Kenny Wheeler & John Taylor - On the way to two (2015)

Source & Label: Cam Jazz

A prized recording by Kenny Wheeler and John Taylor has been released from CAM JAZZ’s archives. The Canadian trumpeter, who died last year in September, had a long-standing recording activity on the Roman label, sharing this journey with Taylor very often. “On The Way To Two”, a new, prized duet album, was recorded in 2005 featuring 10 songs over a total 45 minutes of stunning music. Complex themes alternate with short improvised passages, as proof of that natural, special feeling that bound the two musicians. Sadly and unfortunately, while the album was being pressed, John Taylor suddenly passed away.  Before Taylor leaves us, he writes in the liner notes to this album, as a virtual remark to Wheeler:  “It was a privilege and joy to play with you for most of my life, and I wish you were here now to listen to this music again with me”.  The opening track is “Canter #2”, the second episode of a mantra featuring many of the two musicians’ albums (try finding the different “Canter” interpretations in the other Wheeler and Taylor albums). Following this is a superb “Fedora”, with the trumpet and piano intertwining as naturally as only two musicians so close to each other could do. “Sketch No. 1” is the first of three moments of sheer improvisation that emerge between tracks, during which Taylor and Wheeler pursue new expressive nuances of their instruments. And then “Who Knows?”, “Fortune's Child” and “A Flower Is A Lovesome Thing” show and celebrate the empathy that the two musicians have managed to build and develop over the years.

1  Canter
2  Fedora
3  Sketch 1
4  Quiso
5  Who Knows?
6  Sketch 2
7  Close to Mars
8  Fortune's Child
9  Sketch 3
10 A Flower is a Lovesome Thing

Kenny Wheeler - trumpet & flügelhorn
John Taylor - piano

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Ari Hoenig - The Pauper and The Magician (2016)

Source & Label: Lyte Records

 We are honoured to announce that American jazz icon Ari Hoenig will release The Pauper and the Magician with us in February. Lyte Records will be handling the British and Irish releases of the drummer/composer's eighth album, which features Gilad Hekselman (guitar), Tivon Pennicott (tenor saxophone), Shai Maestro (piano) and Orlando le Fleming (bass). Ari is a visionary in the areas of metric modulation and melodic drumming and has been a prolific bandleader for over fifteen years. He's also played in the groups of Joshua Redman, Kurt Rosenwinkel, Kenny Werner, Chris Potter, Wayne Krantz, Richard Bona and Mike Stern.

LR founder and director David Lyttle says, "Some of my best memories in music are of my first trips to New York in my early twenties. Going to hear Ari play in Smalls and then taking a lesson with him in his basement in Brooklyn was very exciting for me. He's been an inspiration and major influence for ten years and it's very special for me to now get to work with him as a label."

1. The Pauper and the Magician
2. I'll Think About It
3. The Other
4. Lyric
5. Alana
6. You Are My Sunshine

Ari Hoenig (drums)
Gilad Hekselman (guitar)
Tivon Pennicott (tenor saxophone)
Shai Maestro (piano)
Orlando le Fleming (bass)

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Will Herrington (feat. Ambrose Akinmusire) - Solace (2015)

Pianist Will Herrington displays a rhythm touch along with a reflectively soulful team of Jon Richards/b and Andrew Boyle/dr on this released. The trio shows a New Orleanish ability to swing on the bouncy “Jockamo” and meditative reflections create a gospel mood on the pensively delightful “By Watyer.” Herrington’s hands continue to testify as he strides through on “The Chief Speaks” and does a impressive job filling the room on his solo excursion “Restoration.” Ambrose Akinmusire brings his trumpet into a staggering and gasping “Ballad of Marie Laveau” and a recitative “elegy” that has the horn moan with emotions. A mix of moods fit for the various moments of a church meeting come out here, with the healing service in full progress.

