Moka Efti Orchestra - Erstausgabe (April 2021 Six Degrees Records)

MOKA EFTI ORCHESTRA ANNOUNCES NEW ALBUM

ERSTAUSGABE

DUE OUT APRIL 16th ON SIX DEGREES RECORDS

THE GERMAN SENSATION FROM HIT

INTERNATIONAL STREAMING SERIES “BABYLON BERLIN”

Moka Efti Orchestra is an international sensation that first gained notoriety on the hit Netflix series “Babylon Berlin.” The 14 member ensemble were first cast as musicians for the series and are all renowned players. The group was pieced together by composer and show music supervisor Nikko Weidemann, & composer Mario Kamien , along with saxophonist/arranger Sebastian Borkowski. The series invites the viewer into the Moka Efti, a re-creation of the famous pre-World War II Berlin club, with the goal to bring back the music and the vibe of the 20´s. The Moka Efti was an entertainment palace during 1920s Berlin and is also a prominent set location for the TV series.

In the wake of the show’s international success and due to enthusiastic fan response, the Moka Efti Orchestra became an actual entity. The ensemble started to tour and perform their hits from the show’s soundtrack with vocalist, and series actor Severija Janusauskaitė aka SEVERIJA. Capitalizing on the momentum of their popularity, the Orchestra has now created a 13 song album featuring new versions of their popular songs plus new compositions. The album Erstausgabe sees its North American debut on April 16th on Six Degrees Records. Pre-save: https://ffm.to/erstausgabe

From the onset of the series, album composers and arrangers were tasked to focus on musically defining vivid contemporary emotions, rather than worrying about achieving 100% historical accuracy. A lofty task for the most ambitious TV series in German film history. Music industry veterans, Weidemann, has been rooted for decades in the international musical subculture and Kamien has made a name for himself as part of the 90s duo dZihan&Kamien. Borkowski is a successful sax and flute player in Berlin’s jazz scene. With guidance from the series directors, they took the band and its music to unimaginable new heights.

The band’s compositions and arrangements range from swing, blues, ragtime, Chanson, Big Band Charleston to Klezmer. The track “Zu Asche, Zu Staub” is a fan favorite standout. The song appears on the new album with an original arrangement featuring singer SEVERIJA. Another standout is “Snake – Together Alone,” showcasing Severija’s deep, smooth and silky voice, set over the orchestra’s bluesy, R&B influenced, powerful soundscape.

The ensemble had been touring throughout Europe and Germany up until COVID-19. Highlight performances have included Brandenburg Gate, German Unity day, Europe’s GQ Awards, sold out shows at the famous Ballhaus Berlin, Munich Philharmonie, and Kassel ́s opera house.

Paste says “Watching Babylon Berlin is often a visceral experience, one you may occasionally need a break from yet find it hard to tear yourself away. It is simply stunning television that has for too long been buried in the depths of Netflix’s vast catalogue. Seek it out like that fabled Russian gold. You will, indeed, uncover a treasure.”

Entertainment Weekly has proclaimed the series the best TV show for self-isolation.

It is now time for North America to experience the band that created the music from this popular series, Moka Efti Orchestra! New record is out April 16th on Six Degrees Records.

01) “Hollaender Mash Up”

02) “Süsse Lügen” feat. Moritz Kramer

03) “Fatalist Tango”

04) “Snake – Together Alone” feat. Severija

05) “Crocodile Blues” feat. Roland Satterwhite and Phillipp Kacza

06) “Frenzy”

07) “Lange Beene” feat. Mario Kamien

08) “Zu Asche, Zu Staub” feat. Severija

09) “Rainbow” feat. Nikko Weidemann

10) “Wannsee Weise”

11) “Die Nacht” feat. Severija

12) “Vaskresenje (Gloomy Sunday)” feat. Severija

13) “Tschuldigensemal” feat. Mario Kamien

Moka Efti Orchestra:

Featured singers: Severija, Moritz Krämer, Roland Satterwhite, Mario Kamien, Nikko Weidemann, Sebastian Borkowski, Philipp Kacza

Violin: Roland Satterwhite, Daniel Weltlinger, Olga Holdorff

Viola: Sebastian Peszko

Tenor saxophone & flute: Sebastian Borkowski

Trumpet: Florian Menzel, Philipp Kacza

Trombone: Simon Harrer, Andrej Ugoljew

Bass trombone: Friedrich Milz

Clarinet: Gregoire Peters

Baritone saxophone & bass flute: Andreas Dormann

Baritone saxophone: Lars Zander

Banjo & Piano / Keyboards: Mario Kamien

Banjo: Igor Osypov

Piano & Mellotron: Nikko Weidemann

Drums, percussion, vibraphone, Timpani: Larry Mullins

Drums: Tobias Backhaus

Double bass: Paul Kleber

Producers: Mario Kamien, Sebastian Borkowski, Nikko Weidemann

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Alexa Tarantino - Firefly (April 2021 Posi-Tone Records)

Alexa Tarantino burns bright with a scintillating maturity of insight and takes flight on Firefly, her 2021 release for Posi-Tone Records. Driven on by the Winds Of Change to refine the Clarity of her artistic vision, Tarantino reaches inward to transform herself into the luminous “Firefly” and searches to discover the unifying spark of eternity hidden behind each individual moment in time. Supported on the album by familiar collaborators, including vibraphonist Behn Gillece, pianist Art Hirahara, bassist Boris Kozlov, and drummer Rudy Royston, Alexa leads her group by example and sparkles with melodic inspiration throughout.

