Thursday, February 4, 2016

Steve Kuhn Trio - At This Time (2016)


Source & Label: Sunnyside Records


Any chance that one has to hear a master musician in his or her preferred setting is a gift. For all the one-offs and ensemble by committee type of gigs that spring up, it is the reunion with familiar collaborators for a stint of a few nights that really becomes integral for the best performances.

On his new recording, At This Time, pianist Steve Kuhn found himself just in the right time and place to record a trio record that feels timeless and truly inspired. The ensemble, which features legendary bassist Steve Swallow and drummer Joey Baron, was happy to find itself in an extended engagement at Birdland Jazz Club in New York in September 2015 and found time to get into the recording studio before heading to Europe on tour.

Of course, Kuhn has been one of jazz’s foremost pianists for over half a century. He has been fortunate to accompany some of the most important voices of his generation, including John Coltrane, Sheila Jordan and Kenny Dorham, but it is his work in the trio setting that has been where he has made his name.

Kuhn’s current trio features a contemporary, and an important innovator of a later generation. Steve Swallow has been at the forefront of contemporary music for decades. Whether performing alongside Jimmy Giuffre, Paul Bley or Carla Bley, Swallow has been one of the most important figures on both the acoustic and electric bass. Though twenty years younger than Kuhn and Swallow, drummer Joey Baron has cemented himself as one of the most well rounded musicians, at home in the most classic of jazz ensembles and in the most raucous of the avant-garde.

The material for the recording came from the recent set lists from Birdland. The songs comprise a good mix of standards and a couple of Kuhn penned originals.

The recording begins with an exuberant rendition of the Arlen and Mercer classic “My Shining Hour,” which is followed by Al Cohn’s “Ah Moore,” tastefully done by the trio. Quincy Jones’s “The Pawnbroker” is a perfect example of nuance in performance, as is Kuhn’s “All The Rest Is The Same,” which also accelerates in a mid tempo Latin bounce. The pianist’s “The Feeling Within” is a rich and brilliant solo piece.

The trio’s take on Duncan Lamont’s “Carousel” is leisurely paced and has a great solo feature for Swallow. Bernstein’s “Lonely Town” is subtle yet poignant, while the Weill chestnut “This Is New” is an upbeat swinger. The program closes with Gil Fuller’s “I Waited For You,” a lush and mellow ballad performed with great beauty.

Fortunately for the jazz world, Steve Kuhn and his fantastic assemblage found the time to record At This Time, a testament to the importance of dynamics within an ensemble and tasteful performance.


01.My Shining Hour   6:28
02.Ah Moore   9:19
03.The Pawnbroker   6:10
04.All The Rest Is The Same   7:33
05.The Feeling Within   5:47
06.Carousel   5:51
07.Lonely Town   5:46
08.This Is New   5:44
09.I Waited For You   6:07


STEVE KUHN (p)
 STEVE SWALLOW (b)
 JOEY BARON (ds)



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Eric Platz - Life After Life (2016)


Label: Allos Documents
Source: Cdbaby
Genre: Modern Creative Jazz 


Like maps, all music has a scale. Not just a set of pitches but a spatial corollary. The amount of time one gives a note, or puts between two of them, correlates directly with the scope of the landscape imagined by the listener. A drone becomes a vista, the edges of the sound like the measureless horizon. More frenetic arrangements evoke something closer to the pace at which we experience our lives, a musical expression of our inability to hold on to any one moment before it is subsumed by the next, gone as quickly as an unsustained note.

On his adventurous and cinematic debut, Life After Life, drummer and composer Eric Platz moves seamlessly between these imagined scales, juxtaposing them against one another like some cartographic impossibility. This movement becomes a sort of narrative device, the start of a chapter, or its end, and the tension and drama in the shifting perspective begins to tell a story of its own.

Platz composed the music on Life After Life for its three principal players: Chicago-based clarinetist James Falzone (KLANG, Allos Musica, The Renga Ensemble); cellist Leanne Zacharias (Music for Spaces, Correction Line Ensemble); and himself. A veteran improviser, Platz is a drummer and percussionist of incredible nuance, a skill he honed over several decades as a sideman, touring with acts in and outside the jazz world. If the music on Life After Life is a descendant of the Third Stream and contemporary improvisation, it is also a natural culmination of Platz’s prismatic interests, refracted through his affinities for jazz, classical, folk, and world musics.

He began playing drums at age 10, shortly after his family moved to Wilmington, Delaware. Despite his age, he began studying with a percussionist from the Philadelphia Orchestra, who turned him on to Tony Williams. He fell in love with Miles Davis’s The Complete Concert 1964: My Funny Valentine + Four and More. “I remember listening to the drumming, and it was so musical,” Platz says. “It was this continuous narrative. That’s what I wanted to do.”   Read More...