Will Herrington, piano

Jon Richard, bass

Andrew Boyle, drums

Kiel Feher, percussion

'Solace' features trumpeter Ambrose Akinmusire, Courtesy of Two for the Show Media

1 - Jockamo [04:45]  

2 - Bywater [04:48]  

3 - The Chief Speaks [04:57]  

4 - Elegy (feat. Ambrose Akinmusire) [03:19]  

5 - Waiting for a Train [05:32]  

6 - Restoration [02:49]  

7 - Don't You Come Struttin in Here [04:13]  

8 - Ballad of Marie Laveau (feat. Ambrose Akinmusire) [06:19]

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Domi

Visit our new website... incognito.london

Visit our new website... incognito.london

INCOGNITO dates

JAN 13 - Milan - Blue Note - 21:00 ***SOLD OUT***

JAN 13 - Milan - Blue Note - 23:00 Tickets are available
JAN 14 - Milan - Blue Note - 21:00 ***SOLD OUT***

JAN 14 - Milan - Blue Note - 23:00 Tickets are available
JAN 15 - Milan - Blue Note - 21:00 ***SOLD OUT***

JAN 15 - Milan - Blue Note - 23:00 Tickets are available
JAN 16 - Milan - Blue Note - 21:00 ***SOLD OUT***

JAN 16 - Milan - Blue Note - 23:00 Tickets are available

If you are visiting the UK...

JAN 20 - The Jazz Cafe, London
JAN 21 - The Jazz Cafe, London
JAN 23 - The Jazz Cafe, London
JAN 29 - Brake Hall Ashford School,  Ashford Kent
FEB 10 - The Wardrobe, Leeds

Book tickets: http://bandonthewall.org/events/4929/

FEB 11 - Band On The Wall, Manchester

Book tickets: http://bandonthewall.org/events/4930/

Incognito Website: http://www.incognito.london/
Incognito Facebook : www.facebook.com/cogheads
Incognito Twitter : www.twitter.com/incognito_world
Bluey Facebook : www.facebook.com/bluey.solo
Citrus Sun Facebook : www.facebook.com/citrussun2014
Splash Blue: http://www.splashmusicproductions.com/

Robin Verheyen - A Look Beyond (Cap-Vert Illuminations) 2015

The music on this album is inspired by my recent travels to Senegal and my years of studying the music of French composer Olivier Messiaen. This multicultural project blends the compositional language of Messiaen, traditional West African music and the new sounds of the NYC jazz and improv scene. A big part of this music was written and influenced by my stay in Cap-Vert, the most western point of Africa in Dakar, Senegal. In the West African heritage, traditional rhythms can only be played by three or more drummers. I tried to represent the cultural identity of these rhythms in a new and different context where the harmony becomes as important as the rhythm. Instead of using a group of drummers, I recreated this sound by giving these rhythmic roles to a melodic instrument. I hope that the end result will create a deeper understanding of Messiaen’s music among jazz audiences in an uplifting way through the influences of African rhythm and improv jazz.

This album was recorded in September 2014 after a US tour with my quartet. The music for this project came together after I received a New Jazz Works Grant in 2013 from Chamber Music America. The musicians featured on this recording are some of the finest in jazz today. Russ Johnson has been an important force in the NYC jazz scene for many years and, since his move to the Chicago area, has become one of the major players in jazz in the Midwest. Drew Gress is one of the most in-demand bass players in jazz and has worked with some of the greatest musicians of our time. Percussionist/composer Jeff Davis has established himself in New York as a vital contributor to the local and international creative music scenes. Jeff is widely sought out for his unique, textural approach to the drum set, as well as for his power and intensity. Robin Verheyen

01 GEWEL  05:46

02 MBAYE  08:19

03 HALF OFF  07:59

04 PRELUDE  02:29

05 BEYOND ILLUMINATIONS  05:57

06 SENEGAL REVISITED  04:43

07 GUTS  04:32

08 MAJOR MINOR  06:20

09 LABAN DANCE  06:04

10 JERE JEF  03:09

Robin Verheyen, saxophone

Russ Johnson, trumpet

Drew Gress, bass

Jeff Davis, drums

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Domi

Kamasi Washington - The Epic (2015) 3 CD

It is probably impossible to discuss Kamasi Washington's new record—all three impressive hours of it—without copping to at least some awareness of two extra-musical truths. The first of these holds that, as a member of the studio wrecking crew that brought Kendrick Lamar's To Pimp a Butterfly into being, this saxophonist-composer is unusually well poised to secure the attention of listeners who have previously been uninterested in jazz. (This past spring's celebration of all-things-TPAB was sufficiently strong that Billboard even published a well-reported piece that detailed exactly how Lamar's album came to feature so many jazz figures, including Washington.)

