Celebrated jazz pianist/composer Fred Hersch releases new trio recording Live in Europe

Live in Europe (May 11, 2018, Palmetto Records) crowns what was a momentous year for pianist Fred Hersch. Capturing his trio - with longtime associates, bassist John Hébert and drummer Eric McPherson - in peak form, the new album signals a high level mark for an ensemble that has been garnering critical and popular praise for nearly a decade. Consisting of six Hersch originals and two significant compositions apiece from Thelonious Monk ("We See," "Blue Monk") and Wayne Shorter ("Miyako," "Black Nile"), Live in Europe demonstrates how a working trio breathes as one.

"The trio has a shared language; by now we each contribute an equal part in what goes on musically during a performance," Hersch says. He has made a dozen trio albums over the last 30 years, and he states that "This is the best trio recording we've yet made, and pretty much as well as I can play in terms of energy and technical command."

Serendipity played its role in the birth of the album. The penultimate engagement of the band's three-week European tour in November of 2017 was held at Flagey Studio 4, in Brussels' former National Institute for Radio Broadcasting. "After the show, I realized that this was one of the two or three best performances we had given. The band was in terrific playing form, the acoustics were perfect and the piano was outstanding," Hersch recalls. "On returning to New York, I thought about the show and was then pleasantly surprised to find out that it had indeed been recorded. On hearing it, I was again struck by the level of creativity, content and energy."

Live in Europe finds the trio in near telepathic communion. While each band member is a virtuoso player, individual bravura is always subordinate to group interplay. Lyricism, open-eared interaction and a respect for the power of space are all invaluable components of the trio's identity. In such performances as the frisky "Skipping," the affecting ballad, "Bristol Fog" (dedicated to the late British pianist John Taylor), the joyous "Newklypso (dedicated to Hersch's hero Sonny Rollins) and the bluesy tribute to New Orleans "The Big Easy," Hersch, Hébert and McPherson give a master class in ensemble communication, uniting as one yet allowing each other to freely react with spontaneous invention. A masterful solo encore of "Blue Monk" spotlights the depth of Hersch's undiminished improvisational skills and expressive powers.

2017 was as a particularly bountiful period for the always-productive Hersch. Highlights included the publication of Hersch's acclaimed autobiography Good Things Happen Slowly: A Life In and Out of Jazz (named one of the Five Best Memoirs of 2017 by both The Washington Post and The New York Times) and two Grammy Award nominations for his revealing solo album Open Book on Palmetto Records: Best Jazz Instrumental Album and Best Improvised Jazz Solo (Benny Golson's "Whisper Not"). In addition, Hersch was awarded the 2017 Prix in Honorem Jazz for the entirety of his career from l'Académie Charles Cros in France. Hersch also opened the Jazz At Lincoln Center 2017 Season with his "Leaves of Grass," a full-evening setting of Walt Whitman's words for vocalists Kurt Elling, Kate McGarry and an instrumental octet.

Add to that such recent accolades as the 2016 Doris Duke Artist award and the 2016 Jazz Pianist of the Year award from the Jazz Journalists Association-not to mention the release of the feature documentary The Ballad of Fred Hersch, premiered at the prestigious Full Frame Film Festival in March 2016 to rave reviews and now streaming on Vimeo-and you have that most auspicious of times when an artist is being rightfully acknowledged for attaining new pinnacles of ability and inventiveness.

That Hersch is reaching such artistic heights after his well-publicized battle with HIV and a subsequent 2-month coma in 2008 is extraordinary.  "The release of this album is also a personal triumph in that it once again reminds me of how lucky I've been," Hersch states. "It's been nearly ten years since my coma and to find that I can play with the focus and energy that I have now is remarkable to me."

A select member of jazz's piano pantheon, Fred Hersch is a pervasively influential creative force who has shaped the music's course over more than three decades as an improviser, composer, educator, bandleader, collaborator and recording artist. Hersch has earned a total of twelve Grammy nominations since 1993 in the categories of Best Jazz Instrumental Performance, Best Instrumental Composition and Best Improvised Jazz Solo. Nine of his nominations have come since his recovery from a coma in 2008.

Hersch has long defined jazz's creative edge in a wide variety of settings, from his breathtaking solo recitals and exploratory duos to his extraordinary trios and innovative chamber settings. With some three dozen albums to his credit as a leader or co-leader, he consistently wins an international array of awards and lavish critical praise for his albums. Hersch has earned similar distinction with his writing, garnering a 2003 Guggenheim Fellowship in Composition. He's collaborated with an astonishing range of artists throughout the worlds of jazz (Joe Henderson, Charlie Haden, Art Farmer, Stan Getz, Bill Frisell); classical (Renée Fleming, Dawn Upshaw, Christopher O'Riley); and Broadway (Audra McDonald). Long admired for his sympathetic work with singers, Hersch has joined with such notable jazz vocalists as Nancy King, Janis Siegel, Cecile McLorin Salvant, Norma Winstone and Kurt Elling.

For two decades Hersch has been a passionate spokesman and fund-raiser for AIDS services and education agencies. He has produced and performed on four benefit recordings and in numerous concerts for charities including Classical Action: Performing Arts Against AIDS and Broadway Cares/Equity Fights AIDS. To date, his efforts have raised more than $300,000. He has also been a keynote speaker and performer at international medical conferences in the U.S. and Europe.

A committed educator, Hersch has taught at New England Conservatory, The Juilliard School, The New School and The Manhattan School of Music. He is currently a Visiting Artist at Rutgers University. He holds honorary doctorate degrees from Grinnell College and Northern Kentucky University. Hersch's influence has been widely felt on a new generation of jazz pianists, from former students Brad Mehldau and Ethan Iverson to his colleague Jason Moran, who has said, "Fred at the piano is like LeBron James on the basketball court. He's perfection."

www.fredhersch.com

facebook.com/fredherschmusic

JAZZ VOCALIST JAMIE SHEW RELEASES “EYES WIDE OPEN”

Jamie Shew is a vocalist, arranger, composer and pianist. On her newest project, Eyes Wide Open, she uses song to tell the story of her 20-year relationship with her husband, bass player Roger Shew, and the loss she experienced when he succumbed to cancer. The music follows the arc of her life from the early days of their relationship through Roger’s illness and beyond. 

Jamie has been playing piano for as long as she can remember. She met Roger at Washington State University where she studied jazz piano and got a Bachelor’s Degree in Music Education. The couple married right after graduation and went off to Western Michigan University together, where they both earned Master's degrees in Jazz Studies.  Jamie and Roger moved to LA around 15 years ago and soon established themselves on the local jazz scene. Jamie’s extensive musical training informs her singing. Her timbre is warm and inviting, while her timing, phrasing, and ability to interact so well with the band reflects her years of study. 

