Monday, February 28, 2022

Marcos Pin Brass Quintet - PORTRAIT OF A DECADE (Part ONE): The Photographer (February 28, 2022)

Portrait Of A Decade is a concert composition for traditional brass quintet and Jazz guitar.

The music is inspired by a Rafa Pasadas´ photography book, "Mercado".

The concert is built in three parts. Here you´ll enjoy tthe first one suite entitled "The Photographer".

1. Vision 06:55
2. Intuition 06:21
3. Soul 05:18

Marcos Pin - Guitar
Javier Pereiro "GDJazz" - Trumpet & flugelhorn
Fernando Rei - Trumpet & flugelhorn
Álvaro Crego - French horn
Ginés Guerra - Trombone
Rafael de la Torre - Tuba

Mixed & mastered by Cristina Morquillas
Cover art by Donna A. McClay

Music composed & arranged by Malcolm Stilton

Local Talent, Projectwhatever - REMOTISM (February 2022)

Local Talent combines 3 of Canada’s most eminent instrumentalists performing together for the first time on record in this exciting new experimental jazz project. The group is lead by producer and keyboardist Projectwhatever (aka James Hill), a rising star of the Toronto scene, known best for his work with international jazz and hip hop sensation BADBADNOTGOOD.

1. HOME 100 01:37
4. SAKAMOTO 04:22
5. REMOTISM 05:10
7. SPIRITS (feat. Autobahn Trio) 02:47
8. CONTROL CENTER (feat. Autobahn Trio) 03:18

Projectwhatever on piano & keyboards
Rich Brown on electric bass
Ian Wright on drums and percussion

Compositions by Projectwhatever
*tracks 7 & 8 co-written by Ian Wright and Jeff LaRochelle
Editing, mixing, mastering by Projectwhatever
Produced by Projectwhatever
Cover art by Klara Vanzella Yang
Engineered by Stephen Koszler
Recorded at Revolution Recording

Threedom - Conduits (February 2022)

During the summer of 2021 we managed to get two live performances in, including our first public ticketed show which occurred at the legendary Horning’s Hideout in White Plains Oregon. The venerable Northwest String Summit wasn’t able to hold their annual gathering but figured out how to put on a special event called the ‘Peacock Pickin Party’ in early July and we were tapped to open up the night for Yonder Mountain String Band and the Infamous Stringdusters.

Then a few months later in September we travelled down to Navarro California deep in the Redwoods for our first ever out-of-town performance, at the lovely Camp Deep End festival. Joined for a jam by our friend Chris Haugen on lap steel, we played under a tarp while being pummeled with torrential rains as joyous festival-goers danced and cavorted in the mud and it was perfect.

1. Security Please 06:34
2. In The Deep End 04:55
3. Redwood Downpour 03:52
4. Peacock Way 04:08
5. Daydream Sunset 03:47
6. Navarro Tracers 04:03
7. What Was That? 05:29
8. Just As I Remembered 03:30
9. Strength Summit 04:08

Asher Fulero: Keyboards
Brett McConnell: Bass
Matt Butler: Drums

Chris Haugen: Lap Steel (6)

1,2,3,6 recorded live September 18, 2021
at Camp Deep End Festival, Navarro CA
Live Mix/Multitrack Recording by Todd Kushnir

4,5,7,8,9 recorded live July 20, 2021
at Northwest String Summit’s Peacock Pickin’ Party
Horning’s Hideout, White Plains OR
Live Mix/Multitrack Recording by Alan Mekel

Editing, Mixing, Mastering by Asher Fulero
Artwork by Todd Kushnir and Asher Fulero

Brett Walberg - Walberg Tractor Co. (February 2022)

Over the past few years, I have spent a lot of time thinking about my childhood in rural Massachusetts and how it has affected my approach to work, art and music.

So many seminal moments of my young life were framed by working out in the yard with my Father, doing many of the chores that I composed tunes about. That and the trusty tractor that we had to do everything we need to do.

I hope this record conveys the history and storytelling from my childhood that was only possible with such a spectacular band of dear, trusted friends.

1. Fish Pond/Pond Fish 05:03
2. Pulling Stumps 11:57
3. Showing Off 08:24
4. Wheelhorse 12:10
5. Cutting Trees 09:30
6. Letter to Judy Bailey 11:34

Brett Walberg - Saxophone/Flute/Bass Clarinet
James Heazelwood-Dale - Bass
Tyson Jackson - Drums

Recording Engineer - Sam Gossner
Mixing/Mastering - Gordon Neidinger
Album Art - Ken Calhoun

Tim Stevens - The beauty of the way and the goodness of the wayfarers (February 2022)

With profoundest love, respect, admiration and gratitude,
this is for Tabitha Halley

‘The less we say about it the better; make it up as we go along,’ – David Byrne, ‘This must be the place (Naïve melody)’

'Think where man's glory most begins and ends,
And say my glory was I had such friends.'
– W. B. Yeats

This is my seventh solo piano album, and they’re fun to make. If you’ve been following, you may have noticed that I move from studio to studio to give each one a slightly different feel and sound; although all three of the church ones were recorded at Pughouse for consistency within a series, the others have been done at various places in Sydney and Melbourne.

Most of the pieces on this album come from that very fruitful year of 2016, although some selections are much older. The daily composition effort in the leap year was, and remains, the only time in my life when I have kept a new year’s resolution, and it showed me some valuable things. Not all the compositions were worth playing again, but the best of them I like, and I wish to preserve. There are also a couple of free improvisations, just to keep things fresh. Making it up as we go along. And (wait, no?!) a standard.