The centerpiece of the album is Alexa’s evocative Moment in Time suite which clearly demonstrates her advancement as a composer and showcases the wide range of her effortless multi-instrument virtuosity. With an engaging program of original compositions and a few tasty covers, Firefly presents the world with a musical message that shines brightly into the darkness to provide a much-needed message of wonder, poise, joy and hope.

1. Spider's Dance 05:38

2. Mindful Moments 04:44

3. Move Of The Spirit 04:07

4. Iris 04:43

5. Daybreak 04:19

6. Surge Fughetta 01:37

7. Surge Capacity 04:11

8. La Donna Nel Giardino 04:34

9. Rootless Ruthlessness 06:43

10. Lady Day 06:33

11. Violet Sky 04:24

12. The Firefly Code 05:56

Alexa Tarantino - alto saxophone, soprano saxophone, alto flute, flute and clarinet

Behn Gillece - vibraphone

Art Hirahara - piano and Rhodes

Boris Kozlov - bass

Rudy Royston - drums and percussion

Marc Free - producer

Nick O’Toole - mixing & mastering engineer

Michael Brorby - recording engineer

recorded September 14-15, 2020 at Acoustic Recording, Brooklyn, NY

mixed & mastered at Woodland Studio, Lake Oswego, OR

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Buckley / Kline Duo - Structure (April 2021 Flood Music)

1. Offering 03:37

2. Tilt 06:08

3. To Vigilance 06:40

4. Forge 06:21

5. Bashō 07:19

6. Flourish 01:20

7. In Their Shoes 07:54

8. Morphic 08:40

9. Cloak 00:57

10. Crude Alchemy 08:43

11. Corollary 01:34

Recorded on August 23-34 2018 at SHIRK Studios in Chicago, IL

Josh Kline - Tenor Saxophone

Tom Buckley - Drums

Mixed and Mastered by Dan Pierson

Artwork and Design by Marine Tempels Black

All Compositions by Tom Buckley and Josh Kline (ASCAP)

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Oran Etkin's 'Open Arms' Series - New Single "Barco" Comes from São Paulo - Out April 16, 2021

Oran Etkin Releases New Single In Open Arms Project April 16th

Recorded & Filmed In São Paulo

Etkin will perform with the Open Arms Project at

San Jose Jazz - New Works Festival for

International Jazz Day April 30th

On April 16, Oran Etkin will release "Barco", the next single and music video in the Open Arms Project, a series of singles documenting his collaborations with great masters around the world - from Prague to Harrare, Zimbabwe; Paris to Rio de Janeiro.  This new track, recorded and filmed in São Paulo features legendary Brazilian pianist Benjamim Taubkin along with Kabé Pinheiro and João Taubkin.

On April 30th, to celebrate UNESCO’s International Jazz Day, Etkin will debut the next phase of the Open Arms Project in a live performance at San Jose Jazz Festival’s new Break Room for their New Works Festival. Performing with some of the most exciting young West Coast musicians, Etkin will present a new work inspired by the musical encounters chronicled in the Open Arms Project. Interweaving melodic and rhythmic motifs from the pieces he recorded around the world along with electronics and samples from the field recordings, Etkin will take listeners on a musical journey filled with excitement and energy, improvisation and interaction.  The performance will be live-streamed for free on the San Jose Jazz website.

This summer Etkin will also bring the spirit of Open Arms to New York audiences in his role as Artistic Director of the new Mama Farm Full Moon Concert Series taking place on actress Isabella Rossellini’s farm in Brookhaven, NY and featuring artists from around the world.  

About "Barco"

"Barco" is the 6th single in the Open Arms Project, and the second featuring Etkin’s collaboration with Benjamim Taubkin. Etkin and Taubkin were introduced two years ago by Dubi Lenz, the director of the Red Sea Jazz Festival in Israel, and they immediately found a deep musical connection.  Taubkin recalls, “Oran came to São Paulo, and I was a guest on a performance he gave at Jazz Nos Fundos and again at Jazz B some months later. The bond came very easily.  As we say here in Brazil- this is my new friend from childhood!”

Last year Etkin was invited again to Brazil, and the two decided to organize a collaborative recording session, inviting bassist João Taubkin and percussionist Kabé Pinheiro.  The music was fresh and new - written for the occasion on the weekend before the recording! Barco was composed by Taubkin and their previous single, Pro Carnaval Voltar, was composed by Etkin. Barco begins with a slow movement that flows into a duet between percussionist Kabé Pinheiro and Etkin.  Pinheiro uses a traditional dance form from his home state of Minas Gerais, strapping shakers to his ankles and creating rhythms with his whole body,  The tradition comes from Congado, an afro Brazilian devotional event dedicated to the Black Holly Mother. Taubkin explains that “the story tells of a vision that the enslaved people had in the 18th century in a lake of the Holly Mother… and she was black! When they came back to the main house of the farm and shared the miracle, they were beaten. This event lives on in a big procession each year, with hundreds of drums, singing and dancing. Kabé’s step dance is a reference to this tradition and the continuity of rhythm.”

