Japanese free/jazz sax legend, Kaoru Abe, dies at the age of only 29 in 1978, living a fast and crazy life and dieing of a drug overdose. His entire music career was only 10 years, from 1968 to 1978. In that short period, he was well recorded with around 30 releases, ten of which are solo sax efforts, duos with guitarist Masayuki Takayanagi, bassist Motoharu Yoshizawaand drummer Sabu Toyozuma. Mr. Abe also toured and recorded with Milford Graves, Derek Bailey and Toshinori Konda in 1977 & 1978. Sadly, nothing by Kaoru Abe has been in print for many years until now…
Many of his rare CD’s & LP’s go for big bucks on the resale market. This disc was recorded at two concerts in Tokyo in January and July of 1978, the year that Mr. Abe passed away. Those in the know, free/jazz freaks worldwide, should know of drummer Sabu Toyozumi from his work with Peter Brotzmann, Derek Bailey, Misha Mengelberg and Haino Keiji. ‘Part 1’ kicks things off with an immense blast with Mr. Abe on alto sax and Mr. Toyozumi on drums. Abe sounds a bit like Albert Ayler, although he plays alto & soprano saxes, bending and twisting every note in his own unique way. This duo recorded a few disc together and they sound just right working together, shadowing each other, tightly connecting no matter where they soar. If you savor what is essentially the beginning of fee/jazz in Japan, then you should really hear this disc. It is some 73 minutes long and it all flows together in powerful waves. So good to finally a disc back in distribution that captures the amazing talent & passion filled music of Kaoru Abe and Sabu Toyozumi. - Bruce Lee Gallanter, DMG
Kaoru Abe - alto, sopranino and soprano saxophones
One of the most immediately accessible of all avant-garde jazz sets because it is pervasively lyrical. A continually floating, melodically curving series of conversations which subtly keep changing colors and timbral intensities while a mysterious implied pulse makes it all cohere in a rather dream-like way. But this is a most vivid dream, the kind that lingers in the mind long after the recording has ended. THE HAUNT is a a permanent and dateless addition to jazz discography.. . . . Nat Hentoff Modern Recording
. . . molto lirica. . . Jazz Oltre
THE HAUNT is a brilliant specimen of textural improvisation at its most concordant. Three masters of the art of spontaneous interaction expertly combine their talents and diverse influences to create music that is dissonant(in terms of conventional tonality, that is) yet euphonious, freely structured yet prudently disciplined. The results should prove accessible to anyone with an ear toward creativity and striking sound combinations, whatever the listener's normal musical preferences. Tom Bingham, AUDIO THE HAUNT is an album of superb compositions played by a trio of superb musicians. Rather than swinging hard over a firm tempo, the music flows at a slow pace, evoking images that undulate according to the immediate texture of the improvisation. Although it explores the nexus between the New Music and Contemporary Classical Music, THE HAUNT is not pretentious or studied in any way. Its music is abstract without succumbing to the sterility of abstraction. THE HAUNT could very well be one of the most important albums released in 1977. Vernon Frazer, CODA These calm pieces, with a touch of third-stream sonority to them, represent fast-music dallying quite delightfully with slowness……. There couldn't be a better instance than this record to show how the true instrumental music is fast however slow it gets, and that it can only be created instantly in the swiftness of perception by which the player maintains the tension, the entire weight of the structure on his shoulders. Peter Riley, MUSICS London
Bobby Naughton - vibraharp
Wadada Leo Smith - trumpet
Perry Robinson - clarinet
1. The Haunt 7:18
2. Slant 5:45
3. Places 8:11
4. Rose Island 9:14
5. Ordette 9:11
6. Slant (alternate take) 6:49
Recorded April 21, 1976, Blue Rock Studio, NYC
All compositions by Bobby Naughton
Tracks 1–5, previously released as “The Haunt” (OTIC 1005)
Grammy-nominated saxophonist/composer Miguel Zenón releases new single Milagrosa on August 10, 2018
Acclaimed saxophonist and composer Miguel Zenón will release the single Milagrosa featuring Zenón and the Chicago-based internationally renowned Spektral Quartet on August 10, 2018. The single will be available on iTunes, Amazon, and CD Baby.
