Monday, September 6, 2021

Andre Petersen Quartet: Downtown Jazz Sessions (September 2021)

In this recording produced for the inaugural Downtown Jazz Sessions series in June 2017 in downtown Johannesburg, pianist, arranger, composer and Jazz educator Andre Petersen leads his own quartet to a sublime performance. Downtown Jazz Sessions was a 13 episode series produced in 2017 for South African TV channel Mzansi Magic, and showcasing some of the most exciting talents on the South African jazz scene. The recording demonstrates, if need be, the entire palette of talent that Andre had acquired over the years through his rigorous classical and jazz training, and through his constant, generous and curious exposure to a variety of music genres in South Africa and around the world. It is a beautiful reminder of the type of performer the world of Jazz has lost but we are grateful that, through his music, Andre Petersen Lives!

1. Wars of Perception 10:08
2. Vow to Praise 07:57
3. I Fall In Love Too Easily 06:33
4. Cape Doctor 03:31
5. Evidence 08:29
6. D'Julle Ons En Hulle 05:14

Band:
Andre Petersen - piano
Romy Brauteseth - double bass
Ayanda Sikade - drums
Sisonke Xonti - tenor and soprano saxophones

Produced by Militia Broadcast
Executive Producers - Eban Olivier, Aymeric Péguillan and Lance Sther

All revenue from sales will go to Andre's wife and daughter Chan and Zion

Lucas Santana 5tet - Reflections (September 2021)

Versatility, energy and musicality define Lucas Figueiredo Santana, 1993. Saxophone and flute player, the young Brazilian musician based in Amsterdam has shown a unique way to express himself through music, crossing over the Brazilian samba-jazz, Bossa Nova and Choro with Jazz.

International award winning musician such as Downbeat student award 2021, Keep an Eye Records - 2020 and and Latin Grammy Cultural Foundation - 2016, Lucas had the chance to share stage with big names of the jazz and Brazilian scene, for example Miguel Zenón, Dick Oatts, Seamus Blake, Jasper Blom, Hermeto Pascoal, Metropole Orkest and Four Tops and Temptations.

For the coming year Lucas is dedicating his time to the release his debut album named "Reflections" and will be out on April 23rd. “Reflections” is an album composed and recorded during the lockdown period of 2020 due to the Covid-19 world crises and aims to deliver some of Lucas’ personal reflections of himself and of the world through his music.

1. Intro 03:11
2. Heritage 06:16
3. Dear George 06:26
4. Trouble Maker 06:45
5. As if we were just friends 06:52
6. Alma 07:12
7. Around the world 07:48

Lucas Santana: Alto saxophone and compositions
Tijs Klaassen: Double Bass
Tim Hennekes: Drums
Davor Stehlik: Guitar
Jetse de Jong: Piano

Charley Rose Trio - Charley Rose Trio (September 2021)

Charley Rose Trio né à Paris, créateur de jazz foncièrement expressionniste. Un saxophone polymorphe qui déconstruit son son de la voix lyrique au crépitement d'élytre, une batterie presque immanente comme un feu de vie en toute chose et un piano d'une verticalité vertigineuse s'approprient les musiques d'aujourd'hui et en expriment le jazz par le prisme d'une subjectivité galopante.

1. Arrêtes le temps 05:05
2. Porky 04:36
3. If I should loose you 03:19
4. Pig's mess 06:34
5. Polish Poem 05:35
6. Hommage à la fonction OH 06:55
7. Blues Vache 03:39
8. No sé como te llama 07:11
9. Pit's belly before the great "Yes" 02:25
10. U.M.M.G. 03:34

Enzo Carniel: piano, MS20
Ariel Tessier: drums
Charley Rose: Alto saxophone

Andy Hay - Another Sun (September 2021)

1. Another Sun. 04:45
2. Hey Ra ! 05:47
3. Ramsey 06:06
4. Delta 04:30
5. Donalds Byrds 03:08
6. Passage 03:41
7. The Question of the human sound. Pt 1 and 2. 11:58

Andy Hay - Drums, percussion spoken words
Chris Cruicks - Congas, Bongos, hand held percussion
Nicki Dupuy - Double Bass, percussion
John Ellis - Piano, guitar
Matt Nickson - Tenor sax, Flute
Helen Pillinger - Tenor Sax
Judy 'Little' Green. Spoken Words
Helena Summerfield - Flute , Soprano sax
Ben Walker , Pipes, Flute
Johnny Haycock - Kora
Clive Hunt Electric bass
Peter Churchman Guitar

Sound engineer and mixing mastering - Will Falkiner

Recorded at Limefield studios, Middleton Greater Manchester

All music copyright- Andy Hay

Rönkä / Sommer - Varo (with Remmel & Sarikoski) September 10, 2021 Eclipse Music

1. Introduction to Sörnäinen
2. Sörnäinen
3. Blues
4. Varo
5. November
6. Beyond
7. What If?
8. En mi bémol

Artturi Rönkä - piano
Daniel Sommer - drums
Heikko Remmel - double bass
Kasperi Sarikoski - trombone (tracks 2 & 6)

All music composed by Artturi Rönkä except "Sörnäinen" by Daniel Sommer

Hirofumi Asaba - Live at Izumiya (September 2021)

Live at Izumiya is the fourth solo jazz guitar album by Hirofumi Asaba.

5 tracks in this work are his favorite and Hirofumi played them as he likes.

It expresses free atmosphere which is different from the previous albums he has ever released so far.

Enjoy his free-floating album!

