Friday, April 23, 2021

Sandro Gibellini, Ares Tavolazzi & Mauro Beggio - Put On a Happy Face (April 23, 2021 Caligola Records)

Sorprende che un gruppo nato nel 1996, formato da tre riconosciuti maestri della scena jazzistica italiana, abbia pubblicato sin qui soltanto tre dischi. Ancor più stupisce che, dopo «You and the night and the music» (1999) e «Let’s face the music and dance» (2001) – pubblicati entrambi dalla Splasc(h) Records – siano dovuti passare ben nove anni affinché Sandro Gibellini, Ares Tavolazzi, Mauro Beggio vincessero la pigrizia e si convincessero a raccogliere e incidere del nuovo materiale per questo terzo atteso lavoro. I loro numerosi estimatori lo aspettavano da tempo. Nelle nove tracce di «Put on a happy face», registrato in uno studio toscano nel marzo del 2009, vengono esaltate le principali caratteristiche del trio, che sono la costante ricerca dell’interplay – in una sorta di continuo dialogo tra i musicisti – e la freschezza della musica proposta. Il repertorio, scelto con estrema cura, mescola standard (alcuni celeberrimi come Moon river di Henry Mancini o la gershwiniana Strike up the band, altri meno noti come I’m through with love, delizioso brano d’apertura o quello, dallo swing fluido e contagioso, che dà il titolo all’album) a composizioni originali, una di Tavolazzi, un valzer, e tre di Gibellini.

Appare riuscita in particolare la ripresa di Jazz dream, che i suoi co-autori, il chitarrista bresciano ed il cantante Alan Farrington, presente come ospite soltanto in questo brano, avevano già proposto tre anni or sono in duo nel riuscito disco «Two of us…» (Caligola 2082). Il trio suona con grande relax, senza per questo apparire leggero o superficiale. Le linee melodiche di Sandro Gibellini, chitarrista estremamente versatile, sempre puntuale ed elegante, rispettoso della tradizione jazzistica ed allo stesso tempo originale, sono un invito a nozze per il raffinato contrabbasso di Ares Tavolazzi, dalla cavata agile e profonda, che trova a sua volta nel fantasioso e solido “drumming” di Mauro Beggio un partner altrettanto ideale.

Poco importa che ad intrecciare il dialogo siano musicisti di età e formazione così diverse (Tavolazzi è nato nel 1948, Gibellini nel 1957, Beggio nel 1970: fra il primo ed il terzo c’è quindi lo spazio di un’intera generazione). Questa è piuttosto la riprova, se mai ce ne fosse bisogno, che nella musica la differenza d’età non ha mai rappresentato un serio problema, né a nostro parere lo potrà mai costituire.

1. I'm Through With Love 08:00
2. Sati 06:14
3. Moon River 07:44
4. Strike Up the Band 03:33
5. Piccolo valzer per Ruiz 04:32
6. Question Mark 05:49
7. Put On a Happy Face 05:01
8. Flamingo 09:42
9. Jazz Dream 03:31

Sandro Gibellini (electric guitar)
Ares Tavolazzi (double bass)
Mauro Beggio (drums)

Special guest: Alan Farrington (vocals) on n° 9 

Doug Hammond - It's Born (April 23, 2021)

Doug Hammond is a drummer, singer, composer, producer, and coordinator. Best know as a composer for "Moves"on Charles Mingus LP, MINGUS MOVES 1974; for the Doug Hammond Trio featuring Steve Coleman and Muneer B. Fennell 1980-82 on ground breaking LP "Spaces", D.H. Trio with Dwight Adams and Pablo Nahar LP Singing Smiles 2005; and Doug Hammond Tentet "ROSE"2011.

1. For Our Souls / We People 07:27
2. Marcia's Move 03:50
3. It's Born 03:18
4. Treat For Reggie (For Reggie Workman) 02:52
5. World Protection Blues 03:55
6. Peaka's Dance 03:41
7. Crazy Over You 06:22
8. Mrs. & Mr. Cat / Leanin' / Perspicuity 04:18

Regina Carter - Violin
Dwight Adams - Trumpet
Wendell Harrison - Tenor Sax
Marion Hayden - Bass
Doug Hammond - Drums, Voice, Sansa

All compositions by Doug Hammond
Jodgoa Publishing Corp. ASCAP/GEMA
Produced by Doug Hammond
Recorded at Rebirth Studios, Detroit
Mixed by Doug Hammond and James Gibeau
Mastering and Overdub by Wolfgang Dorninger at Sonic Sound Studio, Linz

Ståle Storløkken - Ghost Caravan (April 30, 2021 Hubro Music)

The venerable composer and keyboardist Ståle Storløkken follows up his previous Hubro release (and solo debut recording), The Haze of Sleeplessness, with a second solo album performed entirely on pipe organ and recorded at Steinkjer Church by Stian Westerhus.

