Goldy Trio - Playa de Famara (September 2021)

1. Manhattan Plaza (X. Doré) 4'51

2. What Am I Here For (D. Ellington) 4'45

3. The Red Door (Z. Sims - G. Mulligan) 3'41

4. Without A Song (V. Youmans) 4'33

5. Playa de Famara (X. Doré) 3'59

6. Whirly Bird (N. Hefti) 3'59

7. It's The Talk Of The Town (J. Livingston) 4'29

8. CC Bounce (X. Doré) 3'56

9. The Night Has A Thousand Eyes (J. Brainin - B. Bernier) 4'47

10. Groove Yard (C. Perkins) 5'52

11. Gone With The Wind (A. Wrubel) 5'28

12. Lush Life (B.Strayhorn) 3'06

Xavier Doré, guitare

Doriane Desous, contrebasse

Fred Oddou, batterie

Enregistré au Forum de Falaise les 23, 25 et 26 mars 2021

Pre-order

Bob Gorry / Pete Brunelli / Peter Riccio - GoBruCcio (2021 New Haven Improvisers Collective, NHIC Records)

Upcoming Live Appearances 

Leader: Bob Gorry

Billing: Bushwick Improvised Music Series

with Bob Gorry, Pete Brunelli, Peter Riccio

Date(s): 10/25/2021

Set Times: 8pm

Venue(s): Bushwick Public House

Venue Address w/cross streets:  1288 Myrtle Avenue Brooklyn NY 11221 (central&Stockholm)

Venue Telephone Number: tel: 917-966-8500

Band Personnel

Bob Gorry (guitar), Pete Brunelli (Bass), Peter Riccio (Drums)

Music Charges + Any Minimums:  $15

Purchase Ticket Direct Link: 

Venue Website:  

http://www.bushwickpublichouse.com       

https://gaucimusic.com/bushwick-series

Leader: Bob Gorry

Billing: GoBruCcio CD release concert with Bob Gorry, Pete Brunelli, Peter Riccio

Date: 9/23/2021

Set Times: 8pm

Venue: Cafe Nine

Venue Address w/cross streets: 250 State St, New Haven, CT

(corner of Crown St)

Venue Telephone Number: (203) 789-8281

Band Personnel + Insts: Bob Gorry (guitar), Pete Brunelli (Bass),

Peter Riccio (Drums)

Music Charges + Any Minimums: $5

Purchase Ticket Direct Link: https://www.cafenine.com/

Guitarist Bob Gorry, bassist Pete Brunelli, and drummer Peter Riccio have played together through the years in many different settings but never recorded as a trio prior to GoBruCcio. They draw from their wide variety of musical experiences during five fascinating free improvisations. Their music progresses through varied movements with one player often taking the lead, the others following and building on his ideas, and then one of the musicians shifting gears to take the group improvisation in a surprisingly different direction.

While the trio’s music is essentially free jazz, it also includes aspects of progressive rock, contemporary classical music, and the blues, all blended together in a unique fashion. On the opener, “Safecracker,” guitarist Gorry starts out being first among equals with Brunelli and Riccio providing a strong forward momentum that becomes a solid groove. The music then becomes freer and furious, and the resulting group interplay is full of passion.

“Always Somewhere” visits several musical areas before ending up at a fast tempo. “Magic City Madness” has a bit of walking bass, gets a little boppish in an abstract way and ends up hinting at Ornette Coleman-type free bop. The quirky “Javelina” begins and ends almost like a pre-planned rhythmic composition but contains plenty of free form excitement in between. As with the other selections, the closing “Papillon,” which at one point becomes a ballad, keeps listeners guessing and stimulated by the explorative yet perfectly coherent ensembles.

The trio of Bob Gorry, Pete Brunelli and Peter Riccio on GoBruCcio prove to be greater than the sum of their parts, constructing a consistently intriguing and colorful set of unpredictable yet satisfying music. 

1. Safecracker

2. Always Somewere

3. Magic City Madness

4. Javelina

5. Papillon

Bob Gorry - Guitar

Pete Brunelli - Bass

Peter Riccio - Drums

All Compositions by Gorry/Brunelli/Riccio

Recorded by Greg DiCrosta at Firehouse12

Mixed and Mastered by Nick Lloyd at Firehouse12

Cover Art By Jeff Cedrone

PREORDER

Hatcher / Maunu / Kirshner - Live at Splice Series (October 10, 2021 Kettle Hole Records)

1. Poem of the Obtuse Angle

2. Bronze Mine

GERRIT HATCHER - TENOR SAXOPHONE

PETER MAUNU - GUITAR, VIOLIN AND MANDOLIN

JULIAN KIRSHNER - DRUMS

RECORDED LIVE AT THE BEAT KITCHEN 9/25/19

RECORDED, MIXED AND MASTERED BY BILL HARRIS

ARTWORK BY PETER MAUNU

THANKS TO CHRISTINA, ALEX, JIM AND MARK AT THE BEAT KITCHEN

PREORDER

ENSEMBLE EDGE - Dimma / A Tribute to Jan Johansson (September 16, 2021 Storyville)

The listener can look forward to a both untraditional and familiar interpretation of Jan Johansson’s beautiful and versatile musical universe when the vocal ENSEMBLE EDGE, in collaboration with a quartet of some of Denmark’s finest, young Jazz musicians, release their debut record "Dimma - a tribute to Jan Johansson."