1. Fly me to the moon 03:31
2. Smile 03:57
3. I found a new baby 02:03
4. If I had you 04:44
5. I got rhythm 02:35

Mark Jenkins & Friends: Live at Armstrong Auditorium (2021)

Born to a family of musicians, Oklahoma-based pianist, singer, composer and arranger Mark Jenkins has performed alongside such greats as Branford Marsalis and Brian Stokes Mitchell. He is joined by an all-star lineup of acclaimed Oklahoma musicians for this album.

Mark has been featured on 9 albums, and he has starred in leading roles in 6 musicals staged at Armstrong Auditorium.

1. Sweet Georgia Brown 06:06
2. How Deep Is the Ocean 04:45
3. The Next Day 06:02
4. On the Street Where You Live 02:54
5. Summertime 05:53
6. Take the A Train 08:01
7. Hallucinations 01:52
8. Stardust 06:00
9. Mozartin' 04:59
10. Do You Know What It Means to Miss New Orleans? 05:11
11. A Nightingale Sang in Berkeley Square 04:31
12. The Very Thought of You 08:40
13. Encore: Basin Street Blues 08:13

Mark Jenkins, piano and vocals
Jemar Poteat, drums
Raul Reyes, bass
Vince Norman, tenor and baritone saxophone
Floyd Haynes, clarinet and alto saxophone
Zac Lee, trombone
Jay Wilkinson, trombone
Ryan Malone, vocal

Richard D. Johnson - "First Glance" via Afar Music 2021

Pianist Richard D. Johnson Presents His Expressive New Release, First Glance
via Afar Music

Pianist and composer Richard D. Johnson is proud to announce the release of his latest recording, First Glance, via Afar Music. The product of a spontaneous recording session, this all-original program showcases the Chicago-based pianist and composer at his musical prime. Touching on the overwhelming sensation that the sight of beauty can elicit, First Glance promotes a positive worldview and a melting pot of experiences.

Inspired by a rollover window of studio time, Johnson’s sixth release as a bandleader took form spontaneously after the pianist joined saxophonist Sharel Cassity for her 2020 recording Fearless. The ensemble, comprised of ace bassist Alex Claffy and high-powered drummer Mark Whifield Jr., had just finished recording Fearless on day one out of two booked at Victorian Studios in Chicago. With the spirit of Cassity’s album in mind, the crew seized the remaining studio session to record eight of Johnson’s own tunes, learning them all in one evening. With organist Paul Mutzabaugh added to the lineup, First Glance is a luminous display of individual talents melded into one cohesive whole.

Much of the material on First Glance calls upon Johnson’s time spent traveling and performing in the Midwest and Middle East. The album opener, “The Cut Off,” specifically observes Johnson’s period in Doha, Qatar, amidst a moment where he witnessed the country’s driving spirit to survive at all costs and become self-sufficient.
Photo Courtesy of Richard Johnson

Traversing decades of rich life experience and musical creation, “Soprano Blues” is a song Johnson stumbled upon when convening the album, a tune he wrote at the age of seventeen with a simple ¾ waltz tune. Speaking more to the present, “No WiFi” is a commentary on a distinctly modern sensation that arises when there is no internet to be found. As this expression tends to get repeated over and over, Johnson wrote in a looping part at the end, influenced by the sound of a “broken record” skipping repeatedly on the same part. 

One particular highlight for Johnson is “Last Minute,” a track he wrote as a tribute to his mentor, Mulgrew Miller. This original pays homage to Miller’s track “The Eleventh Hour” and features several musical elements that Johnson learned from his mentor. 

Sunday Devotion,” closes off the album with a nostalgic tone. Celebrating his upbringing in the Baptist Church, the younger Johnson would play piano alongside his father on organ. Evoking a Sunday morning service, feelings of gratitude and discipline flow alongside the resonant keys of Mutzabaugh’s organ.

“First Glance is really about people who see something and are overwhelmed with the beauty right at first glance,” Johnson shared. “The album is a journey through that first glance and each song is an individual experience translated into music.” 

1. The Cut Off (5:44)
2. First Glance (4:00)
3. Soprano Blues (4:02)
4. No Wifi (3:22)
5. Sunset (6:08)
6. Trapped (5:30)
7. Last Minute (5:08)
8. Sunday Devotion (5:49)

All music composed by Richard Johnson

Richard Johson, piano
Sharel Cassity, alto (1,2,4,7), soprano (3,5,6), tenor (8) saxophone
Alex Claffy, bass
Mark Whitfield Jr., drums
Paul Mutzabaugh, organ

Saturday, September 4, 2021

William Parker & Patricia Nicholson - No Joke! (October 29, 2021 ESP - Disk')

“He stands now as one of the most adventurous and prolific bandleaders in jazz.”
— David French, DownBeat

“William Parker pursues spirituality through hard work. He plays bass as if reaching heaven is a matter of steadily, repeatedly knocking until someone opens the door; he's one of the avant-garde jazz players most dedicated to the pursuit of higher purpose and heightened awareness in music, and he approaches it with a heavy, elemental tone.”
— Chris Dahlen, Pitchfork

“Patricia Nicholson… is also an outstanding poet and dancer.”
— Chris Tart, DownBeat

“Parker's creative energies have made him the unofficial mayor of the New York improvisational scene.”
— Piotr Michalowski, Ann Arbor Observer

William Parker is a towering figure in 21st century avant-garde music, widely recognised as a crucial link to the heart of free jazz, and a true heavyweight of the double bass.”
— Daniel Spicer, BBC 

1. Flare Up
2. Little Black Kid with the Swollen Stomach
3. Struggle
4. Wilted Light as Flower
5. No Joke

2/4: William Parker, bass; James Brandon Lewis, tenor sax; Devin Brahja Waldman, alto sax; Francesco Mela, drums, vocal on 2
1/3/5: William Parker, bass; Patricia Nicholson, spoken word, James Brandon Lewis, tenor sax; Devin Brahja Waldman, alto sax; Melanie Dyer, viola; Gerald Cleaver, drums

All music by William Parker, centering music. All words by Patricia Nicholson except “Little Black Kid with the Swollen Stomach” by William Parker.

