Wednesday, January 26, 2022

Kevin Eubanks & Orrin Evans Collaborate on 'EEE THE EUBANKS-EVANS-EXPERIENCE' due out March 18, 2022 (Imani Records)

Imani Records Announces the Release of EEE: The Eubanks-Evans-Experience, A Dauntless, Exploratory Duo Debut For Two World-Renowned Jazz Icons, Guitarist Kevin Eubanks and Pianist Orrin Evans


Bi-coastal Tour Announced; Dates in NYC, Philadelphia, Washington DC, Oakland, Phoenix and more!

Imani Records is excited to announce the forthcoming release of EEE (Eubanks-Evans-Experience), the debut duo recording by two of jazz’s most acclaimed and eclectic artists. Due out March 18, 2022, EEE brings together guitar great Kevin Eubanks with adventurous pianist Orrin Evans for a set that’s as wide-ranging and unpredictable as audiences have come to expect from these two risk-takers. Created in an atmosphere of spontaneity and try-anything experimentation, the repertoire veers from gut-rumbling blues to delicate, airy impressionism, mixing up on-the-spot originals with funk-jazz deep cuts and classic tunes by jazz masters. Audiences will have an opportunity to hear these two greats live during March and April of this year as they embark on a tour throughout California, the Pacific NorthWest and the NorthEast.
Eubanks and Evans share more than their Philly roots – though that’s not an aspect that can be discounted, and the city’s tension between brotherly love and gritty attitude courses through the album’s veins. Both also bring a wealth of experience to the table, along with a friendship of long standing. Eubanks, middle brother of the well-known jazz family, made his name through a series of electrifying releases in the 1980s before spending a decade and a half as bandleader for The Tonight Show with Jay Leno. Since that stint ended in 2010, he’s reemerged as a vital voice on the modern jazz scene leading his own bands along with resuming his partnership with bassist Dave Holland in the band Prism. Nominated for a 2018 Grammy Award for his Captain Black Big Band, Evans has been splitting his time recently between his own prolific performing career and newly appointed role as the Artist in Residence of the DC Jazz Festival. 

While EEE marks the pair’s recording debut as a duo, there’s an inviting ease and a scintillating chemistry to the meeting of Evans and Eubanks that speaks to their parallel histories as well as their shared fearlessness. That’s reflected in the offbeat choice of material on the album, most of which was decided upon at the spur of the moment – both in the studio and on stage at Philadelphia’s Chris’ Jazz Cafe. 

The album harkens back to Eubanks’ 1983 debut Guitarist with the album’s opening track “The Novice Bounce”, beginning the album with a sauntering improvisation which builds into a soulful bounce, wrife with moments of tasteful interplay. The duo continues with a reimagining of the Tom Browne song “Dream of Lovin’ You”. Departing from the funky upbeat feel of the original, this version is an introspective ballad, fully embodying the “dream” aspect of the title. Evans contributed the heartfelt ballad “Dawn Marie”, a tribute to his wife and creative partner, Dawn Warren Evans. 
Photos of Orrin Evans and Kevin Eubanks by Anna Webber

Freedom is a theme that runs throughout the DNA of this release, and the freedom of two like-minded, and deeply well-versed artists playing in a duo context allows for spontaneous creation of the highest echelon. “I like to play with musicians where you don’t have to talk much; you just find a feeling and a direction and go there together,” says Eubanks, “There’s a certain trust that the person is going to bring a vibe, a texture and a personality to the song, even if you’re making up as you go along. With Orrin, I feel confident that if we say, ‘Let’s just start a song,’ we can do that; but if we want something really articulate and planned out, we don’t have any problem with doing that either.” Tunes such as “I Don’t Know” and “And… They Ran Out of Bisquits!” tap into that freedom with spontaneous compositions stemming from a single melody or groove and blossoming into truly expansive works. 

Variations on The Battle” and “Variations on Adoration”, recorded live at Chris’ Jazz Cafe in Philadelphia, allow the duo to stretch out for nearly thirteen minutes, performing variations on Evans’ “Half the Battle”, then doing the same for “Adoration” a ballad from Eubanks’ Zen Food album that also served as his farewell performance on The Tonight Show.

“What I love about Kevin is he’s not afraid of the journey,” Evans says. “When you have nothing to prove, the possibilities of the music are just amazing, and that’s pretty much what’s happening here.”

Tracklisting:

1. Novice Bounce (6:54)
2. Dreams Of Loving You (4:40)
3. I Don't Know (5:39)
4. And... They Ran Out of Bisquits! (3:36)
5. Dawn Marie (5:19)
6. Variations on The Battle (13:02)
7. Variations on Adoration (8:51)

Eubanks-Evans-Experience Spring 22’ Tour Dates

March 26, 2022 / Townhall (Seattle, WA) TICKETS / INFO
March 27, 2022 / The Old Church (Portland, OR) TICKETS / INFO
March 30, 2022 / Yoshi’s (Oakland, CA) TICKETS / INFO
March 31, 2022 / Kuumbwa (Santa Cruz, CA) TICKETS / INFO
April 1, 2022 / TBA (Los Angeles, CA)  
April 2, 2022 / Jazz at the Athenaeum (San Diego, CA) TICKETS / INFO
April 3, 2022 / Musical Instrument Museum (Phoenix, AZ) TICKETS / INFO
April 22, 2022 / World Cafe Live (Downstairs) (Philadelphia, PA) TICKETS / INFO
April 23, 2022 / Le Poisson Rouge (New York, NY) TICKETS / INFO
April 24, 2022 / City Winery (Washington, DC) TICKETS / INFO
April 28, 2022 / One Longfellow Square (Portland, ME) TICKETS / INFO
April 29, 2022 / Jimmy’s Jazz & Blues Club (Portsmouth, NH) TICKETS / INFO

NEW RELEASE: GRAMMY® Nominated Vocalist Catherine Russell's 'Send For Me' is out April 1, 2022 via Dot Time Records

GRAMMY® Nominated Vocalist Catherine Russell to Release New Album,
Send For Me, Out April 1, 2022 via Dot Time Records

Release Tour Kicks off February 4 through May 13

“One of jazz’s most celebrated vocalists…a dogged song sleuth with a vast and varied book of salty blues, swooning ballads, pre World War II pop tunes, and vintage R&B.”
– San Francisco Chronicle

“At a moment when the world can seem out of balance, it’s still possible for a musician to project a groundedness and a joy…a strength, good humour and intelligence…”
– New York Times 

GRAMMY®-nominated vocalist Catherine Russell, when asked to characterize her new album, Send For Me, replied, “I love romance that swings.” Due out on April 1, 2022 via Dot Time Records, Send For Me features a baker’s dozen of newly recorded tunes on her eighth album as a leader, meeting a simple exacting standard. “Songs that inspire or touch me in some way. When I find a song I like, it haunts me until I learn it.” Her mission is finding songs that you might not have heard but deserve attention. 

