Friday, March 12, 2021

Srdjan Ivanovic Blazin' Quartet - Sleeping Beauty (March 12, 2021)

Never has a five-member quartet sounded better! ... or bigger ... or more profoundly, organically, articulate.

Joined by special guest, maestro flutist, Magic Malik, Srdjan Ivanovic's renowned Blazin' Quartet -- featuring Andreas Polyzogopoulos (trumpet), Federico Casagrande (guitar), Mihail Ivanov (double bass) and Srdjan Ivanovic (drums; keyboards; composer) -- delivers in truly omnipotent fashion. On the timeless "Sleeping Beauty," nine tracks of unpredictable, potent, refreshingly-divorced-from-the-status-quo-while-exceedingly-brilliant creative mettle are offered, awaiting your listening pleasure.

Seldom does such an ensemble jazz cast weave so seamlessly, yet play with such heartfelt emotion, conviction and, at times, abandon. With an inherent, extraordinary chemistry on display, moments of the most rare, exquisite beauty materialize while ascending to the fore. A delightful, resounding lack of pretense, combined with abounding imagination and sparkling, upper-echelon performances, contributes to an album that's as fresh and ingenious as ensemble jazz gets, from every facet.

1. Intro
2. Sleeping Beauty
3. The Man With The Harmonica
4. Guchi
5. Andreas
6. Rues des Balkans
7. Sleeping Beauty (solo guitar)
8. A l'Aube du Cinquième Jour (Gott Mit Uns)
9. Outro

SRDJAN IVANOVIC (Bosnia & Herzegovina, France) - drums, keyboards, compositions, arrangements)
MIHAIL IVANOV (Bulgaria- upright bass

special guest:
MAGIC MALIK (France) - flute

Sun Ra - Lanquidity (Definitive Edition) May 14, 2021 Strut Records

Strut present the definitive edition of Sun Ra’s classic ‘Lanquidity’ album from 1978 with brand new 4LP box set and 2CD editions, featuring the widely distributed version of the album alongside alternative mixes by Bob Blank originally released in limited quantities for a 1978 Arkestra gig at Georgia Tech. Both versions of the album are cut loud at 45 rpm over 2LPs each.

Recorded overnight at Bob Bank’s Blank Tapes on 17th July 1978 after the Arkestra had appeared on Saturday Night Live, the album is unique in the Ra catalogue. “Most critics felt that it was more of a fusion-inspired record,” explains Michael Ray. “As the name suggests, the album is liquid and languid.” Bob Blank continues, “Musically, it was very ad hoc and freeform. There were horn charts but most tracks came out of improvised jams. Sun Ra just did his thing.”

Comprising five effortlessly fluid pieces, the album eases in with Lanquidity. Danny Ray Thompson remembers, “This was one of Sun Ra’s on-the-spot compositions. It is almost like an Ancient Egyptian Stargazing Ceremony, mapping out the stars and the planets.” Where Pathways Meet is “Sun Ra’s funky version of an Egyptian march. Pharaoh is sending his troops off to fight and this is his pep-talk!” continues Thompson. “The music seems to take different pathways but still converges.” The loping groove of That’s How I Feel, features the reflective trumpet lines of Eddie Gale with solos by John Gilmore and Marshall Allen: “Marshall comes in with that snake charming oboe.” Says Thompson. The funky Twin Stars Of Thence weaves around Richard Williams celebrated elastic bassline while the haunting closer, There Are Other Worlds (They Have Not Told You Of), is pure “space music.” The poet Mama Nzinga described it as ‘The essence of light. Spirit takes a ride inside the deep dark space of just being.”
1. Lanquidity (Remastered)
2. Where Pathways Meet (Remastered)
3. That’s How I Feel (Remastered)
4. Twin Stars of Thence (Remastered)
5. There Are Other Worlds (They Have Not Told You Of) (Remastered)
6. Lanquidity (Alternate Mix)
7. Where Pathways Meet (Alternate Mix)
8. That’s How I Feel (Alternate Mix)
9. Twin Stars of Thence (Alternate Mix)
10. There Are Other Worlds (They Have Not Told You Of) (Alternate Mix)