1. Visa fraan Rattvik 07:12

2. Stepp, min stepp 03:30

3. Visa från Järna - Lapp-Nils Polska/Berg-Kirstis Polska 04:42

4. Klockan är tio slagen - Ack, Värmeland 04:47

5. Kvällar i Moskvas förstäder 04:57

6. Mellan branta stränder 04:15

7. Visa från Utanmyra 05:32

8. Sinclairvisan 04:36

9. Emigrantvisa 06:51

10. Ströva omkring 00:57

11. På ängen stod en björk 06:43

12. Klara Stjärnor 07:23

13. Dimma 05:21

Karmen Rõivassepp - Lead Vocals

Calle Brickman - Piano

Matthias Flemming Petri - Double Bass

Andreas Fryland - Percussion - Drums

Martha Marie Petri - Cello

Michala Petri - Recorder

Thomas Fryland - Fluegelhorn

Mathias Skaarup Sørensen - Conductor

PREORDER

Agustí Fernández / Pablo Ledesma / Mono Hurtado - Coghlan Dreams (2021 Sirulita Records)

The music that Fernández, Ledesma, and Hurtado play on Coghlan Dreams (the album is named as such because the pianist met the saxophonist and bassist in the latter's house, a few blocks from Coghlan station in Buenos Aires) goes down unexpected paths, as usually happens in dreams. Here is a music that moves from intensity to meditation, from "conventional" technique to extended technique. It's music that sometimes creates spaces that are filled with rough timbres and at other times is organised around a melodic sketch. The only instruction is "know how to relate to one another". Each musician should comply with the others, knitting a dynamic weave in which each one is a soloist and an accompanist at the same time. This is what happens on Coghlan Dreams.

The precise articulations, the fervor with which the trio tackles unexpected intervals, and the successive rhythmic impulses reveal technical skill that rises to the challenge of searching for new forms in the same time frame as the music. The remarkable interconnection that a Majorcan (by origin) and Catalan (by residence) and two Argentines have achieved in this set of 12 tracks speaks to the confidence with which they have managed to cultivate the art of playing freely over the length of their careers. But this doesn't explain why at times you feel like shouting "Eureka!" when a brief line from the sax is perfectly replicated by the piano, or when the bass holds a bowed note that creates a tonal axis over which the sax and piano vibrate. It's not only about playing "free", with no guidelines.

It's about playing free with others who also do so, completely unaware of the direction that the music will take, music that arises from an aesthetic coexistence. Unpremeditated interaction demands real-time understanding. This indeed happens in all kinds of music played by more than one performer, but perhaps free improvisation is the musical experience that requires the most empathy, since all agreements spring from the evolution of the sound itself.

Sergio Pujol

1. To Get 04:03

2. Move 08:08

3. Crossed 04:48

4. Wolf Play 05:37

5. Cheer 07:00

6. Gadget 03:08

7. Cross Move 03:28

8. Coghlan Dreams 03:26

9. Wolf Heavens 05:28

10. Go Across 03:26

11. Back-Alley 02:24

12. Deep 03:19

Agustí Fernández, piano

Pablo Ledesma, alto and soprano saxophones

Mono Hurtado, bass

Recorded by Néstor Díaz on November 23rd, 2016 at Mtt studio, Buenos Aires, Argentina.

Mixed by Mono Hurtado on 2021 at Plaza studio, Buenos Aires, Argentina

Mastering: Ferran Conangla at FCM studio, Barcelona, Spain

Liner notes: Sergio Pujol

English version: Sarah Claman

Fotos: Antonio Porcar, Augusto Fernández, Martín Bustos

Graphic design: Enric Jardí

Produced by Agustí Fernández, Pablo Ledesma & Mono Hurtado for Sirulita Records

PREORDER

Shay Hazan Quintet - Nuff Headlines (September 14, 2021 Chant Records)

Bassist and composer Shay Hazan is a mainstay on the vibrant Tel Aviv jazz scene. His new album Nuff Headlines finds him in the leadership role, a rare (although not unheard of) position for a bass player. The quintet is filled out by the two-horn duo of Tal Avraham on trumpet and Eyal Netzer on saxophone, along with Milton Michaeli on piano and Haim Peskoff on drums. Hazan’s musical roots spread far and wide into the magical realm of Moroccan Gnawa music (Hazan often plays gimbri, the traditional three stringed skin-covered bass lute), the new wave of hip hop, and the 1960's Chicago free jazz and human rights movement. These roots all feed the single organism of the band, with Hazan leading from the bottom, anchoring and propelling the music with a force only a bassist can provide.