About Open Arms Project

Last April, as the world was closing down, Etkin’s response was the Open Arms Project: a series of singles & videos highlighting various collaborations with great masters around the world - each characterized by a deep human bond formed out of a sense of listening and mutual respect.  The tracks were filmed and recorded in Rio de Janeiro, Harare Zimbabwe, Prague, Paris & São Paulo with musicians including Danilo Caymmi, Benjamim Taubkin, Thomas Enhco, Musekiwa Chongodza.

About Oran Etkin

Oran Etkin has been described as “great clarinetist, excellent improviser” by Ben Ratliff of the New York Times and “composer of eminent individuality” by Yusef Lateef. He was voted #1 Rising Star Clarinetist in DownBeat Magazine’s Critic’s Poll and has performed as a leader at venues including Montreal Jazz Festival, North Sea Jazz Festival, Jazz at Lincoln Center, WolfTrap, Kennedy Center and more. He has been invited twice to be a guest lecturer at Harvard University and is also the founder of the Timbalooloo educational program for young children. Etkin released six albums as a leader including four on the Motema label. Etkin's duo concert with Sullivan Fortner in Paris was chosen as one of the Top 6 Musical Highlights of the year by Libération, which described it as "a concert of weightlessness, class, spark, inspiration and sharing. Magic uninterrupted for two hours. The crowd went wild. For such is the music of Etkin: sensitive to the exchange with the audience.”

About Benjamim Taubkin

Pianist, composer, arranger and producer Benjamim Taubkin has created a distinct voice within Brazilian music and its intersection with music from all over the world. He has recorded 20 albums  as a leading artist, most of them on his own label - Nucleo Contemporâneo, and appears on over 150 other albums as guest musician, producer or arranger. Taubkin has traveled the world presenting his music from solo to Symphony Orchestras, collaborating with musicians from Morocco , India, South Africa , Korea , Israel, Colombia, Argentina and Spain. He has performed with a.o, Paulo Moura, Rafael Rabelo, Monica Salmaso, Zizi Possi, Nana Vasconcelos, and in special projects with Hermeto Pascoal, Milton Nascimento, João Bosco.

NEW RELEASE: Adam Moezinia’s FOLK ELEMENT TRIO is out April 16, 2021 via Outside in Music

Guitarist, Composer, Bandleader and Educator Adam Moezinia Explores Modern Arrangements of Folk Classics on His Debut Release, Folk Element Trio, Out April 16th On Outside in Music

Outside in Music is pleased to announce the release of esteemed guitarist Adam Moezinia’s first album as a bandleader, Folk Element Trio. A celebration of global folk traditions and the influence that the composer derives from them, this exciting new release features elements of Beninese, Malian, Welsh and American folk music in a jazz context. Folk Element Trio introduces audiences to Moezinia’s sophisticated, soulful compositional style and his refined improvisational facility. Bassist Dan Chmielinski and drummer Charles Goold fill out the remainder of Moezinia’s Folk Element Trio, the creative and cohesive unit that graces the album’s tracks.

This thoughtful and respectful display of musical synthesis seamlessly incorporates global musical idioms with the rich tradition of jazz, of which Moezinia is no stranger. Moezinia recalls “Since I was about twelve years old, I’ve been somewhat obsessed with the musical genre that we call “jazz”. That being said, I’ve also consistently immersed myself in many other styles… I was going through a period of frequent writing when I realized that almost all of my compositions contained a certain element, the “Folk Element”: elements from more simple, folk-based music, less commonly found in jazz. From there, I started upon a sort of musical exploration, discovering for myself some of the different kinds of folk music from around the world.” From there, Moezinia sought to compose with the simplicity, lyricism and rhythmic traditions of folk music in mind, while also incorporating the harmonic intrigue of jazz.

The album begins with the song “Celebration” which draws influence from Beninese and Malian music. Along with “Groove March”, “Celebration” is part of a larger piece by Moezinia entitled the “Ivory Suite” which is inspired by, among many others, Beninese guitarist Lionel Loueke and Malian singer Oumuo Sangare. The jubilant album-starter demonstrates the bandleader’s acuity for melodic invention as well as the stellar interplay that can be expected between these three masterful musicians on the remainder of the release.

Aside from Moezinia’s four original compositions, Folk Element Trio features four of the bandleader’s modern arrangements of timeless classics by such folk luminaries as Bob Dylan,  Robert Johnson, and Duke Ellington (whom Moezinia espouses to be one of America’s most beloved folk composers, as jazz is America’s folk music). On Ellington’s “Azalea”, Moezinia’s electric blues/country guitar sound achieved through the use of a reverb and tremolo, contrasts with Goold’s sparse deconstructed New Orleans “dirge” rhythm to create a unique and evocative texture. Dylan’s “Don’t Think Twice It’s Alright” features bassist Dan Chmielinski on the track’s melody with thoughtful accompaniment from Moezinia. One can’t help but note the beauty in the track’s nuanced changes in dynamics, and it’s clear influence by the work of Bill Frisell.  

The album concludes with the Mississippi Delta blues anthem “Come On in My Kitchen”. This decidedly modern arrangement offers the classic melody with subtle reharmonization and a boogaloo groove. Featuring another stunning solo by Moezinia, the piece demonstrates the bandleader’s intensive study in the blues tradition. With Folk Element Trio, Adam Moezinia has created a spirited blend of tradition and innovation, honoring the folk traditions of several countries while creating a sound that is entirely his own.