CD 1
1. Lanquidity (8.19)
2. Where Pathways Meet (6.30)
3. That’s How I Feel (8:03)
4. Twin Stars Of Thence (9:55)
5. There Are Other Worlds (They Have Not Told You Of) (10.58)

CD 2
1. Lanquidity (Alternate version) (8.17)
2. Where Pathways Meet (Alternate version) (6.27)
3. That’s How I Feel (Alternate version) (12.06)
4. Twin Stars Of Thence (Alternate version) (9.49)
5. There Are Other Worlds (They Have Not Told You Of) (Alternate version) (10.54)

Nesin Howhannesijan - The Shadow Of Charles Mingus (March 2021)

''Nesin has a unique style of bass playing which is strong and expressive. He is intelligent and passionate as a musician.'' -Bruce Gertz (professor, Berklee College of Music)

1. Introduction 01:27
2. So Long Eric 03:21
3. Fables Of Faubus 06:26
4. Mingus Fingers 02:39
5. Laura 05:57
6. Reincarnation Of A Lovebird 06:15
7. Peggy‘s Blue Skylight 05:06
8. Bass- Ically Speaking 05:22
9. Fleurette Africaine 01:42

Upright Bass: Nesin Howhannesijan

Recorded by Nishan Melikian,
Nov 20th, 2020 at Nemesis Sound
Mastered by Jörg Surrey

Ombak Trio - Look For The Difference (2021 Live at Jazz Cerkno)

At the Jazz Cerkno, we continue to publish albums with concert recordings from our festival, which last year, despite difficult conditions, more than successfully celebrated its 25th anniversary! The album Look For The Difference by the Slovenian-Italian Ombak Trio is very special, as it is our first vinyl, released in a boutique edition of 50 copies. The vinyl record has an additional local touch, as it was cut in nearby Idrija by the company XV. obzorje (Fifteenth Horizon).

Ombak Trio is a newer band consisting of saxophonist Cene Resnik, cellist Giovanni Maier and drummer Stefano Giust. The band's music is inspired and spirited, similar to that of other Resnik bands, but with a much different sound, as Resnik plays the soprano saxophone in addition to the tenor, and Maier plays the cello instead of the double bass. The trio had a concert premiere at our festival, as before that they only gathered for the recording of their debut album.

Despite the fact that it was the first performance in front of the audience, the trio's concert was declared one of the best at the festival in the reviews. “The international Ombak Trio in the line-up Resnik, Maier, Giust at its Slovenian concert debut presented the highlight of the evening of music with the more open ends. They played subtle, clear music, which really could not be driven into uncertainty,” Žiga Pucelj wrote for Odzven. According to Brigita Gračner and Marko Doles, journalists of Radio Študent, the trio was “the least definable sound entity of the evening, but perhaps also the most interesting in their research,” while Darinko Kores Jacks wrote for Večer that the musicians “presented sophisticated combination of occasionally atonal, even cacophonous and yet harmonious, but by no means oversaturated sound lines close to calmer free jazz.” 

1. Look For The Difference 20:53
2. Again And Again As Always 11:35
3. Collision With Unknown Things 07:04

Ombak Trio - Look For The Difference
(Live at 25th Jazz Cerkno Festival)

Cene Resnik - saxophones
Giovanni Maier - cello
Stefano Giust - drums

Music by Ombak Trio
Recorded at 25th Jazz Cerkno festival on 17th September 2020
Recording, mix & master: Marko Turel
Cover design: Maruša Račič
Released and produced by Jazz Cerkno
Supported by the Ministry of Culture of Slovenia

Stefano Di Battista - Morricone Stories (April, 2 2021 Warner Music)

Stefano Di Battista revisite les plus beaux thèmes d’Ennio Morricone sur son nouvel album Morricone Stories qui sort le 02 avril chez Warner Music.

A peine quelques mois après la disparition d’Ennio Morricone, Stefano Di Battista qui a déjà beaucoup repris ses thèmes en concert, lui accorde tout un album et le résultat est spectaculaire. Avec Morricone Stories, l’altiste réunit André Ceccarelli à la batterie, Fred Nardin au piano et Daniele Sorrentino à la contrebasse. Cette formation de haute volée, célèbre le compositeur, mondialement connu pour ses musiques de films, avec plus de 500 compositions en soixante ans d’activité. De Mission au célèbre thème du Bon, la Brute et le Truand, ou encore Il était une fois en Amérique, le saxophoniste italien nous plonge au coeur de la musique de Morricone, avec en prime une composition inédite d’Ennio Morricone écrite spécialement pour cet album.

