Monday, January 12, 2015

Drummer/Composer ERNESTO CERVINI Flies High With His New CD TURBOPROP

On February 3, 2015, Anzic Records proudly releases the much-anticipated fourth recording from drummer/composer Ernesto Cervini, titled Turboprop. On the heels of his third album, There, which featured his quartet recorded live at the Cellar Jazz Club in Vancouver, BC, Cervini added two incredible musicians to the fold to create an exciting new sextet he calls Turboprop. The band is comprised of his working quartet with Joel Frahm (tenor saxophone), Adrean Farrugia (piano), Dan Loomis (bass) & Ernesto Cervini (drums), plus Tara Davidson (alto & soprano saxophone) and William Carn (trombone). The sound of Turboprop, produced by Oded Lev-Ari, is sophisticated and soaring, reminiscent of the hard swinging Jazz Messenger bands of Art Blakey, and able to offer an extraordinarily wide range of repertoire; from Charlie Parker to Claude Debussy, plus originals from all the band members. Turboprop has already toured Canada to rave reviews, and will be celebrating the release with concerts across Canada and the U.S. (see below for dates).

Cervini, who Hank Shteamer of Time Out New York called, "a tastefully buoyant drummer as well as a sharp composer and bandleader", conceived of Turboprop as blades of a propeller that work together in synergy, moving an aircraft powerfully through the sky. Cervini elaborates, "by combining the experience and artistry of these musicians, the music takes flight with a force and energy that only a sextet can bring. This band has been a wonderful conduit for my compositions and arrangements and all of the members have taken a very personal approach to the pieces, embracing the emotion and sentiment that this group brings to every note we play." Producer Lev-Ari added that, "I was really excited to produce this album, as I love a 3-piece front line, and it's a sound that is rarely heard anymore. I knew it would be a strong vehicle for Ernesto's writing and arranging. Since the band had just gotten back from a tour days before getting into the studio, the music was well-rehearsed and had this unmistakable 'live' feeling. We captured great performances, and could easily fill two albums with strong music. Ernesto is simply an incredible musician and bandleader and this recording really captures his essence as a multifaceted creative force."

Highlights on Turboprop include, "Cheer Up Charlie", a lovely ballad from the film Charlie and The Chocolate Factory, that Cervini and his wife sing to their baby boy; "Three Angels", another very special piece for Cervini, composed for his three nieces who passed away unexpectedly; and the third ballad on the album called "Marion Theresa", which was written for Cervini's grandmother. 

Turboprop however is anything but an all ballads album, and, "Cervini exemplifies 'float like a butterfly, sting like a bee' . . . turning drums into a rainforest symphony"- Ken Micallef, DownBeat Magazine. Sprinkled around these emotional compositions are upbeat, anthemic tunes including, "Unnecessary Mountain", which was named after a mountain in the Rockies; "Bindi Bop", inspired by Cervini's trip to Australia; "Fear of Flying", which Cervini wrote for all those with Pteromerhanophobia; and "De Molen", a great burner by saxophonist Joel Frahm. 

In addition to the compelling originals, Turboprop also sunk their teeth into some "standard" tunes that they love to play, including "Red Cross" by Charlie Parker, and "The Windup" by Keith Jarrett, and Cervini's arrangement of the gorgeous Claude Debussy piano etude, "The Engulfed Cathedral". 

There's an old saying in aviation; "Accidents happen when you run out of experience." In the case of Turboprop, the music is clearly in good hands. 

More on Ernesto Cervini: Innovative and electrifying, Toronto jazz drummer Ernesto Cervini, who has shared the stage with many legendary musicians such as Joe Lovano, Clark Terry, Benny Golson, Cleo Laine, Pat LaBarbera, Dick Oatts, Buddy DeFranco, Eddie Daniels, Scott Robinson, Dave Binney, Jim McNeely, and many others, has energy to burn, whether radiating it from behind his drums or working on any number of musical and educational projects. Cervini's diversity as a musician (he is also an excellent pianist and clarinetist) has allowed him to travel throughout the world, performing in some of the world's greatest jazz venues such as Smalls, Birdland, The Jazz Standard, The 55 Bar, The Montreal Bistro, The Top Of the Senator, The Rex Jazz and Blues Club, and also many of the world's most prestigious concert halls, such as Massey Hall, The Glen Gould Theatre, The St. Lawrence Center for the Arts and the Sugita Theatre in Yokohama, Japan. His second album, Little Black Bird, recorded with his quartet was celebrated loudly by DownBeat Magazine with a four-star review. His joyous and engaging third recording, There, released in 2011, is now followed up on with the artist's most irresistible work to date, Turboprop (Anzic Records, February 3, 2015).

Ernesto Cervini - Turboprop - CD Release Celebrations:
February 19th - 21st - The Jazz Bistro, Toronto, ON
February 28th - The Jazz Room, Kitchener, ON
March 13 - The Yardbird Suite, Edmonton, AB
March 14 - The Bassment, Saskatoon, SK
March 17 - The Arts Station, Fernie, BC
March 19 - The Avalanche Bar & Grill - Georgia Straight Jazz Society, Courtenay, BC March 20 - Hermann's - Victoria Jazz Society, Victoria, BC
March 21 - Pat's Pub, Vancouver, BC



BRIAN CULBERTSON CELEBRATES A MILESTONE ANNIVERSARY "LIVE"


Years ago, a young ambitious musician-songwriter-producer emerged from Chicago who went on to architect 27 No. 1 Billboard singles along with a half-dozen albums that debuted at No.1 that changed the status quo with a creative and fresh alchemy of astutely performed contemporary jazz, soulful R&B and horn-powered funk. Decades later, his ability to achieve and balance commercial success and the respect of his peers is perhaps as admirable as his hit-making consistency and the meticulous approach he uses to craft infectious melodies and compelling rhythms. The above description could easily apply to the works of his role models, Maurice White and Quincy Jones, but here we refer to Brian Culbertson.  

From the 1994 debut of “Long Night Out,” released while the keyboardist-trombonist was a DePaul University music major recording demos in the bedroom of his crowded apartment that landed him a six-album record deal, right up through his 14th album, 2014’s “Another Long Night Out,” Culbertson has injected a much needed jolt of lyrical harmony and deft musicianship along with a flair for lively showmanship that meshes to form an aesthetic that raises the bar on a musical genre. To commemorate his 20th anniversary as a recording artist, Culbertson marched his well-drilled band out on a coast-to-coast concert mission last year that was preserved for posterity on his first live album recorded during a sold-out, eight-show stand at the famed Yoshi’s nightclub in Oakland, California last September.  The resulting double CD set, “Live - 20th Anniversary Tour,” was released Monday - Culbertson’s 42nd birthday - on his own BCM Entertainment label. 