1. Life After Life One 02:26
2. Seeds of Doubt 07:54
3. Redwood Vesper 05:36
4. Life After Life Two 02:39
5. Blood Meridian 21:39
6. Life After Life Three 01:33
7. Marrakesh High Line 11:35


Eric Platz: drums, percussion, mbira
James Falzone: clarinet, shruti box
Leanne Zacharias: cello
Don Benedictson: electric bass



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Peter Horvath - Absolute Reality (2016)




































Label: Foreign Matter
Source: Smooth Jazz
Genre: Jazz-Fusion, Smooth-Jazz


Hungarian-born pianist and keyboardist Peter Horvath performs with the who­is­who of jazz such as Victor Bailey, Lenny White, Arturo Sandoval, Randy Brecker, Marcus Miller, and many more. While he is a in demand recording musician on numerous albums his solo career has only seen two albums yet. His debut album Foreign Matter (1995) and his sophomore album Absolute Reality.
Peter has assembled for the recordings of his new album a great amount of luminaries Victor Bailey, Marc Van Wageningen and Larry Kimpel (bass), Ricky Lawson and Lenny White (drums), Dean Brown and Ray Orbiedo (guitar), Norbert Stachel (sax), Randy Brecker (trumpet) among many others.
Peter Horvath has composed all tracks, some in collaboration with Norbert Stachel. The album shows up with Absolute Reality. A funky horn arrangement in the style of Tower of Power or East Bay Soul is the launching platform for Peters' rocket like journey over the keys of his grand piano.
Carla comes smoothly like silk with Horvath's intimate Rhodes piano and Bob Mintzer on tenor saxophone. Escape From Oakland is without any doubt a tour de par force. All musicians perform with great speed without neglecting melody, arrangement and improvising.
On Nassau Nights Peter reveals his affinity for smooth jazz and the influence of Fourplay on his work. Elegant performance on Rhodes piano, a harmonic horn arrangement and Kenny Washington on vocals are clear pluses. Waltz For Ella fosters in the contemporary jazz realm, while Latin rhythm elements and Marc Van Wageningen on bass give this fast paced piece some pepper. The tune is dedicated to his daughter Ella Nicole Horvath.
When Victor Bailey on bass, Ricky Lawson on drums, Ray Obiedo on guitar meet Peter Horvath on Rhodes then Fake Out gets a big dose of funk. Norbert Stachel on various brass and flute delivers a fine garnish. Miss You walks the line between jazz and melody, a musical journey with a deep expression of sadness and missing, dedicated to his mom, Matrai Zsuzsa, a great Hungarian singer.
Sardegna is an ode to the Italian island. Elegant Rhodes improvisation and a brass arrangement in the style of EWF are the highlight of this tune.
Foreign Matter dives into the bebop roots and when Peter begins to improvise, it can get a fast and wild ride. Final tune is a solo piano piece entitled Braden's Song and dedicated to his son Braden Michael Horvath.
With Absolute Reality Peter Horvath has put his whole personality and passion into this work. An eclectic album of the deserving wider recognition category. 


1  Absolute Reality
2  Carla
3  Escape from Oakland
4  Nassau Nights
5  Waltz for Ella
6  Fake Out
7  Miss You
8  Sardegna
9  Foreign Matter
10 Braden's Song


Peter Horvath - piano,keys,organ
Victor Bailey - bass
Lenny White - drums
Randy Brecker - trumpet
Bob Mintzer - sax
Dean Brown - guitar
Ray Orbiedo - guitar
Norbert Stachel - sax
Ricky Lawson - drums
Larry Kimpel - bass
Marc Van Wageningen - bass
Karl Perazzo - percussion
Walfredo Reyes Jr - drums



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Collado.García.Benito - Suite II (2016)


Label: Self Released
Source: Bogui Jazz


Marcos Collado (guitarra), Ander Garcia (bajo eléctrico) y Miguel Benito (batería) son tres músicos de referencia en el jazz contemporáneo realizado en el país.
Habituales colaboradores en un gran número de proyectos y estilos diversos, muestran en esta ocasión la música en directo de su segundo disco, “Suite II”, ofreciendo un cuidado concepto de trío, de gran originalidad y frescura, donde la interacción, la energía y la experimentación confluyen de manera equilibrada.
Afincados en Madrid, estos tres músicos son habituales en la escena de la ciudad, colaborando con los proyectos más representativos de estilos como el blues, el jazz, el latin y el funk. Cada uno goza de una extensa lista de colaboraciones musicales con los principales músicos de jazz, en la que se incluyen Perico Sambeat, Bob Sands, Chris Kase, Patax y festivales de jazz como el Jazzaldia, el Festival de Jazz de Madrid, y un largo etcétera.
El trío Collado • Garcia • Benito ha tocado la música de su anterior disco “Suite” en el festival Asejazz de Sevilla, en el ciclo de la Asociación Alamisa de Salamanca, el Ciclo Raqueros del Jazz de Santander, el Bogui Jazz de Madrid y el Jimmy Glass de Valencia, entre otros lugares.
En esta formación se suman la amplia experiencia y una química innegable, fruto de muchos años de camino juntos experimentando musicalmente. El concierto ofrecido por el trío está concebido de la misma manera que el disco predecesor, “Suite I”, como una obra completa a modo de suite moderna, que bebe del rock y del jazz a partes iguales, y que se desarrolla en completo equilibrio entre la interacción, la energía y la experimentación sonora.

