The Modulators - Drivetime (CHANT RECORDS 2018)

Drivetime is the latest album from ultra-prolific madman keyboardist Brian Marsella and presents the debut of The Modulators, with Reid Taylor on bass and Kenny Grohowski on drums. Drivetime is the perfect car playlist, tunes to accompany you whether driving on the open road or stuck in an unrelenting LA traffic jam. From surf rock to punk to glitch synth, psychedelia, circus music, film noir and more, Drivetime never stays in neutral. Throughout the 44 minute journey are sprinkles of references to Twin Peaks and the surreal world of David Lynch. Featuring special guests Cyro Baptista on percussion and Jon Irabagon on clarinet, Drivetime will get you where you want to go in style. (And by the way, despite what your ears may tell you, no guitars were used in the making of this album.

The Modulators are 

Brian Marsella- keys 

Reid Taylor- bass 

Kenny Grohowski- drums

Special guests: 

Cyro Baptista- percussion (2,7,8,10,13,18) 

Jon Irabagon- alto clarinet (8) 

All compositions and arrangements by Brian Marsella 

Produced by Brian Marsella 

Recorded February 19-20, 2018 at Red Palace Studios in West Orange, NJ 

Engineered by Iuri Oriente 

Mixed by Iuri Oriente and Brian Marsella 

Mastered by Scott Hull 

Album artwork and design by Anna Z Christensen-Taylor 

Brian Marsella plays: Clavinet E7 (through an Ampeg Gemini II), Wurlitzer 200, Yamaha CS60, Fender Rhodes, Farfisa VIP 233, Yamaha Reface YC, Kawaii toy piano, Arturia Analog Lab 2, Glockenspiel, Vibraphone, bell piano, tambourine, wooden spoons, slide whistle 

*No guitars were used in the making of this album 

Thanks for nothing and everything 

In cherry pie, coffee, and douglas firs we find truth. 

May light and dark continue to dance as music fills the air

1. Start Your Engines 00:32

2. TP Is Coming Back In Style (featuring Cyro Baptista) 03:18

3. C# 03:01

4. Chinese Food In New Jersey 02:44

5. Just In Case 02:26

6. The Fibers Are Telling Me Something About What LIES Beneath 03:08

7. Easy Rider (featuring Cyro Baptista) 02:50

8. No Sleep Tonight (featuring Cyro Baptista and Jon Irabagon) 05:09

9. Basement 04:49

10. Time Travelers Overture (featuring Cyro Baptista) 01:22

11. Space Between Dimensions 01:38

12. Fecal Core 01:21

13. Dr. Jacoby Ain’t Nothin’ but a Gigolo (The Doctor Is In) (featuring Cyro Baptista) 02:09

14. Stupid 03:18

15. Cul-de-sac 02:04

16. Smoke 02:26

17. The Timely Death of 2017 03:16

18. Better Days (featuring Cyro Baptista) 01:45

Beats & Pieces Big Band - ten (EFPI RECORDS 2018)

On 27 January 2008 I asked thirteen friends and fellow students to a rehearsal room at Manchester's Royal Northern College of Music to play through some tunes I'd written for big band. From that session, Beats & Pieces Big Band emerged. Exactly ten years on from that first meeting, we invited an audience of friends, family and key supporters to the same RNCM rehearsal space for a special anniversary gig, documented here. On behalf of all the Beats & Pieces musicians past and present, thanks for a fun first ten years; we hope there'll be many more to come. 

Ben Cottrell

Ben Cottrell : director

Anthony Brown, Oliver Dover, Tom Ward : saxophones

Richard Foote, Simon Lodge, Rich Mcveigh : trombone

Owen Bryce, Graham South, Nick Walters : trumpet/flugelhorn

Anton Hunter : guitar

Richard Jones : piano/Rhodes

Stewart Wilson : bass

Finlay Panter : drums

produced by Ben Cottrell

recorded by Garry Boyle and Phil Gregory

mixed by Garry Boyle at Slate Room Studio, Pencaitland

mastered by Stuart Hamilton at Castlesound, Pencaitland

film produced by BLOC+BLUR Creative Studio

directed by Louise Cowley

cinematography by Esther Vardy

edited by Karl Dixon

filmed by Esther Vardy, Louise Cowley and Karl Dixon

assisted by Ashleigh Duke

lighting design by Ash Ennever

artwork and design by Alexander Rennie

all tracks composed and arranged by Ben Cottrell

except ‘time’ - composed by Finlay Panter, arranged by Ben Cottrell

recorded and filmed live in Studio One, Royal Northern College of Music, Manchester on 27 January 2018

1. nois 07:11

2. jazzwalk 05:35

3. three 06:14

4. rain 06:54

5. time 08:04

6. broken 09:46

7. pop 05:16

8. toan 08:50

9. banger 06:12

10. hendo 06:27

Andrea Keller - Five Below Live (2018)

Keller’s newest musical creation, Five Below, is a band of Australia’s finest rhythm section players. Featuring two bass players, guitar, piano & drums, Five Below reimagine a score of Keller compositions dating from 2002 to current – throwing the music into a new light through an intense process of deconstruction, exploration, and musical innovation. 