NEW RELEASE: Marques Carroll’s THE ANCESTOR’S CALL due out April 16, 2021 via JMarq Records

Celebrated Chicago-Based Trumpeter Marques Carroll Announces the April 16, 2021 Release of His Impassioned Recording Debut, The Ancestors’ Call

JMarq Records is proud to announce the April 16, 2021 release of The Ancestors’ Call, the new album from celebrated trumpeter Marques Carroll. Perhaps best known to audiences primarily as a member of the Chicago Soul Jazz Collective and for his work with the Count Basie Orchestra, the Chicago-based musician comes into his own on this extraordinary introductory release that pays homage to his ancestors and heritage. Joining Carroll is his tight-knit quintet featuring alto saxophonist Brent Griffin, pianist Amr Fahmy, bassist Christian Dillingham, and drummer Greg Art as well as special guests Victor Garcia on congas, trombonist Alex Wasily, and vocalist Sharon Irving.

On The Ancestors’ Call, Carroll weaves poignant stories of strength and resilience, integrity and pride, and spirituality and culture over the course of eight original compositions. The result is a rich sonic masterwork that presents listeners with a deep spiritual exploration of the African diaspora, told from his own unique perspective and informed by the experiences of his elders.  “I have been a firm believer throughout my life that our elders and ancestors are the foundation to our beginning.  I have been fortunate to have had so many of these great spirits in my life show and lead the way for me in my darkest hours and in my brightest moments.” The wisdom passed on to Carroll, and the responsibility he feels to carry on in their footsteps is the central theme of this affecting work. 

Arranged in eight sections, narratively ordered, the guiding voice of The Ancestors’ Call is an unnamed elderly man who symbolizes the voice and call of Carroll’s African-American ancestors. He shares his story of the beginning with “The Ancestors Call Upon Us”, the driving album opener.  “His voice is rooted in the sound of the drums and yet the other ancestors speak in melody with him, calling us to listen and to learn from the collective,” Carroll remarks. With fervent musical refrains, Carroll’s horn soars over the rhythm section, demonstrating the bandleader’s immense improvisational acuity. Carroll’s stellar horn arrangements and the rhythm section’s tight pocket are on full display during “Generational Response”, which reflects on just that – the response from the younger generation after digesting the lessons that the ancestors have bestowed.

“Assemble the Enlightened” is a rousing ensemble piece and fiery call to action that prominently features improvisation from Carroll as well as Brent Griffin and Amr Fahmy. “As history has shown us, we must assemble as a unit and work together to fight injustice, hate, racism or whatever stares us in the face.” Carroll indicates. This transitions into the next track which challenges the audience to look past physical or inner battles to move forward. The impassioned “Beyond the Battle” begins with total musical entropy, and resolves to a refined groove, retaining its ardent nature by pushing steadily, building in anticipation and intensity. 

“Urgency” begins with the bandleader alone and progresses towards a Latin-tinged melody, well-supported with a propulsive rhythm from Arty, Garcia, Dillingham and Fahmy. The piece serves as a reminder to move with purpose, and to be conscious of the struggles that have birthed freedom. With “Aries Goddess (For Consuela and the Fallen)” we pay tribute to a mother who is running to her son as she hears that he has just been gunned down. The bandleader notes that “this happens all too often whether it is by street violence or by the hands of those who are supposed to serve and protect. This piece is for all of our brothers and sisters who have lost their lives on this soil.” The piece, featuring vocalist Sharon Irving tells a definitive and heart-rending story of loss. 

“Resolution For Us” reflects on the hope for peace of mind and heart that one holds amidst tragedy. Carroll and Griffin weave soulful and passionate melodies throughout a piece that is filled with harmonic and rhythmic intrigue. “Our Ancestors Final Words” delivers us back to the energy of the opener with a renewed emotional gravity and intensity. Messages of hope and encouragement are highlighted by the transition to a deep, lively swing with stunning solos from the ensemble. The bandleader notes that the ancestors deliver a powerful story during the closer that conveys “we come from strength and determination. Let us not forget who we are.”

With the release of The Ancestors’ Call, Marques Carroll comes to the fore as a major musical force with a distinctive voice and powerful intention: to respect the tradition, preserve the culture and push forward. He does all of that and more on this powerful new album, which will be available digitally via Bandcamp and other major retailers, and as a CD and vinyl LP. 

1. The Ancestors' Call Upon Us

2. Generational Response

3. Assemble The Elightened

4. Beyond The Battle

5. Urgency

6. Aries Goddess (For Consuela and The Fallen)

7. Resolution For Us

8. The Ancestors' Final Call

Marques Carroll (trumpet)

Brent Griffin (alto sax)

Amr Fahmy (piano)

Christian Dillingham (bass)

Greg Artry (drums)

Victor Garcia (congas)

Alex Wasily (trombone)

Sharon Irving (vocals)

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Evan Arntzen - Countermelody (April 16, 2021 Dot Time Records)

Acclaimed Multireedist and Bandleader Evan Arntzen Announces His Jubilant Third Release as a Bandleader, Countermelody, Out April 16 on Dot Time Records

Featuring Special Guest Vocalist Catherine Russell

Dot Time Records is delighted to announce the latest release from multireedist, vocalist and bandleader Evan Arntzen.  Arntzen’s third album as a bandleader, Countermelody is a celebration of the interplay, collective improvisation and soulful counterpoint that played such a big role in Black American Music emanating from New Orleans in the first half of the 20th century.  During a time when convening is all but impossible, Countermelody brings the gaiety of live music to the recorded realm.  Recorded on October 2nd and 3rd, 2020, the group of stellar musicians featured on Countermelody gathered together to create music that will inspire listeners everywhere to get up, share joy and dance.  Arntzen’s superb reed and vocal musings are joined by trombonist Charlie Halloran, trumpeters Jon-Erik Kellso and Mike Davis, guitarist and banjoist Arnt Arntzen, pianist Dalton Ridenhour, bassist Tal Ronen, drummer Mark McLean and very special guest vocalist Catherine Russell.

