Thursday, November 25, 2021

Louis Winsberg - Temps Réel et 3 Concerts Parisiens !

Nous sommes heureux de vous annoncer la sortie du nouvel album de Louis Winsberg « Temps Réel », un trio « hors format » alliant le vocal, le rythme , les sons inédits, la guitare dans tous ces états, par le biais de l’écoute et de l’improvisation… Avec deux phénomènes de la scène européenne, deux chanteurs et rythmiciens hors paires: Jean Luc Difraya et Patrice Héral (Label Gemini). Avec les 20 ans de Jaleo, la sortie du film « Musica »  et ce nouveau trio, c’est une actualité exaltante et foisonnante que nous vous proposons de découvrir sur 3 soirées parisiennes exceptionnelles:


Louis Winsberg tournera avec le projet "Jaleo 20 ans" et le trio "Temps Réel" sur l'été 2022, et la saison 22/23 (Backstage Productions travaille en collaboration amicale avec Nemo Music)

Danilo Brito / João Luiz - Esquina de São Paulo (December 10, 2021 ZOHO Music)

When stars come together, an album like this is born. João Luiz and Danilo Brito are both master musicians in their own rights, playing music at the highest level. A virtuoso of the popular music of his native Brazil, guitarist Luiz began playing professionally during his childhood and was later trained in classical guitar by his mentor, Henrique Pinto. He has collaborated with the likes of Yo-Yo Ma, Paquito D’Rivera, Sérgio Assad, Leo Brouwer, Egberto Gismonti, Bridget Kibbey, and Clarice Assad. He’s also an integral member of the New York creative community, as the director of chamber music at CUNY Hunter College.

Danilo Brito is a genius on the mandolin and an authority in Choro. He is also a celebrated composer and arranger. Choro has the same cultural parents as jazz and blues. European forms melded with African ideas to produce a family of fresh, new forms throughout the New World - marked by virtuosity, syncopation, counterpoints, and improvisation with an intense expression of feelings, from cheerful to melancholy.

João and Brito first met in 2004 at the Visa Music Award. Though it was a quick encounter, Brito’s was able to “see the brilliance of João’s playing.” Brito continued, “I realized that he had a sound of a classical guitarist but was full of Brazilian swing of popular music.” Years later, in 2017, they performed together at Jazz at Lincoln Center in New York. “The energy was so good that we went on a tour the next year,” said Brito.

You can hear their energy and magnetism on Esquina de Sao Paulo (“Sao Paulo Street Corner”.) You can also hear their friendship. The repertoire came from options Brito showed João that came from that first performance in NY, when he was a featured guest, and the duo's tour the following year. Brito had made some home recordings and sent them to João. Of course, João was duly impressed and rendered them afresh with his arrangements.

Gargalhada was composed by Pixinguinha in 1917 for flute. It is a Schottische, a European dance genre, but it has strong Brazilian characteristics and feelings. This is clearly an advanced piece, with its progressive sections moving from delicate to dynamic. Brito and João move through the number with precision and heart.

The title track Esquina de São Paulo appears for the first time on this album. It plays as a tango initially but turns into a waltz in parts B and C. The title refers to the old serenades made by inspired musicians such as Francisco Mignoni, a great Brazilian pianist composer who characterized his romantic waltzes as “valsas de esquina” that we could thus translate as “street corner waltzes.” The interplay between Luiz and Brito is on full display in this number, as they seamlessly move between sections with dexterity and grace.

Feia is a waltz by Jacob do Bandolim originally recorded by the author in 1948, which later received a new recording with grand orchestra. “Feia” means “ugly” in feminine, as “waltz” [valsa] in Portuguese is a feminine word.

Salsito no Choro is a groove-oriented selection that has its first recording on this very album. The duo performed with Paquito D’Rivero in New York. The piece moves between a choro in the A section which alludes to the salsa, allusion to Cuba, where D’Rivera was born. The title “Salsito” is a mashup of Salsa and Paquito.
The duo’s upbeat Benzinho is a choro by Jacob do Bandolim that he first recorded in 1955 and then again in 1961. This rendition is exquisitely arranged by João, and the performance evokes a romantic, hopeful vibe.

