Friday, December 1, 2017

Fabio Zeppetella / Emmanuel Bex / Roberto Gatto / Geraldine Laurent - Chansons! (2017)


Chansons! is a musical conception similar to a diplomatic treaty or melodious embrace between cousins. Essentially, it's an innovative exchange between two neighboring worlds that have always eyed and inspired one other with reciprocal curiosity. Italy and France unite as allies on the musical front, gathering on the field four extraordinary talents: Fabio Zeppetella, Roberto Gatto, Géraldine Laurent, and Emmanuel Bex. This original quartet uniquely interprets eleven songs that best reflect the musical tradition of singer-songwriters belonging to these two countries. Starting from the highly popular jazz composer Bruno Martino, passing through the ever-present Fabrizio De André and Francesco De Gregori and arriving to Pino Daniele, another milestone; on the French scene are idols such as Jacques Brel, Leo Ferré, Yves Montand, and Joe Dassin. The quartet's interpretation is extraordinary and the songs on Chansons! enchant from beginning to end. While the harmonious complicity of Gatto, Bex, and Zeppetella is a well-known fact, the musical fluency added by the involvement of Laurent is unexpected, further enriching this innovative project.

01 E La Chiamano Estate 05:38
02 Bocca Di Rosa 05:15
03 Buonanotte Fiorellino 01:14
04 A Me Me Piace O' Blues 04:05
05 Napule È 05:09
06 Luna Rossa 06:11
07 Avec Le Temp 03:29
08 C'est Si Bon 05:03
09 L'été Indien 07:02
10 Les Temps Des Cerises 04:36
11 Le Bon Dieu 04:40

Fabio Zeppetella - guitar
Emmanuel Bex - organ, voice
Géraldine Laurent - alto sax
Roberto Gatto - drums



Rossy & Kannan Quartet (feat. Putter Smith & Jimmy Wormworth) - _play the music of Harold Arlen (SWIT RECORDS 2017)




During the decade from the mid 1920s through the mid 1930s, American popular music found its own identity, distinct from European roots. Tin Pan Allrhythm, Broadway. and later, Hollywood, began to capture the energy and rhythm of the burgeoning streets of America.

Composers like Jerome Kern, Irving Berlin, George Gershwin. Richard Rodgers and Harold Arlen collectively created what we now refer to as the Great American Song-book. They wrote music that so profoundly resonated with the public that it was the soundtrack for the lives of people all across the country and in some cases, around the globe.

In this pantheon of great writers, Arlen is unique. He and Gershwin were far moere influenced by jazz than their compatriots. But Aelen's melodies often had a more bluesy, melancholic feeling to them, even in the uptempo numbers. And his ethereal harmonies seem to come from some other world. His compositions are singular and follow their own distinct inner logic. And yet his songs are popular songs -hit songs- with memorable melodies that want to be sung and swung.

Our quartet tries to honor the original melodies and structure of these song while offering our own interpretations. As always, our masterful rhythm players -bassist Putter Smith and drummer Jimmy Wormworth- imbue every note with a swing that is at once driving, joyful, and full of mistery. Jorge Rossy proves again that he has truly found his voice on the vibraphone. He digs into these songs with abandon and delight, constantly finding new melodies and directions.

The group maintains a strong connection to the jazz tradition that still allows each member to express his own identity fully. Of course, this IS tradition of jazz for players to swing together, cach with their own voice.

Michael Kanan


1 It's Only A Paper Moon 6:12
2 I'll Wind 6:23
3 Let's Fall In Love 4:53
4 I've Got The World On A String 5:15
5 Ac-Cent-Tchu-Ate The Positive 4:42
6 Come Rain Or Come Shine 6:40
7 If I Only Had A Brain 5:03
8 The Man That Got Away 8:43
9 Ding-Dong! The Witch Is Dead 4:49


Van Morrison - Versatile (2017)


Written By Hal Horowitz // www.americansongwriter.com

No one would accuse the prolific Van Morrison of being stingy with his recorded output, but this, his 38th album, comes just over two months after his previous release.