Melding acoustic sounds with electronics, pedals & effects, the music of Five Below draws from an eclectic array of styles including doom, contemporary classical, minimalism and contemporary jazz, producing a unique and arresting voice in Australian jazz. 

Recorded live at the Jazzlab in Melbourne, Five Below Live is the fourteenth release by Andrea Keller as leader, and is a taster of the impending studio album (due to be recorded in 2019 and featuring new works, plus special guests, saxophonists Julien Wilson & Scott McChonnachie)

Performed by Five Below

Featuring:

Stephen Magnusson guitar

Andrea Keller piano

Sam Anning double bass

Mick Meagher electric bass

James McLean drums

1. Hills Of Nectar 07:21

2. Fern Tree 09:45

3. Of Winter, Ice & Snow 06:01

4. Grand Forfeit 09:16

5. Warm Voices 05:25

6. Breathing In 09:09

6 tracks composed & arranged by Andrea Keller

Recorded live at The Jazzlab (Brunswick)

December 11 & 18, 2017

Live recording by Jem Savage

Mixed & Mastered by Philip Rex at Paper Mache Studio

Designed by Luke Fraser / Ahr+

Sofia Jernberg / Mats Gustafsson / Kjetil Møster / Anders Hana / Greg Saunier - Svårmod Och Vemod Är Värdesinnen (RareNoise Records 2018)

When Norwegian baritone saxophonist Kjetil Møster joined forces in the studio with Swedish baritone sax burner Mats Gustafson, Norwegian noise-jazz guitarist Anders Hana (MoHa!, Ultralyd, Noxagt), versatile, powerhouse drummer Greg Saunier (of the San Francisco-based avant-rock band Deerhoof, who participated in the album, but has now been replaced by Børge Fjordheim of Cloroform) and the extraordinary Ethiopian-born experimental singer Sofia Jernberg, the resulting sonic maelstrom was so fresh and ferocious, so daring and audacious, so darkly apocalyptic that The End seemed like the only name for this band of rebels. 

Their uncompromising debut on RareNoise, Svårmod Och Vemod Är Värdesinnen (a title whose approximate translation from Swedish into English could be stated as “Dark melancholy and sadness are senses to be valued”), is delivered with sledgehammer authority by the subversive crew. 

The two-baritone onslaught of Møster and Gustafsson with the addition of Hana’s baritone guitar provides a low-end assault on Svårmod Och Vemod Är Värdesinnen that feels like a gut-punch to complacency. 

“The double baritone has lots of raw power, which is a big part of what this music is all about,” says Møster, who has previously appeared on two RareNoise Records releases, Jü Meets Møster and Reflections In Cosmo. “We try to break through to the raw senses, the expressions of energy that wants to burst but never does.” 

“We have talked about such a collaboration for many years,” adds Gustafsson, who previously appeared on RareNoise releases by Slobber Pup (Pole Axe) and in collaboration with Japanese noisemaker Merzbow (the Cuts series). “And when Giacomo of RareNoise offered us the chance we grabbed it immediately, of course. We just needed to really put together the most kickin' band ever.” 

With Jernberg , Hana, Saunier (now Fjordheim), they have put together a dream team on Svårmod Och Vemod Är Värdesinnen. “Now that we have The End as a working unit it feels extremely exciting to see where we can take the music together,” says Gustafsson. “It’s amazing for me to play alongside Mats’ boundless energy,” adds Møster. “He has revolutionized articulations of saxophone playing and has been one of my big influences ever since I heard The Thing’s self titled album from 2001.” 

Add the potent contributions of Hana and Saunier to the mix and you have a combustible crew capable of nuanced ambient expression with Jernberg’s ethereal vocals floating over the top and hellacious crescendos fueled by her intense banshee wailing. 

“Anders is one of the most creative guitar players I have ever heard,” says Gustafsson. “He stopped playing guitar seven years ago but Kjetil and me convinced him to pick it up again to join this group, which he happily agreed to. He ROCKS!” 

Møster adds “Anders and me have driven thousands of kilometres together all over Eastern and Western Europe in old tour vans playing numerous concerts with Ultralyd, which released five albums, most of them on Rune Grammofon. He’s a very unique player.” 

Hana’s chainsaw guitar work, reminiscent of Jimi Hendrix’s noise guitar explorations on “EXP” from Axis: Bold As Love, fuels the dark opener Svårmod (Troubled Mind), which also introduces The End’s muscular and imposing two-bari sound. Hanna’s repetitive guitar riff provides a catchy hook on the Captain Beefheart-like Vemod (Sad Mind), underscored by Saunier’s polyrhythmic drummer and featuring Jernberg’s freewheeling wordless vocals. 

The epic Translated Slaughter, which sees Jernberg whispering/talking Gustafsson’s lyrics at the ethereal opening, gradually builds to a frantic crescendo that has the singer wailing with cathartic abandon over the top. Jernberg repeats her riveting performance on Don’t Wait in which she once again recites/sings Gustafsson’s cryptic lyrics. 

