We can start this newsletter with – again – announcing a great new collaboration. We're happy to tell you that Esinam Dogbatse is joining the Aubergine family. This Brussels musician plays flute and percussion with Témé Tan, Sysmo, Anne Wolf, Marockin’ Brass and Diab Quintet among others. In her solo project she proves to be a fierce multi-instrumentalist who uses electronics to add a new dimension to her set. Her warm voice is the icing on the cake. In December 2017, Esinam was the support act of Melanie De Biasio at a sold-out Ancienne Belgique four times in a row. This fall, she will release her first EP on Sdban Records. So, a musician from the 'New Wave of Belgian Jazz' to watch!
Join us at one of her upcoming concerts:
08.03 Human(art)istic Festival @ Beursschouwburg, Brussels
This month, Aka Moon and some guest musicians will bring the sounds of the Balkan, the Middle East and India to France & Belgium. In Alifbata, compositions and musicians of two earlier created projects come together: The first one, Aka Balkan Moon, inspired by Balkan music with a special focus on the Bulgarian traditions, and second AlefBa, a project that uses the sultry sounds of the Middle East. Both projects arose under the wings of Fondation de Royaumont (Paris). Indian Sufi singer Zila Kahn will join the musicians with her lush chants.
Starting from March 1st, Martin Vernier joins our team doing an internship with us ‘till August 31st. Martin is a young music enthousiast from Saint-Etienne (France) who was recommended by i.a. Rhino Jazz Festival, Tremplin Jazz Avignon and Têtes de Jazz (AJMI, Avignon), where he did an internship as production assistant in the past.
LABTRIO:
NATURE CITY
If you didn’t have the chance to see ‘Nature City’ (Outhere Music, Febr. '17) by LABtrio live yet: the last three days of March, the trio presents its latest album once more to the Belgian crowd. A must-visit!
Alexandre Saada : Piano, Rhodes, Clavinette, back vocals
All arrangements by : Madeleine & Salomon
Track listing w/ track time:
1. Image (Nina Simone, William Waring Cuney) 1:55
2. Swallow song (Mimi Farina, Richard Farina) 2:16
3. All the Pretty Horses (Traditional) 3:19
4. No Government/High School Drag (Nicolette, Philip Anthony Johnson / Mel Welles) 4:52
5. At seventeen (Janis Ian) 2:23
6. Strange Fruit (Billie Holiday, Abel Meeropol) 3:09
7. Save the children (Al Cleveland, Renaldo Benson, Marvin Gaye) 4:32
8. Bain libre 1 (Alexandre Saada, Clotilde) 0:22
9. Little Girl Blue (Richard Rodgers, Lorenz Hart) 2:19
10. The End of Silence/Mercedes Benz (Elaine Brown/Janis Joplin) 4:25
11. Les eurs (Charles Stepney, Richard Rudolph) 2:07
12. Bain Libre 1 (Alexandre Saada, Clotilde) 0:51
13. Four women (Nina Simone) 6:35
14. Vous Faites Partie de Moi (Cole Porter, Josephine Baker) 2:39
15. Le Jour né de la Femme (Alexandre Saada, Clotilde) 3:54
Madeleine & Salomon is the meeting of two artists with well-established musical visions: the vocalist and flutist Clotilde and the pianist, composer, multi-instrumentalist, Alexandre Saada. Long-term friends, they discovered, during a tour of Asia, in 2014, that they shared a common musical aesthetic and decided to form the duo Madeleine & Salomon with its minimalist music stamped in impressionist poetry. They took advantage of the Melbourne Recital Centre (Australia) invitation in June 2015 to rethink the American Songbook in their decidedly original fashion, and record their first album A Woman’s Journey. This homage to American female protest songstresses is enriched on stage by free improvisations inspired by dreamlike short films specifically edited from stock shots. A lonely voice, surveying a minor scale and reciting fundamentally feminist lines. Thus commences this first album of Madeleine & Salomon, “A Woman’s Journey”. A minimalist and delicate duo tackling a humanist and rebellious repertoire. Madeleine sings, Salomon sits at the piano. Madeleine & Salomon, a duo with a natural elegance, “less is more” their essence. The epic and libertarian duo Madeleine & Salomon embraces with ardor the feminist American songbook to cover it with loving-kindness tinged with a minimalistic music and with a deep and incandescent chant. Their 1st album A Woman’s Journey reveals a graceful and unexpected reinterpretation of a humanist and rebellious repertoirefrom Nina Simone to Janis Joplin to Billie Holiday to Josephine Baker.
