Republic of Jazz

Tuesday, August 2, 2016

Gene Ess - Absurdist Theater (SIMP) 2016 KARI-ON PRODUCTIONS

Street Date - September 26, 2016

CD Release Party

September 25th - Blue Note NYC

BIOGRAPHY BRIEF
Gene Ess is a philosopher. While most philosophers expound their thoughts with the written word, Gene Ess delineates his thinking in the most sublime of the art forms, music. Gene’s previous release, Eternal Monomyth (©SIMProductions, 2015), was a musical exploration of the hero’s quest proposed by Carl Jung and Joseph Campbell.

Now, in Absurdist Theater, Gene navigates the absence of meaning and hope. The idea of absurdism may be rooted in Kierkegaard and Schopenhauer, but it is Albert Camus’s Myth of Sisyphus that best incarnates the encounter with “nothingness.” With a protagonist eternally doomed to senselessness and facing the choice of escaping existence, leap of faith, or recognition, Camus “imagines Sisyphus happy,” finding clarity in contentment. In the absence of meaning, absurdism teaches freedom. As Nikos Kazantzakis’ epitaph read, “I have no hope. I have no fear. I am free.”

For Gene, a serious musical journey is always undertaken against the backdrop of the theater of the absurd, whether the musician knows it or not; in it, the quest for meaning is replaced by contentment in the artistic pursuit of beauty. In the tradition of aesthetics, the profound power of beauty saves us from our own despair. In the Japanese bushido way, the pursuit for unattainable beauty and perfection brings balance to life.

Seeking his own expression of beauty, Gene was joined by kindred hearts and minds. He says, “A great team of musicians came through for the music. I think in this third record together, this is the best work for Thana Alexa and me as Fractal Attraction’s frontline. Our collaboration has grown tighter over the years, as she has gotten to know my music.Cuban pianist, Manuel Valera did a great job. It was my first time working with him. Yasushi Nakamura is one of the best bass players I’ve heard. And of course, Clarence Penn is one of the best drummers in the international jazz scene.”

CD DESCRIPTION

By Travis Rogers

What they have created together, in their own musical heroes’ quest, is a work of sincere expression. The individual movements are magnificent, this is a coherent and wonderful Jazz Opera. Just wonderful.

• Out of the Ashes: the first sound in the album is Thana Alexa’s voice. Gene’s guitar is the sound of resurrection soaring from destruction as Manuel Valera’s piano speaks of reconstruction. It is the rapprochement with life in the absence of meaning.

• Circe's Compassion: Circe, the devastatingly beautiful goddess-enchantress, eventually helps Odysseus after her defeat to him. It is the compassion of friends and foes that guides Odysseus through his journey.

• Jade Stones: Jade, the “blessing stone,” offers benefits to whatever it touches. It has been used as a sacrifice to nature gods and even carved into musical instruments. Jade also symbolizes the wisdom gathered from a peaceful life, allowing us to see ourselves as we really are.

• Kunai: Originally, kunai were farming tools that were soon transformed into weapons. It is most known as weapon of choice for the Japanese Ninjas and Shinobis. A defensive weapon rather than offensive, here the music defends the musicians moving forward into the Gate.

• Torii: A torii is a traditional gate into a Shinto shrine, the portal from to the sacred from the profane. Passing through the torii, however, does not change the view, as it is an open archway, making the difference between the spiritual and the material worlds at best an illusion and, at worst, a lie.

• Forkball (for Ornette): A marvelous elegy and tribute to the life and work of Ornette Coleman, who may have understood these things better than any of us.

• Déjala Que Pase: As a product of Gene spending extended periods in Spain, more recently in San Jose, he has fallen under the influence of Spanish music. Let things pass. It is the moment of realization, no longer looking for an answer.

• Upward and Onward!: After recognition, Gene forsakes the options of escaping existence and leap of faith. Instead, in the most amazing choice of all, he chooses beauty. This is Aristotle’s ascent.

Hope and meaning may be beyond our reach. Stop and hear Gene, Thana, Manuel, Yasushi, and Clarence, making absurdity lose its sting to the sheer joy of beautiful music.