This is a digital-only release, because CDs are expensive to manufacture and people have stopped buying them like they used to and they take up space at home. I’m interested to see how things go with this, so it’s a learning experience. If you want to burn your own CD, obviously you can, if you’ve bought the music.

Composition is a thing that has interested me since childhood; I wrote some dreadful music that was performed when I was in primary school and I’m very pleased to think that it’s been forgotten. But when I started studying improvisation I took leads from people who had written the material they played and that seemed like something for which to aim. Writing the book, as the saying goes, was very attractive to me so when I was a member of Browne – Haywood – Stevens my objective was to make the larger part of the band’s repertoire original. I was lucky to have friends like Al and Nick to deal with what I delivered, and they did so with graciousness and interest that was deeply rewarding.
Some pieces, like 'The Unmistaken', take ages to write because you're a bit young and you've got hold of something that you really want to use but can't quite handle. Yet. Others are a matter of an hour or two, and because you've practised you can see more clearly the possibilities of an idea and the way in which to get from here to there. The effort is always to make something serviceable enough to warrant repeated performance, something that feels extendable, that doesn't suck.

This music is, as I say, for Tabitha, whose company I have enjoyed for over thirty years. Sometimes you meet someone and it feels a bit like you never didn’t know them. Tab and I met in the last years of high school. She is my closest friend in the world after my wife and our kids, and I thank God for her. Mr Byrne more or less nails our relationship.

Now. Thanks are due to some very dear friends. My beloved trio and double trio colleagues: Madeleine Jevons, Phoebe Green, Naomi Wileman, Ben Robertson, Marty Holoubek, Tony Floyd, and Dave Beck. You’re all so ridiculously special, and I love you all like mad. To Myles, my gratitude for a wonderful session. Respect and thanks. To my darling Luci, my honoured thanks for the beautiful paperwork, and to Cheryl Orsini, most serious thanks for making the cover look so fine. Fond thanks to my radio supporters: David Moyle, Andrew Ford, Mal Stanley, and Jessica Nicholas. And everyone else, nation-wide, who broadcast bits of 'There’ll be some changes played'. Dear pals who keep me going: Meg Morley, Alison Lemoh, Mth Mel Clark, Mth Colleen Clayton, Fr John Baldock, Fr Hugh Kempster, Jennifer Mills, Dr Penelope Preston, Gary Warne, Patrick Jaffe, Sophie Allen, Tony Gould, Andrew Ogburn, and Leah Scholes. Blessings on the lot of you; I need you because you're all so important to me. To Tab, the dedicatee, all the stuff I’ve said up top. You’re a totally marvellous friend and a sustaining good influence and I’m so very glad we met. I love you, although you could be in no doubt about that by now. And to my exquisite family, the peerless Sally James, and Oliver, Frederick and Lucinda, my heart, as ever. I am so grateful for your company and your support and your enthusiastic love. You are supreme. 

1. Well, I mostly hide 05:53
2. Try it on 03:44
3. Sweet silent thought 03:10
4. Cocktails before noon 04:13
5. The vault 05:08
6. Yours and mine 02:45
7. This quiet life 03:49
8. Inkling 04:18
9. The new ships 04:03
10. Into cleanness leaping 05:31
11. The unmistaken 04:36
12. How long has this been going on? 07:22

All compositions and improvisations by Tim Stevens, except 'How long has this been going on?' by George and Ira Gershwin (thanks, boys)

Tim Stevens, piano

Produced by Tim Stevens

Recorded by Myles Mumford at Rolling Stock Recording Rooms on 3 February 2022
Edited, mixed and mastered also by Myles, the champ
Executive producer Tim Stevens
Cover by Luci James and Cheryl Orsini

Charles Goold - Rhythm In Contrast (February 2022)

Charles Goold, is one of New York City's hardest working jazz drummers of his generation.

Goold has performed with a wide variety of acts across varying styles from Wynton Marsalis & JALC, to rap icons Cam’Ron, Talib Kweli, and Ghostface Killah.

Goold uses these experiences to propel the sound of his group NuBopCity, a blend of Hard Bop, Hip Hop, Funk and Afro-Carribean influences.

1. Sequence of Events 05:33
2. Nedistic 06:06
3. Tell Me Something When 04:51
4. Love Is A Many Splendored Thing 03:04
5. Caribbean Fire Dance 04:57
6. Lo's Lament 04:21
7. Head Start 04:45
8. Gettin' Out Blues 05:09
9. Pati's Mood 06:58
10. Resisting Arrest 05:32

Steve Nelson - Vibes
Ned Goold - Sax
Andrew Renfroe - Guitar
Taber Gable - Piano
Noah Jackson - Bass
Charles Goold - Drums

Elio Villafranca - Producer

Michael Garrick Trio & Sextet - Farnborough Technical College 1965 (February 2022 British Progressive Jazz)

Recorded live at Farnborough Technical College on 23rd October 1965.
From the private collection of Roger Palmer. Previously unheard. Monophonic sound.

'I was an apprentice at RAE Farnborough from 1962-7 and discovered all the things I really wanted to do - music (I'd started playing bass), photography, archaeology - and one of the things that helped the music side were the weekly gigs that Michael organised at The Highwayman where I and a couple of other jazz lovers were regulars. I'd give a lot to be able to revisit those gigs - Michael's trio, trio plus guest (including Joe several times and sometimes with Shake, Ronnie Ross, Don Lamont, etc), Tubby, the early years of Rendell-Carr quintet (or not so early if Michael was on piano). The New Jazz Orchestra squeezed in a few times with some huge sounds and there were other treats, Dudley Moore trio, Johnny Scott quartet, and many I will have forgotten...

