Sunday, January 7, 2018

Groundbreaking Support for Artists with Jimmy Katz's Giant Step Arts


Renowned Photographer Jimmy Katz Announces Giant Step Arts, an Innovative, Artist-Focused Non-Profit Presenting and Recording Concerts by Modern Jazz Innovators

Launching in January, Giant Step Arts will present one-of-a-kind performances by acclaimed artists, recorded for independent release and documented by Katz in stunning short films

Series kicks off January 21-22 with four sets at NYC’s Jazz Gallery with The Johnathan Blake Trio featuring Chris Potter and Linda Oh

“[Katz] has developed an exceptional body of work in the jazz field, covering the elder statesmen, the icons, the mainstream and the young lions. In the process, he has developed his own style with the camera that is as identifiable as Armstrong’s tone on trumpet or Coltrane’s sound on tenor sax.” 
– Michael Cuscuna, producer, Blue Note Records

For nearly 30 years, photographer Jimmy Katz has documented the world of jazz – crafting iconic portraits of legendary artists, capturing historic moments in the recording studio, or encapsulating the thrill of a nightclub performance in a single fleeting image. Now, with his groundbreaking new non-profit Giant Step Arts, he’ll not only shoot those indelible musical moments, he’ll create them – and the artists themselves will reap the rewards.

Beginning in January, Katz will present a series of live concerts featuring some of modern jazz’s most innovative artists in unique premiere performances and workshops, all recorded for independent release and captured by Katz’s perceptive eye. Instead of using these events for personal reward, he’ll pass the recordings on to the musicians to sell themselves, an unprecedented deal that feels especially rare in today’s self-obsessed cultural climate. The musicians will be well compensated, own their own masters, and Katz will provide them with 700 CDs as well as digital downloads to sell directly, bypassing the profit-sharing incurred in the record label model.

“Giant Step Arts will not be selling any music,” Katz says. “We have two goals: help the musicians and raise more money so we can help more musicians.”

Giant Step Arts will launch with two nights at New York City’s Jazz Gallery on January 21-22, featuring what are sure to be four unforgettable sets by The Johnathan Blake Trio featuring saxophonist Chris Potter and bassist Linda Oh. This singular trio brings together one of the most influential tenor saxophonists in modern jazz with a highly-regarded, rising star bassist, under the leadership of one of the music’s most adventurous drummers. In coming months, the series will also present acclaimed saxophonist Rudresh Mahanthappa leading a new trio, and brilliant trumpeter Jason Palmer leading a quartet featuring sax giant Mark Turner and bassist Ben Williams.

Each of these concerts promises to be among the highlights of the 2018 jazz calendar, but even more importantly they’ll be recorded for posterity. Katz is an esteemed recording engineer who has worked with artists including David S. Ware, Joe Lovano, Harold Mabern, William Parker, Benny Golson, Jason Palmer, Chris Potter, Rudresh Mahanthappa and Mark Turner among others.

Katz will also create a short film specially tailored to each of the artists – living portraits that will be available online to the public and will help introduce the musicians’ unique personalities to the world in the way that his photos have done for decades. Katz’s striking images will play a role in every Giant Step Arts presentation via slideshows or gallery exhibitions.

The musicians will be given total freedom to choose their collaborators, musical direction, and even the venue for their performances. In return, they’ll give back by teaching master classes to students and the general public, which will be filmed by Katz. Each event will take place at a not-for-profit institution of the artist’s choosing, with free tickets available for students of the New School.


“I feel very strongly that the arts are not supported in this country,” Katz says. “I’d like to raise the profile of each of the musicians. I’m interested in supporting the highest level of creativity in what I believe is the greatest art form - jazz. Giant Step Arts will give musicians the opportunity to fulfill their dreams with no strings attached.”

The only stipulation that Katz places on the artists is that they perform original compositions, and that they strive to offer impassioned, truly remarkable music – none of which should be a challenge given the caliber of the names involved. “I’m looking for raw, intense, emotional playing.” Katz says. “That’s the kind of feeling that I believe is at the heart of jazz. I expect these artists to try to create a masterpiece - however they define it.”