1. Beber's Cha Cha 04:06

2. Evening Puja (Netzer) 07:40

3. Vertigo 06:48

4. Kebero 07:40

5. Desert Snake 07:01

6. Olam 05:14

7. Old Tart (ft. Rosa Lea Salmon) 05:50

Tal Avraham - trumpet

Eyal Netzer - saxophone, zurna

Milton Michaeli - piano

Shay Hazan - bass, gimbri, percussion

Haim Peskoff - drums, percussion

Rosa Salmon - vocals (*Old Tart)

Nir Tom Sabag - lyrics (*Old Tart)

Recorded December 18th 2019

Haogen Studios with Shlomi Gvili and Nitzan Levi

Mixed & Edited by Nitzan Levi and Shay Hazan

All music by Shay Hazan (ACUM)

*Evening Puja by Eyal Netzer*

Cover art by Dekel Hevroni

PREORDER

Allison Miller & Jane Ira Bloom - Tues Days (September 2021 Royal Potato Family)

In March and April of 2021 soprano saxophonist Jane Ira Bloom and drummer Allison Miller came together on five Tuesdays in March and April of 2021 to record some improvised sax and drum duets to see what might happen. They didn’t set out to make an album - they just wanted to play because they needed to improvise any way that they could. They played with complete abandon, performing remotely from their home studios in New York City in the reality of the world of 2021. Tues Days is the result of those recordings that now appear on Bloom’s Outline label and are available through Miller’s Bandcamp site, mixed and mastered by bassist Mark Helias with breathtaking fidelity. It’s a musical duet saturated in a kaleidoscope of color. The music is spontaneous composition at its best by two masterful improvisers – energetic, tactile, and alive. 

Miller’s multi-colored array of percussion augments her drumset in exquisite counterpoint to Bloom’s signature tone on the soprano sax. The music is both rhythmic and deeply lyrical - drum and sax dancing around one another until their song is sung. The compositions are Bloom and Miller making-it-up live and in the moment, taking you on a wild ride through their musical universe. From the adventurous journey of “The Wild Frontier” to the unpredictable “A & J’s Test Kitchen,” get ready for Tues Days - a story for your ears that will have your head spinning in wonder.

1. Tues Days 04:43

2. Technicolor 05:36

3. Rowing In The Dark 05:26

4. This Is It 03:16

5. Five Bells 02:16

6. The Wild Frontier 08:30

7. Light Years Away 05:59

8. A's & J's Test Kitchen 04:16

9. Crayola 06:13

10. On Seeing JP 04:19

11. Walk Alone 06:08

Allison Miller drums, percussion

Jane Ira Bloom soprano saxophone

Jane Ira Bloom Outline Music/ BMI

Allison Miller Supaphine / ASCAP

Produced by Jane Ira Bloom & Allison Miller

Recorded by Allison Miller & Jane Ira Bloom on March 2,9, 16, 25 & April 6, 2021 in NYC.

Mixed & mastered by Mark Helias

Cover Illustration Leo Holder ©2020, All rights reserved, used by permission.

Cover Design Christopher Drukker

Artist photography Erika Kapin

All compositions by Allison Miller & Jane Ira Bloom except “Rowing in the Dark,” “Light Years Away,” “On Seeing JP” and “Walk Alone” by Jane Ira Bloom (Outline Music/ BMI)

PREORDER

Tibor Debreceni - Blue Waltz (September 2021)

Jazz musician, composer, music producer, guitarist, pianist based in Budapest, Hungary.

"I compose, play and record all instruments, mix and master by myself in my home studio in Budapest, Hungary.

​Main instruments: guitar, piano, bass. Instruments in my music: drum, bass, piano, guitar, trumpet, tenor sax, alto sax, soprano sax.

Styles: cool jazz, modal jazz, jazz-blues, dark jazz (now ogling to post-bop).

​Jazz music taste is mainly from Miles Davis, Charles Mingus, Bill Evans, Kenny Burrell, Michael Brecker, Stan Getz, Paul Desmond. Piano taste is mainly from Bill Evans, Horace Parlan, McCoy Tyner, Oscar Peterson, Sonny Clark, George Colligan, Chopin pieces. Guitar taste is mainly from Kenny Burrell, Jim Hall, Jimi Hendrix, B.B. King, Pat Metheny".

Tibor Debreceni

1. Alone is about the kind of feeling myself alone even if someone else is around. Melancholic and blue tune. The mute trupet brings up a bluesy theme, which goes forward into a slow, but very tense chord progression that releases only for a few notes in the melody before turning back to the deep mood. Exactly how one cannot come up easily from this „alone” state.

Instruments: d, b, p, tr.

2. Take Your Time. I wanted to bring a noir-like mood, but in a medium tempo that gives an extra highlight to the theme. It represent my inner warning signal to myself, not to overcome something important in the rushy multitasking world (what I do a lot).

Instruments: d, b, p, tr., a.sax

3. Blue Waltz. I composed the theme as a blues chanson-like jazz progression that is a perfect base for the catchy jazz melody by lead guitar supported by the tenor and soprano saxophones. The rythm of the melody gives a modern hit to the waltz beat. The guitar and piano solo sections alternate each other, taking a ’blue waltz’ with each other.

Instruments: d, b, p, g, s.sax, t.sax

4. Morning Whistle. I usually can come out from any blue mood only in the other’s day morning. This theme is one I whistled one of those mornings, so I want to help others to start the day with whistle and smile.

Instruments: d, b, p, g, tr., s.sax, a.sax

5. Think Again. During the compositions and the recordings of the tracks I was really glad about how well it went so far, so I wanted this feeling as part of the album.

Instruments: d, b, p, g, s.sax, t.sax, a.sax, tambourine, conga, bongo, shaker

6. Peace Within is a very calming theme that represents my inner peace. It is something we seek, but very rarely (or never) find. When I felt that I found, I composed this theme and it helps me to get back to that calming feeling, and I hope it will help others as well.