Recorded (2/4: July 30, 2020; 1/3/5: September 5, 2019) and mixed at Park West Studios by Jim Clouse.
Cover art and packaging layout by Bill Mazza Studio.

Larry Ochs & Donald Robinson - A Civil Right (2021 ESP - Disk')

This duo’s second and definitive recording will be released on ESP-Disk' - the legendary free jazz label where Albert Ayler released his breakthrough recording in 1964, the first jazz recording on ESP. A lot has changed since 1964, but a lot and perhaps too much remains virtually the same. So their "free jazz" music, while influenced by many musical discoveries and sociological developments that have become part of the firmament over the past 50+ years, still celebrates and revels in the spirit of Sixties free jazz.

Ochs is a founding member of the great ROVA Saxophone Quartet, one of the Bay Area’s avant-garde treasures since 1978. Robinson – “a percussive dervish,” according to Coda – was the drummer of choice for ROVA’s revivification of John Coltrane’s Ascension. The East Bay Express has said of the saxophonist’s sound: “Ochs’ full-bodied tenor is out of the John Coltrane/Albert Ayler ‘free’ tradition: forceful, passionate… talking-in-tongues,” while the Chicago Reader said about the drummer and his relationship with Ochs, “Robinson is neither flashy nor explosive, but his playing has heft and he covers lots of ground – he can maintain a feeling of order while playing meter-less rhythms or transform the pulse of jagged post-bop until it’s almost abstract. He’s a good match for Ochs, and over the decades the two of them have developed a fine-tuned rapport.”

Although Ochs and Robinson have collaborated in various groups for more than 20 years – including in the trio What We Live with bassist Lisle Ellis – their duo is a recent phenomenon, having developed over the past couple of years. Ochs says, “Our playing together has evolved to a really special place, I think. We’re definitely coming out of the tradition of horn-drum duos from John Coltrane & Rashied Ali to Wadada Leo Smith & Billy Higgins, but we’ve found our own space after a long stretch of shows together. Our set will include new, original material, with some high-energy playing and things that are more spatial, as well as some homages to more popular music. In a sparse setting like this, the music hits a listener right away – nothing is obscured, everything is clear.” 
1. Arise the Poet 12:33
2. Yesterday and Tomorrow 08:57
3. A Civil Right 05:36
4. The Others Dream 13:03
5. Regret 05:49

Larry Ochs, saxophones
Donald Robinson, drums

East Axis - Cool With That (2021 ESP - Disk')

Allen Lowe says: “To me, free improvisation is another form of narrative, just as linear in terms of the consciousness of moving from one place to another, as any kind of storytelling. Yes, anyone can do it, you might say (and this is an old argument in jazz circles) but not everyone can do it with purpose and form and like they really mean it. This group is the epitome of all that has changed for the better in jazz in the past 50 years, and I am thrilled to be in it.”

Kevin Ray says: “This band is both exhilarating and terrifying to play with. You never know where the music will go, just that it’s somewhere exciting, and you hope you can keep up. Allen has a wonderful sense of melody, Matt is an endless font of ideas, and this rhythm section is a dream to be in—Gerald is tasteful, stunningly creative, and grooves like hell. I’m so glad to be a part of it.”

Matthew Shipp says: “I am always looking for new situations to renew who I am and the language I am involved with—this group has allowed me to reboot my brain. Allen is a unique figure, who is unlike anyone I play with in any other situation. Kevin has a delicious cross section of experience over several genres that gives him a different look than a bassist who might be seen as the usual in the idiom. Gerald—who I have a history with—is different now because he has had such a deep and cross section of experiences since then. The music this group makes is unique. I really enjoy playing with these gentlemen.”

Gerald Cleaver says: “To paraphrase Miles Davis, ‘This is social music.’ My take on free jazz is that it’s not free at all, rather (in my mind) many, many contexts and frames of reference held at once. Playing this set with Matt, Allen, & Kevin took me through some really nice interactions and reaffirmed for me that the roots of this music are still strong.”
1. A Side 12:10
2. Oh Hell I Forgot About That 10:41
3. Social Distance 06:10
4. I'm Cool With That 07:35
5. One 28:29

Matthew Shipp: piano
Allen Lowe: alto and tenor sax
Gerald Cleaver: drums
Kevin Ray: bass

All compositions by Shipp/Lowe/Cleaver/Ray.

Recorded, mixed, and mastered, by Jim Clouse at Park West Studios in Brooklyn, NY, August 9, 2020.
Album design and 3D renderings by Pablo A. Medina.
Produced by East Axis and Steve Holtje.

Michael Bisio / Kirk Knuffke / Fred Lonberg-Holm - The Art Spirit (2021 ESP - Disk')

This music is inspired by Robert Henri (June 24, 1865 - July 12, 1929) artist, teacher, writer and an organizer of the group known as "The Eight," a loose association of artists who protested the restrictive exhibition practices of the powerful, conservative National Academy of Design.