Featuring a crack eight-piece band, many of whom are musicians out of Chicago and have been playing with Culbertson for years, “Live” is a spirited and at times sweaty celebration of jazz, fusion, R&B, romantic piano pop and deep funk grooves that barely let up for air bolstered by crisp horn section arrangements reminiscent of the mighty Earth, Wind & Fire and Tower of Power. 

One could say that “Live” is a statement album. Forget what you thought you knew about so called “smooth jazz.” Seldom does a contemporary jazz artist dare to release a live record these days making it even more of a treat that Culbertson & Company was able to bottle the magic, charismatic energy and excitement of their live show on this recording. The 21-song session - 22 songs if you include the CD exclusive bonus track, “Forever” - rifles through Culbertson’s chart-topping original compositions and introduces a vibrant new number, “Think Free,” the album’s initial radio single written by Culbertson and Sheldon Reynolds especially for the occasion. Culbertson’s set list also pays tribute to his influences – White’s Earth, Wind & Fire (“Serpentine Fire”) and Jones (“Secret Garden”) – along with the rump-shaking party starter “Hollywood Swingin’,” a Kool & The Gang classic. 

“I just wanted to capture the raw dynamic energy of our live show. My band members are each incredible talents in their own right and I’m happy to be able to showcase them, which in turn makes the entire project more exciting and daring,” said Culbertson, who is also a lifestyle curator who founded and serves as artistic director of the starry Napa Valley Jazz Getaway, the fourth annual wine and music festival presented by Lexus in the heart of California’s stunning wine country slated for June 10-14, 2015. 

Culbertson’s touring band consists of Marqueal Jordan (vocals, tenor sax & percussion), Eddie Miller (keyboards, Hammond B3 organ & vocals), Michael Stever (trumpet & keyboards), Adam Hawley (guitar & background vocals), Rodney Jones Jr. (bass) and Chris Miskel (drums). For the “Live” recording, they were supplemented by the firepower of Doug Beavers (trombone & additional percussion) and Doug Rowan (Bari sax). 

“Live” contains the following songs:
Disc 1
“City Lights Intro”
“Always Remember”
“Hollywood Swingin’”
“Do You Really Love Me”
“Come To Me”
“All About You”
“Let’s Get Started”
“Fullerton Ave.”
“Beautiful Liar”
“Get It On”
“Skies Wide Open”
“Another Love”
“Horizon”

Disc 2
“Think Free”
“Dreams”
“On My Mind”
“Secret Garden”
“Serpentine Fire”
“Funkin’ Like My Father”
“City Lights Outro”
“Our Love”
“Forever” (CD bonus track only)

 

KERMIT RUFFINS & THE BBQ SWINGERS TO CELEBRATE FAT TUESDAY/MARDI GRAS WEEK AT BLUE NOTE JAZZ CLUB, FEBRUARY 17-22

Blue Note Jazz Club will present celebrated trumpeter Kermit Ruffins and the Barbecue Swingers for a special Fat Tuesday/Mardi Gras Week celebration, Tuesday through Sunday, February 17-22. While Ruffins has performed at other Blue Note Entertainment Group venues such as Highline Ballroom and B.B. King Blues Club in recent years, this engagement marks his Blue Note Jazz Club debut.
  
Blue Note will also feature speciality items on the food menu celebrating New Orleans culture, including: Chicken Gumbo Soup; Fried Crawfish with a Cajun Mayonnaise; Catfish Creole; Jambalaya with Chicken, Shrimp and Sausage; Chicken Fried Steak; and Bread Pudding. At the bar, Hurricane cocktails and Abita Beer (brewed in Abita Springs, Louisiana) will be available. 

Trumpeter Kermit Ruffins is one of New Orleans' biggest personalities. For over three decades Ruffins has been a champion of the Crescent City's traditional jazz roots, channeling Louis Armstrong as only someone who grew up in the Ninth Ward can. Co-founder of the legendary Rebirth Brass Band, Ruffins has been leading the Barbecue Swingers since 1992 - a traditional jazz quintet that mixes music with another of his true loves, food. And now, hundreds of shows and barbecues later, prolonging the status of jazz in New Orleans is among Ruffins pet projects. Jon Pareles of The New York Times wrote, "Mr. Ruffins is an unabashed entertainer who plays trumpet with a bright, silvery tone." He is also known for repeat appearances on the hit HBO show "Treme."

Tuesday - Sunday, February 17 - 22, 2015; 
Two shows nightly at 8:00PM & 10:30PM
Blue Note Jazz Club
131 W. 3rd Street (between 6th Ave and MacDougal St.)
New York City


 

Brian Auger, Hammond organ legend, signs to Freestyle Records

Freestyle Records has announced the signing of legendary, world-renowned, award winning organist and pianist Brian Auger.

Spring 2015 will see the release of 'Back To The Beginning - The Brian Auger Anthology': a 24 track compilation covering 50 years of his amazing career, followed by 'Brian Auger's Oblivion Express - Live In Los Angeles' - featuring Alex Ligertwood, is planned for late summer, in time for two forthcoming European tours (#1: July through August & #2: October through November).
  
Brian's professional career first made headlines in 1963 when he won the #1 position in the Melody Maker's Jazz Piano Readers' Poll. As a prodigious jazz pianist, Brian had already amassed an amazing amount of experience in the London scene. In 1965, after hearing jazz organist Jimmy Smith's music, Brian began his love affair with the mighty Hammond Organ. Naturally, he totally mastered the instrument, and then went on to break new ground on the organ – using it as his primary tool as a pioneer of jazz-fusion.

Lauded and loved by everybody from Herbie Hancock to Mose Allison, from the Brand New Heavies to The Beastie Boys, his music has been sampled by Mos Def, Common, Air and Kid Loco, plus his original compositions covered by Sarah Vaughan and The Main Ingredient.