Instruments: d, b, p, t.sax, tr., vibraphone

Bandcamp

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Gabriele Mastropasqua - Jazzed-Up! (September 2021 Dodicilune / Ird)

Prodotto da Dodicilune, distribuito in Italia e all’estero da Ird e nei migliori store on line da Believe, martedì 14 settembre esce Jazzed-Up! di Gabriele Mastropasqua. Il sassofonista pugliese propone otto composizioni originali (“E si aprirono le acque del jazz”, “2B done”, “Fil & Al”, “Angels”, “Paul at Starbucks”, “Barile di follia”, “Una notte a castel Caetani”, “Omicidi o alla Chigiana”) che si muovono tra jazz, swing, funky, sonorità balcaniche. Mastropasqua è affiancato da un’orchestra diretta dal chitarrista Roberto Spadoni, composta da Max Zaza, Nicola Cozzella, Nicola Simone, Luigi Acquaro, Tommaso Florio (sax), Tony Santoruvo, Giuseppe Todisco, Alberto Di Leone, Andrea Depalma (trombe), Antonio Fallacara, Antonio Depalo, Matteo Bavaro (trombone), Saverio D’Errico (tuba), Antonio Simone (piano), Giulio Scianatico (contrabbasso e basso), Andrea Elisei (batteria) e, in alcune composizioni, da Annamaria Carrieri, Alessandro Andriano, Pasqualino Beltempo (voce), Rossano Emili (sax baritono), Gaetano Partipilo (sax alto), Achille Succi (clarinetto basso e sax alto), Giuseppe Todisco (flicorno soprano). 

«Un mese dopo aver preso in mano il mio primo sassofono, chiesi al mio maestro di insegnarmi a comporre. In quel momento lui si fece una grassa risata e, oggi come oggi, me la sarei fatta anche io; tuttavia, quella risata mi fece capire quanto potesse essere ambiziosa la mia aspirazione e quanto a lungo avrei dovuto studiare per raggiungerla», sottolinea Gabriele Mastropasqua. «Mettere in musica il mio vissuto è sempre stato il mio desiderio più grande: immaginate di vivere un sogno, svegliarvi di soprassalto e scrivere su carta delle note per immortalare e non dimenticare mai più quel momento! Questo è quello che mi succede quotidiana mente! Tutti i brani che compongo sono frutto di esperienze personali, forti o frivole che siano, che cerco di trasformare in musica con il desiderio di trasmettere all’ascoltatore anche tutte le mie emozioni. Quando poi, oltre ad una incredibile voglia di suonare hai anche a disposizione le infinite varietà timbriche di una intera orchestra jazz composta da amici di vecchissima data, allora non hai altra scelta che andare in studio di registrazione e concretizzare le tue aspirazioni più grandi», continua il musicista. «Il titolo del disco “Jazzed-up!” è proprio un inno alle tante emozioni che caratterizzano la mia vita da musicista: l’amore del comporre, l’entusiasmo del suonare, la gioia di vivere quella incredibile “botta” di adrenalina che solo il suono di una grande orchestra può regalare». 

«Il fluire torrenziale delle idee di Gabriele e delle sue invenzioni musicali, il suo entusiasmo irrefrenabile per la creazione musicale tiene il passo con la sua inesorabile energia vitale», sottolinea Roberto Spadoni. «È evidente che tutti musicisti coinvolti nel progetto hanno colto in pieno lo spirito che ha animato il lavoro fin dalla sua genesi, e il risultato finale è un disco ben suonato, con idee musicali non banali, a volte piacevolmente naif», è il commento di Rossano Emili. «Gabriele ha fatto un ottimo lavoro con questo disco, dimostrando una gran conoscenza di quel genere di musica che inizia con la J; scrivo solo l'iniziale per motivi di privacy, e anche per non farne crollare le vendite sul nascere», scherza Achille Succi.

Nato a Bisceglie nel 1995, Gabriele Mastropasqua prende in mano il suo primo sass ofono a dodici anni nell’associazione “Gran Concerto Bandistico Città di Giovinazzo” sotto l’ala di Michele Marzella. Presto inizia un percorso formativo professionale nel Conservatorio “Niccolò Piccinni” di Bari con Pierpaolo Iacopini. Nel 2015 ha l’opportunità di scoprire il mondo del jazz e, con la guida di Gaetano Partipilo, viene ammesso alla Siena Jazz University dove si laurea nel 2019 in sassofono Jazz grazie agli insegnamenti di grandissimi talenti del calibro di Achille Succi, Dan Kinzelman, Stefano Battaglia, e altri. Contemporaneamente al percorso accademico sulla musica Jazz, continua il percorso classico: nel 2016, per avere l’opportunità di studiare con Rossano Emili, si trasferisce al conservatorio “Antonio Buzzolla” di Adria, e successivamente, per continuità didattica, al conservatorio “Arrigo Pedrollo” di Vicenza. Attualmente sta completando gli studi nel corso di laurea di secondo livello in Composizione Jazz presso il conservatorio â Nicola Sala” di Benevento sotto la guida di Roberto Spadoni. Durante il percorso didattico ottiene visibilità come sassofonista grazie alle collaborazioni con talenti della scena musicale jazzistica nazionale ed internazionale come Maurizio Giammarco, Matt Mitchel, Joe Sanders, Cristina Zavalloni ed altri. Vanta la collaborazione come compositore con varie formazioni orchestrali, fra le tante, la SJU Orchestra nell’evento Chigiana Meets Siena Jazz “Bernstein-Gershwin Sounding Times”. A oggi è attivo in diversi progetti musicali tra cui la storica “Jazz Studio Orchestra”, la street band “Route 99”, il quartetto jazz sperimentale “GaRiMaNto Trio”, e la “Jazzed Up Orchestra” diretta da Roberto Spadoni.

