Showing posts with label trumpet. Show all posts
Showing posts with label trumpet. Show all posts

Sunday, February 5, 2017

HYPER+ AMIR ELSAFFAR - SAADIF (2016) [NUSICA.ORG]




HYPER+ AMIR ELSAFFAR NEW CD "SAADIF" IS OUT NOW!

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.


Amir ElSaffar, trumpet & vocals
Nicola Fazzini, alto & soprano sax
Alessandro Fedrigo, acoustic bass guitar
Luca Colussi, drums


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.





nusica.org is free, eco-friendly, digital, conceptual






Monday, August 22, 2016

Avishai Cohen - Into the Silence (2016) ECM RECORDS



Avishai Cohen impressed a lot of listeners with his soulful contributions to Mark Turner’s Lathe of Heaven album in 2014. Now the charismatic Tel Aviv-born trumpeter has his ECM leader debut in a programme of expansive and impressionistic compositions for jazz quartet (trumpet, piano, bass, drums), augmented by tenor saxophone on a few pieces. Into The Silence is dedicated to the memory of Avishai’s father David, reflecting upon the last days of his life with grace and restraint. Avishai’s tender muted trumpet sets the emotional tone of the music in the album’s opening moments and his gifted cast of musicians explore its implications. Israeli pianist Yonathan Avishai has played with Cohen in many settings and solos creatively inside the trumpeter’s haunting compositions, sometimes illuminating them with the phraseology of the blues. Cohen and drummer Nasheet Waits have a hypersensitive understanding and their interaction can, from moment to moment, recall the heyday of Miles Davis and Tony Williams or Don Cherry and Billy Higgins. Yet this music, while acknowledging inspirational sources, is very much of our time. Bassist Eric Revis, a cornerstone of the Branford Marsalis quartet for two decades, provides elegant support throughout. And saxophonist Bill McHenry, a subtle modernist who has worked with Paul Motian and Andrew Cyrille, shadows Cohen’s lines with feeling. Into The Silence was recorded at Studios La Buissonne in the South of France in July 2015 and produced by Manfred Eicher.


1. Life and Death 9:18 
2. Dream Like a Child 15:30 
3. Into the Silence 12:12 
4. Quiescence 5:10 
5. Behind the Broken Glass 8:12 
6. Life and Death (Epilogue) 2:43

Avishai Cohen, trumpet
Bill McHenry, tenor sax
Yonathan Avishai, piano 
Eric Revis, double bass
Nasheet Waits, drums

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Tuesday, August 9, 2016

Joep Van Rhijn Trio - Paper Planes (feat. Yongjun Chon & Inseop Song) 2016


Trumpet Player - Educator - Composer/Arranger  


Band leader - Sideman - Arranger/composer for recording sessions and performances - Teaching private lessons and ensemble lessons at universities, music camps and workshops.

A lyrical and broad minded jazz trumpet player. Joep started playing trumpet as a child in the village wind band. He studied jazz trumpet at The Prince Claus Conservatory in Groningen (The Netherlands) with Kurt Weiss and Brian Lynch. After a few years of working as a freelance musician and educator in Amsterdam, Joep decided to move to South Korea, where he is based since 2012.


CD-RECENSIE

Joep van Rhijn Trio – Paper Planes
bezetting: Joep van Rhijn trompet, flugelhorn; Yongjun Chon piano; Inseop Song contrabas
opgenomen: april 2016, Audioguy Studio, Seoul
uitgebracht: 2016
label: Audioguy
aantal stukken: 8
tijdsduur: 48’27
website: www.joepvanrhijn.com
door: Erno Elsinga

Source: jazzenzo.nl

Trompettist Joep van Rhijn (1984) maakte in Nederland onder meer deel uit van The Jig, The Rotterdam Jazz Ska Foundation, World Music Band Artkiki en Speelman & Speelman. In 2012 vertrok de musicus naar Zuid-Korea en nu, vier jaar later, verschijnt zijn eerste album onder eigen naam met de Koreanen Yongjun Chon (contrabas) en Inseop Song (piano) aan zijn zijde.