“Text, music, art…it should all be read and listened to in open ways and manners,” says the composer. “It is not up to me to explain, really. It is up to the listener/reader to understand, or try to understand. Or at least to ask the questions to find out more. All creative art and music should point out new doors, not open them up. To open a door, you have to do it yourself. We can’t do it for you. So the lyrics pretty much speak for themselves, especially in ‘Don’t Wait.’ That message should be pretty obvious for anyone.” 

Møster’s Both Sides Out has a particularly dark, almost requiem kind of feel to it, which he acknowledges. “Requiem is a good association,” he says. “What I had in mind was actually some kind of mourning for the state of mind that the western world has entered post-Trump. In the lyrics I am Trump’s psychoanalyst, letting him pour out his inner feelings so he can stop being so tense and hard. I think the blood flow of the society is being strangled by face masks and ‘violation’ of unnecessary rights.” 

With a discography numbering over 150 records, Gustafsson explains what his latest RareNoise release represents to him: “Just sheer joy of sharing ideas and music together. We had time to rehearse and to play three gigs before jumping into the studio – that was worth a lot for us because I feel that everything really fell into the right place for us in the studio. The music we recorded is really a wet dream of favorite influences to bring together for me. And I think me and Kjetil share the most essential sources and inspirational platforms here. We wanted elements of free jazz, noise, alt rock and more to blend and create something new. And it all led to a music that, at least me, I have never heard before.” 

“We are never into creating a special mood in the music,” maintains Gustafsson, who is also member of bands The Thing, Fire! and Nu Ensemble. “That is up to the listener to create or hear. We don’t entertain, we don’t illustrate. We play music. New music. I don’t wanna analyze it too much here. Everyone should listen freely and think and act freely upon hearing it all. It should all be open.” 

Regarding the translation of the The End’s album title, Møster says: 

‘To me it says something about appreciating difficulties, that we don’t necessarily have to please each other all the time, that expressions that go against the grain and cause friction are valuable too.” 

Those renegade expressions are readily apparent on Svårmod Och Vemod Är Värdesinnen, The End’s formidable RareNoise debut.

SOFIA JERNBERG : VOICE

MATS GUSTAFSSON : BARITONE AND TENOR SAX, LIVE ELECTRONICS

KJETIL MØSTER : BARITONE AND TENOR SAX, ELECTRONICS

ANDERS HANA : BARITONE GUITAR

GREG SAUNIER : DRUMS AND VOICE

1. Svårmod

2. Vemod

3. Translated Slaughter

4. Don’t Wait

5. Rich And Poor

6. Both Sides Out

1,2 composed by Hana and Gustafsson

3 composed by The End

4 composed by Gustafsson

5,6 composed by Møster

Lyrics on 3, 4 by Gustafsson

Lyrics on 6 by Møster

Recorded jan 14/15 2018 at Duper Studios, Bergen

Sound Engineer Jørgen Træn

Mixed Feb 2018 at Duper Studios, Bergen by Jørgen Træn, Kjetil Møster, Anders Hana

Mastered Feb 2018 at Duper Studios by Jørgen Træn

Produced by TheEnd

Cover Image Svårmod Och Vemod Är Värdesinnen by Edward Jarvis.

Words by Harry Martinson, taken from the poem ‘Svårmodet’ from the poetry collection ‘Passad’ published by Bonniers (1945)

© + ℗ RareNoiseRecords 2018

Jamie Saft Quartet - Blue Dream (RareNoise Records 2018)

Jamie Saft continues his collaboration with eclectic UK-based label RareNoiseRecords in 2018. On a roll after releasing his first ever solo piano album in January, the aptly named ‘Solo A Genova’, the Upstate New York-based artist presents a further facet of his seemingly boundless talent for composition, performance, invention and in this case, for acting as master of ceremonies to a group of exciting and innovative musicians. His latest formation, the Jamie Saft Quartet sees repeated collaborators, celebrated saxophonists Bill McHenry and bassists Bradley Jones as well as in rising star of the drums Nasheet Waits. 

Recorded in the Autumn of 2017 in Jamie Saft’s Potterville International Sound studio Upstate New York, co-produced by Saft and Chris Castagno, mixed and mastered by Chris Castagno in Colombia, Blue Dream showcases nine new vibrant, spiritual and energetic compositions by Jamie Saft, as well as three mesmerizing standards. The album will be released on 29th June and will be available on CD, double vinyl and digital download. 

Plenty of connotations emerge in the album title, yet as soon as you start listening you will realize, that Blue Dream won’t allow you to think about connotations. This is direct. The muscle is shown straight away in “Vessels,” and not just in the playing but the tone: dark, with four musicians moving like ships in the night, a tenor sax echoing over the water between them. That’s saxman Bill McHenry, and stirring the water beneath him is drummer Nasheet Waits, splashing into the basswaves of Brad Jones bellowing up, heavy and low. On the piano, Jamie Saft both holds it down and works in new melodies, like clouds in a rotation of sunlight and darkness. Blue Dream moves. “Equanimity” keeps it fast - punk jazz fast. 