Countermelody brings early-jazz-exuberance to an eager present in a release which author and Louis Armstrong historian, Ricky Riccardi, calls “the very definition of timeless” in the album’s liner notes.  Arntzen’s Dot Time Records debut features many of his own astounding arrangements of early New Orleans and Chicago jazz compositions written by such luminaries as Kid Ory, King Oliver, Sidney Bechet and Bennie Moten.  The release also features wonderfully innovative compositions by Arntzen, Halloran and Kellso.  Aside from thirteen hi-fidelity tracks, listeners will also be treated to tracks that were recorded to wax cylinder, a medium that actually predates when much of this music was composed.  Producer Scout Opatut notes “the wax cylinder recordings were made possible by the genius Colin Hancock, who engineered them with his Edison phonograph.  Everything you hear in those songs was done acoustically, without any electricity whatsoever.”

The album begins with Arntzen’s arrangement of the Kid Ory classic “Muskrat Ramble”.  The jubilant energy is palpable from the very first notes of the track, and uplifted even further by the powerful and soulful refrains of celebrated vocalist Catherine Russell.  Ricky Riccardi notes “Just seconds into the opening track, the four-horn ensemble tears through a chorus of ‘Muskrat Ramble’, each voice independently masterful on its own, the final product nothing short of miraculous.  Let it wash over you and then listen again and concentrate on a single instrument; in fact, do this for every instrument and you’ll marvel at the individual and collective brilliance of each musician present.”  

Arntzen’s vocals soar on the Sidney Bechet popularized “Georgia Cabin” before the bandleader is featured in a wonderful display of his improvisational facility.  Interestingly, this seems to be the first-ever recording of this composition with its lyrics intact.  Arntzen notes that he learned the lyrics from his 93-year-old grandfather Lloyd Arntzen (a celebrated clarinet player in his own right, who is still performing to this day).  While the song is well-known as an instrumental, Evan’s grandfather credits Mary Karoley for writing the lyrics (she is indeed listed as a co-composer of the song). 

One cannot bypass the musical cohesion of the ensemble on tracks like “Smiles”.  This bright-tempoed classic prominently features Arntzen’s melodic refrains but is supported brilliantly by Halloran’s counterpoint and an elastic rhythm section.  The ensemble welcomes back the esteemed Ms. Russell for the exquisitely nuanced “If You Were Mine”.  Russell’s warmth and zeal breathe life into this timeless composition, first made famous by Billie Holiday, and are complemented perfectly by the strength of the ensemble.

The group brings an exceptional intensity to Benny Green’s “Bu’s March” in which Ridenhour is featured with a powerful solo.  Interestingly, composer Benny Green helped Arntzen to arrange this piece for a larger ensemble.  Of course, Green wrote this song in honor of his former mentor and bandleader Art Blakey, and the vigour of the Jazz Messengers is conjured in Arntzen’s new, 3-horn arrangement.  The sole original composition by Arntzen, “Solitarity”, is a moving comment on the shared solitude of our modern existence. The piece begins with Arntzen’s solo clarinet refrains eventually building into a contrapuntal duet, ending with a raucous second-line ensemble. 

1. Muskrat Ramble

2. 18th Street Strut

3. Camp Meeting Blues

4. Georgia Cabin

5. Put 'Em Down Blues

6. When Erastus Plays His Old Kazoo

7. Smiles

8. If You Were Mine

9. Down by The Riverside

10. Alvita

11. Counter Intuitive

12. Bu's March

13. Solitarity

14. After You've Gone (Wax Cylinder Sessions)

15. Muskrat Ramble (Wax Cylinder Sessions)

Evan Arntzen - clarinet, soprano sax, tenor sax, vocals (track 4)

Charlie Halloran - trombone

Jon-Erik Kellso - trumpet

Mike Davis - trumpet

Arnt Arntzen - guitar, banjo

Dalton Ridenhour - piano

Tal Ronen - bass

Mark McLean - drums

Catherine Russell – vocals (tracks 1, 8, 14, 15)

Produced by Scout Opatut, 4/4 Creative

Released by Dot Time Records

Project Manager/Spiritual Advisor: Jerry Roche

Recorded Oct. 2nd & 3rd, 2020, Big Orange Sheep Studios, Brooklyn, NY

Engineered, Mixed & Mastered by Michael Perez-Cisneros

Assistant Engineered by Kevin Thomas

Wax Cylinders Engineered by Colin Hancock, Semper Phonograph Co.

