Monday, October 22, 2018

Way North - Fearless And Kind (November 2, 2018)


“The music is instantly inviting and infectious with a capacity for taking the listener to unexpected places.” 
– Ted Quinlan, The Whole Note

Fearless and Kind is the second album by collective roots-jazz quartet Way North. There’s a joy in this music that comes from having recorded on the heels of a tour. The band is tight and loose, freely improvising and having fun, while fully in control of the music they are playing. That they love playing together is obvious, and this feeling is contagious, drawing listeners into their love of roots musics mixed with improvising and jazz. This is a community minded band, and they are looking to uplift people with this music. This is jazz you can dance to! 

If you know their critically acclaimed first album “Kings County”, you will find the band serving up a similar roots stew, but maybe even more heavily weighted toward street-beats and dancing good times. The collective horn improvising and conversational rhythm section approach comes from modern jazz and roots music at the same time. This gives Way North their unique sound, which is equally at home in a folk house concert as it is on a Jazz Festival stage. 

There is music from all four band members here, but it would be hard to tell, as the songs go seamlessly together. Cancura’s Mississippi-Beat “Boll Weevil” opens the album and announces the good times that are ahead. You can also hear his tender waltz “Ready or Not” and “The River’s Flow”. Hennessy’s “Lagoon” is next, and the rhythm section generates a lazy-cowboy lope which the horns ride on top of with the quirky harmonies. She also contributes the Ornette Coleman inspired calypso “Birds for Free” and the ballad “Inchworms”. Barshay’s “Airport to Knowhere” cooks with a Balkan-jazz groove, and he brought the Jelly Rolly Morton medley to the band, which fittingly connects the band’s modern sound with the early New Orleans roots of jazz. Herring’s title track “Fearless and Kind” is a bluesy waltz, and he also wrote the street-beat meets Jazz Messengers “You Know A Song”. 


Way North is:

1. Boll Weevil
2. Lagoon
3. Airport To Knowhere
4. Jelly Roll Morton Medley, Act I: Buddy Bolden's Blues
5. Jelly Roll Morton Medley, Act II: King Porter Stomp
6. Inchworms
7. You Know A Song
8. Ready Or Not
9. Birds For Free
10.Fearless And Kind
11.The River's Flow

Fearless and Kind
Produced by Way North
Recorded at Canterbury Studios by Jeremy Darby
Mixed & Mastered by Reuben Ghose
Art & Design by Howie Shia & Leo Shia

Tracks 1, 8, 11 by Petr Cancura (SOCAN)
Tracks 2, 6, 9 by Rebecca Hennessy (SOCAN)
Track 3 by Richie Barshay (BMI)
Tracks 7, 10 by Michael Herring (SOCAN)
Tracks 4, 5 by Jelly Roll Morton

© 2018 Way North
TOUR

November 2018
5 - Toronto, ON - The Rex
6 - Toronto, ON -The Rex
7 - Ottawa, ON - The National Arts Centre
8 - Montreal, QC - Resonance Cafe
9 - Quebec City, QC - tbc
10 - Quebec City, QC - tbc
11 - Kingston, ON - Kingston Jazz Society

January 2019
6 - Halifax, NS - Open Waters Festival
14 - Toronto, ON - The Emmet Ray
15 - Victoria, BC - tbc
16 - Nanaimo, BC - Quadwrangle Music at the Lighthouse Bistro
17 - Vancouver, BC - Frankie's
18 - Edmonton, AB - The Yardbird Suite
19 - Saskatoon, SK - The Bassment

Here's a little more about Way North...

Way North is a cross-border mash-up of Canadian and American artists born out of the joy of playing together. Formed in Brooklyn in 2014 by three Canadians and a New Yorker, the band features saxophonist Petr Cancura (Down Home - JUNO nominee), trumpeter Rebecca Hennessy (2018 Toronto Emerging Jazz Artist/Women’s Blues Revue bandleader), bassist Michael Herring (Peripheral Vision - JUNO nominee) and American drummer Richie Barshay (Herbie Hancock/Chick Corea/ Esperanza Spalding).

The quartet brings together four composers who love to explore folk and world music with a backbone in jazz improvisation.  They love to use their musical connection to reach audiences, building community wherever they play.


