Two-time Grammy-winner and founding member of Snarky Puppy Bill Laurance fulfilled a lifelong fantasy with his sold out show at the Union Chapel. He will share it with the world with the release of the album and DVD Live At Union Chapel on November 11th on Ground UP Music/Verve Label Group.
The album and DVD captures the high-energy performance from Laurance (keyboards) backed by his fellow Snarky Puppy band mates Michael League (bass) and Robert “Sput” Searight (drums), as well as Katie Christie (French Horn), Felix Higginbottom (percussion), and The West Side trio – Annie Tangberg (Cello), Isabella Petersen (Viola) and Vera Van Der Bie (Violin).
“Performing live is completely different to recording in the studio,” says Laurance. “Having toured this music extensively I got to the point where I really wanted to capture the unique energy and spontaneity of the live concert experience and include the dynamic between the band and the audience in the moment. The music is free from overdubs and post-production and it takes on a freshness in the live rendition.”
The show opens with “The Rush,” highlighted by an intricate, driving rhythm from Searight and passionate playing from Laurance. “Swift” sounds massive, with the West Side Trio injecting ominous strings into the arrangement and Laurance nimbly moving between piano, Fender Rhodes and synth to craft a hypnotic groove. Inspired by a trip to the city during a tour with Snarky Puppy, “December in New York” is a moody composition that nevertheless captures the constant hum and movement of NYC, even in winter. “Red Sand” is a highlight, with the musicians locked into a captivating rhythmic pulse and League weaving in a tasteful solo.
The audience also lent a hand to the inspired performances captured on Live at Union Chapel. “It was amazing to have such a receptive crowd,” says Laurance. “It really lifted and inspired us to deliver one of the most memorable performances of the tour.”
Laurance has traveled across the globe and through a myriad of award-winning musical projects. A world-renowned multi-instrumentalist, producer and vocalist dubbed a “jazz maestro” by The Guardian, Laurance is probably best known as a founding member of Snarky Puppy, the Grammy-winning collective based out of Brooklyn, with whom he has won two Grammy-awards to date. In 2015, Laurance won the Breakthrough award at the Jazz FM Awards, and has been nominated this year as a MOBO Best Jazz Act.
Cilea Mon Amour è una produzione musicale e multimediale ideata e prodotta nel 2009. Registrata in Francia, è la prima produzione della NAU Record e propone una rilettura in chiave jazzistica di arie tratte dall’opera del compositore italiano Francesco Cilea (1866–1950) arrangiate da Nicola Sergio.
Parte integrante di questa produzione è la videoinstallazione dell’artista Gian Luca Beccari, la cui drammaturgia video è ispirata ai libretti delle opere di Cilea, l’Arlesiana e Adriana Lecouvreur. La videoinstallazione di Gian Luca sostituisce gli attori, mettendo in scena la difficile relazione tra uomo/donna.
La scelta di esprimersi attraverso una piattaforma multidisciplinare è motivata dalla volontà di rimanere il più possibile fedeli all’opera di Cilea, pur adoperando linguaggi attuali o a noi più affini. Completa questo percorso l’artwork dell’artista visivo Gianfranco Grosso, che ha progettato l’intera veste grafica dell’album discografico.
Il leitmotiv di Causality Chance Need è la composizione e ricomposizione estemporanea di strutture basate su brevi frammenti originali, costruiti senza restrizioni semantiche o storiografiche, attraverso l’improvvisazione collettiva del trio. L’idea compositiva guarda sia al singolo brano sia alla totalità e alla complessità della forma. Ogni brano è costituito da pochi frammenti, ovvero una sequenza di intervalli, una linea melodica, un’idea ritmica, che vengono sviluppati estemporaneamente ogni volta sfruttando parametri diversi: timbro, ritmo, melodia, armonia, forma.
L’obiettivo è ricercare e sviluppare un linguaggio sintetico che permetta di spaziare attraverso più tradizioni musicali, un linguaggio che riesca a rimodellare e creare connessioni tra forme e strutture
differenti, anche molto distanti tra loro, senza perdere di vista la totalità e l’integrità della narrazione.
GUIDA ALL’ASCOLTO
La particolarità del concept di questo progetto artistico si presta a due letture (ascolti) differenti. La Prima, più ‘facile’ , prevede l’ascolto delle tracce da 1 a 6. La Seconda più complessa, consente una prospettiva più ampia delle mie intenzioni, e prevede l’ascolto di tutte le tracce, seguendo l’ordine numerico: 3, 7, 8, 4, 5, 9, 10, 11, 1, 2, 12.
