…) deep, sophisticated but never over-complicated jazz aesthetics”” Soultrain
“Inspired and imaginative” anbeat
“A clearly harmonic and lyrical CD at its best. 8 beautiful compositions” Köllefornia
Iñaki Arakistain opens us to a musical concept unprecedented until now in Spain made by a saxophonist, in which Groove music coexists, with influences from Brazilian music, Latin Funk, as well as recently merging Flamenco with those styles, thus enriching its new projects united by the common language of jazz. He has released his new album “ANOTHER ROAD”, his 4th studio ALBUM, made up of excellent musicians from the national and international scene, full of good “Groove Latin” that mixes exotic sounds with roots as deep as Flamenco, Brazilian music, Afro-Cuban folklore and music. African-American as the Funk. Elegantly constructed harmonies and new sounds that travel towards a new musical direction from the most disturbing heart of this experienced and experimental saxophonist.
Iñaki Arakistain nos presenta su 4º ÁLBUM de estudio ANOTHER ROAD, grabado por excelentes músicos del panorama nacional e internacional, y cargado de buen “Groove Latin” dónde se entre mezclan sonidos exóticos y de raíces tan profundas como el Flamenco, la música de Brasil, el folclor afrocubano o la música afroamericana como el Funk. Armonizaciones elegantemente construidas y sonidos nuevos que viajan hacia un nuevo rumbo musical desde el corazón más inquietante de este saxofonista experimentado y experimental.