The single - featuring Zenón with Chicago-based Spektral Quartet - is from the upcoming album Yo Soy la Tradición, an ambitious concert-length work for drawing upon the rich cultural-folkloric traditions of Puerto Rico and expressed through the modernist lens of Zenón's compositions.
Zenón and Spektral Quartet Upcoming Performances
o Friday, September 21 - Segundo Ruiz Belvis Cultural Center, Chicago, IL
Benefit concert for hurricane relief.
o Saturday, September 22 - Ripon College, Ripon, WI
o Wednesday, November 14 - UMASS Amherst, Amherst, MA
o Thursday, November 15 - Villa Victoria Cultural Center, Boston, MA
o Friday, November 16 - Kennedy Center Jazz Club, Washington, DC
This track is from the full-length album Yo Soy la Tradición to be released by Miel Music on September 21, 2018. The recording is an ambitious concert-length work for string quartet and saxophone, drawing on cultural-folkloric traditions of Zenón's native Puerto Rico and expressed through the modernist lens of his compositions. "Milagrosa" begins with an unabashedly futuristic introduction, where nimble melodic shapes played by the strings filter through modern harmonies, before settling into a flowing feature for Zenón's elegant, melodic playing. The inspiration for the work comes from the religious practice of La Promesa-making a promise to a Catholic deity in return for a favor; specifically, the title refers to a promise made to La Virgen de La Milagrosa ("The Miraculous Virgin"), a traditional song upon whose foundations Zenón crafted an entirely new and vital work. The ending is worth the price of admission for the breathless, extended soli passage with saxophone and the entire Spektral Quartet in lockstep-a tour de force of melodic invention that sets the stage for an unadorned statement of a folkloric melody that is frequently related to "La Virgen de La Milagrosa." Yo Soy la Tradición, Zenón's eleventh release as a leader and fourth for Miel Music, is a work of startling clarity, synthesizing and building upon Puerto Rican folkloric forms through Zenón's unmistakable, multilayered compositional approach. Commissioned by the David and Reva Logan Center for the Arts and the Hyde Park Jazz Festival, Yo Soy la Tradición is a collection of eight works for alto saxophone and string quartet which feature Zenón and the Spektral Quartet. These chamber works reach far beyond the formula of a horn backed by strings, with the Spektral Quartet taking a central role in both driving and navigating the intricate compositional forms that are a trademark of the saxophonist's music. Zenón set out to compose a series of chamber pieces taking both creative inspiration and formal patterning from his native Puerto Rico's cultural, religious, and musical traditions. The results are thrilling, and defy neat categorization with their emergent contemporary sensibility: structural beauty paired with emotional urgency. The traditions Zenón takes as his points of departure include some he has explored in depth before such as Jíbaro, a major musical genre of rural Puerto Rico and the namesake of a groundbreaking album by Zenón in 2005. Other inspirations include traditions, both musical and not explicitly musical, that he had not studied in depth previously.
"My goal is to identify the elements that make each tradition unique," says Zenón. "If these elements are musical in nature, I'll extract them and use them as the main seed for a new piece of music-not trying to emulate the original, but using the original source as inspiration." Another musical tradition informing Yo Soy la Tradición occurred as a result of Zenón's extensive preparation in string quartet writing. Although he has previously written music for string quartet on Awake, his fourth album released a decade ago, this new hour-long work led him to revisit works by the masters of the Western canon. "I studied many chamber works from various periods,"Zenón says, noting the collaborative aspect of working with Spektral as part of his compositional process."As I was writing and revising, I was also able to integrate feedback from the members of the quartet, whom I would send sections and passages to." In one sense, Yo Soy la Tradición is a culmination of Zenón's study of the cultural traditions of Puerto Rico. For over a decade, his regular trips to the country and his ongoing field research has granted him uncommon insight into the artistic resources afforded by the culture of the Island-in his words, a "seemingly endless well of information and inspiration," which is continually replenished by the families and communities who carry it forward as it evolves over generations. With Yo Soy la Tradición, Zenón has attained another milestone in his musical development, music that stands at both the intersection and forefront of the musical traditions that he has studied and now made his own.
‘The Man from Mo’Wax’ charts the life of influential label owner, DJ, producer and latterly musician James Lavelle.
Drawing upon meticulous research and exclusive access to Lavelle’s rare/unseen personal video library (as well as DJ Shadow’s), debut director Matthew Jones assembles archive footage, stills and original interviews.