“Superb new CD”
BBC RADIO 3 (UK)
“A fascinating album. So many moods, so much space and lyricism.”
SUNDAY TIMES (UK)
“This is true class, no fakery, a moment of grace”
LES INROCKS – 10 Best
Summer Jazz CD
“A n unbelievable atmosphere, literally out of time.”
JAZZ NEWS – "ESSENTIAL"
“Unheralded, unheard - of and totally necessary”
OPEN JAZZ – FRANCE MUSIC – “SELECTION 2016”
Vocalist and flutist Clotilde (CLOW-TEELD) completed her studies in jazz and improvised music at the IACP and EDIM schools. She also explored world music vocal techniques ,developing an original approach to the voice as a multifaceted and narrative instrument. In 2007, Clotilde released Live au 7 Lézards. Accompanied by guitarist Hugo Lippi, the album was acclaimed by Jazzman, Jazzmag and Jazzhot magazines. Pianist , composer, and multi - instrumentalist Alexandre Saada [SAH - AH - DAH] studied classical music for ten years before expanding to include jazz, pop, and song, stud ying under Michel Petrucciani. Since his installation in Paris in 1999 he has not only carved out his own career of compos ing, performing and lead ing but has also worked alongside many artists as Leonore Boulanger, Electricdiva and Malia. In 2010 he performed solo at the Saint - Germain Jazz Festival. He has compose d for cinema, garnering a purse of the Sacem. In 2014 h e released Continuation to the end , followed by Portraits in 2015 .
Along a career timeline glinting with highlight after highlight, drummer Gene Jackson has gained the deserved respect of musical peers and audiences worldwide for his linchpin role in major jazz line-ups from the late 1980s onwards. Initially recording and touring with guitarist Kevin Eubanks, Jackson became the backbone of bands led by Herbie Hancock, Wayne Shorter and Dave Holland, as well as collaborating with a panoply of names including Art Farmer, Christian McBride, Dianne Reeves, Joe Lovano and Hugh Masekela, plus the New York Standards Quartet. For his debut as leader – Power of Love – the Philadelphia-born, Tokyo-based rhythm maker returns to the format perhaps most dear to him, with pianist Gabriel Guerrero and double bassist Carlo de Rosa; both of whom he cites as his inspiration, alongside the indelible friendships and experiences forged in both Hancock’s and Holland’s trios. “Playing all those years with Herbie and Dave, I just fell in love with the environment”, explains the drummer. “When Gabriel and Carlo came over to my place in Brooklyn, it was a great privilege, as both are highly sought after on the scene. We soon realised we had a rapport, and I really liked the vibe – so I knew this was the New York trio I had to record with. For many years, I’ve had a deep love of Afro-Caribbean music, believing this connection to be crucial to American jazz piano and drums – so, as a Colombian, Gabriel brings exciting elements of that culture into his compositions and performance; and that’s important to me as I incorporate these more deeply into my own sound”. Most of the ten, absorbing tracks are individual, original compositions brought in by each member of the trio. “I like to develop ideas that are not governed by tradition or rules”, the drummer elaborates, “with the freedom to extend phrases and ideas without limitation. Music is an expression of who you are – and when I write and play, I’m conscious that aspects of my life are in there”. Jackson’s own ‘Great River’ follows that lead with blithe piano extemporisation characterized by intelligently ornamented percussion; and bass-bustling ‘Before Then’ (inspired by Ahmad Jamal) revisits his first published song which, until now, has only been recorded on other people’s albums. An oblique arrangement of Cole Porter’s ‘I Love You’ (“I played this with Herbie – he’s like a mad scientist with the harmonies”) is delicately poised throughout; and Thelonious Monk’s distinct angularity is explored in two numbers, the unflappable piano melodies of ‘Played Twice’ sailing nonchalantly across its otherwise swaggering deportment (recalling the leader’s time with Dave Holland). An apparent simplicity to Carlo de Rosa’s tender ‘A Perfect Tremor’ belies the intricacy of its occasional harmonic and melodic twists, as does delicate yet sprightly ‘Neptune’. Gabriel Guerrero’s agitated ‘Land of the Free‘ and infectiously upbeat bossa nova ‘Lighting’ (newly introduced to the band at the sessions) display facets which delight Jackson, including abstract landscapes and tricksy Latin time signatures; while ‘Lapso’ combines joyous swing with resolute grandeur. Gene Jackson identifies strongly with his album title: “In the midst of all the craziness that’s going around the world, not just in the States, I believe the power of love is the cure for helping humanity to the right place (the album’s African art symbolizing this). It transcends everything, and there are a multitude of things that can move us forward positively – in the creation of music, in relationships, in dealing with your fellow person, and also spiritually. My music is all about love – and I was taught by Herbie and other great leaders that it should always be in the moment. On this recording, I embraced that moment. It’s the sound I wanted to put out… and I’m alright with that.”