Russell’s deep connection to her chosen material is part of a calling. As the daughter of pioneering and legendary musicians, pianist/orchestra leader/composer/arranger Luis Russell, and bassist/guitarist/vocalist Carline Ray, Catherine Russell was born into jazz royalty. In culling material for her new album from the likes of Billie Holiday, Nat King Cole, Luis Russell, Betty Carter, Kay Starr, Joe Liggins, Earl King, Jack Teagarden, Helen Humes, Frank Sinatra, Dakota Staton, Henry Red Allen, and Louis Armstrong, the vocalist swims in familiar waters. She sings a language that comes naturally, furthering a profound legacy.

Send For Me is a follow up to Russell’s 2019 release Alone Together, which received a GRAMMY® nomination for Best Jazz Vocal Album, and landed on the JazzWeek year-end radio chart as the #1 most played album. “I like to invite the people in,” she says of her new album, which is also her philosophy of performing live. The album is an invitation, welcoming the audience to come along on a journey.

Send For Me”, the title track, was first recorded by Nat King Cole, and became a crossover hit in 1957, reaching #1 on the U.S. R&B charts, and #6 on the U.S. Pop Chart. “Nobody thinks of Nat King Cole as a blues singer, but he sang some really great blues,” observes Russell.

At The Swing Cats Ball”  has a strong family connection.  Russell recalls, “My mother had given me sheet music a long time ago, saying, ‘your father co-wrote this tune, and Louis Jordan covered it.’” The song was among the first recordings by Louis Jordan. Luis Russell never recorded his tune, although he performed it on gigs. “We found a live version performed by my dad’s orchestra on a radio broadcast, and we adapted his arrangement. I love the image of people going to a swing dance.”

Another highlight is “Make It Last,” a gorgeous standard written by Dick Haymes and Bill Paxton, made famous by Betty Carter in 1958. “A good friend of mine sent me “Make it Last” and when I heard it I said, ‘wow, this is another great tune with an interesting chord progression, and a Melba Liston horn arrangement.’ Another connection: Russell’s mother worked with trombonist/arranger Liston and a young Russell had seen Betty Carter perform, leaving a great impression. “Make It Last” is about holding onto what’s really important, and hoping it will continue.  “It’s not wanting to lose a beautiful moment, because tomorrow the moment may be gone,” the singer reflects. 
Catherine Russell by Sandrine Lee

Going Back To New Orleans” was written and originally recorded by Joe Liggins, who shared bills in the late 1940s with both Luis Russell and His Orchestra and The International Sweethearts of Rhythm, including Catherine’s mother, Carline Ray, on guitar and vocals. Interestingly, these intersections happened years before Luis Russell and Carline Ray first met in 1955; Luis was 23 years her senior and they married before Catherine was born in 1956.  

Russell’s professional life began at age 7, when she first took the stage as a dancer with Katherine Dunham’s company for four seasons at The Metropolitan Opera’s production of Aida. After graduating with honors from the American Academy of Dramatic Arts, she was fortunate to work with David Bowie, Steely Dan, Cyndi Lauper, Paul Simon, Jackson Browne, Michael Feinstein, Levon Helm, Wynton Marsalis, Dr. John, Rosanne Cash, Toshi Reagon, and Carrie Smith, among others. Russell performed extensively as a backup singer, multi-instrumentalist, and lead singer, before launching her solo recording career in 2006. She amassed decades of experience touring and recording with cutting edge songwriters and iconic artists, appearing on over 200 albums.

Co-producers Katherine Miller, Paul Kahn and Catherine Russell, the team behind Russell’s albums, Alone Together (2019) and Harlem On My Mind (2016), both GRAMMY® nominees for Best Jazz Vocal Album, are reunited on Send For Me, their 6th album together. The winning streak began with Inside This Heart of Mine (2010), which reached #1 on iTunes  and Amazon jazz charts. Strictly Romancin’ (2012) was awarded the Prix du Jazz Vocal (Vocal Album of The Year) by the French Jazz Academy and Grand Prix du Hot Club de France. Her fifth solo album, Bring It Back (2014), received a 5 Star Review in Downbeat Magazine

Significant film and TV credits include Russell contributing the song, “Crazy Blues,” as a featured artist on the 2012 GRAMMY® winning soundtrack album of the HBO series, Boardwalk Empire.  In 2017, she performed the song on PBS-TV’s Great Performances special, ‘Grammy Salute To Music Legends’. In 2019, she had a cameo in the feature film Bolden, a biopic about jazz pioneer Buddy Bolden, while also contributing lead vocals on two songs to Wynton Marsalis’s soundtrack album.

Russell’s versatility shines through on an array of new recordings released over the past 18 months. She added harmony vocals on albums by Sarah Jarosz (a GRAMMY® Award winner for Best Americana Album in 2021), Brett Eldredge, and Little Feat, while also contributing a song on renowned banjo player Tony Trischka’s new album Shall We Hope. In addition, she appeared as a guest lead vocalist on albums by Andy Farber and His Orchestra (Early Blue Evening), reedman Evan Arntzen (Countermelody), and on Steven Bernstein’s MTO featuring Catherine Russell, Good Time Music, the second album in the four-part Community Music series by trumpet player and arranger, Steven Bernstein. Russell continues to tour with Steely Dan, as recently as in the fall of 2021, and she sings on two new releases including Northeast Corridor Live! and a live version of the acclaimed album by Donald Fagen, The Nightfly Live. 

Sixteen years into her solo career, Catherine Russell is on the move. Her band, including guitarist/musical director Matt Munisteri, pianist Mark Shane, bassist Tal Ronen, and drummer Mark McLean, has performed at major festivals on four continents, while also selling out concert halls from SFJazz Miner Auditorium in San Francisco, to Zankel Carnegie Hall in New York City, to Tchaikovsky Hall in Moscow. In addition, Catherine has appeared as a featured vocalist with today’s leading big bands and symphony orchestras including the Jazz at Lincoln Center Orchestra with Wynton Marsalis, Vince Giordano’s Nighthawks, Count Basie Orchestra, Andy Farber and His After Midnight Orchestra, Knoxville Jazz Orchestra, Jazz Philharmonic Orchestra of St. Petersburg, Russia; Miami’s New World Symphony, The Philly Pops, and The Pasadena Pops Orchestra. Most recently, Russell joined forces with John Pizzarelli to perform a salute to Billie Holiday and Frank Sinatra. 

As Catherine sings on the title track of her new album, “Anywhere, Oh Yeah, Send For Me, and I’ll be there.”