Key focus is given to James’ pioneering, taste-arbiting label Mo’Wax, his relationship with DJ Shadow and their chart-topping UNKLE project, which included collaborations with Thom Yorke, Richard Ashcroft, Ian Brown, Josh Homme and Kool G Rap.
‘The Man from Mo’Wax’ is an exhilarating, fascinating and insightful insight into the transient nature of creative peaks and music industry success. A puff piece it most definitely is not. The narrative arc follows a trajectory from the cooler-than-cool golden teenager’s ascension, tough and arid later times, to the beginnings of salvation.
The film is an honest and unflinching portrayal achieved by the protagonist’s brave and candid permission for nothing to be concealed. Musical, familial and romantic relationships are also explored, as is his battle with drugs.
The film soundtrack features music by artists that inspired Lavelle, including Marie 'Queenie' Lyons and embryonic Massive Attack incarnation The Wild Bunch. Seminal Mo’Wax classics by DJ Shadow, La Funk Mob, Attica Blues, Dr. Octagon and DJ Krush also feature, as do essential Lavelle productions/co-writes as UNKLE.
Flourishing in a fertile period alongside fellow iconic labels Metalheadz, Ninja Tune, Warp, Junior Boys Own and Strictly Rhythm, Mo’Wax was most synonymous with trip hop, which culminated in the release of DJ Shadow’s peerless classic ‘Endroducing’ and his first seminal UNKLE album ‘Psyence Fiction’, recorded in collaborative partnership with Lavelle, in August 1998.
Other Mo’Wax classics of the aforementioned genre included tracks by DJ Krush, La Funk Mob and The Psychonauts, but its reach and remit was far wider, releasing still-fresh-today music by Air, Carl Craig’s Innerzone Orchestra, Special Forces (Photek), Urban Tribe, Autechre, Source Direct, Black Dog Productions, Jungle Brothers, Skull (Trevor Jackson), Dillinja, Liquid Liquid, Motorbass, Plastikman (Richie Hawtin), Luke Vibert, Andrea Parker, Blackalicious, Money Mark and Peshay.
With not only a keen focus on forward thinking, groundbreaking sounds but also high aesthetic standards and visual identity, Lavelle’s label model paved the way for many imprints that followed, from Brainfeeder, Lobster Theremin, Eglo, Apron, Monkeytown, Rhythm Section, Plug Research to Ghostly International.
Sonically, it’s easy to hear the legacy of Mo’Wax in the soul, jazz and hip hop infused grooves of Flying Lotus, Bonobo, The Avalanches, Ras G, Gonjasufi, Fatima, Tenderlonious, Kamaal Williams, Gorrilaz, Matthewdavid, Steven Julien and Lone.
The film will be released in selected cinemas nationwide on the 31st August – celebrating the 20th anniversary of ‘Psyence Fiction’’s release. Following that the DVD/Blu Ray will be released September 10th with TV streaming TBA.
Vinyl tracklist:
A 1 Orchestre Symphonique de Montréal & Charles Dutoit — Holst: ‘The Planets, Op.32 - 2. Venus, the Bringer of Peace’ (edit)
A2 Zimbabwe Legit — ‘Doin' Damage in My Native Language’ (Shadow’s legitimate remix)
A3 Marie 'Queenie' Lyons — ‘See and Don't See’
A4 The Wild Bunch — ‘Friends & Countrymen’
A5 RPM — ‘Food of My De-Rhythm’
B1 Hioshi Fujiwara + KUDO featuring DJ MILO— ‘Return of The Original Art Form’ (D.J mix)
B2 La Funk Mob — ‘Ravers Suck Our Sound and Get Fuck’
B3 Attica Blues — ‘Contemplating Jazz’
B4 Dr. Octagon — ‘Blue Flowers’
B5 DJ Krush — ‘Kemuri’
C1 UNKLE — ‘Back and Forth’
C2 DJ Shadow — ‘What Does Your Soul Look Like’ (part 3)
C3 RPM — ‘Flow’
C4 DJ Shadow — ‘Organ Donor’ (extended overhaul)
C5 UNKLE featuring Thom Yorke — ‘Rabbit In Your Headlights’
D1 Blackalicious — ‘Swan Lake’
D2 UNKLE featuring Ian Brown — ‘Reign’