Of course, it doesn’t hurt that she’s playing with some of the finest musicians in Southern California including guitarist Larry Koonse, pianist and Hammond B3 player Joe Bagg, bass player Darek Oles, and drummer Jason Harnell, who are leaders in their own right. Jamie chose songs she had considered recording in the past, but now they took on new meanings for her. She wrote two original compositions and selected and arranged the rest with a lot deliberation. Each song became a metaphor for her journey. Despite the inherent sadness of the story, she isn’t a dark person, nor was Roger, and she made sure the CD wasn’t weighed down with a dark vibe. 

Eyes Wide Open is a project imbued with love and loss but eschews mere sentimentality. Jamie doesn’t just perform moving interpretations of these songs, she opens her heart and exposes the genuine, raw feelings that have propelled her to make this CD. Her innate musicality are showcased in her phrasing and tone, but it’s how she reveals the depth of the human condition that sets this project apart.

Bass Virtuoso Brian Bromberg, Utilizing 11 Unique Basses, Creates a Funkified Time Machine on Thicker Than Water

Brian Bromberg’s career began as a teenager backing saxophonist Stan Getz. In the nearly forty years since and over 20 projects in his catalog, Bromberg has established himself as a first-call master of the upright as well as electric basses, releasing more than 20 albums globally as a leader and providing low-end for the likes of Chris Botti, Lee Ritenour and Michael Bublé.

“Thicker Than Water is a record I’ve been wanting to make for a very long time,” says the dynamic bass virtuoso Brian Bromberg. “I love the upright bass. It’s where my heart and soul is. My connection with that instrument is unlike anything in my life. I also love the electric bass and really wanted to explore its endless possibilities on this project.” That love of the bass is evident across the wide-range of irresistible grooves found on Thicker Than Water, available July 13 on Artistry Music.

Across 13 tracks, Bromberg utilizes 11 different basses to create an orchestra of unique tones and rapid-fire runs. Helping Bromberg wield the groove are trumpeter Randy Brecker, saxophonists Marion Meadows, Najee, Everette Harp, Brandon Fields and Gary Meek, as well as one of the last performances from the late keyboard master George Duke.

Punchy brass and powerful energy from saxophonist Everette Harp ensure that everybody is going to have a good time on the album opener “Is That the Best You Can Do?”. Bromberg immediately displays a technical mastery that is focused like a fine-point laser. “Minneapolis 1987” is a funkified time machine cleansed by the waters of Lake Minnetonka. “Take your pick. It could be Jimmy Jam, Terry Lewis, Prince. It could be Larry Graham. It could be Morris Day. Pick one or all,” says Bromberg. “It’s all a vibe and a sound. Minneapolis absolutely had a sound. Look at the talent that came out of there. You hear the first eight bars and you are done. It says everything.”

The title track comes from the bond that Bromberg shares with the album’s resident beatmaker, his nephew Zach Bromberg. “He’s a computer guy,” says Bromberg. “He writes loops and on this CD he came up with some grooves that are badass which inspired me to write songs around those grooves that work in the instrumental world of contemporary jazz.” Breezy handclaps and a percussive pulse provided by Lenny Castro keep the mid-tempo tune in the pocket. Zach also contributes a vibe for “Changes,” a soothing stroll carried by Bromberg’s steel string piccolo bass. He plays no less than five completely different basses on the track.

“It’s not for the sake of playing a lot of basses,” explains Bromberg. “It’s not for credit or how many notes I’m going to play. What’s going to work for the music? Because the music dictates what I’m going to play and the end result is all about the music. The music always wins! It’s rewarding to be able to use all these instruments to express what I’m feeling inside."

“Coupe de Ville” also addresses the feelings on the outside. “Sometimes songs just show up in my head,” says Bromberg. “This one just showed up and the name popped into my head immediately. We’re just cruising here in a big Cadillac.” Tenor saxophonist Najee and rhythm guitar work from Paul Jackson, Jr., takes the tune into the stratosphere with ebullient brass encouraging fleet-fingered runs from Bromberg.

The slow groove of “Trials and Tribulations” gives Bromberg ample space to highlight his electric bass talents. “This is the most powerful song on the CD. It’s the epic. I’m really proud of it. It’s so cool to have strings and horns together on the same song.” The large ensemble is in sync with Bromberg’s outrageously funky fills while the song “Your Eyes,” which Bromberg wrote as a homage for his cat, cruises with sensitive strings and Bromberg’s piano debut. “I play the melody and a little solo. I’m not a piano player. I have no chops but for a solo ballad with one note at a time I can do it.”

“That one is for my mom,” says Bromberg about the sweetly personal “It’s Called Life.” “The tune showed up in my head. Sadly, she passed away before she got to hear it, but this is one of those songs that really has emotional calories.” The ballad’s gospel swing is amplified by Brandon Fields’ rich tenor saxophone who works in tandem with Bromberg’s piccolo bass, gelling easily into a natural partnership.

Bromberg calls in the big guns for “Uh-Huh,” a fiery funk number that features trumpeter Randy Brecker and one of keyboardist George Duke’s last performances. The tune rises to the prestige of the performers with a big band heft and a finger-popping beat. “Land of the Rising Sun” is Bromberg’s homage to Japan. With help from June Kuramoto of the band Hiroshima on koto, the ensemble embarks on a languid tour of the island nation.

“When I write songs, especially if they have a vibe of a specific culture, I just want the sound to sound as much like the culture as possible,” says Bromberg. “It’s very rewarding to hear something in my head. Until it’s finished you don’t know if you did a good job or not but when you hear this, first thing you think of is Japan.”

“I started on upright. I was a purist jazz guy,” Bromberg proudly explains but when he got electrified, his palette expanded beyond his wildest imagination. He returns to those early experimentations by closing out the album with a solo soulful hymn entitled “A Familia.”

Recorded comfortably at his home studio in Southern California, Bromberg surrounded himself with musicians he trusts to record an album that resonates with personality and personability. Bromberg’s virtuoso skills are in service to the groove and each track moves with a refreshingly funky honesty.

“I hope people listen to it with open mind and open heart,” says Bromberg. “A lot of people familiar with me may not be expecting a record that grooves this hard. I think a lot of people are going to be surprised by the vibe and the pocket. Some people think the bass should sound like it did in 1965. Thump, thump, thump. But, hey, that’s not for everyone.”