Van Rhijn studeerde aan het Prins Claus Conservatorium in Groningen en volgde later nog lessen compositie en arrangeren aan het Conservatorium van Amsterdam. Zijn werk werd in 2009 geselecteerd voor het album ‘New Dutch’ van de West Coach Big Band waarin jonge getalenteerde componisten/arrangeurs schrijven voor een groot ensemble onder leiding van de Amerikaanse trompettist Kurt Weiss bij wie Van Rhijn eveneens les nam.

Op ‘Paper Planes’ laat Van Rhijn zich inspireren door de traditionele jazz. Zijn composities zijn lyrisch en sfeervol waarbij de begeleiding van contrabas en piano vooral in dienst staan van de naamgever van het trio. Van Rhijns zuivere toon is melodisch en ingetogen, fluweel maar bedeesd. Een prettig luisterboek dat nooit spannend wordt maar aangenaam deint, hier en daar opgeschud door een swing of pianistisch hoogstandje van Chon.

Met componeren in de geest van de traditionele jazz is niets mis, maar ‘Paper Planes’ kan wel wat avontuur gebruiken. Met name in de begeleiding valt nog veel te halen. Gewaagde interactie, een rauw randje, uitdagend spel waarbij het trio gedwongen wordt uit de comfortzone te treden, zou meer recht doen aan de levendigheid van de jazztraditie. 

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Friday, July 29, 2016

Mark Russo - New Affirmation (2016)


There has been resurgence to the Northeast Ohio Jazz scene in recent years, a resurgence that has been instigated by a few things. Through the years, many of these area musicians have decided to leave the area for other places, whether it is New York City or Chicago. But in recent years, there have been a group of Jazz musicians that have decided to stay in Northeast Ohio and build a strong Jazz scene. Part of that “building process” has been to create personal projects of original music and collaborate with musicians locally and nationally, helping to build a strong reputation for what we have here in Northeast Ohio.

Mark Russo is one of those musicians. Mark, a staple on the Northeast Ohio Jazz scene, has produced such a product, composing all original music for his first CD as a bandleader “New Affirmation”. With his strong roots in the tradition and his ability to also look toward the future of Jazz, Mark has comprised a CD of beautiful forward thinking originals that will please all Jazz Fans alike.

TD starts the CD off with a high-pulsed triplet-subdivided swing feel featuring the constant groove that Chris Baker and Ashley Summers provide throughout the whole CD. Pete Mills and Theron Brown show why they are considered consummate professionals, following Mark’s beautifully paced solo with strong solos of their own. This quintet, one of a few different ensemble setting’s Mark uses, also show their versatility on Grace and Speaking in Fluent IKEA. Sticking with the Quintet setting, he switches to alto saxophonist Bobby Selvaggio, longtime Northeast Ohio Jazz musician for Free Spirit, one of Mark’s more lyrical melodies, reminiscent of Bill Evans writing. Theron Brown accompanying is beautiful while Mark and Bobby show a more modern side weaving lines through the harmonic colors. Beautiful is just that, a duo between Mark and Theron that shows both of their mastery of the subtle.


Mark playfully experiments with different ensembles the rest of the CD, creating a sound scape of colors from song to song. Adding to the standard Quintet setting to create a sextet, he brings in trombonist Adam Machaskee, a transplanted New Yorker from Northeast Ohio, for Hear Me Twice the First Time, an extended blues that hears everyone stretching out and bringing fire. The other blues on the session Wags’s Chili, composed for Northeast Ohio saxophonist Brad Wagner’s famous chili, he brings back saxophonist Bobby Selvaggio to create a septet. Wags’s Chili is a more traditional blues in the Basie style and we hear all the musicians having a lot of fun on this one.


The last 3 songs we see the addition in various settings of guitarist Jeremey Poparad, a very versatile guitarist from Akron Ohio. New Affirmation has the original Quintet plus Jeremey on a tune very reminiscent of John Coltrane’s famous quartet. The divided unison in the opening theme played by Mark and Pete perfectly sets up the vibe for the rest of this composition. The rhythmic interplay between rhythm section and soloist is a highlight of the CD. Upper Echelon brings out Mark’s fusion side with his most involved composition on the record date. Mark, Pete, and Jeremey solo with an authority of this style of music. Rounding out the CD is Stellar, a contrafact Mark composed over Stella by Starlight. This ensemble is a classic Quintet with guitar replacing piano. The melody intertwines great lines with rhythmic ideas reminiscent of the Lennie Tristano school of thought.