Brian's career has spanned genres, continents, decades and his ground breaking, genre-defying bands like the mid 60s mod super group The Steampacket (with a young Rod Stewart), The Trinity with the ultimate groovy 60s chick, vocalist Julie Driscoll, and of course Brian Auger's Oblivion Express – the band whose alumni reads like a 'who's who' of amazing musicians (including guitarist Jim Mullen, drummer Steve Ferrone). This group created musical history with its particular brand of soulful fusion, when the 'Closer To It' album did the previously unimaginable and broke into the Billboard Jazz, Rock and R&B charts simultaneously in 1973!

Accolades and awards have continued to accumulate throughout his career, hitting the Top 5 of the UK Pop Charts in 1968 with the jazzed up version of Bob Dylan's 'This Wheel’s On Fire', which got Brian and vocalist Julie Driscoll onto Top Of The Pops, receiving multiple Grammy nominations – the last one as recently as 2007. In the same year, Brian was awarded a 'Certificate of Special Recognition' by the US Congress for his contribution to the American art form of Jazz. It's easier to list the musical legends he hasn't played with, but a quick glance of his many collaborations includes names such as Sonny Boy Williamson, Van Morrison, Paul McCartney and Jimi Hendrix.

Freestyle A&R man, Greg Boraman, first met Brian during a trip to California in 1994, and immediately struck up a friendship based upon Hammond organ maintenance tips and quoting lines from The Goons: “Signing Brian to Freestyle is a personal and professional high point. Brian’s influence on music is epic, his blistering keyboard skills leave people speechless (as do his shirts!) and the chance to release new recordings and some of his classic tracks from his illustrious career is exciting and an honour.”

Of this brand new partnership Brian stated: “I am so happy to be working with Freestyle Records. They understand my music, and know how to market it… this all feels most agreeable. Meanwhile, I shall sing their praises from the Horse troughs of Edgware to the Yak-Laundering Sheds of Novosibirsk!”

"Brian Auger is one of the best B3 artists I have ever heard in my life. He is a tremendous talent with a wonderfully warm and compassionate personality, a combination that is hard to beat. He deserves all the accolades." - Herbie Hancock

"The ferocious energy in Brian Auger's explosive playing is far greater than virtually any other Hammondist dead or alive. His dynamic, driving live shows take this energy through the roof time after time and are a hot ticket all over the world. He has matured but not mellowed. Focused and visceral, his pioneering style has set a bench mark that few have got anywhere near." - James Taylor, The James Taylor Quartet

"Brian Auger is not only responsible for my music education over the the years, encompassing jazz, blues, folk, psychedelia, soul and more in a way that few have managed to, he's also part of that rare breed of musician whose touch and playing you instantly recognise; the mark of a true great" - The Reflex





Thursday, January 08, 2015

GRAMMY NOMINATED POWERHOUSE LEDISI RELEASING "THE INTIMATE TRUTH" ACOUSTIC EP + ANNOUNCES NEW TOUR DATES

Grammy nominated singer and Verve Records artist Ledisi has announced the release of her new project The Intimate Truth, which is set to hit stores on January 20.  This seven song EP will feature acoustic performances from her latest full-length album The Truth (March 2014).  

Ledisi is also beaming from her recent Grammy nomination for new single “Like This” in the Best R&B Performance category. Fans can view the 57th annual Grammy Awards on CBS on February 8th at 8pm ET.

Furthermore, Ledisi will be hitting the road again for “The Intimate Truth Tour”. The 20+city tour will kick off in Los Angeles, February 27 at Club Nokia. The tour will cut across the U.S hitting major markets including Houston (Bayou Music Center), Chicago (Portage Theatre), Cleveland (HOB), St. Louis (The Pageant), Memphis (Orpheum Theatre), Boston (Wilbur Theatre), Newark (NJPAC) and will conclude in Atlanta on March 29 at Symphony Hall. Opening up for Ledisi will be Raheem DeVaughn and Leela James.  Check your local markets for more information on purchasing tickets.
 
To add to her excitement, Ledisi will be playing the legendary Mahalia Jackson in the upcoming Paramount movie Selma, which is one of the most anticipated movies for the holiday season.  Selma is the story of Dr. Martin Luther King, Jr.’s historic struggle to secure voting rights for all people – a dangerous and terrifying campaign that culminated with the epic march from Selma to Montgomery, Alabama, and led to President Johnson signing the Voting Rights Act of 1965. The film also stars Oprah Winfrey, David Oyelowo, Cuba Gooding Jr., Common, Dylan Baker and more.

Tour Dates:

February 27, Los Angeles, CA @ Club Nokia
February 28, Fresno, CA @ , Tower
March 1, Oakland, CA @ Fox Theater
March 4, Houston, TX @ Bayou Music Center
March 5, Dallas, TX @ Majestic
March 6, Tulsa, OK @ The Brady
March 7, Memphis, TN @ Orpheum Theatre
March 8, St. Louis. MO @ The Pageant
March 11, Chicago, IL @  Portage Theatre
March 12, Cleveland, OH @ House of Blues
March 13, Detroit, MI @ Motor City Casino
March 14, Indianapolis, IN @ , Murat Theatre
March 15, Baltimore, MD @ Lyric Theatre
March 18, Bethlehem, PA @ Sands Bethlehem Event Center
March 19, Boston, MA @ Wilbur Theatre
March 20, Newark, NJ  @ NJPAC
March 21, Washington, DC @ DAR Constitution Hall
March 22, Richmond, VA @ Altria Theater
March 25, Charlotte, NC @ , The Fillmore
March 26, Greensboro, NC @ Cone Denim Entertainment Center
March 27, Nashville, TN @ War Memorial Auditorium
March 28, North Myrtle Beach, SC @ House of Blues
March 29, Atlanta, GA @ Symphony Hall



ELIANE ELIAS’ MADE IN BRAZIL MARKS A MUSICAL HOMECOMING FOR MULTI-GRAMMY®-NOMINATED PIANIST/KEYBOARDIST/SINGER/COMPOSER

March 31st release features Take 6, guitarist/vocalist Roberto Menescal and vocalists Mark Kibble and Ed Motta, with seven orchestral arrangements by Rob Mathes recorded at Abbey Road Studios

Eliane Elias’ Made in Brazil, scheduled for release on March 31, 2015 on Concord Jazz, marks a musical homecoming for the multi-GRAMMY®-nominated pianist, keyboardist, singer, and composer. In her three-decade long career as a solo artist, Made in Brazil results from the first time she’s recorded a disc in her native Brazil since moving to the United States in 1981. (International release dates may vary)

Elias wears many hats on this project as producer, composer, lyricist, arranger, pianist and vocalist. “I am completely immersed and involved in every single detail of the music and the recording process, from the birth of an idea until its completion through every aspect of the production until it reaches the public,” she explains.