1. Did I Remember (Harold Adamson, Walter Donaldson)
2. Send For Me  (Ollie Jones)
3. At The Swing Cats Ball (Luis Russell, William Campbell)
4. Make It Last (Dick Haymes, Bill Saxton)
5. Going Back To New Orleans (Joe Liggins)
6. If I Could Be With You  (James P. Johnson, Henry Creamer)
7. You Can Fly High  (Earl King, John Vincent)
8. East of The Sun (and West of the Moon) (Brooks Bowman)
9. In The Night  (Norman Mapp)
10. You Stepped Out of A Dream (Nacio Herb Brown, Gus Kahn)
11. Blue And Sentimental  (Count Basie, Mack David, Jerry Livingston)
12. Sticks and Stones (Cavanaugh/Razaf/Palmer)
13. Million Dollar Smile  (Porter Roberts, Lionel Hampton)

Upcoming Catherine Russell Tour Dates 2022

Feb 4-5 / The Lift at Cascade Village/ Durango, CO
Feb 14-19/ Birdland / New York, NY
Mar 9-10 / Jazz St. Louis / St. Louis, MO
Mar 15  / Theatre at Renovation Square / Rochester, NY
Mar 16 / Sarasota Jazz Festival / Sarasota, FL
Mar 18-19 / Jazz Forum / Tarrytown, NY
Mar 24 / Carnegie Hall / New York, NY
Mar 26 / Rose Theater, Jazz at Lincoln Center / New York, NY
Mar 31 / Jimmy’s / Portsmouth, NY
Apr 1 / Scullers / Boston, MA
Apr 8 / Modlin Center for The Arts / Richmond, VA
Apr 14-17 / Jazz Alley/ Seattle, WA
Apr 19 / Yoshi’s / Oakland, CA
Apr 20  / Kuumbwa Jazz / Santa Cruz, CA
Apr 21 / Irvine Barclay Theatre / Irvine, CA
Apr 29 / Festival Hall / Greensboro, GA
May 6 / Kupferberg Center for The Arts / Queens, NY
May 7 / Kingsborough Community College / Brooklyn, NY
May 13 / Kleinhans Music Hall / Buffalo, NY

Catherine Russell · Send For Me
Dot Time Records · Release Date: April 1, 2022 

For more information on Catherine Russell, please visit: CatherineRussell.net

DC Jazz Festival Announces Permanent Move of Its Annual DC JazzFest to Labor Day Weekend

DC Jazz Festival Announces Permanent Move 
of its annual DC JazzFest to Labor Day Weekend

DC JazzFest at the Wharf, September 3-4 over Labor Day Weekend

The DC Jazz Festival® (DCJF) today announces the dates of the 2022 DC JazzFest, which will take place August 31-September 4, 2022, marking a permanent shift of its annual DC JazzFest to the end of summer over Labor Day Weekend. With five days of concerts citywide, the 2022 DC JazzFest will be a celebration of all things jazz in more than a dozen neighborhoods including its marquis weekend at The District Wharf, a waterfront destination with an inviting array of restaurants, shops, and spectacular river walk views. DC JazzFest at The Wharf will take place September 3-4, featuring multiple waterfront stages, as well as the DCJazzPrix international band competition at Union Stage. 
 
“I’ve always loved the cultural diversity represented through DC JazzFest and the way music helps connect us,” said Elliott L. Ferguson, II, president and CEO of Destination DC, the official destination marketing organization of Washington, DC. “The festival is a staple of the city that visitors and locals will look forward to as we celebrate a fun and vibrant Labor Day weekend in DC.”
 
A cultural staple and artistic jewel of the nation’s capital, the 18thAnnual DC JazzFest will feature a robust lineup of incredible artists – from homegrown talent to international superstars and emerging artists to NEA Jazz Masters. The 2022 DC JazzFest will include more than 50 performances with up close and in person “Meet the Artist” conversations and panel discussions.  
 
Executive Director of the Wharf Community Association, Bob Rubenkonig, said of the 2022 festival schedule; “The Wharf is proud to be a part of DC JazzFest and we look forward to hosting the beloved festival over Labor Day weekend. The Festival’s mission to unify diverse communities and enable connections between artists and audiences—while providing performance opportunities for DC-based jazz musicians—will make the holiday weekend one to remember at The Wharf.”
 
“While still in the middle of challenging times, the DC Jazz Festival will work closely with our DC partners to deliver a safe, world-class festival experience featuring great music for the jazz enthusiast and casual fan alike,” said DCJF CEO Sunny Sumter. “The well-being of our patrons, artists and festival production team continue to be our top priority.”
 
The DC Jazz Festival will announce its full lineup and more details on the citywide celebration in late spring. Mark your calendars now as the 2022 DC JazzFest will shine as DC’s summer finale over Labor Day Weekend!
 
For any press inquiries or requests for information, contact Lydia Liebman, DCJF publicist, at lydia@lydialiebmanpromotions.com
 
Learn more about the DC Jazz Festival and the full range of programs by visiting www.dcjazzfest.org.

Apostolos Sideris Presents: Hane (February 2, 2022 Baruthane Productions)

‘Hane’ is the follow-up to bassist and composer Apostolos Sideris’ debut album ‘Σummation’. It signifies a different way to make and record music for the artist.

This time, Apostolos was forced, due to the reality of the past year and a half, to create an album based on his own recordings at his home studio. This process gave him the ability and freedom to overdub himself and others, each recording adding up to a multi-layered musical product.

He was able to build his music from the ground up, in a very contrapuntal way. The superimposition of various intricate rhythms and harmonies is what makes this album so special for him. In the process, he invited all members of his Σummation ensemble to participate here and there, in addition to working with a number of added special guests from different musical areas and styles.
The album starts with ‘Hidden Symmetry’, a short modern classical orchestral piece that acts as the intro to ‘Hane’. The album doesn’t waste time moving into very different directions, with ‘Up’, ‘Algorhythm’ and especially with the first single ‘In Between the Lines’, in which Apostolos is putting in effect his’ love for punchy rhythmic patterns. During those tracks, percussionist Sakir Ozan Uygan and drummer Dimitris Klonis are adding their crisp and imaginative percussive parts.

‘Love’s Song’ is possibly the most introspective piece, with it’s dark eastern melody and the beautiful playing by Andrea Romani on the ney, Fotini Kokkala on the kanun and Giannis Poulios on the violin. Compositions like ‘All the Senses Become One’ and ‘Frozen Like the Winter’ show the songwriting and vocal side of the composer’s musical universe. Lyrics in Greek were written by Mr. Sideris himself. ‘Geminal’ is a rather groovy piece on a quite intricate rhythmic pattern, with pianist Leo Genovese adding his fiery keyboard lines. It is also the only piece where Apostolos is the co-writer. Another highlight of the album is the Arabic-influenced ‘Grinding Game’ with Attab Haddad’s powerful and tasty oud adding to the flavor of the performance.

Pieces like ‘Alev’s Dance’ and ‘Work of Body’ are both based on bass and voice overdubs, with their mouth-drum parts painting their own groove. Improvisational jams like ‘Passage’ and ‘Back Beat’ show a more relaxed Apostolos, willing to let go and have some casual fun. The album notably ends with a pizzicato improvisation over a lush set of bowed basses offering a hypnotic drown, almost going back to where it started: The artist having a conversation with himself, slowly setting the rules to the musical game he set to create.

