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Tuesday, January 24, 2017
Jorge Rossy & Javier Vercher - Filantropía (SUPERTONE RECORDS 2017)
Very happy to announce the release of a new album I recorded with one of my musical heroes Jorge Rossy: Filantropía. We put it out with a fantastic British label called Supertone Records, lovely folks from the UK that are living in Estivella, Valencia – Spain. They have one of the best recording studios in Spain and the musical scene is very happy to have them around! Javier Vercher
01. Filantropía 05:01
02. Gotas 03:21
03. Linear Distance 03:01
04. Adagio 03:53
05. Cleptocracia 02:41
06. Stay There 05:14
07. Kiss From Venus 02:08
08. The Newcomer 05:24
09. Decoding 01:38
10. Portrate 02:16
11. Have Fun Tonight (Time Is Running Out) 02:11
Jorge Rossy: Vibraphone, Piano, Drums and Marimba.
Javier Vercher: Saxophone, Bass Clarinet, Flutes and Percussion.
Mix: Simon Campbell - Supertone Records
Mastering:Jon Astley - Close To The Edge Mastering - London (UK)
Andres Jimenez Quintet - Nirodha (UNIT RECORDS 2017)
Bound by common views on dedication and musical taste. Every single member plays masterfully. The interplay between musicians is awesome and of great inspiration. The music itself can be qualified as « post hard-bop » jazz, playfully, energic and lyric at the same time.
1. Wind In Your Hair 6:27
2. Asil 7:33
3. Quintet 6:39
4. Nirodha 6:32
5. Week With No Days 7:54
6. Magga 5:10
7. Self Defense 3:18
All compositions by Andres Jimenez
Andres Jimenez - Piano
Antoine Brouze - Drums
Ninn Langel - Doublebass
Jeff Baud - Trumpet & Flugelhorn
Manu Gesseny - Alto Saxophone
Recorded at Studio de La Fonderie, Fribourg CH
Recording Date : 24/06/16
Studio engineer and mastering by Florian Pittet
Hands & Bits - Lovesongs for a Broken Pencil (UNIT RECORDS 2017)
The Austrian electronic-,acoustic-duo formation Hands & Bits dedi- cated their debut album to everyday rituals - loops - , sometimes interrupted by unpredictable situations like the demolition of a pencil tip or even the death of an individual.
Musically starting with simplicity, followed by extended romantic scenery up to the complete resolution of matter - white noise - thats the sound structure of „Lovesongs for a broken pencil“. Me- taphoric thoughts are predicted.
1. Worldwide 4:39
2. Wounn I 4:35
3. Lovesong For A Broken Pencil 6:00
4. Rocks 5:31
5. Fiftyfive 4:01
6. Winter 09 4:22
7. Dry Grass 5:45
8. Lake Tappenkar 6:38
All compositions by Simon Schellnegger and Julian Pieber
Simon Schellnegger — viola, loops, voice
Julian Pieber — electronic devices, drums, voice
Additional instruments:
Wolfgang Sambs (guit., track 1)
Melanie Ku? nz (voc., track 8)
Ralph Lemoch (dj, track 2)
Juliana Siegl (voc., track 3 & 7)
Recording Studio: Multiple Sessions all over Austria
Recorded from 2014 to 2015
Recorded & mixed by Wolfgang Frieß, Floxe, Kurt Richter, Hands & Bits
Mastered by Floxe
Peter A. Schmid & Félix Stüssi - Transatlantic Conversations (UNIT RECORDS 2017)
Stussi and Schmid have known each other for decades, playing together both as a duo and in a quartet throughout the 1990s. When Felix Stussi and his family emigrated to Canad, contact continued even across the Atlantic, with CDs exchanged and musical development followed closely. Stussi became a fixture of the Montreal jazz scene, playing with many renowned musicians (including Ray Anderson) and composing for his own combo, with which he released multiple CDs on Unit Records.
The low woodwind player Peter A. Schmid has been active for decades, moving between the musical poles of jazz, improvised music and contemporary sound. Alongside many years of collaborative work in duos, woodwind ensembles and musical projects set in extraordinary spaces have played an important in his career (for example „September Winds“ with Evan Parker). Stussi and Schmid resumed their musical collaboration this summer, reworking new and older original pieces, developing concepts for spontaneous compositions, playing concerts and now releasing their first studio CD, recorded at Hardstudio in Winterthur: „Transatlantic Conversations.“
The cover design features underwater photography derived from the picture series „Underwater Surfaces“ (with close up images of underwater lifeforms captured by Peter A. Schmid in tropical waters across the globe).
01. Kangoo 4:26
02. Blue Horizon #1 2:53
03. Ursina 4:38
04. Silvio 3:20
05. New Waves 2:07
06. Blue Horizon #2 2:54
07. Buster 4:18
08. Vampir 2:08
09. Green Horizon #1-3 4:16
10. Garissa 4:36
11. Miniatour D'Horizon #1 3:37
12. Miniatour D'Horizon #2 1:34
13. Smoke On The Horizon #1-3 3:57
14. One And Only Bass Clarinet Blues 4:19
All compositions by Peter A.Schmid und Felix Stüssi except where indicated.
Peter A.Schmid - bass clarinet, tenor & baritone saxophone
Félix Stüssi - piano
Recorded june 25, 2016 at Hardstudio Winterthur by Moritz Wetter
Mix & Mastering: Klaus Grimmer, Winterthur
Underwater photographs: Peter A.Schmid
Graphic design: Margaret Thorne, Zürich
Das Letzte Känguru (feat. Michael Kiedaisch) - Täuschung (UNIT RECORDS 2017)
“Das letzte Känguru“ characterizes itself as an ensemble that leaves the ordinary boundaries of the traditional saxophone-trio to explore the limits of this exciting lineup. The band is an exquisite representation of self-confident European improvisation accompanied by various alien but highlycreative patterns. The ensemble, however, never loses the self-awareness of its power which originates from consistently following its basic musical principles.