Granted both are dominated by covers — September 2017’s Roll With The Punches tackles blues and soul classics, Versatile from November of the same year revisits jazz and vocal standards — but they also include a handful of newly penned originals. And even if he’s not singing with the unbridled passion of his younger years, evident on 1973’s career highpoint It’s Too Late To Stop Now tour recordings, neither is he phoning it in.

Here, he mixes swinging versions of George and Ira Gershwin’s “A Foggy Day” and Cole Porter’s “I Get A Kick Out Of You” with more contemplative, but no less inspired readings of “I Left My Heart In San Francisco” and a bluesy “Making’ Whoopee.” While nothing will make you forget performances of these chestnuts from crooners that made them famous (Sinatra, Tony Bennett and Nat King Cole), it’s clear Morrison isn’t coasting just to grab some late-career cash from his aging fan base, likely the only ones willing to spring for this collection composed predominantly of Rat Pack-era standards. Perhaps he could have dug a little deeper instead of adding yet another version of the Righteous Brothers’ “Unchained Melody” to the existing boatload of versions that already exist, but Morrison commits himself to the tune as if he’s just discovering it, maintaining the structure while scatting around lyrics with reverence and reserve.


Better still are the six new tunes Morrison penned for this set. The easy jazz of “I Forgot That Love Existed,” the spirited kick of “Only A Dream” and the finger popping sashay of “Take it Easy Baby” may not be new standards but they aren’t lame imitations either. Van and his horn-propelled small combo capture a sure sense of sassy energy that pushes even the most laid back of these performances into compelling, if not exactly edgy territory.

This is worlds away from Rod Stewart’s often overblown, undercooked and somewhat schlocky explorations into similar material. Morrison has always been influenced by this style of music and his interpretations maintain the vitality and effervescent qualities that make them withstand decades of social, and musical, changes.  Versatile may ultimately be a minor addition to the Irish icon’s swollen catalog, yet it’s another example of Van Morrison’s inimitable flair as an interpreter and arranger. It’s hard to imagine spending over an hour with these 16 tunes and not coming away with an appreciative grin and an acknowledgement of the singer’s timeless talents.

Thursday, November 30, 2017

Hélène Breschand & Elliott Sharp - Chansons du Crépuscule (2017)


Chansons du Crépuscule -“songs of dusk”- is a collection of original songs and interpretations recorded in Paris by New York guitarist/composer Elliott Sharp and French harpist and vocalist Hélène Breschand. The music on the disc was inspired by the music of Jane Birkin and Serge Gainsbourg presumably including their classic 1969 recording Je t’aime…moi non plus, whose title, if not its period pop sound, finds an oblique echo in Sharp and Breschand’s “Je t’aime Tant”. Chansons du Crépuscule tends more toward an angular, hard-edged expressionism carrying the strong imprint of Sharp’s sonic alchemy and Breschand’s Dadaesque vocals. But they can switch registers at will, as the softly melancholy “Le Dernier Mot” shows; diverseness is the other side of their virtuosity.

1. Extase (04:58)
2. La langue dans ma bouche (03:36)
3. Je t’aime tant (05:05)
4. Ne lui dis rien (04:36)
5. Goutte A goutte (06:03)
6. The Cuckoo (06:49)
7. Amor (05:02)
8. Le bloque cri (05:56)
9. Nouveau monde (05:27)
10. Le dernier mot (03:28)
11. Chose Rose (01:10)

Recorded by Jean-Charles Versari @ Studio Poptones - May 12, 2014
Mixed and mastered by E# @ Studio zOaR - NYC - July 2014
All French lyrics by Hélène Breschand except La Langue Dans Ma Bouche with lyrics by Elliott Sharp, The Cuckoo which is traditional, and Chose Rose which is an African-American spiritual translated by Marguerite Yourcenar.
Additional text in Le Bloque Cri by Rabindranath Tagore
All songs published by zOaR Music-BMI and Hélène Breschand-SACEM
Photographs by Cy Fore