1 - E si aprirono le acque del jazz

2 - 2B done

3 - Fil & Al

4 - Angels

5 - Paul at Starbucks

6 - Barile di follia

7 - Una notte a castel Caetani

8 - Omicidio alla Chigiana

All compositions by

Gabriele Mastropasqua

Roberto Spadoni - conduction, guitar (1,3,6,7)

Max Zaza, Nicola Cozzella, Nicola Simone,

Luigi Acquaro, Tommaso Florio, Gabriele Mastropasqua - saxophones

Tony Santoruvo, Giuseppe Todisco, Alberto Di Leone, Andrea Depalma - trumpets

Antonio Fallacara, Antonio Depalo, Matteo Bavaro - trombone

Saverio D’errico - tuba

Antonio Simone - piano

Giulio Scianatico - double bass, el. bass (2,4)

Andrea Elisei - drums

Soloists:

Annamaria Carrieri, vocals (4,7)

Alessandro Andriano, vocals (4)

Pasqualino Beltempo, vocals (5)

Rossano Emili, baritone sax (1,7)

Gaetano Partipilo, alto sax (2)

Achille Succi, bass clarinet (4,8), alto sax (4)

Giuseppe Todisco, soprano flugelhorn (4)

Gabriele Mastropasqua, baritone sax (4,6)

Antonio Fallacara, trombone (2)

Roberto Spadoni, el. guitar (3)

Antonio Simone, piano (6)

Giulio Scianatico, double bass (6)

PRODUCTION DATA (TIMING-ANNO-NR CAT-BARCODE)

Total time 48:14 STEREO DDD

(p) 2021 DODICILUNE (Italy)

(c) 2021 DODICILUNE (Italy)

www.dodicilune.it

CD DODICILUNE DISCHI Ed513

8033309695136

RECORDING DATA

Produced by Gabriele Mastropasqua and Maurizio Bizzochetti, Gabriele Rampino, Dodicilune, Italy

Label manager Maurizio Bizzochetti (www.dodicilune.it)

Recorded 2, 3 February 2019 by Alessandro Grasso at International Sound, Conversano (Ba), Italy

Mixed 10, 14 September 2019 by Alessandro Grasso at Four Walls Studio, Giovinazzo (Ba), Italy

Mastered 6 November 2019 by Alessandro Grasso at Four Walls Studio, Giovinazzo (Ba), Italy

Cover photo (c) gibleho   Photos by Luigi Mastropasqua

Contact: facebook.com/gabriele.mastropasqua/, gabriele.mastropasqua@hotmail.it

PREORDER

Chris Joris - Songs for Mbizo (November 15, 2021 Jazz'Halo)

1. The white side of black

2. Rivers

3. Lullaby for Ephriam

4. Panontigri

5. Song for Mbizo - part one

6. Blowin' your bow to the berimbob

7. Shaya Sebothane

8. Berimbau

9. Dance of the mulatos

10. Monody on a moonlit night

11. Song for Mbizo - part two

12. November 30th

All compositions by Chris Joris except where indicated

Horn arrangements (5/9/12) by Frank Vaganée

The 1976 tapes

Chris Joris: piano, percussion

Johnny Dyani: double bass

David Lee Schloss, Michel Mast: tenor sax

Julian Sebothane Bahula: African drums

Cheikh Tidiane Fall: congas, percussion

Frans Pelgrims: drums

recorded at HIFI HOME STUDIO, Brugge (Belgium), July 1976 by Ron Cottam

The 1991 tapes

Chris Joris: piano, percussion, berimbau, udu clay drums, flute

John Ruocco: tenor sax, alto clarinet

Steve Houben: flute, alto flute

Frank Vaganée: alt sax

Bob Stewart: tuba

Kristoph Erbstösser: piano

Frans Van Der Hoeven: double bass

Dré Pallemaerts: drums

David Linx: vocals on (11)

recorded at IMPULS STUDIO, Herent (Belgium), March 19 & 20, 1991 by Allan Ward

PREORDER

Gilbert Isbin with Cameron Brown - Spring Cleaning (November 15, 2021 Jazz'Halo)

Self-taught guitarist/composer Gilbert Isbin was born in Knokke on May 29, 1953. He’s probably one of the best kept secrets in Belgian jazz.

After playing lute and baroque music for quite a while, his love for European improvised music and jazz prevailed. Especially Paul Bley’s minimalistic approach, the introspective playing of Bill Evans and the compositions by Cuban master Leo Brouwer influenced him a lot. Thru’ the years he built up his very personal style that is marked by strong melodies and subtle, inventive playing.

‘Spring Cleaning’, Gilbert’s first album for the Jazz’halo label, illustrates what a fine composer and guitar player he is. Working with such great musicians as Cameron Brown, Chris Joris, John Ruocco and Steve Houben finally gave him the opportunity to record his compositions in the best possible way.