While the Norwegian Grammy-nominated 'The Haze of Sleeplessness' used a whole keyboard-museum’s worth of antique synths and contemporary digital software to create its vast array of sounds, everything on ‘Ghost Caravan’ is the product of one organ’s pedals, pipes and sonic plumbing.

1. Cloudland I
2. First Sphere
3. Cloudland II
4. Second Sphere
5. Cloudland III
6. Ghost Caravan
7. Cloudland IV
8. Third Sphere
9. Drifting On Wasteland Ocean
10. Fourth Sphere

Ståle Storløkken - Church Organ

Trond Kallevåg - Fengselsfugl (April 2021 Hubro Music)

Trond Kallevåg’s “Fengselsfugl” (prison bird in english) might well be the soundtrack of the prison-movie that director Wim Wenders never made, closely related to the musical landscapes of Ry Cooder and Bill Frisell. Once again joined by fellow Hubro-artist, the great Geir Sundstøl.

Old Norwegian prison ballads and years of work with inmates in Oslo Prison are a few ingredients the young Norwegian guitarist and composer Trond Kallevåg has put in his distinct lyrical and instrumental guitar-based sound of his upcoming album “Fengselsfugl” (Hubro). Instrumental front porch picking, folk, experimental lyrical soundscapes and field recordings combined with non traditional instruments such as musical glass and saw are some of the ingredients that make up the musical stew of Trond's cinematic and somehow familiar melodic compositions. Some may call it «cinematic nordicana».

“Fengselsfugl” is the long-awaited follow-up to his critically acclaimed album and Hubro debut “Bedehus & Hawaii” (Prayer house and Hawaii) from 2019 which was inspired by his deeply religious grandparents and their strange prayer house music that according to Trond sounded a bit like Hawaiian guitar-music or slack key. Both albums follow an artistic concept that is based upon his encounters with environments that stand next to the established. “Bedehus & Hawaii” was highlighted as one of the 15 best jazz albums in 2019 by Bandcamp - one of the world's largest websites for selling music: "Kallevåg has created one of the most gorgeous recordings to hit the shelves in 2019!"…"The contemplative release from Trond Kallevåg is a deep dive into serenity, where melodic improvisations melt into indistinguishable shapes and take on the logic of dreams." He has also by numerous reviewers been compared to guitarists like Ry Cooder and Bill Frisell. "Bedehus & Hawaii" locates Trond Kallevag Hansen at the right height on the heels of Ry Cooder and Bill Frisell." - Jazzaroundmag.

Trond is originally from the small rain-filled west coast town of Haugesund which he thinks has inspired his distinct lyrical sound. "For me personally, I think my music is very much inspried by my home town. I think it has something to do with the rain, the coastal landskape and the people living there, which conveys a kind of somber mood. My music also has that somberness, I prefer the sound, melodies and form over individual virtuosity.»

As with the previous record, Trond composed the music and mixed the record himself, which is a big part of his creative work. The recording was also this time recorded in three days in Studio Intim which is owned by the legendary Norwegian guitar player, and fellow Hubro-artist, Geir Sundstøl. On both albums Geir has contributed with his sublime steel guitar playing that perfectly matches Kallevåg's obvious affection for atmospheric film music and broadside ballads. In the sextet you also find one of Scandinavia’s foremost keyboardist David Wallumrød who tastefully complements the lyrical songs.
Trond tries to convey something personal through his music. While composing “Fengselsfugl” Trond wanted to draw inspiration from his many years of work with inmates inside Oslo Prison.

"There is a strange and interesting mood inside Oslo Prison. Getting inside the prison walls is like entering an unfamiliar world yet only separated by a dozen inch thick concrete wall. The inmates told me stories and gave me insight into their innermost feelings. Feelings that we all share as human beings. But of course, a few times also nasty and bad stuff.”