“All sound beautiful, really nice composing and playing. I especially like the solo guitar section in the middle of the suite, very nice.”  Steve Cardenas



1. Pan y Boli 04:21
2. Mov.1 06:02
3. Síncope 03:18
4. Flores 03:24
5. Tiza 01:09
6. ba-ha-ma-nas 03:28
7. Cruzando el Mississippi 03:22
8. Flash 03:52
9. Looper 03:55
10.Cachirulo 04:03   
11.Si y No 02:34
12.I + D 04:52
    

Marcos Collado (guitarra)
Ander Garcia (bajo eléctrico)
Miguel Benito (batería)


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Scot Ray, Steuart Liebig, Alex Cline - Time Estimation Error (2016)


Label: Self Released
Source: Cdbaby


I have long wanted to take the lap steel guitar into these territories, and wrote the pieces with Steuart and Alex in mind, as a kind of poem to the planet.  Scot Ray


1. Parable Of Dreams 03:46
2. Memory Drawings 05:45
3. Sculpting In Time 06:00
4. Bloviate 03:18
5. Ring Of Bone 06:38
6. Night Has No Outlines 05:37
7. Bloviate Some More 04:36

Scot Ray - lap steel guitar, compositions
Steuart Liebig - fretted and fretless bass
Alex Cline - drumset  



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Beledo - Dreamland Mechanism (2016)


Label: Moonjune
Source: Beledo
Genre: Jazz-Fusion


New York guitarist, pianist, and composer, Beledo was born in Montevideo Uruguay. He began formal music and piano study at age six. As the British Invasion began to take hold of airwaves around the world, influenced by the Beatles and other emerging pop rock bands, he gravitated towards and discovered a natural proficiency for guitar.

Beledo gained guitar-hero status in his teens, playing every theatre in his hometown of Montevideo, and captivating audiences in Uruguay and Argentina.

After a brief tenure with Uruguayan rock and blues super-group, Dias de Blues, Beledo pioneered the jazz-rock band, Maytreya, and later on, the mythical Siddhartha, inspired by the burgeoning jazz-fusion movement (Chick Corea, Weather Report, Soft Machine & etc.). His fusion efforts of the early 80’s in South America, during which he appeared at top venues and recorded with Pedro Aznar (formerly with Pat Metheny Group), Ruben Rada, and the legendary band, Opa, attracted media attention in the U.S., where he gained recognition as an upcoming talent in GUITAR PLAYER and JAZZIZ magazines.

Formal music studies continued throughout his college career. He performed classical music recitals on National Public Radio and in numerous theaters. While attending the University School of Music in Uruguay, he was a founding member of The University Conservatory Jazz Quartet, the university’s first jazz ensemble, sponsored by the school in an effort to integrate jazz into the traditional curriculum.

Beledo is the guitar player on the album, FORWARD MOTION, by the South African Jazz band, Ojoyo, featuring saxophonist and band leader, Morris Goldberg; drummer, Anton Fig and bassist Bakithi Kumalo.

In 1996 Beledo toured Europe and the Caribbean with the TROPICAL TRIBUTE TO THE BEATLES, featuring Tito Puente, Celia Cruz, Tito Nieves, Cheo Feliciano, and an all-star line up of Latin artists.

In 2007, Beledo released MONTEVIDEO JAZZ DREAMS (Gudari Records), featuring Stefon Harris, Randy Brecker, Manolo Badrena, Mark Walker, Andy Middleton, David Finck, Jorge Camiruaga and Chris Komer.

Beledo's latest project, ON A MISSION, with his band, The Avengers, won critical acclaim on tour in South America through Argentina, Brazil and Uruguay, gaining excellent reviews and strong CD sales in Japan, the U.K., France, Germany, Poland, Hungary, Australia and more. The Avengers are Beledo on guitar, Adam Holzman on keyboards, Lincoln Goines on bass, and Kim Plainfield on drums.   The band toured Brazil, Argentina and Uruguay and played in Racife Porto Alegre, Montevideo Jazz Festival, Buenos Aires Jazz Festival, Cordoba Jazz Festival, Neuquén.  They finished with an unforgettable concert at the Teatro Lavalleja in Minas, Uruguay, Beledo's hometown.

Beledo signed with Moonjune Records – NYC in 2013, and traveled to Canada to record with Romanian keyboardist, Gia Ionesco, alongside guitarist Alex Machacek, drummer Virgil Donatti and bassist Anthony Crawford. A subsequent Ionesco session was scheduled in New York, which included Mauro Pagani on violin, Jimmy Haslip on bass, Asaf Sirkis on drums, Johnny Johnson on sax, and Mino Cinelu on percussion.

Additional outstanding Moonjune Records collaborations included work with the extraordinary Indonesian World Jazz Fusion band, Simak Dialog, with pianist Riza Arshad and guitarist Tohpati at Orion Studio, Baltimore, MD (09/07/13). Beledo also performed in a duo with Indonesian superstar guitarist, Dewa Budjana in Princeton and Burlington in a Southern New Jersey mini-tour on Dewa's last visit to the States, and recorded with Indonesia's premiere pianist, composer/ arranger/ conductor/ producer, Dwiki Dharmawan.

Versed in classical theory, composition and technique, adept in the traditional styles of his birthplace, drawing inspiration from vast and diverse modern musical forms, Beledo has earned his place among the most sophisticated, versatile, and gifted artists of our time.  





