Friday, November 26, 2021

Stephen Magnusson / Ren Walter / Scott Tinkler - SRS (November 26, 2021)

Stephen Magnusson is a guitarist/improviser/composer. He has performed with many artists including Charlie Haden, Archie Roach, Stephen Pigram, Andrea Keller Meshell Ndegeocello,Tim Berne,Jim Black,Vince Jones, Scott Tinkler, Paul Grabowsky, Dave Beck, Frank diSario ,SNAG,Enrico Rava, Arthur Blythe and many others. He Lives in Melbourne Australia and love Practising/Recording and Gardening. 

1. SRS 20:52
2. Drop D 25:22
3. I did have a little toolbox 15:10
4. Happenings 14:57
5. Okay, great 12:31
6. Great, okay 04:33
7. I'm gonna shuddup 16:05

Scott Tinkler - Trumpet
Ren Walters - Guitars
Stephen Magnusson - Guitars

Recorded live at Adria Studio at 9th May 2021
Mixed by Oliver Powell

Dominic Lash Quartet - LIMULUS (November 26, 2021)

Ricardo's work ranges through different styles and aesthetics but his main concern and interest has been free improvisation in all its forms.His approach to music and aesthetic realm has been evolving as his own personality has too but, above all, he maintains a constant interest for music as an integral creative act. He worked in many projects and countries with and wide variety of musicians.

Third record of DLQ. This is a life concert recording made at Café Oto (London) during the DLQ´s 2019 UK tour.

1. Alexithymia 08:51
2. Cylindrical 06:34
3. Dactyloscopy 10:50
4. From a theme by F.S 06:23
5. Isthmus 09:07
6. Improvisation / Structures 09:46

Dominic Lash, doublebass and compositions
Alex Ward, electric guitar
Ricardo Tejero, alto sax
Javier Carmona, drums and percussion

Recorded by Shaun Crook
Edited, mixed and mastered by Alex Ward
Artwork by Matthew Grigg
Liner notes of cd by Alexander Hawkins, ex member of this band.
Spoonhunt Records

Joshua D Reed Quintet (featuring Art Lande) - Leaping Forward (November 26, 2021 Pathways To Jazz)

1. Would You 05:44
2. BBBB 08:21
3. Pendergast's Problem 02:02
4. Eastern Egg Hunt 09:21
5. Leaping Forward 07:50
6. Here Ye, Here Ye 01:54
7. Red Hot Emu 10:00
8. Ocean Floor 01:06
9. Loose Ends 11:50
10. Allen Mystery 00:56
11. Escapade 05:39

Jeff Jenkins / The Organization - In Blue (November 26, 2021 Pathways To Jazz)

1. In Blue 05:50
2. Snap Back Jack 06:08
3. God Only Knows 05:50
4. Back At The Chicken Shack 04:07
5. Waltzing In The House Of Mars 05:03
6. Foxy Lady 05:05
7. Get Your Shame On 05:56
8. How Long Has This Been Going On 05:10
9. Lucky To Be Me 04:02
10. The Goodbye Season 07:00

Heath Walton - Brooklyn's Bridge (November 26, 2021 Pathways To Jazz)

1. Brooklyn's Bridge 06:52
2. The Units 07:57
3. B's Lullaby 05:05
4. El Jebel 06:04
5. Goodnight Moon 08:39
6. My Booze 06:59
7. Waning Gibbous 07:44
8. Sabertooth 07:34

Scott Martin - Alone At Sunset (November 26, 2021 Pathways To Jazz)

1. Alone At Sunset (Featuring Robert Johnson) 03:51
2. The Meaning Of Midnight 05:00
3. My Supernova (Featuring Ayo Awosika) 05:09
4. Pam 05:21
5. Anna (Featuring Robert Johnson) 05:15
6. Do-Re-Mi (Featuring Ayo Awosika) 04:06
7. Love Like This (Featuring Wellington Bullings & Dechen Hawk) 05:10
8. This Chance (Featuring Ayo Awosika) 04:30
9. Aquel Gorrion (Featuring Josefina Mendez) 04:25
10. Alone At Sunset (Featuring Tom Weiser) 03:37

Barbara Paris - Nine Decades of Jazz (Featuring Billy Wallace) November 26, 2021 Pathways To Jazz

In the late 80's Barbara Paris began performing professionally and since has self-produced several fine CD's on Perea Productions LLC. Classic jazz and some original tunes and gems from the American Songbook, bossa nova, blues, and swing. Barbara Paris is available for performances, educational workshops, clubs, fundraisers, private events.

1. The Dark Town Strutters' Ball 02:57
2. Summer of 42 (The Summer Knows) 02:16
3. Knock Me a Kiss 03:46
4. Here's to Life 04:14
5. Carioca Kiss 03:16
6. I Wanna Be Loved 04:44
7. Splanky _ I Won't Sell My Love 03:03
8. Ode To Joy 04:20
9. Make Me a Present of You 04:50
10. The Song Is Ended 03:05

Bonnie Lowdermilk - Borderless Crossings (November 26, 2021 Pathways To Jazz)

1. Borderless Crossings 05:23
2. I've Grown Accustomed to His Face 04:33
3. Get Out of Town 04:43
4. Peter's Portrait 05:29
5. One Afternoon 03:04
6. Two Kites 05:41
7. Sleep 06:29
8. Meditation 03:51
9. Suddenly It's Spring 04:05
10. Winters Sweet 06:27

Camerata Zürich / Igor Karsko / Maïa Brami - Leoš Janáček: On An Overgrown Path (November 26, 2021 ECM)

On An Overgrown Path, Leoš Janáček’s 15 pieces-spanning piano cycle, is here presented in a reshaped guise, arranged for string orchestra and interpreted by the Camerata Zürich under lead violinist Igor Karsko’s direction. This is the premiere recording of the orchestral adaption. In this programme, Janáček’s cycle is bookended by Josef Suk’s Meditation on the Old Czech Chorale St. Wenceslas and Antonín Dvořák’s Notturno – pieces that are thematically connected to the folkloric elements found in Janáček’s composition. French writer Maïa Brami wrote poems to accompany the new arrangement of On An Overgrown Path, and their recorded versions, spoken by the writer herself, are included on the album, contextualizing the cycle with inventive analogies to Janáček’s life.