D3 Queens Of The Stone Age — ‘… Like Clockwork’
D4 DJ Shadow — ‘What Does Your Soul Look Like’ (part 1)
Includes official film illustrated artwork by Ken Taylor
Includes special inlay
CD tracklist:
1 UNKLE — ‘Back and Forth’
2 Zimbabwe Legit — ‘Doin' Damage in My Native Language’ (Shadow’s legitimate remix)
3 Marie 'Queenie' Lyons — ‘See and Don't See’
4 The Wild Bunch — ‘Friends & Countrymen’
5 Hioshi Fujiwara + KUDO featuring DJ MILO— ‘Return of The Original Art Form’ (D.J mix)
6 RPM — ‘Food of My De-Rhythm’
7 Blackalicious — ‘Swan Lake’
8 La Funk Mob — ‘Ravers Suck Our Sound and Get F**k’
9 Attica Blues — ‘Contemplating Jazz’
10 Dr. Octagon — ‘Blue Flowers’
11 DJ Krush — ‘Kemuri’
12 DJ Shadow — ‘Organ Donor’ (extended overhaul)
13 UNKLE featuring Thom Yorke — ‘Rabbit In Your Headlights’
14 Queens Of The Stone Age — ‘… Like Clockwork’
15 UNKLE featuring Ian Brown — ‘Reign’
16 DJ Shadow — ‘What Does Your Soul Look Like’ (part 1)
Includes exclusive 16 page booklet with photography, artwork and director’s notes
Download / stream tracklist:
1 Orchestre Symphonique de Montréal & Charles Dutoit — Holst: ‘The Planets, Op.32 - 2. Venus, the Bringer of Peace’ (edit)
2 The Wild Bunch — ‘Friends & Countrymen’
3 Attica Blues — ‘Contemplating Jazz’
4 DJ Krush — ‘Kemuri’
5 DJ Shadow — ‘Organ Donor’ (extended overhaul)
6 UNKLE — ‘Back and Forth’
7 DJ Shadow — ‘What Does Your Soul Look Like’ (part 3)
8 UNKLE featuring Thom Yorke — ‘Rabbit In Your Headlights’
9 UNKLE featuring Ian Brown — ‘Reign’
10 DJ Shadow — ‘What Does Your Soul Look Like’ (part 1)
Motion picture: ‘The Man from Mo’Wax’
A film about important beats maven James Lavelle, featuring interviews by DJ Shadow, Thom Yorke, Josh Homme of Queens of the Stone Age, Massive Attack’s Robert Del Naja, Ian Brown, Giles Peterson, Futura and Grandmaster Flash. Launch event at BFI Southbank on 30st August 2018: - Screening + Q&A with James Lavelle and director Matthew Jones - Exclusive preview of 3 tracks from UNKLE's new album ‘Lost Highway’ with Pitch Black - James Lavelle DJ set. tickets Select previews on 30th August and main nationwide cinema release from 31st August. tickets
DVD/Blu Ray released September 10th. pre-order Soundtrack: ‘The Man from Mo’Wax (Music From The Motion Picture)’
Soundtrack on Island/UMC featuring DJ Shadow, UNKLE feat. Thom Yorke and Ian Brown, Dr. Octagon (Kool Keith), Queens Of The Stone Age, Marie 'Queenie' Lyons, The Wild Bunch, DJ Krush, Blackalicious, Attica Blues and more 2LP coloured vinyl – 1 disc red, 1 disc blue 1CD card digipack with 16 page photo booklet, including director's notes Download Stream
Joni Mitchell’s metamorphosis from acoustic chanteuse of folk music to sophisticated performer of jazz (accompanied by geniuses like Pastorius, Shorter, Metheny, and Brecker) made an indelible impression on Debra Mann. “Joni’s lyrics, combined with her gorgeous melodies, carried on the wind of her unique voice, struck deep chords of feeling within me.” Mann was first introduced to the music of Joni Mitchell in a poetry appreciation class in junior high school. “We listened to songs by various artists and discussed the hidden meaning in the lyrics.” She hadn’t heard of Joni Mitchell until then, but once she had, her world would be forever changed, as she was awakened to her own emerging voice as a musician. “I was of the impressionable age of fifteen, when I had a great curiosity and openness to the world and was sorting out the landscape of life and love, with its hopes and promises, as well as its disappointments. Joni’s music helped to frame and clarify that world through her honest self-reflection and keen insight.”