In partnership with his wife Dena, Katz has shot more than 520 recording projects and created more than 180 magazine covers in the jazz arena alone. It’s been not only a profession and a passion, but a source of unending inspiration that he hopes to repay through this exciting new endeavor. “I shoot based on the philosophy of Ornette Coleman and Andrew Hill,” Katz says, praising those pioneering artists’ dedication to following a path of individuality and total freedom. “I always strive to make sure that there’s a unique sound to every image, the same way that Pharoah Sanders or Joe Lovano have achieved a recognizable tone on the tenor saxophone.”

To that end, he’s hoping to frame these once-in-a-lifetime concerts with the same distinctive eye – and ear - that he brings to each photograph. “In my images, I’m always looking for intimacy and emotional intensity,” he says. “That’s what I’m looking for when I do portraits, that’s what I’m looking for when I make films, and that’s what I’m looking for from the musicians when they play.”

Giant Step Arts was born from a generous gift by a group of anonymous donors, and Katz hopes that the stellar nature of the series’ initial offerings will entice additional contributions. Having been a keen observer of the jazz industry for so many years, he’s seen drastic changes in the nature of the record business and the political climate of the country and was moved to offer his own innovative solution.

“I’ve seen the industry from lots of different angles: from the musician’s perspective, from the media perspective, and from the record label perspective,” Katz explains. “In the current political climate, I feel it’s really important to support positive ideas in the arts. As artists, it’s our role to stand for the greatest aspects of American culture. This, after all, is what has always made America great.”



Johnathan Blake  © Jimmy Katz

SUN 21 JAN

JOHNATHAN BLAKE TRIO
LIVE RECORDING

Johnathan Blake – drums
Chris Potter – saxophone
Linda Oh – bass

sets at 7.30pm + 9.30pm
$25 / $10 Members
$35 reserved table seating / $20 for members


Johnathan Blake  © Jimmy Katz

MON 22 JAN

JOHNATHAN BLAKE TRIO
LIVE RECORDING

Johnathan Blake – drums
Chris Potter – saxophone
Linda Oh – bass

sets at 7.30pm + 9.30pm
$25 / $10 Members
$35 reserved table seating / $20 for members


Jimmy Katz

Award-winning photographer Jimmy Katz has documented the lives and music of the most illustrious jazz musicians performing in New York City over the past two and a half decades. Katz has photographed more than 520 recording sessions, many historic, and over 180 magazine covers, gaining unprecedented access to the major players.  Whether taken in the studio, in the clubs, on the streets or in the musicians’ homes, his photographs offer intimate portraits of the artists at work and in repose and capture the collaborative and improvisatory process of jazz itself. Recipient of the Jazz Journalists Association award for jazz photography in both 2006 and 2011, Katz is represented by the PDNB Gallery in Dallas TX and Phocus Agency in Italy. His work has been exhibited in Germany, Italy, Austria, The Netherlands and Japan. Among the world-renowned artists he’s photographed are Sonny Rollins, Keith Jarrett, Ornette Coleman, Freddie Hubbard, Roy Haynes, Cassandra Wilson, Dianne Reeves, Joe Henderson, McCoy Tyner, Ray Charles, Dave Brubeck, Ron Carter, Quincy Jones, George Benson, Joe Lovano, Herbie Hancock, Wayne Shorter, Max Roach, Wynton Marsalis, John Zorn, Christian McBride, Dave Holland, Brad Mehldau, Chick Corea, Elvin Jones, Jim Hall, Abbey Lincoln, Pat Metheny, Dizzy Gillespie, Betty Carter, Lee Konitz and Tito Puente. In addition to his well-known visual art, Katz is also a renowned recording engineer.

Saturday, January 6, 2018

Jason Marsalis (feat. Ellis Marsalis & Delfeayo Marsalis) and the 21st Century Trad Band - Melody Re-imagined: Book 1 (BASIN STREET RECORDS January 2018)




Melodies suggest melodies that often lead to either new or familiar paths. Think of a song and the next thing you know it reminds you of another. Jason Marsalis uses this reality in, as the title of his latest album states, Melody Reimagined: book 1. Performing on vibes with drummer David Potter, pianist Austin Johnson and bassist Will Goble, Marsalis utilizes primarily jazz tunes as jumping off points for his original creations. In doing so, he respectfully pays homage to the material’s creators and extends the longevity of melodies by giving them a fresh twist.