An offshoot of my music interest was that I and another apprentice, Derek Wickham, formed a 'music society' at the tech which enabled us to buy the Ferrograph that was used to record Michael's concert and rent records that we could play to members of the society. I did the jazz, Derek did classical - alternate weeks. Derek was also one of the Highwayman crowd and I guess that we hatched up the idea of the concert and asked Michael for a price.

I remember driving to Michael's house late in the morning and everyone was crowded into a room in his house rehearsing. Michael had agreed that we could record it - all from a single mic if I remember correctly... The hall would have been just that - a basic college hall in the 1960s with a stage and not much else. It certainly was not good enough for the annual review that we apprentices put on and used a 'theatre' known as the 'RAE Assembly Hall' (or 'rooms') which even had a couple of lights. I was in the wings on the same side as Coleridge (Goode) where I guess we had the tape recorder too... To an extent, these were musicians we knew slightly from the Highwayman, but I had the opportunity to chat a little with Coleridge...'

Roger Palmer - February 2022 

1. Leprechaun Leap 09:57
2. Promises 06:52
3. Song By The Sea 05:14
4. Parting Is Such 06:50 video
5. Childe Rolande 06:21
6. Requiem 05:07
7. Portrait Of A Young Lady 14:21
8. I Got Rhythm 04:46
9. Webster's Mood 14:15
10. Second Coming 09:25

Michael Garrick - piano
Joe Harriott - alto sax
Tony Coe - tenor sax
Ian Carr - trumpet
Coleridge Goode - bass
Colin Barnes - drums

All tracks composed by Michael Garrick ℗ 1965 except:
8 Gershwin/Gershwin ℗ 1930

Original recording - Roger Palmer
Consultation - Gabriel Garrick
Restored and produced by Matt Parker for British Progressive Jazz

Patrick Shiroishi & Jeff Tobias (February 2022)

“They're two distinct types of visionaries, it's like fire and ice, basically…” - Spinal Tap

In May 2021, Jeff Tobias traveled to Los Angeles to see friends and get into nature. While there, he met up with Patrick Shiroishi for a first meeting improvisation that saw both multi-instrumentalists exclusively playing sopranino saxophone, the high-pitched instrument made famous by Maurice Ravel’s Boléro.

Nick Tuttle engineered the session, with assistance from Jerry Chinatown. In order to accentuate the registral extremes offered by the paired sopraninos, Tuttle recorded Shiroishi and Tobias in both the largest and smallest spaces available in his studio. The recording was consequently mastered by Ian Wayne; the results speak for themselves. The pair intend to record a follow-up sometime in the year of our Lord two thousand and twenty-two.

1. A1 10:45
2. A2 04:38
3. B1 16:20

Patrick Shiroishi: sopranino saxophone
Jeff Tobias: sopranino saxophone

Recorded on May 24th 2021 in Los Angeles
Tracked and mixed by Nick Tuttle
Mastered by Ian Wayne

Hello Cacus! - Happy Thief (February 2022 ears&eyes Records)

During a residency in New York, September 2018, Argentinian drummer Federico Isasti and Norwegian bassist Petter Asbjørnsen met and developed a spontaneous musical connection. As part of the SIM workshop (led by Ralph Alessi), Petter and Federico played together a wide range of compositions with musicians within different ensemble settings. That initial musical connection and the shared way of conceiving composed music with improvisation as the founding core led to the idea of working together in the future. Just a few days later, fate would have it that they also met the Austrian pianist Elias Stemeseder, a musician that Federico and Petter already admired for his work with Jim Black and Nels Cline, among others, and his fresh approach to improvised music. For all these reasons, they decided they would have to record an album before they disappeared to different corners of the world.

The following days were spent intensively composing and exploring musical concepts and material to play in a piano trio setting. The central pieces of these explorations were a polished work of rhythm and a subtle approach to harmonies. As a result of that work, the musicians arrived at Happy Thief. Both the names of the album and the trio (Hello Cacus!) were chosen after a sour experience. Just a few weeks after the recording, Petter was back in Europe where his personal bag was stolen, containing the hard drive with the original copy of the album’s recording session. Fortunately the recordings were still stored on sound technician Luis Bacqué’s hard-drive in his studio in New Jersey, where the album was recorded. On the one hand, Hello Cacus! references to the fire-breathing roman god Cacus, son of Vulcan, killer of innocents and perpetrator of all kinds of crimes. On the other hand, Happy Thief is a plain citation to that man that almost made this album impossible to be released.
Federico Isasti

The album contains seven compositions written especially for this record. Ideas and inspiration for each piece comes from a wide range of places: the idea of distorting the notion of time by working with rhythmic displacements (Federico’s Idea), a train travel in Italy (Tren a Formia), the coexistence of diverse melodic motives in a narrow space (N° 3), exploring the nuances between contrasts through intervallic ambiguous harmony, while still anchored in a sense of tonality (Great title), the vastness of a deserted warehouse (Lagerbygning), finishing unfinished old ideas (Gammel idé), using the notes of an arpeggio to derive a subdivision, harmonic and melodic material and form (For Petter).

The music in this album is founded on three fundamental pillars: precise rhythmic ideas, a spacious sense of the harmonic field and the blurring of the frontier between written and improvised music. The formal aspect of the tunes is in the majority of the cases pretty straight forward: exposition of the main theme, improvisation with that material and re-exposition of the theme. Even though this is a common characteristic of the traditional jazz way of improvising, the music finds its identity in the nuances in timber, dynamics, rhythm and harmonies, strongly influenced by Petter and Federico’s conception of improvised music. 