La musique d’Ennio Morricone pour le cinéma est une source créative infinie associée à une grande variété d’images. La plonger dans le jazz l’élève à un niveau inédit en créant une association parfaite, un partenariat naturel et presque inévitable. Et notamment lorsque ce dernier est entre les mains de quelqu’un comme Stefano Di Battista.

Le saxophoniste s’empare des thèmes du compositeur et les réinterprète, accompagné d'un groupe de choc : André Ceccarelli (batterie), Frédéric Nardin (piano) et Daniele Sorrentino (contrebasse).

Stefano Di Battista ne s’est pas cantonné aux plus célèbres bandes originales de Morricone, celles qui sont gravées dans l’inconscient collectif. Dans certains cas, Stefano a choisi des thèmes moins connus, ou plutôt des airs de films moins célébrés ou oubliés comme Veruschka ou Mais… Qu’avez-vous fait à Solange ?, à la fois pour se plonger encore plus profondément dans un répertoire encore peu exploré, mais aussi pour rappeler que Morricone a signé les bandes-son de plus de 500 films, dont seuls une poignée sont encore adulés aujourd’hui.
Ces mélodies sont à la fois raffinées et très précieuses, et vous aurez l’occasion de redécouvrir des thèmes que vous connaissez par cœur sous la forme de parfaits standards jazz, à l’image du swinguant et malin Metti, una sera a cena, ou encore Le Bon, la brute et le truand réinventé en duel d’improvisation, avec le saxophone reprenant la brève salve de notes inspirées par le cri du coyote, avant de se dissoudre dans l’émotion pure du “Deborah’s Theme” d’Il était une fois en Amérique.

On trouve également une relecture inspirée de The Mission, dans laquelle le hautbois de la version originale est transposé sans effort pour un saxophone soprano, et Flora, une composition inédite que le révéré Maestro a offert à Di Battista. Au final, la mécanique est sans faille et pourrait engendrer une série d’enregistrements, comme si une partie de l’esprit de Morricone avait toujours été – peut-être inconsciemment – tournée vers le jazz. L’’album “Morricone Stories” paraîtra le 02 avril 2021 chez Warner Music.

1 Cosa avete fatto a Solange (dal film Cosa avete fatto a Solange?)
2 Peur sur la ville (dal film Il poliziotto della brigata criminale)
3 La cosa buffa (dal film La cosa buffa)
4 Veruschka (dal film Veruschka)
5 Deborah’s Theme (dal film C'era una volta in America)
6 Metti, una sera a cena (dal film Metti, una sera a cena)
7 Apertura della caccia (dal film 1900)
8 Il grande silenzio (dal film Il grande silenzio)
9 Flora (world premiere recording)
10 La donna della domenica (dal film La donna della domenica)
11 Gabriel’s Oboe (dal film Mission)
12 The Good, The Bad And The Ugly (dal film Il buono, il brutto, il cattivo)

André Ceccarelli, drums
Frédéric Nardin, piano
Daniele Sorrentino, bass

Michel Portal - MP85 (March 2021)

A l’occasion de ses 85 ans, Michel Portal rompt un silence discographique de 10 ans (Baïlador, 2011) avec « MP85 »

Tout nouveau disque de Michel Portal est, en soi, un événement. Certains, plus que d’autres… Ainsi “MP85”. D’abord, parce qu’il vient rompre, avec éclat(s), un trop long silence, ensuite parce qu’il célèbre les grandes retrouvailles du musicien avec Label Bleu - 23 ans après que “Dockings” ait clôturé en beauté une collaboration féconde qui tout au long des années 90 aura donné naissance à quelques oeuvres clés de sa discographie ! Enfin (et surtout !) parce qu’à 85 ans, tout à la fois monstre sacré incontesté de la scène jazz européenne et éternel électron libre, Michel Portal, soucieux de ne jamais “se fixer” une fois pour toute dans un style ou dans un genre, signe avec ce disque joyeux et iconoclaste l’exact opposé de l’oeuvre testamentaire que d’aucuns escompteraient de lui à cet instant de sa carrière!