To explain, the album kicks off with “Ratio Man Strikes Again,” a rethink of “Traneing In,” a John Coltrane classic. Jazz fans will recognize the source of its initial melody and the importance of the strong role pianist Johnson plays in referencing the performance of the late Red Garland. Then, with the urging of Marsalis’ vibes and Potter’s insistent drums, it goes elsewhere, though never forgetting the passion that made Trane’s performance soar.


Perhaps an easier example of Marsalis’ concept is heard on “Basin Street Ain’t Mardi Gras,” a clever and accurate title in itself. It’s a play on Paul Barbarin’s classic “Bourbon Street Parade,” which remains in there, however obscurely to the average listener. Most will recognize Marsalis’ vibes throwing in Stevie Wonder’s “Sir Duke” (“You can feel it all over…”) and the chestnut “Dinah.” Perhaps Marsalis’ reconfiguring these tunes is a new twist on old school jazzers routinely quoting songs within their own works.

Smartly, Marsalis lists the names of his new creations alongside the songs from which inspired them. A few examples include “Just as Cool as the Other Side of the Pillow,” melodically derived in part from “Willow Weep for Me,” and “A Peaceful Silence” from Horace Silver’s “Peace.”

Jason Marsalis wisely looks back while simultaneously looking forward on the intriguing Melody Reimagined.

1 Ratio Man Strikes Again
2 Off the Rails
3 Just as Cool as the Other Side of the Pillow
4 Soot Sprites
5 A Peaceful Silence
6 Bourbon Street Ain't Mardi Gras
7 Passionate Dancer
8 Never Forget the 23rd Letter
9 80 (feat. Ellis Marsalis & Delfeayo Marsalis)


Satoko Fujii celebrates her 60th with new CD each month of 2018!


Fujii Turns 60!
CD of the Month Marathon Begins in January

Satoko Fujii Celebrates Her 60th Birthday by Releasing One New CD Each Month in 2018

“Unpredictable, wildly creative, and uncompromising… Fujii is an absolutely essential listen for anyone interested in the future of jazz.”
― Dan McClenaghan, All About Jazz

 “One of the most original pianists in free jazz.”
― Steve Greenlee, Boston Globe

“She could be the most important creative musician of our time.”
― Michael Nastos, allmusic

In pianist-composer Satoko Fujii’s native Japan, reaching the age of 60 is traditionally so important that there’s a special word for the milestone—kanreki. It’s a moment to remember life’s accomplishments and to put former troubles behind you. The celebrant enters the next stage of life with the all joy and expectations of a newborn child. To celebrate her own 60th birthday, Fujii, already a prolific bandleader with more than 80 releases to her name, will intensify her recording schedule, releasing one CD a month for all of 2018. Rather than using her kanreki year to look back at a career that has spanned more than 30 years, Fujii will emphasize new works for current projects, debut special projects, and introduce new working bands in an unprecedented 12-month spree of new releases. “I probably should think and notice that I am not young anymore,” she says, “but I just keep doing what I want to do.”



The pulse of any fan of Fujii’s unique musical vision will quicken at the thought of the anticipated albums. The celebration kicks off in January with Satoko Fujii: Solo (Libra), a live recording from the acoustically rich Yume Mikan Hall in Yawatahama, Japan. In a mesmerizing concert, she performed without a set list, simply improvising and playing compositions as they arose in the flow of the music.  

Two releases by current ensembles will follow. In February, Atody Man (Circum Libra), the fourth release from KAZE, the collaborative group with trumpeters Natsuki Tamura and Christian Pruvost and drummer Peter Orins, will feature more fiercely energetic improvising from the international quartet. March will see the releases of Ninety-Nine Years (Libra), the latest from Orchestra Berlin. A new one from Orchestra Tokyo is also planned. 

In addition, the dozen new releases will include the recording debuts of a new piano-bass-drums trio and This Is It!, a trio featuring Fujii with Natsuki Tamura on trumpet and Takashi Itani on percussion. Also slated is Intelsat, a duet with Australian pianist Alister Spence and May (Long Song Records), which showcases a one-time trio with Italian soprano saxophonist Gianni Mimmo and American bassist Joe Fonda, with whom Fujii released a critically acclaimed duo album in 2016. 