Despertar da Montanha is a composition by Eduardo Souto that some identify as Brazilian Tango and others as Fado-Choro. It’s a kind of Tango that’s very different from Argentinian Tango. This is an elegant, more pensive piece where we can experience the strings become heartstrings, evoking feelings of warmth and nostalgia.

Primas e Bordões is a Choro by Jacob do Bandolim that has been rarely recorded. There was a clip from a TV show in 1965 There was a clip from a TV show in 1965 with the song. That is the version that everybody knows. It’s radiant, and Brito wanted to highlight it. Parts A and B are Brito's mandolin solo and João comes in for part C.

Perigoso is by Orlando Silveira, the Brazilian accordionist, conductor and composer. Choro music can be technically difficult. Composers create “challenges” for the musicians, which demand a lot from them. Certain pieces are “dangerous” to play. So, maybe this is an explanation for the name “Perigoso.” It has a winding melody that is difficult to play.

Chovia by Brito is a waltz, melancholic, composed in a moment of inspiration, of introspection, on the balcony of an apartment while it was raining on a gray afternoon in São Paulo. The melody flowed easy and within five minutes the song was ready, almost the same duration of this piece. It was originally recorded in 2008 on the album Sem Restrições

Not only is this an album of incredible merit, it’s also a testament to friendship borne through music. That these two remarkable musicians have come together to render such a masterpiece is a shining example of collaboration, camaraderie, and creativity. It has been an honor to help produce this project with them.

Kabir Sehgal, producer, is a Multi Grammy & Latin Grammy Award winner.

1. Gargalhada (Pixinguinha) 5:39
2. Esquina de Sao Paulo (Danilo Brito) 5:12
3. Feia (Jacob do Bandolim) 4:33
4. Salsito no Choro (Danilo Brito) 6:04
5. Benzinho (Jacob do Bandolim) 3:30
6. Primas e Bordoes (Jacob do Bandolim) 3:08
7. Despertar da Montanha (Eduardo Souto) 4:53
8. Perigoso (Orlando Silveira) 3:45
9. Chovia (Danilo Brito) 5:19

Danilo Brito - mandolin
João Luiz - guitar

Produced by: Danilo Brito, João Luiz, Kabir Sehgal. All Arrangements by: João Luiz. Recorded & edited by: Dave Cook. Recording location: Greenville Church, Scarsdale, NY. Recording date: April, 23, 2018.

Mixed & mastered by: Dave Cook at Area 52 Studios. Photography by: Maria Silvia, Andrea Johnson. Art direction and Package Design by: Al Gold. Executive Producers: Joachim "Jochen" Becker and Maria Silvia.

João Luiz plays on a Sérgio Abreu guitar, 2017 and uses Augustine Regal Blue strings.

Dawn Derow - My Ship: Songs from 1941 (December 10, 2021 ZOHO Music)

DAWN DEROW’S AWARD-WINNING SHOW MY SHIP: SONGS FROM 1941 RELEASED AS HER SOLO DEBUT STUDIO ALBUM BY ZOHO MUSIC ON DECEMBER 10
 
CD RELEASE CELEBRATION SHOW SLATED FOR THE GREEN ROOM 42 ON JANUARY 15 AT 7 PM

In her acclaimed cabaret show, My Ship: Songs
from 1941, and on her debut ZOHO CD release,
Award-winning vocalist Dawn Derow delivers a
perfect storm of entertainment. In this wonderfully
crafted work, her voice is crystalline and confident,
while her vocal control and phrasing evoke the
emotional climate of America as it entered WWII.

World War II is so far behind us that almost every living link to it is gone. But in her acclaimed cabaret show, My Ship: Songs from 1941, and in this album of its music, Dawn Derow—a smart, sexy, expressive and vocally polished woman of today—evokes that year as vividly as if it were happening now. You’ll be plunged into a time of massive upheaval and all its colliding emotions—the wistfulness, the loss, the giddy escapism that music could bring.

Directed by the acclaimed cabaret singer Jeff Harnar, My Ship, which premiered in 2017, earned MAC Awards (from the Manhattan Association of Cabarets and Clubs) for both her and Harnar. The show is, in part, a tribute to the performers who kept hopes high until victory was ours. Dawn recalls the sassy swing of Boogie Woogie Bugle Boy, the Andrews Sisters’ hosanna to a trumpet god who did double duty in the military. She conjures up the torchy yearning of Billie Holiday, whose Lover Man (Oh, Where Can You Be?) spoke for a country full of women left alone. Dinah Shore, the G.I.’s favorite singing sweetheart, comes to mind as Dawn sings one of Shore’s early trademarks, Skylark, with lullaby tenderness. In Dawn’s hands, Chattanooga Choo Choo is a come-hither invitation to loosen your tie and stay awhile.