1. Hidden Symmetry (Intro)
2. Up
3. Algorhythm
4. In Between the Lines
5. Love's Song
6. Geminal
7. Kairos
8. Frozen Like
9. Baseline
10. Passage
11. Alev's Dance
12. All the Senses Become One
13. Work of Body
14. Back Beat
15. Grinding Game
16. Epilogue

Apostolos Sideris: upright and electric basses, vocals, drum programming and compositions

Sakir Ozan Uygan: percussion
Leo Genovese: keyboards
Andrea Romani: ney, flute
Giannis Poulios: violin
Dimitris Klonis: drums, electronics
Fotini Kokkala: kanun
Attab Haddad: oud
Costas Baltazanis: guitar
Sarp Maden: guitar
Tamer Temel: saxophones

New album coming soon in all streaming/download platforms

ZKHR - Pieces for Double Bass & Piano (March 1, 2022)

Neo-classical music in which all the power and performance potential of double bass are discovered, accompanied by pianoforte and ambient electronical music.

ZKHR announced release of the LP “Pieces for Double Bass & Piano” on March the 1st of 2022. There are not so many compositions for double bass written. The musician promises to expand the abilities of double bass in a fresh new way, to find experimental images and change listener’s  vision of the very fundamental function of this great musical instrument in this work.

The album consists of 9 compositions. Double bass part is recorded by the author, while pianoforte part is recorded by Kamilla Leonenkova, Gnesin Russian Academy of Music student.

The pieces, presented on the record, slide into one another, creating the feeling of an endless story. The composer transmits emotional experience of the persona with the bow movements, describes the world filled with some special sadness and romanticism with the help of sounds. This romanticism is picturesquely unusual, it violates the conservative form and gets exposed in something that comes to be bulky and massive at first sight.
The sounds of double bass and pianoforte slip into the half-light constrained with meditative silence. These sounds fill the whole room peacefully and confidently, distracting the listener from the routine and ordinary things, inviting to the world of melancholy and contemplation upon something really important.

This is exactly the way one can describe atmosphere created by the talented composer Zakhar Zaitsev, who works under the stage name ZKHR and violates classic composing traditions.

The musician successfully combines solo career with participation in diversified projects. One can hear Zakhar’s bass-guitar on the records of the rock bands Target Audience and Animatronika, double bass – on the acoustic records of Solarburst or in combination with nyckelharpa and harp in the folk band Opletai repertoir, pianoforte – in Natalia Drepina and indie-pop singer Daria Loiter’s (the band LOAD’s frontwoman) songs.

ZKHR’s talent has been noticed far outside of Russia. The composer’s debut album “Ride” was critically acclaimed by the international media: Portugal Threshold Magazine, German Kulturform, French totoromoon. Zakhar cooperates with the mexican artist René Villarreal, recorded soundtrack to the advertisement by the Spanish designer Maria Jose Garcia and the Amerrican designer Lory Sun Artistry. After graduating the Popakademie in Baden-Wurttenberg Zakhar Zaitsev started cooperating with the German musician Jon Darco.

The cover has been created by the artist Anna Mikhailova, well-known for her artworks for the books “Herman” and “Fish don’t melt” published in Samokat publishing house, design of the web media portals «Такие дела» (That’s the way it goes”), «Батенька, да вы трансформер» (Oh, dear! You’re a transformer), cooperation with Alexey Kozlov’s jazz club and participation in the international art festivals (Fumetto comix-festival, Typomania, MorsFest, Non/Fiction).

Eric Wubbels / Charmaine Lee / Weston Olencki - Field of Action / contraposition (February 25, 2022 Out Of Your Head Records)

1. Field of Action - screen
2. Field of Action - signal
3. Field of Action - empathy // cassette
4. Field of Action - tether
5. Field of Action - index
6. Field of Action - resistor
7. contraposition - IMAGE
8. contraposition - ESSAY
9. contraposition - RASTER
10. contraposition- NEGATIVE

Field of Action [2019-20]
(Duos with Piano VII)
by Eric Wubbels, in collaboration with Charmaine Lee

Charmaine Lee, voice/microphones/electronics
Eric Wubbels, piano/synth

Recorded, mixed, and produced by Weston Olencki
Mastered by Alan F. Jones / Laminal Audio

contraposition [2016]
(Duos with Piano V)
by Eric Wubbels

Weston Olencki, trombone
Eric Wubbels, prepared piano

Recorded by Sam Pluta
Mixed by Weston Olencki
Mastered by Alan F. Jones / Laminal Audio

Artwork and design by TJ Huff

Kuhl / Ballou / Dierker / Stewart - KRAFT (February 11, 2022 Out Of Your Head Records)

Kraft is a German word that means energy, strength, force. KRAFT is a creative, improvisational quartet formed by drummer Mike Kuhl in 2018. Joining Kuhl are long-time collaborators and some the most stalwart improvisers on the scene today - Dave Ballou (trumpet), John Dierker (reeds), and Luke Stewart (bass).

Over the past ten years, Kuhl hosted a weekly gig at Bertha’s Mussels in Baltimore with his trio of Ballou, Jeff Reed (bass) and later John Lee (guitar). During that time, legendary players including Dave Liebman, Tim Berne, Michael Formanek, Tony Malaby, Drew Gress, Mark Giuliana and many others have performed with the group.

One Tuesday in the summer of 2018, Kuhl took the opportunity to showcase a group he always wanted to play with – the group to be known as KRAFT. There was an instant, beautiful, and natural chemistry to the quartet. On February 19, 2021 KRAFT was invited to perform and record a live stream concert at An Die Musik in Baltimore. That night the group realized they had created a special recording. Stewart, who holds a degree in audio production, offered to mix the recording of the concert during his week-long residency at Pioneer Works in Brooklyn, New York.

Upon hearing the final mixes, their intuitions were confirmed. What is presented on this recording is completely unedited as it was performed that evening.

1. Ageless One
2. Scoop the Moon
3. Stick and Move
4. A Real Mensch
5. Underneath

Dave Ballou - trumpet
John Dierker - reeds
Luke Stewart - bass
Mike Kuhl - drums

Cobalt Code Unit - SOILWORK (January 2022 PMGJazz)

Another of our authentic original live recordings and productions.
Kraj Vardarot Jazz is a PMGJazz own annual festival, and this recording was made at our first ever fest in 2020. This adventurous take on Macedonian traditional folk music is as epic as it comes and as jazz as it gets. This are young people that we love, respect and plan to release again and again in the future, since they posses the sound that we think is an essential for an aspiring Macedonian jazz label. Our own contribution to the global wealth of sonicity. A work in progress.

1. Anima Australis 23:38
2. Night Water 18:45

Composed by Blagojche Tomevski

Cobalt Code Unit are:
Blagojche Tomevski - clarinet
Stefan Miladinov - guitar
Simeon Angelovski - bass guitar
Dragan Teodosiev - drums

Recorded at Kraj Vardarot Jazz Festival 2020 by Nenad Trifunovski
Mixed and produced by Vladan Drobicki
Cover by Dragan Teodosiev (photos of “Freedom Monument” in Kochani by Gligor Chemerski and Radovan Radjenovic)

Danny Fratina - Bb, in Isolation (January 2022)

Dealing with limitations of genre, performance behavior, and various modalities of forced minimalism, Bb, In Isolation, is an experiment in liminality, where conventionally presumed boundaries between sociality/isolation and composition/improvisation are put to test. The music only insists on a single unifying initial pitch class before giving space to each player to generate their own personal statement within the given parameters, albeit in overstatedly minimal terms.

