CONCERTOS PORTA-JAZZ: Sábado, 4 fev. - The Rite Of Trio

Sala Porta-Jazz 

Sábado, 4 fevereiro - 19:00

André Silva - guitarra

Filipe Louro - contrabaixo

Pedro Alves - bateria

The Rite Of Trio são uma formação jovem e promissora no panorama musical nacional, tendo sido reconhecidos como um dos projetos revelação desde o lançamento do seu álbum de estreia GETTING ALL THE EVIL OF THE PISTON COLLAR! (Carimbo Porta-Jazz,  dezembro 2015). 

Foram apontados pela TimeOut como promessa para 2017, e reconhecidos internacionalmente pelo All About Jazz e A Jazz Noise como protagonistas de um dos melhores álbuns de 2016. Os argumentos são muitos para conhecerem ou revisitarem o trabalho deste grande trio de jovens músicos.

Na próxima semana....

Sábado, 11 fevereiro - 19:00

PEDRO NEVES TRIO

Pedro Neves - piano

Miguel Ângelo - contrabaixo

Leandro Leonet - bateria

A nova parceria da Porta-Jazz com o +Jazz vai levar ao Museu de Angra do Heroísmo seis concertos de bandas com Carimbo Porta-Jazz, duas jam sessions e oficinas com apresentação no final; tudo isto em três dias consecutivos.

Vai ser um fim-de-semana repleto de propostas originais, muita música e convívio, por isso juntem-se a nós na ilha Terceira!

PRÓXIMOS LANÇAMENTOS CARIMBO PORTA-JAZZ

Auditório da FEUP

- entrada livre - 

2 março, 21:30

MAP - "Guerra e Paz"

Paulo Gomes - piano

Miguel Moreira - guitarra

Miguel Ângelo - contrabaixo

Acácio Salero - bateria

27 março, 21:30 

Rui Filipe Freitas Sexteto - "Axis Mundi"

Rui Filipe Freitas - vibrafone

José Pedro Coelho - saxofone tenor e clarinete-baixo  

João Mortágua - saxofone alto e saxofone soprano

Mané Fernandes - guitarra

Filipe Teixeira - contrabaixo

João Martins - bateria

18 abril, 21:30

The Nada

João Guimarães - saxofone

Eurico Costa - guitarra

Simon Jermyn - baixo

José Marrucho - bateria

CICLO JAZZ DE SANTO TIRSO

Centro Cultural de Vila das Aves

25 fevereiro, 21:30 - João Paulo Rosado | Sinopse

João Paulo Rosado - contrabaixo / baixo eléctrico

João Guimarães - saxofone alto

AP - guitarra

Hugo Raro - piano

António Torres Pinto - bateria

1 abril, 21:30 - Renato Dias Trio

Renato Dias - guitarra

Filipe Teixeira - contrabaixo

Filipe Monteiro - bateria

16 junho, 21:30 - AP Quarteto

AP - guitarra

Carlos Azevedo - piano

Filipe Teixeira - contrabaixo

Acácio Salero - bateria

1 julho, 21:30 - Rui Filipe Freitas Sexteto

Rui Filipe Freitas - vibrafone

José Pedro Coelho - saxofone tenor e clarinete-baixo  

João Mortágua - saxofone alto e saxofone soprano

Mané Fernandes - guitarra

Filipe Teixeira - contrabaixo

João Martins - bateria

Miles Davis Quintet - Freedom Jazz Dance (The Bootleg Series Vol. 5) SONY MUSIC 2016 (3 CD)

A 3CD box set collection chronicling Miles’ musical evolution in the studio from 1966-1968 working with his “second great quintet,” the latest edition in Columbia/Legacy’s acclaimed Miles Davis Bootleg Series provides an unprecedented look into the artist’s creative process, drawing on full session reels including all rehearsals, partial and alternate takes, extensive and fascinating studio conversation and more.

Celebrating the 50th anniversary of Miles Smiles, the groundbreaking second studio album from the Miles Davis Quintet–Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)–this definitive new collection includes the master takes of performances which would appear on the Miles Smiles (1967), Nefertiti (1968) and Water Babies (recorded 1967, released 1976) albums alongside more than two hours worth of previously unreleased studio recordings from original sessions produced by Teo Macero (with the exception of “Fall,” produced by Howard A. Roberts).