1. For Petter 06:18
2. N° 3 06:44
3. Tren a Formia 04:41
4. Great Title 08:27
5. Lagerbygning 05:41
6. Gammal Ide 05:44
7. Federico's Idea 05:00

Elias Stemeseder | piano
Petter Absjørnsen | upright bass & composition
Federico Isasti | drums & composition

Recorded by Luis Bacqué at Bacqué Recording in New Jersey USA
Mixed and mastered by Florencio Justo at Estudio Dr. F in Buenos Aires, Argentina
Produced by Petter Absjørnsen and Federico Isasti

Original art by Leo Cullari
Design by Nicolas Gaggero

Ari Giancaterino - Chapters (February 2021)

The second studio jazz album released by Ari Giancaterino, this album is inspired by the works of jazz legends including Wayne Shorter and Herbie Hancock. It also features instrumental features including one of Herbie Hancock's 'Maiden Voyage' as well as 90's punk-rock band "Fugazi" with their ballad, 'I'm So Tired'. All other works are original compositions by Ari Giancaterino including "Get Real" and "One for Wayne" (an homage to Wayne Shorter)

The album features incredible performances by the following artists:

1. One for Wayne 05:07
2. Black Cat 04:30
3. Get Real 06:54
4. Maiden Voyage 08:06
5. Hallowed Ground 05:11
6. I'm so Tired 04:07

All compositions are originals by Ari Giancaterino, except for Maiden Voyage (Herbie Hancock) and I'm So Tired (Fugazi)

Sara Sithi-Amnuai - trumpet/flugel
Aaron Shaw - tenor sax
Omree Gal-Oz - piano
Zev Shearn-nance - drums
Luca Ferrara - guitar
Ari Giancaterino - bass

Recorded @ Tritone Studios in Burbank, CA (2021)
Engineer: Talley Sherwood
Mix/Mastering: Maurice Gainen
Album Artwork: Vinnie Corbo

Ra Kalam Bob Moses / Damon Smith duo - Purecircle (February 2022 Balance Point Acoustics)

Dip your fingers in the boiling water.
Scald your fingers.
Let your fingers sing the pain.

From "Sounds" (Klänge) Wassily Kandinsky 1912

1. Let Your Fingers Sing The Pain 06:40
2. Radiated Violet 04:59
3. Purecircle 1 01:02
4. Sound Hangs Hopelessly in the Sky 09:13
5. Wild Foam 03:34
6. True Mortar 07:09
7. Purecircle 2 01:02
8. Heavy Earth 07:27
9. Invisible Bell 05:12
10. Speaking Windows 09:47
11. Purecircle 3 01:04
12. The Blueish Wavelet Tosses 06:46
13. Cooled off Flash 03:37
14. Who Led You in Deeper 09:17

Ra Kalam Bob Moses - drums, percussion, gongs, spring drum
Damon Smith - double bass, Voice (track 2)

Design by Alan Anzalone
Cover art by Ra-Kalam Bob Moses
Mixed and Mastered by Weasel Walter

David J. Sullivan - recording engineer
Recorded at Native Pulse on October 14th 2021, in Quincy, Massachusetts
Double bass parts for Purecircles 1-3 recorded by Ryan Wasbo at Birdcloud studios on January 28th
Purecircles 1-3 mixed by Ryan Wasoba

Friday, February 25, 2022

NEW RELEASE: Kristen Lee Sergeant’s ‘Falling’ is due out February 25, 2022 via Tiger Turn

Kristen Lee Sergeant presents magical concept album ‘Falling’ due out February 25, 2022 via Tiger Turn

Release show at Joe’s Pub on March 31, 2022

Tiger Turn Productions is delighted to announce the February 25, 2022 release of Falling, a new album by effervescent vocalist Kristen Lee Sergeant.  This wide-ranging new release further enhances the singer’s well-earned reputation for artistic versatility; here, she combines the roles of vocalist, composer, artist and curator in a striking departure from her previous two critically acclaimed albums. Accompanied by Jeb Patton (piano), Hannah Marks (bass), Jay Sawyer (drums), Jody Redhage Ferber (cello) and Ted Nash (soprano saxophone), Sergeant surrenders herself entirely to the concept of ‘falling’ in a daringly creative leap of faith. 

Based in New York City, both her debut and sophomore releases (Inside Out and Smolder) were awarded DownBeat Magazine ‘Editor’s Pick’ designations and she was praised for “moments of engaging drama, whether she’s seductively sliding into a note with a near-whisper, delivering a breathy revelation or belting out a lyric with full-throated muscularity”. That variety of musical color derives from Sergeant’s rich tapestry of influences that stretch far across artists (Dianne Reeves, Judy Garland, Joni Mitchell and Fiona Apple) and art forms (jazz, theater, opera and 1970s pop). 

Falling, her third studio album, sees a change of direction as Sergeant revisits her formative feel for musical drama. A wholly-immersive experience, Falling is a full-bodied concept album that brings listeners on an extraordinary musical journey, touching on numerous emotional high points along the way. Informed by the precarious times we’re in, but never bogged down by it, Sergeant’s latest is an exploration of the feeling, the state, and even the mythos surrounding the act, and the gravity, of ‘falling’. 

The aptly titled “Let’s Fall” sets the scene, as Sergeant drops headfirst into a dusky night-time landscape full of nocturnal thrills. It flashes through vaudevillian chansonnery and bristling quintet textures, where Patton emerges as a stellar soloist. Sergeant’s natural penchant for storytelling appears on the mythical cathartic journey of  “Sisyphus”, where she tells the age-old tale of “pushing that rock up that hill”. Perpetual resistance is eventually overtaken by a sense of acceptance, as the tune settles into a bobbing, lilting feel that transports the musicians higher and higher.