Fast forward a few years. Mann has graduated from Berklee College of Music, performed at Boston’s Symphony Hall, as a featured guest soloist with Keith Lockhart and the Boston Pops Orchestra, performed at the request of Frank Sinatra, and performed with her trio on Ron Dellachiesa’s WGBH radio program “Music America” in celebration of Women’s History Month. Mann, a piano and voice teacher (Brown University and Wheaton College), continues to perform in clubs and concert halls throughout New England. Five years ago, she began performing interpretations of Mitchell’s music with her jazz quintet. The concept caught on quickly. Full Circle: The Music of Joni Mitchell (Whaling City Sound) reflects on a lifetime of admiration for an artist who has been uncompromising in her approach to music, and celebrates the occasion of Mitchell turning 75 years old this year. “This is very inspiring material to work with,” says Mann. “Joni’s music stirs powerful emotions with its universal themes and timeless beauty.”
STUNNING VOCALIST KATE REID RELEASES “THE HEART ALREADY KNOWS” WITH ROMERO LUBAMBO, FRED HERSCH, TAYLOR EIGSTI, LARRY KOONSE, PAUL MEYERS
KATE REID is an artist who’s not afraid to take chances. On her new CD, THE HEART ALREADY KNOWS (July 30, 2018), the vocalist performs a program of tunes of varied provenance and styles accompanied by only a piano or guitar. THE HEART ALREADY KNOWS is Reid’s third CD. She’s also a pianist, and played as well as sang on her two previous projects, which featured some of the top L.A. musicians, including Ernie Watts, who appeared on THE LOVE I’M IN in 2011. She released her first project, SENTIMENTAL MOOD, in 2000. Both CDs received wide acclaim from fans and critics, as well as airplay in several major U.S. markets. Reid performs as a duo and with her trio and quartet at jazz venues in the Los Angeles and Miami areas. Reid is a nuanced singer, attuned to the subtleties of a song’s lyrics and harmonic structure. The duo setting is the perfect vehicle for Reid’s jazz explorations and sexy, smoky, alto voice. “For me, the experience of making the CD was just as important as the outcome,” says Reid. “I hadn’t worked with four of the five musicians before. I wanted this to be a journey of discovery. The essence of jazz is spontaneity; therefore, little to no rehearsals worked well for this project. Although I didn’t know most of the musicians, I learned so much about them and their playing after spending hours in the studio, sharing ideas and creating music together.” Reid arranged most of the tunes on this disc.
PETER ELDRIDGE, the critically acclaimed vocalist, pianist, composer, and founding member of the internationally acclaimed vocal group New York Voices, produced the CD. Reid met Eldridge when the New York Voices were just starting out, and the group appeared at the college Reid was attending. Through the years, they became friends through various jazz events and conferences. Peter helped her pick the tunes and encouraged her to perform music outside the jazz genre. He also helped her choose the musicians, and, being a superb storyteller himself, he helped Reid with her approach to the material on this record. The musicians they chose are all at the top of their game and well-known leaders in their own right. FRED HERSCH’s star perhaps shines the brightest in this firmament of jazz luminaries. With a career that spans more than three decades, Hersch is a ten-time Grammy Award nominee and continues to earn jazz’s most prestigious awards, including the distinction of 2018 Jazz Pianist of the Year from the Jazz Journalists Association. Hersch accompanies Reid on three tunes. “No More” is a moody ballad often associated with Billie Holiday who said it was one of her favorite songs. Irene Kral also did a well-known version of it. Reid decided to do “If I Should Lose You” in the studio. Luckily, it’s one of Hersch’s favorite tunes. The duo performed the song in just one take. “Lazin’ Around” is an original by Hersch. The sweet lyrics, which were written by Hersch, belies the complicated melody that Reid sings flawlessly. TAYLOR EIGSTI is a young pianist who has already received two Grammy nominations for Best Jazz Solo and Best Instrumental Composition in 2006. He accompanies Reid on “Busy Being Blue,” a tune written by Eldridge and Jack Donohue. Reid, who is the Director of the Jazz Vocal Performance program and Associate Professor of jazz voice in the Studio Music and Jazz department at the Frost School of Music, relates “I sang this tune during the interview for the teaching position at Frost, and I was told the performance helped me get the job." Eigsti also plays on James Taylor’s “The Secret of Life” on which Reid really captures the philosophical nature of the lyrics. Reid is also backed by three stellar guitarists. PAUL MEYERS has played with a Who’s Who of jazz luminaries and released several critically acclaimed CDs of his own. He and Reid perform together on the Strayhorn/Ellington classic “Something to Live For.” Reid loves the song because it doesn’t use the typical AABA pattern and Ellington is one of her favorites. She also has a particular attachment to his music because her husband, Steve Reid, played trumpet in Mercer Ellington’s band for eight years. Reid and Meyers also do a very bluesy rendition of “Just A Lucky So and So.”