Perché questa doppia interpretazione?
Il primo ordine di lettura è più tradizionale, e racconta i contenuti del disco in maniera semplice e diretta. Il secondo ordine di lettura, più frammentario, vuole fornire all’ascoltatore più dettagli riguardo l’idea compositiva che sta alla base di questo lavoro e fornire un’idea più completa di “racconto”: sfruttando ganci tematici nascosti, come ad esempio un delay su delle armoniche effettuate dal basso elettrico (che in questo modo perdono la funzione meramente effettistica e diventano materiale tematico), si possono legare brani che nel primo ordine di lettura erano apparentemente scollegati.
Nota - Il brano OCEANO SENZA ONDE (musica di Francesco Orio e testo di Umberto Petrin) prevede due versioni: la prima (traccia 6, con la sola voce di Umberto Petrin) è destinata alla prima lettura, mentre la seconda (traccia 10, con voce e musica) è destinata alla seconda lettura.
IN SINTESI
Ascolto 1: ascoltare l’album dall’inizio fino alla traccia 6 compresa.
Dissolver a harmonia no tempo, levar ao lume e juntar os outros ingredientes, com excepção das melodias previsíveis e do azeite. Mexer por 54bpm.
Dissolver, à parte, a bateria e o baixo e juntar ao preparado, mexendo até engrossar. Retirar o louro e triturar bem o preparado com o público.
Levar ao lume mais um pouco e reservar. No palco, colocar luzes, amplificadores, 1 microfone (na vertical) e cabos qb, tudo em camadas.
Tapa-se o concerto com cortinas e por cima, coloca-se o aplauso estrelado (opcional) e depois cobre-se a vénia em fatias para todos os lados. Por fim, anunciar os Cd's e confraternizar com a audiência 15 a 20m.
Venham conhecer a nova morada da Sala Porta-Jazz no Edifício A Lutuosa de Portugal: contamos convosco!
Guimarães Jazz
Domingo, 13 novembro - 22h
Plataforma das Artes e da Criatividade / Black Box
Projeto Guimarães Jazz / Porta-Jazz #3 - MIRRORS
João Mortágua - saxofone
Ricardo Formoso - trompete
Virxilio da Silva - guitarra
Felix Barth - contrabaixo / baixo eléctrico
Iago Fernández - bateria
Hernani Reis Baptista - instalação
A colaboração entre a Porta-Jazz e o Guimarães Jazz tem como princípio basilar o cruzamento entre música e outra área artística, levando os intervenientes a interagir no processo de criação e performance, encontrando outras formas e elementos para a composição e improvisação em tempo real, como produto de uma residência artística a realizar na semana anterior à apresentação durante o festival.
A formação integra artistas portugueses, mas o convite a músicos emergentes no panorama europeu é também uma premissa neste projecto conjunto, para que se estreitem ou criem laços entre jovens músicos portugueses e estrangeiros. O resultado do trabalho será registado e editado através do Carimbo Porta-Jazz, o braço editorial da Associação Porta-Jazz.
MIRRORS
"E se houver mais vida para lá dos espelhos?"
Em parceria com o artista plástico Hernâni Reis Batista, MIRRORS propõe-se explorar as reflexões da luz enquanto portais para um espaço inter dimensional, em que dos espelhos surgem novas sensações e até novos paradigmas.
Num clima de constante descoberta, o mundo que conhecemos metamorfoseia-se a partir da luz que incide em vidros giratórios, mas também a partir de espelhos musicais que emanam de si uma outra arte: a que é feita de nós mesmos; nós, enquanto ser coletivo.
A criação artística deste projeto parte assim do sentir terreno e da respetiva reação a essa viagem sónica, através do portal-espelho e evolução inerente.
Con tan sólo 23 años y después de trabajar con artistas como Raimundo Amador, Miguel Ríos, Tomasito, O’Funk’illo, Abraham Mateo y un largo etcétera… además de haber realizado clinics y Master Class por medio mundo para las marcas de las cuales es Artista Internacional; Pearl Drums, Zildjian Cymbals, Evans Drumheads y Wincent Drumsticks, el joven músico Gallego decide lanzar su primer disco en solitario, “Melted Lives”. Un álbum donde se fusionan una amalgama de estilos como funk, jazz, rock, flamenco e incluso sonoridades cercanas a la música de cine. Esta travesía musical se ha materializado gracias a los músicos con los que ha contado para la grabación y con los cuales ha crecido y se ha desarrollado como músico casi desde sus comienzos, Iago Mouriño (piano), Pablo Añón (saxo y efectos) y Octavio Vargas (bajo) los cuales también le acompañarán en directo. demás de la banda, han colaborado músicos de la talla de Tom Kennedy, Pepe Bao, Álvaro Gandul, Jorge Pérez (Patáx) o Andreas Lutz. Artistas como Dennis Chambers, Gergo Borlai o Roy Hargrove elogian la manera personal de tocar del joven Lamas.