Along with co-producers, Steve Rodby and Marc Johnson, her bass playing musical partner, Elias ventured ‘home’ and recruited a splendid cast of Brazilian musicians that include electric bassist Marcelo Mariano; guitarists Marcus Teixeira and Roberto Menescal; drummers Edu Ribeiro and Rafael Barata; and percussionists Mauro Refosco and Marivaldo dos Santos.

Elias peppered the sessions with delightful special guest performances from Mark Kibble and the multi-GRAMMY® Award-winning gospel vocal group Take 6; her singer/songwriter-daughter Amanda Brecker; one of Brazil’s most celebrated R&B stars, Ed Motta; and the distinguished bossa nova composer Roberto Menescal.

Elias also invited Rob Mathes to handle orchestral arrangements on seven of the 12 tracks, which were recorded in London at the legendary Abbey Road Studios. “It’s so touching to hear the music unfold,” she says of the orchestral arrangements after they were overdubbed onto the São Paulo sessions. “You can see the musical notes on paper, but it’s something else to hear them realized and performed by members of the London Symphonic Orchestra.”

In terms of material, Made in Brazil contains six Elias originals plus two Ary Barroso standards, two Roberto Menescal chestnuts, and two Antônio Carlos Jobim world-renowned gems. Elias, who did all the arrangements for the basic tracks, said that she purposely wanted Made in Brazil to incorporate three generations of Brazilian composers. “But it’s not a retro record,” she clarifies. “It’s very contemporary yet with the tradition and authenticity of Brazil; it’s music of the world with Brazilian DNA.”

Indeed, Made in Brazil’s pulsating bossa nova and samba rhythms, transfixing harmonies and sensual lyrics, accentuated by Elias’ own captivating vocals and incredible pianistic acumen, will surely become a 21st-century Brazilian classic. Elias frames the disc with two Barroso gems – “Brasil (Aquarela do Brasil)” and “No Tabuleiro da Baiana.”

“Brasil,” penned in 1939, “is a Brazilian anthem,” enthuses Elias. “It’s reported to be the most preferred Brazilian song of the last 100 years. It’s about the beautiful things of our country, the Brazilian Brazil; its natural beauty, mixed ethnic cultures and the samba.” Here she accentuates the composition with a suspenseful diaphanous string arrangement, whereas Elias and the band concoct an intoxicating, lithe groove. Atop of the infectious samba rhythm, Elias graces the proceeding with a glowing Fender Rhodes accompaniment, which later unfolds into a joyous and rhythmic solo.

Barroso wrote “No Tabuleiro da Baiana,” in 1936, which was made famous by singer Carmen Miranda. Through the song’s theme about a tabuleiro, a tray filled with edible treats typical of Bahia, Elias says that her rendition allows her to share her affection for that particular Brazilian state. “I love the culture; I love the people; I love the music; and I love the food,” Elias says.” I’ve been in love with Bahia all my life.” On her delightful rendition, Elias hammers the samba with harder, percussive accents via her vivacious piano playing inside some hip-swerving inducing accompaniment while her dexterous vocal rides and swings on top.

On “Você” and “Rio,” Elias invites the songs’ composer, Roberto Menescal, to accompany on guitar. On “Você,” the two sound like lovebirds on the 1963 bossa nova hit as they croon the romantic lyrics while the string arrangement sweeps them afloat. Elias’ impeccable piano accompaniment and sparkling improvisation provide the perfect musical trimming.

On “Rio,” which also dates back to 1963, Elias retains the same lineup as she sings the song’s elegant lyrics about the beauty of a seaside landscape while creating beautiful modulations and colors through her harmonies. “It was special to have the composer be a guest,” Elias says of her collaboration with Menescal. “We shared some very tender moments.”

As a bonus track, Elias delivers a rapturous makeover of Menescal’s most beloved composition, “Little Boat (O Barquinho),” yet another aquatic-themed showcase for Elias’ incredible musical rapport with Johnson and Barata. Elias’ ingenious arrangement at times evokes the motion of a boat floating and moving through waves.

Regarding Jobim, Elias performs his epochal “Águas de Março (Waters of March),” which she notes is the most covered Brazilian tune in the world.” Through the song’s picturesque, stream-of-consciousness lyrics, Elias puts a new spin on the song’s allure with her R&B-inflected mid-tempo arrangement, and by inviting Take 6 to sing with her. Elias’ arrangement is a completely fresh take on the song, and her vocals combined with Take 6 are splendid.  “Ironically, when Jobim wrote this song in 1972, he thought he had reached the end of his career,” Elias explains. “The lyrics talk about being at the end of the road, about being alone, but the song’s message ultimately is optimistic and carries hope.”

Elias’ other revisit of Jobim’s music on Made in Brazil illustrates her capricious yet musical ingenuity. She delivers a sublime mashup of Jobim’s “Este Seu Olhar” and “Promessas.” Accompanied by Johnson, Teixeira and Ribeiro, this elegant rendition works splendidly as Elias delivers a heartfelt interpretation of the songs. Elias notes that the chord sequence of both compositions is the same and both melodies can be sung together simultaneously. 

Whereas the aforementioned compositions display Elias’ mastery at arranging and interpreting Brazilian standards, other songs on Made in Brazil show her deft musicianship as a composer and lyricist. Draped with a gorgeous string arrangement, the yearning “Searching” puts Elias’ enchanting singing and piano playing squarely in the center as she coos the romantic lyrics about the affairs of the heart.  This song evokes the timeless quality of a Frank Sinatra standard.

Elias picks up the tempo slightly on the effervescent “Some Enchanted Place,” which contains poetic, optimistic lyrics and features guest vocals from her daughter Amanda Brecker.

Take 6’s lead vocalist Mark Kibble joins Elias on “Incendiando” and “Driving Ambition.”  On “Incendiando” the stellar performances of Elias and Kibble heighten the romantic and sexual tension revealed in the song.

“Driving Ambition” equally simmers with an erotic charge, thanks to the song’s titillating automobile metaphors and the sauntering bossa nova/Latin blend of rhythms. Kibble’s background vocals are sonic brush strokes of imagery perfectly complementing the seductive vocals by Elias.

The poetic pop/R&B ballad “Vida” features the prominent Brazilian R&B singer Ed Motta. Elias and Motta portray characters in a musical drama. Elias’ character describes what a woman wants in a romantic partner and Motta responds to her as the man she is looking for.