They are releasing their second album, Fearless And Kind following their debut CD, Kings County, which was picked by the Ottawa Citizen as one of the best Jazz CD’s of 2015.  Their last album was launched with high-energy Canadian touring, and expect more of this as they head back on the road in support of “Fearless and Kind”.  Way North’s music is a roots stew, seamlessly threading together the blues, old-time, Balkan, Brazilian, Calypso, and other folk genres with jazz and improvisation.  

In January 2016, Way North was invited to perform and teach at the Panama Jazz Festival by artistic director Danilo Perez, and also appeared at the Mamoni Valley Preserve as part of the Earth Train NGO Geoversity campaign.  In 2017 Way North was awarded a grant by the Canada Council for the Arts to tour Canada, and once again the CCA has supported both their new album and tour in 2018 and 2019.

Fearless and Kind will be released on Friday, November 2nd and the release will be celebrated with a Canadian tour from November 5th to 11th and January 6th to 19th. 

"CORCOVADO" ("QUIET NIGHTS") Alexandra Jackson featuring Miles Davis enters the charts!


The third single is receiving airplay on radio stations across the U.S.

Alexandra Jackson's "Corcovado" ("Quiet Nights") featuring Miles Davis, with Antonio Carlos Jobim & Ivan Lins -- from the "Alexandra Jackson: Legacy & Alchemy" album -- enters the charts playing on over 100 stations and channels:

Smooth Jazz Network Top 100 Chart: #54
SmoothJazz.com Chart: #38
SmoothJazz.com Indie Chart: #28
Billboard Smooth Jazz Chart: #1 Most Increased Plays (Last Week)

“Quiet Nights” was the JAZZIZ “song of the day," and the “Corcovado” version is featured in the JAZZIZ Magazine Fall Edition, its September and October online editions, and its Fall JOD sampler.

JAZZIZ Magazine - Bossa Hit “Quiet Nights” Relives Its Past Courtesy of Vocalist Alexandra Jackson

ABOUT THE ALBUM:  “ALEXANDRA JACKSON: LEGACY & ALCHEMY”

In 2018 we celebrate the 60th anniversary of Bossa Nova; in 2017 we celebrated the 100th anniversary of Samba; and the 2016 Rio de Janeiro Olympics was a "once-in-a-lifetime opportunity" for Brazil music and its synergy with American Jazz to be reintroduced to the world on the largest stage ever.  Legacy and Alchemy saw this as the moment in time to honor the great Brazilian music legacy.

The instant classic double CD also features the late Al Jarreau, Oscar Castro-Neves, Rod Temperton and Dona Ivone Lara, as well as Larry Dunn, Al McKay, Carlinhos Brown, Banda Black Rio, Hubert Laws, Siedah Garrett, Paulo Jobim, Daniel Jobim, Teo Lima, Armando Marcal, Paulo Calasans, Arthur Maia, Darryl Jones, Charles Floyd, and other Brazilian and American greats contributing to the historic album.


THE ALBUM SUCCESS

10 songs from album playing on the radio in 8 formats

4 songs from album playing on over 100+ Smooth Jazz stations (including "All One" featuring Al Jarreau, with Larry Williams & Oscar Castro-Neves charting #17 Billboard + Top 30 on 5 other charts, and "Brazilica" featuring Darryl Jones, Larry Dunn, Teo Lima, Armando Marcal & Maestro Charles Floyd with The Bossa Nova Noites Orquestra)

"Stage" featuring Larry Dunn and Al McKay playing on UAC radio

5 songs from album playing on Sirius XM satellite radio on 5 programs (including "A Felicidade" featuring Paulo Jobim and Daniel Jobim)

9 songs from album playing / have played on over 50 stations in World Music / AAA / College formats

Album playing on streaming channels: The Brazilian Hour / Global Village / Sounds of Brazil / AccuRadio

With CNN International recognizing Alexandra Jackson in the vanguard of re-launching Brazil music as contemporary music in the world, the project is off to a great start.  Indeed, music from Ms. Jackson’s album is enjoying worldwide acceptance — playing in U.S., Brazil, Japan, Canada, Mexico, and across Europe, where the album debuted at #20 on World Music Charts Europe.