Track Names and Times and Composer:

1. Out of the Ashes 9:45 Gene Ess

2. Circe’s Compassion 8:35 Gene Ess

3. Jade Stones 5:52 music by Gene Ess, lyrics by Thana Alexa

4. Kunai 5:49 Gene Ess

5. Torii (The Gate) 8:58 Gene Ess

6. Forkball 5:03 Gene Ess

7. Déjala Que Pase 6:37 music Gene Ess, lyrics Thana Alexa

8. Upward and Onward! 8:43 Gene Ess

PLAYERS:

Gene Ess - guitar, synth, compositions

Thana Alexa - voice, lyrics

Manuel Valera - piano, keyboards

Yasushi Nakamura - acoustic and electric bass

Clarence Penn - drums

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Simone La Maida Trio - Give 'n' Take (2016)

Simone La Maida nel 1987 si avvicina al saxofono e inizia a studiare suonando nell’organico della big band di Serravalle di San Marino. Il suo primo approccio all’improvvisazione jazz avviene frequentando un seminario tenuto dal maestro Saverio Gallucci (all’epoca arrangiatore per la RAI).

Continua a studiare saxofono classico con il maestro Marco Gerboni all’Istitituto Musicale di Riccione e con il Maestro Enzo Vedovi al Conservatorio G. Rossini di Pesaro e nello stesso conservatorio frequenta anche il corso di Armonia e Composizione.

Studia improvvisazione col maestro Ramberto Ciamarrughi e in seguito si specializza con Hal Crook privatamente e frequentando i suoi corsi di ensemble alla Berklee School di Boston.

Verso il 1990 inizia l’attività concertistica nei club dell’Emilia Romagna e delle Marche, suonando in diverse formazioni di R&B, Funky e Jazz.

Il 1991 segna il suo debutto in teatro con lo spettacolo “Shakespeare in Jazz” scritto e diretto da Giorgio Albertazzi (Festival Internazione di Todi).

Prosegue l’attività teatrale lavorando a diversi spettacoli: “Non è colpa di Pirandello” testi di L. Pirandello, regia di Saverio Gallucci. “Fabulando” fiabe popolari, regia di Gianfranco Gori. “La guerra dei mondi” regia di Maria Pitta e Gianfranco Rimondi, e collaborando alla realizzazione di uno spettacolo creato sulle musiche di Edith Piaf scritto da Roberto Rocchetti e Lucia Fiori.

Sempre per il teatro, nel 1998 costituisce un duo con l’attore Angelo Trezza, per lavorare ad un progetto sui testi di G. Pascoli, G. Leopardi, Dostoevskij, scrivendo musiche originali.

Nel frattempo costituisce la formazione Salsedinebbia con Roberto Monti e Stefano Travaglini, con cui ha inciso un disco “Svisatura melodica”, da qualche anno è sassofonista del gruppo RZLimanaquequa fondato dal chitarrista Roberto Zechini, con cui ha registrato il cd “Pietraltrove”.

Dal 2003 lavora con “Taranta Power”, la scuola di musiche e danze mediterranee diretta da Eugenio Bennato, nella realizzazione dello spettacolo “Teriaca”.

Nel 2003 ha lavorato accanto a Roberto Faenzi, Stefano Senni, Fabrizio Puglisi e Vincente Solsona, in un tour a Barcellona esibendosi in alcuni dei club più famosi della Catalogna, con lo stesso quintetto ha registrato un disco di produzione spagnola in uscita nel 2005.

A New York nel 2003 ha suonato accanto a Cristian Capiozzo,Michele Guidi,Daniele Santimone,Mario Biondi, nei club di Manhattan per la promozione del loro ultimo disco prodotto dalla Irma Production al quale ha partecipato come solista.

Dal 2004 si esibisce nell’ottetto Piccolo Ensamble del pianista e compositore Ramberto Ciammarughi.

E’ primo sax alto (Clarinetto e Flauto) della "Colours Big Band” diretta da Massimo Morganti, con la quale collaborano artisti del calibro di Kenny Wheeler,Ayn Inserto,Rosario Giuliani e Javier Girotto, e in cui suona a fianco di Emilio Marinelli, Samuele Garofoli, Gabriele Pesaresi e Massimo Manzi.