The second truth is that jazz could use a few more people with Washington's cachet in the wider world—touring with Snoop Dogg, or putting out albums on Flying Lotus' Brainfeeder imprint. Admitting this is not tantamount to saying that jazz is in some unhealthy creative state (it isn't), but rather that the music currently faces an uphill struggle in the marketplace (as it often has).

You can see hints of these outside considerations in some of the pre-release writing around The Epic—virtually all of which cites Washington's hip-hop associations as a reason to pay attention to his big debut as a jazz bandleader. (Washington cut one prior album as part of a collective, in 2004, but this set is his real coming-out party.) One can imagine other elite contemporary jazz artists grinding teeth while checking Twitter, muttering to themselves: if anyone paid attention to me, they'd notice the post-turntablism beats in my music.

Given all this, it's something of a gobsmacking paradox to discover what a hip-hop-free zone The Epic is, and how enamored of jazz's past it turns out to be. This triple-album set is an extravagant love letter to (among other things): soul jazz, John Coltrane (various periods), and 1970s fusion leaders like Miles Davis and Weather Report. The Epic's Disc 1 opener, "Change of the Guard", might as well be titled "We Love All Kinds of 'Trane". Its ringing opening piano chords sound almost entirely lifted from the playbook of McCoy Tyner, the pianist in Coltrane's so-called "Classic Quartet." (That's the group responsible for A Love Supreme.) The opening theme in the saxes is something that could only have been written after "Impressions". And the harmonious writing for Washington's string section recalls posthumous Coltrane releases like Infinity—tracks from which featured orchestral overdubs supervised by Alice Coltrane (who is, as you may have read, Flying Lotus's aunt). Toward the end of the 12-minute tune, Washington's tenor sax solo veers off into flights of screeching intensity that were the hallmark of Coltrane's later groups—specifically the ones that also included Pharoah Sanders. (Who is, by the way, still active—and still great, on the evidence of last year's record with the São Paulo Underground.)

What The Epic does come to sound like, over the course of its significant running time, is a generational intervention—an educational tool that widens the definition of styles that fall under "jazz classicism." With his writing for string sections and chorus, Washington even flirts with that most dreaded of appellations: smooth. But these specific choices also wind up paying dividends: The calmly spiritual voices and Washington's wailing playing during the back half of "Askim" feels novel.

Given all this, it's something of a gobsmacking paradox to discover what a hip-hop-free zone The Epic is, and how enamored of jazz's past it turns out to be. This triple-album set is an extravagant love letter to (among other things): soul jazz, John Coltrane (various periods), and 1970s fusion leaders like Miles Davis and Weather Report. The Epic's Disc 1 opener, "Change of the Guard", might as well be titled "We Love All Kinds of 'Trane". Its ringing opening piano chords sound almost entirely lifted from the playbook of McCoy Tyner, the pianist in Coltrane's so-called "Classic Quartet." (That's the group responsible for A Love Supreme.) The opening theme in the saxes is something that could only have been written after "Impressions". And the harmonious writing for Washington's string section recalls posthumous Coltrane releases like Infinity—tracks from which featured orchestral overdubs supervised by Alice Coltrane (who is, as you may have read, Flying Lotus's aunt). Toward the end of the 12-minute tune, Washington's tenor sax solo veers off into flights of screeching intensity that were the hallmark of Coltrane's later groups—specifically the ones that also included Pharoah Sanders. (Who is, by the way, still active—and still great, on the evidence of last year's record with the São Paulo Underground.)

What The Epic does come to sound like, over the course of its significant running time, is a generational intervention—an educational tool that widens the definition of styles that fall under "jazz classicism." With his writing for string sections and chorus, Washington even flirts with that most dreaded of appellations: smooth. But these specific choices also wind up paying dividends: The calmly spiritual voices and Washington's wailing playing during the back half of "Askim" feels novel.