The drums lead it off, and you get the feeling the other musicians aren’t coming in until Waits lets them in. They know to hold off. The vibe into which Waits swings himself is a tunnel for one, only breaking daylight a minute and half into the song, when everybody explodes together at once in the record’s biggest and brightest moment yet. But “Sword’s Water” brings it back into the low light, opening with a hot flourish that swirls on for two minutes before Saft begins to follow the melody down one of his paths.

Saft can slide effortlessly over the keys, to be sure, but it is when he lingers, teasing out perhaps the same several notes, that we get a sense of the restraint in place. 

This sounds like a record of standards—yes, new standards—but there are only three oldies on here … and they’re goodies. Sinatra’s “Violets For Your Furs” is the first, setting the second of this album’s four sides alive with an interpretation that finds Saft digging into the melody as only its patent simplicity allows (there’s that restraint again). Following that, Brad Jones finds room cleared out for him in the title track to pluck his heaviest path, accelerating through the heart of the record while Saft drifts overhead, clouds over boiling water. “Infinite Compassion” shoulders its way back into those big dark movements on the piano, both sustaining and running away past the margins wherever it is needed. 

The second half of the album kicks off with Bill McHenry cooling it down, and he does it through “Sweet Lorraine,” Cliff Burwell’s 1928 standard recorded by the King Cole Trio in 1940, which is the version taught to Saft by the late Geri Allen. Some 90 years later it’s a vehicle strong enough to summon a breeze into the whole second half of the album, carving out abundant room for “Walls.” Building on the big air of “Sweet Lorraine,” Saft goes off into outer space without a care in the world, and all of them ride out the vibe. Saft can flourish and arpeggiate with the best of them, but it’s in his open spaces that he shows he can be sometimes shy, sometimes flirtatious, but always confident—quietly—and relaxed. That is the foundation on which the musicians around him can build, with Saft then almost pleading with them to follow him into uncharted territories. 

Then there’s the drums. Waits has both a shimer and a modern architecture to his playing, the latter of which has him building a chess board in “Decamping,” where the band can check one another, trading on, trading off. Who’s got the end game? We don’t need to know. We only know they enjoy the field. The music nourishes the life beneath their feet. “Words And Deeds” feels like something by which each of them is living, expressing it through this music, right now, while “Mysterious Arrangements” furthers the language created by this quartet, bringing it into a new conversation that is obviously holding some tension in its palms. 

You’ll be relieved to know that tension all gets worked out in the end. Closing out the record is the 1937 Mack Gordon and Harry Revel classic “There’s a Lull In My Life,” blissfully stretching out the last seven minutes of the album like a long holiday party full of old faces. Memories abound of the song’s place in jazz history, and the voices that interpreted it in years past: Ella Fitzgerald, Chet Baker, Tony Bennett, Alice Faye, and Nat King Cole. The standard torch song, love ballad, classic, becomes buoyant in their hands. It does not wallow, but revels in its ache. Shouldn’t we all?

Jamie Saft : piano

Bill McHenry : tenor saxophone

Bradley Christopher Jones : acoustic bass

Nasheet Waits : drums

1. Vessels

2. Equanimity

3. Sword’s Water

4. Violets For Your Furs

5. Blue Dream

6. Infinite Compassion

7. Sweet Lorraine

8. Walls

9. Decamping

10. Words and Deeds

11. Mysterious Arrangements

12. There’s a Lull In My Life

All Music written by Jamie Saft and published by RareNoisePublishing (PRS), except

‘Violets for Your Furs’ : music by Matt Dennis and lyrics by Tom Adair

‘Sweet Lorraine’ music by Cliff Burwell and lyrics by Mitchell Parish

‘There’s a Lull In My Life’ written by Mack Gordon and Harry Revel

Recorded by Jamie Saft and Brian Gunn at Potterville International Sound, NY, Fall 2017

Mixed and Mastered by Christian Castagno in Minca, Colombia

Art and Design by Steven Erdman

Additional Layout assistance by Graham Schreiner

Piano Tuned and prepared by Steve Greenstein R.P.T.

Executive Producer for RareNoiseRecords: Giacomo Bruzzo

Bugge Wesseltoft & Prins Thomas - Bugge Wesseltoft & Prins Thomas (SMALLTOWN SUPERSOUND 2018)

A long time ago, in a Norway far far away in time, keyboardist Bugge Wesseltoft introduced his New Conception of Jazz to the world. We’re talking about the late 90s, when Bugge’s cosmopolitan blend of jazz, hiphop and techno beats was pretty much the coolest music coming out of Norway at that moment. That was a golden time for Norwegian music, in fact, when the rest of the world began to sit up and take notice that something was stirring up north, and realized the music was more than just glacial tones hurtled from icy mountaintops and frozen lakes. This was the sound of urban Scandinavia. 