The piece was performed by 12 musicians around the world, and, to emphasize the creative immediacy of improvisation, no compositional information was given to any musician in advance. The performance and recording began immediately after the sheet music was revealed. Inspired by the conditions imposed by the pandemic, and the new forms and formats of music-making it brought about, this piece explores the contingencies of isolated improvisation and social composition.

1. Allison, alto sax 00:18
2. Bardia, setar 03:17
3. Max, upright bass 02:31
4. Müge, piano 01:02
5. Yulia, flute 02:48
6. Ayşe, cello 03:58
7. Audrey, electric harp 02:18
8. Amy, percussion 01:35
9. Jake, electric guitar 00:24
10. Celia, viola 00:46
11. Mark, soprano sax 00:32
12. Sam, Bb trumpet 00:56

Allison Burik - alto sax
Bardia Hafizi - setar
Max Ridley - upright bass
Müge Hendekli - piano
Yulia Musayelyan - flute
Zeynep Ayşe Hatipoğlu - cello
Audrey Harrer - electric harp
Amy Salsgiver - percussion
Jake Hertzog - electric guitar
Celia Daggy - viola
Mark Zaleski - soprano sax
Sam Dechenne - Bb trumpet

Mixed and mastered by Can Murtezaoğlu
Artwork by İlkim Karakuş

Dusan Jevtovic - No Answer Project LIVE in Barcelona (only digital release) January 26, 2022

It is apt that the cover art of Dusan Jevtovic’s latest release portrays the members of the No Answer Project sitting near to a roadside. Dusan Jevtovic, Vasil Hadžimanov and Asaf Sirkis face the same direction, but the road they explore reveals many interesting deviations as they travel towards their collective destination. The subtlety, skill, and searing musicianship in evidence in this release, enables the listener to accompany the trio of musicians on an exciting journey of discovery.

The album captures the performance of a Barcelona concert during May 2019. The seven compositions bear all the trademarks that has made Jevtovic’s work so distinctive over the years. Four of the compositions originally appeared on Jevtovic’s No Answer release. The live renditions of these tunes are equally compelling and are arguably even more rewarding for they capture the excitement, invention and improvisation that goes hand in hand when this type of progressive fusion is created in a live setting. The beautiful rendition of Yo Sin Mi is one of the albums standout tracks.

The three other pieces; Blues For A, Op-Sa and Nine have not been released before. Their inclusion in the set will ensure that many aficionados of Jevtovic’s work will be excited to hear this release. All three pieces are excellent and are worthy additions to Jevtovic’s catalogue of work.

Blues for A is particularly evocative, it seamlessly moves between cleanly struck guitar sections, yowling solos and disconcerting heavy sections where the extraordinary percussive drumming of Sirkis glues everything together. As might be expected when players of the calibre of the trio are involved, it moves outside parameters normally connected with the Blues. Consequently, it has several inventive passages. These reveal an adventurous air and an innovative capacity, whilst still maintaining a peripheral yet identifiable association with the Blues.

Throughout the concert, distorted guitar chords full of malevolence and power are juxtaposed with delicate sections that have an ethereal air. Sirkis skillful use of his kit is at the heart of everything and his ability to play with delicacy and with dynamic power, when necessary, propels the music with great dramatic effect. This enticing mix is superbly embellished by Hadžimanov’s sensitive use of piano, electric piano, and synth when the need arises.
Hadžimanov’s fine keyboard patterns offer a different set of colours and creates a noticeable contrast. This ensures that the music has an unpredictable and exciting edge. His flowing solo in Blues for A is simply magnificent. However, his wonderfully crafted piano interlude in the beautifully melodic Yo Sin MI is equally impressive and provides another standout piano moment during the album.

The quality of the recording is excellent and the work of Acklam studios in Barcelona should be commended for ensuring that the skillful performance of each instrument can be easily discerned.

The No Answer Project’s selection from the No Answer album and their presentation of three previously unheard compositions is a thoroughly rewarding experience.

The trio’s unique blend of progressive jazz treads a road that is seldom travelled and I for one, cannot wait to experience their journey again.

1. Al Aire/ Soko Bira 05:14
2. Blues For A 07:09
3. No Answer 07:19
4. Yo Sin Mi 06:20
5. Op-Sa 07:30
6. El Oro 09:39
7. Nine 05:41

Dusan Jevtovic guitar
Vasil Hadzimanov keys
Asaf Sirkis drums

Recorded Live at Aclam Studios Barcelona 2019 by Jose Cattaneo
Mixed and mastered by Juan Pablo Alcaro, Buenos Aires, Argentina
Cover photo Xavi Parce
Cover design Aleksandar Popovic
Linear notes Owen Davies

James Fernando and Matt Lagan - The Grind (January 26, 2022)

1. Willy Wonka
2. Mars
3. Face Theory Intro
4. Face Theory
5. Falling
6. The Grind
7. The Beautiful Cat
8. Yore
9. Rain

Saxophone - Matt Lagan
Piano - James Fernando
Guitar - Andrew Marzotto
Bass - Jonathan Chapman
Drums - Austin Gembora

All compositions by James Fernando and Matt Lagan
Engineered by Darren McGill
Recorded at UNION sound
Mixed and mastered by James Fernando
Cover art by Matt Lagan

Nicholas McNair & Samuel Gapp - Mirages (Habitable Records)

This is the selective record of a meeting – of two Steinway grand pianos, audio and video equipment and technicians, and the fingers of a young jazz pianist and a much older classical pianist. The notes teased out intuitively by these fingers reflect an uncommon complicity that allowed us to walk onto the platform and begin to play without having decided anything more than the position of the pianos. Of the 49 pieces we recorded in total, in 2 sessions of 4 hours each, these 12 are a taste of the sheer joy we had in playing together on instruments of such quality. Needless to say, the suggested titles came later.

"If there’s such a thing as a “best mirage,” it is the fata morgana, an exquisitely complex greatest hits package of everything light refraction can muster: dancing, diving, climbing, shapeshifting, delivering impossible (yet wholly filmable) first/second/third-eye opening phenomenological jolts. Likewise, when pianists Samuel Gapp and Nicolas McNair play the music of Mirages on two vintage Steinways, a coalescence of horizontality and vertical ascent constantly renegotiates observer and observed. The effect is all the more remarkable since Samuel and Nicolas arrive at their seamless improvisations spanning age and genre and geography, all of which shimmer in an instant(ly) shared dialect. In the liquid and languid moments, in the percussive avoirdupois, in the melodicisms and subversions of expectation, the suspension of conventional sightlines is itself the guide through this joyously elastic sense of dimension."
- Killick Hinds, December 2021

1. Question 05:43
2. Action/Reaction 05:07
3. Mimesis 06:39
4. Spontaneous 03:34
5. Interrupt 03:45
6. Mirages 03:34
7. Chiasm 08:24
8. Delusions of Grandeur 02:01
9. Rêves/Espoir 05:10
10. Vortices 04:41
11. Fieberwahn 05:10
12. Answer? 03:47 

