SAADIF means in arabic "meeting" and is the result of the collaboration between Amir ElSaffar, New York multiethnic scene’s rising star, and the Italian trio HYPER+.
An original album between tradition and innovation, where the "beyond-jazz" of Hyper+ is mixed with Iraqi maqam music.
In these last years, physical and cultural borders sadly seems to be stronger than ever and cultural barriers keep on standing. Musical projects built upon the idea of make identity meet offer different ways of relationships and artistically innovative narratives in integration.
In this perspective the collaboration between trumpeter Amir ElSaffar (New York multiethnic scene’s rising star) and the platform HYPER+, that allows to Nicola Fazzini, Alessandro Fedrigo and Luca Colussi trio to work with different guests, is a stunning, expressive, meeting.
In this quartet, the original method of ElSaffar (musician who has collaborated with artists like Vijay Iyer, Don Byron, Cecil Taylor or Marc Ribot), using the microtones found in Iraqi maqam music to create an innovative approach to harmony and melody, stimulates fellow musicians (who work together in the renamed XY Quartet) to explore new acoustic and electric paths, between tradition and innovation.
Born in Chicago to an American mother and an Iraqi father, Amir ElSaffar plays the trumpet, the santur and sings traditional Iraqi music. After undergoing classical training the focus of his work has been on jazz, collaborating with great names of contemporary jazz.
After an italian tour in November 2015, the quartet has recorded (for nusica.org label) “Saadif” (“meeting”) at Casa della Musica in Trieste. Published in April 2016, the record contains original tunes, mostly composed by ElSaffar. “Saadif” carries the listener on an evocative journey, cunningly structured, rich of shades and colorful, a music where urban tensions and multicultural relationships are able to light sparkles of future sounds.
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Anna-Lena Schnabel ist mit 24 Jahren schon eine der beeindruckendsten Saxofonistinnen, von vielen bereits als Ornette-Coleman-Nachfolge gefeiert.
Anna-Lena Schnabel, junges Jazz-Talent aus Hamburg, von der Presse schon als Ornette-Coleman-Nachfolge gefeiert, ist nach Produktion im SYSTEMS TWO-Studio in Brooklyn, N. Y. mit ihrem Debüt bei ENJA RECORDS untergekommen.
Es bedeutet schon etwas wenn sie auf ihrem Debütalbum so viel mehr erreicht als nur mit ihren Kollegen auf Augenhöhe zu sein und mitzuhalten. Sie führt diese Welt mit erfahrenen, erfolgreichen Musiker in frisches, nicht vorhersehbares musikalisches Terrain mit ihren kühnen Kompositionen, einer Ballade und einer freien Gruppen Improvisation.
Die junge Musikerin (geb. 1989) schrieb ihre Masterarbeit an der Hamburger Musikhochschule über die Improvisationstechnik Charlie Parkers auf seiner Aufnahme von »My Old Flame«.
Sehr verschiedene Musiker wie Parker und Harry Partch haben sie geprägt, durch deren Musik sie doch immer einen stimmigen Weg findet. »Für mich geht es im Jazz vor allem um Emotion, alles andere kommt danach.«
Ihr rauher Alto-Sound erinnert an Ornette Coleman und Eric Dolphy, aber auch John Coltrane und Mike Brecker sind ihr wichtig. Anna-Lena traf Florian Weber im Deutschen Jugend Jazz Orchester, später erste Aufnahmen mit Dominic Miller und Lars Danielsson, Konzerte mit den Legenden Kenny Wheeler und John Taylor folgten. Webers CD »Biosphere« mit Thomas Morgan, Dan Weiss und Lionel Loueke inspirierte sie und ist wohl ein Schlüssel zum Erfolg ihrer ersten eigenen Session. Die Dichte und ihre kantigen Linien erinnern auch an den George Russel der 60er-Jahre. Im Gegensatz dazu steht die wunderschöne Horace-Silver-Ballade »Peace«, die Anna-Lena immer Frieden gibt, wenn es ihr nicht so recht gut geht, wie sie sagt.
1. Burnout 5:57
2. Toy 4:41
3. Drunken Books 7:48
4. Dying Swan Under The Bamboo Moon 7:48
5. Luggage 5:14
6. Loss Laments 7:14
7. Reef 4:39
8. Plop 6:06
9. Peace 4:16
Alto Saxophone – Anna-Lena Schnabel
Artwork – David Winckelmann, Susanne Scherff
Bass – Thomas Morgan (4)
Composed By – Anna-Lena Schnabel (tracks: 1 to 8), Horace Silver (tracks: 9)
Ben Roseth (alto/soprano saxophone) was born and raised in Seattle, Washington. He pursued parallel degrees in Jazz Performance, at the New England Conservatory, and International Relations, at Tufts University. He has a unique concept of fusion between jazz and folk music from around the world.