A few years later came the electronic dance genre ‘space disco’. Along with Todd Terje, Bjørn Torske and Lindstrøm, Prins Thomas was at the epicentre of this next big wave to surge out of Norway. Now, the two generations have come together in this exclusive collaboration between Bugge and Prins Thomas on the Smalltown Supersound label. Jazz and electronics combine for that energising vitamin D shot of Nordic sunshine. 

The Rainbow Studio in Oslo is a familiar name to anyone who follows the ECM label – many of its classic 1970s jazz albums were recorded there under the eye of resident producer Jan Erik Kongshaug. Bugge and Thomas booked a couple of sessions at the legendary space with Kongshaug at the controls, and improvised some tunes in the style and spirit of some of their favourite ECM moments, like the fresh, open sounds of Codona, Egberto Gismonti, Oregon and Kenny Wheeler. Bugge had previously done a remix of Thomas’s ‘Bobletekno’ in 2015 but this is the first time they have worked together as active musicians. The results – also partly taped at Thomas’s home studio – fuse programmed rhythms, live synths and percussion, all captured in sumptuously spacious acoustics.

For an even more authentic touch they called up one of their all time local heroes and one of Norway’s most famous jazz drummers, Jon Christensen, who’s been the go-to guy for Jan Garbarek, Terje Rypdal, Keith Jarrett and many more. At 75 years he’s still pretty spry behind the kit, as you’ll hear on several tracks here. 

Make no mistake, though, this is not retro pastiche but contemporary music, coasting on gently insistent programmed grooves and bubbling basslines. The whole thing feels not so much like a consciously hip fusion of DJ and jazz musician, more like two great musicians totally enjoying themselves.

1. Furuberget 18:18

2. Norte do Brasil 05:42

3. Sin Tempo 09:43

4. Bar Asfalt 13:32

5. Epilog 13:55

Ledesma / Angelillo / Hurtado / Brandán - Gato Barbieri Revisitado (DISCOS ICM 2018)

Grabado el 18 de septiembre del 2017 en Estudio MTT Daniel Garcia por Damian Poliak.

Nunca Mas, Last tango in Paris, Encuentros, y la Guerra del Cerdo compuestos por el Gato Barbieri. 

Primer tango en La Plata, Estas con nosotros y A Carla Bley compuestos por Pablo Ledesma. 

Eternal Charlie compuesto por Pepe Angelillo.

1. La guerra del cerdo (Gato Barbieri) 04:48

2. Primer tango en La Plata (Pablo Ledesma) 07:18

3. Last tango in París (Gato Barbieri) 09:57

4. Estás con nosotros (Pablo Ledesma) 04:25

5. Nunca más (Gato Barbieri) 09:05

6. Eternal Charlie (Pepe Angelillo) 04:34

7. A Carla Bley (Pablo Ledesma) 06:38

8. Encuentros (Gato Barbieri) 07:47

Pablo Ledesma: Saxos alto y soprano

Pepe Angelillo: Piano

Mono Hurtado: Contrabajo

Carto Brandán: Batería

Porta-Jazz ao Relento | Demian Cabaud "Astah" - 18 de Agosto - 22:00 - Jardins do Palácio de Cristal

Este será o terceiro concerto do Porta-Jazz ao Relento 2018, apresentado em parceria com a Porto Lazer.

O Porta-Jazz ao Relento é uma oportunidade para ouvir ao vivo alguns dos mais recentes projectos editados com Carimbo da Porta-Jazz.

Concertos sempre aos Sábados às 22:00, nos jardins do Palácio de Cristal, com entrada livre.

Demian Cabaud "Astah"

Sábado 18 de Agosto   22:00

Jardins do Palácio de Cristal

Este projecto é o sexto e mais recente álbum do Cabaud , “Astah”.

É uma experiência intensa e fresca , já que as duas baterias trazem uma grande quantidade de possibilidades tanto em dinâmicas quanto em direções musicais , liderados pela experiência de uma verdadeira lenda do jazz, Jeff William.

As composições têm sempre aquele fator de abertura que caracteriza a música do Cabaud , deixando espaço para que cada elemento expresse o seu ponto de vista e deixe impressa a sua própria personalidade. O resultado é sempre fresco e nunca se repete .

A essência da música está enraizada no jazz tradicional , com muitos momentos livres / improvisados e um “cheirinho” de música tradicional da Argentina .

João Pedro Brandão - Sax e Flauta

João Grilo - Piano

Demian Cabaud - Contrabaixo

Marcos Cavaleiro - Bateria

João Sousa - Bateria

Inês Pereira - Voz

Pode ouvir no link

Clark Terry - The Best of Clark Terry (CHESKY RECORDS 2018)

Clark Terry (1920-2015) was one of the most prolific Jazz trumpeters in history, performing with Count Basie, Duke Ellingston, Quincy Jones, Thelonious Monk, Charles Mingus, Oscar Peterson, Billie Holiday, and Ella Fitzgerald. His lasting legacy on the medium of Jazz will continue to be felt for generations to come. We're honored to present you with this collection of his greatest musical achievements as a member of the Chesky family.