With the playful opening bars of new release Criss Cross, the sublime world of tenor saxophonist and flautist Tori Freestone and pianist Alcyona Mick (plus guest vocalist Brigitte Beraha) is encapsulated through creative intrigue and improvisational dexterity, frequently glinting with mischievous spontaneity. Known for diverse roles in jazz, folk and world music, Freestone and Mick have been friends for years, performing together in different ensembles, including the London Jazz Orchestra. But it was casual duo explorations in music from their combined eclectic influences, taking in the output of Thelonious Monk, which led to an enthusiastic invitation from Manchester Jazz Festival’s artistic director, Steve Mead, to develop the project for live performance in 2015. “I’d always felt the two of us were like-minded”, explains Freestone. “We were in Tenerife, playing together quite a lot, and it felt so easy and so lovely (on rainy days, we’d just pull out another Monk tune); and we kept saying we should do it more often – and actually made it happen. Quite different from my trio with bassist Dave Manington and drummer Tim Giles – which is specifically chordless and very rhythmic – here we both shape the rhythm in a different way, following whatever direction the music takes us in; and with such amazing piano-playing, I can bring out the harmony in new and existing compositions”. Alcyona Mick reinforces the merits of the collaboration: “There’s plenty of space for creativity; and though a duo can be more challenging, I have much more freedom to use the whole piano – in this case, the beautifully warm, richly dark sound of a Fazioli Concert Grand at Stefano Amerio’s Artesuono studio in Italy”. In Tori Freestone’s mathematically challenging 8/11 ‘Hermetica’, Brigitte Beraha’s characteristically high, wordless tones intertwine with Brazilian-imbued flute and piano in breathtaking synchronicity, while ‘Charmed Life’ offers a lyrical beauty far from its trio origins as balmy tenor melodies are enfolded by Mick’s sensitively rippling undercurrents. As well as interpreting the inherent quirkiness of ‘Criss Cross’ (“I love how the form of the middle eight is so weird”, says Freestone), the spirit of Monk can also be found in Mick’s strutting, bluesy promenade, ‘Strange Behaviour’; and previously conceived for quintet, and then two pianos, her bustling ‘Exchange’ features complex, dancing keyboard figures and vehement conversations with Freestone’s soprano. The concerto-like breadth of Alcyona’s ‘Goodnight Computer’ demonstrates how they regularly open out on the bandstand, these wayfaring twelve minutes painting fluctuating vistas and moods. Tori’s folk-tune ‘Press Gang’ (from her 2016 release, El Barranco), takes on a new guise, Beraha’s emotive vocal elucidating its dark poetry; and comedic, theme-tune-like ‘Mrs PC’ (from the In the Chop House album) leaps and shrieks with unfettered glee. “We have great understanding and confidence in each others’ playing”, enthuses Freestone. “In fact, we sometimes find we’ve chosen to express exactly the same thing, prompting the mutual question, ‘How did you know I was going to do that?!’. We like to accept the challenge of whatever is put in front of us, finding a new way of getting inside the music; and Alcyona’s been working a lot on the world music scene recently, so it’s great to have her back on the jazz stage. Though the duo format can present a degree of vulnerability, this project especially engenders warmth, enjoyment and openness amongst the intensity and complexity. It’s both fun and heavy – a developing journey through the material and styles we love, all with the sheer joy of playing. On Criss Cross, we are delighted to have covered that range of emotions, which is so important to us”.