Porté par l’énergie d’un nouveau groupe entremêlant allégrement générations et traditions musicales, Michel Portal, loin de mettre au propre pour la postérité quelques “moments choisis” d’une vie dédiée corps et âme à la musique, poursuit avec “MP85” cette quête existentielle et artistique qui depuis plus de 60 ans le pousse à se remettre chaque fois “en jeu” et en mouvement. Délicieusement inclassable — lyrique, virtuose, spontanée et sophistiquée —, cette musique de l’instant présent, d’une totale liberté et définitivement affranchie de toute notion d’avant-garde et de classicisme, prend une nouvelle fois la tangente ! Avec une irrévérence juvénile irrésistible!

1. African Wind
2. Full Half Moon
3. Armenia
4. Jazzoulie
5. Split The Difference
6. Desertown
7. No Hay
8. Euskal Kantua

Michel Portal : clarinettes, saxophone
Bojan Z : piano, claviers
Nils Wogram : trombone
Bruno Chevillon : contrebasse
Lander Gyselinck : batterie

Wayne Krantz - Music Room 1985 (March 12, 2021)

Few musicians invest so much in the moment as guitarist Wayne Krantz, whose career has been defined by a fearless embrace of risk and a willingness to charge headlong into uncharted terrain -- testing himself and thrilling an ever-growing legion of dedicated, adventurous listeners. Whether experienced on record or in concert, Krantz’s singular style, immaculate technique, and improvisational daring -- combined with a subversive pop sensibility rarely evidenced in improvised music circles -- have established him amongst the foremost postmodern guitar renegades of our era.

Existing in a state of relentless forward motion, Krantz rarely has the time or inclination to look back, which makes the emergence of the newly rediscovered 1985 recordings gathered as Music Room 1985 all the more extraordinary. To be released on March 19, 2021 on the Abstract Logix imprint, Music Room 1985 was laid down by Krantz alone in a Reseda garage studio in the summer of 1985, with Krantz handling all the compositional and instrumental duties himself. Its six tracks predate his first solo album by five years.

“At the beginning of my career,” Krantz explains, “I had no connections to the record biz -- which was the only way you could release things back in those days.” Not long after committing a final mix to tape, Music Room 1985 was left behind -- a victim of the machinations of the music industry and Krantz’s own rapidly accelerating career as both a bandleader and a hired gun. Even Krantz himself didn’t manage to hang on to a copy. When reminded of the project in 2020, he reached back through his contacts, unearthing a safety copy in a now-obsolete media format. With much legwork, playback was achieved, and a high-resolution transfer was made.

As evidence that Krantz’s singular talent was already well established even at this early stage, Music Room 1985 is entirely convincing. Simply as an album of music long lost to time and now only being heard, it is staggering, offering an entirely unique brand of agile, intelligent instrumental pop before a label like “smooth jazz” was a genre, a radio format, or an artistic punchline. Defined by taught rhythms and insidiously infectious melodies, Music Room 1985 largely eschews guitar heroics while still managing to capture the intensity and exhilaration of improvisation. Skeletal drum programming is embroidered by intricately arranged and precisely executed interlocking guitar figures -- delivered in a clean, unforgiving tone recorded directly into the mixing board.
While a communal music at heart, jazz and its offshoots have a secret tradition of recordings created via the same person overdubbing multiple parts, from Sidney Bechet and Slim Gaillard to Keith Jarrett and Chris Potter. Music Room 1985 has a spiritual kinship with those early experiments, but is equally aligned with Prince’s knotted minimalist funk, the pop fusion hybrids of Ronnie Laws and George Benson, and the pure, endlessly fascinating guitar and rhythm box recordings of downtown icon Robert Quine -- but these are merely reference points. “It wasn’t based on anything happening at the time,” Krantz says. "I was already on a contrary path and Music Room 1985 was my version of ‘alternative’: jazz/instrumental music that worked more like pop, melody-centric with verses, bridges, hooks and few solos.”