1 Adagio, ma con moto 06:25

2 Our evenings 02:38
3 A blown-away leaf 02:15
4 Come with us 01:00
5 The Madonna of Frydek 03:07
6 They chattered like swallows 01:36
7 Words fail! 01:42
8 Good night! 02:59
9 Unutterable anguish 03:08
10 In tears 02:28
11 The barn owl has not flown away! 03:19

12 Il était une fois 01:17
13 Tiens! Une feuille morte 01:26
14 Nous danserons 00:52
15 Boum, boum 02:04
16 Combien de fois depuis 01:27
17 Les ombres. C'est l'heure 01:19
18 Cette berceuse du fond 01:04
19 Des langues de feu 01:21
20 Je l'entends qui sanglote 01:59
21 Entends-tu hibou 01:53

22 Andante 02:47
23 Allegretto - Presto 03:27

24 Più mosso 02:54
25 Vivo 02:39
26 Allegro 04:22

27 Molto adagio 06:14

Camerata Zürich
Igor Karsko   Concertmaster
Maïa Brami   Recitation

Jan Lundgren - Into the Night (Vinyl) November 26, 2021 ACT Music

The trio format has always been something of an ideal for Jan Lundgren. That particular buzz when communication between the musicians in a trio is direct, immediate and ever-present...when the trio keeps a constant sense of forward motion and development...when the players collectively remain open to the inspiration of every millisecond. These are the virtues which Lundgren sees as the recipe for the kind of openness, freedom, subtlety and excellence of a trio at its best.

Lundgren has had a trio in the classic piano/bass/drums format ever since 1995. In addition, since 2007, he has also broken the mould with the "Mare Nostrum" project, a congenial alliance with Sardinian trumpeter Paolo Fresu and French accordionist Richard Galliano. Critics hailed it at the time as the "first European supergroup". And Mare Nostrum has brought him even closer to his ideal. But, there again, Jan Lundgren is nothing if not driven and determined, and is probably at his most fulfilled when setting himself new challenges...

"I have always been on the look-out for strong voices in the European jazz scene, musicians who have a similar sense of adventure to mine and who can move in any direction," explains the 55-year-old. And he also happens to have a good platform to make that happen, in the form of the Ystad Sweden Jazz Festival. Lundgren founded the festival in 2010 and has been Director of it ever since. (Ystad, incidentally, is the small town on the south coast of Sweden which has been made world-famous by Henning Mankell's Wallander TV thrillers). The "Ystad Concert '' from 2015 with bassist Mattias Svensson and the Bonfiglioli Weber String Quartet, a tribute to the Swedish jazz pioneer Jan Johansson, is a case in point. As Lundgren expresses it: "There's always something new waiting for me in Ystad, something I've never tried before..."

And thus it was that fate took a hand at the 2020 festival – as it so often does in jazz. Jan Lundgren had programmed a performance by his own piano trio. But when the drummer had to cancel due to Corona travel restrictions, French saxophone luminary Emile Parisien stepped into the breach at very short notice and a completely unconventional trio was born, one of those unexpected challenges which Lundgren particularly relishes.

The day before the concert, Lundgren, Parisien and his Swedish compatriot Lars Danielsson met for the very first time. After a short rehearsal, all three of them had a strong feeling that luck was on their side. Jan Lundgren even uses euphoric expressions to describe it: “a trinity, divine providence!" And later, in the intimate setting of a small concert hall, where each and every listener is inevitably part of the process of creating the music, the magic of the new trio could really unfold. "Jazz is always about good melody, concise rhythm and strong composition," explains Lundgren. "Everyone brings their own personal imprint, starting as we do from such completely different musical backgrounds. And that's what makes it so exciting and thrilling. We enjoy immersing ourselves in each other's worlds – and creating new worlds in the process."

Lundgren, Parisien and Danielsson choose catchy tunes as the starting-point for their excursions together; there is an appealingly childlike sense of wonder, joy and discovery as these improvisations unfold. The opener "Glädjens Blomsters" (Flowers of Joy) is an old Swedish folk song; Emile Parisien's dark soprano sax gives it a feeling of melancholy that is truly touching. Lars Danielsson's hymn to his daughter "Asta" seems to take us to an echo-ey corridor full of harmonic vibrations. And then come a series of surprises, starting with the bassist introducing Parisien's "Preambule" with an emphatic introduction, and then the heart-warming "I Do", which Lundgren once wrote to accompany a stage play, and which the musicians find deft ways to illuminate. The pianist introduces "Schubertauster" in virtuoso romantic style  –  the tune is a homage to Franz Schubert composed by French accordionist Vincent Peirani.

Jan Lundgren owns a dog, a cute little Yorkshire Terrier/Chihuahua mongrel, and "A Dog called Jazze" has puppy-like liveliness and enthusiasm. The title track "Into The Night" is harmonically colourful and seems like it could be the soundtrack for Sweden’s traditional ‘Midsommar’ celebrations. Finally, Lars Danielsson has written a personal declaration of love for "Ystad", this little gem of a jazz festival, and the three musicians shower it with love, devotion and empathy.

The Ystad Sweden Jazz Festival will be held again in 2021, from 4 to 7 August. And once again, Jan Lundgren, Emile Parisien and Lars Danielsson will be getting together as a trio to offer the festival audience their exuberant musicianship, their wealth of experience and their simple enjoyment of being back together in this new group. The prospect, Lundgren says, makes him extremely contented: “I'm just so happy about the way this has turned out, and the fact that we can pick up again where we left off after this long pandemic break. I have the feeling luck is on my side for a second time!"

1 Glädjens Blomster (traditional) 04:23
2 Asta (Lars Danielsson) 05:10
3 Préambule (Emile Parisien) 09:34
4 I Do (Jan Lundgren) 04:49
5 Schubertauster ( Vincent Peirani)03:18
6 A Dog Named Jazze (Jan Lundgren) 04:48
7 Into the Night (Jan Lundgren) 06:46
8 Ystad (Lars Danielsson) 06:21

Jan Lundgren / piano
Emile Parisien / soprano saxophone
Lars Danielsson / bass

Recorded live in concert at Ystad Sweden Jazz Festival by Mattias Dalin (Eurosound AB), August 1, 2020
Mixed by Bo Savik, Jan Lundgren and Lars Danielsson at Tia Dia Studios, Mölnlycke, Sweden
Mastered by Bo Savik

Nils Landgren / Esbjörn Svensson - Layers Of Light (2 Vinyl LP) November 26, 2021 ACT Music

All music has its roots in folklore. In some playing styles this is easy to recognize. In others hundreds of years of cultural development and change have effectively sublimated those roots. Stripped of ornamentation and structural artifice, however, the foundation remains the same. The melodies and structures that affect and influence people in their day to day lives remain the basis of musical knowledge and experience. They are the blueprints of the collective consciousness and a challenge to the creative spirit. Individuality along with innovation in its surprising, unconventional workings emerge as a contrast to those folk origins. So is the secret art by which the balance between memory and fantasy, between folklore, tradition, and improvisation is weighed.