“Circle,” “Orbits,” “Dolores” and “Freedom Jazz Dance” were recorded at the historic Columbia 30th Street Studio in New York City on October 24, 1966. “Gingerbread Boy” and “Footprints” were recorded at the same location the following day, October 25, 1966. Full session reels – every second of music and dialogue – that were taped for the Miles Smiles album are included. Prior to this the only material ever released from the classic album were the master takes for the six songs. Never before have the full session reels for an entire Miles Columbia album been released, here providing an in-depth look at the studio process of one of jazz’s greatest bandleaders, and arguably the greatest small jazz group ever.

“Masqualero”, heard on the set in a previously unreleased alternate take, was recorded at Columbia 30th Street Studio on May 17, 1967. “Water Babies” and “Nefertiti” were recorded there on June 7, 1967. “Fall” was cut at the Columbia studio on July 19, 1967. Complete session reels for “Water Babies”, “Nefertiti” and “Fall” are included in the box.

“Country Son”, heard in a unique previously unreleased rhythm section only rehearsal, was recorded at Columbia Studio B in New York City on May 15, 1968.

Miles Davis Quintet: Freedom Jazz Dance: The Bootleg Series, Vol 5 box set was produced for contemporary release by the multi Grammy Award winning team of Steve Berkowitz, Michael Cuscuna and Richard Seidel. The album was mixed from the original 4-track tapes and mastered by Grammy Award winning engineer Mark Wilder, Battery Studios, New York City, July 2016.

In addition to more than two hours of previously unreleased studio sessions, the collection includes “Blues in F (My Ding),” a rare and unique home recording featuring Miles, demonstrating on piano a new blues he was working on to Wayne Shorter.

Miles Davis Quintet: Freedom Jazz Dance: The Bootleg Series, Vol 5 includes revelatory behind-the-scenes liner notes penned by Grammy Award-winning Ashley Kahn, author of Kind of Blue: The Making of the Miles Davis Masterpiece, as well as new interviews with Quintet members Ron Carter and Wayne Shorter.

Sourced from original four-track analog session reels and master tapes transferred and mixed in high resolution at 24-bit/192 kHz, Miles Davis Quintet: Freedom Jazz Dance: The Bootleg Series, Vol 5 offers a profound and intimate look at Miles’ creative process in the studio, providing insight into the bold new musical directions Davis and members of his quintet would take as the 1960s drew to a close.

Miles Davis Quintet: Freedom Jazz Dance: The Bootleg Series, Vol 5

Disc 1

Freedom Jazz Dance (Session Reel)

Freedom Jazz Dance (Master Take)

Circle (Session Reel)

Circle (Take 5)

Circle (Take 6)

Dolores (Session Reel)

Dolores (Master Take)

Disc 2

Orbits (Session Reel)

Orbits (Master Take)

Footprints (Session Reel)

Footprints (Master Take)

Gingerbread Boy (Session Reel)

Gingerbread Boy (Master Take)

Nefertiti (Session Reel)

Nefertiti (Master Take)

Disc 3

Fall (Session Reel)

Fall (Master Take)

Water Babies (Session Reel)

Water Babies (Master Take)

Masqualero (Alt. Take 3)

Country Son (Trio Rehearsal)

Blues in F (My Ding)

Play Us Your Eight (Miles Speaks)

Miles Davis, trumpet

Wayne Shorter, tenor saxophone

Herbie Hancock, piano

Ron Carter, bass

Tony Williams, drums

Miles Davis Quintet - Freedom Jazz Dance (The Bootleg Series Vol. 5) SONY MUSIC 2016 (3 CD)

Disc 2

Orbits (Session Reel)

Orbits (Master Take)

Footprints (Session Reel)

Footprints (Master Take)

Gingerbread Boy (Session Reel)

Gingerbread Boy (Master Take)

Nefertiti (Session Reel)

Nefertiti (Master Take)

Miles Davis Quintet - Freedom Jazz Dance (The Bootleg Series Vol. 5) SONY MUSIC 2016 (3 CD)

Disc 3

Fall (Session Reel)

Fall (Master Take)

Water Babies (Session Reel)

Water Babies (Master Take)

Masqualero (Alt. Take 3)

Country Son (Trio Rehearsal)

Blues in F (My Ding)

Play Us Your Eight (Miles Speaks)

Danil Zverkhanovsky Quintet - In Pieces (2017)

Released January 31, 2017 

Recorded and mixed by Kurt Rosenwinkel, this album's material resembles the form of a play. The recording took place on July 16th 2014 in Berlin. 