For his first CD, Mark Russo doesn’t hold anything back. He shows his knowledge of the music and the history and tackles it all with pure joy. New Affirmation isn’t about pyrotechnics, it’s about moods and emotion and conversation, all the elements blended together perfectly for a wonderful session. - Bobby Selvaggio, Jazz Saxophonist & Composer


While air travel, formal jazz education, and easy access to recorded music have reduced the regional differences in the sounds of jazz musicians that used to be more pronounced, certain similarities in players who hail from the same place remain. One can hear it in the way Cleveland trumpeter Mark Russo approaches his instrument on his debut date as a leader, New Affirmation. Mark shares that sense of melody-focused, linear improvisation that characterizes trumpet players from Northeast Ohio stretching back to bebop legends Freddie Webster and Benny Bailey and continuing today with brass men like Kenny Davis and Jack Schantz. Mark continues his city's trumpet tradition - one that is centered on crafting solos that have a strong tie to melody, are linear in nature, and seem to swing effortlessly. Mark is an active part of the Cleveland Jazz scene. A graduate of both Bowling Green State University and Kent State University, Mark leads Buhania's Delight, a band that celebrates the rich legacy of the music that Art Blakey and his Jazz Messengers made. When he isn't on the bandstand, Mark is sharing his knowledge with students in the classroom and as a private teacher. 
Mark’s pupils would be wise to heed the chief lesson he and his band mates drop on New Affirmation - that swinging jazz played honestly is forever new. - Dan Polletta, 90.3 WCPN ideastream® personality


T.D. Written for my BGSU trumpet instructor Todd Davidson (T.D.). This tune started out with a series of chord changes that sounded like something he would of tore up back in the day!

Free Spirit: I penned this melody after watching my youngest daughter Molly dancing in the living room one day. The playful melodic line and piano solo over the bridge captures her “Free Spirited” personality.

Speaking In Fluent IKEA: If you’ve ever bought anything at IKEA and have struggled with the instructions on how to actually put the furniture together, this song is for you. The complex harmonic structure and complex groove at the end suggest the hours of frustration one might go through.

New Affirmation: This tune was inspired by the culmination some life events my wife and I went through.

Hear Me Twice The First Time: Based on a 16 bar blues form, this tune captures the essence of the blues with a nod towards a modern harmonic approach.

Grace: I wrote this tune back in 2004. This is the first melody that popped into my head when I held my newborn (now oldest) daughter for the first time. The interplay between the trumpet and saxophone simulates the playfulness and interaction I could only imagine I would have for years to come.

Stellar: A simple bop-based contrafact based on Stella By Starlight.

The Upper Echelon: Based on a 2-note ostinato that plays through out the tune, the harmonic and rhythmic tension and distorted guitar give reference to a “higher society” or “higher social class”. The solo section mellows out a bit harmonically, but picks back up leading to the dense harmonies at the end of the tune.

Wags’s Chili: written for local Akron, Ohio saxophonist Brad Wagner. If and when you have his homemade Chili, you’ll understand why I wrote this song….

Beautiful: This song was inspired by my wife, Laura and has a harmonic sense that reflects the “ups” and “downs” of a happily married couple. The melody is beautifully (no pun intended) simplistic in nature and took on a new meaning once my Father passed away just months before this session. This song reminds me to celebrate in the present life as well as in the memories of the ones we’ve lost.