Brian Bromberg · Thicker Than Water

Artistry Music · Release Date: July 13, 2018

MARCUS MILLER RETURNS WITH NEW ALBUM "LAID BLACK"

Bass great Marcus Miller brings the influence of modern urban music to his trademark sound on his highly-anticipated, genre-defying new album Laid Black on Blue Note Records

It’s been three years since Miller’s last album, Afrodeezia, which The New York Times called “vibrant and expressive… music that frames his playing beautifully.” Miller says: “Afrodeezia was like a musical voyage through my history. I followed the journey of my ancestors by collaborating with musicians along the African Slave route – musicians from West Africa, North Africa, South America and the Caribbean. With Laid Black, I decided to bring the music right up to the present - using elements from what’s happening in urban music today. So you’ll hear hip-hop, trap, soul, funk, R&B and jazz on this album. The music is calm but also powerful and funky, drawing on the black musical experience. Laid Black.”

Miller recorded most of the nine tracks on Laid Black with his band in a New York studio and also recruited guest artists Trombone Shorty, Kirk Whalum, Take Six, Jonathan Butler, and Belgian singer Selah Sue. Of his band, Miller says: “My guys are incredibly talented. They play everything from bebop to hip-hop. All of the special guests I called have the same vision about jazz, which made it possible to create this mix of music. Oh and if you like bass, there’s plenty of serious bass work on this album too!”

Anyone who has listened to Miller’s music or experienced his concerts live knows that they are in for quite a treat. Miller’s powerful, jazz/funk bass playing is out in full force with this album – pushing boundaries and taking jazz to new levels. Miller, along with his incredible band of young musicians, will be sure to excite, challenge and transport audiences.

Miller has one of the most enviable and expansive musical careers in the industry. He is a two-time GRAMMY Award winner, winner of Holland’s Edison Award for Lifetime Achievement In Jazz (2013), winner of France’s Victoire du Jazz (2010), and he was appointed a UNESCO Artist For Peace in 2013.

Born and raised in New York to a musical family (legendary jazz pianist Wynton Kelly is a cousin), Miller’s characteristic bass sound can be heard on a limitless catalog of hits including Bill Withers’ “Just The Two Of Us,” Luther Vandross’ “Never Too Much,” Aretha Franklin’s “Jump To It,” Snoop Dogg’s “Gz and Hustlas,” and Jay-Z’s “Can’t Knock the Hustle,” and Beyoncé’s “All Night.” to songs from Chaka Khan, Herbie Hancock, Eric Clapton, Aretha Franklin, George Benson, Elton John, and Bryan Ferry, to name a few. With his distinctive style—a unique combination of funk, groove, soul and pure technical skills—Miller has been referred to as one of the most significant bass players in jazz, R &B, fusion and soul.

Miller’s rich resume of collaborations include a 15-year songwriting and production partnership with Vandross which resulted in 13 consecutive platinum albums (of which Miller co-produced seven), as well as partnerships with artists as varied as David Sanborn, Roberta Flack, Al Jarreau, Chaka Khan, Eric Clapton, George Benson, Herbie Hancock, and Wayne Shorter, to name a few. Most notable, after several years of touring in Miles Davis’ band in his early 20’s, Miller composed, produced and arranged the ground-breaking album and title song Tutu, which won two GRAMMY Awards and is considered one of the definitive late Miles Davis albums.

Miller has an endless list of film and television credits to his name. Most recently, he composed the music for the Oscar nominated film Marshall (2017) directed by Reginald Hudlin and starring Chadwick Boseman as a young Thurgood Marshall and Emmy award-winning actor Sterling Brown. Miller composed the soundtrack to the now classic sitcom, Everybody Hates Chris, created by Chris Rock. Miller is also responsible for the soundtracks on landmark cultural classics such as Boomerang (featuring Eddie Murphy and Halle Berry), House Party (featuring Kid N’ Play), and he wrote “Da Butt,” the song that inspired the national dance craze from Spike Lee’s 1988 cult classic School Daze.

Miller broadcasts two weekly radio shows, Miller Time With Marcus Miller on SiriusXM which airs on Sunday evenings and Transatlantic Jazz With Marcus Miller which broadcasts each Wednesday in the UK on Jazz FM.

Miller is also the official host of several sold-out jazz cruises each year, put on by Entertainment Cruise Productions, including Blue Note at Sea, which sails next on January 26, 2019 featuring a stellar line-up including Miller, Robert Glasper, Terence Blanchard, Wynton Marsalis, and more. Miller has a global tour planned behind the release of Laid Black with concerts scheduled worldwide. Visit marcusmiller.com for more details.

MARCUS MILLER – TOUR DATES:

June 1 – Capital Jazz Festival @ Merriweather Post Pavilion – Columbia, MD

June 11 – SFJAZZ – San Francisco, CA

June 15 – Pittsburgh International Jazz Fest – Pittsburgh, PA

July 1 – Eddie Rosner Stage – Lviv, Ukraine

July 3 – Theatre Antique – Vienne, France

July 5 – Open Air Stage Jacka Hotel – Wadowice, Poland

July 7 – Ulmer Zelt – Ulm, Germany

July 8 – Prairie Du Bois D’Hyver – Fontainebleau, France

July 10-12 – Ronnie Scott’s – London, UK

July 13 – North Sea Jazz Festival – Rotterdam, Netherlands

July 15 – Dracula Club – St. Moritz, Switzerland

July 17 – Scala Ludwigsburg – Stuttgart, Germany

July 19 – La Pinede Gould – Antibes, France

July 20 – Cour D”Honneur Du Chateau Des Ducs De Savoie – Chambery, France

July 21 – Anfiteatro – Pompei, Italy

July 24 – Castello Di Udine – Udine, Italy

July 25 – Anfiteatro Del Vittoriale – Gardone, Italy

July 26 – Piazza Napoleone – Lucca, Italy

July 27 – Jardin Christian Dio – Granville, France

July 28 – Parc De L’Abbaye De Leffe – Dinant, Belgium

July 30 – Circus Tent on the Rugby Stadium – Marciac, France

August 9 – BAM R&B Festival at MetroTech – Brooklyn, NY

August 11 – Long Beach Jazz Festival – Long Beach, CA

September 2 – Detroit Jazz Festival – Detroit, MI

November 8 – Ardmore Music Hall – Ardmore, PA

November 9 – Exit Zero Jazz Festival – Cape May, NJ

November 10 – NJPAC – Newark, NJ

November 26 – Arena Sports – Gliwice, Poland

November 27 – Poznan Congress Center – Poznan, Poland

November 28 – Arena Sports – Gdynia, Poland

November 29 – Torwar – Warszawa, Poland

November 30 – Orbita Sports Hall – Wroclaw, Poland

December 2 – Opera House – Monaco, Monaco

December 3 – Palais Des Sports – Paris, France

December 5 – Salle De La Madeleine – Brussels, Belgium

December 7 – Thonex Live – Geneva, Switzerland

January 26-February 2, 2019 – Blue Note at Sea

February 2-9, 2019 – Smooth Jazz Cruise 2019

February 23-March 2, 2019 – Smooth Jazz Cruise 2019

New Releases: Charles Lloyd & The Marvels + Lucinda Williams - Vanished Gardens; Ziggy Marley - Rebellion Rises; Horatio Luna – Cultural Warriors

Charles Lloyd & The Marvels + Lucinda Williams - Vanished Gardens

         

On June 29, Charles Lloyd & The Marvels + Lucinda Williams will release Vanished Gardens , a new album that presents the fascinating collaboration between NEA Jazz Master saxophonist Charles Lloyd and acclaimed singer-songwriter Lucinda Williams.Together they weave several threads of American music (Jazz, Blues, Americana, Country & Rock) into an uplifting new musical hybrid. The new gospel-infused song “We’ve Come Too Far To Turn Around” is available now to stream or download. The Marvels are Bill Frisell on guitar, Greg Leisz on pedal steel guitar, Reuben Rogers on bass, and Eric Harland on drums.