Amidst a magnificent string arrangement, Elias’ gorgeous composition “A Sorte do Amor (The Luck of Love)” is a comely piano and bass duet between her and Johnson that belies an empathic relationship built upon years spent together. Elias explains, “The lyrics are a bit ironic. They describe a love so incredibly intense, it takes away one’s sleep and peace of mind.”

Elias’ songs and lyrics on Made in Brazil  reveal the skills of a great songwriter. The intelligent, sensitive lyrics, beautiful melodies and rich, touching harmonies evoke some of the great songs of the 20th century and give continuity to the line of famous Brazilian composers. This album establishes Elias once and for all as one of Brazil’s most eminent musical artists.

“When I write lyrics, I am inclined to talk about feelings, wishes of the heart and life situations,” Elias says. “Aspects of love – being in a relationship; the search for the right person; the search for happiness; romance; and the desires of our hearts, while I amplify these ideas and bring another depth to the message with the melodies and harmonies.”

Listening to Made in Brazil and diving into Elias’ originals and fetching interpretations of Brazilian classics will surely delight and fill your heart and ears with soul-stirring joy.


Jazz Guitarist and Composer Hristo Vitchev Announces Future Project with Errol Rackipov Group

Hristo Vitchev is a jazz guitarist and composer who just recently completed a tour of Korea with his quartet this past October, and is now planning for an upcoming 10 day/cities tour of Japan. Aside from touring, Vitchev has a number of musical endeavors in the works including a new fusion project with the Errol Rackipov Group.

The Errol Rackipov Group is led by virtuoso vibraphonist and master composer Errol Rackipov (Errol is one of the first students that Gary Burton took under his wing back in the days). This is a truly international group that showcases some of the most exciting improvisers on the scene today.

On piano, they have none other than Martin Bejerano (the pianist for Roy Haynes, Russell Malone, Dave Holland, and many other legends of jazz). On sax, the great reedman from Vienna, Austria - Lubomir Gospodinov. On drums, the masterful Costa Rican drummer and phenomenal composer Rodolfo Zuniga. On bass is one of the most in demand and up and coming bassists in Miami, FL, Mr. Josh Allen, and on  guitar, Hristo Vitchev.

Their debut album "Pictures from a Train Window" is literally being pressed now and will be ready for an official release in the coming weeks.

This record is an unique fusion of the lyricism of impressionistic chamber music with the romanticism of Argentinian tango and the edge, excitement, and exploratory spirit of modern jazz with the diverse sonic tapestry of the Eastern European folklore traditions.




Wednesday, January 07, 2015

NEW RELEASES: TRUTH & SOUL PRESENTS FALLIN' OFF THE REEL IV; GALLOW STREET - GALLOW STREET EP; ONE-DERFUL! - THE ONE-DERFUL! COLLECTION

TRUTH & SOUL PRESENTS FALLIN' OFF THE REEL IV

Truth & Soul is proud to present the fourth volume of their Fallin’ Off­ The Reel compilation. In keeping with Truth & Soul tradition when they get enough singles out they get them together onto a comp for the people who collect CDs and digital ‑les. 22 songs on the CD including tracks from Lee Fields & Expressions, Lady, Liam Bailey, Bacao Rhythm & Steel Band, The Olympians, Beau Williams, The Ghetto Brothers, The Fabulous 3, Zafari, Shirley Nanette, El Michaels Affair, and more. Now that they are well into 70 plus singles released on the label, this comp is great introduction to Truth & Soul Records as well as a great listen for those who already have some of the music we have released. Press play and enjoy the sounds that have made us respected the world over! 

GALLOW STREET - GALLOW STREET EP

A sweet mix of brass band styles, with a very contemporary touch – all played live in the studio, with an approach that's a bit like the Hypnotic Brass Band! Like those guys, Gallow Street reach for an older tradition, but bring it strongly into the 21st Century with inventive rhythms, unusual inflections on the horns, and an overall delivery that's as urgent as it is exotic – a really unusual flavor that graces the four instrumental tunes on the EP – "Rhino", "Mountain Smoke", "Blue Monday", and "Hudmo Medley". ~ Dusty Groove




ONE-DERFUL! - THE ONE-DERFUL! COLLECTION

An unassuming cover, but a set that's got a really colorful batch of rare Chicago soul – including a number of never-issued tracks from the legendary One-Der-Ful Records! The label was one of the true indie greats in Chicago back in the 60s – almost as much a force for local soul as bigger imprints like Chess, Okeh, and Brunswick – and home to an equally great array of artists – including a few who'd later hit big on different labels! The work here is all the handiwork of the Leaner brothers, who not only recorded most of the cuts here – but also helped distribute One-Der-Ful and a host of other midwestern indies – which really gave them a great ear for the best sounds coming from the underground, and the new trends that were breaking big way before the rest of the country picked them up. And although there have been other collections of One-Der-Ful material before, this one may well be the most thoughtful – from the detailed notes on the label and each artist, to the research that uncovered never-issued tracks that include "Happy Times" by Beverly Shaffer, "Enjoy Yourself" by The Five Du-Tones, "I'm Guilty" by Liz Lands, "Thank You Love" by Otis Clay, "Now That You're Gone" by McKinley Mitchell, "Meet Me Halfway" by Beverly Shaffer, "Take Me To Your Leader" by The Sharpees, "When You Get That Feeling" by The Five Du-Tones, "Got To Find A Way (alt)" by Otis Clay, "Seventh Hour" by Liz Lands, and "Here Comes My Baby" by Mary Silvers. The set features lots more great cuts too – including "Who Is She" by Lucky Laws, "The Prettiest Girl" by Joe & Mack, "The Sock" by The Sharpees, "All For You" by the Admirations, and "The Man Of The Town" by Jay Jordan. ~ Dusty Groove


Defected Presents House Masters: Joey Negro

Presenting the latest edition of the acclaimed series that inducts a select few elite producers in the house music Hall of Fame. House Masters Joey Negro is an incredible, eclectic collection from the one of the world’s leading proponents of disco-inspired house music. 

Joey Negro is the most well-known pseudonym of master British producer, remixer, DJ and label owner Dave Lee. With his production career beginning in 1988, Dave is intrinsically linked to the birth of house music in the UK. Famously recording under a variety different aliases including Akabu, Doug Willis, The Sunburst Band, Jakatta, Raven Maize, Sessomatto and Z Factor he has created a truly exceptional back-catalogue accounting for many of house music’s highlights over a career spanning three decades.  