Paul Jones with Leon Boykins and Rajiv Jayaweera (2017)


Hailed as a “force to be reckoned with” (StepTempest), saxophonist and composer Paul Jones is creating his own brand of unique and stylized jazz and is an in demand sideman in the US and abroad. With a singing yet dark toned saxophone coloring Paul creates music that is based in the history of jazz and classical music while infusing elements from the modern pop aesthetic. Making music that is challenging and complex while remaining attainable as a simple song is the crux behind Paul’s musical world. “Anyone can make the simple complicated. Creativity is making the complicated simple” (Charles Mingus).

Short History, his recent debut album as a leader, received a four star rating from Downbeat Magazine; the recording was noted for showcasing his melodic yet gutsy playing while highlighting his individual harmonic stylings and varied literary and musical influences. “Jones and his ensemble shift moods with throttle-forward speed, revealing so many musical possibilities right off the bat that the listener gets the impression that anything can happen” (Downbeat).

Short History opens sparsely with tenor saxophone and piano improvising over the original ballad Women, inspired by the Charles Bukowski novel. As the band begins to fill in the space around the tonal theme this playing continues and does so in both covers (I Could Write a Book and Hey, It’s Me You’re Talking To) plus original tunes. They display why Mr. Jones is noted as having “creativity up to his eyeballs” (Midwest Review). Released through Blujazz Publications, Short History features the front line of Alex LoRe on alto saxophone, Matt Davis on guitar, Sullivan Fortner on piano, Johannes Felscher on bass, and Jimmy Macbride on drums.

In NYC, Paul has performed at the Rose Theater at Lincoln Center, St. Peter’s Church, The Kitano, Tea Lounge, Shapeshifter Lab, Café Vivaldi, Highline Ballroom, and Rockwood Music Hall. In the fall of 2014 he was a finalist in the Julius Keilwerth Saxophone Idol Competition where he performed alongside Ernie Watts at the Jazz Showcase in Chicago. Paul regularly collaborates and has recorded with Matt Davis’ band Aerial Photograph, Nicky Schrire Plus 4, Leon Boykins’ Interval Songs, Jonathan Parker’s The Interloper, Ryan Khun’s Circle, and Yuki Shibata’s Come and Go.

Internationally Paul has been featured at Ronnie Scott’s and the Library Club in London. With Aerial Photograph Paul performed at the Contemporary Music Institute in Zhuhai, China, at many of the prominent jazz venues in Seoul, South Korea such as Club Evans, and at the Jarasum Jazz Festival, the largest jazz festival in Asia. Through Amsterdam Conservatory’s Keep an Eye on Jazz program Paul was a featured performer at the famed Bimhuis.

Interested in many styles of music, Mr. Jones’ pop career has also been quite active. He recently recorded with Sebastian Kole for Motown Records, Ryan Leslie of Universal Records, and Eli “Paperboy” Reed for Capitol Records. As a member of Eli “Paperboy” Reed’s Trueloves, Paul performed at festivals and clubs across 35 states, Canada, and Europe, including Lollapalooza, South by South West, and the Beale Street Music Festival. Paul regularly collaborates and has recorded with the Uptown Partydown, Brett Ferguson, Tory Hanna, The Jack Moves, Adam Lasher, and St. Lucia.

As a teacher Paul imparts his passion for learning to his students by using music as a tool to help them grow as individuals and achieve in whatever field they choose. Paul has taught privately at CenterStage, Harrison School of Music, Needham Music, PS-290, and the Rye Arts Center. During the summer he has taught courses in music theory, improvisation, music history, and lead ensembles at camp Encore Coda in Sweden, Maine.

Internationally, Paul has given masterclasses at the Contemporary Music Institute in Zhuhai, China and the Gimcheon School of the Arts in Korea.