Other surprises and delights will be in store over the course of the year, in what is sure to be an unforgettable outpouring of musical riches. 

Critics and fans alike hail pianist and composer Satoko Fujii as one of the most original voices in jazz today. She’s “a virtuoso piano improviser, an original composer and a bandleader who gets the best collaborators to deliver," says John Fordham in The Guardian. In concert and on more than 80 albums as a leader or co-leader, she synthesizes jazz, contemporary classical, avant-rock and Japanese folk music into an innovative music instantly recognizable as hers alone. Over the years, Fujii has led some of the most consistently creative ensembles in modern improvised music, including the ma-do quartet, the Min-Yoh Ensemble, and an electrifying avant-rock quartet featuring drummer Tatsuya Yoshida of The Ruins. Her ongoing duet project with husband Natsuki Tamura released their sixth recording, Kisaragi, this year. “The duo's commitment to producing new sounds based on fresh ideas is second only to their musicianship,” says Karl Ackermann in All About Jazz. Aspiration, a CD by an ad hoc band featuring Wadada Leo Smith, Tamura, and Ikue Mori, was released this year to wide acclaim. “Four musicians who regularly aspire for greater heights with each venture reach the summit together on Aspiration,” writes S. Victor Aaron in Something Else.

She records infrequently as an unaccompanied soloist, but her latest solo album, Invisible Hand, led Dan McClenaghan in All About Jazz to praise her “stream of ideas, eschewing repetition and cliché in the crafting of her solo work, her loveliest and most accessible music.” Fujii has also established herself as one of the world’s leading composers for large jazz ensembles, leading Cadence magazine to call her, “the Ellington of free jazz.”

Snowpoet - Thought You Knew (EDITION RECORDS 9th February 2018)


Snowpoet announce their 2nd album Thought You Knew

- Out 9th February 2018 -

SNOWPOET, led by Jazz FM Vocalist of the Year (2016) Lauren Kinsella and multi-instrumentalist Chris Hyson, features Josh Arcoleo on sax, Matt Robinson on keys, Nick Costley-White on guitar and Dave Hamblett on drums. The band have just announced the release of their sublime new album, Thought You Knew out on 9th February.

The album’s lyrical opening track The Therapist is available to download immediately when you pre-order the album on iTunes.




Born out of a deep musical friendship and mutual understanding, Snowpoet’s acclaimed eponymous debut released in 2016 won rave reviews and a devoted audience with its compelling sound, drawing comparisons with Bjork.

With Thought You Knew their sound evolves and takes on a new direction in terms of their musical ideas and execution. Blending sweet hook-laden vocal lines with warm and lush arrangements, the music is infectious, delicate and tasteful. The sound is clear and beautifully produced, while the lyrical content exhibits a deep and raw emotion.

GIGS

JAN
25th London, UK Albert Hall, Elgar Room

MARCH
1st March - Kilkenny, Ireland - Billy Byrnes
2nd March - Wexford, Ireland - Wexford Arts Centre
3rd March - Cork, Ireland -Triskel
4th March - Galway, Ireland - Campbells Tavern
7th March - Louth, Ireland - Spirit Store
9th March - Dublin, Ireland - Spectrum Festival Double bill with Sons of Kemet
10th March - Meath, Ireland - Solstice Arts Centre
11th March - Wicklow, Ireland - Tinehely Arts Centre

APRIL
19th Birmingham, UK - Hare and Hounds
27th CCA, Scotland (or September 8) - we'll know in Jan 2018

MAY
4th Derry, Northern Ireland - Derry Jazz Festival
6th Waterford, Ireland - Coastguard Cultural Centre
10th London, UK (Kings Place, Album Launch)
11th Southampton Turner Sims Double bill with Olivia Chaney
12th Cardiff, UK - Millennium Centre


Robert Hurst - Black Current Jam (DOT TIME RECORDS February 23, 2018)


Black Current Jam just may be Hurst’s most ambitious recording project to date. His musicianship ignites a plethora of bass and rhythmic offerings, all situated by his international profile of eclectic bassist, composer, arranger, band leader and swing street strategist. Hurst elegantly lays out music architecture continually shifting beats that are endlessly stirring, never predictable. This recording is a hot savory mélange of rhythm. Watch yourself: you could be transfixed and entranced for life enjoying it.