Disc 1

1. Change of the Guard

2. Askim

3. Isabelle

4. Final Thought

5. The Next Step

6. The Rhythm Changes

Disc 2

1. Miss Understanding

2. Leroy and Lanisha

3. Re Run

4. Seven Prayers

5. Henrietta Our Hero

6. The Magnificent 7

Disc 3

1. Re Run Home

2. Cherokee

3. Clair de Lune

4. Malcolm's Theme

5. The Message

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Domi

Fulvio Sigurtà - The Oldest Living Thing (2015)

Back from the intriguing experience of “SPL” (in trio with Andrea Lombardini on bass guitar and Alessandro Paternesi on drums), a modern record with surprising turns, Fulvio Sigurtà is back with a more classically jazz album. Supported by Steve Swallow’s stunning bass guitar and Federico Casagrande’s refined acoustic guitar, Sigurtà’s trumpet and flugelhorn weave soft, enchanting melodies. You may let yourself be lulled by the first song and title track on this album, written by the band leader, and Casagrande’s “Sorrows And Joys Of A Lamb”. The two regularly alternate as writers of the nine original tracks on “The Oldest Living Thing”, composed by one or the other in more or less equal measure. The only virtual guest here is Ennio Morricone, who is involved thanks to an appealing reinterpretation of the theme from “Nuovo Cinema Paradiso”.  Sigurtà and his fellow travelers have looked for (and actually found) dazzling melodies throughout this fifty-minute long recording.

From a musical idea unfold outstanding plots by the three instruments, with horns and guitar that often alternate with one another in leading the dance and Swallow’s bass that supports it all with valuable skill and excellent taste, watching the scene from behind the lines and emerging here and there with sophisticated virtuosities and a voice always utterly recognizable. Although the temperament and uniqueness of the sound of the powerful bass player from New Jersey is no surprise, one can rightly be a little amazed by the continuous growth of Sigurtà and Casagrande: the former has mastered a variety of timbres that would make many players envious (the intro to “Sunday Snow Flakes” is a case in point), while the latter invents sounds and harmonies that perfectly combine with the band leader’s ideas (“Travel Back”). This steadily evolving leader showed four completely different sides of his musical personality in his past four albums on CAM JAZZ: one of the talents among the new generation of Italian jazzmen who is worthy of being listened to most attentively.

Fulvio Sigurtà (Trumpet, Flugelhorn)

Steve Swallow (Electric Bass)

Federico Casagrande (Acoustic Guitar)

The Oldest Living Thing

Sorrows And Joys Of A Lamb

Helichrysum

Marmotte

Sunday Snow Flakes

Travel Back

Nuovo Cinema Paradiso

The Olive Tree Of Noah

Loft

The Oldest Living Thing (Duo)

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JAVI

Jukkis Uotila - The Herbie Hancock Legacy (2015)

Label: Ksjazz

Source: Jukkis Uotila

On April the 12th, 2014 I went into the studio in Helsinki with one of my mentors, the great multiple percussionist Billy Hart. We recorded a program of Herbie Hancock's music that is now finally out on CD! I've known Jabali since 1977 when I met him in Finland and our paths have crossed many times over the years, in NYC and at many festivals. I had never played piano with him until 2012 when we did a concert in Helsinki and the event was such a success, that I was really anxious to get another chance to record our collaboration. Thus we now celebrate Herbie's 75th birthday with the release of "The Herbie Hancock Legacy". Billy and myself were joined by two excellent Finnish musicians, Jussi Kannaste on tenor sax and Jori Huhtala on bass, who both contributed strongly.

1. The Sorcerer
2. Tell Me a Bedtime Story
3. Speak Like a Child
4. Toys
5. Maiden Voyage
6. Dolphin Dance
7. I Have a Dream
8. Little One
9. The Eye of the Hurricane

Jukkis Uotila, piano
Jussi Kannaste, sax
Sampo Tiittanen, bass
Billy Hart, drums
Timo Hirvonen, bass

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Cleverhorse - 50: Fifty (2016)