«Inside Oslo Prison I composed a lot of the music for the record. As on my previous album, "Bedehus & Hawaii", I wanted to portray self-experienced moods in my encounter with societies next to the “normal” and established. There are also several musical similarities between the prayer house music and the old prison songs, which makes "Fengselsfugl" a natural sequel to "Bedehus & Hawaii.”

He examined the prison songs or broadside ballads written by some famous Norwegian prison birds from the 1800-s who were national celebrities in their time. A broadside (also known as a broadsheet) is a single sheet of inexpensive paper printed on one side, often with a ballad, rhyme, news and sometimes with woodcut illustrations. They were one of the most common forms of printed material between the sixteenth and nineteenth centuries, particularly in Britain, Ireland and North America. They were also popular in Norway. They were often about famous people, stories and legends and often served as the social media of the time and often "Fake News". The famous prison birds of Norway served the entire Norwegian people with self-composed ballads, they created myths about their heroic and exciting lives. Many of the titles on the record are the same as some of the prison broadside ballads.

Trond uses his guitar as a tool for conveying his musical ideas that often has a strong melodic foundation and storytelling quality to them but still open enough for his fellow musicians to express themselves effortlessly. Everything seems to fall quite naturally into place, sounding intimately poised and at home with itself. “I wanted the musicians to express themselves without feeling limited by the music, but I also wanted to tell stories and have a cinematic quality”, he says.

The music draws in expressions from folk music, American folk / blues where one can mention Ry Cooder and the eccentric composer and folk musician Kenneth Sivertsen from his home town. Hawaiian Slack Key tradition inspired by Joseph Spence and Ray Kane. In addition to classical music and modern improvisation, in combination with electroacoustic musical directions inspired by Arne Nordheim and Helge Sten, among others. 

1. Til fengselet jeg vandrer 05:01
2. Amerikabåten 03:50
3. Brevet 04:16
4. Desember 04:51
5. Sentralen 02:10
6. Cowboy og Indianer 04:39
7. Porten 02:15
8. Bodskirken 03:07
9. Levnedsløp 03:10
10. Fengselsfugl 07:27

Trond Kallevåg: acoustic and electric guitar, electronics and field recordings
Adrian Løseth Waade: violin
Geir Sundstøl: electric guitar, pedal steel and harmonica
David Wallumrød: upright piano, Wurlitzer, Arp Solus, Clavinet, Minimoog og Logan Strings
Alexander Hoholm: double bass
Ivar Myrset Asheim: drums, chimes, percussion, musical saw and glass

OUT FRIDAY: Spike Wilner's ALIENS & WIZARDS due out April 23, 2021 via Cellar Music Group

Celebrated Pianist and Impresario Spike Wilner to Release 'Aliens & Wizards' with Cellar Music Group on April 23, 2021

Cellar Music Group, in association with the SmallsLIVE Foundation, is thrilled to announce the release of Aliens & Wizards, the new album by the Spike Wilner Trio. Recorded at the height of the pandemic,  Aliens & Wizards features newly composed music by jazz veteran and impresario Spike Wilner, with the addition of several thoughtful renditions of jazz standards.  This spirited release is the follow-up to the trio’s 2017 Cellar Music Group recording Odalisque

Steadfast pianist, bandleader and club manager Spike Wilner has enjoyed a long tenure on the New York City and global jazz scenes, performing with the likes of The Artie Shaw Big Band, The Glenn Miller Orchestra, Maynard Furgeson & Lennie Cuje while remaining highly active as a bandleader all while managing iconic NYC Jazz shrines Smalls and Mezzrow. Wilner is joined here by two long-time collaborators, bassist Tyler Mitchell (Art Taylor, Jackie McLean, Barry Harris) and drummer Anthony Pinciotti (James Moody, Dr. Lonnie Smith, John Abercrombie).

This electrifying release marks the beginning of a fruitful collaboration between Cellar Music Group and The SmallsLIVE Foundation. The foundation will carry out its mission to support artists by funding album releases through the Cellar Music Group. As Cory Weeds, the label’s founder, notes “2020 has been a year to forget, yet in the most difficult of times, Spike continues to inspire with his unwavering dedication to the presentation of this music through his clubs, Smalls Jazz Club and Mezzrow, and through recordings, streaming and other important initiatives that serve this music. It’s fitting that the first release – in what we hope will be one of many – is a date led by Spike himself.” The SmallsLIVE Foundation is dedicated to the creation and propagation of jazz music in New York City through recording, live streaming, archiving, educational initiatives and live performances.
In March 2020, tragedy struck and Smalls and Mezzrow were closed to the public. Wilner took the opportunity to stay in Pennsylvania for several months with family and, like many musicians during this time, focused on practicing and composition. Informed by great change and isolation,  Aliens & Wizards was born. 