Compone e arrangia le musiche per l’orchestra dello spettacolo “Locomix” che fa parte del circuito di Saint Vincent per le selezioni di “Bravo Grazie”.

La sua passione per la composizione, l’interpretazione e la ricerca lo ha portato a creare un trio sperimentale a suo nome formato da: Stefano Paolini alla batteria e Gabriele Pesaresi al contrabbasso, per il quale compone e arrangia i brani che eseguono,registrando nel 2006 il disco “….Dopo la nebbia”.

Ha suonato in festival nazionali e internazionali : Vicenza Jazz Festival,Porsche Jazz Festival,Umbria jazz Winter, Fano Jazz, Young Jazz in Town (Foligno),Jazz Ethnic Festival Durazzo, Ginza Jazz Festival (Tokyo), Festa della Musica (Parigi),Terrasa Jaz Festival (Barcellona),Fiorenza Jazz (Fermo),Laurino Jazz Festival,Tam Jazz Festival (fermo), Barga Jazz (Kenny Wheeler ensemble).

Ha partecipato alla registrazione dell'album "Big Band"di Antonella Ruggero.

In questi anni ha continuato a sviluppare la sua attività solistica lavorando in tutta Italia e all’estero in club e teatri, collaborando con musicisti jazz di fama nazionale e internazionale quali: Flavio Boltro, Emanuele Cisi, Andrea Dulbecco, Sandro Gibellini, Gianni Basso, Pietro Tonolo, Marco Tamburini, Roberto Rossi, Alberto Borsari, Massimo Morriconi, Massimo Manzi, Giulio Capiozzo, Cameron Brown, Paula Wess, Randy Bersen, Jimmy Owens, Kenny Wheeler, Fabio Zeppetella, Ramberto Ciamarrughi, Glauco Venier, Diana Torto, Giovanni Guidi, Ayn Inserto.

1. About the Three

2. Impro#5

3. Impro#4

4. If I Was a Bell

5. Impro#2

6. Impro#1

7. Communication

Simone La Maida, alto sax

Gabriele Evangelista, double bass

Alessandro Paternesi, drums

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Diego Bruno Cuarteto - Tereré (2016)

Diego Bruno, guitarrista, ha lanzado su primer CD "Reflejos" en 2008, (grabado en 2000) con la participación de Ricardo Cavalli, Ernesto Jodos, Hernán Merlo y Oscar Giunta. Después de 10 años residiendo en Brasil (2002-12) vuelve a la Argentina y forma el cuarteto con el que registra su segundo CD "Tereré" junto a Nahuel Bailo (piano), Diego Wainer (contrabajo) y Pablo Favazza (batería), y en el cual trabaja con un concepto jazzístico sobre ritmos latinoamericanos como la bossa, la chacarera, el chamamé, el bolero y el candombe."Tereré" consta de siete composiciones originales y con un sonido conceptual y homogéneo.

También se desempeña como docente en la cátedra de Guitarra Jazz de la Escuela de Música Popular de Avellaneda, de La Escuela de Arte Leopoldoo Marechal (Isidro Casnova) y de la Escuela de Arte República de Italia (Florencio Varela). También ha trabajdo como profesor de guitarra en la EMC, Escuela de Música Contemporánea (Berklee).

1. Organismo Sensible 08:24

2. Tereré 07:33

3. Gabi 06:34

4. Ecos De Tambores 07:17

5. Bolero 06:39

6. La Salvadora 06:16

7. De Noche Y Niebla 07:46

Released August 1, 2016

Diego Bruno, guitarra

Nahuel Bailo, piano

Diego Wainer, contrabajo

Pablo Favazza, batería y percusión

Todos los temas compuestos por Diego Bruno

Grabado, mezclado y masterizado en: Casa Frida Estudio

Técnico de grabación y mezcla: Mariano Cuello

Asistente: Santi Gonella

Mastering: Hernàn Caratozzolo

Fecha de grabaciòn: 27 y 28 de abril de 2015

Ilustración: Eugenia Nobati

Editor: Fernando Lerman

Diseño gráfico: Diego Bruno

Producción general: Diego Bruno

PAI 3281

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Monday, August 1, 2016

Dave Goodman - La Machine, Vol. 1 (October 2016)

An enthralling EP of Dave’s own offerings in writing using technology to aid performance. This EP is comprised of a collection of singles Dave produces when his schedule allows. The singles feature some of Dave's solo drumset compositions, as well as other pieces for computer-accompaniment with guest musician contributions. Six tracks are expected to be completed and a CD released in October 2016.