Why Don’t We Do This More Often? was a hit for the grinning, professorial bandleader Kay Kyser and his two wholesome songbirds, Ginny Simms and Harry Babbitt. Dawn’s version is as cozy as a goodnight kiss. Teamed with Aaron Heick on clarinet, she makes a jam session out of Let’s Get Away from It All, a double-sided hit for Tommy Dorsey and his legendary flock of singers: Frank Sinatra, Jo Stafford, and Jo’s fellow Pied Pipers.
From Walt Disney’s Dumbo comes Baby Mine, a lullaby. Dawn and her pianist/music director, Ian Herman, go it alone. Then she unleashes the wrath of a woman spurned in Johnny Mercer and Harold Arlen’s Blues in the Night, which was all over the 1941 charts in five hit versions.

In 1960, Etta James took a dreamy Glenn Miller hit, At Last, and added R&B licks that singers have been borrowing ever since. Dawn’s arrangement nods to both eras. She turns Duke Ellington’s Just Squeeze Me (But Please Don’t Tease Me) into two a.m. pillow talk. “To me,” she says, “that’s the 1941 broad who is having an affair with a married man. As the song changes to I Got It Bad (and That Ain’t Good), in my mind he puts his wedding ring back on and goes home to his wife.”

From across the pond comes (There’ll Be Bluebirds Over) The White Cliffs of Dover, a song with which Britain’s Vera Lynn (and, in the States, Kate Smith) consoled the war-torn masses. In White Christmas, Dawn sings about the longing for home that made Bing Crosby’s recording so precious to the men at war.

Turning her attention to Broadway, Dawn finds the wacky wit in The Saga of Jenny from Lady in the Dark, the Kurt Weill-Ira Gershwin Broadway musical about a career woman’s misadventures in the land of psychoanalysis. From the same show comes this album’s title song My Ship, a daydream about a love that no treasure on earth can equal. Dawn connects with its bittersweet ache.

Ian Herman leads a formidable rhythm section: bassist Tom Hubbard and drummer Daniel Glass. Horn players Benny Benack III, Dan Levine, Aaron Heick, guitarist Sean Harkness, and a string quintet round out the ensemble. With their help, Dawn gives these classic songs new meaning.

- James Gavin

1. LOVER MAN (OH, WHERE CAN YOU BE?) 3:29
(Davis, Ramirez, Sherman)
2. LET’S GET AWAY FROM IT ALL / HOW ABOUT YOU 3:21
(Dennis, Adair, Lane, Freed)
3. SKYLARK 4:18
(Carmichael, Mercer)
4. BOOGIE WOOGIE BUGLE BOY / DON’T SIT UNDER THE APPLE TREE / HUT SUT SONG 2:42
(Raye, Prince, Brown, Stept, Tobias, Killion, McMichael, Owens)
5. WHY DON’T WE DO THIS MORE OFTEN? 2:37
(Wrubel, Newman)
6. CHATTANOOGA CHOO CHOO 2:55
(Warren, Gordon)
7. JUST SQUEEZE ME (BUT PLEASE DON'T TEASE ME) / I GOT IT BAD (AND THAT AIN'T GOOD) 8:11
(Ellington, Gaines, Webster)
8. BLUES IN THE NIGHT 3:16
(Arlen, Mercer)
9. BABY MINE (from Dumbo) 2:49
(Churchill, Washington)
10. THE SAGA OF JENNY (From Lady In The Dark) 3:50
(Weill, Ira Gershwin)
11. MY SHIP (From Lady In The Dark) 3:51
(Weill, Ira Gershwin)
12. AT LAST 2:57
(Gordon, Warren)
13. WHITE CHRISTMAS 2:33
(Berlin)
14. (THERE’LL BE BLUEBIRDS OVER) THE WHITE CLIFFS OF DOVER 3:50
(Kent, Burton)

Dawn Derow- vocals
Ian Herman - piano, music director
Tom Hubbard - bass
Daniel Glass - drums, percussion
Robin Zeh, Joyce Hammann, Paul “Dale” Woodiel - violins
Katarzyna Bryla - viola
Deborah Assael - cello
Sean Harkness - guitar
Benny Benack III - trumpet & cornet
Aaron Heick - saxophone, flute & clarinet
Dan Levine - trombone

Arrangements by: Ian Herman & Barry Levitt.
Orchestrations by: Tom Kochan (tracks: 1-4, 6, 10 & 12)  & Blake Allen (tracks: 5, 11, 14).