1. Mechanism
Beledo - electric guitar, violin, keyboards.
Lincoln Goines - electric bass
Gary Husband - drums

2. Bye Bye Blues
Beledo - electric guitar, fender rhodes, mini moog solo
Lincoln Goines - electric bass
Gary Husband - drums

3. Marilyn's Escapade
Beledo - acoustic piano, violin, accordion, electric guitar, keyboards.
Lincoln Goines - electric bass
Gary Husband - drums

4. Lucila
Beledo - Spanish guitar, fretless bass, electric guitar
Endang Ramdan - Sundanese kendang percussion
Cucu Kurnia - Sundanese kendang and metal percussion

5. Sudden Voyage
Beledo - electric guitar, archtop electric guitar
Tony Steele - electric bass
Doron Lev - drums

6. Big Brother Calling
Beledo - electric guitar
Lincoln Goines - electric bass
Gary Husband - drums

7. Mercury In Retrograde
Beledo - electric guitar
Lincoln Goines - electric bass
Gary Husband - drums

8. Silent Assessment
Beledo - electric guitar, archtop electric guitar
Lincoln Goines - electric bass
Gary Husband - drums

9. Budjanaji
Beledo - acoustic guitar, voice, fretless bass melody, archtop electric guitar, 1st electric guitar solo, keyboards
Dewa Budjana - 2nd electric guitar solo, background electric guitar
Rudy Zulkarnaen - electric bass
Endang Ramdan - Sundanese kendang percussion
Cucu Kurnia - Sundanese kendang and metal percussion

10. Front Porch Pine
Beledo - electric guitar
Tony Steele - electric bass
Doron Lev - drums 


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George Adams - Finest (2016)


A compilation of the finest by the late saxophone player George Adams. Get introduced into the world of avant-garde and postbop jazz.

Following the releases of Pharoah Sanders and Chet Baker, Dopeness Galore recovered recordings from George Adams. All tracks were originally released on Timeless Records in the 1970’s and 1980’s. They showcase the love for contrast prominent in the Adams/Pullen quartet and a synergy and energy between the members that just can’t beat.

The songs clearly demonstrate Adams’ dramatic way of playing the saxophone. Skilfully gliding along his instrument, blowing out from the lowest to the highest tune in one breath. On the grand piano Don Pullen now and then makes use of the highest octaves in a haunting way, almost like he’s using his knuckles instead of his fingertips. The drive drummer Dannie Richmond brings to the plate result in tight rhythmic sessions. All the while bassist Cameron Brown wields his way through the songs, easily picking along in high gear.

Take note of the care taken of the album sleeve for the release. The artwork was done by Belgian artist Alex Deforce and the in depth liner-notes were written by Dutch flutist Han Litz.

“A deeply focused, spiritual journey guided by the late George Adams”: George Adams - 'Finest

01. Intentions (Conclusion)
02. Earth Beams
03. Nature's Children
04. City Gates
05. Decisions
06. Paradise Space Shuttle
07. Playground Uptown And Downtown
08. Send In The Clowns
09. Reflexions Inward
10. Newcomer Seven Years Later
11. Trees and Grass and Things

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Domi

Wednesday, February 3, 2016

Nicole Mitchell, Tomeka Reid & Mike Reed - Artifacts (2015)



Artifacts was conceived by cellist Tomeka Reid as a way of rediscovering the vast songbook of the AACM (which, as this blog has covered extensively, is celebrating its 50th anniversary this year), and the trio’s debut album brings together a second-generation AACM dream team, with Nicole Mitchell on flutes and Mike Reed on drums. 

The trio’s sound is a throwback to the great Air, and captures the free improvised spirit of that earlier group. The album is packed with classic and little-heard gems from the AACM library, including two Steve McCall-penned cuts from Air’s catalog, “B.K.” and “I’ll Be Right Here Waiting…” Reed had already recorded McCall’s “I’ll Be Right Here Waiting” on his 2010 Loose Assembly recording with Roscoe Mitchell, on which Reid also played. Here, however, with a lineup closer to the original’s, the fragility of McCall’s melody really shines.

Aiming to breathe life into these dormant compositions, the trio kicks things off with Braxton’s “Comp. 23B,” bringing a thrilling lightness to the proceedings. The trio follows Braxton with Roscoe Mitchell’s “Jo Jar,” a propulsive 50-year-old blues tribute to Joseph Jarman, brought to life here with shuffling drums and a fine solo by Reid. 

Fred Anderson, who passed 5 years ago this summer, is represented by “Bernice,” which is coupled with Jeff Parker’s “Days Fly By With Ruby,” itself an homage to Anderson. The trio combines both into a lengthy meditation on the AACM’s deep history. Mitchell steps to the fore with a jaw-dropping solo on “B.K.,” leaping and fluttering before handing off to Reed for a quick drum solo. It’s easy to forget how rare it is for Reed to take the spotlight, and his solo is an apt tribute to McCall. 

I can’t say exactly why, maybe it’s just hearing these three musicians cut loose in a free trio, but I absolutely loved this record from start to finish. Mitchell, Reid, and Reed, all highly democratic and collaborative players, have performed together for well over a decade. The three click seamlessly into a telepathic performance that both evokes and expands the AACM spirit. 

Nicole Mitchell, flute
Tomeka Reid, cello
Mike Reed, drums

1. Composition 23B
2. Jo Jar
3. Bernice / Days Fly By with Ruby
4. Clowns
5. Have Mercy on Us
6. BK
7. I'll Be Right Here Waiting
8. Munkt Munk
9. Light On The Path


JAVI

Jazzanitza - Jazzanitza (2016)


Label: Self Released
Source: Jazzanitza


In Bulgarian language, the suffix “nitza” at the end of a word usually implies a female gender. Many common words have it.  Some are connected with popular food, such as “lyutenitza” (a tomato-paprika  spread), “nadenitza” (sausage), some are words for activities and games: “krienitza” (hide and seek) “gonenitza” (tag) and a few name popular folk dances in irregular rhythms, such as “ruchenitza” (in 7/8) and “kopanitza” (in 11/8).
“Jazzanitza” gives the word “jazz” a bit of a Bulgarian appearance and that’s the main concept, incarnated into the music of the band, composed by Borislav Petrov.
JAZZANITZA is a collective of Bulgarian jazz musicians, whose individual musical searches gravitate towards combining contemporary jazz with elements of folk music from Bulgaria.
Borislav Petrov took the initiative to bring these musicians together and let them dive into this brave musical endeavour: to combine the harmonic structure and stylistic competence of various jazz styles, while carefully intertwining them with the rhythmic and melodic flavor of the Bulgarian folk traditions. The improvisation playfully explores different jazz and folk idioms and brightly outlines the specific musical background of each band member.  Balanced with highly regarded ensemble playing, the music of JAZZANITZA generates a smooth blend of diverse musical inheritances, while remaining true to the
essence of the styles it combines.