1. The Soft Spot 06:06
2. Soapstone 03:20
3. Ode to Grandma 06:07
4. Ísaro 08:16
5. La Chibcha 05:20
6. Two Waves 05:45
7. Vibe City 04:51
8. Psalm for Spring 05:25
9. Cheeks 05:56
Released August 12, 2016
All songs composed by Ben Roseth
Alto saxophone: Ben Roseth
Piano: Alex Brown
Bass: Haggai Cohen-Milo
Drums: Ferenc Nemeth
Producer: Haggai Cohen-Milo
Executive Producer: Viviana Roseth
Design: Jon Goldman
Photography: Jimena Villaseca
Recorded on March 28, 2016 at Big Orange Sheep Studios in Brooklyn, NY by Michael Perez-Cisneros
Simone La Maida nel 1987 si avvicina al saxofono e inizia a studiare suonando nell’organico della big band di Serravalle di San Marino. Il suo primo approccio all’improvvisazione jazz avviene frequentando un seminario tenuto dal maestro Saverio Gallucci (all’epoca arrangiatore per la RAI).
Continua a studiare saxofono classico con il maestro Marco Gerboni all’Istitituto Musicale di Riccione e con il Maestro Enzo Vedovi al Conservatorio G. Rossini di Pesaro e nello stesso conservatorio frequenta anche il corso di Armonia e Composizione.
Studia improvvisazione col maestro Ramberto Ciamarrughi e in seguito si specializza con Hal Crook privatamente e frequentando i suoi corsi di ensemble alla Berklee School di Boston.
Verso il 1990 inizia l’attività concertistica nei club dell’Emilia Romagna e delle Marche, suonando in diverse formazioni di R&B, Funky e Jazz.
Il 1991 segna il suo debutto in teatro con lo spettacolo “Shakespeare in Jazz” scritto e diretto da Giorgio Albertazzi (Festival Internazione di Todi).
Prosegue l’attività teatrale lavorando a diversi spettacoli: “Non è colpa di Pirandello” testi di L. Pirandello, regia di Saverio Gallucci. “Fabulando” fiabe popolari, regia di Gianfranco Gori. “La guerra dei mondi” regia di Maria Pitta e Gianfranco Rimondi, e collaborando alla realizzazione di uno spettacolo creato sulle musiche di Edith Piaf scritto da Roberto Rocchetti e Lucia Fiori.
Sempre per il teatro, nel 1998 costituisce un duo con l’attore Angelo Trezza, per lavorare ad un progetto sui testi di G. Pascoli, G. Leopardi, Dostoevskij, scrivendo musiche originali.
Nel frattempo costituisce la formazione Salsedinebbia con Roberto Monti e Stefano Travaglini, con cui ha inciso un disco “Svisatura melodica”, da qualche anno è sassofonista del gruppo RZLimanaquequa fondato dal chitarrista Roberto Zechini, con cui ha registrato il cd “Pietraltrove”.
Dal 2003 lavora con “Taranta Power”, la scuola di musiche e danze mediterranee diretta da Eugenio Bennato, nella realizzazione dello spettacolo “Teriaca”.
Nel 2003 ha lavorato accanto a Roberto Faenzi, Stefano Senni, Fabrizio Puglisi e Vincente Solsona, in un tour a Barcellona esibendosi in alcuni dei club più famosi della Catalogna, con lo stesso quintetto ha registrato un disco di produzione spagnola in uscita nel 2005.
A New York nel 2003 ha suonato accanto a Cristian Capiozzo,Michele Guidi,Daniele Santimone,Mario Biondi, nei club di Manhattan per la promozione del loro ultimo disco prodotto dalla Irma Production al quale ha partecipato come solista.
Dal 2004 si esibisce nell’ottetto Piccolo Ensamble del pianista e compositore Ramberto Ciammarughi.
E’ primo sax alto (Clarinetto e Flauto) della "Colours Big Band” diretta da Massimo Morganti, con la quale collaborano artisti del calibro di Kenny Wheeler,Ayn Inserto,Rosario Giuliani e Javier Girotto, e in cui suona a fianco di Emilio Marinelli, Samuele Garofoli, Gabriele Pesaresi e Massimo Manzi.
Compone e arrangia le musiche per l’orchestra dello spettacolo “Locomix” che fa parte del circuito di Saint Vincent per le selezioni di “Bravo Grazie”.