Guitarist LARRY KOONSE is one of the busiest musicians on the L.A. jazz scene. He has appeared as a sideman on dozens of CDs as well as releasing his own projects. Reid and Koonse do a straight-ahead version of “Confessin,” a happy, upbeat love song that Reid likes for its wordplay. The two of them also perform “Two Grey Rooms,” a dark, imagistic Joni Mitchell tune arranged here by Eldridge.
ROMERO LUBAMBO is a rising star Brazilian guitarist. A versatile musician, he plays everything from Brazilian rhythms to hard bop. He performs with Reid on “Endless Stars,” composed by Fred Hersch with lyrics by Norma Winstone. He also plays on “Minds of Their Own,” an Ivan Lins composition with lyrics by Peter Eldridge. As Reid relates, “Romero set the tempo, and we just went with it!”
THE HEART ALREADY KNOWS is an intimate project that comprises a mix of standards, modern jazz compositions, and pop tunes that take on new life in the hands of these A-list musicians. Reid is a singer who approaches a song with the ear of a piano player and arranger. She can swing and be sexy while capturing the heart of a lyric.
Produced by Peter Eldridge All songs arranged by Kate Reid except Secret o’Life arranged by Taylor Eigsti & Kate Reid, Two Grey Rooms arranged by Peter Eldridge, and Lazin’ Around arranged by Fred Hersch
The Ira B. Liss Big Band Jazz Machine, a 39 year fixture in the Southern California jazz scene plays modern big band compositions in a variety of styles and sound for this, their 5th CD. Featured guest artists on this project are Yellowjackets saxophonist and composer, Bob Mintzer, Alto saxophonist Eric Marienthal, Dean Brown, former Brecker Brothers guitarist and composer and Flutist, Holly Hofmann. Compositions include originals by Mintzer and Brown, arrangements by Mike Abene, Alan Baylock, Mike Crotty, Peter Herbolzheimer, Tom Kubis, Carl Murr and Eric Richards.
Ever since he was drum major of the award winning Patrick Henry High School Band back in the early 1970’s in San Diego CA and voted Most Valuable Band Member his senior year, Ira B. Liss was destined in life to be a big band leader. Since then he has had extensive experience in all phases of the music and entertainment industry at the local, regional and national levels including stints in music management, retail/wholesale music product sales, talent booking, concert production and promotion, music education, record producer, saxophonist and bandleader.
At 6’7” tall, Ira B. Liss is literally head and shoulders above the crowd and is Southern California’s most watchable band leader. The Ira B. Liss Big Band Jazz Machine, his 18 piece jazz orchestra was founded in February 1979. His performance credits include working with such world class artists as Bob Mintzer, Bobby Caldwell, Rob McConnell, George Shearing, Eric Marienthal, Dean Brown, Gary Foster, John Guerin, Bob Stone, The Nelson Riddle Orchestra, Shirley Jones, The Four Tops, The Temptations, Barbara Morrison, Holly Hofmann and Peter Sprague to only name a few.