It features musicians all of whom attended the Jazz Institute Berlin at the time. The music written by Danil Zverkhanovsky was developed by this group during the course of one semester.

The title refers to the state of an individual affected by media, politics and social change; this work aims at bringing the pieces back together.

1. In Pieces, Act I 15:29

2. In Pieces, Act II 06:42

3. In Pieces, Act III 10:35

4. In Pieces, Act IV 10:22

5. In Pieces, Act V 07:03

Danil Zverkhanovsky - guitar & composition

Dima Bondarev - trumpet

Yuriy Seredin - piano

Ilya Alabuzhev - bass

Quentin Cholet - drums

Kurt Rosenwinkel - production & mixing

Playlist for Tom Ossana – The Thin Edge – February 1, 2017 MST 7:00 to 9:00p.m.

http://www.kzmu.org/listen.m3u ~ Use this link to access the show online.

Daniel Levin Quartet - Live at Firehouse 12 (CLEAN FEED RECORDS 2017)

Live At Firehouse 12 documents the Daniel Levin Quartet in live performance with its current working line-up, now featuring Mat Maneri on viola. The new palette of timbres and textures afforded by the change in instrumentation from trumpet to viola provides ample opportunities for the band to explore previously uncharted territory, and the musicians take full advantage here, producing music that sounds fresh and exciting. At the same time, there is a sense of familiarity, as the music often travels along several of the distinctly original sonic paths that Daniel Levin and his quartet have forged over many years. In fact, with this recording, Levin chose to focus on four of the key compositional forms, or “archetypal images”, that have been in consistent use by the quartet since its inception in 2001. To round out the program, there are fully improvised duos from Zetterberg and Moran, and also from Levin and Maneri, who can frequently be found working as a stand-alone duo, apart from the quartet.

The music that results from this unique combination of precedents and antecedents can be extremely subtle or epic; it can delight itself in the abstract marvels of timbre and texture; it can embrace the beauty of a melody while exploring rhythm in unexpected ways, but at its core, it’s always lyrical. The mysteries and intricacies within the music invite us to keep coming back to it, in order to uncover yet another layer, another detail, to have another experience of enchantment.

1. Aquamarine (Live) 8:28

2. Lost & Found (Live) 7:53

3. Jumpman (Live) 7:35

4. Glacier (Live) 5:51

5. Mat / Daniel (Live) 4:25

6. Matt / Torbjörn (Live) 5:26

7. Myths & Legends (Live) 9:08

Daniel Levin  cello

Mat Maneri  viola

Matt Moran  vibraphone

Torbjörn Zetterberg  double bass

All compositions by Daniel Levin, Black Bear Music Industries Inc. (ASCAP) except #5 by Mat Maneri & Daniel Levin, and #6 by Matt Moran and Torbjörn Zetterberg.

Recorded on May 27, 2016 by Greg DiCrosta at Firehouse 12, New Haven | Mixed and mastered by Nick Lloyd at Firehouse 12, New Haven

Produced by Daniel Levin | Executive producer Pedro Costa | Design by Travassos | Photo credits: Daniel Levin by Joachim Ceulemans; Mat Maneri by Remi Angeli; Torbjörn Zetterberg & Matt Moran by Peter Gannushkin

Lisa Mezzacappa - avantNOIR (CLEAN FEED RECORDS 2017)

San Francisco Bay Area bassist and composer Lisa Mezzacappa draws inspiration from a wide range of sources in her music, from film to visual art to science.  Her newest release, avantNOIR, is a suite of compositions for jazz sextet based on noir crime fiction—classic works by Dashiell Hammett set in San Francisco, and later works by Paul Auster that are part of his New York Trilogy. Mezzacappa probes the psychological depths of these stories, creating musical profiles of characters like Big Flora from Hammett’s The Big Knockover, and Daniel Quinn from Auster’s City of Glass. She also uses clues from detective’s cases—addresses, aliases, phone numbers, hotel rooms—and translates them into musical structures, melodies and rhythms, in a kind of postmodern jazz serialism. The result is a contemporary jazz gem influenced as much by Charles Ives and Pierre Boulez as by Eric Dolphy and Henry Threadgill.