I wrote these songs for seven musicians who are extremely important to me. I have listened to and studied their music for years and owe them a tremendous debt of gratitude. I chose the band for this date knowing I wanted players who could impart both the intellect of this music as well as the feel. “Maceo Made Me Do It” is some of that signature funk that Maceo Parker has done so brilliantly for so many years. Diego really dug in on this one and gave me that great groove to play over. “Pass That Jug” is my homage to the great tenor man Gene Ammons. I always liked how he used the whole range of the horn, top to bottom, and always kept that strong blues feel. Carlo has a nice solo on this one. Next is “Ready For Eddie” which I wrote for a true jazz icon, Eddie Harris. This song starts with a nod to one of his most well-known compositions, “Listen Here.” Ed Cherry plays a wonderful guitar solo on this one with Carlo and Diego really capturing that “Eddie” groove I envisioned. “Houston’s House” I wrote for my friend and mentor, the ever-soulful purveyor of melody, Houston Person. I recently read an interview with Houston where he said that in his music “the blues are always close by” and in this one I wanted that feeling too. “Papa Lou’s Love Cruise” is a salute to the legendary Lou Donaldson. It's a boogaloo variation of a 12 bar blues with a bridge. The guys hit a nice groove and we conjured up some of Papa Lou’s vibe along the way. For Charles Mingus there is “Melody For Mingus.” I have always been drawn to the complexity, the moodiness and the directness of his music. This features a wonderful solo by Carlo on bass. I finish up with "Stanley T." a salute to the great Stanley Turrentine. It's a straight-out blues groove with the band really getting deep in the pocket. This is one for listening and grooving. This is my shout-out to those who have inspired me. I want to thank Chris Sulit of Trading 8’s Studio for his hard work helping us capture these sounds. I am grateful to Ed, Carlo and Diego for their generosity of spirit in bringing this musical vision to life.
1. Maceo Made Me Do It - for Maceo Parker 07:06
2. Pass That Jug - for Gene Ammons 08:53
3. Ready For Eddie - for Eddie Harris 06:13
4. Houston's House - for Houston Person 07:38
5. Papa Lou's Love Cruise - for Lou Donaldson 07:13
"New York City abounds with working musicians trying to make their mark in jazz circles. Whether as a fan or music professional, discovering these musicians is a delight, especially when the musician has "arrived " and developed a true voice in the jazz tradition.
Jeff Hackworth is one such musician. He’s achieved a deep understanding of the tenor sax and he plays with assurance and a keen mastery of the drenching emotions of his horn. Houston Person introduced me to Jeff and has been a big influence and mentor in Hackworth’s career. I endorse this enthusiasm, and I am honored to add these words."
Sid Gribetz WKCR-FM NYC
“Jeff Hackworth plays in the spirit of master tenor players such as Gene Ammons,
Stanley Turrentine and Houston Person.
...talent such as his is bound to rise to the top”
Bob Porter WBGO NYC
“...he wields a mean tenor that's reminiscent not only of Fathead in his prime but also of prominent soul/blues spokesman from Illinois Jacquet and Lockjaw Davis to Stanley Turrentine and Houston Person.
Hackworth's technique and concepts are impressive ...clean muscular sound...”
The second album and follow up to the acclaimed 'Paper Crane'. Recorded mid winter in Brooklyn, and featuring a stellar cast of improvising musicians. 'Last Things Last' explores the themes of coincidence, optimism, and the slow dissolution of a personal relationship.