La sua passione per la composizione, l’interpretazione e la ricerca lo ha portato a creare un trio sperimentale a suo nome formato da: Stefano Paolini alla batteria e Gabriele Pesaresi al contrabbasso, per il quale compone e arrangia i brani che eseguono,registrando nel 2006 il disco “….Dopo la nebbia”.
Ha suonato in festival nazionali e internazionali : Vicenza Jazz Festival,Porsche Jazz Festival,Umbria jazz Winter, Fano Jazz, Young Jazz in Town (Foligno),Jazz Ethnic Festival Durazzo, Ginza Jazz Festival (Tokyo), Festa della Musica (Parigi),Terrasa Jaz Festival (Barcellona),Fiorenza Jazz (Fermo),Laurino Jazz Festival,Tam Jazz Festival (fermo), Barga Jazz (Kenny Wheeler ensemble).
Ha partecipato alla registrazione dell'album "Big Band"di Antonella Ruggero.
In questi anni ha continuato a sviluppare la sua attività solistica lavorando in tutta Italia e all’estero in club e teatri, collaborando con musicisti jazz di fama nazionale e internazionale quali: Flavio Boltro, Emanuele Cisi, Andrea Dulbecco, Sandro Gibellini, Gianni Basso, Pietro Tonolo, Marco Tamburini, Roberto Rossi, Alberto Borsari, Massimo Morriconi, Massimo Manzi, Giulio Capiozzo, Cameron Brown, Paula Wess, Randy Bersen, Jimmy Owens, Kenny Wheeler, Fabio Zeppetella, Ramberto Ciamarrughi, Glauco Venier, Diana Torto, Giovanni Guidi, Ayn Inserto.
When the re-edition of past works of an artist has no immediate commercial justification, the motivations of a particular label and the musician himself can only be one of two: to show from where he came from, in order for the listener to compare recent achievements with old developments, or to give a broad perspective of his path as a flux of equally considered ideas and performative realizations, if that same artist dedicated his life to an unified musical vision. This last context explains the re-release of “Interface”, the sold out album recorded live in Coimbra, Portugal, back in 2003, by the now inactive Steve Lehman’s Camouflage Trio. At that time, Lehman was far from the spectral jazz researches of “Travail, Transformation and Flow”, but he was already focused on the principles which brought him to record that masterpiece: to discover in history the premises for the construction of the future, but doing that very much in the “present”. “Interface” follows a still valid concept – it continues, taking it to other consequences, the formulas for the alto sax-double bass-drums trio debuted by the Ornette Coleman Trio and by a band of his special liking, Air (Henry Threadgill, Fred Hopkins and Steve McCall). The enterprise was brilliantly accomplished , and in such a way that the New York saxophonist and composer wouldn’t be able to create something like “Dialectic Fluorescent”, his trio CD from 2012, without that first earthmoving action with Mark Dresser and Pheeroan akLaff. Haven’t you heard it yet? Well, don’t waste more time and get the entire picture…
1. Structural Fire 15:27
2. Hamlet 5:13
3. Complex C 7:07
4. Huis Clos 4:02
5. Rison 8:02
6. Motion 19:27
7. Interface 13:00
Steve Lehman alto and sopranino saxophones
Mark Dresser double bass
Pheeroan Aklaff drums
All Compositions by Steve Lehman (Density Music, BMI)
Recorded by Pedro Santos on May 7th, 2003 Live at Teatro Académico Gil Vicente, Coimbra, Portugal | Original mixing by Pedro Rego at Xangrilá Studios, Lisbon | Re-mixed by Liberty Ellman, New York | Original mastering by Fernando Rascão | Re-mastered by Luís Delgado
Produced by Steve Lehman | Executive production by Pedro Costa for Trem Azul | Original design by Rui Garrido | Re-designed by Travassos |
To describe saxophonist Greg Ward's Touch My Beloved's Thought as his magnum opus is to impede his development as a composer. Let's just say for many a jazz artist, if this recording were included in their discography, it would be their signature piece. For Ward, it just represents the possibilities.
The backstory to this live recording is Charles Mingus' The Black Saint And The Sinner Lady (Impulse!, 1963), a six-part composition written for dancers. Ward was commissioned to fashion a piece of music in collaboration with choreographer Onye Ozuzu to commemorate Mingus' efforts. Instead of producing a snide Mostly Other People Do the Killing knockoff à la Blue (Hot Cup, 2014), Ward chose to stand on the shoulders of giants and make music for the 21st century.