Produced by Paul Rolnick

Recorded by: David Stoller at Samurai Hotel Studios, Astoria, NY on February 20 and September 29, 2020.
Produced and mixed, with additional vocal engineering, by: Paul Rolnick at Zevely Recording, New York, NY.
Strings & Horns recorded by: Zach Grappone at Dubway Studios on March 25th and April 1st, 2021.

Mastered by: Alan Silverman at Arf! Digital, New York, NY.
Executive Producers: John Williams, Derow Enterprises Inc., Joachim “Jochen” Becker.

Andrew Scott Young / Ryan Jewell / Ryley Walker - Post Wook (December 3, 2021 husky pants records)

The sound a craigslist punisher on long island hears as they exhale their last breath in the house their dad built in 1956. goodbye earth. we are post wook.

1. Randee 08:56
2. Pegasus 05:09
3. Guzzardo 07:22
4. Hennessy 04:50
5. Crazy Music 03:36
6. Childers 05:49
7. Allegro 04:07

andrew young- fretless bass/double bass
ryan jewell - drums/percussion
ryley walker - electric guitar/acoustic guitar

cooper crain - mixing
jack callahan - mastering
ariel shafir - engineer
michael vallera - photography/design/layout

Laurence Cook / Jacques Coursil / Warren Gale / Perry Robinson / Steve Tintweiss - Ave B Free Jam (November 30, 2021 Inky Dot Media)

AVENUE B COLLECTIVE FREE-JAZZ JAM SESSION on MAY 12, 1967 in New York City
source master recording 7.5ips ¼ track stereo reel from Tintweiss Archives catalog ST_0203
 
The title lays it out: Five musicians looped and shimmered in an unplanned environment of a NYC Lower East Side apartment session. No audience but themselves; no leader, no tunes, no objective but the engine of their own ideas fusing immediacy, pace and momentum. Perfectly balanced in the alloy are listening and flowing with the sounds. Here’s the raw edge of now, tempered by the etiquette of cooperative improvisation.

​Troubadour Robinson was the veteran in this company, a recording artist twice over; all the others were close to the dawn of their careers.

Both trumpeters were poised “lead” players who had just made their mark in the avant-garde: Warren Gale, who had just recorded with drummer Jim Zitro, was destined for Stan Kenton’s Orchestra and a Bebop future; Parisian Coursil, who worked stateside with Sunny Murray and Bill Dixon, spent decades in academia before returning to music in his last years.

Twenty-year-old Tintweiss had already recorded with Patty Waters, Burton Greene and Frank Wright (alongside Coursil) for the ESP-Disk free jazz label. Laurence Cook still surges on as he did for years with Bill Dixon, Paul Bley, Bobby Naughton, the Purple Why and others.

Collective extended improvisation recorded May 12. 1967 in New York City. Source master recording 7.5ips ¼ track stereo reel.

Track listing:
21 tracks of collective extended improvisation
Total time: 1:18:42

Musicians:
Laurence Cook - drums
Jacques Coursil - trumpet
Warren Gale - trumpet
Perry Robinson - bass clarinet
Steve Tintweiss - bass

Tranfers and mastering by Joe Lizzi at van AlstSound-East, Brooklyn, N.Y.
Design by Susan Archie at World of anArchie
Cover paitning by Ellie Ali used with permission of the artist


Rodrigo Amado Northern Liberties - We Are Electric (November 2021)

First ever album by this quartet, featuring a much anticipated collaboration with three of the most prominent Norwegian improvisers. Recorded live at legendary ZDB club in Lisbon.