Source & Label: Jazzhead

Since the release of their 2007 debut album, "Goodnight, Mr. Monster", cleverhorse have been quietly experimenting with compositional forms and improvisational methods. Their second album "50:fifty" represents a culmination of their shared vision, featuring a juxtaposition of heavily structured arrangements with free spirited extemporization, informed in equal measure by contemporary jazz and Norwegian folk, the sonic space of the soundtracks of the films of Wim Wenders, the density of Shanghai city, and the sparse and playful writings of Richard Brautigan.
In recent years, the idea of "folk" music, or "community" music has become an increasingly important element in Melville's creative development. This idea of community relies on two definitions. The first is one in which a small social unit shares common values, interests, preferences, beliefs and other characteristics that affect the individual identity of the participants in their pursuit of a collective goal. The second reflects the writings of Duncan Foster, in which community is defined as "an action rather than as a group of people, whereby the...artist acts in community with others". The community arts project, in this context, becomes the development of relationships and is the artist's "specific point of communion with others in collaboration".
Outside of cleverhorse, the band members perform vastly different styles of music from one another. Whilst this is not unique to this band, it has positively informed the development of a shared musical lexicon, an understanding of each other's personalities and playing, and a mutual trust on and off the bandstand. The music of cleverhorse is a reflection of their shared community, made as it is of multiple musicians, personalities and individuals, and a shared history.

1. Bug Monster 06:16
2. Reich I 01:27
3. Reich II 04:44
4. Bitter Cold 05:25
5. Lego So High Only Dogs Can Hear It 01:52
6. Fletcher & The Whirlybirds 05:28
7. Punch 01:38
8. Remark 03:47
9. I Owe You One 05:03
10.Hurts 01:39
11.June Tune 06:20
12.Stankey 01:20
13.Something About A Dog 05:44
   

Gideon Brazil - tenor saxophone, flute
Luke Hodgson - bass, guitar on "Punch"
Dan Macdonald - drums, percussion
Monty Mackenzie - alto saxophone
Robbie Melville - guitar, banjo

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David Bowie dies at the age of 69

David Bowie dies at the age of 69

David Bowie has died, 18 months after being diagnosed with cancer.

The 69-year-old singer’s death was confirmed in a Facebook post from his official page:

“David Bowie died peacefully today surrounded by his family after a courageous 18 month battle with cancer. While many of you will share in this loss, we ask that you respect the family’s privacy during their time of grief.”

Writing on Twitter, Bowie’s son, the film director Duncan Jones, also confirmed the news.

Bowie, born David Robert Jones, released 25 albums in his career as well as acting in several films.

Bowie was known for his experimentation across diverse musical genres and his alter egos such as Ziggy Stardust, Aladdin Sane and the Thin White Duke.

He had kept a low profile in recent years after reportedly suffering a heart attack in the 2000s, and his last live performance was at a 2006 charity show in New York.

Bowie had been married to model Iman since 1992, with whom he had a daughter, Alexandria Zahra Jones.


More to follow …

Sri Hanuraga - To The Universe (2015)

Source & Label: Moonjune Records

Indonesian jazz pianist Sri Hanuraga (Aga) strikes again with a new album, “To The Universe”. On this album he is using European musicians: Mattia Magatelli (double bass/electric bass), Kristijan Krajncan (drums) and Rodrigo Parejo Mateos (flute). This album contains original songs and some folk songs which are brilliantly re-arranged into challenging jazz compositions. The album is recorded in Amsterdam, mixed and mastered by Paul Rutschka,
Sri Hanuraga is am emerging Indonesian talent and versatile both on acoustic piano and electric keyboards, in jazz, ethno-jazz, fusion and progressive rock formats.
Sri Hanuraga has performed with several of his projects all around Indonesia, South-East Asia and in Europe (Holland, Belgium, Germany, Poland, Hungary, Romania, France, Monaco).
At the age of seventeen, Aga began to study Jazz piano with Indra Lesmana, the leading Jazz pianist in Indonesia. During that period he won the first prize at the JGTC Competition, and performed at some major Jazz festivals in Indonesia including the International Java Jazz Festival 2005. By nineteen, he moved to Amsterdam to study Jazz piano at the Conservatory of Amsterdam. In April 2006, Aga won the soloist prize at the East of Eastern Jazz Festival in Nijmegen and January 2009 again he won the second prize in the YPF Jazz Piano Competition (judge : Jacky Terrason, John Taylor, Antonio Farao, Enrico Pieranunzi and Bobo Stenson)
2011, Aga was awarded with the “The Indonesian Young Talent Award” by the Java Jazz Festival. Soon after that, he won The European Keep an Eye Jazz Award 2011 for the category “Best Band” with the Daniel Master Quartet and June 2011 Aga graduated summa cum laude (10 with distinction) from the master program in Jazz piano performance at The Conservatorium van Amsterdam.
His main jazz piano influences are Herbie Hancock, Brad Mehldau, McCoy Tyner and the Indonesian piano icons Dwiki Dharmawan, Riza Arshad and Indra Lesmana.