Nils Landgren was born in 1956 and grew up with the music of his father, a jazz cornetist, and the church music of his grandfather, a pastor. He never lost his strong affinity for his own musical heritage.

Esbjörn Svensson, born in 1964, didn’t want to play folk music at first. At home with the music of Chopin, Ellington, or disco-pop groups such as The Sweet, the pianist had first found his place in the competitive music scene in Sweden. His trio was a success, and in his homeland he was voted jazz musician of the year in 1995 and 1996. The first sprinkling of jobs became a steady flow. Svensson proved himself in the bands of his friend Nils Landgren. The music was about funk  and soul, occasionally pop, and in the main, classic jazz. But not folklore.

It was through the influence of Landgren and Svensson’s former teacher Bengt-Arne Wallin, who recorded the landmark album "Old Folklore In Swedish Modern" back in 1962 (ACT 9254-2), that Svensson and Landgren were inspired to make a duo album centered around folk songs. In August 1997 both went into the studio and with only trombone and piano recorded Swedish Folk Modern (ACT 9257-2). Their improvised treatments of the classic songs of the folk culture not only impressed the public; it brought praise from the press. Svensson and Landgren had created more than just a few impressions in duo. Discarding any sort of large conceptual superstructure, they had continued what Jan Johansson’s Jazz på Svenska and Bengt-Arne Wallin had begun in the early sixties and what has since become a major force within the inner workings of European jazz.

The time after Swedish Folk Modern was hectic and exciting. Nils Landgren’s Funk Unit advanced to the position of a celebrated festival act. Svensson’s own trio, EST expanded beyond Scandinavia’s borders, where the band’s fortunes skyrocketed. Inundated with jobs, the musicians finally found the time to once again get together in December 1999 in Oslo’s Rainbow Studio. It would be a meeting full of exceptional jazz energy. Even more than the first time, they would rely on the force of reduction. Moods would be suggested, left open. Melodies worked out in simple clarity.  Delicate variations supplemented and amplified both the original and traditional motifs of the central musical im- pressions. Layers of Light is an affair of the hearts of two artists who went back to their roots. That makes their music truthful, direct, and authentic in a wondrous way. 

1 Song From The Valley (traditional) 03:33
2 Calling The Goats (traditional) 03:37
3 Kauk (traditional) 04:07
4 Kristallen (traditional) 04:25
5 Mattmar (traditional) 02:59
6 Lakk (traditional) 04:32
7 Höpsi (traditional) 02:53
8 Calling The Cows (traditional) 04:16
9 Lullaby (traditional) 03:21
10 Simple Song (traditional) 03:03
11 Layers Of Light (Svensson, Esbjörn) 05:04
12 Lonely At The Lakeside (traditional) 03:38
13 Norwegian Fox Trot (traditional) 04:21
14 Nils Walksong (traditional) 03:57
15 The Farewell (Wallin, Bengt-Arne) 03:34

Nils Landgren - trombone
Esbjörn Svensson - piano

Recorded at Rainbow Studios, Oslo - Norway on
December 2 - 3, 1999
Engineered and mastered by Jan-Erik Kongshaug,
24 bit digital supermapping
Produced by Siegfried Loch

Format: Vinyl (also available as CD)

Nils Landgren Funk Unit - Paint It Blue (2 Vinyl LP) November 26, 2021 ACT Music


What is Funk? Funk is Soul with the resources of Jazz: the fluid boundaries between religious service and a party.

The record PAINT IT BLUE is dedicated to the man who for many still today embodies the central figure at the genre’s source: Julian Edwin "Cannonball" Adderley (1928 - 1975). Maybe he didn’t invent Funk. Together with his co-musicians in his 60s quintet, Cannonball’s alto sax style, his attitude, humor great musicality, and his love for his audience allowed him to become a synonym for FUNK.

NILS LANDGREN, born in 1956, grew up between the music of his father, a Jazz cornet-player, and the music of his grandfather, a pastor on the island Gotland. He first heard Cannonball Adderley on Kind Of Blue. In this Miles Davis Sextet of the late 50’s, they were all together: "Miles, the master of beauty. Coltrane, the master of sound. And Cannonball Adderley, the master of funk," Nils Landgren writes in the liner-notes to Paint It Blue. From that point on he procured everything of Cannonball’s that he could lay his hands on. Landgren never experienced the revered master live. "Without the soul of Cannonball it would have been impossible to form my group Funk Unit many years later," he writes. Is it a coincidence that  this band had its greatest success to date with the guest alto saxophonist, Maceo Parker (on ACT 9223-2)?

The enormous liveliness and freshness of Cannonball Adderley’s music becomes apparent to anyone listening to his recordings today. Someone like him does not need a museum and that is why Paint It Blue, Nils Landgren’s second Funk Unit production for ACT, is more of a declaration of love to the spirit of Funk à la Cannonball than a musical show of reverence to a deceased idol. Nils Landgren has developed, deliberated and played Cannonball further. Seven of the twelve tracks are Nils own compositions and, more importantly, every bar of the famous Adderley-numbers like Walk Tall or Mercy, Mercy, Mercy, with all love for the originals, sound like here and now. Seamlessly, Nils Landgren inserts Rap elements of the 27 year old MAGNUM COLTRANE PRICE. The autodidact sings everything from Hip Hop to Rhythm ‘n’ Blues that’s good and also plays numerous instruments. With one exception, the remaining lyric contributions are from Adderley himself. Landgren edited Cannonball’s live concert announcements into his own arrangements, so that the time jump between the original and the nouveau arrangement appears non-existent. An effective device that literally brings this revered musician into the fold of Nils Landgren’s Funk Unit.