Ziggy Marley - Rebellion Rises

Eight-time Grammy award winning musician and reggae icon Ziggy Marley has released his seventh full-length solo studio album entitled Rebellion Rises. Fully written, recorded and produced by Marley, this passionate and indelible new collection of music encourages people to stand together in activism through love. “The rebellion begins in the mind, the melody, and the music,” assures Ziggy. “We are a conduit of that. The rebellion is consciousness. Now the consciousness starts spreading, we become aware and we rise.” No track embodies this message better than the album’s title track and official first single Rebellion Rises. A manifesto with a chant-like chorus, the song emboldens its listeners to use the power we all have as instruments of positive change around the world. “The better side of humanity, cannot let the side of humanity that push negativity and hatred be more willing,” Marley explained in a recent interview. “It cannot happen. It’s a battle of wills. We’ve got to have more will.” Rebellion Rises marks Ziggy’s first studio release in two years, following 2016’s critically acclaimed self-titled project which took home the 2016 Grammy award for Best Reggae Album and marked his fourth consecutive debut at #1 on the Billboard Top Reggae Album Chart.

Horatio Luna – Cultural Warriors

Horatio Luna drops a new EP entitled Cultural Warriors 12”. This record features the innovations of jazz-soul-bap producer/instrumentalists Nap King Cole (Silent Jay x Jace XL), Perrin Moss (Hiatus Kaiyote) and Ziggy Zeitgeist (Zeitgeist Freedom Energy Exchange) who have each, in their own right, re-created and re-invented the ideology of what it means to be a jazz musician in the modern age. "A meandering exploration of smoky textures and warm atmospherics that, in its soulful essence, captures the scratchy spirit of Detroit luminaries like Moodymann, Terrence Parker, and Mike Huckaby". -  Pitchfork

San Diego Pianist Danny Green Spins Alluring Tales with his Trio Plus Strings on One Day It Will

Over the past decade, Danny Green has earned recognition as a bandleader possessing a lyrically charged vision and as a composer with a gift for spinning supple, absorbing narratives. The San Diego pianist's storytelling goes deeper than ever with his fifth album One Day It Will. Building on his acclaimed 2016 album Altered Narratives, which included several tracks pairing his longtime trio with strings, One Day It Will is a full chamber jazz melding of his working band and a highly responsive string quartet.

"All of the songs on this album were initially written for the trio and the strings parts were subsequently added," Green says. "The process for arranging each song began with my thinking about where the strings should take the lead melody, where they should play background lines or harmonies, and what else I could do to make the strings essential to the arrangement. Over time, each piece took on its own shape and in many cases, the process of arranging for strings resulted in adding entirely new sections to the compositions."

Like all of his previous recordings, One Day It Will flows from the quietly intense musical bonds uniting Green with bassist Justin Grinnell and drummer Julien Cantelm, two of Southern California's most sought after players. The expanded instrumentation seems to accentuate the responsive nature of the trio, which seamlessly flows from through-composed sections to improvised passages.

The album opens with the gorgeous "Time Lapse to Fall," a spritely piece that swings briskly in 4/4 with the ebullient buzz of a summer day then transitions into the minor key melancholy of autumn. Pizzicato strings introduce "As the Parrot Flies" followed by an insistent question and answer dialogue with Green's piano. The title track is an anthem about striving for hope in dark times, a piece that builds toward the striking string harmonies flowing around Green's shimmering lines.

Green takes us to church on "Lemon Avenue," a waltz with a gospel feel that features some of his sleekest string parts. An introspective journey, the thoughtful ballad "Sifting Through the Silence" reaches a similarly meditative space via a very different route. No piece better illustrates the way Green's writing for strings can transform a composition than "October Ballad," a sumptuous melody that he introduced with the trio on Altered Narratives.

The expanded orchestration is like adding a new character into a play who both comments on the action taking place and heightens the drama. The gently caressing "Snowy Day in Boston" picks up like the second movement of a suite, starting in the same key as "October Ballad" concludes. The album closes with "Down and Out," a bluesy jaunt that surges with infectious energy. One Day It Will comes across as a unified statement, programmatically, texturally and harmonically.

Like many jazz pianists, Green became enamored with the idea of combining piano trio and strings after hearing the classic 1966 Verve album Bill Evans Trio with Symphony Orchestra. But he's also inspired by more recent recordings, particularly Herbie Hancock's 1998 Verve project Gershwin's World, which features some breathtaking piano improvisation on Ravel's Piano Concerto in G major.

"Hearing the recordings of Bill Evans and Herbie Hancock with symphony orchestra was a major revelation to me," says Green. "I was immediately drawn to the sound, and I was intrigued by the possibilities of integrating classical harmony and form into the jazz context. While string quartet is a much more paired down configuration than a full orchestra, what I love about it is that it can sound lush when it needs to, and alternately, it can fit right into the pocket of the rhythm section with fast paced, syncopated lines."

The album's cohesive feel stems from the deeply interactive nature of the trio. Green introduced the combo with Grinnell on 2009's With You In Mind, which won the San Diego Music Award for Best Jazz Album. A bandleader in his own right who leads a quartet featuring the brilliant LA pianist Josh Nelson, Grinnell possesses a warm, woody tone and compelling sense of swing. Drummer Cantelm joined the trio on Green's second release, 2012's A Thousand Ways Home, a trio session with guest artists including Brazilian stars Claudia Villela (vocals) and Chico Pinheiro (guitar), Eva Scow (mandolin), Peter Sprague (guitar), Dusty Brough (guitar), and Tripp Sprague (saxophone).