Jos Demol

1. Spring cleaning

2. Fresh breath

3. Troubled

4. Free flight to A'dam

5. Wawacou

6. Warm your heart

7. Why was that?

8. Wintertime

9. Here, my dear

10. Lift your feet

11. Buzz

Gilbert Isbin: classical and electric guitars

Cameron Brown: double bass

John Ruocco: tenor sax, alto clarinet and clarinet

Steve Houben: flute

Chris Joris: miscellaneous percussion and berimbau

Mark Van Overmeire: drums on (7)

Recorded at STUDIO FIELDS, Braine-l’Alleud (Belgium), May 19 & 20 and June 22, 1992 by Didier de Roos

PREORDER

Isbin / Gauthier / Walton - Venice Suite (November 15, 2021 Jazz'Halo)

We recorded in November 2005 at the Cryptogramophone studios in LA, with master recording engineer Rich Breen. The whole project was completed in two afternoons. There are two suites of improvisation on this album; the Venice Suite for the trio (tracks 4-9) on which Scott plays the piano in the most wonderful way and the Brugge Suite for violin and guitar duo (tracks 10-16). There was electricity in the air.

“It's a joint production taken on by Southern California-based Cryptogramophone and the Belgian, Jazz'Halo record label by a trio that irrefutably rises to the occasion. Violinist and Crypto label chief Jeff Gauthier established a rapport with Belgian guitarist Gilbert Isbin via some California concerts and an interest in each other's artistry. Subsequently, fellow West Coast musician bassist/pianist Scott Walton was deemed the right man for the job with rounding it this wonderfully enticing and genre-hopping studio date. In effect, there's quite a bit going on under the proverbial hood.

Gauthier combines the flair of a concert violinist with dense improvisational acumen to complement the musicians' weaving of hypnotically melodic lines with richly textured themes. They often interrogate each other's voicings while occasionally mixing it up within avant-garde like frontiers. On the piece titled “Shine,” the violinist executes a sweet melody atop Isbin and Walton's bouncy undercurrents. Yet, the trio also inject moments of dissonance into the grand scenario where plots develop and ultimately morph into a regeneration of musical notions. Then on “Why Was That,” Isbin lays down a haunting ostinato as Walton subsequently stretches out with ascending lines. For the finale, the trio covers fabled song sleuth Nick Drake's “River Man.”. Finesse. EJAZZNEWS by Glenn Astarita 

1. Gift to the fall

2. Invitation

3. Knomish

4. Venice suite; Ah Chez

5. Venice suite; Reflection at Maribou's

6. Venice suite; Venice in bloom

7. When all is said and done

8. Shine

9. Open mind

10. Brugge suite; Begijnhof sonnet

11. Brugge suite; In the evening

12. Brugge suite; The swan's delight

13. Why was that

14. Invocation

15. Cute movements

16. River man

Gilbert Isbin, acoustic guitar

Jeff Gauthier, violin

Scott Walton, acoustic bass/piano

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Stephen Godsall - We could fix everything (November 15, 2021 Jazz'Halo)

At the start of 2021 I had an idea to make the best of "lockdown" by beginning remote recordings with some of my favourite musicians - including some I had yet to meet. Mike Hall was enthusiastic about the idea and brought Steve Waterman on board; this was the core of my "dream band". We tried out several singers and for the 4 songs on this album Sara Harris turned out to have the perfect voice. Thanks to all the brilliant musicians who joined me on this venture!

After my very eclectic "Atlantic skies" album in 2020 I decided to concentrate on jazz idioms this time and build in space for improvisation and syncopation. The tunes explore both musical and personal ideas which are described in the notes for each track.

1. Postcard

2. We could fix everything

3. Mr Thomas

4. Expresso bongo

5. It will get brighter

6. Five rivers met on a wooded plain

7. Don't look down

8. Eryri

9. Poetic off-licence

10. The last hillwalker

11. The new me

Sara Harris, vocals

Steve Waterman, trumpet, flugelhorn

Sarah Bolter, flute

Mike Hall, tenor and soprano saxes, bass clarinet, wind synth

Diane Annear, piccolo

Joe Limburn, double bass

Sarah Abbott, baritone sax

Ian Ellis, tenor sax on track 10

Andrew Godsall, drums

Stephen Godsall, guitars, bass guitar, ukulele, organ, percussion

Cover photo by Ria Sopala

All tracks composed by Stephen Godsall

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Andrea Rinciari Trio - To Bud. (September 15, 2021)

1. So Sorry Please 05:30

2. Oblivion 05:34

3. Audrey 04:52

4. Sure Thing 03:02

5. Halluncinations 03:46

Andrea Rinciari - Guitar

Lorenzo Morabito - Bass

Adam Merrell - Drums

Mixing/Mastering - Alessandro La Barbera

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Dervis Can Vural - Carmen Silentii (September 2021)

In this album you will hear textures of classical impressionism combined with tonal early modernism, with a slight inflection of bebop Jazz. Think of a meeting of Debussy, Shostakovich and Chick Corea. During mixing and production I modeled after pop singers such as Agnes Obel, Aurora and Tori Amos. I brewed and stirred and concocted and tasted the sound until I got it to be oh so sweet.

As before, the music is built around a simple poem, where (like most of my work in physics and biology) I focus on notions of time and transience. In the poem I project myself forward in time near the heat death of the universe and look back at the history of life with bittersweet nostalgia.