1. Pravo Kato Magistrala 06:47
2. Tantzi Mantzi 04:39
3. Our Table (Says Cheers To Your Table) 06:24
4. Culture Differences 05:11
5. Gagarin 05:53
6. Acikbas 06:15
7. Ti Si Znaish, Maina 05:45
8. Kremito 04:58
9. Tupanitza 04:45

Borislav Petrov – drums, composition
Dimitar Liolev – alto sax
Vladimir Karparov – tenor and soprano saxes
Ludmil Krumov – guitar
Lyubo Tzanev – piano
Boris Taslev – bass


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Joe Mcphee, Jamie Saft, Joe Morris, Charles Downs - Ticonderoga (2015)


This quartet was born from a conversation between Joe Morris and Jamie Saft about their mutual fascination with John Coltrane’s “Live at the Village Vanguard Again” album. From there they decided to develop a project under the influence of the music played by Coltrane with his wife Alice Coltrane, Jimmy Garrison, Rashied Ali and a pair of guests, Pharoah Sanders and Emanuel Rahim. Right away they established that Morris would use a double bass, instead of his usual guitar, and that Saft would focus completely on acoustic piano, putting aside any electric and electronic keyboards. And they immediately named the two other contributors to the enterprise: reedist Joe McPhee – who in fact attended the recording of Coltrane’s “Vanguard Again” album, sitting in the front row – and drummer Charles Downs. These choices were obvious: McPhee and Downs are true living legends of free jazz. Morris had a well established musical relationship with McPhee and all loved Downs’ contributions, when he was known as Rashid Bakr, to the music of Cecil Taylor, Jemeel  Moondoc, William Parker and Roy Campbell. Then they figured out the name of the quartet: TICONDEROGA. The Mohawk word means “junction of two waterways”. Which waterways? Easy to guess: the original “new thing” fronted by Coltrane with Albert Ayler and Ornette Coleman and what is now understood as structured improvised music. The final product hits you like a punch. A good, reviving, punch…

Joe McPhee  tenor and soprano saxofones
Jamie Saft  piano
Joe Morris  double bass
Charles Downs  drums

1. Beyond Days
2. Simplicity of Man
3. Leaves of Certain
4. A Backward King


JAVI

Tuesday, February 2, 2016

Marco Villarreal - Ethereal (2016)


Label: Realmusic
Source: Cdbaby & ReverbNation
Genre: Jazz-Fusion



Marco Villarreal resides in Northwest Indiana where he teaches and plays guitar. From solo guitar to playing in various ensembles such as Freek Johnson, Frank Russell Group, Willie Waldman Project, Steve Hashimoto Quintet, MVProject, et al. During the fall of 2013 Marco made his debut recording as a solo artist. The project featuring bass legend Tony Franklin and LA drum prodigy Tony Austin offer an adventurous feel to Marco's style of composition.
He starting playing the guitar at 15 and has not turned back. Some teachers include Pat Martino, Fareed Haque and Mick Goodrick. Studied at Musician's Institute '91-'92. Berklee College of Music 2002. Continues to learn every day and tries to improve overall musicianship and facility on the guitar.

Marco Villarreal's debut recording Ethereal features the rhythm section of iconic bassist Tony Franklin and drum virtuoso Tony Austin. Guests include Willie Waldman, Dave Aron and Greg Spero. This project was recorded in 8 hours on October 8, 2013 at Hollywood Way Studios in Burbank Ca. The record feature's original compositions and group improvisations such as the one take off the cuff "Pan Fry" and the 6/8 jam "Lunar" Check it out!!


1. Spurious Intellectualism
2. The Little Things
3. Bet on It
4. Precession (feat. Willie Waldman & Dave Aron)
5. Compression Variations (feat. Greg Spero)
6. Compression
7. Lunar
8. Pan Fry (feat. Tony Franklin, Tony Austin & Willie Waldman)
9. Have Another

Marco Villarreal - guitar
Tony Franklin - bass
Tony Austin - drums

Guests:

Willie Waldman - trumpet
Greg Spero - piano


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SFJazz Collective - The Music of Joe Henderson & Original Compositions (2015)



Usually, all star summits, be they in sports or in music,  end up with polite and sterile affairs. The SF Jazz Collective has been able to avoid this pitfall, maybe because they keep stirring up the lineup and material to get everyone on their collective toes. Miguel Zenon/as has been with the group the longest, and keeps the rest of the band quite inspired. The band consists of stud muffins David Sanchez/ts, Avishai Cohen/tp, Robin Eubanks/tb, Warren Wolf/bib, Edward Simon/p, Matt P enman/b and Ebed Calvaire/dr, and during this gig at the SFJazz Center in 2014, they explore the Joe Henderson songbook with creativity along with bringing some new material into the picture.