1. Not a Souvenir of Yesterday 05:10
2. r. henri 07:49
3. Both Keys Belong to You 11:17
4. Use Them 06:51
5. Orange Moon Yellow Field 05:35
6. Things Hum 05:03
7. Like Your Work As Much As 11:01
8. A Dog Likes to Gnaw a Bone 09:08

Michael Bisio: bass
Kirk Knuffke: cornet and soprano cornet
Fred Lonberg-Holm : cello/electronics
Recorded 24 September 2018 by Eli Winograd at Lone Pine Road, Kingston NY

“r. henri,” “Orange Moon Yellow Field,” and “Things Hum” composed by Michael Bisio, AMB Music ASCAP. All other compositions by Michael Bisio, AMB Music ASCAP; Kirk Knuffke, BMI; Fred Lonberg-Holm, BMI.
Band photo by Peter Gannuskin.

Jeff Pearring - Pearring Sound Socially Distanced Duos (2021)

UPCOMING LIVE APPEARANCES

Wednesday, September 29th 8pm
Pearring Sound
Appearing
at
636 Dean St
Brooklyn, NY 11238 

Pearring Sound
Jeff Pearring, alto sax
Ron Horton, trumpet
Russ Lossing, piano
Adam Lane, bass
Billy Mintz, drums

This event can also be live-streamed up to 72 hours after the performance.

During the last part of the COVID era, altoist Jeff Pearring offers a set of duets that, while socially distanced, feature close communication with a variety of fellow greats

Musicians Names + Instruments: Billy Mintz, drums 1,2, Cameron Brown, bass 5,6, Claire de Brunner, bassoon 3, Daniel Carter, soprano saxophone 7, Francisco Mela, drums 8, Ken Filiano, bass 4, Jeff Pearring, alto saxophone all tracks

2020 was an extremely difficult year for all musicians but some took advantage of the extreme limitations to express themselves in unique ways. Alto-saxophonist Jeff Pearring, who under the group name of “Pearring Sound” normally leads units ranging from trios to a quintet, wanted to interact with other inventive musicians but in a safe manner. He decided to play duets with six diverse but very talented musical partners, resulting in the eight selections that comprise Pearring Sound Socially Distanced Duos.
 
“Twisting Pavement,” the first of two duets with Billy Mintz (leader of the ten-piece Two Bass Band and a drummer who has had important associations with the likes of Mike Garson, Vinny Golia, Bill Mays, Charles Lloyd, and Alan Broadbent among countless others), begins with Mintz setting the mood before Pearring constructs a melodic and rhythmic improvisation. They also team up together on “Time In Isolation,” a relaxed jazz waltz that serves as a showcase for the altoist.
 
Alto-bassoon duets are not exactly common, but there are few improvising bassoonists with the abilities of Claire de Brunner who studied with Lee Konitz and Connie Crothers and has worked with some of the most adventurous musicians in the New York area. On “Shapeshifter,” she is very much an equal partner with Pearring as they inspire each other during their passionate encounter. Ken Filiano has been an important bassist since the 1980s, working with Vinny Golia, Anthony Braxton and the who’s who of the avant-garde, appearing on over 150 albums. He pushes Pearring throughout “A Continuous Conversation Renewed,” coming up with a nonstop flow of creative ideas while swinging throughout. Bassist Cameron Brown worked extensively with Sheila Jordan, the Don Pullen/George Adams Quartet, Archie Shepp. and Dewey Redman. He performs Miles Davis’ “Solar” and the playful “No, We Don’t” with Pearring, playing subtle and inventive lines. Saxophonist Daniel Carter, who has had important associations with William Parker and Matthew Shipp and has led at least 50 albums of his own, plays soprano-sax on “Present Value Impact, the Gift,” a pretty ballad that features the two horns spontaneously harmonizing with each other. Francisco Mela has played drums with an endless number of top artists from the jazz and Latin music worlds including Joe Lovano, McCoy Tyner, and Chucho Valdes. He teams up with Jeff Pearring on the set’s final duet, “Extempore Arquitectura,” an episodic musical adventure that begins with quite a bit of fire before becoming lyrical and wistful. 
 
Jeff Pearring was born in Colorado, started on the alto saxophone when he was ten, and had a career in economics before switching to music. He worked early on in classical music, ska and reggae, but turned towards jazz, studying with the late pianist-educator Connie Crothers, one of his mentors. With his constantly evolving Pearring Sound, the altoist recorded What Had Happened in 2016 (featuring electric bassist Adam Lane and drummer Flin van Hemmen), 2018’s True Story (Connie Crothers’ last recording which also includes Ken Filiano and drummer Carlo Costa), and Nothing But Time (2019) with bassist Lane and drummer Tim Ford.
 
Socially Distanced Duos is the most unusual of the Pearring Sound recordings but is quite timely and features Jeff Pearring in top form as the COVID era finally begins to end.

1. Twisting Pavement 6:45 
2. Time in Isolation 8:45 
3. Shapeshifter 4:42 
4. A Continuous Conversation Renewed 5:32 
5. Solar 3:12 (Miles Davis) 
6. No, We Don’t 3:11 
7. Present Value Impact, the Gift 3:55 
8. Extempore Arquitectura 5:49

All tracks composed by Pearring Sound except where noted

AVAILABLE FROM: Amazon, Apple Music, CD baby, all streaming services

Coming Yesterday - Live at Salle Gaveau 2019 (vinyl) - Martial Solal (September 2021 Challenge Records)

Coming Yesterday is the recording of what turns out to be Martial's last concert, he decided to stop playing piano after that show:

Martial Solal
"When I walked onto the stage on January 23, 2019, I did not yet know that I would decide not to play piano anymore after this concert, more than seventy years after my debut. To maintain a certain level, this instrument requires your daily attention; it requires delicacy, brutality, and especially energy. I have lived with these demands all my life, with the joy of seeing the progress, the technical and musical advances, the rhythmic and harmonic enrichments that we acquire over time. Of course, everything goes very fast at first. As long as you are gifted, if you spend a little time on it, if you listen to what was done before you, if you choose a path, everything may seem easy. Progress is rapid, illusions are immense, and then walls arise, walls that you want to reach and overcome. Seventy years to achieve this is a minimum... When energy is no longer available, it is better to stop.