Whoever speaks of Cannonball Adderley, must also speak equally of his brother Nat Adderley. It was an obvious thought to invite the most important brothers in Jazz after the Adderleys to guest on Paint It Blue; with the high energy Funk-Jazzrock of the late 70s, the Brecker brothers have proven worthy heirs to the Adderleys. Both of them solo on Landgren’s track You Dig.

The equally noble and forcible groove is delivered by the sideman to countless Soul greats, BERNARD PURDIE. Bernard’s own stylistically related production with the Brecker Brothers, Nils Landgren, amongst others is now strongly in the public consciousness on SOUL TO JAZZ, ACT 9242-2. Much like Cannonball Adderley, AIRTO MOREIRA owes important impulses to his time with Miles Davis.

NILS LANDGREN, the man with the red trombone and the blue-painted overalls, the initiator and one paying homage, combines the variety of his possibilities of expression here. His eventful musical curriculum vitae gives a hint of these. As a six year old he already played the drums - not the worst start for a career as a Funk musician. Seven years later, Landgren changed over to trombone and after a music degree he moved to Stockholm, aged 23. Years of apprenticeship with Jazz and Rock bands as well as in the theatre followed, until in 1981 he became first trombonist in Thad Jones’ Bigband. He formed his first Unit in 1983 and a year later his debut record under his own name, Planet Rock, appeared. Since 1991, Nils Landgren has been a regular guest at the Baltic Sea jazz-festival, Jazz Baltica; he is the only musician to have been a member of all the Jazz Baltica-Ensembles, which have changed in line-up from year to year. Internationally he has played with artists as diverse as Marcus Miller and Kenny Wheeler, Abba and Herbie Hancock, The Crusaders and David Murray - to name a few.

Paint It Blue is possibly Nils Landgren’s most lavish record to date and with some certainty also his best. Landgren’s playing is cool and smooth, with warmth, temperament and thought. Here his sound combines organically with everything he surrounds himself with. The album sounds as if the recordings for it were a pure joy for all participants. Nils Landgren has the prerequisite for serious fun, the gift of intelligent serenity.

The Funk Unit:
Nils Landgren - tb
Per Ruskträsk Johansson - sax
Henrik Janson - git
Esbjörn Svensson - keyboards
Magnum Coltrane Price - vocals, synth
Lars DK Danielsson - fender bass

Bernard Purdie - dr / Michael Brecker - ts
Randy Brecker - tp /Airto Moreira - perc
Till Brönner - tp / Marcio Doctor - perc
Steffen Schorn - bcl

Recorded in May 1996 Peer Studios, Hamburg/Germany by Geoffrey Peacey
Produced by: Anselm Kluge and Nils Landgren. Executive Producer: Siegfried Loch

Format:Vinyl (also available as CD)

Esbjörn Svensson Trio e.s.t. / e.s.t. Live ‘95 - 2 Vinyl LP (November 2021 ACT Music)

They have been lauded as the "New sound in the Old World", and as "high voltage out of Sweden"; the group has been called "possibly the best jazz trio in the world". The Esbjörn Svensson Trio’s - known as EST - rise to the heights has been almost frightening. After their first major success in Sweden, their international breakthrough came in 1999 during the ACT World Jazz Night at the Montreux Jazz Festival. In the following years EST was a sensation throughout Europe, and they are now on the path to continuing their success story in the USA. It’s no wonder that, especially when playing "live", EST lets loose an almost unbelievable energy - and this energy appears to grow from tour to tour - a rising star that shines ever brighter.

Stars sometimes shine much longer than one would think. And here are recordings that demonstrate this is true for EST. The band, which was first formed in 1993, quickly found their very special sound. However, at first, no one outside EST’s homeland was aware of them. Six years ago, in 1995, when Esbjörn Svensson still had long hair, and wore a headband, a record titled "Mr. And Mrs. Handkerchief", which consisted of live air shots from various towns in Sweden, was released. A year later, EST recorded the album "Esbjörn Svensson Trio Plays Monk" (recently re-released as ACT.). It reached the undreamed of sales of 10,000 CD’s nationwide. Those who have heard how the trio played back then can attest that it was breathtaking music (for a quick listen: track 5).

Much of what characterizes EST’s play today was already well-defined in 1995: the unity and riveting strength of the inter-play, the compelling themes - themes that immediately jump out at the listener, and yet are never burdened with cliches. Then there are the musical influences of the likes of Thelonious Monk and Kieth Jarrett, which are fused into a unique style that is again and again infected by the forward-thrust of rock. Magic moments are preserved for posterity in these live takes. In tracks three and seven, Svensson plays on an upright piano that doesn’t even come close to the brilliance and clarity of a concert grand - and yet, these recordings are pearls. The trio had by this time mastered the ability to react spontaneously to the inspiration of the moment.

Absolutely no difference from today? On their latest tours EST sounded tighter, less raw, with the impetuosity of wilder times more under control. Comparison with the masterpiece "Dodge the Dodo" from the 1999 Montreux concert (bonus CD) shows that the trio’s development has not been by leaps and bounds, but has been a continual process. Esbjörn Svensson himself has stated most clearly how much the music from past periods influences the band; "Obviously we develop all the time, both as individuals and as a group. But development isn’t only about blind process. So instead of just going forward, in places we’ve chosen to refer back to our earlier sound, to what we had on our first two albums." That’s already reason enough to pay new attention to "EST LIVE ‘95".

1 Say Hello To Mr. D (To Mr. S.) ( Svensson, Esbjörn) 09:12
2 The Rube Thing ( Svensson, Esbjörn) 05:28
3 Happy Heads And Crazy Feds ( Svensson, Esbjörn) 05:20
4 The Day After (leaving) ( Svensson, Esbjörn) 04:39
5 Like Wash It Or Something ( Svensson, Esbjörn) 08:57
6 Breadbasket ( Svensson, Esbjörn) 05:06
7 What Did You Buy Today ( Svensson, Esbjörn) 03:10
8 Hymn Of The River Brown ( Svensson, Esbjörn) 05:13
9 Same As Before ( Svensson, Esbjörn) 06:25
10 Mr. & Mrs. Handkerchief ( Svensson, Esbjörn) 07:19
11 Dodge The Dodo "live in Montreux" ( Svensson, Esbjörn / Berglund, Dan / Öström, Magnus) 10:02

Esbjörn Svensson - piano
Dan Berglund - bass
Magnus Öström - drums

Recorded by Åke Linton in March 1995, except # 11 recorded by Manu Guiot at Montreux Jazz Festival July 16, 1999, # 5 by Per Åke Hermansson, Radio Dalama and # 6 by Verner Kjersgaag, DR Östjüllands Radio
Mixed by Åke Linton at Bohus Studio
Produced by e.s.t.