They do some clever arrangements, such as the lithe groove on “ Recorda-Me” which features Cohen’s muted horn, and a cleverly constructed “Black Narcissus” which has Eubanks doing some wonderful pastel work. A reading of “Inner Urge” includes some fascinating mix of jazz and almost modern classical modes and themes, while “Fire” has a nifty bass line that takes the music on an intriguing path.

Original pieces are splattered around, with Wolf’s “Four Stars From Heaven” a beautiful exposure on the vibes. Zenon’s three part “Synthesis of a Band” features a Sanchez’s warm tenor which segues to spotlights for Eubanks and Cohen. This full feast of music could have been a cerebral and sterile affair, but the sparks fly throughout the session, showing the mix of macho chops and clever minds along with celebration of one of the greats in jazz. A cooker on this limited edition set.


This limited edition 2-disc set, recorded during the Collective’s four-night residency in October 2014 on the Robert N. Miner Auditorium stage at the SFJAZZ Center, documents the SFJAZZ Collective’s fresh arrangements of the work of Joe Henderson—the late saxophone giant and longtime San Francisco resident who had a long association with SFJAZZ—as well as their own stimulating compositions.

Featuring Miguel Zenón (alto saxophone), David Sánchez (tenor saxophone), Avishai Cohen (trumpet), Robin Eubanks (trombone), Warren Wolf (vibraphone), Edward Simon (piano), Matt Penman (bass), and Obed Calvaire (drums).

DISC 1
1. Recorda-Me – Joe Henderson (arranged by Miguel Zenón) 
2. A Shade of Jade – Joe Henderson (arranged by Edward Simon) 
3. Big Tent, Little Tent – Matt Penman 
4. Cross Currents – Robin Eubanks 
5. Inner Urge – Joe Henderson (arranged by Avishai Cohen) 
6. Four Stars From Heaven – Warren Wolf 
7. Eternal Wait – David Sánchez 
8. Fire – Joe Henderson (arranged by Obed Calvaire) 

Disc 2
1. Y Todavia La Quiero – Joe Henderson (arranged by David Sánchez) 
2. Afro-Centric – Joe Henderson (arranged by Matt Penman) 
3. Synthesis of A Band, Parts 1, 2 and 3 – Miguel Zenón 
4. Black Narcissus – Joe Henderson (arranged by Robin Eubanks) 
5. Locura – Edward Simon 
6. Evolution – Avishai Cohen 
7. Absolvents – Obed Calvaire
8. Jinrikisha – Joe Henderson (arranged by Warren Wolf) 

Executive Producer: Randall Kline
Producer: Jeff Cressman
Recorded by: Masanori Yura
Mixed/Edited by: Jeff Cressman
Mastered by: Jeremy Goody


SONIA


Konstantin Ionenko Quartet - Noema (2015)


Label: Fancy Music
Source: Allaboutjazz


Bassist and composer Konstantin Ionenko continues to experiment with formations as he returns with yet another revised lineup on Noema. The name refers to a Greek word meaning "thought" or the content of thought. Recorded in Kiev, Ukraine and mastered in Moscow, the quartet album consists of eight original Ionenko compositions that bridge European chamber jazz and creative improvisation. As a composer, Ionenko has favored a refined blend of evocative lyricism and post-modern innovation and this release is no exception, building and expanding on tradition.

The lone returning Ionenko colleague is Pavel Galitsky, one of the most in-demand drummers in Eastern Europe. He has worked with Ionenko as part of the quintet on Deep Immersion (Fancy Music, 2013) and the Deep Tone Project quartet (Fancy Music, 2014). Trumpeter Dima Bondarev (here playing flugelhorn) is a Ukrainian native based in Germany. He has won a number of regional trumpet competitions throughout Europe. Trained in Europe and the US, guitarist Alex Maksymiw is a Toronto, Canada native of Ukrainian background, now living in Berlin.

Noema opens with "Kaleidoscope" and, true to its name, the piece is full of changes in time and shifts in texture albeit, without leaving the mid-tempo range. At ten-plus minutes, it provides opportunity for each of the players to shine. More abstract in nature are "Imprinted Acerbity" and the title track while "Far Out" mixes melodicism with a certain quirkiness. "Four Doors" has a freer swing to it while "Prelude" and "November" create an atmosphere of melancholy. All-in-all, there is a great amount of diversity and complexity in Ionenko's compositions.

Bondarev's bright and melodic horn dominates the lead on these pieces, in some cases trading off, or alternating, with Maksymiw's guitar. Smartly composed and played evocatively, Ionenko and Galitsky respectively provide the attitude and imaginative pacing that makes each of these compositions engaging and effective. Noema is thoughtful without being heavy-handed and Ionenko continues to develop as a composer and leader with each release. Karl Ackermann


1. Kaleidoscope 10:21
2. Imprinted Acerbity 04:18
3. Far Out 05:56
4. Glassy 05:21
5. Four Doors 08:59
6. Prelude 06:16
7. Noema 08:30
8. November 06:38
   

Dmitri Bondarev: flugelhorn
Alex Maksymiw: guitar
Konstantin Ionenko: bass
Pavel Galitsky: drums



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Michael Moynihan - Chronicles (2015)