FOR YOUR GRAMMY CONSIDERATION: Ken Wiley - CUERNO EXOTICA


Ken Wiley
CUERNO EXOTICA
-FOR YOUR GRAMMY CONSIDERATION-

Best Latin Jazz Album
Best Arrangement, Instrumental or A Cappella
Best Recording Package
Best Engineered Album, Non-Classical


In his career, Ken Wiley has shown that, in the right hands, the French horn (which is usually heard backing other instruments) can be quite effective as a solo instrument in a wide variety of settings, from bebop to crossover, free explorations to World Music. Cuerno Exotica, a set of atmospheric originals and transformations of three standards, features Wiley’s French horn as the lead voice.

Wiley shares the spotlight with acoustic guitarist Mark Leggett and Dan Higgins who is mostly heard on flute. They are joined by a subtle and quiet rhythm section that includes the supportive and tasteful bassist Rene Camacho, drummer Bernie Dresel, and both Luis Conte and Kevin Ricard on Latin percussion plus the background riffing and harmonies of the Bolero Horns.

The music is relaxing, moving, and full of beautiful moments. A Latin-tinged version of Ravel’s famous “Bolero” is given fresh life. Cal Tjader’s “Black Orchid” has a light catchy rhythm that inspires excellent French horn and flute solos while McCoy Tyner’s modal piece “Sama Layuca” adapts well to this setting and has a spot for Higgins on tenor.

The other five selections are Ken Wiley originals with two of the songs being co-written by Leggett. Ranging from the easy-listening “Carilo” and the relaxed yet bluesy “Cubano Blue” to the mysterious melody of “Gato Magico,” the music casts a spell on listeners, drawing them into the subtle improvising, hypnotic rhythms, and quietly passionate themes. “Cuerno Exotica” and “El Gorrion” set moods that are both soothing and stimulating. This is music that is inviting and rewards close listening.


While the French horn has been heard as a solo instrument in jazz ever since Julius Watkins’ emergence in the mid-1950s, the number of great French horn soloists through the years can be counted on just two hands. Ken Wiley, who graduated from the Manhattan School of Music, has been one of the top studio musicians in Los Angeles for some time. In addition to performing on the soundtracks of television productions and movies, he has worked with Charlie Haden’s Liberation Music Orchestra, tenor-saxophonist Charlie Rouse, guitarists Grant Geissman and Mike Miller, and bassists John Patitucci and Jimmy Johnson among others. Wiley has also led several albums of his own including Visage, Highbridge Park (which blended his French horn with Afro-Cuban and South American rhythms), jamming a set of standards on Jazz Horn Redux, and most recently the soulful Urban Horn Project. 

Ken Wiley does not believe in repeating himself or staying in one musical genre for long. Cuerno Exotica is unlike any of his previous recordings. The memorable performances are quite haunting yet instantly likable, uncategorizable as anything but beautiful music.

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ALBERTO PIBIRI Upcoming Appearances + New CD "Jazz Legacy"


Upcoming Appearances

Nov 15,16,17,18 : Suncoast Jazz Festival with Professor Cunningham and his old School


Sunday, October 21, 2018

Chris Pasin "Ornettiquette" CD Release Shows 11/10 The Sanctuary for Independent Media 12/2 The Falcon


Chris Pasin
Ornettiquette 
CD Release Shows

Friday, November 10th 7:30pm
Sanctuary for Independent Media 
3361 6th Avenue North
Troy, NY 12181
(518) 272-2390

Sunday, December 2nd 8pm 
The Falcon
1348 US-9W
Marlboro, NY 12542
(845) 236-7970

Karl Berger vibraphone, piano
Ingrid Sertso vocals
Harvey Sorgen drums
Michael Bisio bass
Adam Siegel alto saxophone


Jazz trumpeter Chris Pasin releases Ornettiquette, a musical joyride of an album inspired by free jazz pioneers Ornette Coleman and Don Cherry

For his 4th CD as leader, jazz trumpeter Chris Pasin leads his vibrant band Ornettiquette in saluting NEA Jazz Master and Pulitzer Prize winner Ornette Coleman and his long-time collaborator Don Cherry

“Imagine standing on a beach with the tide tugging the sand away under your feet while still feeling grounded in sea
and sand and ski—absolutely thrilling.”
– Michael Hochanadel, Jukebox, The Daily Gazette

Ornettiquette, his adventurous band of inspired musicians, take a joyous look at the music of saxophonist/composer/innovator Ornette Coleman and his long-time sonic partner trumpeter Don Cherry. 