Cantelm has carved out a niche as a drummer equally adept in jazz, Brazilian, Cuban, Balkan, funk, and rock styles of music. He has toured extensively throughout the United States and Europe with his trio, Kelp Giant, which he co-leads with guitarist Dusty Brough. Cantelm has performed with notable artists including Geoffrey Keezer, Peter Sprague, Chico Pinheiro, Sheila E., and Pete Escovedo.

"One of the best aspects of playing together with Justin and Julien for so long is the friendship that we have developed," Green says. "We always have a great time together, both on and off the bandstand, and I think this plays a huge role in our sound as a trio. Justin is an extremely accomplished bass player. While he has plenty of chops to spare, he always puts the music first. As a result, he is able to realize that perfect balance between playing supportively and interactively. Julien is an incredibly musical drummer. He has so much finesse and facility on the drums, and he always seems to know exactly where I'm going with my solos. Having such a wide array of musical interests, Julien is able to come up with completely unique grooves that work perfectly for my music."

The string quartet features San Diego Symphony violinists Kate Hatmaker and Igor Pandurski, violist Travis Maril, and cellist Erica Erenyi. "I am so fortunate to have such highly talented string players on this album," comments Green. "Beyond capturing every detail in the music, they brought the music to life with their beautiful interpretation."

Born in San Diego in 1981, Green grew up in an academic family. Now retired, his mother was a longtime ESL teacher and his father was a professor of biology at the University of California, San Diego. He started piano lessons at age 5 and kept at it until 12, when he came under the sway of grunge rock. After two years teaching himself Nirvana tunes, Green got interested in ska and joined a band with some fellow friends. "Ska was my first exposure to music that featured improvisation, and I remember feeling so excited listening to the solos," Green recalls.

Green experienced something of an epiphany around the turn of the century when he caught The Buena Vista Social Club documentary, which sparked a passion for Cuban son. He delved into Latin music working in local salsa bands, while writing in the Latin jazz idiom. Green earned a B.A. in Piano Performance from UC San Diego, where he studied jazz piano with Grammy-winning producer Kamau Kenyatta (who played a key role in the rise of vocalist Gregory Porter), and classical piano with John Mark Harris and Luciane Cardassi.

A class on Brazilian music at UCSD turned his passion southwards. Looking for direct experience with Brazilian masters, he started attending California Brazil Camp in the redwoods of Cazadero in western Sonoma County. He credits legendary guitarist/composer Guinga, Marcos Silva, Chico Pinheiro, and drummers Edu Ribeiro and Marcio Bahia as particularly important influences. Green went on to earn a Master's Degree in Jazz Studies at San Diego State University, where he studied under Rick Helzer. He was awarded "Outstanding Graduate," and several years later, "Alumni to Watch."

In following his various musical interests, Green has carved out a singular niche as a bandleader and recording artist, honing a sound unlike anyone else on the scene. "As a composer, I always strive to tell stories through music," says Green. "Adding strings to my music provides new and exciting ways for me to expand on those stories and heighten the emotional impact."

http://dannygreen.net

Simenona Martinez has released the game-changing, genre-bending album Equilibrium

Simenona Martinez has released the game-changing, genre-bending album Equilibrium on Anonemis Records on May 19, 2018. Containing 14 tracks ranging from R&B and Hip Hop to Jazz, Latin, Rock and Pop, the album displays her eclectic range, and highlights her growth as an artist since her 2012 debut EP, The Awakening. It is a uniquely powerful, high energy collection which exhibits the artist's amazing vocals and refreshingly innovative, yet nostalgic sound.

Equilibrium features the hit tracks "Dreamer," "Mixology," "Sexy," "Addiction," and "American Dream." The highly cerebral lyrics range delve into topics such as social issues, empowerment, faith and healing. Listeners are sure to be captivated by the deeply moving lyrical content as well as the intricate musicality of each track, all written and co-produced by the artist. One of the most captivating elements of the album is Simenona's vocal range and powerfully soulful, soothing vocals. Her vocal control captures ears by balancing smooth crooning with the grit of powerful rock n' roll. Equilibrium is a rare album whose musical depth carries over from track to track, from the firt note to the very last.

  

The  release date pays homage to the late playwright Lorraine Hansberry on her birthday. Hansberry's biography, To Be Young, Gifted and Black inspired Simenona to continue being bold and innovative to help inspire the younger generations. The album is available now on iTunes, Spotify, Amazon every major digital and streaming service, and was released on Simenona's own record label, Anonemis Records.

In addition, the former Disney Channel actress has also released her first book of art, The Anonemis, a collection of hundreds of pieces ranging from paintings and drawings to amazing digital compositions. The colorful collection plays with abstraction and surrealism while making commentary on society and politics through mixed media. It is available now on Amazon.com.

The album Equilibrium, and the book The Anonemis display the multi-talented artist's gifts and range of creativity. From acting to directing to inventing, writing and signing, Simenona is a woman of many talents. Simenona's Equilibrium is an album which speaks for a generation; it is sure to turn heads and garner the attention that it truly deserves. Music lovers worldwide are sure to fall in love with each uniquely beautiful track. This is an instant classic album that will stand the test of time.

Jazz Fusion Drummer Bob Holz To Be Featured On Jazziz Magazine's Summer CD and Recording With Guitar Legend Mike Stern

Roy Holland Productions announced today that renowned jazz fusion drummer and composer, Bob Holz has a busy Summer 2018 schedule with a featured song on Jazziz Magazine's Summer CD, a concert in Detroit, a recording session in New York City with jazz great Mike Stern and a series of record dates in Los Angeles.

On June 12th Jazziz Magazine will feature Bob's tune, Jammim Man on their Summer CD. The tune is off Bob's most recent album on MVD Audio, Visions: Coast To Coast Connection, which was released last February and climbed to #17 on the JazzWeek radio airplay charts.The song features an amazing drum performance by Bob Holz and epic performance contributions by Grammy winners Stanley Clarke (bass) and Randy Brecker (trumpet).Rounding out the lineup was bass legend and Bob Holz's band mate, Ralphe Armstrong, Austrian guitar wizard Alex Machacek, Italian sax phenom Ada Rovatti and Los Angeles based session great Billy Steinway on keyboards.

Jazziz will also review the album in their July issue and spotlight it in the unveiling of their new website in July as well.

On June 22nd, Holz will be performing with his touring band, Bob Holz and A Vision Forward featuring Ralphe Armstrong and Jamie Glaser at Bert's Entertainment Complex in Detroit, MI.

This is a unique opportunity to see a rising star in the jazz fusion world who is garnering heavy radio airplay and review accolades internationally. Don't miss this free concert in Detroit this June !