Cylinder Recordings restored & transferred by John Levin using CPS1 Cylinder Playback System with V-Trace Cartridge 

Cover Photo by: B.A. Van Sise

Design by: Jaime Ford

Pre-order Dot Time Records

Pre-order Bandcamp

Rez Abbasi named 2021 Guggenheim Fellow

Acclaimed guitarist/composer Rez Abbasi wins 2021 Guggenheim Fellowship in Music Composition

 

Abbasi is one of a diverse group of artists, writers, scholars, and scientists selected to receive the honor

Guitarist and composer Rez Abbasi, one of the most celebrated artistic voices of his generation, has been named a 2021 Guggenheim Fellow in Music Composition. He’s one of 184 artists, writers, scholars and scientists, 13 in the area of Music Composition, receiving this year’s award.  A veteran of fourteen albums as a leader, his deep musicality has been applied with equal conviction to contemporary New York acoustic jazz, the Qawwali and Indian Classical traditions of South Asia and the heady fusion sounds of the 1970s, each time applying the filter of his own musical personality to deliver inimitable results.

 

“I am truly honored and grateful to be named a Guggenheim Fellow,” says Abbasi. “The award is a concrete affirmation that embracing my intuition and artistic values was the right thing to do.”

 

The Guggenheim Fellowship is one of the most distinguished awards an artist can receive. Since 1925, the Foundation has awarded nearly $400 million to more than 18,000 individuals. The Foundation offers “fellowships to exceptional individuals in pursuit of scholarship in any field of knowledge and creation in any art form, under the freest possible conditions. After a rigorous review involving hundreds of distinguished scholars and practitioners, the Foundation’s Board of Trustees appoints Fellows on the basis of past achievement and notable promise for future accomplishments.”

 

Chosen from almost 3000 applicants, the 2021 Fellows represent a broad range of disciplines and pursuits. “A Guggenheim Fellowship has always been meaningful,” says Foundation President Edward Hirsch, “but this year we know it will be a lifeline for many of the new Fellows at a time of great hardship, a survival tool as well as a creative one. The work supported by the Fellowship will help us understand more deeply what we are enduring individually and collectively, and it is an honor for the Foundation to help them do what they were meant to do.”

Guitarist and composer Rez Abbasi is among a rare breed of artists that continue to push boundaries while preserving the traditions he has embraced. Consistently placing on DownBeat’s International Critics Poll alongside luminaries Bill Frisell and Pat Metheny since 2014, Abbasi continues to forge new ground with his many multi-dimensional projects. 

 

“Abbasi is living, breathing proof that jazz music can be as vital and boundary-pushing as ever.” – AllAboutJazz.com.

 

Born in Karachi, Pakistan, migrating to the vastness of Southern California at the age of four, schooled at the University of Southern California and the Manhattan School of Music in jazz and classical music, and undertaking a pilgrimage in India under the guidance of master percussionist Ustad Alla Rakha, Abbasi is a vivid synthesis of many influences. Making New York home for the past 25 years, he has developed a singular sound both as a composer and an instrumentalist.

 

Among Abbasi’s recent projects is a commission by the New York Guitar Festival to create and perform a live score to the 1929 silent film A Throw of Dice. His Silent Ensemble recorded the score and released the album in 2019. He also received two highly coveted composition grants from Chamber Music America in order to complete a trilogy of albums with his acclaimed ensemble, Invocation.

 

In 2018 Unfiltered Universe, featuring bandmates Vijay Iyer and Rudresh Mahanthappa, was released as the completion of the trilogy. Like the previous two albums, Things to Come and Suno Suno, Unfiltered Universe received accolades worldwide. With fifteen albums of mostly original compositions, Abbasi’s wide-ranging projects continue to capture provocative sounds seldom heard in today’s music.  In 2021 he is featured on a duo album White Lotus with Min Xiao-Fen.

www.reztone.com

Steven Feifke Big Band - Kinetic (April 2021 Outside In Music)

Outside in Music is proud to announce the release of Kinetic, the spellbinding big band debut from pianist, composer, arranger, orchestrator, educator and Yamaha Recording Artist Steven Feifke.  One of the most in-demand artists of his generation, Feifke has amassed  an impressive discography having appeared on 30 albums all before  turning 30 years old.  After over a decade’s worth of work as a notable  sideman, conductor and arranger for esteemed artists as Steve Tyrell, Chad Lefkowitz-Brown, Santino Fontana, and most recently, Veronica Swift, Feifke finally comes to the fore on this smashing new album that highlights his singular vision and distinct voice. Kinetic will be available everywhere on April 9, 2021. 

Joining the bandleader is an ensemble  made up of players from the very frontline of the contemporary jazz  scene including drummer Ulysses Owens Jr., vocalist Veronica Swift, tenor saxophonist Lucas Pino, and alto saxophonist Alexa Tarantino among many others. The music on Kinetic was refined during the big band’s popular monthly residency at The Django in New York City that ran for nearly two years before COVID brought all live performances to halt. These  regular live performances afforded the band to develop a cohesive  common language and solid rapport, lending a rare intimate air to this  large ensemble recording. 

While Kinetic is his formal label debut, Boston-native Feifke has been a ubiquitous presence on the scene in a plethora of musical arenas. A  two-time semi-finalist in the Thelonious Monk Jazz Piano Competition,  Feifke has written commissioned work for such notable institutions as  the Manhattan School of Music Jazz Orchestra featuring jazz trumpet greats Sean Jones and Jon Faddis, the Vancouver Symphony Orchestra with Ken Peplowski, the Malmo Big Band with Katie Thiroux, and the New Generation Festival Orchestra featuring Dominick Farinacci. Additionally, Feifke works as musical director for musical theater luminary and Tony Award Winning actor and singer Santino Fontanato.  In the realm of television music, Feifke’s compositions and orchestrations have been prominently featured on such hit shows as Comedians in Cars Getting Coffee (Netflix), Impractical Jokers (TruTV), and Animaniacs (Hulu). Feifke is also a respected educator; he is currently on  faculty at The New School of Jazz and Contemporary Music where he  teaches composing and arranging.  He has served as a guest educator at  Moravian College, Yale University, Williams College among others, and  was the 2018 recipient of the “Pros Meet Pupils” grant from Arts  Mid-Hudson after developing a comprehensive curriculum about the history  of civil rights in America and its relation to jazz pedagogy and  performance. 