This is the fourth release as a leader for New York-native Pasin, a longtime practitioner of jazz from straight-ahead to avant-garde. "I became acquainted with the music of Ornette Coleman, Don Cherry, and Albert Ayler as a teenager, and played along with their records,” Pasin recalls. “A little later I transcribed ‘Ghosts,’ and started playing it with people, but it was not until recently that the idea of a band playing the music inspired by these heroes occurred to me, thus engendering Ornettiquette.”

Highlights among Ornettiquette’s eight compositions include:

“Ghosts” salutes its composer, Albert Ayler, with steady confidence, from the ethereal vocal/vibes/drums opening, through compelling trumpet/sax interplay, to a tender ending.

A chill-inducing rendition of “Lonely Woman,” among Coleman’s most renowned compositions, featuring an ominous bowed bass undercurrent, introspective vocal, and gripping trumpet solo.

Ornettiquette’s upbeat and jaunty take on the lilting melody of “Tomorrow Is the Question.” Check out the fine saxophone solo and propulsive drumming.

Chris Pasin, a long-time resident of New York’s upper Hudson Valley, earned a dual degree in classical and jazz trumpet performance at New England Conservatory. He has proved his bona fides in both forums, playing with the likes of Gunther Schuller, Toshiko Akiyoshi, George Russell, Jimmy Giuffre, Jaki Byard, Buddy Rich and a host of others. Chris has an affinity for collaborating with singers, working with legends including Frank Sinatra, Mel Torme, Nancy Wilson, Sarah Vaughan and Tony Bennett. 

This album marks the second collaboration between Pasin and producer Patricia Dalton Fennell on Planet Arts records. The first—2017’s successful holiday album Baby It’s Cold Outside—earned critical acclaim as well as a meteoric rise to the top 50 on the charts.

When Pasin sought musicians to accompany him on his adventures into Ornette Coleman/Don Cherry territory, he didn’t have to look far. Fellow Hudson Valley dwellers Karl Berger (piano/vibes) and Ingrid Sertso (vocals) had both played with Coleman and Cherry. With encouragement from the two icons, Berger and Sertso cofounded the Creative Music Studio in Woodstock in the early 1970s. The pair have played and collaborated with innovators including Don Ellis, Carla Bley, Sam Rivers, Pharoah Sanders, Dave Holland, Eric Dolphy, Steve Lacy, Ed Blackwell, Bob Moses, Pauline Oliveros, Nana Vasconcelos, Olatunji, and others.
Also joining Pasin on Ornettiquetteare:

Alto saxophonist Adam Siegel, who has fronted his own bands over the past decade as well as become an in-demand sideman. Recognized for his intense and original approach, the graduate of Philadelphia’s University of the Arts has played with everyone from Dick Oatts to Pete Seeger.

Bassist Michael Bisio has appeared on dozens of albums as leader, coleader or sideman with the likes of Matthew Shipp, Charles Gayle, Connie Crothers, Whit Dickey, Ivo Perelman, Barbara Donald, Newman Taylor Baker, Sonny Simmons and Sabir Mateen. The winner of multiple awards and grants, Bisio is also a widely respected composer and educator.

Drummer Harvey Sorgen has conducted workshops internationally and performed with Ahmad Jamal, Dave Douglas, Zakir Hussain, Wadada Leo Smith, Roswell Rudd, Levon Helm, Bill Frisell, Carlos Santana, Greg Allman, Jack DeJohnette, and more. 

With its invigorating and heartfelt sound, Ornettiquette is certain to delight jazz fans in the know, as well as be a great introduction to the music for the so-far uninitiated.