Established in 2013 and currently having over 50 floating members, the Warsaw Improvisers Orchestra acts as a resource for musicians to meet and work in a large improvising ensemble, or in smaller units within a larger context.
Spontaneous music making is our remit, but on occasion, scores both regular and graphic may be used as well as visual cues presented by visual artists.
The orchestra is a chance for people to develop a deeper understanding of the relationship of sound and how it functions. The substantial power at the orchestra’s disposal can be deployed in many ways ; sometimes raw, sometimes melodic, occasionally melancholic; rhythmical or abstract but always with a sense of purpose.
The music on this CD was recorded in early 2015 and was the biggest orchestra show we had done up to this point.
Numbering 29 musicians from a variety of backgrounds and disciplines, the music composed “live in the moment”, without any preconceived intention, moves through a variety of styles. From contemporary classical to ecstatic free jazz, noise to electronica, moments of stillness to avant rock.
Sounds felt at the time are combined to take the musicians and listeners on a journey where certain moods are created and emotions are felt that indicate new possibilities and directions in which to “take the music” or “let the music take you”.
WIO relies on the generosity of the musicians that take part, the audience that follow us and promoters that help us - without you this would never happen. To you we give a heartfelt thanks.
Ray Dickaty 2016
1. “This…” Conduction Patryk Zakrocki 22:36
2. “……That…..” Conduction Ray Dickaty 12:16
3. “………….and the Other….” Conduction Ray Dickaty 44:50
DELIVERS A CAPTIVATING BLEND OF BRAZILIAN MUSIC AND JAZZ
FROM THE ACOUSTIC TRIO BRAZZAMERICA
THE STUNNING DEBUT CD BRAZZAMERICA
In the fresh sounds of Brazzamerica, three veteran Brazilian-American musicians tell their life story in the universal language of great music.
What can you expect from Brazzamerica? The name says it all. “We wanted to show the flavor of the music, we wanted a name that would say: We play Brazilian music, jazz, and American music,” explains Brazzamerica bassist Leco Reis. Following their goal of expressing themselves with something more personal than simply familiar Brazilian music, they created a harmonious and intriguing blend reflecting “not just our experience as Brazilians who came to the U.S., but how our music changed from living here. Our music tells our story.”
On their self-titled debut recording, Brazzamerica, pianist Cidinho Teixeira, bassist Leco Reis, and drummer Edson Ferreira display an exciting level of telepathy, communication, and understanding in their musical interactions. Such synchronicity can’t be forced, only developed over time. The threesome has been gigging steadily in New York for the past five years, a rare luxury these days, and the result is this CD full of delightful music that will leave listeners wishing for more.
All three are Brazil born and enjoyed striking musical success in their native land before making the move to the U.S. While Brazzamerica is basically a collective, with each member contributing ideas and arrangements, bassist Leco Reis and drummer Edson Ferreira have the utmost respect for their senior colleague, pianist Cidinho Teixeira, who composes much of their repertoire. “He’s been a force in Brazilian music for so long, he has his own identity and he inspires us,” Reis declares.
Pianist Cidinho Teixeira gained renown in his native Brazil before moving to the U.S. two decades ago. To this day, he is so beloved that the cream of the Brazilian music crop is likely to show up to pay their respects at Teixeira’s gigs.
An in-demand composer, arranger, and pianist, Teixeira has extensive global touring and recording experience, accompanying renowned musicians such as Gilberto Gil, Djavan, Lene Andrade, Gal Costa, Simone, and Harry Belafonte. The pianist has recorded with cult favorites like singers Mark Murphy and Blossom Dearie.
Teixeira has released a half-dozen albums in his own name, ranging from solo and duo efforts to large ensembles, from studio recordings to live at Zinc Bar. Long acclaimed by fellow musicians for his prodigious rhythm chops, Teixeira was inspired to share his expertise by writing a book on the subject, “Brazilian Rhythm on the Keyboard.”