 

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Alessandro Fongaro - Neither More Nor Less (2016)

By KARL ACKERMANN / allaboutjazz

The Amsterdam-based Keep an Eye Foundation, is a Dutch government sponsored program for developing artists across many creative disciplines. Their jazz program culminates in an annual award competition for new talent and in 2014, bassist Alessandro Fongaro was awarded sponsorship that has now resulted in the quintet release of Neither More Nor Less.

A native of Valdagno, Italy, now living in the Netherlands (following a student exchange program in which he participated), Fongaro has been pursuing jazz since the age of sixteen. With a strong business sense to go with his musical aptitude, Fongaro attended the Rotterdam-based international university, Codarts, an institution that stresses a more rounded business management approach for musicians and other artists. Fongaro, though an expatriate at the moment, has not turned his back on Italy and hopes to return and work with that country's own fine jazz musicians.

It was at Codarts that Fongaro assembled an international band of very talented musicians that allowed him to share the musical decision making process, often in the old-world setting of the dinner table. It adds a kind of charm to music that is often progressive but with mainstream grounding and a strong sense of melodicism. Joining him are Dutch saxophonist Donald Simoen, Italian guitarist Federico Castelli, Belgium native Thomas Maasz on piano and Hungarian drummer Attila Gyarfas. All in their twenties, the group benefits from Fongaro's original compositions which play to the strengths of the individuals while observing the best practices in group dynamics.

"Five Months" takes its time building, eventually providing a high-energy improvisational setting for Maasz before returning to the main theme. Castelli's fluid guitar takes center stage on the title track and "KG" is a charismatic ballad that showcases Simoen and Maasz at their most lyrical. It's not until "The Traveller"—which may well be a Fongaro autobiographical composition—that we hear an extended demonstration of the leader's own superb skills on the double base followed by another exhilarating solo from Maasz. Gyarfas' subltle—and not so subtle—manipulations keeps these pieces coherent while constantly in motion. The outlier on Neither More Nor Less is the closing piece, a harder edged "Blues Not," that gives all the players a chance to cut loose.

Neither More Nor Less is a fine debut from some very talented artists that are just barely out of the gate in their musical careers. There are no wasted spaces on this album and it engages from the outset, wisely taking time to breath when the pace requires a bit of a sensory cool-down. While Fongaro is a talent to watch, all the players here deserve equal attention.

Five Months

Neither More Nor Less

KG

The Traveller

Prelude to a Loss

Waterfall

Home

Blues Not

Donald Simoen (Alto Sax)

Federico Castelli (Guitar)

Thomas Maasz (Piano)

Alessandro Fongaro (Double bass and Compositions)

Attila Gyarfas (Drums)

Recorded at "Fattoria Musica", Osnabrück, Germany

April 28 & 29, 2015

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JAVI

Enrique Haneine - Instants of Time (2016)

KARI-ON PRODUCTIONS IS PROUD TO INTRODUCE 

ENRIQUE HANEINE

Artist: Enrique Haneine

CD Title: Instants of Time

Label: Elegant Walk Records

Add Date: January 11, 2016

Street Date: January 8, 2016

Artist Website

CD DESCRIPTION

Elegant Walk Records is proud to present Instants of Time the latest offering from Enrique Haneine. Reflective of the lineage of his life, an influence of Jazz, Lebanese and Latin flavors is expressed through 13 original compositions where Enrique’s touch and approach on the drums create a unique tone that is joined and embellished by a group of incredible musicians with free spirited energy.