Karl Berger vibraphone, piano
Ingrid Sertso vocals
Harvey Sorgen drums
Michael Bisio bass
Adam Siegel alto saxophone

OCDC
Jayne
Ghosts
Tomorrow Is The Questions
Just For You
When Will The Blues Leave
Lonely Woman
PTU

Jared Gold “Reemergence” CD Release Show Saturday, October 27th 8pm @ Trumpets


Jared Gold
“Reemergence”
CD Release Show 

Jared Gold – organ 
Dave Stryker – guitar 
Ralph Bowen - sax
Billy Hart – drums

Saturday, October 27th
6 Depot Square
Montclair, NJ 07042
(973) 744-2600

Saturday, October 20, 2018

Greg Ruggiero, Murray Wall & Steve Little - It's About Time (FRESH SOUND NEW TALENT RECORDS 2018)


"This recording is dedicated to my parents, Camille and Lenny Ruggiero, from whom I inherited my love of Standards and Swing. For the past twenty years they have asked me to record a Standards album. It's About Time!"
-Greg Ruggiero

Greg Ruggiero (guitar)
Murray Wall (bass)
Steve Little (drums)

01. Gone With The Wind (Wrubel-Magidson) 5:08
02. April In Paris (Duke-Harburg) 4:46
03. I'll See You In My Dreams (Jones-Kahn) 3:58
04. Polka Dots and Moonbeams (Burke-Van Heusen) 6:22
05. Where or When (Rodgers-Hart) 5:56
06. If Dreams Come True (Sampson-Goodman) 5:00
07. Things Ain't What They Used To Be (Ellington-persons) 6:02
08. Liza (Gershwin-Gershwin-Kahn) 3:15
09. Don't Blame Me (Mchugh-Fields) 5:41
10. Tangerine (Schertzinger-Mercer) 5:19

Mixed & mastered by Walter Fischbacher
Photos & design by Gabriele Donati & Bjoern-ante Roe

Produced by Greg Ruggiero
Executive producer: Jordi Pujol

Gordon Beeferman - OTHER LIFE FORMS (November 13, 2018)


OTHER LIFE FORMS is an innovative avant-jazz quartet led by composer Gordon Beeferman (piano & organ), with Stephanie Griffin (viola), Pascal Niggenkemper (bass) and Andrew Drury (drums). Virtuosic, intense, and quirky, Beeferman's compositions have a unique approach to integrating complex written charts with collective improvisation. The members of O.L.F. are among the forefront of the creative contemporary music scene, and bring a wide array of experience and sensibility to the music.


Stephanie Griffin: viola
Pascal Niggenkemper: bass
Andrew Drury: drums

All compositions by Gordon Beeferman

1. Get Got
2. Creep
3. Bad Strategy
4. Path
5. Hourglass Daydream
6. Puddle Jump
7. That's a Wrap

Recorded January 21 and September 21, 2015 at Peter Karl Studio, Brooklyn, NY
Edited by Gordon Beeferman
Mixed by Gordon Beeferman and Kato Hideki
Mastered by Kato Hideki
Photography: Reuben Radding
Design: Cheryl Richards
Producer: Gordon Beeferman
Executive Producer: Andrew Drury
© 2018 Gordon Beeferman. All rights reserved
All compositions BMI

Pedro Velasco: Pedro Velasco Trio - EP (2018)


Pedro Velasco has been composing music for as long as he’s been playing guitar. Small ideas, jotted down on scrap pieces of paper, sometimes turned into big ideas written across large scores. Yet it wasn’t until recently, when he began having ‘casual plays’ with two exceptional musicians, Greg Gottlieb (bass) and Gaspar Sena (drums), that the essence of these ideas, and his music, begun to take their true shape. 

Velasco writes for the sake of expression, meaning, and relating – especially to his musical kin – with the hope audiences also enjoy his music for those qualities. He writes to be honest, true and real. 

His music dodges definition. Rather than trying to fit into categories that define jazz, you could describe it as music that cares for silence and space; harmonically simple but directly expressive; loaded with interaction and trust. It’s dreamy, filmic, minimalistic, and it asks for plenty of role-blurring. Everyone’s taking care of time, taking care of harmony, taking care of melody, taking care of improvising. And, as a musician, it means the constructs that define one’s role can fade away, so you can simply play. 