1. Spark 17:18
2. Ignition 12:18
3. Activity 12:30
4. Response 05:24

Rodrigo Amado – tenor saxophone
Thomas Johansson – trumpet
Jon Rune Strøm – double bass
Gard Nilssen – drums

All compositions by Amado / Johansson / Strøm / Nilssen

Recorded by Cristiano Nunes at ZDB, Lisbon, July 11th, 2017
Mixed by Joaquim Monte and Rodrigo Amado
Mastered by David Zuchowski
Produced by Rodrigo Amado
Executive production by Marek Winiarski
Cover photo by Rodrigo Amado
Inlay photo by Rui Silva
Design by Rodrigo Amado and Travassos

Doug MacDonald - Serenade To Highland Park (November 2021)

Guitarist Doug MacDonald is definitely keeping himself busy this year.  The well-known and respected musician/composer is scheduled to release his third (yes, third) record of the year Friday in the form of Serenade to Highland Park.  As with the other two records that he has released this year – Live in Hawaii and Toluca Lake Jazz – this latest offering will release through MacDonald’s own label, DMAC Music/Doug MacDonald Music.  That is all that it has in common with its counterparts.  The music that makes up the record’s body stands out because for the most part, the songs are covers of more well-known works.  MacDonald even points this out in the record’s brief liner notes.  There are two originals from MacDonald featured as part of the record’s body alongside those covers, and each is well worth examining in its own right.  Among the most notable of the covers featured in this record is that of Irving Berlin’s timeless classic, ‘They Say It’s Wonderful.’  This song will also be discussed as part of the record’s examination.  When it and the record’s two original songs are considered together with the rest of the featured works, the whole makes the record another fun new offering from Doug MacDonald that his fans and more casual jazz fans alike will appreciate.

Doug MacDonald’s forthcoming covers collection, Serenade to Highland Park, is an enjoyable new offering from the veteran jazz guitarist/composer.  It is a work that MacDonald’s established audiences will find just as appealing as any casual jazz fan.  That is proven in part through the record’s two originals, one of which is the record’s title track.  The song is a light, enjoyable composition, led by MacDonald’s work on guitar.  Drummer Paul Kreibich’s gentle brush work on the snare and equally soft time keeping on the hi hat pairs with MacDonald’s simple guitar arrangement to make the song even richer.  The addition of Mike Flick’s even more subtle bass line to the mix adds even more to the arrangement’s appeal.  That is because it is such a barely there performance in his part.  It is just audible enough that audiences can hear its subtle approach.  Flick and Kreibich’s collective rhythm section make for such a nice compliment to MacDonald’s performance on guitar.  The whole of the musicians’ work gives the song overall a great modern jazz feel along with such a rich, slow dance stylistic approach.  It is certain to fully engage and entertain any listener noted here.  Much the same can be said of ‘Hortense,’ MacDonald’s other original composition featured in this record.

Hortense’ is light in its own way, but a little bit more upbeat than ‘Serenade to Highland Park.  MacDonald once again leads the way here, though Kriebich takes a more active role in this arrangement.  Flick meanwhile is ever so slightly more involved in this arrangement, too, but not by much.  Kriebich’s light ghost notes and accents work with his solid time keeping on the ride cymbal to give his performance its own appeal.  He really becomes just as much the star of this arrangement as MacDonald.  There are moments in which Flick gets some of the spotlight, too.  He uses those moments to best of his ability, too as he takes on a nice counterpoint to MacDonald’s melody while also enhancing the trio’s rhythm section.  The control that all three men display here is so accurate, and at the same time, makes the song so pleasant because of that item.  It makes the song in whole another wonderful modern jazz style composition that blurs the line between modern and easy listening jazz in the best way possible.  Together with ‘the album’s title track, the two songs collective do more than enough to show what makes them (and the record in whole) so enjoyable.  Sure, it would have been nice to have had some background on the songs in order to more fully appreciate each work, but alas, beggars cannot be choosers.
Moving from the originals to the record’s covers, the most notable of the covers (at least to this critic’ is that of Irving Berlin’s timeless tune, ‘They Say It’s Wonderful.’  Originally composed by Berlin for the 1946 musical, Annie Get Your Gun, the song gets a whole new identity in its presentation here.  Though, it does still pay some homage to its source material.  Instead of the orchestral version originally performed by Ethel Merman and Ray Middleton for the musical’s original 1946 cast recording, MacDonald and company have instead opted to give the song a more updated presentation.  Where the original runs just over three minutes in length (three minutes, 37 seconds to be exact), the cover featured here runs more than a minute longer, coming in at four minutes, 50 seconds.  Right from the song’s outset here, the trio gives the song an interesting modern swing touch, with all three musicians collectively getting their own moment in the limelight.  MacDonald once again leads the way, but Flick and Kriebich each add their own flare to the work to enhance the song even more.  It is those added solos from those two that add to the song’s nearly minute and a half extra time.  Flick’s solo is a great accent to the mix while MacDonald every now and then kicks back to the original vocal lines and balances that with his own noted modern touch.  The fills that Kriebich adds in his solos are just as engaging and entertaining in their own right.  Between his work, that of Flick and of MacDonald, the trio’s full presentation here makes this updated take on such a timeless standard unique but unique in a good way.  When it is considered along with the album’s other featured covers and its two examined originals, the whole makes the album overall another enjoyable offering from MacDonald and his fellow musicians. 