1. Detroit Day
2. Afromation
3. Two Beats and a Breath
4. Bela
5. Coneys and Vernors
6. Keepin’ it Rio
7. This is Your Brain on Drums
8. Morse Code and the Time
9. At First Sight
10. Happy Nappy

Nate Winn, drums
Ian Finkelstein, piano
Rafael Statin, sax
Pepe Espinosa, percussion
Brendan Asante, vocals
Julian Hurst, vocals

Friday, January 5, 2018

Noah Preminger - Genuinity (CRISS CROSS RECORDS February 16, 2018)


Thirty-year-old tenor saxophonist Noah Preminger's debut on Criss Cross in a piano less context with trumpeter Jason Palmer and bassist Kim Cass, who record here with the brilliant drummer Dan Weiss for the first time on this occasion. The hour-long program consists of nine Preminger originals. Each evokes a different mood and ambiance with strong melodies and percolating grooves that provoke unfailingly cohesive, thematic improvisations by Preminger and Palmer. Genuinity is consistently compelling, and repays repeated hearings.


Victor Gould - Earthlings (CRISS CROSS JAZZ February 16, 2018)


On his sophomore leader CD and Criss Cross debut, pianist Victor Gould joined throughout by bassist Dezron Douglas and drummer Eric McPherson, with guest appearances by Tim Warfield on soprano saxophone, Godwin Louis on alto saxophone,and percussionist Khalil Kwame Bell presents a diverse, well-paced program comprised of originals and a cohort off-the-beaten-track numbers from the Great Jazz Songbook. Gould has spent consequential time apprenticing in groups led by such modern masters as Donald Harrison, Ralph Peterson, Terri Lyne Carrington and Wallace Roney, and you can hear it in his fresh, harmonically erudite approach to the repertoire, which he addresses and inhabits on its own terms of engagement while retaining an entirely 21st century perspective.

Victor Gould (p)
Dezron Douglas (b)
Eric McPherson (ds)
Tim Warfield(ss)
Godwin Louis (as)
Khalil Kwame Bell (perc)

Giovanni Di Domenico - Insalata Statica (SILENT WATER 2018)


The new solo LP by Giovanni Di Domenico, Insalata Statica comprises a single album-length composition, initially a suite of six distinct parts that have been weaved together to form a kaleidoscopic whole.

Composed and performed almost in its entirety by Di Domenico himself, the music takes listeners from passages of melancholic introspection through to fuzz-laden melodic exuberance. The subtle, shifting harmonies, rhythms and textures are deftly arranged – often blurring lines between a wide variety of acoustic and electronic instrumentation – to form a coherent arc from beginning to end. Moving through delicate motifs for horns, woodwinds, percussions, harp, guitar and electronics into more stately piano-led choruses and even hectic, Hammond-led jazz sections, Insalata Statica will appeal to fans of O’Rourke’s The Visitor.

The material for the album originated in studio recordings composed for a separate band project five years previously.Through techniques of overdubbing and editing, Di Domenico searched to find a common musical frame in which the different ‘songs’ he had quickly laid down could exist – and by the same means, finding a way in which to fuse diverse influences. Although the result of meticulous editing, Insalata Statica nevertheless retains a sense of spontaneity and lightness that gives the music an organic quality.

Insalata Statica, which translates in English as ‘static salad’ derives from a joke – a friend’s playful description of Di Domenico’s music. As the pianist says: “I prepared the salad fairly quickly, then took five years to ‘dress’ it. I thought it was perfect to have this more static beginning that slowly unfolds into different twists and tricks, to reach a much less static end.”

While largely recorded in the studio in his current city of residence, Brussels, it seems only fitting that for a peripatetic musician such as Di Domenico the album should suggest the experience of travel throughout its ever shifting movements. Listening to Insalata Statica, one can easily imagine the character of different landscapes – and their effect on mood and energy. The music seems to convey the haze of early departure; the romance of new climates; sleepy intervals and the hectic rush of transit; the feeling of sudden inspiration and the lasting traces of memory.