It’s music for music lovers, people who enjoy seeing the care that goes into composing and performing, and who connect with originality.



1. Valsa Destes Tempos 07:28
2. Filominor 06:36
3. Canção do Vidoeiro 07:13

Recorded live at Clonmell Studios by Freeze Productions 
Mixed and mastered by Freeze Productions 

All music by Pedro Velasco

Twin Talk - Weaver (Friday, February 8th 2019)


Since forming in 2012 Chicago’s Twin Talk has steadily drifted from the conventions of the saxophone trio. While reedist Dustin Laurenzi, bassist-singer Katie Ernst, and drummer Andrew Green are deeply rooted in jazz tradition, they’ve spent their time on the band stage together making their music more elastic, spontaneous, and open, embracing new inspirations without stifling the improvisational heart of their work. All three musicians are active members in the city’s bustling jazz community, each playing in numerous working bands, but they’ve found a true collective voice as Twin Talk. They’ve used live performances as opportunities to stretch—expanding on composed material and ditching set lists in favor of calling tunes on the fly—but on Weaver they’ve pushed themselves further than ever, using the recording studio as a place for experimentation, letting a new batch of compositions develop and take new shapes. As critic Howard Reich wrote recently in the Chicago Tribune, “These musicians listen keenly to one another, and with a sensitivity that only comes from familiarity and trust.”


Laurenzi spent much of 2016-17 on tour with Bon Iver, and when the group’s leader Justin Vernon caught a Twin Talk gig in Minneapolis he was knocked out and offered the trio a chance to record at his celebrated April Base studio. With five luxurious days at its disposal, Twin Talk recorded its new book of tunes as it had traditionally—live and unadorned. Then they spent the next three days reshaping the material with carefully plotted overdubs and edits, forging sleek arrangements with lush harmonies—the soulful, patiently accruing horn charts that limn the aching country-soul melody of “Folks,” or the ethereal wordless vocals of Ernst that float in deft unison with Laurenzi’s serene clarinet in the postlude of “Paxton,” the sole piece on the recording to splice two discrete sections to produce an intentionally jarring transition. 

Ernst is a genuine double threat, her muscular bass playing matched by a crystalline voice—an instrument of astonishing precision and clarity. Those talents have been recognized by many, including pianist and composer Jason Moran, who made her playing and singing an integral part of his monumental suite Looks of a Lot in 2015. Her vocals are featured on “Solace,” a ballad of disarming beauty, as a solemn delivery initially backed by sonorous double stops gradually opens up with Laurenzi’s sobbing commentary and Green’s increasingly forceful pulse. As the song reaches its conclusion the contained emotions seem to burst into tears, only for Ernst to deliver a serene coda streaked with hope. Most of the music on Weaver pushes through shifting terrain. “The Sky Never Ends” toggles between gossamer delicacy, pop-like splendor, and explosive exposition, while the gorgeously meditative “Five” offers an extended platform for Green’s melodic percussion before Laurenzi’s knotty tenor cries push toward a rewarding climax. Vernon’s enthusiasm for Twin Talk continues, as he ushers Weaver into the world through his eclectic PEOPLE platform on February 8, 2019.




1. Weaver
2. Five
3. Human Woman
4. Minature I
5. Folks
6. Blessing
7. The Sky Never Ends
8. Paxton
9. Solace
10. Miniature II

All songs by Dustin Laurenzi (BMI) except Human Woman, Solace, and Blessing by Katie Ernst (BMI)
Recorded July 31-August 4, 2017 at April Base Studios in Fall Creek, WI
Recorded and mixed by Zach Hanson
Mastered by Huntley Miller
Produced by Twin Talk and Zach Hanson

Sculpture and photos by Maren Celest

Layout by David Woodruff

Artist Facebook
Artist Website
Label Wesbsite

Tour Dates
10/22 - Hamtramck, MI - Trixie's
10/23 - Detroit, MI - Spread Art
10/24 - Cleveland, OH - The Bop Stop at the Music Settlement
10/25 - Pittsburgh, PA - Spirit Lodge
10/26 - Butler, PA - Butler Little Theatre
10/27 - South Bend, IN - Merriman's Playhouse

1/31/19 - Seattle, WA - The Royal Room
2/7/19 - Los Angeles, CA - Sam First
2/10/19 - Chicago, IL - The Hideout

John Blevins' MATTERHORN - Uzumati (EARS&EYES RECORDS 2018)


In pursuit of an expressive and lyrical musical voice that balances the intellectual and emotional and emphasizes the fleeting but compassionate nature of our human condition, Blevins created MATTERHORN. 