Aliens & Wizards begins with the bright-tempoed “Righty – O!”, Wilner’s piano-centric rendition of a piece by the late drummer and friend of Wilner, Johnny Ellis. Right out of the gate, Wilner demonstrates his seamless integration of ragtime, bop and contemporary stylings.  Also on full display is the interplay of a trio with an unmistakably rich history of collaboration. While these three players have worked together in various incarnations since they were quite young, this iteration of the Spike Wilner Trio was first assembled in 2012/2013 and has been a working band ever since, touring Europe and performing regularly throughout New York City.

Non Troppo” and “Adagio” are both Wilner pieces inspired by the artist’s study of Bach and Beethoven. “Non Troppo” specifically is inspired by the movement of a Beethoven sonata, and the title refers to the musical tempo marking “allegro ma non troppo” meaning “at a brisk tempo, but not too much!”. Fittingly on this third-stream inspired piece, Wilner’s melodic refrains flow from his fingers with ease and a beautiful simplicity, each statement answering the last. Similarly, “Adagio” refers to a slow tempo marking. The intro is bowed beautifully by Tyler Mitchell, setting the tone for a moody and wistful piece with a supple melody wrife with harmonic intrigue. “Adagio” is a heartfelt tribute to Wilner’s wife and daughter.
Lush interpretations of standards mark the center of this album, with Wilner’s take on “Blue Gardenia” and “Stella by Starlight”. “Blue Gardenia”, written by Lester Lee and Bob Russell and later popularized by Dinah Washington, features a deeply soulful improvisation by Wilner, showcasing the band’s dynamic sensibilities. “Stella by Starlight” features fiery improvisations from both Wilner and bassist Tyler Mitchell. The album’s title track “Aliens & Wizards” is a free improvisation, demonstrating the enormous range and cohesion of the ensemble.

Wilner notes “We are grateful to partner with Cory Weeds and The Cellar Music Group on presenting artist projects commissioned by the SmallsLIVE Foundation”. Until we can once again venture to Greenwich village, descend the narrow stairway of smalls’ heralded hall and sit elbow to elbow with fellow jazz lovers, taking communion from the luminaries of our times, Wilner is dedicated to bringing the music to the people in a multitude of mediums, supporting the artist community that he has gone far to cultivate over his illustrious career.

1. Righty-O! 3:54 (Johnny Ellis)
2. Non Troppo 6:55 (Spike Wilner)
3. Adagio 6:31 (Spike Wilner)
4. Mindset 4:36 (Spike Wilner) 
5. Blue Gardenia 4:22 (Lester Lee, Bob Russell)
6. Stella by Starlight 4:34 (Victor Young)
7. Aliens & Wizards 3:18 (Spike Wilner)
8. Prayer for Peace 6:09 (Spike Wilner)
9. Trick Baby 5:45 (Spike Wilner)

Spike Wilner piano
Tyler Mitchell bass
Tyler Pinciotti drums

Recorded at GB'a Juke Joint, Astoria, NY on August 16th and 22nd, 2020

Jeremy Monteiro / Jay Anderson / Lewis Nash - Live At No Black Tie (Kuala Lumpur) April 23, 2021 on JazzNote Records


Pianist JEREMY MONTEIRO considers himself a very fortunate man. Renowned as one of the premier jazz pianists in Singapore, he is presently entering the 45th year of a career spanning concerts, education, and music administration. He has played and recorded with many of the world’s greatest jazz artists, including James Moody, Benny Golson, Michael Brecker, Bobby McFerrin, Randy Brecker, Lee Ritenour, Herbie Mann, Paulinho DaCosta, Ernie Watts, Charlie Haden, Terumasa Hino, Al Foster, Carmen Bradford, and Toots Thielemans.