Label: Self Released


Michael Moynihan is an adventurous saxophonist, multi-instrumentalist, composer, and music educator. Born in Tucson, Michael began his professional career at the age of 14, and has since brought his music around the globe.
In 2006, Michael performed with the Tucson Symphony Orchestra as the winner of the high school division of the TSO Young Artist’s Competition. After graduating from high school and the Arizona Jazz Academy (now the Tucson Jazz Institute), he attended the Jacobs School of Music at Indiana University and studied with master musicians James Moody, David Sanchez, David Baker, and Otis Murphy. He was hand picked to attend the exclusive Steans Music Institute at the Ravinia Festival in Chicago, where he performed his original music with the top young jazz artists in the country, including Remy LaBoeuf and winner of the Thelonius Monk Competition, John Irabagon.
During a sabbatical from his university studies, Michael toured the U.S., Canada, the United Kingdom, Botswana, and South Africa with Zimbabwean music legend Thomas Mapfumo as a member of his band The Blacks Unlimited. During this time, he also worked as a woodwind specialist aboard the vessels of Princess Cruises, where he saw the world and gained valuable professional experience.
Michael, now 27, is a graduate of the University of Arizona. He teaches saxophone, flute, and clarinet lessons at Chicago Music Store, and can be seen performing around the greater Tucson area at venues such as Loews Ventana Canyon Resort, Pastiche, Monterrey Court, and many more. Michael is passionate about delivering cutting-edge original music to the Tucson community, and and has just released his debut album, Chronicles!


1. Weird World 08:02
2. We Had a Great Time 05:40
3. December 07:24
4. The Pipe 06:25
5. Disorder 06:31
6. OPG Blues 04:48
7. A Fib, A Lie 06:55
8. Trane's Day 04:46
   
Michael Moynihan - tenor sax
Matt Mitchell – guitar
Tim Rachbach – drums
Jack Wood – bass
 

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The Jason Klobnak Quintet - New Chapter (2015)


Label: Self Released
Source: Cdbaby


Right off the top of this set list, the program is plainly spelled out: Today’s Forecast calls for reverence of the smoky early ‘60s, a la that rose-tinted pushback from the mid ‘80s. These here must be clean cut, ambitious young people locking horns for glory’s restoration! Just like Blanchard and Harrison before them, we herald the new-New Morning in America. The leadoff solos even seem to obliquely recall “Part Time Lover”, one of Stevie’s finer commercial singles of that era, which these dapper cats must have ingested from FM radio between spoonfuls’s of strained peas. Wait…What? ... No, cancel the DeLorian time machine ride: it all seemed so predestined until about four minutes in, when the musicians switched up gears and dropped the beat and us into contemporary times, where meaningful music tends to belong... I’ve got to admit, though: that was pretty hip. And now we must start again.

New Chapter.

This is the second album from Colorado’s Jason Klobnak Quintet, twenty-some months following the release of the JKQ’s very auspicious opening salvo Mountain, Move. In the time elapsed since then some key components of the band have changed: a bassist moved to the Big Apple, a keyboardist answered the call of our Uncle Sam. However, much has remained largely constant - chiefly the bandleader himself. This Klobnak is the same trumpeter-composer from 2013, only two years more mature, two good strides closer to capturing the elusive Self through creativity. Not much of one for fireworks and revolutionary posture, this guy’s more a thinker, a worker. Generous to his well-chosen friends. Likes things kept tidy. Probably plots carefully the route to his destinations but still thoroughly enjoys the journey. Honestly, I’m just supposing here - Jason and I don’t actually know one another socially very well. But this is Jazz, and a good player or writer or arranger will clearly express to the listener their spirit through the music, and Jason Klobnak is a real good Jazz musician. His trumpet flights manage to excite without many departures from the instrument’s middle register and the compositions prepared for this project gel together on multiple levels, oftentimes breezing melodically above but all business below decks in the engine room. Throughout there’s a steady sense of determination, optimism, congeniality and that certain bump which readily identifies this musical strain as early twenty-first century Jazz music, a deep-rooted varietal. 



1. Today's Forecast: Sunny, High of 80 Degrees and a Chance of Snow
2. Breaking Point
3. Awe
4. New Chapter
5. Stay in the Game
6. Forward
7. Maybe Next Time
8. For Them
9. It Won't Return Void
10. The Other Side of Circumstances
11. Wait... What?


Jason Klobnak - trumpet
Elijah Samuels - tenor sax
Annie Booth  - piano
Kim Bird - bass
Paul Mullikin & Alejandro Castano - drums


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Bill Frisell - When You Wish Upon a Star (2016)


Available in January of 2016, When You Wish Upon a Star, guitarist Bill Frisell draws upon the classic film and television music we have heard on screen and how it shapes and informs our emotional relationships to what we see.  Frisell, whose own music has been featured in major motion pictures like Finding Forrester and The Million Dollar Hotel performs with singer Petra Haden, violist Eyvind Kang, bassist Thomas Morgan, drummer Rudy Royston in re-imagining time-honored gems such as When You Wish Upon a Star, To Kill a Mockingbird, The Shadow of Your Smile, Moon River, You Only Live Twice, Frisell's own theme for Gary Larson’s television special, Tales from the Far Side and others (for full track listing go to - www.billfrisell.com/discography/when-you-wish-upon-star).  Produced by Lee Townsend; engineered by Tucker Martine and Adam Muñoz and mastered with Greg Calbi.