In accordance with the theme of transience, no music was ever written down for this album. I improvised everything on the piano, edited it, and sent it to the vocalists with instructions. My four superhuman vocalists, Syauqi Destanika (Indonesia), Faye (South Africa), Ena Marley (Spain) and Julia Camayd (United States) brought the songs alive with their mastery of voice, artful interpretation and unique character. 

I’ve been listening to this on repeat for the last month, with the excuse that “well, I’m fine tuning the mix”. But really, I keep listening to it because it’s so delicious. I hope you’ll also enjoy it as much. So ladies and gentlemen, without further ado:

Carmen Silentii.

Found myself awake, singing

A song from the end of time

Without a soul or a voice, a chant

The finale of a story without a plot

Look, just a broken daydream

A humorous requiem

For myself

And everything alive

That once was

1. Found myself awake, singing 02:46

2. A song from the end of time 02:39

3. Without a soul or a voice 05:01

4. A silent chant 03:04

5. The finale of a story without a plot 03:22

6. Look, just a broken daydream 07:30

7. A humorous requiem 05:18

8. For myself 02:35

9. And everything alive 03:11

10. That once was 06:28

Music, Lyrics, Piano, Back vocals: Dervis Can Vural

Female Vocals: Syauqi Destanika, Faye, Ena Marley, Julia Camayd

Sculpture on Album Cover: Martin Lagares

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Satoko Fujii / Taiko Saito - Underground Vol​.​3 (September 2021)

1. Low 03:37

2. Kinkyu Jitai Sengen 03:04

3. Street Ramp 06:14

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Sam Rivers Quartet - UNDULATION (Archive series. Volume 5) September 2021 NoBusiness Records

Unraveling Mysteries: Sam Rivers in the Early ’80s

It was the early ’80s; guitars were shaping the jazz to come with unprecedented brashness, with Ornette Coleman’s Prime Time, Ronald Shannon Jackson’s Decoding Society, and James Blood Ulmer’s Music Revelation Ensemble leading the charge. It is a narrative that excludes Sam Rivers’ 1981 quartet with Jerry Byrd and the 1982 edition with Kevin Eubanks—units rounded out by electric bassist Rael-Wesley Grant and drummer Steve Ellington.

There is a simple answer why this is the case—Rivers’ quartets flew under the radar of the New York jazz elite. They played everywhere but New York: the Midwest, Western Canada, the West Coast, and throughout Europe. Rivers’ sole quartet gig in NYC during this period was the 10 p.m. set at the Public Theatre the weekend before Christmas in 1981, when many jazz fans were reveling elsewhere, and few if any concerts that didn’t include the “Hallelujah” chorus were reviewed in the dailies or the weeklies. Byrd had left and Eubanks had yet to come on board—Marvin Horne was enlisted as a place-holder. Hardly the scenario for an impactful New York debut.

Additionally, only the quartet with Byrd was represented on LP. To compound matters, Crosscurrent was issued by Parisian impresario Gérard Terronès’ Blue Marge label, which, without the U.S. distribution enjoyed by Black Saint, Soul Note, and other European labels, barely seeped into the Stateside collectors’ market. Crosscurrent was released in late 1982, presumably after Rivers disbanded the quartet with Eubanks, and shifted his focus to Winds of Manhattan. The album documents the quartet’s April 4, ’81 Jazz Unité concert, which was promptly praised by Paris’ Jazz Magazine and Jazz Hot. But the disc was not reviewed by Jazz Hot until May 1983 (Jazz Magazine passed). At the outset of his Jazz Hot coverage of the Jazz Unité recording, Pierre-Jean Gaucher confessed unfamiliarity with the avant-garde. Beyond giving high marks to the rhythm section, and namechecking Miles Davis and Herbie Hancock’s Head Hunters, there are few specifics in his positive, if perfunctory record review. Fair to say Crosscurrent failed to generate any consequential buzz.

More...

1. Tenor saxophone section I 1 1:17

2. Tenor saxophone solo 4:26

3. Tenor saxophone section II 5:37

4. Drum solo 7:14

5. Piano solo 5:52

6. Piano section I 4:21

7. Piano section II 6:19

8. Guitar solo 5:25

9. Flute section I 4:53

10. Flute solo 4:08

11. Flute section II 2:07

12. Bass solo 5:21

13. Flute section III 4:55

Sam Rivers: tenor saxophone, flute, piano

Jerry Byrd: guitar

Rael-Wesley Grant: electric bass guitar

Steve Ellington: drums

All compositions by Sam Rivers

Recorded May 17, 1981, Florence, Italy

Re-mastered by Arūnas Zujus at MAMAstudios

Photos (cover and pages 2, 7, 9): Courtesy of Monique Rivers Williams

Cover and Booklet Design: Jeff DiPerna

Liner Notes: Bill Shoemaker

Produced by Danas Mikailionis and Ed Hazell

Co-producer: Valerij Anosov

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Pat Metheny - Side-Eye NYC (V1-IV) September 2021 Modern Recordings

Unlike almost any other modern musician, Pat Metheny remains uniquely unpredictable. A new Metheny record could be almost anything as the only musician to have won twelve of his twenty Grammy awards in twelve different categories. His recent recording Road To The Sun caused a sensation in the classical music world for its intricate and emotionally satisfying chamber music compositions. At the same time, its immediate predecessor From This Place was Downbeat magazine’s Jazz Record of the Year as an expansive and timeless large-scale work.