Bassist Leco Reis has been in demand on New York’s music scene for more than 10 years. In addition to Brazilian and jazz, listeners are likely to catch him gigging in contemporary improvised music settings. A Berklee College of Music grad with an advanced degree from Queens College, Reis is now on the music faculty of Sacred Heart University.
Triple-threat Edson Ferreira is a talented multi-tasker. Besides playing drums, he is a brilliant percussionist and producer with more than 20 years experience. He studied at Sao Paulo Conservatory and has played concerts, clubs and festivals worldwide, both as a leader and as an in-demand sideman.
The tunes on Brazzamerica are a mix of Teixeira originals and Brazilian music standards. In choosing the material, the threesome wanted to include Brazilian songs but wanted to avoid the presenting the bossa nova style as it was played in the U.S. in the 1960s and 1970s. They aimed for “something with a swing to it, and a good groove. It had to be good to listen to and fun to play,” Leco Reis points out.
Bursting with energy and rough elegance, Brazzamerica’s sound has a deceptive simplicity, full of the interactions that result from a total of well over a century of collective experience among the three. CD highlights include:
The lively opener, “Quintessencia,” sets the mood and promises good things to come. It’s a great introduction to the light-handed drummer Edson Ferreira. The trio’s delightful interplay and strong solos prove they’re all on the same wavelength, and it’s a very cool one.
“So What/Samba Do Carioca Wav” is an imaginative take on one of the most beloved and widely recognized melodies in jazz, Miles Davis’ “So What,” from the legendary album Kind of Blue.
“Vera Cruz” is elegant yet lighthearted, with a compelling subtle drive. If only it were longer! We could listen to the trio go to town on this groove all day long. Elegance is audible again in the deliberately paced “Canario,” and the stately “Cecilias,” while “Samba Da Lira” evokes a day at the beach with a vibe so relaxed you can practically imagine the sound of gently lapping waves.
Rhythm is the star in “Lim Sim,” featuring a great bass line, with Reis and Teixeira in tight synch, supported by Ferreira’s subtle percussion. There’s also plenty of dynamic soloing on this intriguing tune.
Teixeira trips the light fantastic on the keys on “Cev Mar”; there’s a gorgeous arco bass opening to the hypnotic “Passarim”; the energetic “Ginga Do Mane” is a high-energy cooker that’s imaginative and engaging. Bass also makes a strong but subtle statement in “Mariama.” “A Ra” has a lilting melody that sounds crisp and fresh, building up to a big finish; “Imagen” opens with great drive, and the rest of the tune lives up to the mood set from the get-go.
Drawing on styles explored and lessons learned through their extensive and varied life history, Brazzamerica has an exciting story to tell within this elegant and inspired new CD.
It would be sufficient for Mary Halvorson to just continue being an avant-jazz guitarist with broad influences and a distinctive style. She would stay busy and garner praise. But here, she steps up as a leader once again, this time with her biggest outfit yet.
The lineup is identical to that of 2013’s Illusionary Sea, with the addition of Susan Alcorn on pedal steel guitar. The other contributors are Jonathan Finlayson on trumpet, Jon Irabagon on alto saxophone, Ingrid Laubrock on tenor saxophone, Jacob Garchik on trombone, John Hébert on bass, and Ches Smith on drums. Under Halvorson’s deft guidance, the octet navigates eight labyrinthine compositions.
With an ensemble of such size, it would be hard to categorize this as a guitarist’s solo album. Halvorson’s voice herein is just one among many, though it makes clear statements. But not unlike Illusionary Sea, as well as her other works for larger outfits, Away With You is a composers showcase. The horns roll off of one another in counterpoint over ominous 6-string picking and chording, with Alcorn providing atmospherics, and Hébert and Smith contributing a busy low end. Themes morph and adjust until all players join in free-form blowouts, then the themes reprise once again.
In some ways, Halvorson’s compositional style is as disjointed and prickly as her playing. Channeling her inner Braxton, she makes sharp left turns when the listener is expecting straight lines, while leading the octet through dense non-linearities. On the other hand, her use of space is masterfully delicate, building tension for the inevitable chaotic release.
As noted above, guitar sometimes takes a primary role. However, this not to the exclusion of the other instruments. Duets between Alcorn and Halvorson are particular compelling, though taking up only bits and pieces of the album. Hébert also provides a long, powerful solo break. But Away With You is at its best when all eight players are working through complex charts, and soloing around the edges. The result is nothing short of exhilarating.