Disco has always played its part in Lee’s music: he was one of the first British artists to incorporate disco samples into the various house music styles with which he is so recognisably identified. Indeed, as a genuine aficionado of disco he has few equals anywhere in the world.  He’s as productive as ever either in the studio or behind the decks today and most recently under his Joey Negro alias, Lee was integral to the success of Defected’s brand new Glitterbox residency in Ibiza this summer.
  
In terms of production, Dave’s imagination and creativity has proved limitless. He’s enjoyed both huge commercial success on records such as Jakatta’s ‘American Dream’ – a UK No.3 and ‘Make A Move On Me’ alongside an avid underground following through monikers such as Akabu and via labels such as Transmat, Junior Boys Own, NRK and his own thriving label, Z Records.

From the live disco and boogie of The Sunburst Band to the unique funk-fuelled grooves of Joey Negro, House Masters Joey Negro is Dave’s personal curation of the greatest records from a catalogue that spans every corner of house music.

As well as genre-defining original productions under the guises of EXTORTION, Doug Willis, Raven Maize and of course Joey Negro, also included are a handful of seminal remixes, from Erro and Masters At Work to Patrice Rushen and Blaze, all unmixed and DJ friendly. 

12 additional tracks feature on the digital product including an exclusive Joey Negro re-edit of Erro’s ‘Don’t Change’ as well as further remixes of Dave Lee originals from Henrik Schwarz, Ame and Dennis Ferrer. 

“It was a case of balancing the various sides of what I've done over the years” says Lee of the selection process. “You want to include the personal favourites and some tracks that were popular purely on the underground, alongside others that were more successful on a commercial level.

“As a producer one of the skills you must have is remaining objective, even when you've heard the piece of music you're working on several 1000 times. The same goes for the selection here. The House Masters series is literally a who's who of house music, so obviously it’s great to be part of it.”

Defected presents House Masters Joey Negro is out 11 January (2CD and digital) on Defected Records.

Tracklisting:

Disc One
01. Masters At Work feat. India 'Backfired' (Joey Negro Club Mix)
02. Joey Negro feat. Taka Boom 'Can’t Get High Without U' (Joey Negro Philly World Mix)
03. Erro 'Don’t Change' (Joey Negro Club Mix)
04. Simphonia 'Can't Get Over Your Love' (Dave Lee's Full Length Mix)
05. Joey Negro & The Sunburst Band 'Garden of Love' (Joey Negro Club Mix)
06. Candido 'Dancin' & Prancin' (Joey Negro Disco Blend)
07. Extortion 'How Do You See Me Now' (Joey Negro Club Mix)
08. Doug Willis 'Get Your Own' (Joey Negro Club Mix)
09. Doug Willis 'Begun 2 Luv U' (Joey Negro Original mix)
10. Joey Negro & The Sunburst Band 'Everyday' (Full length album mix)

Disc Two
01. Patrice Rushen 'Haven’t You Heard' (Joey Negro Extended Disco Mix)
02. Blaze 'Wishing You Were Here' (Joey Negro Extended Mix)
03. Yolanda Wyns 'I Know You, I Live You' (Joey Negro Club Mix)
04. Joey Negro 'Do What You Feel' (Expanded mix)
05. Reese Project 'Direct Me' (Joey Negro Disco Blend Mix)
06. Akabu feat. Linda Clifford 'Ride The Storm' (Joey Negro Club Mix)
07. Joey Negro pres. Jakatta 'American Dream' (Joey Negro Club Mix)
08. Joey Negro & The Sunburst Band feat. Donna Gardier & Diane Charlemagne 'The Secret Life Of Us' (Joey Negro Extended Mix)
09. Raven Maize ‘Forever Together' (Forever United Mix)
10. Joey Negro 'Must Be The Music' (Joey Negro Club Mix)

Bonus tracks for Digital
01. Erro 'Dont Change' (Joey Negro Playout Edit) (Exclusive)
02. Akabu 'Phuture Bound' (Ame Remix)
03. Joey Negro & The Sunburst Band 'Journey To The Sun' (Dennis Ferrer Remix)
04. Joey Negro & The Sunburst Band 'Man of War' (Henrik Schwarz Remix)
05. Akabu 'Your Wildest Dreams' (Joey Negro Medusa Mix)
06. Joey Negro 'Ride The Rhythm' (Joey Negro Club Mix)
07. Martin Solveig 'Rocking Music' (Joey Negro Club Edit)
08. Joey Negro 'Make A Move On Me' (Joey Negro Club Mix)
09. Sessomatto feat. Thelma Houston 'I Need Somebody Tonight' (Joey Negro Original Serious Mix)
10. Joey Negro & The Sunburst Band 'He Is' (Joey Negro Club Mix)
11. Sessomatto 'Moody' (Joey Negro Club Mix)

12. Joey Negro & The Sunburst Band 'Far Beyond' (Full Album Mix)  


Nathan East Earns GRAMMY Nomination for Self-Titled Solo Debut

Nathan East celebrates a GRAMMY nomination for Best Contemporary Instrumental Album for his self-titled solo debut Nathan East, on Yamaha Entertainment Group. Released in March, the album hit #1 on the Billboard Smooth Jazz Albums chart and held #1 for a record-breaking 36 weeks on SmoothJazz.com.

'Nathan East' is the culmination of Nathan's 40+ year career as the world's most in-demand studio and touring bassist and the album calls on many of Nathan's past collaborators including Eric Clapton ("Can't Find My Way Home"), Stevie Wonder ("Overjoyed"), Michael McDonald ("Moondance"), Sara Bareilles ("I Can Let Go Now"), Ray Parker Jr. ("Daft Funk"), Bob James, Chuck Loeb, David Paich and more. Nathan East was produced by Yamaha Entertainment Group Founder Chris Gero and engineered by Bryan Lenox. For The Record, a new documentary on Nathan, had it debut on Hulu in December 2014 offering a behind-the-scenes look at the recording process.

The nomination caps off one of the most exciting years in Nathan's career, which kicked off with a performance with Daft Punk at the 56th Annual GRAMMY Awards; included appearances on Tonight Show, Arsenio and Tavis Smiley; and next month will see Nathan inducted into the Hall of Fame on January 24 at the NAMM TEC Awards.