Releases October 27, 2016

Recorded 2015-2016 by Greg Stott at Hihat Music Studio, Canberra, ACT. Copyright © 2016 Dave Goodman ℗ Dave Goodman Music (DGM21607192). Dave Goodman (drums, compositions, programming), Matt McMahon (keyboard solo on 'Maitreya'). Mixed and mastered by Dave Goodman in Sydney, NSW 2015-2016.

Dave Goodman Website

Joe Lovano Quartet - Classic! (Live at Newport) 2016 BLUE NOTE RECORDS

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Joe Lovano Quartet - Classic! (Live at Newport) 2016

Joe Lovano adds the 25th album to his remarkable Blue Note catalog with the release of Classic! Live At Newport, which the Grammy-winning saxophonist has dedicated to the memory of both the legendary pianist Hank Jones and longtime Blue Note president Bruce Lundvall. Recorded on August 14, 2005 at the Newport Jazz Festival, the album captures the Joe Lovano Quartet featuring a then 87-year-old Jones, as well as bassist George Mraz, and drummer Lewis Nash.

Lovano first assembled his quartet with Jones, Mraz and drummer Paul Motian for the stunning 2004 ballads album I’m All For You. The album was so well received that the quartet returned to the studio to record the album Joyous Encounter, which was released in May 2005. That summer Lovano took his working quartet (which replaced Motian with Nash on drums) on a European tour during which the band developed an even deeper rapport before returning to the U.S. to perform at Newport. “With Lewis the music took on a much more hard-hitting approach and I felt a need to record us live at Newport, even though I knew it couldn’t be released at the time,” explains Lovano.

“This was truly my Classic Quartet in every sense of the term,” Lovano says. “Hank Jones was clearly one of the modern jazz geniuses of all time and he elevated us all with his imagination and inspiration. His accompaniment and solos were full of love, poetry and searching; he made you feel so good all the time. I played with Hank from when he was in his early 80’s through his 90th year and liked to say he was always fresh as a daisy. I treasured our friendship and collaborations and learned so much from him. His wisdom and knowledge about music and life, his humor, wit, passion and love will always inspire and be with me.”

Classic! Live At Newport captures the quartet’s entire 6-song set, which opened with the swaggering Lovano blues “Big Ben” and featured songs drawn from the band’s studio albums including 2 songs written by Hank’s brother Thad Jones (“Don’t Ever Leave Me” and “Kids Are Pretty People”) before closing with a rollicking performance of Oliver Nelson’s “Six and Four” to wild applause.

Lovano and Jones continued their fruitful collaboration with the 2007 duo album Kids: Live at Dizzy’s Club. Jones passed away in 2010 at the age of 91.

1. Big Ben (feat. Hank Jones, George Mraz & Lewis Nash) [Live At Newport] 7:11

2. Bird's Eye View (feat. Hank Jones, George Mraz & Lewis Nash) [Live At Newport] 11:05

3. Don't Ever Leave Me (feat. Hank Jones, George Mraz & Lewis Nash) [Live At Newport] 10:23

4. I'm All For You (feat. Hank Jones, George Mraz & Lewis Nash) [Live At Newport] 9:55

5. Kids Are Pretty People (feat. Hank Jones, George Mraz & Lewis Nash) [Live At Newport] 8:09

6. Six and Four (feat. Hank Jones, George Mraz & Lewis Nash) [Live At Newport] 11:04

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Josh Ison Trio - Perceive React (2016)

PERCEIVE REACT

It was October 2013, and Henry Grimes was playing at Cafe OTO in London with the Marc Ribot group. Henry had played on some of my favourite jazz recordings of the late 1950's and 60’s. Albums such as Sonny Meets Hawk, Spirits Rejoice and The Call are a few of the many inspiring recordings, which have informed the conceptualisation of my own music. I am also just as blown away by Henry's playing since his re-emergence in 2003. Albums such as Spirits Aloft and the Profound Sound Trio recording Opus De Life have been a significant creative influence on my music. The music at Café OTO sounded incredible that night and you could feel the energy sparking off the ensemble and infusing the room.