1. Pennies From Heaven 06:04

2. Honeysuckle Rose 08:09

3. Jive At Five 08:12

4. Skylark 04:25

5. Autumn Leaves 04:44

6. Blue Monk 04:06

7. Sugar Blues 04:37

8. Memories of You 04:52

9. Silly Samba 09:00

10. Misty 06:54

11. I Can't Get Started 04:30

12. Serenade to a Bus Seat 07:18

13. Keep, Keep, Keep On Keepin' On 06:32

14. Ode to a Flugelhorn 09:12

15. Simple Waltz 09:17

16. Hey Mr. Mumbles 11:03

David Chesky - Trio in the New Harmonic: Aural Paintings (CHESKY RECORDS 2018)

While conceived as a series of tonal paintings, somehow David Chesky's cornucopia of oblique ruminations on TRIO IN THE NEW HARMONIC suggest to this scribe something more declamatory, and poetically austere, like some non-denominational evening service at a distant Northern latitude and longitude, bathed in a wintery glow, with the faint promise of spring colors peeking through the firmament-illuminating a largely black and white canvas with pastel intimations of some elusive wakening. 

As such, the sonic pedigree of Chesky's conceptions, informed as they are on one hand by a tonality redolent of the Second Viennese School of Arnold Schonberg, Alban Berg and Anton Webern, and a collective improvisational sensibility which evokes the prayerful impressionistic ruminations of Bill Evans, Herbie Hancock and Paul Bley, suggests elements of both 20th Century Classicism and of Modern Jazz in its most chamber like iterations. 

But the more I immerse myself in the pointillistic hues of Chesky's pianistic abstractions-mated as they are to the elegant earthen countenance of Peter Washington's bass and Billy Drummond's veiled invocations of skin and bronze-the less the music puts me in mind of European classicism or of a piano trio in the Modern Jazz sense, and the more it suggests subliminal streams of Americana in the iconoclastic tradition of a composer such as Charles Ives-plugged in as he was to undercurrents of a rustic past, which spoke to something half-remembered in our mythological unconscious, yet betokening a future barely imaginable when this renegade composer first fashioned his own iteration of the new harmonic, straddling as it did the 19th and 20th century, while shrugging off many of those well-travelled European conventions with intimations of some bold new beyond. 

Chesky's own new harmonic evokes a sense of time and place less quaintly rural and small town than that of the Tribal Elder Ives-more rooted as it is in a decidedly urban sense of…becoming. 

Chesky's is a chamber music chrysalis seeking to be reborn as a post-modern jazz trio in the left wing traditions of those American pianists, who while they were surely informed by the harmonic cycles of Tin Pan Alley song forms, and a blues/ragtime/swing based tradition of the piano in its virtuoso approximation of post-bop orchestral power, were not beholden to it; seeking instead to depict a more abstract canvas, a painterly sense of the piano's potential for said chamber music sensibility in which, while there is considerable heat applied to the collective improvisational pot, things are consciously never quite fired up to a full boil. 

Reflecting as it does the pianist's fascination with cubist chordal juxtapositions-in lieu of more traditional diatonic steeplechases-repeated immersions into the highways and byways of Chesky's new harmonic reward the listener with fresh epiphanies, unwilling as David is to reveal all of his secrets in a single sitting.

Still, for those listeners who have already taken a dip into the turbulent waters of Chesky's more large scale works, such as his Piano Concerto #2, the tonal clusters, polytonal juxtapositions and calculated rhythmic apposition of David's two-fisted keyboard vocabulary will seem as old friends, though the more muted, pensive approach (not unlike the second movement in the above work) better suits the conversational intimacy of a trio. 

Which is why it is surely a mitzvah for Chesky to be able to engage such attentive, self-effacing listeners as Peter Washington and Billy Drummond in celebration of what I might blithely characterize as the esteemed art of comprovisation (okay, okay, so I made the word up by conflating composition and improvisation…sue me). But as one who has lived with this trio for some time, and who has heard Washington and Drummond on numerous occasions-both together and separately, improvising for all they are worth in pedal to the metal bebop throw-downs-their innate ability to step up and counter-punch or to quietly recede into a more passive, supple posture, is perfectly suited to Chesky's oblique musings, as he vectors purposefully between the reactive and the reflective. 

And as such-again, in the spirit of collective comprovisation-one is hard pressed to divine what aspects of their trio colloquies are composed, classically speaking, or spontaneously conceived in the best sense of what it means to be an improvising jazz musician. 

Be that as it may, it is not incumbent upon the listener to deconstruct the architectonic aspects of the creative process; rather, enjoy the luminous colors writ large upon this collective canvas, and enter into the conversation as an equal-an active, engaged listener. 