Sergeant composed “Infinity Blues” after meeting an astronaut, and this piece begins its flight with Nash’s searching soprano solo. “Swing doesn’t have to be retro,” Sergeant notes. She sings, “I’ve got the infinity blues / I want no weight in my shoes”, epitomising the song’s essential, existential drifting through life.
Kristen Lee Sergeant by Jordan Frey

Chiaroscuro” is an allusion to Renaissance art captured in music, with well-crafted counterpoint featuring starkly lit moments that wax and wane throughout. Next up, the ingenuity of Sergeant the lyricist comes to the fore as “Honey” squeezes out a stream of rich, gooey imagery over a classic get-up blues, where bassist Hannah Marks really lays it down. 

More strong imagery flows out of the ensemble on the fluttering “Birdsong”, as Sergeant warns us of the dangers of settling for illusory comfort when freedom is still an option. “The prize isn’t worth the game,” Sergeant reflects on “Better Off”, but this is an altogether more personal affair, that’s fleetingly brief yet packed with lingering sentiment. “Aren’t I naked enough for you?” she sings, pointedly.

Myths and legends abound on this record – next is the bold, dramatic “Orpheus”. What might Hades sound like? Drummer Jay Sawyer gives us some sort of answer, grooving through triple time into a head-nodding pocket surrounded by Greek chorus-style vocal arrangements. “Autumn Nocturne” then takes it down a notch in a cool, elegant presentation of Sergeant the vocal technician. The energetic span of “Black Magic” is fuelled by Nash and Sergeant’s warring trades and vaults into unhinged surrender. 

With elements of jazz, musical theater, chamber music and 1970’s pop dotting her vast musical landscape, Sergeant paints a vivid musical portrait that is easy to get lost in. “From Greek myths to outer space, I hope to bring listeners on a rewarding and thoughtful journey in sound,” Sergeant reflects. “And I get to be their Virgil, stumbling down ahead of them.” Conceived as a rich multidisciplinary work, partnered with the recording is an immersive conceptual concert, scheduled to take place on March 31 at Joe’s Pub within The Public Theater in New York City.

1. Let’s Fall
2. Sisyphus
3. Birdsong
4. Chiaroscuro
5. Honey
6. Infinity Blues
7. Better Off
8. Orpheus
9. Autumn Nocturne (Josef Myrow, Kim Gannon)
10. That Old Black Magic (Harold Arlen, Johnny Mercer)

All music by Kristen Lee Sergeant unless otherwise noted

Kristen Lee Sergeant (vocals, song, arrangement)
Jeb Patton (piano)
Hannah Marks (bass)
Jay Sawyer (drums)
Jody Redhage Ferber (cello)

and Ted Nash (soprano saxophone)

BSDE 4tet, led by Saxophonist Daniele Nasi, will release his debut album Elavating Jazz Music Vol. 1 On February 25th 2022 via GleAM Records

GleAM Records is proud to announce the release of Elevating Jazz Music Vol. 1, the recording debut of the
Emilian saxophonist Daniele Nasi and his BSDE 4tet, available on CD and digital download / streaming from

Elevating Jazz Music Vol. 1

We play Elevating music, not Elevator music, quoting a phrase by Eminem on Rap God. By doing so, we try to emphasize the social and communicative aspects of music, too often put aside to favor the so-called usability.

The album presents itself as a collection of stories about recent events, less-recent ones, and what’s going on right now. Some serious, some not so serious, our dialogues want to encourage reflection on different aspects of the world around us, depicting the feelings evoked by them.

The open-ended writing style of the compositions was conceived with a specific sound in mind, which led to the founding of the BSDE 4tet. At the same time, it leaves space for interaction among all who participate, so the personal and expressive contribution of both musicians and audience become essential. Interplay and a collective sound are aspects that the band feels very strongly about, to the point that the album was recorded the "old-fashioned way", in a single room and without headphones or double-glazing to separate the vibrations of the instruments.

The album begins with T.R.i.P., dedicated to a missing person. A physical and metaphysical journey that explores the contrasting emotions triggered by the events and the memories linked to this person, in a time frame that re-initiates at each conclusion.

Drowning in Guilt was written in response to an episode that occurred 8 years ago, but linked to a theme that remains terribly relevant, that of migrations. More specifically it addresses the Mediterranean Sea, where too often the hopes of many migrants, who have embarked on a desperate journey, are cut short. The tune seeks to evoke those moments, the depths of an unforgiving sea, a drowning in guilt. Dedicated to the 268 people who lost their lives on October 11, 2013, while Italy was trying to bounce to Malta the responsibility of sending aid.
Waltz for Palestine is dedicated to the Palestinian people, to those who have to endure a compromised daily life, a condition that has been going on for too many years. Mahmoud Darwish's poem, "I Have A Seat In The Abandoned Theater", perfectly describes the feeling we have when confronted with these situations as spectators; but to what extent are we mere spectators? Who is the author? What was the beginning like? “So peremptorily did these shades beckon him, that each day mankind and the claims of mankind slipped farther from him. Deep in the forest a call was sounding [...]”. Callin', inspired by Colin Stetson's music.

Water Eyes is a ballad, inspired by the story in "Memoirs of a Geisha". In this tune, every blow, every breath seek a sound belonging to a floating world, with its ethereal beauty and somber secrets.

The foundation of the BSDE project took place in Groningen (NL), where the pianist and the sax player undertook part of their studies. Here they both had the opportunity to play and study with many musicians from the Balkan area, where a lot of folk music is based on claves in odd time signatures. 7 is the new 5 is inspired by this tradition, trying to turn a complex rhythm into something simple, a dance.