Format:Vinyl (also available as CD )

Wolfgang Haffner - Essentials - 3 CD Set (November 2021 ACT Music)

3 CD-Set: Shapes, Round Silence & Heart Of The Matter
8 page Digi-Package, including Booklet

Not only as a drummer, but also as a bandleader and architect of his own music, Wolfgang Haffner is one of the most successful German jazz musicians of our time. Three albums released between 2006 and 2012 are essential for his popularity today. "Shapes", "Round Silence" and "Heart Of The Matter". These recordings, which are no longer physically available as original albums, are now released as a 3 CD "Essentials" set: "Music with engaging melodies, realised by subtle arrangements full of interesting touches " (Jazzwise, UK), "organic and real, retaining an essential humanism too often left out when electronica meets jazz“ (Jazz Times, US), "deeply relaxed " (Jazz thing) and an "almost meditative instrumental music between jazz and lounge that is addictive" (Stern)… were the enthusiastic press reactions to these three albums. Wolfgang Haffner is a past master when it comes to atmosphere, groove and flow. His unmistakable feeling for the sublime in music and his ability to create mood and atmosphere are what set his music apart.

- 3 CD set at a nice price (recommended price to customer: 24,99€) from "Germany's coolest drummer" (ARD tttt)

- The albums "Shapes", "Round Silence" and "Heart Of The Matter" are now physically available again, combined as an "Essentials"-Set

- with guests such as Dominic Miller, Nils Landgren, Lars Danielsson, Eythor Gunnarsson, Sebastian Studnitzky, Thomas Quasthoff and many more.

"The Shade of the Cedar Tree" from Christian McBride & Inside Straight's "Live at the Village Vanguard" (Available November 26 via Mack Avenue Records)

Christian McBride & Inside Straight Releases
Live Performance from the Most Venerated Jazz Club
in America, Which Gave Rise to the Band in '07

Available November 26 via Mack Avenue Records

First Single, "Stick & Move" Available Now

Inside Straight Tour Dates Announced Below

To celebrate the release Live at the Village Vanguard, Christian McBride & Inside Straight will be playing at the Village Vanguard and touring throughout 2022.

Released today, “The Shade of the Cedar Tree” is an original composition off his 1995 debut album, Gettin' to It (Verve).

“I originally wrote this song in honor of one of my favorite composers and musicians of all time, the late, great Cedar Walton. I’ve been quite flattered that this song has been played and recorded by many other artists like Eric Reed and Diego Rivera, to name a few. But when Cedar himself said he liked the song and asked for the sheet music, that was the ultimate honor,” says McBride while reflecting on the new live recording with Inside Straight.
Photo Credit: David Salafia

Christian McBride & Inside Straight Live at the Village Vanguard is Christian McBride’s twelfth release with Mack Avenue Music Group. This recording can be thought of as a companion to the GRAMMY® Award-winning Christian McBride Trio Live at the Village Vanguard album released in 2015. Inside Straight is the quintet that inaugurated McBride’s collaboration with Mack Avenue Records (releasing Kind of Brown in 2009). Both live recordings of the bassist leading these two ensembles occurred in a consecutive two-week period in December of 2014 – a rare engagement offered to only the most venerated jazz artists by the most venerated jazz club in America.

There is no doubt that McBride is one of the most versatile musicians on the scene today. His artistry has been documented in recordings and performances with the widest possible range of musicians in the most varied settings and genres one might imagine. His collaborations have been as diverse as duets with the revered classical bassist Edgar Meyer and avant-garde composer and violinist Laurie Anderson; performances with iconic artists like Sting and James Brown; ensembles with his fellow native Philadelphian, Ahmir “?uestlove” Thompson, of The Roots; not to mention a host of jazz masters from Sonny Rollins and Freddie Hubbard to Pat Metheny and the late Chick Corea.

It was in fact this nomadic journey that provided the inspiration for McBride to return to leading a more conventional straight ahead acoustic jazz ensemble. So, in 2007 McBride recruited his former bandmate in Freddie Hubbard’s group, drummer Carl Allen, saxophonist Steve Wilson, pianist Eric Reed (who subsequently was replaced by Peter Martin) and an amazing young musical prodigy who had enrolled in McBride’s summer camp program Jazz at Aspen, Colorado, vibraphonist Warren Wolf. They played one week at the Village Vanguard with the intention of each musician returning to his other respective projects at the end of that engagement. But the entire week sold out. The proprietor of the Vanguard, Lorraine Gordon, who had very high standards and a reputation for not being easy to please, was ecstatic. Legendary A&R executive Bruce Lundvall, who had come down to hear the band after attending a Ron Carter concert at Carnegie Hall, sat down with McBride after the set and in discussion with the bassist reaffirmed that this ensemble was something special. Some six months later, McBride signed with Mack Avenue Records.

Although the Inside Straight band has made two prior studio recordings for Mack Avenue Records, Kind of Brown and People Music, the band has not, until now, released a live recording – the milieu in which this ensemble was originally created. Represented herein are compositions by three of the five band members. The album opens with a rip-roaring performance of Warren Wolf’s soulful tune “Sweet Bread” and later in the set includes his vibraphone feature “Gang Gang.” Alto and soprano saxophonist Steve Wilson contributes a paean to Maya Angelou. The remainder of the compositions are McBride’s; two of which similarly celebrate the work of jazz greats James Williams and Cedar Walton and provide fertile ground for the aforementioned accomplished pianist Peter Martin. The other two McBride tunes, “Fair Hope Theme” and “Stick and Move,” showcase the quintet engaged in powerfully deep swing with the rapidly shifting rhythmic and harmonic phrasing that kept audiences at the Village Vanguard on the edge of their seats.

November of 2021 marks the 64th anniversary of the very first live recording from the Village Vanguard made by Sonny Rollins. It is a high point in any musician’s career to have performed and become part of a commercial release that has been “recorded live at the Village Vanguard.” One need only listen to any of the legendary recordings made there ranging from Rollins and John Coltrane to Barbra Streisand to hear the magic those performances yield. Except for 2020, the Inside Straight quintet has played at the Village Vanguard every year since 2009. Finally, with Christian McBride & Inside Straight Live at the Village Vanguard, music fans the world over have a chance to hear what all the fuss is about.