We can hear how Haneine’s intense and complex structure of the compositions, which serve as a point of departure for free improvisation, is the defining character of the work and how the delicate balance can be felt with the total freedom of expression of the improvisers. The compositions are the main characters, an important framework that the band goes to work with and how this relates to people, places and another time.

Instants of Time is about experiencing music as a direct expression and reflection of the heritage and lineage of the living syncretism grounded on the natural musical influences and traditions of Middle Eastern, Latin and Jazz languages. Through his journey, Enrique has been brewing in his heart free improvisations founded on these traditions, linking the dots from the Cedars of Lebanon, through the open veins of Latin America, to the melting-pot of New York City.

Through the elements of improvisation, spontaneity and supreme expression of freedom found in free jazz, Haneine’s work aims to wrap these cultures with the texture of music with no barriers, transcending both space and time. This is achieved fully with his original compositions. A personal touch on the compositions is felt because the music comes from the heart, years of study and exploration of a Lebanese descent, born and raised in Mexico City and established in New York City as a jazz world musician, brings forth the proposed elements of unification and evolution.

The title Instants of Time relates to the different levels and dimensions of the illusion of time, how breath equals time, the use of rhythms and odd meters, the afro-Cuban clave and time signatures like 17/4, 21/4, 29/8, and beyond, which may seem unusual but are so familiar to the universe, the different stages of life, other generations and its transcendence. The coincidences and synchronicities, like those moments that make you feel so connected through those invisible strings of inner journeys that unite humans and that only become visible in the instant when they occur.

What makes this offering so uniquely special is the use of varied rhythms, the space, the timing, the unusual meters but so familiar to the universe, the coincidence and synchronicity, those moments, the story. The present moment, which is now past and future defining. Precious vulnerability, the angular cohesiveness, the lineage, the effortless energy, the sounds, the symphony of silence, the never ending journey with no beginning. The current time transcending with elegant successiveness...... Enjoy!

Jazz World Musician, Composer, Pianist, Drummer, Improviser, Educator. Currently living in New York City and born in Mexico City from Lebanese descent.

Haneine was raised in Mexico, immersed in Latin groove, and heavily underpinned with classical and jazz studies, is why his music extends from the soul with influences from his heritage. It is a powerful sound, the lineage traces its way into the ancient world, a history of music that he carries of his life story.

He is known for his versatile performances and leadership in the music scene, Haneine has grown as both a soloist, band leader, and member of numerous bands, his superb mastery of multiple styles has afforded him the pleasure and honor of performing and collaborating alongside numerous great musicians, which has influenced and informed his unique personal style, that blends innovative technique with uninhibited, yet intelligent improvisation.

Haneine’s incredible energy, dedication and love for life and music can be felt by the way he expresses the influence of the different cultures and his vast education, his academic achievements include holding four degrees, including the life experiences he has been exposed to by giving back and continuing the constant search which is exhibited by the sound achieved in his music.

Immediately recognized for his ability and presence, Haneine has won international jazz competitions and received multiple music awards, his reputation as a brilliant artist and talented arranger are well deserved, his repertoire has evolved and matured into the realm of free jazz, standards and Latin jazz forays. Ranging from his past role as music director for Ricky Martin and for numerous productions, performing and collaborating with some of the greatest jazz musicians, a winner of the Jane Jarvis Jazz Competition, voted All About Jazz New York’s Best of 2005 Albums of the Year, Grammy Nominated for his performance on Best Latin Jazz Album 2013 are just a few of the accomplishments Haneine enjoys.

Though his experiences are vast Haneine has had a desire and pull to explore upon free improvisations, founded in Jazz, Latin, and Lebanese traditions, linking the dots from the Cedars of Lebanon, through the open veins of the beloved Latin America, to the melting-pot of New York City.

His most recent recording entitled INSTANTS OF TIME will be released at the beginning of January of 2016 and will include 13 original compositions that take you through a journey with free improvisations founded on the Jazz, Latin and middle eastern flavors, innovating with extended rhythmic groupings, odd meters, fascinating intervallic melodies and contemporary harmonies serving as a point of departure and creating a setting where free-jazz is welcomed and nurtured.