In the 1980s, Monteiro formed a partnership with the legendary bass/drum team of Eldee Young and Redd Holt, who had earlier worked as two-thirds of the Ramsey Lewis Trio. One night in 1986, Claude Nobs, the producer of the Montreux Jazz Festival stopped for dinner at a restaurant in Singapore, and heard a recording on the overhead speakers. Nobs asked who was playing, and when he was told it was Monteiro, Young and Holt, Nobs called the pianist and offered him the opportunity to play on the main stage in the 1988 festival, provided he could bring Young and Holt. Monteiro came through, and the resulting live album marked a milestone in the young pianist’s career.

Thirty-five years since that historic concert, Monteiro’s latest album LIVE AT NO BLACK TIE finds the pianist at the helm of another all-star trio. Bassist JAY ANDERSON and drummer LEWIS NASH rank among New York City’s most in-demand jazz musicians, but Monteiro did not come to New York to record with them; rather, it was Anderson and Nash who made the trip to Kuala Lampur to work and record with Monteiro. LIVE AT NO BLACK TIE was recorded and mixed by exceptional sound engineer Sunil Kumar in Kuala Lumpur and mastered by Klaus Endel in Germany.

The opening track, Dave Brubeck’s “In Your Own Sweet Way,” is a song that Monteiro returns to every three or four years. The new edition begins with it a mysterious introduction which gives no hint of the Brubeck melody. All three musicians take part in this prelude, with Monteiro’s rubato improvisation answered by Anderson’s rich tones and Nash’s glimmering cymbals. Once the melody has appeared and gone, Monteiro, Anderson and Nash subtly interact with each other, propelling Monteiro into an ecstatic improvisation which reveals his diverse influences, including Oscar Peterson, Erroll Garner, Chick Corea, and Keith Jarrett.
A swift-paced “Just in Time” follows, with all three musicians providing solos which offer an admirable contrast with each other, while supplying powerful musical content. Duke Ellington meets Erroll Garner in the opening chorus of “Prelude to a Kiss,” but after Anderson’s dramatic bass solo, Monteiro returns with a conception which subtly changes the scope of the arrangement. “Mode for Love” is Monteiro’s tribute to James Moody.

Late in his career, Moody experimented with inverting some of the modes used by John Coltrane. Monteiro was duly impressed with Moody’s discoveries and commemorated them with this tune, the title of which puns on Moody’s famous solo on “Moody’s Mood for Love.” As Monteiro readily admits, the modally-based composition doesn’t resemble Moody’s bebop, but the inspiration clearly rests with the spirit of the iconic saxophonist.

The wistfully melodic original, “Josefina” is dedicated to Monteiro’s wife. Anderson shows his respect to the composer and his subject by using the song’s arching main phrase as the primary building block of his solo. “Mount Olive” is also a dedication, this time to Eldee Young and Redd Holt, who dragged a tired Monteiro out of bed early one Sunday morning to attend a black congregational church. The overwhelming spirit of the music never left Monteiro, and the trio brings the sanctified spirit from the south side of Chicago to downtown Kuala Lampur. The last piece in this set of dedications is “Life Goes On,” a heartfelt tribute composed shortly after the death of Monteiro’s father. Monteiro—whose style was once described as “Ravel meets the blues”—displays both impressionistic and soulful ideas in his emotionally overwhelming improvisation.

“Monk in the Mountain,” co-composed by Monteiro and Hong Kong guitarist Eugene Pao, has nothing to do with Thelonious Monk. It celebrates an American man who gave up all of his worldly possessions to become a Buddhist monk to live in seclusion amidst nature. The trio gives this modally-based original an energetic workout, with Nash’s beat patterns and Anderson’s inquisitive counterpoint providing the necessary fuel to lift Monteiro to great creative heights. The passion which Monteiro injects into his solo jumps from the stereo speakers into the listener’s soul, and one can only imagine the excitement that this performance generated within the nightclub. The trio rides on that groove for the album closer, Herbie Hancock’s “Watermelon Man.”

Monteiro has received many awards and honors in his career, including the coveted Cultural Medallion (the highest artistic recognition available in Singapore), two literary awards from the Golden Door Awards (for his memoir, Late-Night Thoughts of a Jazz Musician), and a Silver Medal for Best Music Score from the International Radio Festival in New York for his original composition, “Overture in C Major: The Story of Singapore.” Live at the No Black Tie is his 45th jazz album, and Monteiro hopes to reissue several of his older albums on his own label within the next few years. As is appropriate for a very fortunate and talented musician.