Samuel Gapp – Piano
Nicholas McNair – Piano

Recorded on July 29 – 30, 2021 at Escola Superior de Música de Lisboa
Recorded by Sérgio Henriques, with assistant Pedro Santos
Filming by Caio Rodrigues
Mixed by André Fernandes
Mastered by Killick Hinds at H(i)nds(i)ght Studio, Athens GA, US
Cover by Samuel Gapp
Cover photography by Mafalda Carapeto
Cover writing by Laura Hinz
Recording photography by Henrique Santos
Steinway Concert Grand Pianos tuned by Manuel Patrão
Produced by Samuel Gapp and Nicholas McNair

Tuesday, January 25, 2022

Martin Wind / New York Bass Quartet - AIR (Four double bassists in Martin Wind's "tour de force") Available February 25, 2022 via Laika Records

Martin Wind presents the double bass in an entirely new way with his New York Bass Quartet album AIR

Available February 25, 2022 via Laika Records

Featuring bassists Wind, Gregg August, Jordan Frazier and Sam Suggs 

plus Matt Wilson, Lenny White and Gary Versace 

“... a tour de force.  Each of the quartet members are virtuosos on the double bass collaborating to present a fun, unique, and accessible program of eclectic music from J.S Bach to Paul McCartney to Martin Wind....this recording has raised the bar to a higher level for the 21st Century Double Bass community and music lovers, alike. BRAVO GENTLEMEN!  I love it!”
– jazz bassist/composer Rufus Reid

Air, the new album by bassist Martin Wind,  presents the double bass in an entirely new way: making it the center of the action. Wind, born in Flensburg, Germany, emigrated to New York a quarter of a century ago to seek his musical fortune in the world capital of jazz, and found it. Now, on Air, he introduces us to his New York Bass Quartet.

The idea of forming an all-bass ensemble came to Wind about ten years ago when he began teaching at Hofstra University. "For this group I wanted to gather students from different stylistic backgrounds and expose them to a wide repertoire of pieces - from Bach chorales to pop songs to jazz adaptations. And because I didn't want the material to be repetitive week after week, my students and I started writing arrangements," Wind recalls. 

On Air, Wind documents eight of these arrangements with the support of several of New York’s world-class musicians. They include Jordan Frazier (principal bass with the renowned Orpheus Chamber Orchestra), Gregg August (2020 Grammy nominee in the "Best Large Ensemble Jazz Recording" category), and Sam Suggs, who at 30 sounds "outrageously mature," as Wind puts it.

"I consider them the A-Team for this kind of a project. Thanks to their versatility and perfect bowing technique, I was able to explore the immense tonal possibilities of the instrument, as well as the entire scope between classical, rock and jazz."
Photo by Pete Coco

The result delivers numerous moments of surprise while covering a sonic range of over four octaves. On the title track "Air," the ensemble starts off measured and close to the original by Johann Sebastian Bach. “(Give Me Some) G-String” also seems similar at first, before completely spinning into a different direction. Here, drum legend Lenny White ("Return to Forever") and Gary Versace on the Hammond B3 ensure that the piece grooves mightily.  On the Weather Report anthem "Birdland," White again puts his stamp on the arrangement with his uncompromising backbeat.

With his Beatles medley, Martin Wind demonstrates why he’s been making a name for himself as an arranger, as well. He weaves "The Long and Winding Road," "Here, There and Everywhere," "She`s Leaving Home" and "Lady Madonna" into a polyphonic work of art. The starting point for Wind's adaptation of Charlie Haden’s “Silence” is a chord progression of only eight measures, from which Wind creates an eight-minute opus. "Starting with a musical cell and expanding it - that's something that particularly appeals to me," reveals Wind, who  n achieves a special coup with Air - both musically and in terms of personnel.

The liner notes by Ron Carter, who played bass for Miles Davis,  reflect respect and admiration: "Imagine an album on which four bassists and some guest musicians dare to play exceptionally difficult arrangements - and succeed thanks to their outstanding skills. Well - stop just imagining it. Because this album is the sounding proof that it can succeed."

1. Air [Quartet Version] (J.S.Bach) 2:55
2. [Give me some] G-String (Martin Wind) 7:15
3. Beatles Medley (Lennon /McCartney) 8:48
4. Birdland (Joe Zawinul) 6:02
5. Silence (Charlie Haden) 8:06
6. I'd Rather Eat (Martin Wind) 6:50
7. Tell Her You Saw Me (Pat Metheny) 4:17
8. Iceland Romance (Martin Wind) 6:14
9. Air [Trio Version] (J.S.Bach) 3:33

Martin Wind (upright bass)
Gregg August (upright bass)
Jordan Frazier (upright bass)
Sam Suggs (upright bass)

Special guests
Matt Wilson, drums & percussion
Lenny White, drums
Gerry Versacepiano, organ, accordion

Produced 2021 by Martin Wind. Executive produced 2021 by Peter Cronemeyer.
Recorded by David Kowalski at Teaneck Sound Studio in Teaneck, New Jersey on March 19 and 27, 2021.
Mixed by Tyler McDiarmid in April/ May 2021 in Astoria, New York.
Mastered by Gene Paul in May 2021 at G and J Audio, Union City, New Jersey.
Photos by Pete Coco, Garden City, New York.



NEC's Winter-Spring 2022 Master Classes and Residencies Feature Musical Trailblazers

Live from the NEC Campus in Boston – Select Events Streaming Worldwide 
 
New England Conservatory (NEC) announces the winter-spring 2022 series of master classes and residencies by world-class artists. Happening across classical music, jazz, contemporary improvisation, and composition, trailblazing visiting artists include composer Ellen Taaffe Zwilich, flutist/saxophonist/composer Anna Webber, bassist/composer Dave Holland, pianist Jason Moran, violinist Edward Dusinberre, singer/songwriter Gabriel Kahane, pianist Kirill Gerstein, cellist Paul Katz, violist Dimitri Murrath, collaborative pianist James Baillieu, Irish music violinist Liz Knowles, cellist Guy Johnston, pianist Jonathan Biss, conductor and coach Teresa Rodriguez, violinist Karla Donehew Perez, and guitarist Grisha Goryachev.

Select events in January will be publicly viewable via livestream only, due to Covid precautions. In person audiences will be welcomed back to the halls beginning in February (subject to change). All livestreams and other streamed performances are free and can be found on the NEC website. Some performances will be broadcast via NEC’s YouTube channel for on-demand viewing.
 
More information about master classes: https://necmusic.edu/Master-Classes-Residencies
 
For detailed information, including Covid precautions, please visit https://necmusic.edu/concerts.
 
Event dates and details subject to change.

WINTER-SPRING 2022 MASTER CLASSES AND RESIDENCIES

Tuesday, January 25 | Kirill Gerstein Piano Master Class
4:00 p.m., Williams Hall and streaming
 
The multifaceted pianist Kirill Gerstein has rapidly ascended into classical music’s highest ranks.  With a masterful technique, discerning intelligence, and a musical curiosity that has led him to explore repertoire spanning centuries and styles, he has proven to be one of today’s most intriguing and versatile musicians. His early training and experience in jazz has contributed an important element to his interpretive style, inspiring an energetic and expressive musical personality that distinguishes his playing.
 