In the album’s changing moods, colours and tempos there are evocations of the melancholy of Franco Battiato’s 70s albums, Brazilian folk flourishes, the spacious, harmonically rich jazz of ECM recordings and oddball pop. Ushering such influences into a vibrant whole, revealing a skilful ear and an ability to blend instrumental timbres and melodic lines in surprising ways, Insalata Statica has a compelling, melodic charm all its own. Yusef Sayed

1. Part Ia
2. Part Ib
3. Part II
4. Part IIIa
5. Part IIIb
6. Part IIIc
7. Part IV
8. Part V
9. Part VI


Michael Dease - Reaching Out (POSI-TONE RECORDS January 26, 2018)

Trombonist Michael Dease brings together a new group of hands to help engage his audience by Reaching Out. Assembling a diverse group of voices, both young and old, Dease succeeds in creating an artful conglomeration of supporting talent featuring saxophonists Walt Weiskopf and Ralph Bowen, vibraphonist Behn Gillece, bassist Peter Brendler, pianist Luther Allison, and drummer Zach Adleman. Dease s skillful band leading keeps the music steadily straight forward as the group undertakes an exciting program of new compositions and intelligent arrangements of some new and familiar melodies. With yet another enjoyably swinging affair firmly grounded in both tradition and exploration from start to finish, Dease continues reaching ever higher for the blue skies of a brighter tomorrow. Listeners will certainly agree that Dease s new album succeeds in delivering a compelling and engaging message that encourages everyone to continue Reaching Out.


Electric Squeezebox Orchestra - The Falling Dream (OA2 RECORDS February 16, 2018)


For their second recording, the Electric Squeezebox Orchestra went into the legendary Fantasy Studios in Berkeley, CA for a marathon two-day session, capturing the band's eclectic spirit through 9 original compositions along with an arrangement of McCoy Tyner's 'Señor Carlos. ' Led by trumpeter Erik Jekabson, the band has held down Sunday nights for three years at Doc's Lab in SF's vibrant North Beach neighborhood. Building a formidable book of originals and creative arrangements, a dynamic group aesthetic, and a loyal fan-base ready for anything, the ESO takes chances and explores options while never veering from their pursuit of heart, soul and groove.


Alto Saxophones: Sheldon Brown, Larry Delacruz
Tenor Saxophones: Michael Zilber, Marcus Stephens
Baritone Saxophone: Charlie Gurke
Trombones: Rob Ewing, Danny Lubin-Laden, Patrick Malabuyo, Richard Lee
Trumpets: Erik Jekabson, Darren Johnston, Dave Scott (1,2,7,10), Doug Morton (1-6) Ian Carey, (7-10), Henry Hung (5,6,8), Niel Levonious (3,4)
Piano: Dan Zemelman (1,3-7,9-10) Colin Hogan (2), Grant Levin (8)
Bass: Tommy Folen
Drums: Hamir Atwal (3-6,8,9) David Flores (1,7,10), Alan Hall (2)
Special Guest on percussion: John Santos (1,7,10)


INCOGNITO: INCOGNITO: UK, ITALY & FRANCE DATES


UK...
JANUARY 18 Jan:  Voodoo Rooms Edinburgh, UK
JANUARY 19 Jan: Hoochie Coochie Newcastle, UK
MARCH 16: Incognito feat. Carleen Anderson - O2 Academy Bristol UK

ITALY...
JANUARY 23 - Blue Note Milano Milano, Italy (2 sets)
JANUARY 24 - Blue Note Milano Milano, Italy (2 sets)
JANUARY 25 - Blue Note Milano Milano, Italy (2 sets)
JANUARY 26 - Blue Note Milano Milano, Italy (2 sets)
JANUARY 27 - Blue Note Milano Milano, Italy (2 sets)

FRANCE...
JULY 19: Al McKay's Earth Wind and Fire Experience + Incognito - L’Olympia Paris, France - Thurs 20:00

NEW RELEASE

Bluey and Friends - Rhodes to Forever (2017)

The EP contains a 4 tracks tribute to the Fender Rhodes Electric piano over some deep and soulful house grooves.