Subversive jazz-rock trio Hypercolor combines avant-jazz, punk, new music, no wave, African and Israeli traditions on self-titled debut

On their self-titled debut, the manic jazz-rock trio Hypercolor don't stop at simply combining their wide-ranging influences into an adrenalized fusion. Instead, guitarist Eyal Maoz, bassist James Ilgenfritz and drummer Lukas Ligeti collide their multifarious interests into one another like a post-modern demolition derby, pulling from the wreckage a sound that is as intricate as it is aggressive. The trio crafts complex structures while simultaneously undermining them, challenging listeners to find their footing while it's constantly being pulled out from under them.

Though Hypercolor, due out January 20, will be released as part of Tzadik's Spotlight series, meant to highlight new, adventurous projects, the trio began nearly eight years ago and has gradually developed its esoterically anarchic identity. Their music brings together the acute-angle skronk of no wave and the cerebral architecture of new music, Israeli melodies and African rhythms, jazz improvisation and punk subversion. The band's name was inspired by a line of clothing from the 1990s that changed color in response to heat, a reflection of the trio's ability to mutate suddenly based on each member's in-the-moment provocations.

"We developed this idea of learning complex arrangements and playing them back completely wrong," explains Ligeti. "We weren't interested in playing these complex arrangements in the super-exact way that most prog or fusion bands play. We quickly found that we really enjoyed replacing that auto-pilot exactness with the communication of free improvisers."
"We're applying a very Dadaist, no wave aesthetic to this music," adds Ilgenfritz. "We wanted to combine reckless abandon with interesting, complex structures to create something that was at once punk and rigorous academic music."

Some sense of Hypercolor's mindset can be gleaned from the album's cover art, which uses a pair of paintings by notorious filmmaker Nick Zedd, who coined the term "Cinema of Transgression" in the 1980s. The trio aims for a similarly transgressive approach, one in which emotion, intelligence, and attitude seem to explode from their sonic interactions. The band holds its opposing urges in an electrifying tension, finding a sweet spot that is both melodic and deconstructive.

Maoz' crunching guitar riff on opener "Squeaks" is buoyed by Ilgenfritz' insistent bass groove and Ligeti's intricate polyrhythms inspired by the little-known court music of the Ugandan kingdom of Buganda. Both "Chen" and "Transist" spotlight the trio's elastic, without-a-net relationship to time, while Ligeti's "Ernesto, Do You Have a Cotton Box?," tempts chaos by moving between free and composed sections. "Forget" is an airy ballad grounded by a disruptive drumbeat, "Far Connection" a wiry start-stop labyrinth. "Glowering" finds Ilgenfritz' bass wandering stealthily through a ferocious rock eruption, while "Palace" feature's Maoz' scything six-string freakout over a raging punk avalanche. "Little Brother," by contrast, shows the trio's subtler side, slowly building in intensity through morphing, aurora-like colors; "Quixotic" closes the album with an experiment in dynamics, marked by space and surprise.

The seemingly incompatible aspects of the trio's influences are rooted in the ambitious work of each of its three members. Guitarist/composer Eyal Maoz brings both mind-scrambling fretwork and his Israeli heritage to the mix. An in-demand composer and guitarist on the New York scene, he leads the bands Edom (combining Jewish music with new wave, electronic music and disco), acoustic Middle-Eastern band Dimyon, The Crazy Slavic Band, 9 Volt (which has recorded with saxophonist/composer Tim Berne), and the Maoz-Sirkis Duet (with drummer Asaf Sirkis). He also performs the music of John Zorn with Cobra and Abraxas.

A native of Michigan, bassist/composer James Ilgenfritz paints himself as a noise-rock enthusiast trained in jazz and contemporary classical music. His ensembles include the reimagined jazz quartets MiND GAMeS and Colonic Youth, the quintet Urbana, and the larger Anagram Ensemble, a vehicle for Ilgenfritz' compositional endeavors. The ensemble recently performed "The Ticket That Exploded," an opera based on the William S. Burroughs novel that will be released on CD in 2015. As a solo bassist he has commissioned works by Elliott Sharp, Annie Gosfield, and JG Thirlwell; and as an improviser he has worked with Anthony Braxton, John Zorn, Steve Swell, Nate Wooley, Jeremiah Cymerman, and others.

The son of renowned composer György Ligeti, drummer/composer Lukas Ligeti boasts a background in both European new music traditions and free improvisation as well as a long-standing interest in various African rhythmic traditions. Born in Vienna, he settled in New York in 1998 and has since composed music for Bang on a Can, the Vienna Festwochen, Ensemble Modern, Kronos Quartet, Colin Currie and Håkan Hardenberger, the American Composers Forum, New York University, and more; he also regularly collaborates with choreographer Karole Armitage. As a drummer, he has performed or recorded with the likes of John Zorn, Henry Kaiser, Raoul Björkenheim, Gary Lucas, Marilyn Crispell, Jim O'Rourke, Eugene Chadbourne, and many others. He has been traveling regularly to Africa for twenty years, drawing inspiration from musical traditions in Zimbabwe, the Ivory Coast, South Africa, Egypt, Ghana, and Burkina Faso.


The Jazz Connect Conference Kicks Off January 8 - 9 in NYC

Presented by JazzTimes and the Jazz Forward Coalition, the Jazz Connect Conference will take place on January 8-9, 2015 at Saint Peter's Church in New York City.  The conference brings together hundreds of members of the jazz community from all over the globe in a series of panels, workshops and events.  With a theme of "Strength Through Community," Jazz Connect leads into both the APAP|NYC conference, which begins on that Friday, and Winter Jazzfest, which takes place on Friday and Saturday nights.