THOMAS CUNNIFFE is the publisher, editor and principal writer of

1. In Your Own Sweet Way 12:07
2. Just in Time 7:09
3. Prelude to a Kiss 9:14
4. Mode for Love (for James Moody) 7:47
5. Josefina 6:31
6. Mount Olive (for Eldee Young & Redd Holt) 9:11
7. Life Goes On 6:56
8. Monk in the Mountain 12:20
9. Watermelon Man 7:18

23 Aprile - "Non ci credo", nuovo singolo per il cantautore salentino Scuro


Sonorità incisive e spirito rock si mescolano con elettronica e melodie pop: "Non ci credo" è il nuovo singolo del cantautore salentino Scuro. In uscita venerdì 23 aprile, a questo link, su tutte le piattaforme digitali per Artist First, nel brano prodotto con Adriano "Sure" Sicuro ed Errico "Ruspa" Carcagni, registrato tra Overloud Studio e L'Isola Studio con mix e mastering di Donato Romano, Scuro (chitarra, synth e voce) è accompagnato dalla batteria di Giordano Bello.

Musicalmente, il beat passa da un accento urban e una pulsazione trip - hop a uno sfogo finale più industrial rock. Il testo, attraverso toni dissacratori e sarcastici, ruota intorno al tema principale delle “fake” presenti sia nel mondo dell'informazione sia nelle emozioni quotidiane, intese come stati d’animo miseri e disagevoli che costringono ogni individuo a indossare una maschera. Parte da questo concetto l'idea dell'identità visiva dell’art work della copertina creato da Toto De Lorenzis, nel quale l’artista ha il volto coperto da uno “smile”. Falsa informazione, apparenze, mancanza di autenticità e giustizia: prendere atto di tutto questo ci porta a uno stato di impotenza, tanto che, come rimarcato nel ritornello, “non ci resta che ridere”.
“In questo brano ho voluto dare spazio non più all’introspezione e alla malinconia ma al vigore della sonorità e allo spirito critico, velato da uno spesso strato di sarcasmo", sottolinea Scuro. "Sono maggiori le cose in cui non credo rispetto a quelle in cui credo, ma a queste ultime dò un valore molto alto. L’impegno per la musica e il suo messaggio per me sono di vitale importanza, così come l’amicizia e i rapporti umani. In quest’anno di limitazioni e sacrifici", prosegue il cantautore, "ho messo tutta la mia energia nelle canzoni. “Non ci credo” è un brano del quale sono davvero soddisfatto e che utilizza un linguaggio più diretto, dando una svolta alle mie sonorità. Mi piace molto spaziare tra gli stili musicali ed esplorare nuove direzioni dando sfogo a tutto ciò che è il mio background. In questo caso il pop e l’elettronica si arricchiscono di elementi urbani ma anche tribali; ho dato spazio alla chitarra che è il mio strumento e finalmente a quell’anima rock che da tempo tenevo sopita”.

Scuro è cantante, chitarrista, autore. Leader dei Logo con cui nel 2010 pubblica l'album "Backstage", finalista di SanremoWeb nel 2009 e vincitore del Jack Daniel's Tour nel 2008, vittoria che permette al cantautore di esibirsi a Nashville negli USA ed aprire live di Hard-Fi e Mick Jones dei Clash. Cantante e chitarrista di Moods con cui pubblica l'album "Wailing" nel 2015 (primo posto nella I-tunes Electronic Chart), vince il contest degli emergenti al RockinRoma e apre i concerti di Chemical Brothers, Prodigy e Subsonica. Allievo del CET, la scuola Autori di Mogol e con un’esperienza live decennale fatta di migliaia di esibizioni e chilometri in tutta Italia, dà quindi vita al progetto solista Scuro, percorso battezzato con il suo primo lavoro discografico Scuro EP pubblicato nel 2019. Il mondo sonoro in cui si muove Scuro Ep spazia dal pop-rock dalla vena più bluesy ad un pop moderno con la cassa in 4 quarti, ma sono presenti anche ritmi più urbani e dalle connotazioni new soul o trip-hop. Nel Dicembre del 2020, dopo quasi un anno dal lancio del suo primo lavoro discografico, pubblica il singolo Da un’altra vita, seguito, nell’Aprile del 2021, da Non ci credo.