1. T.D. 07:18
2. Free Spirit 06:59
3. Speaking In Fluent IKEA 06:33
4. New Affirmation 10:00
5. Hear Me Twice The First Time 04:32
6. Grace 05:57
7. Stellar 05:44
8. The Upper Echelon 06:11
9. Wags's Chili 06:51
10. Beautiful 05:08

Mark Russo, Trumpet
Pete Mills, Tenor sax 
Adam Machaskee, Trombone 
Bobby Selvaggio, Alto sax 
Jeremey Poparad, Guitar 
Theron Brown, Piano 
Ashley Summers, Bass 
Chris Baker, Drums

Released July 21, 2015 


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Life and Other Transient Storms - Life and Other Transient Storms (2016) CLEAN FEED RECORDS



Trumpeter Susana Santos Silva became one of the most important ambassadors of Portuguese jazz in the world, and in this new opus we find her in notable company – a quartet of amazing musicians picked among the many with whom she’s playing with these days, like Joe Morris, Mats Gustafsson, Fred Frith, Christine Wodrascka, Mat Maneri, Craig Taborn, Thomas Morgan and Tom Chant, to name just a few. The first impression you have when grabbing this CD is that you’re going to hear a dream band. Santos Silva with Lotte Anker, Sten Sandell, Torbjorn Zetterberg and Jon Falt? No way! But it’s true and that is the kind of truth which transforms something into a gem. More special even when the music reflects a spiritual discovery, in this case «the blessing and beauty of impermanence in my life, in the world and in all the things that are», as Susana puts it herself on the liner notes.   How does that mirror effect happen? Giving you a only apparently contradiction, a «peaceful state of being» manifesting in a «restless and resilient» way. To play life means to play urgently, intensely and honestly, and that’s precisely the peace of mind Susana Santos Silva need to create a map of sounds. You don’t want to miss this.


1. Life 30:08
2. Other Transient Storms 18:56

Susana Santos Silva  trumpet and flugelhorn
Lotte Anker  tenor and soprano saxophone
Sten Sandell  piano
Torbjörn Zetterberg  double bass
Jon Fält  drums

All Music by Susana Santos Silva, Lotte Anker, Sten Sandell, Torbjörn Zetterberg and Jon Fält

Recorded November 1, 2015 at Tampere Jazz Happening, Finland by Finnish Broadcasting Company YLE. Recording engineer Andy Snellman | Mixed by Torbjörn Zetterberg | Mastered by Mats Äleklint

Originally produced for YLE by Markus Partanen | Executive Production by Pedro Costa for Trem Azul | Design and Art Work by Travassos


Thursday, July 28, 2016

Cortex - Live in New York (2016) CLEAN FEED RECORDS


On Cortex second release with Clean Feed Records you’ll find them again in the best context possible: in concert. Considering that the band works in the tradition pioneered by Ornette Coleman, this concert recording has a special significance, because it took place in the world capital of jazz, New York.

The approach may be somewhat European, but the music registered here seemed (and seems) at home. Critics wrote at the occasion that Cortex is walking the same routes where we can find John Zorn’s Masada. This means the music is energetic and robust, with a frenetic rhythm section and a trumpet / sax frontline very exact when delivering unisons and counterpoints and free in the improvised solos. The music is simultaneously heavy and agile, flowing as a bird of prey in open air, and defying gravity. A must have, must listen!


1. Higgs 7:56
2. Fall 7:05
3. Ghost March / Ahead 20:25


Thomas Johansson  trumpet
Kristoffer Alberts  saxophones
Ola Høyer  double bass
Gard Nilssen  drums

All compositions by Thomas Johansson (TONO)

Recorded live by Randy Thaler at IBeam Brooklyn, September 18th 2015 | Mixed by Ingar Hunskaar, February 2016 | Mastered by Fridtjof Lindemann and Ingar Hunskaar at Strype Audio, April 2016

Produced by Cortex  | Executive production by Pedro Costa for Trem Azul | Design by Travassos


Friday, July 22, 2016

Brian Groder Trio - R Train on the D Line (2016)



HOLDING RAIN 

Where a downspout would hang, a stoic chain 
landing three stories straight from bank house eaves, 
netting wind's docile drops and channeling 
miniature rivers crossing shingles 
a soggy distance from foundation's edge 
You are the chain perhaps, and I the rain. 
Catching hold, tempering from wild places 
a duet created running your links, 
hear our song through your negative spaces. 
Or do I wear you down, down; red rust rub 
of salty spray, mildew years, achy days 
till strength I break, falling heavy to mud, 
wind-water music turned sole lonesome thud.