Holz made his name playing with the late guitar genius Larry Coryell, with whom he recorded two albums and played numerous concerts. Bassist Ralphe Armstrong cut his teeth with John McLaughlin's Mahavishnu Orchestra and went on to play with Frank Zappa, Miles Davis, Jean Luc Ponty and Aretha Franklin. Guitarist Jamie Glaser also currently plays part time with Jean Luc Ponty in the Anderson- Ponty band which features former Yes vocalist Jon Anderson. Glaser has also played with Chick Corea, Manhattan Transfer and Bryan Adams.

On June 26th, Holz will once again go into the studio to begin his next album due out Spring 2019. Joining Bob will be Grammy nominated and international jazz fusion guitar giant, Mike Stern. They will enter Bunker Studios in Brooklyn, NY accompanied by Ralphe Armstrong on bass and Billy Steinway on keyboards. Trumpeter Randy Brecker will record his parts in August due to a heavy touring schedule.The session will be devoted to recording four new Holz /Steinway tunes and will be engineered by Grammy nominated and Platinum recording engineer, Dennis Moody. Mike Stern previously appeared on Holz's first album, A Vision Forward which was released in 2016.

In mid July, Holz will enter the studio in Los Angeles to finish his next album.This time he will be working directly out of engineer Dennis Moody's studio. Bob will be recording for the first time with saxophone virtuoso, Brandon Fields( George Benson, Ray Charles, Tower Of Power).

MVD Audio recording artist, Bob Holz is managed by Roy Holland Productions and is produced by Rob Stathis. Holz endorses Canopus drums and Paiste cymbals.

LetterOne 'RISING STARS' Jazz Award Launches in United States & Canada, Expanding Opportunities for Jazz Musicians with Monetary Prize value in Excess of $90,000

Winner To Perform at: San Francisco Jazz Festival, Blue Note Jazz Festival, Xerox Rochester International Jazz Festival, DC Jazz Festival, Iowa City Jazz Festival, TD Vancouver International Jazz Festival

& Festival International de Jazz de Montréal

Submissions Open from July 1, 2018 - September 29, 2018

“When I first heard about the RISING STARS award and was asked to be on the jury for it I was super excited because I had seen so many talented musicians over the years not getting the right support and not developing according to their abilities. This award gives them the platform and publicity to excel and achieve on a European level. I am proud to be part of this process and to help support fresh talent.” – Jamie Cullum

To make a name for yourself as a jazz musician on the American jazz scene today requires a lot of talent and hard work, but it is of equal importance to have an effective marketing and promotional strategy to stand out from the competition and a dynamic presence on the live scene. Providing these opportunities, expertise and support to make it happen is the LetterOne ‘RISING STARS’ Jazz Award mission. Open to all artists throughout the United States and Canada, the competition is a golden opportunity for musicians to be catapulted onto the nation’s prestigious jazz scene.

The winning musician will embark on the LetterOne ‘RISING STARS’ Jazz Award tour along seven of North America´s Jazz festivals in 2019 – San Francisco Jazz Festival, Blue Note Jazz Festival, Xerox Rochester International Jazz Festival, DC Jazz Festival, Iowa City Jazz Festival, TD Vancouver International Jazz Festival, and Festival International de Jazz de Montréal – playing before thousands of fans and the créme de la créme of the Jazz music industry. Tour expenses will be covered, and a dedicated promotion and marketing team will ensure the winner's name is spread far and wide. The rising star tour and marketing support equates to a monetary value in excess of $90,000.

         

The LetterOne ‘RISING STARS’ Jazz Award benefits largely from the sponsorship and dedicated backing of Mikhail Fridman, an international businessman, investor, and philanthropist and most importantly in this case a huge jazz fan too; the founder of the international Alfa Jazz Festival held in Lviv (renamed this year the Leopolis Jazz Festival) and a frequent visitor to jazz festivals around the world. “I love Jazz. It’s part of my life,” states Fridman. “We are looking for up and coming jazz musicians – for new talent, who are just starting as young professionals – and want to help them on their way to become the jazz stars of tomorrow. We want to help grow the next generation of jazz artists and enable them to realize their potential.”

Besides a remarkable once-in-a-lifetime opportunity for live exposure at the top jazz festivals in North America, the award winner will benefit from the powerful marketing and PR expertise of the award-winning AIR ARTIST AGENCY whose director, Burkhard Hopper, has long-standing experience in introducing new artists. For nine years he was running the Rising Stars concert series in Europe, which introduced artists such as Diana Krall, Brad Mehldau, Nicholas Payton, Benny Green, Jane Monheit and Esbjörn Svensson. “My whole life I have worked to further the career of young and upcoming artists,” says Burkhard. “I am very happy that with the support of Mikhail Fridman it will be possible to continue with the RISING STARS competition that was so successful from 1996 to 2004.”

HOW TO SUBMIT

The submission process is open to all artists residing in the United States and Canada. Submissions can be made via upload onto a dedicated website (www.l1risingstarsjazzaward.com) from July 1, 2018 onwards and the submission period will end on September 29, 2018 at midnight. Artists can submit themselves, or labels, publishers, publicists, managers can submit on behalf and with permission of an artist.

Submissions have to contain biographical material, photographs, three sound samples and one video link that is exemplary for the artist.

Within 6 weeks after the close of the submission period a five-person jury chaired by Mikhail Fridman and made up of internationally renowned artists, high-profile journalists, and industry executives (representing both the creative and marketing aspects of the decision), will gather to select the winner. The European jury included superstar musician Jamie Cullum (UK), GRAMMY® Award-winning producer Brian M. Bacchus (USA), festival programmer Sebastien Vidal (France), and radio journalist Karen Frivik (Norway). The United States & Canada competition jury will be announced this coming July.

In Europe, the “LetterOne ‘RISING STARS’ Jazz Award” is a significant event in the continent’s Jazz calendar. 18-year-old guitarist and composer Tom Ibarra was announced as the 2017 award winner and as part of this prize, Tom will embark on a tour of major jazz festivals in Europe in summer 2018, such as the Cheltenham Jazzfestival (Great Britain), Kongsberg Jazzfestival (Norway), JazzOpen Stuttgart (Germany), Nice Jazzfestival (France), Heineken Jazzaldia (Spain), the Umbria Jazz Festival in Perugia (Italy) and the Leopolis Jazzfestival (Ukraine).