Today, Paul makes his home in New York City where he has reoccurring performances at the Bar Next Door and the Cornelia Street Café. Active members of Paul’s bands include Henry Cole, Phil Markowitz, Fransico Mela, Sam Miniae, Yasushi Nakamura, Clarence Penn, Marcelo Pellitieri, Peter Slavov, Colin Stranahan, and Glenn Zaleski. Paul holds degrees from Berklee College of Music and Manhattan School of Music (MSM). Some of Paul's teachers have included Charlie Banacos, Hal Crook, Gary Dial, George Garzone, Tony Malaby, Phil Markowitz, Donny McCaslin, and Steve Wilson. While at MSM Paul had the opportunity to perform alongside Randy Brecker, Dave Liebman, and Joe Lovano.

Upcoming plans include releasing a suite for jazz quartet based on Ravel’s String Quartet in F Major and Gaspard de la nuit, plus a studio album of original songs based on continuing Paul’s process of turning words into melodies, and a live album recorded at the Bar Next Door. 


1. You're My Everything 06:28
2. Simone 07:37
3. Central Park West 05:01
4. E.S.P. 06:38
5. The Process 05:25
6. Serenity 04:56
7. Winter's Song 07:03

Paul Jones - tenor sax and compositions
Leon Boykins - bass
Rajiv Jayaweera - drums

All audio and artwork by Paul Jones

Vincent Courtois / Daniel Erdmann / Robin Fincker - Bandes Originales (LA BUISSONNE 2017)



This is not a film score album. Not even an album with cover versions. Not at all. On the contrary, it is a journey, a sort of free and rigorous wandering in a world which is both alien and familiar to us. So, could it be Cinema? Yes, no doubt about it... But Cinema which has been remembered, revisited, rephrased.

With recurring themes, bringing forth secret sensations coming from a distant inside. Hiroshima my Love, Bright Sun , E .T., The Thomas Crown Affair, All the Mornings of the World, The Red Ball, The Green Ray, Take The Money and Run, Sleeping Paris, films from everywhere and elsewhere...Anything but a Pantheon, but rather the result of a swaying dreamy meditation. So films, revisited and corrected by a trio with unique sounds. A cello (Vincent Courtois), two saxophones (Daniel Erdmann, Robin Finckler), three reasons to be seeped in this intimate round dance, apparently austere but, in reality, shimmering and glimmering. No fad. No dramatic flourishes.

No opportunism. Just unreleased sounds. A music that recreates itself in our ears and recalls memories, in the present time, without nostalgia. So listen to Giovanni Fusco, Nino Rota, Michel Legrand, John Williams, Marin Marais, Marvin Hamlisch in their new attire. Get on board with the Courtois / Erdmann / Fincker trio . They love cinema, music, history, geography, adventure ... You are bound to love them !



Eric Le Lann - Mossy Ways (MUSIQUE À BORD 2017)


Le trompettiste breton Eric Le Lann accompagné de Patrick Manouguian (guitare), Philippe Bussonnet ( basse), Raphael Chassin ( batterie), et de Laurent Jouin (chant) nous délivre un album atmosphérique et féerique entre jazz / pop et rock .

La perspective est assez libre et nous permet de nous étendre dans des contrées imaginaires aux voyages et visions solaires, un parcours de mélodies et d'émotions.

L'envoûtement est directe, on se laisse bercer et réentraîner par une trompette lumineuse et le chant nous procure(sauf si vous connaissez le breton) un dépaysement totale.

On adore les titres 'Rêvent', 'An Diaoul Hag An Aour' avec ses chants bretons mystérieux, 'Del' pour son rythme ou 'Sierra Volare' pour son mystère.

L'album repousse les frontières de la musique et du jazz en nous faisant découvrir les facettes possible du genre, entre frontières et passages, des alternances sympathiques et mélodiques.