- Chip Stern

David Chesky - Piano

Billy Drummond - Drums

Peter Washington - Bass

1. Painting No. 1 04:45

2. Painting No. 2 06:34

3. Painting No. 3 06:59

4. Painting No. 4 05:14

5. Painting No. 5 04:59

6. Painting No. 6 03:52

7. Painting No. 7 06:37

8. Painting No. 8 06:24

Produced by; David Chesky

Executive Producer: Norman Chesky

Recorded, Edited, and mastered by Nicholas Prout

Second Engineer: Janelle Costa

Assistant Engineer: Rich Cerbini

Piano Tuner: Kazuya Tsujio

Recorded Match 13th at The Good Shepard Church , New York

Equipment used : AEA Stereo Ribbon mic, Forssell Technologies mic pre amp, MSB A/D converter, Crystal microphone cables.

Special Thank to Gilbert Soulodre for his brilliant technical assistance.

All compositions by David Chesky (PAMALUC Music)[ASCAP]

Various Artists - Chesky Records Audiophile Tribute to Miles Davis (CHESKY RECORDS 2018)

Miles Davis is synonymous with the history of Jazz. With a discography that includes over 80 albums, Davis' catalog is as expansive as it is timeless. On this Chesky Records compilation, we've assembled Jazz luminaries' interpretations of his works in tribute to the immortal greatness of Miles Davis. Add to the beautiful music that it was pristinely captured for an audiophile audience, and you have a classic album for the ages.

1. Shh Peaceful 11:21

Wallace Roney, Bob Belden, Oz Noy, Kevin Hays, Daryl Johns, Lenny White

2. Circle 05:17

Carlos Franzetti

3. So What 06:17

Victor Bailey, Larry Coryell, Lenny White

4. It's About That Time 14:29

Wallace Roney, Bob Belden, Oz Noy, Kevin Hays, Daryl Johns, Lenny White

5. Solar 02:32

Shelly Berg & David Finck

6. Blue In Green 04:31

Valerie Joyce

7. Mademoiselle Mabry 10:05

Wallace Roney, Bob Belden, Oz Noy, Kevin Hays, Daryl Johns, Lenny White

8. Milestones 03:51

The Fred Hersch Trio

9. Blue in Green 07:28

George Coleman, Mike Stern, Ron Carter, Jimmy Cobb

10. All Blues 07:03

George Coleman, Mike Stern, Ron Carter, Jimmy Cobb

11. Eighty One 06:30

George Coleman, Mike Stern, Ron Carter, Jimmy Cobb

12. Freddie Freeloader 06:34

George Coleman, Mike Stern, Ron Carter, Jimmy Cobb

Camille Thurman - Waiting for the Sunrise (CHESKY RECORDS August 24, 2018)

"You’re hard-pressed to find rising talents more exciting than Camille Thurman."

- New York Times 

Following up her Chesky debut, Inside the Moment, which debuted #25 on the Billboard Jazz Albums Chart, Camille Thurman returns for her sophomore Chesky effort. Supported by Jazz veterans Cecil McBee (Bass), Jack Wilkins (Guitar), Steve Williams (Drums), and Jeremy Pelt (Trumpet), Camille showcases her remarkable talent and potential both vocally and on saxophone on this collection of Jazz standards entitled Waiting for the Sunrise. 

Part of the Chesky Binaural + Series, all recorded with a single microphone, the band appears right before you with this spacious, lush and multi-dimensional recording. Now headphone users will hear the same three-dimensional sound and imaging as audiophiles have for the past 25 years with Chesky Recordings. Also these new Binaural+ Series albums capture even more spatial realism for the home audiophile market, bringing you one step closer to the actual event. You will hear some of the most natural and pure music ever recorded.

Camille Thurman: Voice and Tenor Saxophone

Cecil McBee: Bass

Jack Wilkins: Guitar

Steve Williams: Drums

Jeremy Pelt: Trumpet

1. I Just Found Out About Love

2. Some Of These Days

3. Tarde

4. After You’ve Gone

5. September In The Rain

6. The Nearness Of You

7. Easy to Love

8. I’m On Your Side

9. World Waiting For The Sunrise

10. If You Love Me (Really Love Me)

Incredible debut from Tom Barford (31st August) EDITION RECORDS

Tom Barford - Bloomer (EDITION RECORDS August 31, 2018)

Kenny Wheeler Music Prize, composer and saxophonist Tom Barford, releases incredible debut 'Bloomer' on 31st August.

Bloomer, is richly vibrant, energetic and melodic; a recording that will launch the career of this future jazz star.

In Evan Parker‘s words: “We are witnessing the birth of a new star in the Jazz firmament.”