Ban Orban or Ban our Band is not meant to be just a tongue twister, but a critique to that homophobic strand still present in the European Union. In the tune the words of Katalin Cseh, Member of the European Parliament, illustrate part of the problem, the music the rest of it.

The album wraps up with a track that is meant to be a homage to the jazz tradition and the giants of the past, with a touch o f BSDDE 4 tettouch of BSDE, The Tapping Changes.

1. T.R.i.P. 7:39
2. Drowning in Guilt 11:26
3. Waltz for Palestine 10:40
4. Callin’ 13:07
5. Water-eyes 7:50
6. 7 is the new 5 8:56
7. Ban Orban or Ban our Band 12:03
8. The Tapping Changes 5.22

Daniele Nasi - Tenor & Soprano Saxophone
Jung Taek "JT" Hwang - Piano, Moog & Fender Rhodes
Giacomo Marzi – Double-bass
Andrea Bruzzone – Drums

Recorded, Mixed & Mastered on July 2021 at Sonic Temple Studio, Parma (Italy)
Sound Engineer: Domenico Vigliotti
Artwork: Ike Edgerton
Produced by GleAM Records
Printed in Italy 2022
EAN 8059018220070


Scott Feiner & Alex Taub - Six Feet Apart (February 25, 2022)

Six Feet Apart is Scott Feiner & Alex Taub’s first duo recording together. Feiner’s previous 4 albums with his Pandeiro Jazz project are considered to have created a genre unto itself due to the unique sonic palette created by incorporating the Brazilian pandeiro into the jazz universe. This co-led duo, with the up-and-coming pianist Alex Taub, is an exciting musical adventure between two musicians, who from the first time they played together, knew they had a special musical connection. The album’s eclectic repertoire flows naturally, fueled by highly personal arrangements and rhythmic diversity.

1. Lush Life 04:42
2. Home At Last 06:02
3. It Could Happen To You 04:23
4. 50 Ways To Leave Your Lover 05:59
5. I Wish I Knew What It Would Feel Like To Be Free 05:13
6. Cherokee 04:15

Scott Feiner: Pandeiro
Alex Taub: Piano

Produced by Scott Feiner & Alex Taub
Recording on July 19, 2021 by Phil Ludwig at Seclusion Hill Music, Asheville, North Carolina
Mixed & Mastered by Marcos Suzano at Sambatown Studio, Rio de Janeiro
Cover art by Marcelo Gluz

Donatas Petreikis - Another Spirit (February 25, 2022)

Another Spirit is my debut album and it represents my personal development as a human being and a composer. Every song on the album has an idea and message that I wish to pass on to the listeners through the music. I hope that listening to this vinyl will make You feel and experience my personal musical world and relate to the feelings that I intend to share. I enjoyed composing this music so much - hopefully You will enjoy listening to it as much!

I want to thank everybody who contributed to my album being released and making my dream come true! The support from my family, friends and musicians was huge and I am beyond words thankful for that. Every word and cup of coffee was important and precious to me and helped a small piece of my personal world come to life.

Donatas Petreikis

1. Flying Tale 05:48
2. Another Spirit 06:13
3. Bow To 05:54
4. Dark African Sky 07:00
5. Open Your Heart for the New Changes 04:56
6. One Happy Week In The Bed 05:57
7. House Of Autumn 05:18
8. Dream Of Venus 05:52

Donatas Petreikis - saxophone, compositions
Malthe Kaptain - trumpet
Rahel Talts - piano
Jens Samuel Schleicher Bønnerup - double bass
Jesper Lørup Christensen - drums

Emil Mathiasen - mix and master
Art Belikov - art direction and design

Sylvain Rifflet with Verneri Pohjola - Cake Walk from a Spaceship (February 25, 2022 Eclipse Music)

French world-class saxophonist Sylvain Rifflet and Finnish trumpet star Verneri Pohjola released a joint album, Cake Walk from a Spaceship, in February 2022.

Sylvain Rifflet's unique tenor sound and Verneri Pohjola's original, rich expression combine into an seamlessly stylish whole with the album.

Sylvain Rifflet is known not only as a saxophonist but also as a clarinetist and composer. Rifflet, one of the most acclaimed French musicians of his generation, has performed and recorded with many front-line musicians in both Europe and America, and is considered one of the top names of his generation. Rifflet has released four of his own records and won several awards.

Trumpeter and composer Verneri Pohjola is known around the world for his distinctive, warm sound and expressive improvisation. Titled "The Miles Davis of the North", Pohjola's debut album Aurora grabbed the Finnish Emma Award in 2009 and received praise all over Europe and America. Pohjola, who has since released five more records and won numerous awards, has established himself as one of Europe's most respected jazz musicians.