1. Chekov's Gun 04:30
2. Cherry v Des Moines 04:28
3. Figlock 03:39
4. Last Things Last 05:33
5. Low Winter Sun 03:15
6. All That Is 04:46
7. Clementine 03:45
8. Junebug 02:43
Kirk Knuffke, cornet
Michael Blake, saxophones
Steve Cardenas, guitar
Greg Cordez, bass
Allison Miller, drums
Produced by Ben Allison
Engineered and Mixed at Bunker Studios with Aaron Nevezie
Composer Bernard Hoffer first heard jazz pianist Takaaki Otomo at a restaurant in New York and was impressed by his musicality, dynamic sensitivity, and beautiful harmonic sense. With bass player Noriko Ueda and drummer Jared Schonig, Takaaki selected five originals, four jazz standards plus one Broadway show tune and two novelties from Gustav Holst's The Planets for this recording. Beginning his training as a classical pianist Takaaki switched to jazz when he was a teenager and won first prize in a jazz competition in Japan in 2007. He moved to New York City in 2014. Originally from Japan Noriko Ueda began playing the electric bass, then switching to upright bass at age 18. She is a graduation of the Berklee College of Music where she majored in jazz composition. She has her own trio and quartet and has performed at the Blue Note Jazz Club. She won the Charlie Parker Jazz Composition Prize in 2002. Hailing from Los Angeles, drummer Jared Schonig studied at Eastman where he won seven Downbeat Student Music Awards. A favorite among vocalists, Schonig tours with Grammy Award-winners Kurt Ellling and The New York Voices. He is in demand as a drummer for studio recordings and session work.
Born and raised in Kobe, Japan, Takaaki Otomo started the classical piano at the age of five.When he was 15 years old, he changed to jazz music, listening to the music of Oscar Peterson. He was taught by the pianist, Tadao Kitano, who is a famous music teacher in Kobe. In 2007, he won first prize in a jazz competition in Kobe. He belongs to the group Gingerbread Boys, which plays at a number of venues in Kansai area. In 2014, he moved to New York City.
He has released a number of CDs as a leader and sideman as well. In 2008 his first CD Nightmare was released with Otomo as leader. During his career in Japan, he has performed with Kiyoshi Kitagawa and Lewis Nash.
He has been influenced by Oscar Peterson, Bill Evans, Fred Hersch and Brad Mehldau.
A pianist friend commented that only in New York can you find a local restaurant that serves elegant food and elegant jazz. It was in that venue that I first heard Takaaki play. Even on his abbreviated keyboard I could sense his musicality, his dynamic sensitivity, and beautiful harmonic sense.
That first night I thought this could make a fine trio recording with Noriko Ueda on bass. What I learned later, when he was on a grand piano, was his technical proficiency. To complete the trio Noriko introduced me to Jared Schonig, who as it turned out attended the same school (Eastman) as I did.
We selected five originals, four jazz standards, plus one Broadway show tune (Takaaki’s suggestion) and two Novelties from Gustav Holst’s The Planets.
The originals include two exquisite tunes by Takaaki, a beautiful LullWater by Noriko, and two of my tunes written for this project. I first heard them play Brubeck’s Your Own Sweet Way in the club and loved the way they played it. For an up tempo, Neil Hefti’s Repetition though we miss Charlie Parker’s great solo. I thought John Lewis’s Django deserved another hearing, and, because we needed something languid, Thad Jones’s lovely To You, which works quite well as a trio, though sans Thad’s beautiful orchestral textures.
At the time of putting this project together the film The Martian was a big hit in theaters, which gave me the idea to use Holst. What was interesting, was that Holst’s harmonies gave us a fresh aspect when used to play jazz upon them. -Bernard Hoffer
Puerto Rican drummer, composer, and bandleader plans to release his third album this year. It showcases his talents as a drummer and composer, as well as his ability to unite an amazing group of energetic musicians from the New York City Latin-Jazz scene. It also features the Grammy-nominated and MacArthur Fellow Miguel Zenón.
"Puerto Rico native García organically blends folkloric Bomba rhythms and Latin jazz in a myriad of satisfying ways. His simpático crew of youngbloods push the envelope on García's third album as a leader and debut for ZOHO music."- Bill Milkowski, Jazz Times
“Fernando has put together a very focused and cohesive recording, surrounded by a talented group of young musicians. The music is rhythmically inventive and extremely smart, built on the rock solid drumming by the leader. In all a very well rounded album, which I hope you enjoy listening to as much as I did.”- Miguel Zenón