Tom Barford Saxophone

Rupert Cox Piano

Billy Marrows Guitar

Dave Storey Drums

Flo Moore Bass 

All music written by Tom Barford / Produced by Iain Ballamy

1. Bloomer

2. Space to Dream

3. Phizzwizard

4. F Step

5. Music for an Imagined Film

6. Razztwizzler Ahead

7. Razztwizzler

8. Ideology (For Iain Ballamy)

9. The Highly Strung Trapeze Artist

Lucia Jackson “You And The Night And The Music” / CD Release Show @ Zinc Bar Monday, September 10th 7pm

Lucia Jackson

CD Release Show

“You And The Night And The Music”

@ Zinc Bar 

82 W 3rd St

New York, NY 10012

212-477-ZINC (9462) 

www.zincbar.com

Monday, September 10th 7pm

Featuring

Lucia Jackson, Vocals

Ron Jackson, 7 String Electric Arch Top Guitar-7 String Acoustic Classical Nylon String Guitar- Steel 7 String Guitar

Yago Vazquez, Piano

Matt Clohesy, Double Bass

Corey Rawls, Drums

Special Guests

Daniel Garcia, Flamenco Classical Guitar

Samuel Torres, Cajón / Congas / Percussion

Javier Sanchez, Bandoneón

Frederika Krier, Violin

www.luciajackson.com/music

You And The Night And The Music is the debut of Lucia Jackson, a promising young jazz singer who displays a fetching voice on a set of standards along with a few surprises.  

With her father, jazz guitar great Ron Jackson, contributing arrangements and leading an impressive rhythm section joined by guests, Lucia Jackson creates fresh variations of timeless material.

Lucia Jackson has had busy careers as both a dancer and a model. However her love of singing, her obvious talents as a vocalist, the encouragement of her father, and very favorable receptions at many venues in the New York area have led her to release her debut recording. Her many fans raised $15,000 through Indiegogo for the project. With the vocal coaching of the world renowned bassist-vocalist Nicki Parrott and an inspired repertoire, Lucia is heard at her very best throughout the program.

For the memorable effort, Lucia Jackson is joined by her father Ron Jackson on guitars, pianist Yago Vazquez, bassist Matt Clohesy and drummer Corey Rawls, with guest appearances by Daniel Garcia on flamenco guitar, violinist Frederika Krier, Javier Sanchez on bandoneon and percussionist Samuel Torres playing cajon and congas.

The music on You And The Night And The Music features new twists on classics from the Great American Songbook, many of which are arranged in tango, bossa-nova or bolero styles by Ron Jackson, who is also the set’s producer. The song choices, which include not only vintage tunes that have special meanings for the singer such as “Beautiful Love,” “Sophisticated Lady” and “Never Let Me Go,” but Julia Michael’s recent “Issues,” the Beatles’ “And I Love Him,” and Ms. Jackson’s original “Feel The Love,” give the set both variety and consistent high quality. While the supporting cast is strong and Ron Jackson’s solos are colorful and tasteful, the main focus is on the young singer, who comes through in winning fashion.

Some of the highlights on You And The Night And The Music include:

“Just One Of Those Things”:  – The 1930s standard is taken uptempo, includes some superior and straightforward jazz singing, and has a hot guitar-drums tradeoff.

“And I Love Him”; - The Beatles classic is transformed into a vocal-guitar duet and sung with great tenderness.

“I’m A Fool To Want You”: - Lucia Jackson’s interpretation is full of quiet longing, accentuated by Frederika Krier’s passionate violin.

“Feel The Love”: - An original by the singer and Daniel Garcia, this piece gives her an opportunity to sing over a funky rhythm that, with Garcia’s acoustic guitar, also has the feel of flamenco.

“No Regrets” and “When You’re Smiling”: - The pair of joyful swingers are each given exhilarating treatments with Ms. Jackson also scatting quite effectively on the latter.

You And The Night And The Music is a significant recording debut for it introduces Lucia Jackson as a subtle and lightly swinging jazz singer, one with a very attractive and often-fetching voice who displays a quiet intensity and a real feeling for the lyrics that she interprets.

Lucia Jackson, who was born in New York, grew up in Madrid, Spain where she started singing when she was ten. She studied voice and piano at the prestigious Escuela de Musica Creativa when she was 13 and also ballet and flamenco at the Professional Dance Conservatory. Returning to New York when she was 18, she has since danced with the Alvin Ailey American Dance Theatre as a guest student, at the Jacobs Pillow Dance Festival and, as a member of FJK Dance, toured China for two months. As a jazz singer, she has performed with many groups including the Bud Maltin Orchestra, Marty Schwartz, and the Art Lillard Big Band.

At age 26, Lucia Jackson is set to make a major splash in the jazz and music worlds with the release of You And The Night And The Music from the Roni Music label.  Her large fan base, which through the Indiegogo crowdfunding campaign made the recording possible, will be pleased.

Lucia Jackson “You And The Night And The Music”

(Roni Music 6672)

September 14, 2018

Lucia Jackson, Vocals

Ron Jackson, 7 String Electric Arch Top Guitar-7 String Acoustic Classical Nylon String Guitar- Steel 7 String Guitar

Yago Vazquez, Piano

Matt Clohesy, Double Bass

Corey Rawls, Drums

Special Guests

Daniel Garcia, Flamenco Classical Guitar

Samuel Torres, Cajón / Congas / Percussion

Javier Sanchez, Bandoneón

Frederika Krier, Violin

www.luciajackson.com

Media Contact

Jim Eigo

Jazz Promo Services

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Ph: 845-986-1677 

Cell / text: 917-755-8960

Skype: jazzpromo

E Mail: jim@jazzpromoservices.com

www.jazzpromoservices.com

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