Mezzacappa’s partners in crime couldn’t be better suited to the challenge of navigating her sometimes gnarly, sometimes spacious but always imaginative music. Guitarist John Finkbeiner and tenor saxophonist Aaron Bennett were regulars in the California edition of Adam Lane’s Full Throttle Orchestra, and have been part of Mezzacappa’s Bait & Switch quartet for nine years. Jordan Glenn, of Fred Frith’s current trio, is one of the Bay Area’s most in-demand and versatile drummers. Tim Perkis is a pioneer of laptop improvisation, and adds a supremely sensitive layer of sound to the compositions. And veteran percussionist William Winant, well known in contemporary music circles and a longtime associate of avant-jazz heroes John Zorn, Fred Frith, Roscoe Mitchell and others, plays vibraphone and Foley sound effects—rotary phone, typewriter, hotel desk bells—as part of the record’s rich and mysterious sonic landscape.

1. Fillmore Street 3:12

2. The Ballad of Big Flora 7:05

3. Army Street 3:48

4. Medley on the Big Knockover (Green St. / At Larrouy's Bar / Montgomery St.) 9:53

5. A Bird in the Hand 7:24

6. Quinn's Serenade 6:33

7. Ghosts (Black and White, Then Blue) 8:19

8. Babel 7:57

Aaron Bennett  tenor saxophone

John Finkbeiner  electric guitar

William Winant  vibraphone, percussion, Foley

Lisa Mezzacappa  acoustic bass, samples

Tim Perkis  electronics

Jordan Glenn  drums

All music composed by Lisa Mezzacappa (c) 2017 ASCAP

Recorded by James Frazier at New, Improved Recording, Oakland CA, November 28–29, 2015 | Additional engineering by John Finkbeiner | Mixed by Myles Boisen at Guerilla Recording, Oakland CA. | Mastered by Myles Boisen at Headless Buddha Mastering Lab, Oakland CA. Band photo by Myles Boisen

Produced by Lisa Mezzacappa | Executive production by Pedro Costa for Trem Azul | Design by Travassos

Ballrogg: Klaus Ellerhusen Holm | Roger Arntzen | Ivar Grydeland - Abaft the Beam (CLEAN FEED RECORDS 2017)

For some time, and for two released albums, Ballrogg was the name of the duo formed by clarinetist and saxophonist Klaus Ellerhusen Holm (Honest John, Large Unit) and double bassist Roger Arntzen (In the Country, Chrome Hill), identified by a captivating approach which combined an exploration of the influence of Jimmy Giufree and Eric Dolphy’s particular brand of jazz with the kind of non-linear structures patented by the indeterminist new music composer Morton Feldman. Meanwhile, a third element joined the project and things got more complex, and that because Ivar Grydeland (Huntsville, Dans les Arbres) brought with him a strong country & western influence. Pointed out as the Bill Frisell of experimental improvised music, Grydeland’s pedal steel guitar and banjo contributions are key to the “free chamber Americana” now proposed by the group, in a much clearer way than the one played by the Chicago’s band Town & Country. Curiously enough, neither of these musicians are from the United States and the music itself denounces its Scandinavian origin. The ability of the North European scene to reinvent «American classical music» (the label Duke Ellington gave to jazz) and even to reinvent the American folk roots is legendary, and here we have one precious example.

1. Aloft 5:37

2. Bear Down 3:36

3. Abaft 5:42

4. Bosom Barb 6:31

5. Avast 3:05

6. Block and Tackle 7:35

7. Anchor's Aweigh 6:25

Klaus Ellerhusen Holm  b-clarinet, bass clarinet, bass amplification

Roger Arntzen  double bass

Ivar Grydeland  pedal steel guitar, electric guitar, acoustic guitar, banjo, drum machine

All tracks written by Klaus Ellerhusen Holm and arranged by Ballrogg with Ivar Grydeland

Recorded by Morten Qvenild at The Green Room, Nesodden, December 2014 and 2015 | Mixed by Johnny Skalleberg at Amper Tone, June 2016 | Mastered by Giuseppe Ielasi, October 2016

Produced by Klaus Ellerhusen Holm / Roger Arntzen / Ivar Grydeland | Executive producer Pedro Costa | Design by Travassos