I had the impression on January 23 of having reached the beginning of a path that I would have liked to continue, after so many years of improvisation, of creation, based on what are called standards, which I call pretexts, challenges, essay topics that you can develop in a thousand and one ways according to the evolutions that arise in your mind or in your circle of musicians. The standards have gone out of fashion, replaced by other themes that most of the time may not have the qualities to become standards, the so-called “originals”. All musicians considered themselves composers, free jazz burst onto the scene and swept away old themes, eliminating the difficult rules of stability of tempo, harmony and melody. Some standards have survived, and those you will discover can be described as indestructible. They are always only pretexts for expressing ideas, but with relaxed rules, the rubato being entitled to be cited as well as accelerations, atonality or the absence of a continuous tempo.

That is what I was thinking on January 23. Part of this concert seems to reflect my knowledge to this date. For me, jazz remains that of the twentieth century, the one that saw the birth of New Orleans, middle jazz, be-bop, and free jazz. The first three of these jazz eras were built on ternary rhythms. Charlie Parker may have been the first to use sixteenth notes on a medium tempo, abolishing the necessity of this permanent balancing called swing that has disappeared in this form with the emergence of binary rhythms and phrasings. This style of rhythm no longer corresponds to what I considered essential. I preferred a greater freedom, playing on the melting of keys, rhythms, duration, style, rather than on the forced slavery of the “new” ones. Great freedom requires a lot of work. I’ve done my share. I want to thank those who helped me, who helped me progress thanks to their encouragement or criticism, to those who were kind enough to play alongside me, for me, who often played my compositions for years. Too bad for all those who have missed out what I have tried to offer them. Progress is a very selfish happiness. I feel as if I have sown a blade of grass during this concert, showing a direction that I would like to see continue. In some places, this grass has already grown enough to be considered a musical testament… improvised''
1 I Can't Get Started 06:55
2 Coming Yesterday 11:40
3 Medley Ellington 07:05
4 Sir Jack 04:36
5 Tea for Two 06:38
6 Happy Birthday 04:35
7 Lover Man 09:25
8 I'll Remember April 04:54
9 My Funny Valentine 05:59
10 Have You Met Miss Jones 04:26

Friday, September 3, 2021

Reinhardt Winkler - Lets Face the Music (September, 3 2021 Challenge Records)

Reinhardt Winkler ft. Harry Allen, Simone Kopmajer, John Di Martino, Boris Kozlov and Wolfgang Puschnig!

Reinhardt Winkler: I’ve known most of the songs of my new album for a long time. As a child, I got my first jazz records and all the songs were on it. I fell in love with this music, the sound, the instruments, the vibe, I just liked everything. Over the years I’ve always stayed tuned to these particular songs and some of them have become my absolute favorites. So I decided to record these songs with musicians I appreciate so much.

Reinhardt Winkler is a jazz drummer, composer and music educator.

Teaching experience: Since 1993, he has taught at the music school in Kirchschlag i.d. Buckligen Welt. He has also led many workshops in Austria, as well as other countries. Since 2013, he has taught drumming at the Wimmer Gymnasium in Oberschützen in cooperation with the Kunstuniversität Graz.

As a performing jazz drummer, he has toured for many years throughout Europe, the USA, and Asia, and worked with cutting edge artists such as Wolfgang Puschnig, STS, Terry Myers, Jamaaladeen Tacuma, to name just a few.

1 Don't Be That Way 04:22
2 Let's Face the Music and Dance 04:22
3 Let the Drums Speak I 01:59
4 Mr. Bojangles 04:32
5 Beatrice 04:17
6 Lucky Mojo 03:44
7 Emily 05:19
8 Let the Music Speak II 01:42
9 Idaho 04:35
10 Poinciana 04:50
11 Flamingo 04:35
12 Why Should I Care? 03:48

Simone Kopmajer, voice
Harry Allen, tenor sax
Wolfgang Puschnig, sax
John di Martino, piano
Boris Kozlov, bass
Reinhardt Winkler, drums

Renee Rosnes | "Kinds of Love" | Available September 3 via Smoke Sessions Records


On Her Upcoming Album, Kinds of Love,
Pianist and Composer Renee Rosnes
Honors and Celebrates Love Through
Nine Brilliant New Compositions

The Recording Features a Stunning All-Star Band
with Some of Her Favorite Collaborators,
Chris Potter, Christian McBride, Carl Allen and Rogério Boccato

Kinds of Love is Set for Release September 3
on Smoke Sessions Records

This strange last year has been a time of reflection and contemplation for many of us, cut off from the people and the things that we love. Pianist and composer Renee Rosnes has emerged with a reinvigorated appreciation for the many different shapes that love can take. Her breathtaking new recording, Kinds of Love, is both a celebration of and a meditation on the myriad forms it’s taken in her own life – romantic love, love of family, of nature, of the arts and of close relationships she’s forged with many of her fellow musicians (including the critically acclaimed ARTEMIS, the international all-star group of which Rosnes serves as musical director).