Rhonda Arnold 


1. Quanta 04:19
2. Retooled Logic 09:58
3. Drawing In To Pull Away 09:00
4. Isolating The Why 03:31
5. Praxis 06:21
6. Asterix 03:39
7. Whispered Sigh 04:34
8. Keel 08:37

Released March 20, 2016 

Brian Groder, trumpet & flugelhorn 
Michael Bisio, double-bass 
Jay Rosen, drums

all compositions by Brian Groder, Glyphs Music BMI 
recorded November 10th 2014 at Parkwest Studios, Brooklyn, NY 
recorded, mixed & mastered by Jim Clouse 
art by Robert Ryan ~ Robert Ryan Art on Facebook 
(cover art: R Train on the D Line / inside art: Retooled Logic) 
Holding Rain poem by Rhonda Arnold www.rondaarnold.wordpress.com/poems 
graphic design by Audrey Yeow 
produced by Brian Groder 
special thanks to The Louise Grayson Foundation 
www.michaelbisio.com ~ www.jay-rosen.com 
c 2016 Latham Records Limited Edition 
all rights reserved for both artwork & sound recording. 

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Thursday, July 21, 2016

Burning Ghosts - Burning Ghosts (2016) ORENDA RECORDS



present


BURNING GHOSTS: AN EXPRESSIONIST METAL-JAZZ MANIFESTO

BURNING GHOSTS explodes from the Los Angeles Underground with an expressionist metal-jazz opus that singes the fabric of a fraying American culture. An ambitious and scathing referendum, this eponymous debut comes at a moment when our civic morality and sense of social justice, our communal values and even our very national identity, find themselves under brutal scrutiny. Holding the mirror close and clear, Burning Ghosts is an uncompromising, incendiary artistic response to ubiquitous injustice. This is music without restraint. 

Flash back to the summer of 2015. Rampant reports of police brutality, bigotry, racism, rape culture, gender discrimination, and vast social inequity flooded our newsfeeds. Compelled to channel grave misgivings about the state of our union into a creative act, acclaimed Los Angeles trumpeter-composer Daniel Rosenboom reached out to some of the West Coast’s most adventurous musicians: guitarist Jake Vossler, bassist Richard Giddens, and drummer Aaron McLendon. Together, the quartet forged an immediately singular sound, seamlessly integrating diverse musical aesthetics, and shaped a fiercely provocative concept album addressing their mutual feelings of frustration and despair, inflamed by this rising tide of injustice.

Burning Ghosts is a vital, writhing grand gesture, designed to inspire brutally honest discourse on the madness of modern times. Utilizing an organic balance of structure and spontaneity, the band crafts an expansive narrative that arcs like a two-act opera. These musicians demonstrate unparalleled versatility in harnessing a vivid sonic palate for disseminating their message. At times, the instruments groan and shriek like a worn army of mechanical slaves, and at others the band swings like its aiming squarely for the chin of the ruling class. Moments invoking experimental metal, free jazz, post-rock, and even the classical avant-garde percolate impressionistically like oppressed urban voices sharing common street corners.

Set as ten dynamic vignettes, Burning Ghosts challenges its audience at every turn. Launching with the rousing one-two punch of “Anthem” and “Defiance,” the band wastes no time diving into the fire. From the outright protest march of “Dissent” to the 13 tolling bells and wailing trumpet cry of “Requiem,” social injustice underlies the motivation of this entire opus as the band pulls you in and out of chaos. And after the blazing, emotional triumph of “Rise”, “Mercy” offers a clear reminder that, behind all the steaming bullshit, compassion remains the core of our shared humanity. In an epic grand finale, the album culminates with a sonic collage on a symphonic scale: “Manifesto” pulls the listener through bickering, absurd dysfunction into a churning transformation that ultimately rages in the spirit of smoldering revolution.

With this bold debut, Burning Ghosts announces its presence and ethos with unabashed intensity. Resounding through the rogue radios of an ever-expanding American diaspora, this is the sound of upheaval in the face of discrimination, senseless violence and stratospheric greed. They force the questions: “Who do we want to be as a civilization?” and “Can we defeat our common enemies by virtue alone?” Whatever a listener’s answers may be, this statement from a brilliant new band commands reflection, attention and sheer awe.