When he was making the album, Krantz had just moved to New York, knew no one, and channeled both his isolation and his hopes into these recordings. Every snarled rhythmic figure is offset by soaring melodic gestures and pensive, reflective spaces. While he reached back to these recordings out of his own curiosity, Krantz realized that they had value not just as a snapshot of his journey’s progress at that moment, but in and of themselves. “It held up,” he says. “The sounds on it aren’t very trendy, so it doesn’t sound too dated to be relevant. It’s fun to listen to: it still has the vitality, mojo, and integrity that initially made it sound good.”

For its first release, no re-recording or remixing has been done to Music Room 1985. While one cannot help but wonder what its impact would have been had it found release in 1985, given that it sounds entirely fresh to modern ears renders such hypothetical indulgences entirely moot. Wayne Krantz has always looked to the future, and the present has still yet to catch up with him.

1. Cowboy 04:44
2. Fair 04:26
3. Becker 04:29
4. Pilgrim 05:11
5. Nice 04:21
6. Future 04:02

Wayne Krantz plays all instruments

Buddy Tate - Tate Live (March 2021 nagel heyer records)

Veteran tenor saxophonist Buddy Tate toured with a band led by young drummer Torsten Zwingenberger in both 1983 and 1988; the selections heard on this live recording made at the Quasimodo in Berlin are from the latter year. The rest of the group includes vibraphonist Hendrik Meurkens (who would later make a name for himself as a leader on several Concord releases), pianist Otto Weiss, and bassist Dieter Gutzkow. For the most part, the group sticks to extended workouts of well-known standards like "Tangerine" and "Sweet Georgia Brown," though a rare appearance by Tate on flute is ruined somewhat because the tape reel ran out prematurely. 

A furious take of "Jumpin' at the Woodside" is followed by a smoking closing blues, "She's Got It," with humorous (but somewhat throwaway) vocals by Tate and Meurkens. Tate proves to be an entertaining MC, and it is fun to hear him try to pronounce the drummer's name. Since this is one of Buddy Tate's last recordings prior to a 1988 heart attack (though he made a few recordings after his triple-bypass surgery), bop fans will want to pick up this Nagel-Heyer CD. AllMusic Review by Ken Dryden

1. Tangerine 10:38
2. Shiny Stockings 10:29
3. Intro SGB 00:18
4. Sweet Georgia Brown 10:41
5. Summertime 10:02
6. Intro JATW 00:31
7. Jumpin' at the Woodside 08:51
8. She's Got It 10:46

Buddy Tate - tenor sax, flute, vocals
Hendrik Meurkens - vibraphone, vocals
Otto Weiss - piano
Dieter Gützkow - bass
Torsten Zwingenberger - drums

Buddy Tate - Buddy and Soul: Live in Dublin 1976 (March 2021 nagel heyer records)

One of the more individual tenors to emerge from the swing era, the distinctive Buddy Tate came to fame as Herschel Evans' replacement with Count Basie's Orchestra. Earlier he had picked up valuable experience playing with Terrence Holder (1930-1933), Count Basie's original Kansas City band (1934), Andy Kirk (1934-1935), and Nat Towles (1935-1939). With Basie a second time during 1939-1948, Tate held his own with such major tenors as Lester Young, Don Byas, Illinois Jacquet, Lucky Thompson, and Paul Gonsalves. After a period freelancing with the likes of Hot Lips Page, Lucky Millinder, and Jimmy Rushing (1950-1952), Tate led his own crowd-pleasing group for 21 years (1953-1974) at Harlem's Celebrity Club. During this period, Tate also took time out to record in a variety of setting (including with Buck Clayton and Milt Buckner) and he was the one of the stars of John Hammond's Spirituals to Swing concert of 1967.