Due out September 3 via Smoke Sessions Records, Kinds of Love is in itself a manifestation of a few of those ideas. The staggering all-star quintet that Rosnes assembled for the occasion – saxophonist Chris Potter, bassist Christian McBride, drummer Carl Allen, and percussionist Rogério Boccato – represent a deep web of friendships and collaborations stretching back decades in some cases. And for many of them, the recording date marked one of their first times back in a studio after the long dry spell of 2020. Rosnes seized the opportunity to craft a full album’s worth of new compositions, conceived with these particular voices, and their singular combination, in mind.

“I’ve tried to look at the pandemic as a gift of time, and the knowledge that I would soon be recording with my friends inspired much of the music,” Rosnes says. “It was thrilling to experience the humanity of making music again in the moment. Each of these musicians are profound, humble virtuosos and, on a human level, enlightened spirits.”

For Rosnes, Potter and McBride, Kinds of Love is a reunion of sorts; the three last recorded together on Rosnes’ acclaimed 1997 Blue Note release As We Are Now. The new album marks Potter’s fifth recording with Rosnes, including 1995’s Ancestors, Life on Earth (2002), and the 2018 Smoke Sessions release Beloved of the Sky. While she’s performed with Allen many times over the years, she was thrilled to have him join her on this project. Boccato is the pianist’s most recent acquaintance, a meeting facilitated by their shared experience with the tenor saxophonist Jimmy Greene.

“We are longtime friends who share a lot of history and camaraderie,” Rosnes says. “Having an unusual amount of quietude to work kept me creatively motivated during the past year. As I composed, I thought about each musician’s essence, and was truly inspired by all the possibilities.”

The love of family and the finer things are showcased on the album’s vibrant cover photo. Rosnes is seated on a raffia-upholstered club chair created by her nephew Aaron Aujla, the celebrated designer and co- founder of Green River Project. She’s also wearing a one-of-a-kind garment made from antique textiles, created by the award-winning Menswear designer and founder of BODE, Emily Adams Bode, who is Aaron’s fiancée.
The respect and love that these five musicians feel for one another and for the act of making music together is abundantly, joyously clear throughout Kinds of Love; just witness the boisterous groove laid down by McBride, Allen and Boccato on the fervid opener, “Silk,” or the playful back-and-forth between Rosnes and Potter on “The Golden Triangle.” The latter was named in honor of the Village Vanguard, whose iconic stage has seen its fair share of such vivid interplay.

“Silk” is a dedication to the pianist and composer Donald Brown, with whom Allen worked for a number of years. Rosnes’ longstanding fondness for Brown’s work is evident in the fact that she recorded his piece “Playground for the Birds” on her 1990 self-titled leader debut. “Donald’s music is extremely lyrical and harmonically complex but at the heart of it is always the dance of the drums,” Rosnes points out. “Carl, Christian and Rogério’s hookup drove the band from beginning to end.”

But fittingly given the album’s title, that infectious exuberance is far from the only mood explored on this rich album. The past year has also brought troubling aspects of modern life into stark relief, and Rosnes has spent her fair share of time pondering those unresolved issues. The fact that many of them are deeply rooted in people’s inability to recognize, honor or respect other kinds of love influenced her as well.

The title track aches with a fragile beauty illuminated by Allen’s cloud-like brushes and Boccato’s shimmering percussive touches; “Evermore,” which began as an improvisation on a Bach Sarabande, is an elegiac, graceful ballad as intimate as a silent prayer.

Passionately introduced by Boccato’s deft percussion, “Life Does Not Wait (A Vida Não Espera)” ponders the fleeting nature of life with an elegant pas de deux between Rosnes’ piano and Potter’s flute. And “Blessings in a Year of Exile” tenderly expresses the gratitude for what we have in light of the things so many have lost.

Love of nature has been a key element in much of Rosnes’ music, and the pandemic afforded her the opportunity to reaffirm her reverence for the flora and fauna surrounding her home. “In Time Like Air” is one result, inspired by the song of a persistent yet stubbornly unidentifiable bird that became a frequent visitor to her backyard. The Brazilian-hued piece also marks the first time that Rosnes has recorded on Fender Rhodes and on vocals, as she intones the wordless melody with Boccato.

“Passing Jupiter” moves from the earthbound to the cosmic, launching off from a phrase that Lester Young played on his 1957 Newport Jazz Festival performance of “Polka Dots and Moonbeams.” The celebratory mood returns on “Swoop,” with musical ideas bandied back and forth between the players like a bouncing ball. “It was a great feeling to be able to make music in the moment again,” describes Rosnes. “I think this recording reflects an explosion of creativity. You can feel the energy of our connectedness, and I think maybe there was an extra spark of love in the music too.” 

"Kinds of Love" was produced by Paul Stache and recorded live in
New York at Sear Sound's Studio C on a Sear-Avalon custom console
at 96KHz/24bit and mixed to ½" analog tape.
Available in audiophile HD format.

Renee Rosnes · Kinds of Love
Smoke Sessions Records · Release Date: September 3, 2021

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Steven Bernstein - Tinctures In Time (Community Music, Vol. 1) September 3, 2021 Royal Potato Family

Tinctures in Time is the first original music Bernstein has ever written for the MTO, which from the beginning had exclusively been a vehicle for his arrangements of other people's songs, from Count Basie to Prince. Most of the album was composed in 2019, a tough year for Bernstein: Henry Butler had recently passed, and there were serious injuries and death in his immediate family. Like a lot of people do, Bernstein got through it by working. "I was spending a lot of time on planes, going to visit people in hospitals," he says. "So what else am I going to do with my time? I ended up with all this music."

"The tincture of time" is a phrase Bernstein's father, a doctor, uses for when there's nothing to be done but wait for something to heal; the relevance of time as healer for Bernstein himself is clear. He altered the phrase so it makes a little reference to a favorite Sly Stone tune. And "tinctures," Bernstein says, also refers to "things that people take to give feelings of euphoria." It's why he calls this "cannabis music."