Anthem
Defiance
Chains
Elegy
Dissent
Flashpoint
Requiem
Rise
Mercy
Manifesto

Daniel Rosenboom: trumpet
Jake Vossler: guitars
Richard Giddens: bass
Aaron McLendon: drums

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Uros Peric & Dusko Goykovich - All of Me (2016) CHALLENGE RECORDS



present


Uros had known about Dusko Goykovich years before he started his own musical career. He loves that bluesy, souly sounds of Dusko very much. They first met personally in 2006 when Dusko held a concert with the domestic band at the Royal Garden Jazz Club in Graz, Austria. The chemistry between these two men, although almost of 50 years difference, was perfect and they set up the programme for the All of Me CD.

For Uros it was a great challenge and excitement to work with the man who shared the stage with musicians like Miles Davis, Dizzy Gillespie, Woody Herman, Scott Hamilton and many, many other musical celebrities. Uros suggested  the songs to appear on the CD and Dusko added two tunes of his choice: Summertime, arranged by himself, and When I Saw You (music by D. Goykovich. lyrics by J. Evans). 

Dusko has never before recorded Summertime with any singer. This album thus consists mainly of jazz standard, and one song comes from Uros' feather, Without You I've Got Nothing But Misery.


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Adam Meckler Quintet - Wander (2016)


Label:http://www.shiftingparadigmrecords.com/new-releases.html
Genre: Crossover Jazz
GAB's Rating: ★★★★★


Adam Meckler is among a handful of jazz artists who are helping put Minneapolis on the map as a jazz/improv scene worth a road trip. Meckler’s nine originals on his sophomore album, Wander, follow a progressive, explorative route and are peppered by elements from RnB, pop, indie rock and more. Groove is paramount on many cuts, as is impeccable melodicism, underlying lyricism, and rhythms which seem straightforward but often are not. Meckler (who also uses flugelhorn on some tracks) is joined by other Twin City jazz players. Nelson Devereaux is on tenor sax and soprano sax; the rhythm section comprises drummer Greg Schutte and bassist Graydon Peterson; Zacc Harris is on guitar; and tenor saxophonist Joe Mayo guests on the opening number.

Movement—going from destination to destination—is the CD’s clearest aesthetic connection. Meckler states, “I’ve spent a lot of time on the road over the last decade. That means leaving family and friends at home. While this can be difficult, travel often leads to discovery and discovery is the catalyst for new art.” The album’s title links Meckler’s viewpoint. It is taken from a line in a poem in J.R.R. Tolkien’s literary trilogy, The Lord of the Rings: “Not all who wander are lost.” The other reason for the album name is because the record was taped live during three different nights at three different Twin City venues.

Wander proceeds with two persuasive pieces. First is the nine-minute title track, which starts in a quiet mood and gradually builds, from a rubato melody to a brighter groove (which moves from 4/4 to 7/4 time). There is a mix of composed and improvised sections. On the second tune, the eight-minute “The Sun Sets Slowly,” Peterson supplies a notable introductory bass solo. The band maintains a darting groove broken by variances in the phrases, which provides an off-kilter but never bothersome fluctuation. Harris showcases his hollow-body guitar around the six minute mark, as the horns temporarily settle back to give him space.

Meckler is well-read. Besides Tolkien, Meckler is also stimulated by Wisconsin author/poet Norbert Blei. The mid-tempo and satisfying “One Creaking Birch Tree” gets its title from one of Blei’s books about preserving nature and natural landscapes. The cut has some prominent dialogues between trumpet and sax. Meckler plans to continue his involvement with Blei’s works via a larger band project in 2017, so “One Creaking Birch Tree” might be considered a sneak peek of bigger things to come. Read more...


1 Wander
2 The Sun Sets Slowly
3 One Creaking Birch Tree
4 The Call    
5 Improvisation
6 Little Wild Child
7 Let's Live
8 Drew's Beard
9 Atomium Jules


Adam Meckler – trumpet, Flugelhorn
Nelson Devereaux – tenor saxophone, soprano saxophone
 Joe Mayo – tenor saxophone
Zacc Harris – guitar
Graydon Peterson – bass
Greg Schutte – drums 


BUY IT @ 

http://www.shiftingparadigmrecords.com/new-releases.html




https://itunes.apple.com/us/album/wander/id1101474549