All of this and more informs Feifke’s unique artistry, which is on full display on Kinetic. “I  have been running my big band for the past 10 years — since just after I  moved to New York, pretty much. Of all the musical releases I have been  a part of since then, Kinetic is  the one that contains the most “Feifke” on there. It’s just 100% me.  It’s my own voice, and it’s my own unique stamp on the big band idiom,” Feifke says, adding, “I am really proud of the end result.” 

Acclaimed pianist, producer and arranger Gil Goldstein  notes, “There is a traditional quality to the music but upon closer  listening you can hear Steven’s voice and how he reinvents the big band  format to suit his musical personality. He plays with a similar  adventurous spirit, which is at once rooted in the modern jazz piano  tradition, while showing a curious and probing musical mind.”

Kinetic begins with the  bright tempoed swing of the album’s title track.  Feifke’s Coltrane –  McCoy tinged melodic refrains glide atop an unshakeable swing before the  band descends on the tune’s rich melody.  The track demonstrates the  pianist’s immense improvisational acuity with solo features from the  composer as well as trumpeter Gabriel King Medd and drummer Ulysses  Owens Jr.  The album’s first single, the video for “Kinetic” premiered late last year with JazzTimes. The album continues with another highlight, “Unveiling Of A Mirror”,  a composition rife with impressionistic intrigue.  The two contrasting  parts of the tune (a softer and more mysterious textured beginning, and  hard-hitting swing section) speaks to the complexities of reflections  and our often-diverging perceptions versus realities.  The piece  features solos by trumpeter Benny Benack III, saxophonist Sam Dillon,  and drummer Joe Peri.  The composer won second place, for “Unveiling of a  Mirror,” in the 2016 BMI Charlie Parker Jazz Composition Competition  (judged by Wynton Marsalis, Jimmy Heath and Alan Ferber).

“The Sphinx”  is a true feat of sonic exploration and instrumental virtuosity.  The  shifting time signatures and sonorities of the piece serves the overall  energy of the composition, not for one second sacrificing musicality for  the sake of technicality.  The piece is equally served by the stunning  musicianship of the ensemble and especially soloist Lucas Pino who acts  here as the Gonsalves to Feifke’s Ellington.  The album ventures on with  a sultry vocal feature for vocalist Veronica Swift on “Until The Real Thing Comes Along”.   Recalling iconic moments of this song’s rich history, from Andy Kirk to  Jackie Wilson, Feifke’s arrangement ultimately is one of restraint,  romanticism, even reverence.  

Showcasing a who’s who of acclaimed, virtuosic instrumentalists and masterful arrangements, Kinetic  offers audiences the polish of a studio album with the electric  intrigue and emotional ebb and flow of a live performance in a time when  gathering to enjoy live music is impossible. The echoes of the Django  residency ring throughout this album with ebullient arrangements of  gorgeous Feifke-penned originals and jazz standards, reflecting the very  pinnacle of orchestral jazz.

Kinetic

Unveiling of a Mirror

The Sphinx

Until the Real Thing Comes Along

Word Travels Fast

Wollongong; Nica's Dream

On the Street Where You Live

Midnight Beat

Closure

Steven Feifke: piano

Andrew Gould: saxophone

Alexa Tarantino: saxophone, alto

Lucas Pino: clarinet, bass

Sam Dillon: saxophone, tenor

Andrew Gutauskas: saxophone, baritone

Max Darché: trumpet

John Lake: trumpet

Benny Benack III: trumpet

Gabriel King Medd: trumpet

Robert Edwards: trombone

Jeffery Miller: trombone

Armando Vergara: trombone

Jennifer Wharton: trombone

Alex Wintz: guitar

Dan Chmielinski: bass

Ulysses Owens, Jr.: drums

Veronica Swift: voice / vocals

Jimmy Macbride: drums

Bryan Carter: drums

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Sumari - Sumari IV (April 16, 2021 Unseen Rain Records)

SUMARI IV is the group's first studio album featuring the miraculous double-bassist Hilliard Greene. This is also Sumari's first studio album recorded and mixed after the passing of engineer Jim DeSalvo, who was responsible for documenting their previous work. SUMARI IV's commanding music, mixing the utmost in simplicity with taut, intricate layers of rhythm, appears here through the virtuosity of the musicians alone, eschewing overdubs and effects heard on Sumari II and III.

There are moments when a bell-like rhythm appears and one wonders if is it Hill Greene playing harmonics, the bell of Tom Cabrera's ride cymbal, Matt Lavelle's swallowed alto clarinet outcry or Jack DeSalvo's tintabulistic guitar and banjo pluckings, which is to say the players' musical consciousness merged during the many moments of coalescence. This an album of ancient dances and future visions.