"Cannabis music" is part of a tradition that extends back to the very beginning of jazz: what was known in the 1920s as "viper music." But the influences here include not just jazz but funk, various kinds of African music, and Minimalism. It adds up to "a sense of music not of this world," Bernstein explains, "an altered state that you can kind of lose yourself in. Tinctures in Time is in the tradition of trance music."

"One of the things that Henry and I really bonded on," he continues, "was we both felt that music was not just notes and rhythm — when we play music it's really about transformative experiences: that was our goal." Or, as Fran Lebowitz once said, "music is like a drug that doesn't kill you."
So Tinctures in Time doesn't have to resort to the usual trippy signifiers like weird sound effects and tons of reverb — although if you want a classic psychedelic sound, look no further than Charles Burnham's mind-bending wah-wah violin on the majestic and mysterious "High Light." With its interlocking parts and inexorable rhythmic undertow, "Show Me Your Myth" is slow-motion funk, with a sleek pulse that harks to In a Silent Way and On the Corner. Ever-changing and richly hued, "Quart of Relativity" is fodder for vivid mind-movies.

The Millennial Territory Orchestra had never featured the guitar prominently, but Bernstein had just come back from working with Los Lobos, and David Hidalgo's guitar was fresh in his mind. Here, for the first time in the MTO, Matt Munisteri's guitar is often front and center, or even all by itself: note his face-melting solo on "Planet B."

The album's emotional center is "Angels," as moving as anything Bernstein has ever done. It's a song that needs no words, with lyrical solos that speak as clearly as any voice. "This is who I am," Bernstein says. "I've been through a lot of stuff. But I don't think this song is sad, necessarily — it's just emotional." And the MTO is right there with him, sharing the load — there might not be any moment in all of the Community Music series that more clearly shows how this band is truly a community, a powerful expression of all those years of friendship and music-making.

Bernstein had also recently worked with the great Senegalese musician Baaba Maal and then Little Feat, powerful experiences that influenced a still-evolving musician. You can hear elements of those artists as well as Duke Ellington, Fela, and the Band but Tinctures in Time is indisputably, as Bernstein's longtime friend and co-conspirator Hal Willner once put it, "Bernstein music.” 

1. Planet B
2. Quart Of Relativity
3. Angels
4. Show Me Your Myth
5. High Light
6. The Gift
7. Satori Slapdown
8. Angels Too

Steven Bernstein - Trumpet, Slide Trumpet & Flugelhorn
Curtis Fowlkes - Trombone
Charlie Burnham - Violin
Doug Wieselman - Clarinet, Tenor Saxophone
Peter Apfelbaum - Tenor Saxophone
Eric Lawrence - Baritone Saxophone
Matt Munisteri - Guitar, Banjo
Ben Allison - Bass
Ben Perowsky - Drums

JK Group - What's Real EP (September 3, 2021 La Sape Records)

JK GROUP IS:
A collective of forward-thinking "jazz" musicians from Australia. We owe our thanks and gratitude to the founding mothers and fathers of the music people call jazz. We respect and continuously study their legacy whilst embracing our current surroundings in making music that honestly reflects our time and space.

THIS RECORD IS:
The second batch of tunes we hit record on, though the sessions could not have been more different to the first. Where The Young Ones was meticulously planned, this recording was made on a whim as the busy touring musicians happened to line up their respective touring schedules at the same time. Many of the songs were just sketches, musical experiments that were leaping off out of the territory of the first record and pushing the sound in a number of different directions at once. Some tunes were still in progress right up until the moment of recording, and one was written on the spot in the studio. There was no focus or talk of outcomes for a future release. As with all experiments, some songs did not make the cut. But the selections that have made it onto this vinyl really capture the magic and spontaneous energy of the session with the musicians in full flight, in sync. We welcome Phil Stroud to the collective to offer up a rework of one of these tracks, and further deepen the dialogue between jazz and electronic music.

THIS MUSIC IS:
Conceived, written, recorded, and printed on land that historically belongs to the Wurundjeri people of the Kulin Nation. We acknowledge the traditional owners and pay our respects to Elders, past, present, and emerging.

THIS LABEL IS:
Contributing to healing our natural world through planting trees and reforesting land back to rainforest in Australia in conjunction with Reforest NOW.

1. What's Real?
2. Kempton
3. Overflow
4. Kempton (Phil Stroud Remix)
5. Levannah

Josh Kelly - Alto Saxophone, Bass Clarinet, Flute
Erica Tucceri - Flute (Kempton & Kempton Remix)
James Bowers - Rhodes (What's Real?)
Lewis Moody - Rhodes & Synthesiser
Matt Hayes - Bass
Zeke Ruckman - Drum Kit
Oli Savill - Percussion (Kempton)
Phil Stroud - Production on Kempton Remix

Mixed by Lewis Moody
Produced by Lewis Moody and Josh Kelly
Engineered by Ari Rose and Carl Lindberg
Mastered by Jack Prest
Artwork and Graphic Design by Luke Ebert

All tracks composed by Josh Kelly (JK Group).
Recorded on October 14 & October 15 at Plug Seven Studios, Collingwood.
Additional tracking at various home studios

Rachel Eckroth - The Garden (September 3, 2021 Rainy Days Records)

Pianist, composer and singer Rachel Eckroth’s first release on Rainy Days Records unveils fresh sounds from her evolving artistry. Steeped in synth orchestration, The Garden reflects a nuanced exploration of sonic impulses and inquiries alongside Eckroth’s signature layered compositions and glimmers of trance-inducing vocals. With contributions from acclaimed guitarist Nir Felder, saxophonists Donny McCaslin and Andrew Krasilnikov and modular synth master Austin White, and a core band featuring bassist Tim Lefebvre and drummer Christian Euman, The Garden emerged conceptually while Eckroth was writing new music during the pandemic. “Everything on the album has a different feel to it — different colors and textures,” says the West Coast artist. “It felt like a garden. So we just rolled with it.”