Christian McBride Inside Straight Tour Dates:

November 30 - December 5 | Village Vanguard | New York, NY
January 17 - 24 | The Jazz Cruise
February 26 | St. Cecilia Music Center | Grand Rapids, MI
February 27 | Lively Arts Series @ Normandy Farms | Blue Bell, PA
May 3 - 4 | The Jazz Kitchen | Indianapolis, IN
May 5 - 8 | Jazz Showcase | Chicago, IL
May 10 - 12 | Dazzle | Denver, CO

Christian McBride & Inside Straight · Live at the Village Vanguard
Mack Avenue Records · Release Date: November 26, 2021

For more information on Christian McBride, please visit:

Oscar Peterson | “A Time For Love: The Oscar Peterson Quartet - Live In Helsinki, 1987” | November 26 via Mack Avenue Records

Never Before Released Live Concert from
Oscar Peterson Quartet Set to be Issued by
Two Lions/Mack Avenue Records

A Time For Love: The Oscar Peterson Quartet –
Live in Helsinki, 1987, Available November 26

Performance Recorded at Final Concert
of 14-City Tour Beginning in South America and
Ending in Europe, Captures Total Synergy
Between the Band and Boisterous Audience

Remarkable Quartet Features
Joe Pass, Dave Young and Martin Drew

For nearly 80 years, legacy has been the spinal cord of the glorious jazz tradition – but maybe never more so to its fans than during these challenging days of the pandemic. Unable to hear music in person, all of us have only been able to access new music through technology, resulting in many looking back upon what may have been missed. But when one can look back on something that is at the same time entirely new, that is a most special situation. And when that something new is coming from jazz immortal Oscar Peterson – even more so. And that is exactly what is in hand with A Time for Love: The Oscar Peterson Quartet – Live in Helsinki, 1987 from Two Lions/Mack Avenue Records.
From this perspective alone, this is a momentous album – but it is far more than that. The final gig of a long international tour that began with 4 concerts in Brazil, this date was the 14th of a European tour that took the quartet all over mainland Europe and Scandinavia. Anyone with any knowledge of jazz knows that the magic of consistent performing only makes the synergy and empathy of an ensemble – both substances this quartet has in mind-blowing quantity – better and better. That always dwarfs the fatigue factor, and sometimes results in sheer magic on a different plane. That’s clearly what happened during this spectacular concert. As Kelly Peterson says: “Performing with joy and vivacity, they determined to make every concert better than the previous one. This night in Helsinki is a glorious example of that” – and a stunning addition to the continuing legacy of this beloved master of music.
With a remarkable quartet of Joe Pass on guitar and the bass/drums tandem of Dave Young and Martin Drew – all of whom at the time of this recording were about halfway through their thirty-year affiliations with Peterson – the wildly enthusiastic Helsinki audience was treated to a marvelous performance that spans gorgeously poignant lyricism to blistering intensity and every stroke in between with flawless artistry and an exuberant sense of adventurous creativity. The live performance, presented in its unedited entirety, offers the actual being there experience. It graces listeners with the sweeping breadth of Peterson’s majesty as presented in the immediacy of the live concert.
The first set consists exclusively of Peterson’s own compositions – an important focus in Kelly’s efforts to further enhance his immortal legacy. The scope of his exceptional vision as composer is on intriguing display through these five pieces, opening with the sauntering strut of the aptly titled “Cool Walk.” A pair of scorchers – “Sushi” and “Cakewalk” – vividly deliver the explosive power and consummate artistry that is so prominent in Peterson’s ensembles. Defining jazz as “instant composition,” he would occasionally compose a song during a performance. “Love Ballade” is one such piece, written spontaneously during an earlier concert. A mesmerizing extended solo piano opening of filigreed beauty. and an excellent guitar-like Young solo highlight this captivating offering.
A lifelong fascination with Johann Sebastian Bach inspired Peterson’s stunning 20-minute “A Salute to Bach.” This enchanting three-part excursion maintains full jazz integrity in its homage, allowing him to dig into his early classical training.
The second set features Peterson’s enthralling exploration of time-honored jazz and songbook classics, including two virtuosic solo performances: Pass’ exquisite rendition of the iconic Disney tune “When You Wish Upon a Star” and Peterson’s delightful take on Bill Evans’ “A Waltz for Debby.”
Also included are Johnny Mandel’s lovely ballad “A Time for Love,” the deeply grooved swing of Benny Goodman’s “Soft Winds” and “How High the Moon,” a blast-off point of departure in so many of the legendary Jazz at the Philharmonic jams of Peterson’s past, given a gentler, jaunty take.
The monumental climax – before the explosive encore of Peterson’s “Blues Etude” – is the “Duke Ellington Medley” featuring six Ellingtonia classics – “Take the ‘A’ Train,” “Don’t Get Around Much Anymore,” “Come Sunday,” “C-Jam Blues,” “Lush Life” and “Caravan.” A solo piano and ensemble tribute to the transcendence of what Duke represents to the legacy blending elements of swing, blues, barrelhouse, stride, boogie-woogie and every other color in Duke’s – and Peterson’s – endlessly creative palette. This incredible adventure is the perfect symbol for this entire album, touching upon the ultimate essence of jazz expression allowing Peterson to pay homage to his own fathers: Art Tatum, Teddy Wilson, James P. Johnson and Nat Cole by weaving them into a maelstrom of brilliance that is all Oscar Peterson. The perfect definition of the living and ever-expanding legacy of this profound art form.
For those not totally aware of Peterson’s importance within the jazz legacy – as unimaginable as that may be – the Canadian-born of West Indian heritage pianist held court as an ultimate master for nearly 60 years. A recipient of numerous honors and awards (including eight GRAMMY® Awards) and the subject of various documentaries, Oscar Peterson was the embodiment of the history of jazz piano. blended with a superb command of Western Classical knowledge – all of which contributed to Ellington bestowing upon him the title “the Maharajah of the keyboard.” With over 200 albums of his own, Peterson’s amazing ability to temper his own magnificence as a leader and soloist to be able to provide totally empathetic and subtle accompaniment to other musicians and vocalists – simply and eloquently explained by Dave Young as “he listened” – made him a contributor to hundreds of other outstanding recordings, most notably as the virtual “house pianist” for his longtime manager Norman Granz’s Verve and Pablo Records. A professional since the age of 14, Peterson passed away at the age of 82 in 2007, leaving an unparalleled legacy that is as timeless as jazz itself.
A Time for Love is available in both a double-CD format and as 180-gram vinyl in a 3-LP set. Both versions are beautifully packaged and include two sets of inside-view liner notes by quartet member Dave Young, Peterson protégé Benny Green and Oscar’s wife and producer of this album, Kelly Peterson. This is Mack Avenue Music Group’s second collaboration with the estate, following 2017’s re-release of Oscar, with Love. The release will also be available everywhere digitally.
The recording is ideally summed up by Green in his liner notes: This live concert recording of Oscar in his epic prime is a heaven-sent time capsule of beauty and serves a glorious addition to the Jazz pantheon itself, a stunning testament to the music for which he honestly, humbly and fearlessly dedicated his life as a peaceful warrior, a hero to us all for the ages. I’m thankful for the gift of this concert and that Oscar’s spiritual music will play on for us today and tomorrow, as we need it more than ever before.