Hardcell (Berne / Taborn / Rainey) - Sensitive (April 2021 Screwgun Records)

This is a live recording of the first hardcell gig.
Found it in a box of cdr’s mislabeled as “Almost Quicksand”.
This was the first time playing w/Craig as well...I remember feeling euphoric that night ....kind of like a new chapter of insanity was about to start.
I Think i may have been right.
Mastered by TORN.

1. Heavy Mental 07:30
2. Twisted 10:24
3. The Opener 12:10
4. Thin Ice 39:02

Craig Taborn keyboards
Tim Berne alto sax
Tom Rainey drums

Music Tim Berne party music BMI

Mastered by David Torn
Recorded 12/3/2000
By Daniel Goldaracena

PS5 - Unconscious Collective (May 21, 2021 HyperJazz)

'Unconscious Collective' is the first album by PS5 - the new ensemble led by Pietro Santangelo (Nu Guinea, Slivovitz, Fitness Forever). It’s a further step in the label’s path in trying to connect the musical tradition of South Italy, the love for African-American music, and new ways of expression.

It’s a musical experiment where layered memories and hidden feelings resonate as if they arise directly from the most recondite part of the unconscious and produce a suspension of the stream of consciousness. With the aim to create a state of trance and override the human reason, this is an imaginary round trip across the Mediterranean Sea and the Atlantic Ocean, ideally connecting Naples with North Africa and Latin America.

The arrangements wrote by Santangelo are based on great freedom of improvisation: while the melodic textures of the two saxophones didn’t give any clear references, the other musicians followed the rhythmic pulse and its unpredictable ways. The music moves naturally along an imaginary line highlighting the ancestral connection between Jamaica and Ethiopia or between Nigeria and Cuba. In the background, Naples is a synthesis of all the sonic ingredients, mixed and cooked in its own mystical and spicy belly.

1. Transe Napolitaine
2. Babalawo
3. Amigdala
4. Šulūk
5. Makeda
6. (don't step on the) Mome Raths
7. Sempre Dodici
8. Idris (digital extra)

PS5 are:
Pietro Santangelo - tenor and soprano saxophone, vocals
Paolo “Batà” Bianconcini - percussion
Giuseppe Giroffi - alto and baritone saxophone
Vincenzo Lamagna - bass
Salvatore Rainone - drums

All tracks are composed and arranged by Pietro Santangelo
Performed by PS5

All tracks are recorded and mixed by Fabrizio Piccolo at Auditorium Novecento, Naples,

Mastered by Davide Barbarulo at 20Hz20Hz Studio

Evon J. Sams - Mother Earth (April 2021)

Mother Earth is the result of an idea that I have had for some time now. Seeing the change in our environment over recent years has been somewhat discouraging. Even more discouraging is our perception of our responsibility to our planet. It is my hope that this project helps us to slow down, think, and truly realize the beauty of our world. This project was influenced by my understanding of science and the way in which nature behaves. If you can, listen, and enjoy, in nature.

Night and Day is a solo piano arrangement of the jazz standard Night and Day by Cole Porter. This meditative reflection highlights the beauty that can be heard by listening to nature at night.

Tea Tree is a song inspired by the infinite ways that nature exists, including its asymmetry. The piano ostinato is in five which although considered to be an odd time signature, still has a comfortable dance to it in this piece. Additionally, there is a consistent tempo. The way in which the instruments interact is very organic and leaves room to understand that music, as well as nature, is infinite in the ways it can interact.

Mother Earth is a piece written through the lens of an excursion through three different regions (Africa, South America, and India). Each country lasts for exactly one day. This is illustrated through the form of the piece. Each section is exactly 24 measures long indicating a full day. The bass clarinet punctuates the middle of the day at the 12-hour mark and there is a 5 beat transition that signals the next day.

The Garden of Eden is the only piece of music to date that I have both written the lyrics and composed the music. It is my hope that we can return to a world that is more compassionate-- not only towards the environment but in the way we interact with all life on this planet.

1. Night and Day 02:32
2. Mother Earth 02:14
3. Tea Tree 03:32
4. The Garden of Eden 04:27

Evon J. Sams- Saxophone, Bass Clarinet, Flute, Piano
Alysha McElroy- Hodges-Lead and Background Vocals for The Garden of Eden
Runere Brooks- Acoustic Bass on The Garden of Eden and Tea Tree
Joel Baer- Drums on The Garden of Eden and Tea Tree

Kevin Nadolski- Mixing and Mastering
Bernice Mersala Batt- Consultant
Scott Stolarz- Consultant
Haley Hamilton- Editor

The J. & F. Band - Me and the Evil (April 2021 Long Song Records)

The J.&F. Band, already hailed by some as “the blues version of the Sun Ra Arkestra”, returns with the third incredible chapter of its musical history, “Me and The Devil” and thus closes an ideal trilogy where it has increasingly expanded its creative journey through many genres and styles, the result of a passion and musical vision now without limits.