New Releases: Wally Schnalle - Idiot FIsh 3/Subplot; Shirley Crabbe - Bridges; Sharon Musgrave – Sha’s Archive

Wally Schnalle - Idiot FIsh 3/Subplot

Idiot Fish 3 is the 10th release from drummer/composer Wally Schnalle. It’s a project that has been brewing since 2010 when it first appeared live at San Jose Jazz Fest. After many incarnations, technological learning curves and compositional evolutions it has finally recorded. The first Idiot Fish recording featured Frank Martin on keyboards, Hristo Vitchev on guitar and Joe Costatnini on bass  The second recording entitled Idiot Fish 3 is a stripped down trio and it’s a fusion tour de force featuring Schnalle, Vitchev and bassist Dan Robbins. Schnalle’s compositions are fueled by the best of fusion traditions yet they are fresh and forward-looking. And he uses the latest computer/music technology to a dream he has been striving to realize for decades of achieving harmonic content as well as other sounds emanating from his usual acoustic drum set. Intriguing compositions, virtuosic soloists and cutting edge tech come together to create an intriguing musical experience. And live Idiot Fish shows include a host of projected visuals to enhance the experience. Many of these are audio reactive in real time to Schnalle’s electro/acoustic drum set.

Shirley Crabbe - Bridges

Some vocalists excel at lyric interpretation. They know how to tell the story of a song with subtlety and nuance. Other singers have such beautiful voices that they’d be a pleasure to listen to if they sang the periodic table set to a Brahms lullaby. It’s not easy to say which is Shirley Crabbe’s strength, since she possesses both those talents in equal measure. Now, Bridges, her newest CD and follow-up to her 2011 debut release Home, re-affirms Crabbe’s position as a rising star in the jazz firmament. The overarching concept of Bridges is about connections. There are bridges that we cross, bridges that we burn, and bridges that we build, and each song that Crabbe chose exemplifies those interactions. It is an eclectic project, featuring jazz standards, a pop tune, and two originals.  Crabbe is joined on this project by some of the top musicians in the New York City area, including David Budway, a versatile pianist who has recorded and performed with a Who's Who of jazz luminaries, and Donald Vega , a virtuoso pianist who is currently performing internationally in Ron Carter’s Golden Striker Trio.  Bridges is not just a project of love songs; it’s also a project that is genuinely imbued with love. With her superb phrasing, intonation, and honeyed voice, Crabbe’s warmth and sincerity shine through.

Sharon Musgrave – Sha’s Archive

British born, Canadian raised and based vocalist and songwriter Sharon Musgrave launched her career with “Fascinating Rhythm,” a 1992 UK Top Ten hit with the house music band Bassomatic, produced by the legendary William Orbit. On Sha's Archive, she shares a whirlwind of passionate, rhythmically eclectic tunes she’s been compiling since her 2010 album Ooutflow. She’s done it all in her career – pop, dance, funk, rap, even flamenco – but here she’s in a spirited, soul-jazz state of mind with gentle sparks of blues and rock. Though the vibes are diverse, each track percolates in a fresh way that showcases the intimate purity of her exquisite voice. ~ smoothjazz.com

Singer-Songwriter Kristo Rodzevski Releases The Rabbit and the Fallen Sycamore

The Rabbit and the Fallen Sycamore, the third album in a trilogy by singer-songwriter Kristo Rodzevski and his group of jazz progressives, was recently released by Much Prefer Records.

Mixed by celebrated producer Bill Laswell, "The Rabbit..." represents the fulfillment of a musically adventurous idea: Assemble seven world-class improvisers in a studio, establish an environment for pure music-making, and capture all on tape. Such is the essence  - and beauty - of "The Rabbit..."

By partnering with core collaborators Mary Halvorson (guitar), Tomas Fujiwara (drums) and Michael Blanco (bass), then inviting contributions from Kris Davis (piano), Ingrid Laubrock (saxophone) and Brian Drye (trombone), Kristo fermented an intoxicating brew. The bubbling inventions are spontaneous performances without overdubs. 

Once the group selected the best material, Laswell was called in to shape all. In a great sense, Laswell's touch (and ears) provide the sonic and musical template for the album. He is celebrated as a lover of musical hybrids and cross-pollinations. His legendary work with Herbie Hancock, Iggy Pop, John Zorn and Motörhead, among others, attests to his wide-angle views.

"The Rabbit..." boasts a melding of seemingly disparate influences, all living together sweetly - Eastern European folk, free jazz, punk and song-form narrative. Heard, too, is Kristo's  affinity for the music of Tom Waits, Burt Bacharach and Jim O'Rourke. Critic Chris Brazier calls it "collision music."

Thematically, the album continues themes established in Kristo's earlier efforts, Batania (2015) and Bitter Almonds (2017). While those trilogy installments examined the deep feelings for his Macedonian grandmother and mother, "The Rabbit..." explores a transition - the fading significance of his past to his life in the USA.

Kristo's songs resonate in that gray area between nostalgia and expectation. There is passion here, tapping the most human of emotions, desire and suffering. The cover design by Ikue Mori (DNA) provides a visual analog to this provocative music.

TRACKS

01) Polyester Suit

02) Bucharest, 1913

03) Your Name

04) Madadayo

05) Octopus

06) Meet Me Online

07) Out Of Key

08) Wire

09) Varanasi

10) The Rabbit and the Fallen Sycamore

Kristo Rodzevski is Macedonian-born vocalist, guitarist, and composer, based in New York City since 1999. He began as a street musician in Europe in the early 1990s. He was a founding member of an influential group of Macedonian musicians who would go on to form the bands Foltin and Ljubojna and perform at festivals throughout Europe.

Kristo's debut album, Batania, received positive reviews by the Wire, All About Jazz, Jazz Right Now, etc., and won plaudits as the best single of 2015, and was voted the  second best album of that year  by the Macedonian Kanal 103.

His second album, Bitter Almonds, features two songs soon to appear on Bikini Moon, a  feature film by Academy-Award-nominated (director, writer, and visual artist Milcho Manchevski). [Video Here.]

Kristo has appeared on other film soundtracks, including Shadows (by Milcho Manchevski), To the Hilt (by Academy Award nominated director Stole Popov) and The War is Over (by Mitko Panov, a Palme d 'Or winner at the Cannes Film Festival).

He has had solo performances at Joe's Pub and Merkin Hall, and has performed as soloist with the Macedonian Philharmonic Orchestra, at the Macedonian Opera and Ballet, New York City's Carnegie Hall.

Kristo's  singing style has been described as "effortless," "velvety," and with "a masterful control of vocal micro-dynamics and access to emotional depth.