“Ira Liss is one of those special folks who keeps the big band idiom alive and moving forward. It is no easy feat to sustain a big band and create a forum for the music. I truly enjoy working with Ira and his band, and am honored to have the band record one of my compositions”
Singer-songwriter Chabuco, preceded by a long and respected career in his native Colombia, released his fourth solo album titled Encuentro worldwide. The album, his first under the record label of Sony Music, is available digitally through iTunes, Apple Music, Spotify, Lola Music, Light Music and Napster. Chabuco, who has always been passionate about vallenato culture and Colombian folklore that runs through his veins thanks to his father, the great guitarist Hugues Martinez, has distinguished himself by interpreting Vallenato music in his own style. He adds a 'twist' to all his musical projects and is known for mixing local sounds with jazz, flamenco, samba, bolero and even ranchera music, resulting in a beautiful and unique sound of Latin Jazz. With Encuentro, Chabuco fuses the sounds of folk music from the Caribbean coast of Colombia, with jazz and bossa nova. The album was recorded in São Paulo, Brazil and produced by the famous Brazilian musician, musical composer and producer, Swami Jr. (Omara Portuondo, Chico César), who helped bring together the best Latin American musicians to create this incredible record. In addition to a song featuring a duet with incomparable Alejandro Sanz (Ausencia), the album includes collaborations by renowned Dominican singer-songwriter, Vicente García (in the song Margarita); the famous Brazilian pianist Zé Godoy; the renowned Puerto Rican percussionist Richie Flores (who has recorded with Tito Puente and Celia Cruz among many others); music composer and instrumentalist Milton Mori; percussionist Douglas Alonso; and bassist Marcelo Mariano (Djavan).
“I am extraordinarily grateful and thankful that the energy and work that I’ve put into the album has been received so positively by fans worldwide. I feel great satisfaction that I was able to make this album a reality with such honesty that came from the deepest place in my heart”. - statesChabuco.
Chabuco is an innate talent, who grew up in the Colombian coast in an environment surrounded by art, musicians, painters and composers. With his ability to play guitar, accordion and percussion as well as his extraordinary and original voice, Chabuco entered the musical world for the first time as one of the four members of the group "Los Pelaos" (1998-2000). This group made several international tours visiting countries such as Spain, Italy, Germany, Sweden, United States and Mexico. After the group parted ways, Chabuco began his solo career. His albums Morirme de Amor (featuring legendary Cuban artist Alfredo Nodarse), Nació Mi Poesía (a collaborative album with Nicolas de los Rios), Clásicos Café La Bolsa and De Ida y Vuelta are a musical journey of many different genres. Several outstanding musicians participated in this last album mentioned including Kike Purizaga, Diego Valdez, Carlos Huertas, Horacio ‘El negro Hernández’' and Israel Suárez 'Piranha'. The album revolutionized the way an album was released in Colombia being distribution through the daily printed newspaper El Tiempo. Chabuco sold over half a million copies of his album, something never done before by any artist in the country. Chabuco had the honor of participating in the documentary La guitarra vuela (2016), which follows the 9-country tour of the last guitar made for the late Spanish musical genius Paco de Lucia. He’s performed in major international venues including the Palacio de Bellas Artes in Mexico, the Sala Berlanga in Madrid and the House of Blues in Stockholm, Sweden; besides having collaborated with top international artists such as Alejandro Sanz (he participated in his album Sirope), Juanes, Fonseca, Rosana, the Brothers Carmona, Magos & Limon, Daniel Baute, Sole Giménez, Diego El Cigala, Mojito Lite and Rosario Flores among many others.
O Porta-Jazz ao Relento, apresentado em parceria com a Porto Lazer, começou no passado Sábado com casa cheia. E que belo começo que foi!
O Porta-Jazz ao Relento é uma oportunidade para ouvir ao vivo alguns dos mais recentes projectos editados com Carimbo da Porta-Jazz.
Concertos sempre aos Sábados às 22:00, nos jardins do Plácio de Cristal, com entrada livre.
MAP feat. Eduardo Cardinho
Sábado 11 de Agosto 22:00
Jardins do Palácio de Cristal
“O novo disco de Paulo Gomes estende firmemente as suas asas numa arcada de estéticas opostas. De um lado surge meio corpo de uma picassiana pomba da paz, com traços essenciais e limpos. Acariciam momentos cristalinos onde o quarteto usa o espaço com amplitude serena. A delicadeza chega a ser um quinto membro da banda, para a interação.
Do outro lado temos meio avião de combate, pronto a um ataque devastador. Este caos programado, ruidoso e violento em geral, deixa por vezes tensos silêncios; os silêncios com a memória da destruição.
Guerra e Paz consegue fazer voar até às alturas emocionais mais elevadas um sugestivo híbrido de polos contrários.”
Abe Rábade, fevereiro 2017
O concerto dos MAP no dia 11 Agosto, conta a participação especial de Eduardo Cardinho.