Tate kept busy after the Celebrity Club association ended, recording frequently, co-leading a band with Paul Quinichette in 1975, playing and recording in Canada with Jay McShann and Jim Galloway, visiting Europe many times, and performing at jazz parties; he was also a favorite sideman of Benny Goodman's in the late '70s. Although age had taken its toll, in the mid-'90s Buddy Tate played and recorded with both Lionel Hampton and the Statesmen of Jazz. Tate lived in N.Y. until January, 2001, when he moved to Phoenix, AZ, to live with his daughter. Buddy Tate died a few weeks later, on February 10. Scott Yanow, All Music Guide

1. Chicago 08:30
2. In a Mellow Tone 10:57
3. There'll Never Be Another You 08:08
4. I Can't Get Started 04:14
5. Theme Song I 07:44
6. All of Me 09:51
7. (Back Home Again In) Indiana 06:47
8. Body and Soul 05:08
9. Theme Song II 04:53
10. Theme Song III 03:09
11. Polka Dots and Moonbeams 04:58

Buddy Tate - tenor sax, clarinet, vocals
Tony Drennan - piano
Jimmy McKay - bass
Jack Daly - drums

Clark Terry - Star Eyes (March 2021 nagel heyer records)

Clark Virgil Terry (December 14, 1920 – February 21, 2015) was an American swing and bebop trumpeter, a pioneer of the flugelhorn in jazz, and a composer and educator.

He played with Count Basie, Duke Ellington, Quincy Jones, and Oscar Peterson.

His career in jazz spanned more than 70 years, during which he became one of the most recorded jazz musicians, appearing on over 900 recordings.

1. Willow Weep for Me 02:34
2. It Don't Mean a Thing (If It Ain't Got That Swing) 04:01
3. C-Jam Blues 03:29
4. Trumpet Mouthpiece Blues 04:08
5. Impeccable 04:21
6. What Will I Tell My Heart 06:26
7. Milli Terry 02:34
8. Funky 04:03
9. Clark's Expedition 02:32
10. Don't Worry 'Bout Me 03:16
11. Pint of Bitter 07:03
12. Basin Street Blues 02:48
13. Squeeze Me 05:02
14. Candy 02:24
15. Half a Sawbuck 07:16
16. Blues for Daddy-O's Jazz Patio Blues 04:36
17. It's Fun to Think 05:10
18. Phat Bach 03:19
19. Top 'N' Bottom 04:49
20. A Tune for the Tutor 06:29
21. Ocean Motion 01:46
22. Clark's Bars 03:39
23. Boomerang 06:00

Clark Terry - trumpet, flugelhorn

Various Artists

Banksia Trio - Live at Studio Dedé Tokyo (March 12, 2021)

Takashi Sugawa plays cello and contrabass. He born in Japan in 1982. Boston - Brooklyn, NY - currently live in Tokyo. Please visit my website for details.

An EP Album included 4 tunes performed by Banksia Trio (Takashi Sugawa on bass, Masaki Hayashi on piano, Shun Ishiwaka on drums). All tracks are taken from "Tokyo Basement Sessions", the streaming live at STUDIO Dedé Tokyo in July 2020.

1. The Last Dance 07:30
2. Kothbiro 13:14
3. Song of Nenna 11:36
4. Doppio Movimento 08:16

Takashi Sugawa - bass, cello
Masaki Hayashi - piano
Shun Ishiwaka - drums

Produced by Akihito Yoshikawa and Takashi Sugawa
Recording Engineer : Shinya Matsushita
Mix and Mastering: Akihito Yoshikawa (STUDIO Dedé)

New album from award-winning Canadian saxophonist PHIL DWYER / BPM Trio - Audi Alteram Partem (Available March 19, 2021 via Chronograph Records)

Award-winning Canadian saxophonist PHIL DWYER joins forces with his son BEN DWYER and East Coast Drummer MARK ADAM to form their new group the BPM TRIO to release their debut live album

AUDI ALTERAM PARTEM on Chronograph Records

“Audi Alteram Partem” is the legal principle whereby all sides be heard and accorded a fair right to reply. It is most certainly an apt principal central to great jazz, but here also references where Canadian music icon Phil Dwyer was in the fall of 2016.

Dwyer, the perennial award-winner and member of the Order of Canada, was embarking on a distinct career shift. He was in the midst of his law studies in Fredericton, NB and was somehow fitting in concerts here and there on Canada’s East Coast. He brought together this trio of himself on saxophone and piano, his son Ben Dwyer on bass and Mark Adam on drums, for a series of four concerts in Nova Scotia and New Brunswick. Mark had an inkling that it might be good to bring a small recording rig along so each night, after he got his drums set up, he managed to put up some mics. You know, just in case!