At the time I'd been internalising, listening and working on some of the more dense and chaotic free jazz fire playing and allowing the overall narrative of my improvisations to be dictated by my subconscious reactions. For me, an important part of improvisation is the process of observing the cycle of perception and reaction from moment to moment, from that place where the ego drops away and the music emerges from the subconscious. This was what excited me about Henry’s playing it seemed to me that he was always in that place. After the gig, my friend Mark Lewandowski, also a bassist, and I got talking to Henry and his wife Margaret. We discussed Henry's musical process and his approach to free improvisation and Henry kindly agreed to have a play with us. The next day we jammed in the unique OTO Project space next to Café OTO. The building is constructed out of sacks of earth, sand and rubble with a bare timber trussed roof. The three of us practised and played together all afternoon and it's an experience I'll never forget. Henry gave me some insightful ideas about incorporating more melodic lines into my improvisations, which showed me a new way forward with my music. After the jam I couldn't stop thinking about the music we created. One of the great things about Henry's playing is his ability to make everything you play, no matter what it is, feel legitimate - I was totally free to do what I wanted. I felt he unlocked something exciting and new in my playing. I had wanted to record a free improvised album for some time, and I couldn’t resist asking Henry if he would agree to be part of the line-up. To my surprise and delight, he said yes.

I have always enjoyed playing in the classic trio set up of bass, drums and sax. I was checking out an amazing trio with this configuration featuring Ellery Eskelin, Drew Gress and Gerald Cleaver. I love the way Gerald plays in an open improvised context; the complex and subtle nuance of his interaction with the rest of the ensemble was mesmerising and constantly propelled the other players in new and interesting directions. I contacted Gerald and sent him some of my music and was elated when he agreed to be part of the project, although it no doubt helped having Henry on board!

I arranged for us to record at EastSide Sound Studios in New York with the fantastic recording engineer Marc Urselli. Save for my jam with Henry in Dalston, none of us had ever played together before. Nor would we have the chance to jam or rehearse before the day of the recording itself. Given this was to be my debut album, naturally I was nervous, but improvisation should always be a risk. And with musicians of the calibre and experience of Henry and Gerald involved, I felt reassured that we could create something exciting on the day.

On the 6th of June 2014, we all met at the studio. It was great to see Henry and his wife Margaret again and to meet Gerald in person for the first time. From the moment Marc pressed the record button all I would focus on doing was perceiving and reacting in the moment to Henry and Gerald's fantastic playing, allowing my subconscious to do the talking. I've put up a small sample of the first 4 minutes of Perceive- track 1 at the bottom of this page

The album consists of 2 long tracks, Perceive and React. These were my favourite recordings of the session. All of us felt that something special happened on that day and we hope you enjoy listening to it as much as we enjoyed making it. If you're interested in purchasing the full album there's a link below.

Thanks

I would like to say a massive thanks to my parents, Michael and Kate, for buying me my first saxophone and for encouraging me all these years. To Becka, my girlfriend and my old buddy Tom, for being so supportive, helping me to scribe and edit my dyslexic spelling, so I could share this story. To Alex, Sam, Simon and my sister Lily for always being there over the years I couldn’t have done it without you. To Nisa Ojalvo for some fantastic photos that really captured the day.

Marc Urselli for his incredible recording skills and Alex Bonnie for his masterful mixing and a massive thanks to Margaret Grimes for her constant and tireless support of this project from start to finish. To Mark for introducing me to Henry in the first place, without you this project wouldn’t have happened and finally to Henry and Gerald for their outstanding musicianship and giving me an experience beyond words that will stay with me forever.