 

Rogério Boccato Quarteto - No Old Rain Featuring Dan Blake, Nando Michelin & Jay Anderson

"Knowing the rhythmic skills of New York-based Brazilian percussionist Rogerio Boccato, it comes as no surprise that he has become one of the busiest sidemen on the scene. Recording/gigging with big names such as Maria Schneider, Kenny Garrett, John Patitucci, and Fred Hersch allowed him to mature as a musician and further develop his inspired pulses and rhythmic accents . . . For his debut record, No Old Rain, Boccato sought inspiration in the music of four indisputable Brazilian masters - Milton Nascimento, Toninho Horta, Egberto Gismonti, and Edu Lobo, infusing his personal touch with the help of virtuosic saxophonist Dan Blake, bright keyboardist Nando Michelin, and veteran bassist with a silky-tone, Jay Anderson . . . Boccato is a versed stylist of the rhythm, who generously works for the collective. The tunes on No Old Rain take a flow of their own, suggesting stories through the sonic canvas that mirror the quartet's extraordinary rapport and sensitivity, regardless the pace or dynamics. I hope this is the first of many records to come." - Filipe Freitas, JazzTrail.net

"In his elaborately scored soundtrack to his journey back home Mr. Boccato has not only chosen poignant and appropriate to accompany him but he has almost as magically put his re-imagined, almost minimalist impressions in the hands of musicians perfectly in tune with his own artistry and vision. A disc to die absolutely for..."

- Raul da Gama, JazzDaGama.com

  

When he moved from São Paulo to NYC in 2005, Brazilian percussionist Rogério Boccato could not have imagined he would end up on stage and on Grammy-winning recordings with some of his musical heroes: John Patitucci, Maria Schneider, Kenny Garrett, Fred Hersch, Danilo Perez, Billy Childs, Gil Goldstein, among others.

Now leading his own group, Rogério arrives at yet another milestone: the release of his debut recording as a leader, No Old Rain. With his quartet, Rogério breaks out of the traditional jazz mold, collectively weaving form and structure out of the disparate threads of each member's creative input, using motifs from each song as springboards for spontaneous group compositions. The result of this open- eared deconstruction is a reverent, impressionistic vision of each song. The album is a warmly-colored Brazilian Rorschach test viewed through a much-loved second-hand kaleidoscope.

No Old Rain focuses on gems of Brazilian music excavated from the source - written by four of the greatest composers of the post-Bossa Nova generation, who took Brazilian music into new directions: Toninho Horta, Milton Nascimento, Egberto Gismonti and Edu Lobo. Just as their music could have only come from Brazil in the late 20th century, No Old Rain is the seemingly inevitable result of Rogério Boccato's thirteen years in New York.

  

 

If You Choose to Accept It: Makrú, San Francisco’s Sonic Nomads, Want You to Find Tu Mission

Wayfaring musician Raúl Vargas got a tip from a fellow Spaniard he crossed paths with in Sydney, Australia: He had to go to San Francisco, and he had to check out the international hostel in the Mission District. Vargas, who spent years traveling after playing music and cooking professionally in Madrid, was game.

A few weeks later, he landed, got to the hostel, and knew it. He had found his place. That was where Vargas met bassist Vinicio Peñate which led to the birth of Makrú.

Sixteen years passed, and a lot has changed, but Vargas and the band he founded in 2008, Makrú, are still loud and proud and freethinking as ever. On Tu Mission, the five-strong group blends everything from reggae to rumba flamenca to ska in songs designed to spark change and connect listeners to the spirit of the place that inspired the project.

“Message is as important as the music on this album,” Vargas explains. “It doesn’t have to be openly political. In general when I write, a song’s message could be silly or really serious and important. I picked songs for this new album that create missions for people, ways they can hopefully help to improve their lives and surroundings, even in small ways. I decided to do fewer songs but have them be much stronger in this purpose.”

Songs beckon listeners to harken to nature’s beauty (the rolling, rainforest-inspired “Palabras”), to connect with their personal source of happiness and peace (“Cloud”), to call for open borders and free movement (the punchy brass-powered reggae ska anthem of “Nómadas Opción”).

As sonic nomads, Makrú lets songs take on whatever style or color they need to make their point. “I may write a rumba or a ska for one song, the next song will be likely something completely different,” Vargas reflects. “I don’t really have a niche that way, and we add new instruments or sounds or influences that fit the conscious message.”

Makrú grew out of a uniquely Bay Area creative endeavor, La Malamaña. Vargas settled in the Mission and got to know fellow Spanish-speakers from around the Latin world, including Peñate. The experience made him rethink his own roots, and he went from listening to mostly Anglophone rock to diving into music from Spain and Latin America.

“We were hanging around, all these Latino and Latina friends, eight people from seven countries. We want to start a project, but we don’t know what we’re doing,” Vargas recalls with a laugh. “The group had so much talent, with dancers, actors, and musicians. We decided to do three different arts combined into one project. It was unique every time, dancing on stilts and juggling fire.”

Along with the performance art came wild, upbeat music. “My fellow artists encouraged me to bring more Spanish flavor to the music, so I started writing music for it,” Vargas says. “We had this mix from Venezuela, Cuba, El Salvador, Costa Rica, Spain and Argentina, and I really loved playing around with it.” The mix of pan-Latin music and art was pretty unique for the Bay Area and eventually won the group gigs at major local venues.

Makrú spun off from La Malamaña, keeping its wide-ranging but Latin-centric heart. The group’s sound emerged gradually: “The music I was writing and that I keep writing, makes the most of all the places I’ve been and where I’m from,” says Vargas. “It’s also drawing on the diverse experience from the band members.” North American guitarist Bob Sanders, Colombian singer and vihuela player Jenny Rodriguez, and Turkish violinist and oud player Haluk Kecelioglu bring their own musical ideas to Makrú. The diversity in sonic and geographic origins has sparked a united sense of urgency and hope, as Peñate explains. “We put our own sources of inspiration and energy into our music,” he says. “Some of the lyrics in ‘Where you wanna be’ are like a mantra to me. ‘Embrace the world / And fight until you are gone.’ I want to live by that.”

Though calling for listeners to find their personal mission, big or small, many of the songs are wonderfully fanciful. The dreamy quality of “Cloud” Vargas decided to magnify with a floaty clarinet line. “Palabras” was written on a laidback day in the Costa Rican rainforest, when the sounds and sensations of nature overwhelmed Vargas, who started jotting down individual words to capture sweet and sour interaction between humans and nature.

Another feeling that guides Tu Mission is the band’s birthplace, the infamously bohemian neighborhood that has faced an onslaught of change and gentrification. Vargas chronicles the eviction woes of a long-term resident on “Tu Mission,” who looks around and sees the places he loved have disappeared. Though Vargas still lives in the Mission, “the place I wanted to stay sixteen years ago is very different now. The bohemian artist vibe is being pushed out by the tech community. Those two worlds have a tough time merging,” he notes. “San Francisco has always been changing, sometimes really dramatically, and I think by highlighting the stories and considering our roles in it, we can find new connections and a better way to be in our community.”

No matter where you are, however, “Our mission is to be aware and to get involved in what is happening around us,” muses Vargas. “We all need to prioritize our goals, dreams, and wellbeing as well as those of our community…We want listeners to reflect on what is important,” and to get moving, be it on the dancefloor or in their lives.