Highlights of the conference include: 
  • Keynote address by Christian McBride, the bassist, bandleader and host of NPR's "Jazz Night in America"
  • Short "Stories of Inspiration" presentations by Somi, Francisco Mela and Michael Lazaroff of The Jazz Cruise
  • Presentation of the Bruce Lundvall Visionary Award to SFJAZZ's Randall Kline
  • In Memoriam tribute led by Ike Sturm, director of music for Saint Peter's jazz ministry
  • Ask The Experts networking session done in speed-dating style* Panels on important and useful topics such as social media, DIY labels, radio airplay and promotion, building community relationships and others
  • A track of sessions hosted by JazzWeek, geared to radio programming and promotion
  • Informal mixer/reception hosted by NPR Music, celebrating the launch of Jazz Night in America.
  • Sessions on new trends in the music business hosted by the Future of Music Coalition and Music Business Association
  • Open forum on the role of jazz in social and political activism
  • Hands-on workshops hosted by the Jazz Journalists Association, JazzWeek and Chamber Music America
  • Moderators and panelists include a wide range of artists such as Ben Allison, Jason Moran, Kellylee Evans, Arturo O'Farrill, Willie Jones III, Greg Osby, Bob Belden, Rene Marie, Mimi Jones, Nir Felder and Marc Ribot
  • Among the organizations with speakers on the program are the NEA, Chamber Music America, Kennedy Center, Jazz at Lincoln Center, Jazz Journalists Association, JazzWeek,Berks Jazz Fest, Pittsburgh Jazzlive, Jazz St. Louis, DC Jazz Festival, SFJAZZ, London Jazz Festival, Tri-C Jazz, OKeh/Sony, International Music Network, New Orleans Jazz & Heritage Festival and many more
  • Table-top displays from various jazz organizations
  • For the latest schedule of events, go to www.jazz-connect.com. Register on-site for only $150. Additional discounts are available for members of various organizations, such as APAP, Chamber Music America, Jazz Journalists Association, JazzWeek, SESAC, Local 802, Jazzahead!, NARAS and several others.



Tuesday, January 06, 2015

Bassist OMER AVITAL Delves Into The Culture of His Homeland Through Jazz On His New Recording, NEW SONG

Bassist and composer Omer Avital, one of the most celebrated and revered musicians on the global jazz scene, offers his current creative tour-de-force, New Song (on Motema Music). New Song, the follow up recording to Suite of The East, signifies a giant leap in Avital's quest to "mine the deep interconnections between jazz and the music of the Middle East and North Africa." (Jeff Potter, DownBeat Magazine, July 2013).  Avital now celebrates the release at The Jazz Standard this January 13 & 15, 2015 with Avishai Cohen on trumpet, Joel Frahm on tenor saxophone, Yonathan Avishai on piano and Daniel Freedman on drums.

Upon Avital's arrival in New York City in 1992, the rapid growth of Israeli jazz was set in motion in a profound way. Avital quickly forged an indelible mark on the scene, mainly through his legendary performances at Smalls, where he lead one of the most celebrated groups of the time, a sextet with a front line onslaught of four saxophones (an early gem from this time in Avital's early days is the tune "Kentucky Girl", featured on the compilation, Jazz Underground: Live at Smalls,on Impulse!)."Years from now, when folks are remembering the early days of the West Village jazz haunt Smalls, bassist Omer Avital's name will be as synonymous with the club as Bill Evan's is with the Village Vanguard, and Thelonious Monk's is with the original Five Spot Café." - Time Out New York. 

Avital went on to cast a wide net of influence in NYC and beyond with a consistently creative and prolific output (releasing nine albums of original music since 2001, and at least eight others as a co-leader), and a steady stream of influential live performances at the finest jazz venues and festivals around the world. Avital also recorded and toured with Wynton Marsalis, Kenny Garrett, Brian Blade, Joshua Redman, Brad Mehldau, Roy Haynes and many others. Avital has since been hailed by The Los Angeles Times as, "a pioneer in combining jazz with myriad world music elements," with The New York Times adding that, "Mr. Avital and his group are producing some of the most original music being heard in New York," and that, "outside Charles Mingus and the free-jazz bassist William Parker, such dramatic violence on the instrument is hard to come by." 

In 2002, around the ten year anniversary of moving to New York, Avital returned to his native Israel, where he was the co-founder and musical director of the highly unique and successful group, Yemen Blues, as well as the New Jerusalem Orchestra, and involved in Israel's "piyut" scene (often collaborating with some of the legends of this genre, including Haim Louke, Aharom Amram, and others), to study classical European composition and Middle Eastern and North African Music. The bassist spent three years studying folk songs, dance rhythms and rituals, and these invigorated his imagination in the same way that jazz had sparked his passion before. He now looks to the East as well as to New York, toward the West as much as toward the Arab world, toward the solitude of the desert as much as the urban mêlée. The latest result of this extensive study is Avital's ambitious new recording, New Song, an electrifying, highly creative next step after the release of his previous recording, Suite of The East (released in April 2012 on Anzic Records). 

The band on New Song is exemplary, and one that Avital has led for many years, featuring trumpeter Avishai Cohen ("I've been playing constantly with Avishai since 1999. We co-lead some groups together for a decade, and he has played in most of my bands and on most of my albums. Our musical chemistry was there from the first notes we ever played"); saxophonist Joel Frahm ("I've known Joel from my first days in NYC in the early '90s. We nicknamed him 'Soul Frahm' because he has such a warm, soulful sound. I absolutely love what he brings to my music"); pianist Yonathan Avishai ("there's no doubt that Yonathan is not only one of my favorite musicians, but someone who has been a great influence to me in recent years. He understands my compositions and his input elevates everything we play"); and drummer Daniel Freedman ("I've known Daniel for over twenty years. We became rhythm section mates and friends during the important early days of Smalls in the '90s, and shared the bandstand playing with the Jason Lindner Big Band and many others. His understanding of Middle Eastern and North African rhythms make it easier for me to bring my musical vision to life.") The esteemed journalist Peter Margasak said of the band (of their performance on Suite of The East) in The Chicago Reader, that, "They bring a plangent eloquence and easy rapport to the seven pieces, which alternate between delicate, soulful ballads and soaring, high-energy anthems and whose thick ensemble arrangements ratchet up the intensity with every chorus."

For Omer Avital, jazz is a music, and a medium, which has allowed him to honor his roots and delve into the culture of his homeland without limitations. With New Song, Avital, a true citizen of the jazz diaspora, makes his homeland resonate through his voice - a voice that no one could mistake for any other. His songs speak to us about his true self, and about the world of music in which he lives, and that is but one of their many glorious virtues.
  
Omer Avital - New Song
All compositions by Omer Avital (published by Abutbul Music, ASCAP)
1. Hafla, 2. New Song, 3. Tsafdin, 4. Avishkes, 5. Sabah El-Kheir (Good Morning), 6. New Middle East, 7. Maroc, 8. Ballad For a Friend, 9. Bedouin Roots, 10. Yemen Suite, 11. Small Time Shit

Omer Avital - bass/compositions, Avishai Cohen - trumpet, Joel Frahm - tenor saxophone, Yonathan Avishai - piano, Daniel Freedman - drums

 

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