1. Déjà Vu
2. Abbey
3. Mésanges
4. Cake Walk from a Spaceship
5. Sven Coolson
6. Ryuichi, Fennesz, Alva et les Autres
7. Awkward Commute
8. The Viking's Waltz
9. Baldwin
10. Duo 2

Sylvain Rifflet - saxophone
Verneri Pohjola - trumpet
Philippe Gordiani - guitar
Benjamin Flament - drums

Benedicte Maurseth - Hárr (February 25, 2022 Hubro)

An homage to the wildlife and mountain people of Benedicte Maurseth’s home area in Hardanger

“This is a beautiful shapeshifter of an album. Part a portrait of a landscape, part the opening of a veil on some family history, part nature walk in Norway. It’s satisfying and strangely elusive, all at the same time. The music follows winding paths of the imagination, mixing Maurseth’s Hardanger fiddle with subtly-placed electronics and other instruments to create a moving, inviting bed of sound. “Heilo,” for instance, the longest piece on the disc, presents an utterly different artist from her 2019 solo release. Or does it? The music certainly isn’t traditional by any means, but the nature, the history that goes back generations – what is that but tradition? No pyrotechnics here, no devil’s trills. It’s Maurseth, embracing the past and touching the ground that has formed who she is. The result is gently majestic.» - Chris Nicson (Rootsworld)

The acclaimed and innovative visionary musician Benedicte Maurseth is coming forth with the wonderful all-consuming album Hárr. The sound of her magic Hardanger fiddle is woven seamlessly together with that of birds and the other musicians’ musical impressions. Always moving forward with a steely calm disposition, the record draws you into a world where one feels to be one with nature, wandering over a mountain plateau. Benedicte was raised in Maurset in Eidfjord – near Hardangervidda National Park – and has hiked through the mountains her whole life, clearly laying the foundation for this musical expedition. 

As traditional folk musicians have always been, Maurseth is open to contemporary influences from interactive art and music styles. The work Hárr oscillates between Norwegian folk tunes, free improvised music, American minimalism, and extensive use of musique concrète. In the tracks you will also hear natural soundscapes via the shufflings of reindeer, reindeer herders, birds and insects all recorded in Hardangervidda. 

“Working creatively and hiking in the mountains are very much the same to me. Both evoke and require the same presence as well as a deep listening that makes the senses open and clear. They are both something that can be done alone or in company, in conversation or in silence. Both require time, patience and thoughtful repetition and give a necessary reminder of something else, something bigger than ourselves.” -Benedicte Maurseth 
Benedicte is among other things inspired by ecosophy, the school of environmental philosophy developed by Arne Næss which states that humankind is not the center of the natural world but rather an equal participant in it. The tune “Heilo” displays what it is to be one with nature in the best way; the musicians play with and variate upon the rhythm of the characteristic bird sound. The track “kollasj I” summarizes in many ways the vision behind the whole work. It consists of interviews with Benedicte’s great-great-grandfather Franz Gustav Andersson Törna from Northern Sweden and her great-grandfather Leif Maurseth, both of them being hunters and reindeer herders.

Hárr was commissioned by Hardanger Musikkfest in 2019, composed by Maurseth, and arranged and performed in collaboration with master musicians Mats Eilertsen and Håkon Stene among others. “Hárr” is the Norse name for Hårteigen, the most characteristic mountain in Hardangervidda. 

Benedicte Maurseth, Hardanger fiddle player, composer and author, is an established and recognized performer. She has been the pupil of master-fiddler Knut Hamre for several decades and has toured extensively as a soloist both in Norway and internationally. She has collaborated with many of the foremost artists in a variety of genres such as Nils Økland, Marilyn Crispell, Rolf Lislevand, Jon Fosse and Anne Marit Jacobsen. Maurseth has several commissioned works for theater, film and music under her belt. For the work Tidekverv which premiered in 2017 she was given the NOPA music award and her song “Very full” for Marvel Studio for the TV-series Loki was recently ranked highly on the billboard-charts. Maurseth has written books, articles and essays in addition to recording several albums with Grappa Musikkforlag and ECM Records. 

1. Augnast
2. Benedicte Maurseth feat. Rolf-Erik Nystrøm - Heilo
3. Reinsdyrbjøller
4. Kollasj I
5. Eidfyrder
6. Hárr
7. Hreinn
8. Kollasj II
9. Snø over Sysendalen

Benedicte Maurseth: Hardanger fiddle
Håkon Mørch Stene: vibraphone, marimba, percussion, electric guitar, electronics
Mats Eilertsen: double bass, electronics

Guest appearances:
Jørgen Træen: electronics
Rolf-Erik Nystrøm: saxophone
Stein Urheim: langeleik, harmonica, electronics, samples, percussion

All music by Benedicte Maurseth (TONO) except “Augnast” by Benedicte Maurseth & Mats Eilertsen, “Reinsyrbjøller” by Mats Eilertsen & Håkon Mørch Stene, and “Kollasj I” & “Kollasj II” by Stein Urheim. All arrangements by the musicians.
Recorded by Christian Engfeldt at Paradiso Studio, Oslo, September 2020. Additional overdubs, editing and mixing by Jørgen Træen, Duper Luftgrotten Studio, Bergen, January 2021. Produced by Stein Urheim. Co produced by Benedicte Maurseth & Jørgen Træen

Brev Sullivan & Blue Road Records Band Pay Tribute to Father and Mentor Ira Sullivan with "IRA THE TRIBUTE ALBUM" (February 25, 2022)

Coming February 25, 2022

Although IRA SULLIVAN performed with jazz luminaries like Charlie Parker, Lester Young, Roland Kirk, and Art Blakey, his music is not as widely known among general audiences; however, as a master on the saxophone, flute and trumpet he had a reputation among his peers as an ou tstanding bebop soloist. Trumpeter Brad Goode called Sullivan one of the greatest soloists in the history of the music. A regular on the Chicago music scene, Sullivan moved to Miami to teach at the esteemed Frost School of Music. Although he continued to perform in the Miami area, he decided to limit his touring performances and instead chose to focus on teaching. He became one of the leading jazz educators in the U.S. mentoring several generations of up and coming musicians.

Sullivan passed away in 2020 at the age of 89, but his musical legacy lives on in a new recording project titled IRA THE TRIBUTE ALBUM by THE BLUE ROA D RECORDS BAND The band is the house band of Blue Road Record s Studio, a Miami institution founded in 2019 by MIRIAM STONE who plays acoustic and electric lead and rhythm guitar on the album.