And so here we are, with the evidence of these wonderful concerts – one in Moncton, NB and one in Sackville, NB. Hosted by legendary Canadian trumpeter Roland Bourgeois, the trio played a blend of intimate, fearless, tender, on the edge music. The audience was perfect, encouraging the artists to keep saying what they needed to say. It was a great chance for old friends and new to share some road time and music together. This is the story of three Western Canadian musicians and an amazing home away from home.

1. Summer Night (9:21) - Harry Warren, Al Dubin
2. Bright Mississippi (6:42) - Thelonious Monk
3. Just Open Your Heart (7:12) - Barry Harris
4. Airegin (7:00) - Sonny Rollins, arranged by Phil Dwyer
5. Misty (10:41) - Erroll Garner, arranged by Phil Dwyer
6. My Melancholy Baby (6:35) - Ernie Burnett, George Norton
7. Narcolypso (7:43) - Phil Dwyer
PHIL DWYER (saxophone/piano) Appointed as a Member of the Order Of Canada and a Royal Conservatory of Music Honorary Fellow, Phil Dwyer has appeared on ten JUNO Award-winning recordings, and over thirty nominated recordings.

A practicing lawyer with his own fi rm in Nanaimo, B.C. Phil remains active as a performer, teacher, recording artist, curates “Phil Dwyer’s Jazz Canada” for CBC Radio Music, and is a partner in SeaWind Musical Instruments.

BEN DWYER (bass) is a young bass and saxophone phenom who grew up in a musical household on Vancouver Island. The son of Phil Dwyer, Ben has recently moved to Toronto from Montreal. Though very much rooted in jazz, Ben is a versatile bassist with a strong sense of feel, melody, and sound production. This has led him to perform around the world with some great artists of different genres.

MARK ADAM (drums) is a drummer and percussionist who performs, produces/ records, composes and teaches from his home base in Wolfville, Nova Scotia. He is an Associate Professor of Improvisation, Percussion and Contemporary Music at Acadia University who has worked with Canadian jazz icons such as Mike Murley, David Restivo, David Braid and Laila Biali.

ALTERNATIVE GUITAR SUMMIT Online Honoring Pat Martino - 3/20/21 at 8 PM EST

Alternative Guitar Summit, produced by Joel Harrison, streams a live concert to honor one of the greatest names in jazz guitar, Pat Martino.

The legendary Pat Martino is one of the most important jazz guitarists in the history of the instrument. The Alternative Guitar Summit celebrates the life and music of Martino in a concert by 12 extraordinary guitarists who interpret his compositions.

The Alternative Guitar Summit celebrates living composers / players every year. Despite the pandemic they are presenting a live-stream concert featuring a once in a lifetime aggregation of guitarists who will honor jazz guitar legend Pat Martino by playing his compositions. Five sets of guitar duos will play one duet selection and one piece with a rhythm section. Many jazz aficionados know Martino the soloist but few are aware of the depth of his compositions.

Concert information:
• March 20, 2021  --  8pm EST
• Sign up at the Alternative Guitar Summit: Music Festival (Information)
• Registration / “Pay What You Wish”
The concert is presented completely free of charge. However, there is a donation button when you sign up for the show and any contribution will go entirely to the production costs. In addition on 3/20 your contribution will go towards the PatMartino Go Fund Me Campaign.   Donations of any amount and frequency may be made to Pat’s Go Fund Me Campaign

Featured participants:
• Adam Rogers and Peter Bernstein
• Dave Stryker and Paul Bollenback
• Rez Abbasi and Jeff Miles
• Oz Noy and Nir Felder
• Sheryl Bailey and Ed Cherry
• Joel Harrison: solo
• guest Kurt Rosenwinkel: solo and Howard Paul of Benedetto Guitars
Rhythm Section: Dezron Douglas (bass) and Allan Mednard (drums)
Chulo Gatewood and Tobias Ralph (guest bass and drums)

There are a mere handful of guitarists that have changed the way we think about the guitar over the past five or six decades. Pat Martino is perhaps one of the greatest and best-known of those icons. This year we honor his enormous contribution to music.  Now at age 76, after a long, hard, incredibly eventful life, Pat is having health issues and faces financial challenges.  Here is your opportunity to help this living legend of jazz.