On September 2021 Modern Recordings will release PAT METHENY SIDE-EYE – NYC, an exciting, vibrant and energized new platform for Metheny, showcased in a recording that features 30 minutes of intricate new music set alongside a few unexpected and creative re-workings of Metheny classics re-imagined.

So, what is Side-Eye?

Pat explains, “I wanted to create an ongoing platform to host a rotating cast of the newer generations of musicians who have particularly caught my interest along the way. From my earliest days in Kansas City onward, I was the beneficiary of so many older musicians hiring me, which gave me a chance to develop through the prism of their experiences and the particular demands of what their music implied.”

He continues, “I have been feeling like I wanted to have a specific setting to focus on some of the younger NYC musicians I have enjoyed recently where there seems to be some kind of kinship happening. About every ten or twelve years, there seems to be a crop of players coming along who find a certain resonance with whatever it is that my thing seems to represent to them. The last time that happened was the Josh Redman, Christian McBride, Brad Mehldau, Antonio Sanchez generation, and it seems to be happening again now.”

“Just as it was back then, I have been hearing from these newer players on the scene when they get to town who get in touch to talk about the influence that some of my records and tunes have had on them. When there is time, I always try to invite them up to my house to do some playing. Very often, it’s a natural and organic thing for me to play with them; they have literally grown up listening to the recordings and playing those compositions from their beginnings, just as I did with many of the folks that I eventually wound up playing with too.”

“My good friend, the great drummer Eric Harland called me up one day to tell me about James Francies and how he wanted to get together with me. I suggested we get a bass player and have a session. Eric said, “You don’t need a bass player with James!”. That was an incredible day, and from that, the idea of building a first edition of the concept around James and his amazing talent was formed.”

Metheny has given this band concept the name Side-Eye and hopes that it might become a rotating group of musicians who could come and go in different combinations. So far, there have been four iterations, hence the V.1-IV sub-heading on the record.

01. It Starts When It Disappears

02. Better Days Ahead

03. Timeline

04. Bright Size Life

05. Lodger

06. Sirabhorn

07. Turnaround

08. Zenith Blues

Pat Metheny - guitar

James Francies - keyboards

Marcus Gilmore - drums

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Gigantonium - Nout (September 2021)

Missing chain between Nirvana and Sun Ra, the alliance between Delphine Joussein, Rafaëlle Rinaudo and Blanche Lafuente aims at pushing their instruments beyond their limits, with the enthusiasm of a mad scientist in front of his vials. Flute, harp, drums: a rare combination that this trio turns upside down. In the wake of John Zorn's experiences on the borders of jazz and noise, Nout imagines its music as a scenario with surprising twists: we believe to be the characters of Alien and we find ourselves in Indiana Jones; we start with our eyes shut on a red movie theatre seat and we end up rocking on the dancefloor.

Mathieu Durant

1. The last train 03:56

2. ça sent le brûlé 03:52

3. La mare aux canards 04:45

4. Les boulettes 06:56

5. Inondation 04:34

Delphine Joussein : flute, fx

Rafaëlle Rinaudo : electric harp

Blanche Lafuente : drums

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Scheen Jazzorkester & Jon Øystein Rosland - Logical Fallacies (September 2021 Jazzland recordings Norway)

Since the founding of the Scheen Jazz Orchestra, Jon Øystein Rosland has composed and arranged for the orchestra. There have been a number of individual works and in 2016 came the commissioned work "Tamanoar", comprising 10 songs. "Tamanoar" was recorded in Rainbow Studios and released on Losen Records, and the release garnered many rave reviews from home and abroad.

Now a new commissioned work is ready: "Logical Fallacies". The work contains energetic songs that range from the very delicate to groovy and catchy melodies. The music was recorded and filmed in the Artilleriverkstedet in Horten, and the concert film premiered on NRK2 on 11th June 2021.

Scheen Jazzorkester (SJO) was started in 2010 as a professional jazz orchestra based in Skien. The band has since managed to establish itself as a strong voice on the Norwegian and European jazz scene, and is today Sørnorsk Jazzsenter's regional large ensemble. SJO has 8 critically acclaimed albums to its credit, and the predecessor to "Logical Fallacies", "As We See It…" was released last year on the renowned Clean Feed Records label. The band consists of 12 musicians with a background in both jazz and classical music, and this gives the band a distinctive and multifaceted expression that ranges from classical contemporary music through to orchestral approaches to European chamber jazz.

1. Ad Hominem 08:14

2. Appeal to Authority 04:43

3. Ad Populum 05:58

4. The Strawman 07:03

5. Circular Reasoning 05:30

6. Slippery Slope 06:28

7. Red Herring 06:41

8. Anecdotal Evidence 06:07

Jon Øystein Rosland - composition / tenor saxophone

Guttorm Guttormsen - saxophones / flute

André Kassen - saxophones

Line Bjørnør Rosland - clarinets

Thomas Johansson - trumpet

Finn Arne Dahl Hanssen - trumpet

Magne Rutle - trombone

Frøydis Aslesen - trombone

Åsgeir Grong - bass trombone

Rune Klakegg - piano

Even Helte Hermansen - guitar

Jan Olav Renvåg - bass

Audun Kleive - drums

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