This master class is made possible through the generous support of the Richard P. and Claire W. Morse Visiting Artist Fund.

Thursday, January 27 | James Baillieu Voice and Collaborative Piano Master Class
12:00 p.m., Williams Hall and streaming

Described by The Daily Telegraph as "in a class of his own," James Baillieu is one of the leading song and chamber music pianists of his generation. Baillieu is a Professor at the Royal Academy of Music, a coach for the Jette Parker Young Artist Program at the Royal Opera House, a course leader for the Samling Foundation, and is head of the Song Program at the Atelier Lyrique of the Verbier Festival Academy. He also is International Tutor in Piano Accompaniment at the Royal Northern College of Music. He has given solo and chamber recitals throughout the world and collaborates with a wide range of singers and instrumentalists including Benjamin Appl, Jamie Barton, Ian Bostridge, Allan Clayton, Annette Dasch, Lise Davidsen, the Elias and Heath Quartets, Dame Kiri te Kanawa, Adam Walker, and Pretty Yende. 

Anna Webber Residency
Monday, February 7 | Anna Webber Master Class
1:00 p.m., Eben Jordan and streaming
 
Anna Webber is a flutist, saxophonist, and composer whose interests and work live in the aesthetic overlap between avant-garde jazz and new classical music. She was recently named a 2021 Berlin Prize Fellow and was voted the top “Rising Star” flutist in the 2020 DownBeat Critic’s Poll.
 
Tuesday, February 8 | Anna Webber conducts NEC Jazz Composers’ Orchestra
7:30 p.m., Jordan Hall
 
As part of her NEC residency, trailblazing composer, flutist and saxophonist Anna Webber conducts The NEC Jazz Composers' Orchestra in her recent works for big band. She also performs with a quartet of jazz department students in a program of music from her recent release IDIOM as well as other small group pieces.  Webber’s interests and work live in the aesthetic overlap between avant-garde jazz and new classical music. 
Anna Webber © Evan Shay

Tuesday, February 8 | Paul Katz Cello Master Class
7:00 p.m., Brown Hall
 
NEC Faculty Paul Katz is known to concertgoers the world over as cellist of the Cleveland Quartet, which, during an international career of 26 years, made more than 2,500 appearances on four continents. As a member of this celebrated ensemble from 1969 to 1995, Katz performed at the White House and on many television shows, including "CBS Sunday Morning," NBC's "Today Show," "The Grammy Awards" (the first classical musicians to appear on that show), and in "In The Mainstream The Cleveland Quartet," a one-hour documentary televised across the U.S. and Canada.

Thursday, February 10 | Dimitri Murrath Viola Master Class
10:00 a.m., Williams Hall and streaming
 
Born in Brussels, Belgian-American viola player and NEC Artist Diploma alum Dimitri Murrath has made his mark on the international scene, performing regularly as a recitalist and soloist in venues including the Kennedy Center, Wigmore Hall, Purcell Room, Royal Festival Hall, and Théâtre de la Ville. A first-prize winner at the Primrose International Viola Competition, he has won numerous awards, including second prize at the First Tokyo International Viola Competition and the special prize for contemporary work at the ARD Munich Competition. He is a recipient of a 2014 Avery Fisher Career Grant through which he recorded and released his first solo album recording music by Vieuxtemps, Clarke, and Hindemith.
 
This master class is made possible through the generous support of the Richard P. and Claire W. Morse Visiting Artist Fund.

Thursday, February 10 | Grow Your Art Pitch Night
6:00 p.m. ET and streaming 
 
NEC students and recent alumni compete for up to $7,500 to help develop the business side of their musicianship. The competitive application process is modeled on real-world grants, and finalists present at this live pitch event, a collaboration between NEC’s Jazz Studies and Entrepreneurial Musicianship departments.
 
Grow Your Art is made possible through the generous support of an anonymous donor.

Date TBA | Grisha Goryachev Guitar Master Class
7:30 p.m., Pierce Hall and streaming

A native of St. Petersburg, Russia, Grisha Goryachev is renowned for his extraordinary musical sensitivity and technical virtuosity in both classical and flamenco styles. Grisha is one of very few guitarists in the world who is reviving the tradition of solo flamenco guitar in a concert setting that was practiced by legendary flamenco masters such as Ramón Montoya and Sabicas. Grisha received his Bachelor, Master and Doctor of Musical Arts (dissertation pending) degrees from NEC, where he studied under guitar virtuoso Eliot Fisk.

Tuesday, March 1 | Jason Moran Master Class
2:00 p.m., Plimpton Shattuck Black Box Theatre
 
Wednesday, March 2 | Solo concert featuring  Jason Moran and students
8:00 p.m., Burnes Hall
 
NEC Jazz faculty member Jason Moran, “the most provocative thinker in current jazz,” (Rolling Stone), will perform on this concert of solo works as will his students.  One of the most influential and innovative pianists in jazz, Moran is a boundary defying artist whose work is influenced by classical, blues, funk, hip-hop, rock and the art world. A MacArthur fellow, Moran also serves as the Kennedy Center’s Artistic Director for Jazz. 
Jason Moran © Andrew Hurlbut / NEC

Sunday, March 6 | Karla Donehew Perez Violin Master Class (NEC Prep)
11:00 a.m., Keller Room

A founding member of the Catalyst Quartet, Karla Donehew Perez maintains a busy performance schedule throughout the United States and around the world. Born in Puerto Rico, Donehew Perez began playing the violin at age three and made her solo debut with the Puerto Rico Symphony at 9 years old. As a chamber musician, she has performed with Orpheus Chamber Orchestra and collaborated with artists such as Joshua Bell, Zuill Bailey, Awadagin Pratt, Anthony McGill, Stewart Goodyear, Frederica von Stade, Garry Karr, and members of the Guarneri, Juilliard, and Takács quartets. Donehew Perez has been guest concertmaster at the Tucson Symphony and spent two years as a fellow at the New World Symphony, where she was often concertmaster or principal second violin.
 
This master class is made possible through the generous support of the Robert and Jane Morse Endowed Chamber Music Fund.

Tuesday, March 8 | Guy Johnston Cello Master Class
2:00 p.m., Pierce Hall and streaming
 
Guy Johnston is one of the most exciting British cellists of his generation. His early successes included winning the BBC Young Musician of the Year, the Shell London Symphony Orchestra Gerald MacDonald Award and a Classical Brit. He has performed with many leading international orchestras including the London Philharmonic, Philharmonia Orchestra, Ulster Orchestra, BBC Philharmonic, NHK Symphony Orchestra, BBC Symphony, Britten Sinfonia, Deutsches Symphonie-Orchester Berlin, Orquestra Sinfônica do Estado de São Paulo, Moscow Philharmonic and St Petersburg Symphony. Guy was privileged to perform as part of the Wigmore Hall and BBC Radio 3 special series of concerts, live streamed during the COVID-19 pandemic. He gave weekly outdoor impromptu recitals in his home village in Dorset, which was featured by BBC during the UK lockdown.
 