BLUEY & FRIENDS – RHODES TO FOREVER

Released by Splash Blue Music Productions World-Wide via Believe Digital.

Played by… Herbie Hancock, Joe Zawinul, Bill Evans, Chick Corea, George Duke, Stevie Wonder, Bob James, Keith Jarrett, Donald Fagen of Steely Dan, Jan Hammer, Joe Sample, Larry Dunn, Greg Phillinganes, Jorge Dalto, Sun Ra, Kenny Barron, Victor Feldman, Ray Charles, Michael McDonald, Greg Phillinganes, Deodato, José Roberto Bertrami and countless other musical giants, the Fender Rhodes electric piano has become of the most distinctive, expressive, sensual and inspiring instruments in music since the 60’s.

It’s been at the heart of most of Incognito’s music since the late 70’s and has continued to be the cornerstone of soulful music through the decades with bands, producers and artist’s like The Brand New Heavies, Toby Smith of Jamiroquai, James Poysner, Mos Def, D’Angelo, Jill Scott, Erykah Badu, Dwelle and Robert Glasper to name a few.

"I was meddling with my Fender Rhodes in the studio over some house beats and thought I’d put down a few ideas and invite a few keyboard playing friends to come over complete them as an EP featuring the instrument” says Bluey.

1. “The Story Of The Rhodes” featuring Tom O’Grady
Written by Jean-Paul Maunick, Tom O’Grady
Tom O’Grady: Fender Rhodes & Solina String Machine, Synths
Recorded by Tom at Resolution 88 HQ
Bluey: Bass, Synths, Beats, Percussion & Vocal Narration
Produced by Bluey
Recorded & Mixed by Mo Hausler at Hackney Sound Recorders London

2. “My Seventy Three” featuring Ski Oakenfull
Written by Jean-Paul Maunick, Ski Oakenfull
Ski Oakenfull: Fender Rhodes
Bluey: Bass, Solina String Machine, Guitars, Beats & Percussion
Produced by Bluey
Recorded & Mixed by Mo Hausler at Hackney Sound Recorders London

3. “Eight Keys To Eden” featuring Graham Harvey
Written by Jean-Paul Maunick, Graham Harvey
Graham Harvey: Fender Rhodes
Russ Tarley: Drums
Bluey: Bass, Guitars, Percussion
Produced by Bluey
Recorded & Mixed by Mo Hausler at Hackney Sound Recorders London

4. “Paraty” Featuring Matt Cooper
Written by Jean-Paul Maunick, Matthew Cooper
Matthew Cooper: Fender Rhodes
Bluey: Bass, Piano, Beats, Percussion & Vocals
Produced by Bluey
Recorded & Mixed by Mo Hausler at Hackney Sound Recorders London

Incognito Official Website : www.incognito.london
Incognito Facebook : www.facebook.com/cogheads
Incognito Twitter : www.twitter.com/incognito_world
Incognito YouTube : youtube.com/IncognitoOfficial
Incognito Instagram : instagram.com/incognito_world
Citrus Sun Facebook : www.facebook.com/citrussun2014
Incognito DJs Facebook : www.facebook.com/incognitoDJ
Splash Blue Official Website : www.splashmusicproductions.com/splash-blue
Splash Blue Facebook : www.facebook.com/SplashBlueMusic
Studio - Hackney Sound Recorders : www.facebook.com/hackneysoundrecorders


Samuel Blaser with Marc Ducret Peter Bruun - Taktlos Zürich 2017 (hatOLOGY 747 2018)


Parsed into four discrete pieces, the Taktlos performance is a fluid exercise in revolving roles from the jump. Ducret trades in jagged punctuations, mercurial arpeggios and swollen drone bursts on Stoppage, the first and longest. Blaser reacts as balm, his lubricious lines drawing a direct invisible lineage back suave and soothing bop purveyers. A reversal and it’s Blaser with low brass growls as Brunn colors the corners and edges keeping a rhythmic presence which bolsters and ornaments without drawing attention away from the colloquy of his colleagues. A drum solo filled with fluid, frothing beats works as both palate cleanser and reset into an ambling blues. Later, a froggy brass ostinato serves a similar purpose signaling first clean picking from Ducret and then feral, sharp-fanged blasts of distortion.

- Derek Taylor