If Ward is chasing Mingus here, then he is also pursuing the music of Duke Ellington, a band leader Mingus aspired to emulate. Just as Duke and Mingus wrote music for particular players, Ward's compositions here favor his soloists. The music opens with "Daybreak," a blending of all parts of his 10 Tongues large ensemble. He breaks free with a soaring alto solo halfway through. His tone, which is often employed by drummer Mike Reed's People, Places, & Things ensemble, is delivered in full service to the music. Just as Rudresh Mahanthappa's Bird Calls (ACT, 2015) used almost imperceptible fragments of Charlie Parker's music, Ward takes pieces and parts of Mingus' Black Saint to build anew here. His nine pieces are part on one long composition, pausing only for the audience's applause.
Of note is Ward's integration of his soloists, pianist Dennis Luxion on "Singular Serenade," Norman Palm's trombone "With All Your Sorrow, Sing A Song Of Jubilance" and Keefe Jackson's baritone on "Grit." "Dialogue Of The Black Saint" opens with Jason Roebke's bass solo, before horn shouts fall into Russ Johnson's trumpet plunger blues. The music, like Mingus and Ellington before him, is folk/dance music, be it blues, gospel, Latin, march, hip-hop, or flamenco, it's all good. Mark Corroto
Daybreak Singular Serenade The Menacing Lean Smash, Push, Pull, Crash With All Your Sorrow, Sing A Song Of Jubilance Grit Round 3 Dialogue Of The Black Saint Gather Round, The Revolution Is At Hand
Greg Ward: alto saxophone, compositions Tim Haldeman: tenor saxophone Keefe Jackson: tenor saxophone, baritone saxophone Ben LaMarGuy: cornet Russ Johnson: trumpet Norman Palm: trombone Christopher Davis: bass trombone Dennis Luxion: piano
“While We’re Still Young is as close to a musical self-portrait as I’m capable of creating. It’s simultaneously a multi-generational tribute album, a gathering of close friends, and a starkly personal expression of who I am as an artist and individual.” — Patrick Cornelius
While We’re Still Young is the sixth and latest album by the critically acclaimed, award-winning saxophonist and composer Patrick Cornelius which brings together seven of the most accomplished young artists in contemporary jazz in order to breathe life into a suite of new original music inspired by the universally-treasured poetry of English literary icon A. A. Milne.
Cornelius’ personal connection to the sweet, whimsical verses in the timeless collection When We Were Very Young spans several generations. Milne’s classic trove documenting the childhood exploits of his son Christopher Robin were read first by his grandmother to his mother as a baby, and then by his mother to him and his brothers in turn. At the birth of Patrick’s own first child, Isabella, the family’s copy of When We Were Very Young was passed down to him, so that he could continue the tradition. “From the very first time I started reading these poems to Isabella, I remember an instant desire to write music inspired by each individual vignette,” the composer recalls.
"Cornelius is a talent worth watching." ★★★★ Jazzwise Magazine
"Eight
brilliant musicians... A cheerful celebration of life and youth with
finely crafted arrangements leaving beautiful spaces for the soloists." Culture Jazz (FR)
"Full of richly orchestrated music with elements of Duke Ellington, Gil Evans, Bach and Debussy." Long Play Newsletter (blog PL)
This
work shouldn't just be labelled "chamber jazz" since it's very much
more than that. Like its elegant cover, it's actually a work of art." ★★★★ All About Jazz
"Accessible
yet intricate themes, lyrically flowing music, great solos and gorgeous
ensemble playing, this is an album you will want to play again and
again! Highly recommended." Fatea Magazine
"Cornelius
has created a work of genuine substance, the writing often complex,
multi-layered yet always adroit, deploying his resources well, the
melodic moments often memorable, the solo excursions largely pleasing,
the effect at times like a miniature Schneider ensemble." ★★★★ Jazzwise Magazine
"The
way this octet shapes the solos as mere extensions of dynamic group
play, of something very organic grown from the soil of ensemble
communication, is arguably the album’s winning quality." Bird Is The Worm
"This is a superb album. The writing is brilliant." Bebop Spoken Here
"Sparky
settings for [Cornelius'] own solos and those of a polished ensemble
including pianist Gerald Clayton, trombonist Nick Vayenas, and guitarist
Miles Okazaki... Debussy, Ellington and Charlie Parker audibly guide
Cornelius here." The Guardian
"An entire album peppered
with goosebumps-inducing moments... Cornelius’s music and messages
resonate broadly and vividly, reminding any listener of what’s most
precious to us all." Ottawa Citizen
"Much playfulness in the playing... An excellent listen." The Jazz Breakfast
"His
arrangements, intricate with secondary motifs and contrasting
counterlines create vivid musical counterparts for Milne's imagery." New York City Jazz Record
"The
engaging music is performed by an octet of Cornelius's colleagues and
nicely combines interesting ensembles with inspired ensembles." Northern Echo
"This
is vibrant, highly colourful music full of good compositional ideas and
some great playing, with all members of the ensemble contributing
strongly." ★★★★ The Jazz Mann
"A joy from beginning to end... Patrick Cornelius takes a giant step forward with this project."