This master class is made possible through the generous support of the Richard P. and Claire W. Morse Visiting Artist Fund.

March 13-18 | Teresa Rodriguez Collaborative Piano and Opera Residency
This is available for NEC students only. There are no public master classes associated with this residency

Mexican pianist, conductor, and coach, Teresa Rodriguez, joins NEC's Collaborative Piano and Opera programs for a week-long residency with private coaching. Students will have the opportunity to work with Ms. Rodriguez on repertoire by Spanish and Central American composers.
 
This residency is made possible by the Ruth S. Morse Fund for Visiting Scholars in Voice.

Gabriel Kahane Residency
Tuesday, March 29 | Gabriel Kahane Songwriting Master Class
7:00 p.m., SLPC Room G01  

NEC's Contemporary Improvisation Department hosts a residency with singer-songwriter, pianist, and composer Gabriel Kahane.  Over the past decade, Kahane has established himself as a distinct and penetrating voice, responding in his music to many of the most compelling issues of our time.  He is also well known for his work bridging the worlds of folk and classical music, with commissions that include string quartets and symphonic compositions, tours with Andrew Bird and the Punch Brothers and recordings with Sufjan Stevens, Phoebe Bridgers and Blake Mills. 

Wednesday, March 30 | Gabriel Kahane leads a discussion of his music   
2:30 p.m., Pierce Hall

April 4-8 | Ellen Taaffe Zwilich – 2022 Malcolm Peyton Composer Artist-in-Residence
 
Composer Ellen Taaffe Zwilich is the recipient of numerous prizes and honors, including the 1983 Pulitzer Prize in Music (the first woman ever to receive this coveted award). A prolific composer in virtually all media, Zwilich’s works have been performed by most of the leading American orchestras and by major ensembles abroad. As NEC’s Malcolm Peyton Composer Artist-in-Residence, she will lead master classes and workshops with NEC’s composition department April 4-8, 2022.
 
This residency is made possible through the generous support of the Malcolm Peyton Composer Artist-in-Residence Fund.

Monday – Wednesday, April 4 - 6 | Irish Music Residency with Liz Knowles
Details TBA. 
 
Liz Knowles has brought her distinctive sound–the fire and finesse of Irish fiddle music combined with the tonal richness of the classical violin–to concert stages and festivals across the world. Liz was a fiddler for “Riverdance,” a member of the renowned Cherish the Ladies and today she performs with another all-star female super-group, the highly acclaimed String Sisters, as well as the trio Open the Door for Three. She recently co-produced an album for Liz Carroll for the Art Institute of Chicago for their exhibition "Ireland: Crossroads of Art and Design, 1690-1840.” She’s also collaborated with the Bang-on-a-Can Orchestra, Bobby McFerrin, and Paula Cole.

Dave Holland Residency
Tuesday, April  5 | Dave Holland Master Class
2:00 p.m., Pierce Hall and streaming https://necmusic.edu/events/dave-holland-master-class-0
 
This residency is made possible through the generous support of an anonymous donor.
 
Thursday,  April 7 | Dave Holland Residency Performance with Jazz Ensembles
7:30 p.m., Brown Hall and streaming
 
As part of his week-long residency, visiting artist-in-residence bassist, composer and bandleader Dave Holland presents a concert with student jazz ensembles.  Holland’s passion for musical expression of all styles, and dedication to creating consistently innovative music ensembles have propelled a professional career of more than 50 years, and earned him top honors in his field including multiple Grammy awards and the title of NEA Jazz Master in 2017. 
 
This residency is made possible through the generous support of an anonymous donor.
Dave Holland © Andrew Hurlbut / NEC

Thursday, April 21 | Jonathan Biss Piano Master Class
3:00 p.m., Williams Hall and streaming

Jonathan Biss, Mildred Levinson Piano Artist-in-Residence, presents a master class featuring students from the NEC Piano Studios. Biss is a world-renowned pianist who shares his deep curiosity with music lovers in the concert hall and beyond. In addition to performing with leading orchestras, he continues to expand his reputation as a teacher, musical thinker, and one of the great Beethoven interpreters of our time. He is Co-Artistic Director alongside Mitsuko Uchida at the Marlboro Music Festival, where he has spent fourteen summers. He also led a popular online course via Coursera, which has reached more than 150,000 people from nearly every country. He has written extensively about the music he plays and has authored four audio- and e-books, including “UNQUIET: My Life with Beethoven” (2020), the first Audible Original by a classical musician.
 
This master class is made possible by Edith Michelson Milender in honor of her mother Mildred Levinson ‘29.

Sunday, May 1 | Edward Dusinberre Violin Master Class
2:00 p.m., Brown Hall and streaming
 
As first violinist of the Takács Quartet, Edward Dusinberre has won a Grammy and awards from Gramophone Magazine, the Japanese Recording Academy, Chamber Music America and the Royal Philharmonic Society. Outside of the quartet, he has made a recording of Beethoven's violin sonatas nos. 9 ("Kreutzer") and 10 on the Decca label, and recently performed "Costa Concordia," a concerto composed for him by Jeffrey Nytch, inspired by the tragic story of violinist Sándor Fehér who drowned on the cruise ship of that name in 2012. Dusinberre is also an author. His book—”Beethoven for a Later Age: The Journey of a String Quartet”—takes the reader inside the life of a string quartet, melding music history and memoir as it explores the circumstances surrounding the composition of Beethoven's quartets and the Takács Quartet's experiences rehearsing and performing this music. 
 
This master class is made possible through the generous support of the Richard P. and Claire W. Morse Visiting Artist Fund.

About New England Conservatory (NEC)  
Founded by Eben Tourjée in Boston, Massachusetts in 1867, the New England Conservatory (NEC) represents a new model of music school that combines the best of European tradition with American innovation. The school stands at the center of Boston’s rich cultural history and musical life, presenting concerts at the renowned Jordan Hall. As an independent, not-for-profit institution that educates and trains musicians of  Propelled by profound artistry, bold creativity and deep compassion, NEC seeks to amplify musicians’ impact on advancing our shared humanity, and empowers students to meet today’s changing world head-on, equipped with the tools and confidence to forge multidimensional lives of artistic depth and relevance.

As an independent, not-for-profit institution that educates and trains musicians of all ages from around the world, NEC is recognized internationally as a leader among music schools. It cultivates a diverse, dynamic community, providing music students of more than 40 countries with performance opportunities and high-caliber training from 225 internationally esteemed artist-teachers and scholars. NEC pushes the boundaries of music-making and teaching through college-level training in classical, jazz and contemporary improvisation. Through unique interdisciplinary programs such as Entrepreneurial Musicianship and Community Performances & Partnerships, it empowers students to create their own musical opportunities. As part of NEC’s mission to make lifelong music education available to everyone, the Preparatory School and School of Continuing Education delivers training and performance opportunities for children, pre-college students and adults.