Track, Time (All Tracks by Enrique Haneine)

01. Bordeaux 7:08

02. Angularity Within 5:09

03. If You Know What I Mean 5:50

04. Houston 4:17

05. Esperanza 4:21

06. Slippery When Dry 4:09

07. Inside the Journey 6:32

08. Color and Space 6:10

09. By Choice 7:01

10.The East Side of Lloyd 5:25

11.The Tear and Smile of an Angel 6:09

12.Let the Cedar Tell the Story 6:24

13.Who’s Willing 6:03

Player and instrument:

Lori Cotler - Voice (1,5 & 7)

Lex Samu - Trumpet

Catherine Sikora - Tenor and Soprano Saxophones

Michael Rorby - Trombone

Carlo de Rosa - Acoustic Bass

Enrique Haneine - Drums, Cymbals, Udu Drum & Tambourine

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ROJ TEAM

Chico Freeman 4-tet - Spoken Into Existence (2015)

Label: Rens Newland / Jive Music Austria

Source: Cdbaby 

Jive Music Austria is honored to present the third album in a row of the great Chico Freeman! He’s a legend, but is at the same time not laying back and resting on the
laurels of his history. Far from it: He’s always on the move, making new projects with new and interesting musicians and with the newest recording tools and technics as well! For this CD he brought some of the finest musicians together that work and live in Europe; with them he can also tour Europe more easily, without so much time lost on long overseas flights. These guys each are splendid on
their instruments and well known with their groups and projects, together they are tight and sound as a unit with Mr. Freeman as the crown jewel on this royal swingin’ and groovin’ group! The repertoire is mainly original pieces of Chico’s and some of the other members
of the quartet. The cd is completed with
some special versions of great and special standards like “Seven Steps to Heaven”
and “Soft Pedal Blues”. The Bandleader is also very proud to present an anthology of songs, each dedicated to, and inspired by
his daughters: Erika, Luani, N’tiana, Nia and Lara! These songs are very special and with the others that are composed and played with warm-hearted sensitivity you feel the positive, expressive power of this unique artist!

01.Seven Steps to Heaven
02.Free Man
03.India Blue
04.Black Inside
05.Dance of Light for Luani
06.Nia’s Quest
07.N’tiana’s Dream
08.Lara’s Lullaby
09.Erika’s Reverie
10.Soft Pedal Blues
11.Niskayuna
12.The Crossing
13.Ballad for Hakima

Chico Freeman - saxophones
Antonio Faraò - piano
Heiri Känzig - bass
Michael Baker - drums

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Doug Webb - Home For Christmas (2015)

Label: Rhombus

Source: Doug Webb

Doug Webb was born in Chicago and moved to California at the age of 3. He is a graduate of Edison high school in Huntington Beach, CA and received a Bachelor of Music from Boston’s Berklee College of Music. He began playing the clarinet at the age of 8 and added saxophone and flute at 15. He lives in Los Angeles with his beautiful wife Alex and his son, Ryan. Over his career Webb has played and recorded with such notable talents as Horace Silver, Freddie Hubbard, Sal Marquez, Stanley Clarke, Quincy Jones, Mat Marucci, Kyle Eastwood, Billy Childs, Rod Stewart, Carly Simon, Art Davis, Kenny Rogers, Bonnie Raitt, Pancho Sanchez and Vikki Carr. He played with the house band for the Dennis Miller TV show, the Jimmy Cleveland orchestra and continues to tour with the Doc Severinsen big band. He has recorded music for hundreds of movies and television programs. He solos on the sound track for Mystic River, Million Dollar Baby and Jersey Boys. Webb has been featured on hundreds of recordings. 

01. The Christmas Song*
02. Let It Snow
03. Toyland
04. I'LL Be Home For Christmas*
05. Christmas Time Is Here
06. Merry Christmas Darling
07. Santa Claus Is Coming To Town
08. Have Yourself A Merry Little Christmas*
09. The Christmas Waltz
10. O Christmas Tree
11. Greensleeves
12. White Christmas*
 

Doug Webb / Saxophone
Corey Allen / Piano
Kevin Axt / Bass
Roy McCurdy / Drums

*Orchestra (1/4/8/12) 

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