1. Piece 1 14:55

2. Piece 2 13:45

3. Piece 3 17:39

4. Piece 4 13:54

5. Piece 5 14:10

MATT LAVELLE - alto and bass clarinets

JACK DeSALVO - guitar and banjo

HILLIARD GREENE -double-bass

TOM CABRERA - drums and percussion

Recorded at Woodshedd Studio, Westbury, NY

Mixed and mastered by Larry Hutter, Orlando, FL

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Henrique Albino Quarteto - Música Tronxa (April 15, 2021 Boa Vista Jazz Records)

Encarando a história da música como uma trama de eventos que se sucedem numa dinâmica própria, é possível identificar em sua topografia obras singulares que se destacam ora por romper com cânones estabelecidos e criar um novo código; ora por se conectar à tradição a fim de reinventá-la ou simplesmente para “preservar a chama”, como dizia Mahler; ora por confluir raízes culturais e avant-garde num sincretismo abrangente que aponta novas direções. E este é justamente o caso de “Música Tronxa”, álbum de estreia do saxofonista pernambucano Henrique Albino.

Músico de sólida formação, com vasto domínio do material musical, portador de uma artisticidade vanguardista dedicada à busca incessante pelo inconvencional e com uma mente fervilhando de ideias, Albino apresenta em seu primeiro disco temas que articulam as raízes musicais pernambucanas à liberdade expressiva do jazz, à complexidade da engenharia polimétrica e às possibilidades melódico-harmônicas da música Pós-Tonal. O resultado é uma obra arrojada, mas não hermética ou acadêmica, que coaduna conflitos métricos, frases atonais, motes seriais e sonoplastias a melodias encantadoras que desvelam paisagens etéreas e improvisos incendiários plenos de risco, individualidade e senso de grupo.

Tudo isto, por sinal, sem comprometer qualquer traço da identidade nordestina. Daí que a música é “tronxa”, com “x”, no melhor “pernambuquês”, como revela “Apofenia”, tema de abertura que faz menção às batidas do maracatu rural da Zona da Mata do estado, ou “Salto Quântico”, faixa na qual podemos vislumbrar o frevo voltando-se para o amanhã.

Acompanhando Albino, um time de jovens e brilhantes músicos que incorporaram suas ideias e musicalidade ao ponto de formarem não um combo, e sim um organismo. Na sanfona, o virtuoso, moderno e peculiar Felipe Costta. No baixo elétrico, Filipe de Lima, o chão firme num espaço sonoro transmutável. E na bateria, o multidirecional, técnico e criativo Silva Barros.

Ao fim e ao cabo, só nos resta dizer que “Música Tronxa” é um disco atemporal e urgente, vértice de linguagens musicais diversas e cheio de uma densa e rara substância artística.

Portanto: boa escuta.

1. Apofenia 09:54

2. Diafragmas 06:07

3. Bugando 07:06

4. Claranã 10:06

5. Salto Quântico 09:28

6. Solo Tronxo nº 1 07:50

Todas as composições por Henrique Albino

Henrique Albino (sax tenor, barítono e flauta)

Felipe Costta (sanfona)

Filipe de Lima (baixo elétrico)

Silva Barros (bateria)

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JAZZ NEWS: DC Jazz Festival Announces We Get to Talk Podcast Series

DC Jazz Festival Announces We Get to Talk Podcast Series

Hosted by DCJF Executive Director Sunny Sumter Starting Wednesday, April 14

WASHINGTON, D.C. – April 14, 2021 – DC Jazz Festival today announces a new podcast series titled We Get to Talk, where DCJF Executive Director Sunny Sumter engages jazz artists in captivating conversations that revolve around relevant topics, people and places. We Get To Talk launches Wednesday, April 14, with episodes being released on a bi-weekly basis. Listeners can tune in on Spotify, Apple Podcasts, Crossover Media or wherever they get their podcasts.

The first round of episodes will feature a wide-ranging cast of guests who each have a unique story to share. In our first episode, piano prodigy Matthew Whitaker, who is blind, offers ways we can create a more inclusive and accessible world for the disabled community, particularly in music and the arts. In the second installment, Sunny and soul singer-songwriter Cecily discuss the power of mindfulness and music’s healing ability. In episode three, Allyn Johnson, Director of Jazz Studies at the University of the District of Columbia, shares his experiences as an arts educator and talks about the inspiration we can all find from love. Next, harmonicist Frédéric Yonnet sits down with Sunny to discuss what it means to truly be part of one’s community and the strength that comes from knowing your neighbors. From there we hear from Afro Blue alumnus Christie Dashiell as she shares her thoughts on how artists have been and can continue to adapt to the times. Finally, Sunny explores the importance of heritage and identity with hip-hop artist Maimouna “Mumu Fresh” Youssef and how they influence her musical stylings.

We Get To Talk will be presented in collaboration with Crossover Media. Each episode features snippets of guests’ past DC JazzFest performances and a segment dedicated to discussing each artist’s motivations and inspirations. “We are thrilled to welcome Sunny Sumter to the Crossover Podcast family,” said Crossover Media founder Alex Hollingsworth. “Whether discussing the latest Verzuz, politics, music or social issues, our hosts cover a variety of topics.” Join DC Jazz Festival and host Sunny Sumter on Wednesday, April 14, when We Get to Talk welcomes its first guest, jazz prodigy Matthew Whitaker.

For press inquiries or requests for information, contact Lydia Liebman, DCJF publicist, at lydia@lydialiebmanpromotions.com. 

 

Learn more about the DC Jazz Festival and all of our programs by visiting www.dcjazzfest.org.

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