1 Rêvent 5:49
2 Mossy Ways 5:09
3 An diaoul hag an aour 6:12
4 Balladisa 5:04
5 DEL 5:27
6 Son mari vras 6:00
7 Sierra volare 4:42
8 See You Soon 3:40
9 Komedianez ar blijadur 3:23


Joost Lijbaart - Under The Surface (CHALLENGE RECORDS 2017)

'What would happen to our mind if we create something out of thin air?'' That question popped up more and more frequently in the mind of drummer Joost Lijbaart. Being a jazz musician he is used to improvisation within the structure of tune and melody, but he watned to let go of those boundaries and improvise spontaneously. Lijbaart: ''I performed with Bram and Sanne before on some occasions. After a couple of sessions and concerts together the idea of a fully improvised album became a logical next step because we had so much in common. The blend of Sanne's voice in combination with guitar and drums feels very natural. The lyrics, her whispering, talking and singing are so nigh the human body that it creates a prime vulnerability which makes the music open and accessible. Bram Stadhouders is one of the most creative musicians I know. His presence, both as a soloist or an accompanist plus his profusion of sounds renders all three of us the sensation that we are able to fly.

1 Silent Conversation  04:22
2 Above  05:33
3 Dream Cave  04:43
4 Adem  03:52
5 Together  02:22
6 Kyrie  01:15
7 After Silence  02:12
8 Under the Surface  06:34
9 Sibylla  05:35
10 Going Native  05:11
11 Before  04:41

©JuanCarlosVillarroel

Sanne Rambags: vocals
Bram Stadhouders: acoustic guitars, lyre, synthesizers, additional percussion (1)


Festival International de Jazz de Montréal: Jazz under the Christmas tree!

Miguel Zenón Earns Grammy Nomination for "Best Latin Jazz Album"


Internationally Renowned Saxophonist/Composer Miguel Zenón
Earns 2018 Grammy Nomination for “Best Latin Jazz Album” 
Zenón’s album Típico celebrates his longstanding quartet

"One of the great jazz discs of the year…."  – Jeff Simon, Buffalo News

4-stars. "Zenón's appreciation for intricacy always creates sparks, but it's his buoyancy that keeps things intriguing. That balance is everywhere on one of his most engaging adventures... insightful, passionate, and don't sound quite like anyone else in Latin, jazz, or their hyphenate." 
— Jim Macnie, DownBeat

4-stars. “Zenón himself has one of the most instantly distinctive sounds in jazz today, as has his band...An enthralling recording by a great group." — Tony Hall, Jazzwise Magazine

"Típico is a portrait of a band lost in thought with smiles on their faces as they reach that elusive moment when it all comes together and they are thinking, and playing, as one." – Felix Contreras, NPR

Internationally acclaimed saxophonist/composer Miguel Zenón has earned a Grammy nomination in the category of “Best Latin Jazz Album” for his recording Típico (Miel Music).  The album is a celebration of his longstanding quartet featuring pianist Luis Perdomo and bassist Hans Glawischnig who have been with Zenón since the turn of the millennium, and drummer Henry Cole who joined the band in 2005. This is Zenón’s fifth Grammy nomination.

"I am extremely excited and honored to receive this nomination along with such a distinguished group of musicians,” says Zenón. “I look forward to attending the ceremony in January.”

A multiple Grammy nominee and Guggenheim and MacArthur Fellow, Zenón is one of a select group of musicians who have masterfully balanced and blended the often-contradictory poles of innovation and tradition. Widely considered one of the most groundbreaking and influential saxophonists of his generation, Zenón has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American folkloric music and jazz. Born and raised in San Juan, Puerto Rico, Zenón has recorded and toured with a wide variety of musicians including Charlie Haden, Fred Hersch, Kenny Werner, Bobby Hutcherson and Steve Coleman and is a founding member of the SFJAZZ Collective. 

Zenón’s past several releases have generally fleshed out his quartet with additional instrumentalists as Zenón has looked outward to explore various aspects of his Puerto Rican heritage. Típico is more intimate. Its focus stays closer to home, with nods to Zenón’s own personal and professional life as it zeroes in on what makes his band unique.

“I was thinking about what this band and the guys in the band mean to me as I was writing the music,” he explains. “I kept going back to this idea of us developing this common language that identifies us as a band.”