This album, Uzumati, recounts a journey through a remote mountain wilderness in the northern Sierra Nevada in 2008. 

Synthesizing elements of jazz, rock, funk, and the avant-garde, ​Uzumati ​fuses electronic sounds and effects with acoustic instruments into a natural and captivating whole. 

Based on the enigmatic history of the Yosemite region and its inhabitants, these compositions question what can be lost in translation over time. ​Uzumati roughly translates to “grizzly bear” in the Miwok language, but it is often incorrectly attributed to the name ​Yosemite​--a​ ​corrupted phrase meaning “they are killers.” 

Told through the blurred lens of a decade now past, it is a story of resilience and gratitude--a sonic depiction of expansive beauty and wonder filled with fearful reverence. While relating memories and impressions of mountain trails, passes, peaks, meadows, and lakes, this music also shares the challenges inherent in any worthwhile journey. 


As the band's name tells you, ​MATTERHORN​ has a passion for climbing heights – both musically, with an alternately soaring and stargazing sound, and literally, drawing inspiration from trumpeter-leader John Blevins' backpacking exploits in Yosemite National Park's Matterhorn Canyon. 

Matterhorn's new album ​Uzumati​, a follow-up to its acclaimed, Shane Endsley-produced debut, will be released on October 12, 2018, on ​ears&eyes Records​. With their exuberant jazz harmonies, indie rock touches, Balkan feels and reggae grooves, Blevins and company create an intriguing aural landscape to reflect on mighty Yosemite. 

"Our lives are so fleeting--there's a timeline in the mountains of which we really have no conception," said Blevins. "On ​Uzumati​ [a Native American term for grizzly bear], we tried to capture some of that feeling." 

Matterhorn boasts an imposing lineup of New York-based players including Blevins label mate ​Drew Williams​ on bass clarinet and tenor saxophone; his college pal ​Jeff McLaughlin​ on guitar, ​Jesse Bielenberg​ on bass, ​Nathan Ellman-Bell​ on drums, and ​John Doing​ on percussion. 

Most of the members also contribute synthesizer and other electronic effects that give the music a cinematic feel – sometimes suggesting the dramatic soundtracks of the late Icelandic ​composer Johann Johannsson. There's an American heartland sensibility in the songs as well.

John Blevins - trumpet, effects, synthesizers
Drew Williams - bass clarinet, tenor saxophone, effects, Microbrute
Jeff McLaughlin - guitar, effects
Jesse Bielenberg - bass, effects
Nathan Ellman-Bell - drums, cymbals, percussion, Roland SPD
John Doing - percussion, glockenspiel

1. Peeler 09:15
2. Fearsome Creatures 06:09
3. Coda 09:11
4. Uzumati 03:26
5. Sawtooth 06:02
6. Kerrick 03:07
7. Paiute 03:35
8. Ember Dance 08:08
9. Mono 05:01
10. Deacon's Son 04:19

Recorded at Indaba Music in Queens, NY by Matt Dickey
Edited by Matt Dickey, John Blevins, and Drew Williams
Mixed by Matt Dickey and John Blevins
Mastered by Joseph Branciforte at Greyfade Studios
Produced by John Blevins with Drew Williams, Jeff McLaughlin, Jesse Bielenberg, and Nathan Ellman-Bell
Executive Production by John Blevins and Jon Lijoi
Art/design by Federico Maksimiuk and Rocio Galarza

All compositions by John Blevins © and ℗ 2018 John Blevins Music (ASCAP), except "Fearsome Creatures" by Drew Williams © 2018 (ASCAP), “Mono” by Jesse Bielenberg and John Blevins © 2018 (ASCAP), and "Deacon's Son" by Philip Bradford Barr and Andrew Gilmore Barr with permission from Secret City Records © 2011.