"… Atmospherical intros? Super funky grooves? Extended improvisations mixed up with great vocal parts? Yeah! You’re in the right place, you’re gonna find everything you need right here, in J&F Band’s third chapter! “Me And The Devil” is the musical melting pot in which Funk meets Blues, where the spirit of John Gilmore from the Sun Ra Arkestra encounters the ghost of Gil Scott-Heron... with the incredibile guitars of David Grissom (Joe Ely, John Mellencamp and many others), Bobby Lee Rodgers (Codetalkers with Colonel Bruce Hampton) and Scott Sharrard (Gregg Allman Band, Little Feat); the super high-energy rhythm section of Jaimoe (legendary Allman Bros drummer), Joe Fonda (jazz bass giant) and Tiziano Tononi (explosive and revered drummer); the crazy keyboards of Pee Wee Durante (funky keys master); the tight violin /tenor sax duo section of Emanuele Parrini (the best jazz violin player on the scene. period.) and Jon Irabagon (fantastic and versatile player from NY).

It’s not for everybody: for STRONG HEARTS only! AND - AS ALWAYS - REMEMBER TO... PLAY IT VERY LOUD!" 

1. Tizville 10:23
2. Me And The Devil Blues 10:20
3. Hendrix Lane Long 13:45
4. Seven Seas Crossing 10:45
5. Get Some Love 06:19
6. Spanish Moon 08:11
7. Nothing Matters 19:17

electric and double bass,
vocals, flute, vocals a backing
drums, percussion, gongs
tenor saxophone, flute
guitar, vocals, backing vocals
guitar, vocals

recorded at Firehouse 12 Studio, New Haven, by NICK LLOYD and GREGG COSTA, with special support by ASHLEY REDBONE

Matt Lavelle / Ras Moshe / Tom Cabrera - Invocation (April 23, 2021 Unseen Rain Records)

Convening at Woodshedd Studio, New York Downtown stalwarts Ras Moshe and Matt Lavelle joined Woodshedd and Unseen Rain artist Tom Cabrera and found themselves deeply affected by the recent loss of several of their colleagues, among them Ramsey Ameen and Juan Quiñones, to whom two tracks here are dedicated. A ritualistic atmosphere developed and the tracks here are imbued with loss, freedom and ultimately joy. Cabrera, Moshe and Lavelle lead the listener through extremporaneous reflections on the dance of life itself.

1. Invocation for Juan 07:36
2. Procope 06:19
3. Phobos and Deimos 07:58
4. Earth's Core 07:52
5. For Juan 07:27
6. Holylodics 09:47

Matt Lavelle - bass and alto clarinets, trumpet
Ras Moshe - tenor saxophone, flute, percussion
Tom Cabrera - drums, frame drum

Recorded at Woodshedd Studio, Westbury, NY
Mixed and Mastered by Larry Hutter, Orlando, FL

Barbod Valadi - Scattered Shadows (April 2021)

‘Scattered Shadows’ creates a mystical mood and sense of ambivalence, which invites reflection and contemplation of our modern lives. The album is an exploration of our fragmented, modern human experience when global mobility is at its height, and our lives are increasingly transient.

There are scattered shadows in every society: the individuals whose existence is important, yet remains largely unseen. Whose lives and work are vital to upholding our civilisation, yet is carried out largely in the background; sometimes thanklessly, often without certainty or security.

1. Guileless Dream 07:45
2. Scattered Shadows 04:42
3. Desolate Idea 05:11
4. Strangers' Way 04:38
5. Shadow of a Doubt 05:02
6. Void Resistance 05:52
7. Surpassed 06:47
8. Breathless 06:56

Barbod Valadi: Guitar & Compositions
Julien Wilson: Tenor Saxophone & Clarinet
James Ball: Piano
Ben Robertson: Double Bass
Danny Fischer: Drums

Recorded in Pughouse Studios
Niko Schauble: Sound Engineer, Mix & Mastering