1. Perceive 16:51

2. React 25:03

Josh Ison, sax

Henry Grimes, bass, violin

Gerald Cleaver, drums

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Malte Schiller & Spielvereinigung Sued - Sagen Oder Nicht (2016) UNIT RECORDS

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Malte Schiller & Spielvereinigung Sued - Sagen Oder Nicht (2016)

After having played a number of concerts with outstanding Berlin-based composer and arranger Malte Schiller (‚Burghausenner Jazz Award 201?‘, ‚Jazz Comp Graz 2011‘) in 2012, Spielvereinigung Sued decided to commission music for what would be their second full-length album in 2015.

Drawing from compositions of Schiller himself, as well as Radiohead and Kurt Weill, the record features internationally renowned trombonist Nils Wogram as guest soloist. The resulting music is full of warmth, heart and swinging energy. Wogram’s unique trombone sound finds its perfect counterpart in the writing of Malte Schiller and the dynamics of Spielvereinigung Sued.

1. Es Regnet

2. Waltz For You

3. There There

4. Night Quiet

5. Absence Of Presence

6. Pan And Syrinx

7. Morning Bell

8. Speak Low

Line-up:

Malte Schiller - musikalische Leitung

Nils Wogram - Posaune

Matthias Knoche - voc // Simon Bodensiek - as, ss, fl // Evgeny Ring - as, ss, cl // Sebastian Wehle - ts, cl, bcl // Johannes Moritz - ts, cl, bcl // Florian Leuschner - bs, bcl, kacl // Konrad Schreiter, Sebastian Haas, Roland Heinze, Vincent Hahn, Patrick Schanze - tp, fh // Andreas Uhlmann, Stephan Krause, Julian Schließmeyer - tb // Matthias Büttner - btb // Florian Kästner - p // Philipp Rohmer - b // Philipp Scholz - dr // Moritz Sembritzki - gt on "there there"

Credits:

Aufnahmestudio: Studio P4, Berlin DE

All compositions by Malte Schiller, Kurt Weill, Radiohead

All arrangements by Malte Schiller, except „There There“ by Johannes Moritz

Recorded at Studio P4 , Berlin

Recording Date 11. & 12.4. 2015

Studio engineer and mastering by Jean-Boris Szymczak

Contact: Johannes Moritz , +49 176 29 78 57 65

band@spielvereinigungsued.de

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Danielsson / Nesset / Lund - Sun Blowing (2016) ACT MUSIC

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Danielsson / Nesset / Lund - Sun Blowing (2016)

By John Fordham / The Guardian

There’s a lot of inviting improv space in the harmonically free trio format of saxophone, bass and drums, but there’s also nowhere to hide. Only the most resourceful players have risked it (saxophonists Sonny Rollins, Joe Henderson, John Surman and latterly Mark Turner in the Fly trio have been frontrunners), but the trio of Norwegian saxist Marius Neset and Swedish bassist and drummer Lars Danielsson and Morten Lund joins the best. Formed out of an accidental meeting on a train in 2012, it’s another triumph for the prolific Neset, who often plays in structured settings but cuts enthrallingly loose here. He suggests both Rollins and Michael Brecker on the sinewy Little Jump. Danielsson and Lund open the lamenting Coltranesque title track with enthralling detail.

There are shy soprano-sax tone-poems, memorable themes suggestive of Carla Bley and Charles Lloyd. It’s an unashamedly jazz-rooted conversation without electronics or pop hooks, but so spiritedly lyrical and dynamic that its contemporaneity is never in doubt.

1. Little Jump ( Lars Danielsson) 04:43

2. Sun Blowing ( Lars Danielsson) 04:11

3. Up North ( Morten Lund) 05:17

4. Salme ( Marius Neset) 08:58

5. olksong ( Lars Danielsson) 05:19

6. Evening Song For B ( Morten Lund) 04:23

7. Blå ( Lars Danielsson) 04:01

8. The Cost Of Living ( Don Grolnick)

Marius Neset / tenor saxophone

Lars Danielsson / bass

Morten Lund / drums

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