Doug MacDonald’s latest record, Serenade to Highland Park, — his third studio offering this year – is a work that his established audiences and casual jazz fans alike will agree is another enjoyable offering from the veteran jazz guitarist.  Every one of its 12 total songs does its own share to make that clear, including each of its two featured originals.  Those two songs are unique of one another and from the covers.  They do plenty to keep audiences engaged and entertained.  In the way of the covers, MacDonald and company’s cover of ‘They Say It’s Wonderful’ is among the most notable of those entries.  When it and the two noted originals are considered along with the rest of the record’s featured works, the whole makes Serenade to Highland Park a presentation that will appeal to a wide range of jazz fans. 

Serenade to Highland Park is scheduled for release Friday through MacDonald’s own label, DMAC Music. More information on the record is available along with all of MacDonald’s latest news at:

Uptown Vocal Jazz Quartet - Fools for Yule (November 2021)

Uptown Vocal Jazz Quartet (“UVJQ”) is back just in time for the holidays! The singing  oursome and their supporting musicians have put their creative stamp on the timeless art of sizzling, swinging 4-part harmony vocal jazz over the years with their original songbook recordings and celebrated collaboration album with the late saxophonist Richie Cole, who declared the group “my new discovery, the whole package.” Now UVJQ has released a long awaited holiday album which dishes up a smorgasbord of original holiday songs destined to become seasonal classics by the group’s principal songwriter and arranger Ginny Carr Goldberg (“Fool for Yule,” “Whisper,” “It Doesn’t Feel Like Christmas” and more), along with their delightfully fresh takes on beloved holiday classics. Uptown Vocal Jazz Quartet’s celebrated songwriting, hip arrangements, joyful delivery and eclectic performance range are on full display with this very special seasonal album.
photo Michael-G. Stewart

1. I’ve Got My Love to Keep Me Warm (Irving Berlin, arr. Ginny Carr Goldberg) (3:24)
2. Fool for Yule (Ginny Carr Goldberg) (5:06)
3. Christmas Time is Here (Vince Guaraldi/Lee Mendelson, arr. Ginny Carr Goldberg) (4:08)
4. Winter Wonderland (Felix Bernard/Richard B. Smith, arr. Ginny Carr Goldberg) (3:30)
5. Whisper (Ginny Carr Goldberg) (3:32)
6. L’Amour Nous Entoure Ce Soir (Ginny Carr Goldberg) (5:18)
7. The Christmas Song (Mel Tormé/Robert Wells, arr. Ginny Carr Goldberg) (2:25)
8. Santa Dear, Where’s Mine? (Marilyn Shockey, arr. Ginny Carr Goldberg) (4:36)
9. St. Ita’s Vision (Samuel Barber, arr. Robert McBride) (2:37)
10. It Doesn’t Feel Like Christmas (Ginny Carr Goldberg) (4:29)
11. Silent Night (Traditional, arr. David Nokes) (3:58)

Ginny Carr Goldberg, Robert McBride, Holly Shockey, Lane Stowe (vocals)

Backed by:
Frank Russo (drums)
Alan Blackman (piano)
Max Murray (bass)
Donato Soviero (guitar)
Chuck Redd (vibes)
Keith Carr (Irish bouzouki on “Silent Night”)
Ginny Carr Goldberg (piano on “St. Ita’s Vision”)


Fella Cederbaum - Truth And Destiny (November 2021)

Renaissance woman FELLA CEDERBAUM releases album of poetry and original music: TRUTH AND DESTINY.