The trio knows to impress with its varying and inspirational compositions that are particularly characterized by creativity, flexibility and the embrace of the moment which they manifested beautifully in their debut album “Absprung” which was published by the Cologne label “Jazzhausmusik”. Continuing their musical roots “Das letzte Känguru” – accompanied by the vibraphonist Michael Kiedaisch (Freiburg) – will publish their latest CD called “Täuschung” on UNIT Records.
1. Die Traurigkeit der Sonne (feat. Michael Kiedaisch) 7:00
2. Täuschung (feat. Michael Kiedaisch) 5:17
3. Fort (feat. Michael Kiedaisch) 8:03
4. Kalter Kaffee (feat. Michael Kiedaisch) 6:55
5. Windstill (feat. Michael Kiedaisch) 5:21
6. Spring City (feat. Michael Kiedaisch) 4:58
7. Free Billy (feat. Michael Kiedaisch) 4:29
8. Nachtgesang (feat. Michael Kiedaisch) 6:38
9. Die blaue Blume (feat. Michael Kiedaisch) 9:38
All compositions by Christoph Beck, Michael Kiedaisch, Felix Schrack and Sebastian Schuster
Christoph Beck – Saxophone
Michael Kiedaisch – Vibraphone
Sebastian Schuster - Doublebass
Felix Schrack – Drums
Marco Santilli CheRoba - L'Occhio della betulla (UNIT RECORDS 2017)
When I looked out the window, clarinet to mouth, practising, it looked back at me. From its spot on the white trunk of a birch tree outside. Was it keeping a check on me? Constantly present, it watched me while my music emerged – kindly, questioningly.
Now the time has come.
What developed from my gaze on “l’occhio della betulla” has found its band: Lorenzo Frizzera, who came to practice one day with his twelve-string guitar and keeps surprising me with his rich sound and imagination. Ivan Tibolla from the Veneto, who is just as flowing and full of ideas at the organ and on the accordion as he is at the Steinway grand, and who accompanies me on all my excursions (including the wild adventures) like a brother. And Fulvio Maras, whom I once heard at a concert, thinking: “now that is a percussionist I’d like to play with…!”
We live far apart, in quite different places, and yet we come together to play this music. When someone in the Ticino tells me an incredible, funny, or simply surprising story, I reply: “Che roba!” CheRoba is alive. Che roba!
Variationen über den Namen Hesse
Musik des Einsamen
When Hermann meets Hari
L’occhio della betulla
Saphyrion
Serenada in minur
Gazzella
Agasul
Come le foglie
Love all, trust a few, do wrong to none (bonus track)
Saphyrion (alternate take)
Lorenzo Frizzera – twelve-string and classical guitar
Ivan Tibolla – piano, accordeon
Fulvio Maras – percussion
Chip Wickham - La Sombra (2017)
In recent times Manchester has produced an impressive slew of jazz musicians, with the likes of Matthew Halsall and Nat Birchill both receiving widespread acclaim. A lesser known figure but no less important in the development of the Manchester scene is Chip Wickham, a flautist and saxophonist who soon releases a spiritually leaning and vintage sounding '70s jazz record called La Sombra via Lovemonk Records.
Translated from Spanish as 'The Shade', Chip's debut album drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.
Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.
In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin’s Rob Turner.
Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 – the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles’ top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).
La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla’s classic ‘La Leyenda Del Tiempo’ and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Nathan Davis.
What others have to say about the album
"I'm a massive Chip Wickham fan." – Craig Charles
"This is coming from the outside, I was like whooooa, easy - Chip Wickham! Blowing hard - they got it right!" – Gilles Peterson
"I love this record" – Matthew Halsall
"Helll yeah, I've been bumpin' this" – DJ Lefto
"This is my kind of jazz… think Harold Land and Bobby Hutcherson 1968 and you'll not be far off the mark" – Eddie Roberts (The New Mastersounds)
"Fxxing love this" – Eddie Piller (Acid Jazz)
"Love this album and coudn't turn it off" – Dean Rudland
"All tracks show an incredible depth, feeling and soul. Will be on my playlists for years to come" – Dr Bob Jones
"Beautiful stuff - played it out last night and it sounded fantastic" – Tim Love Lee (Tummy Touch)
"Really fantastic playing and composition. Wickham has a classy touch that makes his vintage influences fresh and vital sounding" – Tomas Palermo (Forward Ever)
"Slingshot is quality, can't wait for the album" – Mark Further In Fusion
"This album came in somehow like out of the blue late 2016, and has not left my audio ever since" – Michael Rütten
01. La Sombra 09:34
02. Sling Shot 06:31
03. Red Planet 05:44
04. The Detour 05:11
05. Pushed Too Far 06:19
06. Tokyo Slow-Mo 06:36
07. La Leyenda Del Tiempo 04:21
Gabriel Casanova: piano
David Salvador: double bass
Antonio Pax: drums & vibraphone
Published by Bonatarda
All songs written and arranged by Chip Wickham, except La Leyenda Del Tiempo (written by Federico García Lorca/Ricardo Pachón Capitán)
Recorded at Red Led Studios, Madrid, Spain
Produced and Mixed by Chip Wickham
Mastered by Bruce Wood at Touchwood Audio (UK)
Artwork by Animisiewasz
Photo © Sergi Panizo (f/S.P. fotografía)
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