Their language is thoroughly fluent modern jazz, with all the instrumental prowess and rhythmic and harmonic complexity that that implies. But the dialect they’ve created together through the years is distinctive.

“‘Típico’ refers to something that’s customary to a region or a group of people,” Zenón says. “Or something that can be related to a specific group of people. And when I was writing the music, I was thinking about music that identified us and this band.”

Each of the album’s final three tracks, Zenón notes, was composed around a solo or signature rhythmic line that one of the band members had played before. “My approach was more systematic on those three compositions specifically. But the whole record essentially is about representing the sound of the band. The sound of our band.”


Típico has received extensive critical acclaim:

Editor’s Pick: “Típico is a welcome showcase for Miguel Zenón’s longstanding, yeoman quartet.... shorn of any sidemen or abiding thematic adornment, the distinctive character, energy and joy of their interaction—their sheer jazz—is spectacular.... Típico eschews grand themes for ensemble intimacy, but Zenón’s latest triumph is no less resonant.” – Britt Robson, JazzTimes

“Típico, Zenón’s new album, is a dedicatory project that celebrates the unity and invention of the alto saxophonist’s longtime quartet, now approaching its second decade as a fierce modernist ensemble. The leader’s lapel-grabbing playing may remain the focus, but his bandmates the pianist Luis Perdomo, the bassist Hans Glawischnig, and the drummer Henry Cole having thoroughly absorbed Zenón’s integration of Latin musical sources and jazz, are invaluable contributors, each worthy of his obvious pride. – Steve Futterman, The New Yorker

“...one of the standout jazz albums of 2017.... Their decade together has given them a rare degree of sensitivity and understanding that greatly enhances their work. And their shared sense of purpose results in a keen musical focus that illuminates their aural excursions.” – George Varga, San Diego Tribune

Editor’s Pick: “On Típico high points arrive as sure as the sun on each of the eight tracks on the album.... [Zenón’s] melodic and extended improvisational lines contain qualities allied to a personality of exceptional purity, muscularity and creative intelligence.” – Raul da Gama, Jazz Global Media

“After using his last few albums to elaborate on the musical folklore of his native Puerto Rico, Zenon designed Típico without a conceptual framework, instead opting to simply show off what it means when a band locks in and fires on all cylinders.... All eight pieces are tricky in their own way, but in the end Zenon proves his point: his technical dexterity and virtuosic flash never undermine the fiery group interplay.” – Peter Margasak, Chicago Reader

“...at the core Zenon's ensemble is defined by the translucency of its tone, the alacrity of its approach to rhythm and the intimacy of Zenon's solos on alto saxophone.” – Howard Reich, Chicago Tribune

 “…this is exactly how a quartet should sound. It’s inventive, exciting, powerful, intriguing and thoughtful in turns. The band seem to employ their own unique musical language, creating a distinctive feel and sound through the obvious kinship and music they are performing...this recording can be easily summed as this; thoroughly fluent, mouth-watering modern jazz.” – Mike Gates, UK Vibe

"Alto saxophonist Miguel Zenón has maintained one of jazz' steadiest working units for well over a decade...While the quartet is back down to its core, it has never sounded so huge. The music rushes forth in a near-blizzard of rhythmic detail and yet conveys looseness and breath-in a word, alma (soul)...galloping rhythmic twists; gorgeous modern harmony; and relentlessly difficult ensemble writing that somehow always sounds unruffled." - David Adler, NYC Jazz Record

4 stars: “The pure-toned alto saxophonist continues to explore his Puerto Rican heritage through the prism of jazz with this beautifully crafted set of originals.... Each track bursts to the seams with intimate dialogue and finessed technique, and with Zenon in peak form and pianist Luis Perdomo a match, the blend of Latin music and jazz is unusually complete.” – Mike Hobart, Financial Times

“...one of [Zenón’s] most sophisticated collections yet of kinetic, genre-bending post-bop.” – Matt Collar, Allmusic.com

Winners will be announced at the Grammy Awards ceremony on Sunday, January 28, 2018 at Madison Square Garden in New York City.