Oscar Peterson · A Time For Love:
The Oscar Peterson Quartet – Live in Helsinki, 1987
Two Lions/Mack Avenue Records · Release Date: November 26, 2021

Joaquin Muro (feat. Camila Nebbia) - Contracara (November 26, 2021 ears & eyes Records)

NEW: 2nd album from trumpter/improviser Joaquin Muro in free setting feat. Camila Nebbia + more - ears & eyes Records - Nov. 26th

After releasing his first album as a leader, Joaquin Muro quickly returns with his second work: Contracara. It is presented as a B-side of his first album, Oxímoron. Recorded in the same session as the latter, the album has its roots in the free improvisation meetings Joaquin had with his friend and colleague Camila Nebbia (with a musical bond that goes back many years, having shared important projects such as the Juan Izkierdo Grupo and Richard Nant's La Big Nant) during the 2020 lockdown in Buenos Aires. Invited to record on one track of the first work, the original idea was to record two free improvisations that would serve as separators of the album's tracks. Having plenty of time in the studio, these sonic experimentations resulted in 7 tracks (3 as a duo and 4 with the full band) that ended up spontaneously becoming the material for a second album. 

The music of Contracara is presented as the complementary opposite of the music of Oxímoron, a very arranged album, with a lot of written passages and a high presence of counterpoint and irregular metrics as main compositional resources. In this case, the common thread of the album is free and spontaneous improvisation, a field in which Joaquin feels very comfortable and which is also a faithful reflection of his profile as an artist.

The soundscapes of Contracara, although very abstract, reflect images and moods representative of the uncertainty that was experienced both emotionally and artistically during the Covid-19 pandemic, it is an album of a dark and melancholic character, with some flashes of luminosity, and all the strength of spontaneous creation.

Finally, the title of this album has its origin in the concept of complementary opposition, being the music conceptually contrary to that of the first work but equally representative of the artist, it is presented as the other side of the same coin.
About the compositions:

Although the music of each track has its own character, the key element that defines this album is the concept of free improvisation and spontaneous creation.

The first track, Brugmansia Arborea (scientific name of the flower popularly known as floripondio) is a duet between Camila and Joaquin in which they explore from the timbre, with a wide use of extended techniques and with a quite psychedelic aesthetic, which could be framed within noise.

Then follows Sonar (la oscuridad del lecho marino), a track of dark character, whose title has its origin in the first notes of the piano, that refer to the sonority that emits a sonar device and that then develops slowly to show, from the abstraction, diverse imaginary landscapes of the marine bottom, lost objects of shipwrecks, shoals of fish and subaquatic mountain ranges. 

Nadie nos baila lo quitado is perhaps the most accessible track on the album, a frenetic uptempo.

Villa Pueyrredon is the second duet between Joaquin and Camila, which in opposition to the first one, here the exploration happens from the melody, to reflect landscapes of the neighborhood of which they were neighbors and even in which they developed meetings of improvisation to duet in the street.

Astenia is an introspective track, which refers to a journey through the subconscious and its depths, with an exploration also from the timbre, but now at a group level.

Passive Aggressive has a very obvious title and perhaps the most graphic and representative of all the tracks. The idea of this improvisation was that while Joaquin and Camila improvised as a duet, the rhythm section would intervene in an aggressive way, entering and then leaving again.

Bruxismo is the last duet and theme of the album, a short and intense track, whose title comes from the first notes, which refer to the sound of teeth clashing and scraping.

1. Brugmansia arborea 2:49
2. Sonar (la oscuridad del lecho marino) 5:35
3. Nadie nos baila lo quitado 4:41
4. Villa Pueyrredon 3:16
5. Astenia 4:46
6. Pasivo agresivo 3:49
7. Bruxismo 1:35

● Joaquin Muro - Trumpet
● Camila Nebbia - Tenor saxophone 
● Pía Hernandez - Piano 
● Diana Arias - Double bass
● Martín Freiberg - Drums

Recorded by Agustin Silberleib at Estudio Doctor F in Buenos Aires, Argentina
Mixed and mastered by Agustin Silberleib at Estudio Doctor F. in Buenos Aires, Argentina
Produced by Joaquin Muro
Original art by Juana Sallies
Album cover painting by Natalia Nicolau

Matías Formica Tríos - Hastío y Paranoia (November 26, 2021 Numeral)

About “Hastío y Paranoia”:

𝕀𝕟𝕖𝕩𝕠𝕣𝕒𝕓𝕝𝕖 𝕒𝕔𝕖𝕔𝕙𝕒 𝕖𝕝 á𝕟𝕚𝕞𝕒, 𝕠𝕓𝕤𝕖𝕣𝕧𝕒, 𝕒𝕝𝕦𝕔𝕚𝕟𝕒.

𝔼𝕟𝕥𝕣𝕖 𝕤í 𝕝𝕠 𝕚𝕣𝕣𝕖𝕒𝕝, 𝕝𝕒 𝕕𝕚𝕤𝕣𝕦𝕡𝕔𝕚ó𝕟.