1. Sand Between the Toes 2. Water Lilies 3. Jonathan Jo 4. The Invaders 5. Lines and Squares 6. Vespers
Patrick Cornelius - alto/soprano saxes, flute, compositions Jason Palmer - trumpet John Ellis - tenor saxophone, bass clarinet Nick Vayenas - trombone Miles Okazaki - guitar Gerald Clayton - piano Peter Slavov - bass Kendrick Scott - drums
Veteran altoist Andy Fusco makes his belated SteepleChase leader debut
here with this 2003 quintet recording, showcasing his intense and strong
command of the instrument in the bebop tradition.
Growing up in New Jersey his interests were music and football. He first
studied at the Syracuse University with football scholarship. After
almost making it to NFL Fusco diverted his attention to music and landed
the lead alto saxophone post at the Buddy Rich Big Band (1978-1983). He
has performed and recorded with Gerry Mulligan, Mel Lewis and Walt
Weiskopf, to mention a few. Fusco is also a dedicated educator currently
a member of the Music Faculty of Kean University, New Jersey.
"Andy Fusco is a player's player, a steely-edged bopper whose wide
swaths suggest Bird as well as Trane." - Chuck Berg, JazzTimes
"We can be grateful for being exposed to yet another substantial jazz
man who is on the rise and will hopefully be bringing us much more great
music in the coming years." - Andrew Hovan, AllaboutJazz
01. Acceptance 02. Count's The Thing 03. Waltz For Judy 04. Django 05. The Touch Of Your Lips 06. Whirlwind 07. How About Me 08. In Dominic's Time
ANDY FUSCO, alto sax JOHN MOSCA, trombone JOEL WEISKOPF, piano DENNIS IRWIN, bass BILLY DRUMMOND, drums
Art of Life Records is proud to present the debut release by trumpeter and composer Chris Rogers. "Voyage Home" features the late saxophonist Michael Brecker, guitarist Steve Khan, saxophonist Ted Nash, pianist Xavier Davis, bassist Jay Anderson, drummer Steve Johns, saxophonist Roger Rosenberg, trombonist Art Baron, keyboardist Mark Falchook, percussionist Willie Martinez and a digital sample of the late trombonist, Barry Rogers. Recorded at Sound on Sound Studios in New York City, New York on February 2nd & 4th, 2001. All songs were composed and arranged by Chris Rogers.
Liner Notes
About "Voyage Home":
At its heart this music truly IS a voyage. Surely the songs here represent my debut as a solo performer and composer, but they also can be viewed as the spiritual and sonic offspring of some of the incredible musicians whom I have personally known my entire life. I am speaking specifically of Michael Brecker, Randy Brecker, Don Grolnick, Eddie Palmieri, Tom Harrell, Lew Soloff, Mike Lawrence, James Taylor and Barry Rogers. These unique artists - plus others like Hal Galper, Chick Corea, Woody Shaw, John Coltrane, Stevie Wonder, Igor Stravinksy, The Beatles, David Sanborn, Freddie Hubbard and Miles Davis - make up much of my musical palette. The incredibly accomplished musicians on "Voyage Home" were handpicked for their value to me both as musicians and friends. Finally, in the true Jazz tradition ALL solos were tracked live.
In Honor of Michael Brecker:
Michael Brecker is commonly referred to as "the most influential tenor saxophonist since John Coltrane". His recorded legacy as a bandleader, co-leader (with brother Randy) and sideman, as well as his 15 Grammys tell only part of the story. Mike was a gifted human being who has profoundly touched peoples lives all across the globe. I am deeply grateful to Mike for his friendship and presence on this album. He is dearly missed but never forgotten.
Selected Quotations
This highly anticipated CD by Chris Rogers has finally hit the shelves! I've known Chris since he was 6 years old. His father, the great trombonist Barry Rogers, was a close friend and mentor to me and my brother Mike. I've watched his progress through the years and can categorically state that Chris is AT THE TOP OF HIS GAME on this CD, and it's so great to hear previously unreleased solos of Mike's (and Barry too!). So check this CD out: Just a heart-felt first-rate endeavor that is sure to bring Chris Rogers the critical and fan-based attention he deserves! ~ Randy Brecker