01. To Kill a Mockingbird Pt. 1
02. To Kill a Mockingbird Pt. 2
03. You Only Live Twice
04. Psycho Pt. 1
05. Psycho Pt. 2
06. The Shadow of Your Smile
07. Bonanza
08. Once Upon a Time in the West (Theme)
09. (As a Judgement)
10. (Farewell to Cheyenne)
11. When You Wish Upon a Star
12. Tales from the Far Side
13. Moon River
14. The Godfather
15. The Bad and the Beautiful
16. Happy Trails

Bill Frisell – electric and acoustic guitar
Petra Haden – voice
Eyvind Kang – viola
Thomas Morgan – bass
Rudy Royston – drums, percussion

Produced by Lee Townsend
Arranged by Bill Frisell

CD Artwork: Paul Moore
EPK Directed and Produced by Paul Moore; Edited by Paul Hicks


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John Scofield - Past Present (2015)


With his debut for the historic Impulse! label, John Scofield – a jazz guitarist long inclined to balance the music’s earthy qualities with its melodically knotty ones – has reconvened the early 90s lineup he led with saxophonist Joe Lovano and drummer Bill Stewart, and added bassist Larry Grenadier. Scofield recently lost a son to cancer, and the experience focused his sense of how vividly the past survives in the present – hence the title, and a predilection for the blues, country music and soul-jazz he loved in his own youth. The smoky soul theme, BB King-like figures and rugged chord vamp of Slinky are classic Scofield; Lovano is imperiously wayward on the hoedown Chap Dance; Stewart and Grenadier counter Museum’s traddy bounce with postbop’s circumlocutions; and Get Proud has a soulfully Ray Charlesian drive. Scofield sounds warmer and more comfortable in his skin than he has for some years, but this set’s mellowness is constantly being creatively hounded by a quartet of superb improvisers.


John Scofield, guitar
Joe Lovano, tenor sax
Larry Grenadier, bass
Bill Strwart, drums

1. Slinky
2. Chap Dance
3. Hangover
4. Museum
5. Season Creep
6. Get Proud
7. Enjoy The Future!
8. Mr. Puffy
9. Past Present


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Monday, February 1, 2016

Rik Wright's Fundamental Forces - Green (2015)





With the release of Green, Seattle-based guitarist and bandleader Rik Wright has reached the highest point of his career thus far. In completing the additive colors trilogy begun by Blue and Red (released 2013 and 2014, respectively), this album takes the unity shared with bandmates James DeJoie (reeds and flute), bassist Geoff Harper, and drummer-percussionist Greg Campbell, to its most intense levels of focus yet. As Fundamental Forces, the uncategorizable quartet continues to not only push the envelope, but also fill that envelope with a truly original songbook—signed, sealed, and delivered to the discerning listener. If Blue introduced the voice and Red gave that voice a stage, then Green is the mind that shapes its every note, signaling a giant cognitive leap into the future of an artist who breaks as many barriers as he brings together. 


If there’s one thing you can count on in Rik Wright’s music, it’s a balance of abandon and meticulous control. Enchantingly, this fine line blurs even more for the third round, even as it comes across more boldly than ever. And in the track “Harmonic Tremor,” one can see just how far the band has come in that very regard. This tune follows the compositional formula that works so well for Wright, twining melodic reed work and bright drums around a core groove of guitar and bass, but takes it to unexpected places via DeJoie’s gritty baritonism, Wright’s elastic commentary, and Campbell’s artful shuffling. Such is the band’s commitment to equality, which through the vital contributions of its members forms a distinct whole. One hears it in DeJoie’s acrobatic alto playing (“Contradiction”) and in the lilting flute of his own “Alicia’s Waltz” (the only track of the set not from Wright’s pen). One hears it, too, in the rhythm section’s evocative pacing throughout “Patience” and “Sugar Crash.” Regardless of which musician you focus on, every contribution is more lucid than the last.


Wright’s music has always been characterized by its immediacy, and on Green, perhaps more than any other album, immediacy gilds the niche that Fundamental Forces has already carved. Be it relatively brief, as the emblematic guitar solo “Sunrise Pixels” and the concluding “Overcast” (in which Wright and DeJoie strengthen the sunbeams of their harmonic relationship), or expansive, as the 10-minute “Wanderous,” the quartet brings full, cinematic charge to its playing. The latter tune is a landmark achievement, unfolding patiently and featuring a beautiful color shift to clarinet. Here, as throughout the album, Wright’s guitar reveals its phases like the moon, taking on the light of a hidden sun and turning it into song. Despite, if not because of, the hefty length of this track, it pushes through space and time with the quiet grace of a comet. 


Although this album completes a broader project, it stands on its own feet as an example of a pure love of music making. And from this vantage point, the future looks bright for Wright indeed.


1. Contradiction 05:07
2. Sugar Crash 05:08
3. Patience 04:53
4. Harmonic Tremor 06:45
5. Alicia's Waltz 03:26
6. Wanderous 09:53
7. Sunrise Pixels 03:02
8. Overcast 02:47

Released October 10, 2015

Rik Wright (guitar) 
Jim DeJoie (alto sax, bass clarinet, clarinet, flute) 
Geoff Harper (bass) 
Greg Campbell (drums, percussion) 

Recorded at Jack Straw Productions in Seattle, WA 
Produced by Rik Wright & Doug Haire 
Engineered by Doug Haire 
Mastered by Rick Fisher at RFI Mastering 
CD design by Sasha Lannon Kenny 

All songs written by Rik Wright 
© 2015 Booshkaboo Music, distributed by HipSync Records, LLC 
except for "Alicia's Waltz" written by James DeJoie and © 2015 Joiemusic. 

This CD is dedicated to the memory of William E. Wright III, with loving thanks to Judy Harper, who was an integral part of the recording process. Additional thanks to all of those friends and acquaintances that have supported us along the way.


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