𝕀𝕟𝕗𝕒𝕦𝕤𝕥𝕠, 𝕞𝕒𝕝𝕖𝕒𝕓𝕝𝕖, 𝕡𝕖𝕣𝕠 𝕕𝕖𝕝 𝕝𝕒𝕕𝕠 𝕕𝕖 𝕒𝕥𝕣á𝕤, 𝕡𝕣𝕠𝕪𝕖𝕔𝕥𝕒.

This project arises from the impulse of having made the album "AISLADOS" in the first part of the year, an album in duet with Jonatan Schenone, with my own compositions and improvisations. Which left me wanting to experiment more fully with free improvisation, but this time with the challenge of inviting different musicians, and doing totally improvised sessions. Some of them are great and admired friends, others, musicians that I admire and to whom I was encouraged to invite them to join this album.

This project consisted of six recording sessions, each lasting an hour on average, of which I selected two pieces from each session. The idea was to have different formations with varied instrumentations, to generate different timbricall experiences, all trio formations where even I played different instruments, two sessions with tenor sax, two with alto sax, one with flute and one with alto flute, always thinking different instrumental combinations, but at the same time taking into account the different ways of approaching improvisation that each improviser has. At the same time I could classify the pieces into acoustic and electroacoustic.

The criteria for selecting and assembling the album, I tried to make the total tell a story, that each piece was part of the whole. The first selection criterion was that in each song the trio sound prevails, although some tracks begin with a solo instrument, the general development occurs with the sound of the ensemble. The second criterion was to generate an album and not a compilation, with which the selection was to try to make the pieces combine with each other and with the total, trying to generate an album concept. The result in my opinion is as it usually happens, an intermediate point, there are very varied pieces conceptually speaking if we take them individually, but if they are heard in order, I think they combine perfectly.

This project was a challenge, since there were musicians with whom I had never played, and at the same time several of them, did not know each other or had never played with each other, with which each session had an adaptation period, but paradoxically some of the more interesting pieces were the first ones, perhaps because of the surprise when they started playing. Personally, although I am fascinated with the result of the album, it was a great excuse to be able to continue “studying” free improvisation which, in my opinion, is done playing and due to the harsh conditions of the environment in which we live, sometimes it is difficult to do it assiduously.
About Matías Formica:

Born in the city of La Plata. Flute player, saxophonist, composer and arranger. He began his studies of flute at the age of 14 (year 2000) with maestro Martín Saenz. He studied with Pablo Ledesma, Rodrigo Domínguez, Juan Pablo Di leone, Juan Pablo Arredondo, among others. In 2013 he attended the popular music workshops in Curitiba (Brazil), participating in the MPB ensemble (Brazilian popular music) by André Marques and in the improvisation perception workshop by Lea Freire. In 2019 he attended the SIM program in New York, and took classes with Tony Malaby, Tim Berne, Ralph Alessi among others. He participated in various projects, as an instrumentalist, arranger and composer, Matías Formica 4, Mingus Project, El Domo, Quinteto Ledesma / Alarcón / Edward / Carracedo / Formica, ZERO (Ledesma, Formica, Lorenzi Mingrino), among several others.

His first album was "Compendio de ideas sobre deformaciones" with his group El Domo (own compositions), the second "ISOLATED" in duet with Jonatan Schenone (own compositions and improvisations), he has recorded in other shared projects such as No Comunica con Lara Alarcón, Pablo Ledesma, Marcos Edward and Cristian Carracedo, among others.

1. Inexorable (feat Pablo Ledesma – Pablo Bianchetto)
2. Acecha (feat Lara Alarcón – Jonatan Schenone)
3. El Ánima (feat Pía Hernández – Cristian Carracedo Lauretti)
4. Observa (feat Lucas Albarracín – Marcos Edward)
5. Alucina (feat Rocío Gimenez Lopez – Matthew Golombisky)
6. Entre sí (feat Juana Sallies – Juan Cruz Cerasa)
7. Lo Irreal (feat Pía Hernández – Cristian Carracedo Lauretti)
8. La Disrupción (feat Lara Alarcón – Jonatan Schenone)
9. Infausto (feat Lucas Albarracín – Marcos Edward)
10. Maleable (feat Pablo Ledesma – Pablo Bianchetto)
11. Pero del lado de atrás (feat Juana Sallies – Juan Cruz Cerasa)
12. Proyecta (feat Rocío Gimenez Lopez – Matthew Golombisky)

LARA ALARCÓN / voice, live processing and tape (2-8)
JONATAN SCHENONE / acustic bass (2-8)
JUANA SALLIES / voice (6-11)
JUAN CRUZ CERASA / bass clarinet (6-11)
PÍA HERNÁNDEZ / piano (3-7)
PABLO LEDESMA / soprano sax (1-10)
PABLO BIANCHETTO / drums (1-10)
ROCÍO GIMÉNEZ LÓPEZ / piano and synthesizer (5-12)
MATTHEW GOLOMBISKY / electric bass, likable noise, tibetan bowl and elephant bells. (5-12)
LUCAS ALBARRACÍN / cornet (4-9)
MARCOS EDWARD / electric guitar (4-9)
MATÍAS FORMICA / tenor sax (1-4-9-10), alto sax (2-5-8-12), flute (3-7) and alto flute (6-11)

Recorded on April 6, July 22 and August 21, 2021, at Estudio Mirífico (city of La Plata), by 𝔽𝕒𝕔𝕦𝕟𝕕𝕠 𝕃𝕚𝕫𝕠𝕟𝕕𝕠, and August 23 and September 4, 2021, (Buenos Aires) at Estudio Libres by 𝕊𝕒𝕞 ℕ𝕒𝕔𝕙𝕥.
Mix and master by ℙ𝕒𝕓𝕝𝕠 𝔽𝕠𝕣𝕞𝕚𝕔𝕒.
Cover photo 𝕁𝕠𝕣𝕘𝕖 𝔽𝕠𝕣𝕞𝕚𝕔𝕒
Cover art by 𝕁𝕠𝕣𝕘𝕖 𝕍𝕚𝕞𝕖𝕣𝕔𝕒𝕥𝕚.
Videos 𝔽𝕝𝕠𝕣 𝕕𝕖 𝔽𝕦𝕖𝕘𝕠, 𝔸𝕣𝕚𝕖𝕝 𝕀𝕟𝕧𝕖𝕣𝕟𝕚𝕫𝕚 and 𝔸𝕝𝕧𝕖𝕣é 𝔻𝕚 ℙ𝕚𝕝𝕒𝕥𝕠.