Stone and her family came from Cuba in 1959 during the Cuban revolution and settled in Miami when she was very young. Her family was very musical. Her grandmother played classical piano, and her father, who played guitar and percussion, was friends with musicians like Tito Puente and Mongo Santamaría. Mongo and his bandmates would visit her home and jam until the early morning hours. Music had always been Stone’s passion, and in 2010, she began studying with Miami jazz guitarist Leo Quintero. It was a pivotal time in her life, and she began to write and record her own music, releasing her first two CDs, The Rainbow Album and Arcoíris. She and her husband, Howard Stone, opened Blue Road Records Studio in South Miami and began assembling musicians to record her music.

The Blue Road Records Band, which recorded the IRA THE TRIBUTE ALBUM is made up of some of the sterling musicians who have made a home in South Florida, including lead guitarist LEO QUINTERO, who hails from Venezuela, as does bass player JAVIER ESPINOZA. Also in the band are drummer and percussionist KEVIN ABANTO, who came to the U.S. from Peru, and keyboardist and sax player YAINER HORTA, another Cuban ex-patriot. The one native-born musician in the band is BREV SULLIVAN, the other lead guitarist and son of Ira Sullivan.

Brev Sullivan is proficient in multiple genres and currently tours with several rock groups. He was also the touring guitarist for his father’s band. He has been featured in Guitar Player Magazine and has appeared as a guest soloist with the Miami Symphony Orchestra.

Stone first heard Brev play guitar when he auditioned at Blue Road Records Studio. She was impressed by his mastery of the guitar, and he soon became a member of The Blue Road Records Band. Stone later heard Brev accompany his father and band in what was a memorable night of music at Gables Stage, a popular Miami jazz club.
Sullivan passed away while Stone and Brev were working together, and they decided to record a tribute album to Sullivan. Brev relates, “My father had so many families, not only his actual family, but also his touring family as well as his family of students. I wanted to make this album to not only preserve his legacy but also preserve the memory of those moments that are dear to me when I performed with him on stage.” Stone agrees and says, “I was privileged to have met Ira at one of his concerts. The band was exquisite, and Brev was with him. I felt that Ira and I had formed a personal connection. I knew making this album would be challenging because the music is so complex, but it was one of the best experiences I’ve ever had as a musician.” Indeed, the music is complex because Brev brought his father’s charts to the recording sessions. A bebop player at heart, Sullivan embraced a younger generation of musicians, like Pat Metheny and Jaco Pastorius, whom he mentored and who learned from Sullivan’s iconocla tic approach to music. The charts reflect the later period of Sullivan’s life when his music touched on the sounds and harmonies of fusion.

Sullivan surely would have approved of the new direction of his music by the Blue Road Records Band. Brev was at the helm of the recording sessions, but each musician imbued the music with his or her own style and personality. The album opens with “I Get a Kick Out of You,” which was one of Sullivan’s favorites. The band plays it at a blistering tempo featuring a flamboyant drum solo by Abanto. “Monday’s Dance” was written by Sullivan. It’s a beautiful, soulful piece that Sullivan used to perform regularly with young musicians at a near-by church. ”Circumstantial” is another Sullivan composition. The tune features Brev, Quintero, and Abanto trading fours at lightning speed. Sullivan wrote “Multimedia” to capture the sounds he heard as he walked down the hallway while listening to all the music played by the students in their different practice rooms. The tune moves between fusion, rock, and jazz, showcasing Horta’s considerable chops on the tenor sax and Stone’s electric lead guitar.

“Icarus” is a departure from Sullivan’s usual bebop sound. The combination of three guitars, keyboards, and sax give the composition a rich, mystical, almost psychedelic vibe. “Ninevah” was released on Sullivan’s Horizons album. Brev says, “I think I loved how my father played the soprano more than any of the other instruments he played. For me, this song is almost like a rock song written by John Coltrane.”

“Our Delight” is the most standard tune on the album. When Sullivan originally recorded it, he played all four instruments. “The Little Train of Caipira” has a lovely melody that opens with classical guitar. Written by Heitor Villa-Lobos, the tune suggests a train chugging along through the countryside. “Espresso Bueno” is written by Brev and often performed by Sullivan. With its happy, Latin dance feel, the song has always been a crowd favorite in live performances. Sullivan was deeply religious and would close his sets with “Amazing Grace.” The band honors his memory with a stirring yet gentle interpretation featuring Brev as the sole guitarist on three tracks.

IRA THE TRIBUTE ALBUM is a fitting tribute to the iconoclastic multi-instrumentalist who has influenced so many lives through his teaching and music. Brev sums it up best, “All the musicians that worked with Ira regarded him as such a strong mentor in their lives and careers. While Miriam and her husband Howard were the only Blue Road musicians who had the chance to meet him, I know he would have loved that they took on the challenge of recording his music. I’m most grateful that the mentoring continues through his tunes.”

IRA THE TRIBUTE ALBUM is set for release on February 25, 2022 and will be available everywhere.

1. I Get a Kick Out of You 6:49
2. Monday’s Dance 7:01
3. Circumstantial 5:17
4. Multimedia 8:16
5. Icarus 7:10
6. Nineveh 8:20
7. Our Delight 6:34
8. Little Train of Caipira 6:18
9. Espresso Bueno 4:46
10. Amazing Grace 3:41

Brev Sullivan lead guitar
Leo Quintero lead guitar
Miriam Stone acoustic & electric guitar
Javier Espinoza bass
Yainer Horta keyboards & sax
Kevin Abanto drums & percussion