Eckroth revels in new experiences across rich, diverse musical settings. The multifaceted artist continually refines her expression, frequently collaborating as a featured guest with creative visionaries who have included Rufus Wainwright, St. Vincent, KT Tunstall, Donny McCaslin, Tia Fuller and Chris Botti. But composing during the pandemic afforded Eckroth and partner Lefebvre unique opportunities to compose and perform together. From their home in Arizona, they dug in to each other’s expressions and began developing a duo sound. “Especially during Covid, we were making music pretty much every day together,” says Eckroth. When Eugene Petruhanskiy greenlit a possible release from Eckroth for Rainy Days, she and Lefebvre considered what they might create around a synth-forward recording. 

The textural-minded musicians began soundscaping across familiar territory and new domains. Almost immediately, the Prophet 6 emerged as a key element for record’s sound. “It ends up on a lot of my live gigs,” says Eckroth. “I’ve used it on all the tours I’ve played with other people. I’m a pianist, but the record doesn’t have a lot of piano. The Yamaha CP 70 served the ‘meat’ of some of the songs. And the Korg minilogue is an instrument I use really well for some reason; it’s very intuitive.

"Multifaceted artist Rachel Eckroth releases textural, mood-casting new music on Rainy Days Records “Eckroth explores difficult emotions with a deft touch, letting her soul-baring performance and swelling instrumentation form the heartfelt emotional core of the track ”
— Under the Radar

“Breathtaking vocals”
— PopMatters

“[Eckroth and Lefebvre] are two in-demand musicians who elude categorization”
— NPR Music’s Jazz Night in America
1. Dracaena
2. Under a Fig Tree
3. Low Hanging Fruit
4. Dried Up Roots
5. The Garden
6. Black Eyed Susan
7. Vines
8. Oil

Rachel Eckroth - Piano, Voice, Yamaha CP70, Prophet 6, Mellotron
Tim Lefebvre - Electric Bass, Guitar
Christian Euman - Drums
Donny McCaslin - Tenor Saxophone
Andrew Krasilnikov - Soprano Saxophone
Nir Felder - Electric Guitar
Austin White - Modular Synth

Written by Rachel Eckroth
Produced by Tim Lefebvre
Executive producer – Eugene Petrushanskiy

Mixed by Jason Kingsland at Frenchtown Sound
Mastered by Ed Brooks at Resonant
Mastering Recorded at Sonic Ranch - Studio A in Tornillo, TX
Recording engineer - Felipe Castaneda
Additional recording at Big Orange Sheep, Brooklyn, NY by Christopher Benham
Overdubs made at Blackbird Sessions in Tucson, AZ
Additional recording made in Moscow, by Sasha Mashin

Album art – Vika Kogai
Photography by Eugene Petrushanskiy
Video by Eugene Petrushanskiy and Rachel Eckroth
Package design by – Dimitri Komedea, 271dsgn

pettereldh - Projekt Drums vol. 1 (September 3, 2021 Edition Records)

Drums vol. 1” which embraces his love of heavy beats, psychedelic sounds and musical collaboration. This first volume is made of six diverse tracks from some of the most exciting drummers working on the scene today: Savannah Harris, Eric Harland, Nate Wood, James Maddren, Gard Nilssen and Richard Spaven.

The music is hard-hitting and mesmerising, it’s full of complexity and sonority but at the heart are the drums: the beat and groove alongside a kaleidoscope of sounds and effects. The arrangements include a total of sixteen instrumental collaborators comprising harpists, french horn and marimba players and a plethora of keyboards and unique synths. It’s original and highly engaging. No single listen will do it justice!

Over the years, Petter has been garnering praise for his versatility and the diversity of his work. He’s worked with the Dutch producer Jameszoo, including a remix for his latest record on the Brainfeeder label, he’s produced albums for Otis Sandsjö/Y-Otis and ex-Phronesis drummer Anton Eger and he leads the raucous collective Koma Saxo that features another innovative drummer, Christian Lillinger. Alongside this, he’s also regarded as one of Europe’s leading bassists having recorded with Django Bates (ECM), Kit Downes (ENEMY), Lucia Cadotsch Speak Low and Gard Nilssen Acoustic Unity. However, this new album marks a new chapter in his career, cementing his identity as a producer first and foremost. 

1. LORIMER feat. Savannah Harris
2. HAWK MOUNTAIN feat. Eric Harland
3. GOODS YARD feat. Richard Spaven
4. GREEN STREET feat. Nate Wood
5. GIMSØY feat. Gard Nilssen
6. EAST CROYDON feat. James Maddren

Mixed by Petter Eldh at Koma Industries, Berlin, 2020

Mastered by Martin Ruch at CONTROL ROOM BERLIN, October/November 2020
Lacquer cut by Sidney Claire Meyer at Emil Berliner Studios, Berlin, December 2020

Music composed by Petter Eldh except Green Street, by Petter Eldh and Otis Sandsjö

Produced by Petter Eldh
Executive producer Dave Stapleton

Synths used at Koma Industries:
Korg Poly6, Moog Matriarch, Moog Grandmother,
Oberheim SEM-2, Make Noise, MPC 1000.