Debut recording from internationally recognized poet, composer, filmmaker and artist drops November 12, 2021.

On Truth And Destiny, psychotherapist-turned-poet Fella Cederbaum, a.k.a. MahnoDahno, shares a lifetime of insights on how to transcend disruption—and thrive.

Isolation and lockdown led to the creation of Truth And Destiny, the debut recording of artistic polymath Fella Cederbaum. On the brand-new album, set for November 12 release, the multi-talented author recites a dozen of her poems while performing her original compositions on piano and keyboards.

Coming to terms with the past, cherishing the present and facing the future with lifted spirits are among the themes Cederbaum explores on Truth And Destiny, the first recording from the popular poet who has authored three books: the well-reviewed Of Life And Other Such Matters, Volumes 1 and 2, which came out in 2018 and 2019, and That’s Why, set for 2022 publication.

Cederbaum has built an enthusiastic global following for her poetry as a regular guest on WABC radio, broadcast in the New York tri-state area. She has been featured regularly on the station’s weekly Poetry Corner segment, as well as on international streams and widely-available podcasts, creating a burgeoning social media presence and earning kudos from the likes of coaching guru Tony J. Selimi.

With Truth And Destiny Cederbaum offers her poetry as a welcome guide in navigating the current difficult times, and finding opportunities for self-discovery in the Covid era, challenging us to look at ourselves with acceptance and kindness. Her musings on truth, love, loyalty and friendship are often soothing though always thought-provoking, replete with words of wisdom that encourage and reassure like a spa visit for the mind and soul. Besides writing and performing the music and poetry, Cederbaum is also the producer of Truth And Destiny.
Cederbaum’s exquisitely distinct music has won her numerous international film score awards. While the raw power of her music provides an emotional backbone for her poetry, her calm, measured tones invite the listener on a guided meditation along the pathway to introspection and reflection, celebrating the essence of the human spirit. The poetry reveals deep empathy for the universality of life’s experiences, as the poet considers ways of navigating the world, both micro and macro, addressing what dwells in the heart as well as in the halls of power.

This is not Cederbaum’s first endeavor in finding a unique and personal showcase for her poetry, music and art. She is also the writer and director of 21 short films featuring her alter-egos, the characters MahnoDahno and MahniDahni. The shorts have been screened—and garnered coveted awards—at numerous festivals around the globe, including 13 appearances at NYC’s Independent Film Festival, where she took home top honors in her category in 2021.

When you consider her background, perhaps it’s not surprising that with Truth And Destiny and her other poetry-fueled endeavors Cederbaum has proved herself so adept at sharing the wisdom gained in a lifetime of pondering life’s hard questions: What is the meaning of life; what is truth, what is destiny, what is happiness?

The daughter of Holocaust survivors, Cederbaum was raised in post-World War II Germany. As a teen, she moved to England, and later to Israel where she revealed her broad spectrum of interests by not only earning a degree in psychology but also becoming deputy director of the Israel Chamber Orchestra. After moving to Boston, where she’s still based, Cederbaum earned her graduate degree and enjoyed a successful career as psychotherapist. Her interest in art continued and her paintings have been shown at exhibitions at Germany’s Münchner Stadtmuseum, and at a Boston Holocaust Memorial event.

As far as the answers to those tough questions addressed by Truth And Destiny, Cederbaum summed up her worldview during an interview with WABC’s Yola Nash: “All questions lead to love, heart, our own compass,” the poet revealed.
1. When Thoughts Stick To Your Mind (5:23)
2. The Orchid And The Daisy (4:08)
3. No Gyroscope (6:10)
4. The Door (4:52)
5. Unlive The Lived (3:47)
6. Desires (2:51)
7. Truth (2:21)
8. Sprinkled Bubbles (3:44)
9. Eternally Tickled (1:26)
10. Dance With Me (2:12)
11. Will You Hold Me (3:43)
12. Destiny (2:17)

Poetry and Music written, performed, produced by Fella Cederbaum

Truth And Destiny is available November 12, 2021. Learn more about Fella Cederbaum and Truth And Destiny at: