Alex de Grassi is excited to announce his newest album The Bridge due out on April 17th with Tropo Records and Six Degrees Records Distribution! The new album is a collection of compositions and arrangements that demonstrate the range of Alex de Grassi’s career and his prowess as a performer, musician and composer. The new release features six new original compositions plus arrangements of Gershwin (“It Ain’t Necessarily So”), Hendrix (“Angel”), and a pair of classic folksongs (“Shenandoah,“ “Sí Bheag Sí Mhór”) that bridge the many musical influences and experiences that have shaped his 42 years as a recording artist.
The Bridge is Alex’s first solo guitar recording in 17 years since his Now and Then: Folk Songs for the 21st Century (Tropo Records/33rd Street 2003), and was recorded by multi- GRAMMY® award winner and TEC Hall of Fame engineer Leslie Ann Jones at the legendary Skywalker Sound studio in Northern California. “I had played on a live audiophile broadcast at Skywalker the year before” Alex explains, “and after taking my guitar out of the case and playing a couple of notes in that space, I knew I wanted to make my next solo recording there. It’s a truly amazing sounding room, and with Leslie Ann on the other side of the glass, I knew we would capture the sound of the best concert halls I’ve ever performed in. I wasn’t disappointed!” Recorded without pickups, nor headphones to monitor and with simply great mics and four guitars including his signature model Lowden, Alex reflects, “it felt just like performing in one of my favorite concert venues.” The album also features sound engineer, Steven Miller, renowned for his work with many acoustic guitarists (including Michael Hedges landmark recording Aerial Boundaries) and various Windham Hill artists mixed the post production. Grammy award winner Gavin Lurssen of Lurssen mastering in L.A. mastered the album.
The upcoming release, The Bridge is 10 songs of beautifully performed and arranged acoustic compositions. Written over the last few years, Alex was inspired by the Albion River on Northern California’s Mendocino Coast. “When I was writing this album, the room I was working in had a direct view of the Albion Bridge—the last wooden bridge on the California coast highway 1. It is a narrow trestle bridge, 173 above the river and the sea, and on the National Register of Historic Places —in short, very dramatic. I imagined a lot of stories/scenarios about the people crossing that bridge—I even wrote one down,” comments Alex. Inspiration for the album title was also focused around bridging together many types of music that Alex loves including songs from composers Gershwin, Hendrix, two traditional folk composers influenced the song “Shenandoah,” and the Celtic melody “Si Bheg Si Mohr,” as well original compositions inspired by blues, jazz, classical and music from a variety of cultures.
The forthcoming album is full of standouts including the title track “The Bridge.” Alex reflects back on the inspiration from the Albion Bridge, “At night, headlights of cars crossing the bridge create a steady rhythm of flickering of light between the uprights of the railing, and that rhythm became the basis for the piece, a steady ostinato over which the long, syncopated notes of the melody unfold slowly. I wanted to convey both that image as well as the perspective of the driver approaching, crossing, and then arriving at the other side. For me, there is a sense of mystery, a little bit of danger, as well as getting lost in the thoughts of the unknown driver behind the wheel.” Along with other songs drawing inspiration from pop culture including “Mr. B Takes a Walk in the Rain,” where Alex asks the listener to imagine James Brown dancing the solo in Gene Kelly’s place in the classic film ‘Singin’ in the Rain.’
On “Angel,” Alex performs his interpretation of Jimi Hendrix’s composition. Performed on the “sympitar” a six string guitar with 12 additional sympathetic strings (total of 18) he creates an acoustic effect that suggests electric sounds achieved by Hendrix. “Sí Bheag Sí Mohr,” is Alex’s arrangement of the 17th century Irish harpist O/Carolan’s classic and sticks pretty close to the original melody employing “cross-string” or “harp” style of guitar technique. “It Ain’t Necessarily So,” is based on Louis Armstrong & Ella Fitzgerald recording of Porgy & Bess a song that was Alex’s mother’s favorite and he often listened to it as a kid. “Eulogy in a Low Voice” is from the sudden and unexpected death of the luthier who built the guitar used on this recording. Alex explains, “The “low voice” refers to the sound of the guitar—a baritone guitar pitched a fifth below that of normal tuning, sounding closer to the range of a bass guitar. I wrote the first part of the piece almost in real time, then extended the composition with a bluesy section that hints at the classic folk song “Poor Wayfaring Stranger.” The longer strings and lower pitch of the guitar allows for greater sustain both melody and bass lines.”
Alex de Grassi has been a unique voice in the world of acoustic guitar for the past 42 years; his innovative approach to composing and arranging for solo steel-string guitar has influenced a generation of younger players. He is known for his evocative compositions and arrangements, and his sheer virtuosity has helped lay the foundation for contemporary fingerstyle guitar. The Wall Street Journal has called his playing “flawless” and Billboard hails his “intricate finger-picking technique with an uncanny gift for melodic invention.” Using a broad palette of techniques and timbre in conjunction with his ability to weave together melody, counter-melody, bass, harmony, and rhythm into a highly orchestrated canvas of sound, Alex’s performances take the listener well beyond the instrument. He has graced stages across the world including live performances in Europe, Latin America, Asia, throughout North America, and at prestigious venues including Carnegie Hall, the Kennedy Center, and the Montreux Jazz Festival. He is planning to bring his newest album to the stage along with storytelling, improvisations and maybe even a little singing sometime this Fall.
Brownout - Berlin Sessions
Brownout sound heavier than ever here – recording in Texas, not Berlin (that's the last name of the producer) – and with a fantastic blend of deep funk, Latin elements, and lots of psychedelic touches! In fact, there may be more of that last aspect here than ever before – possibly because the guitar lines of Adrian Quesada get lots of strong placement in the mix – but also because the percussion, vocals, and other acoustic elements are all fused together in the mix in a really great way – this kind of wide wash of sound that's nice and dirty at all the right moments. Titles include "Seamus", "Nain", "Somewhere To Go", "Upon This Rock", "You've Got To Change", "Brownie", "Hold Your Way", "In Between", and "After November". ~ Dusty Groove
Dr. Dave And The Housecall Band – Hey Hey Hey Hey
Since “The Tonight Show Starring Jimmy Fallon” debuted in February 2014, the opening “Hey Hey Hey Hey” riff by house band The Roots has become one of television’s most infectious and explosive earworms ever. Even if you’ve never watched a full episode, it’s probably part of your subconscious musical mind. It worked its irrepressible, horn fired magic on Dr. Dave, and now, after 25 years and a constant stream of radio hits, the veteran guitarist – leading his powerhouse SoCal based ensemble Dr. Dave & The HouseCall Band - has turned that four-word musical phrase into wildly exciting crossover instrumental gold on their latest single. “Hey Hey Hey Hey” is the fourth release from the group’s critically acclaimed 2018 album Midnight Daydream.
Dana Sandler – I Never Saw Another Butterfly
Dana Sandler’s debut CD is set for release on Holocaust Remembrance Day (Yom HaShoah), April 21, 2020, is a moving tribute to the youngest victims of the Holocaust. Sandler got the inspiration for this project from the book of the same title. Originally published in 1959, “I Never Saw Another Butterfly” is a collection of poetry and art created by the Jewish children in the Terezin concentration camp in what is now the Czech Republic. The camp held around 144,000 prisoners including Jewish scholars, musicians, and artists. Sandler dedicates her album to Friedl Dicker-Brandeis, an Austrian artist and educator who organized secret art classes for the children of Terezin. Dicker-Brandeis collected 4,500 children’s drawings and poems in two suitcases before she was sent to Auschwitz in 1944. Fifteen thousand children passed through Terezin. Fewer than 100 survived. Sandler composed I Never Saw Another Butterfly as a song-cycle that highlights poets in the Terezin Concentration Camp -- Pavel Friedmann, Franta Bass, and Alena Synkova-Munkova, who was one of the few children to survive the camp, as well as additional unknown young poets. Sandler’s music is captivating, and her voice is a sensitive, emotive instrument. The topic of the album is heart-wrenching, but Sandler never gives in to maudlin tropes. Instead, she pays great respect to these young people and their suffering, hopes, and youthful insights through her sensitive interpretations with the hope that no other child will ever have to endure these horrors again.
John Stein - Watershed
Watershed, the guitarist’s 15th overall recording and his 11th for Whaling City Sound, is definitely that moment. The recording presents Stein and his band digging into a remarkable set of deep grooves with incredible clarity and creativity. With a wonderfully diverse repertoire, one that traverses a spectrum of styles and tempos, the band approaches Stein’s song selections with genuine flair and a shared energy. Watershed was recorded last May while on a concert tour in Brazil with Brazilian jazz stars: Frank Herzberg (bass), Zé Eduardo Nazario (drums), Daniel Grajew (keyboards), and Teco Cardoso (flute and saxes). The musicians peel back the layers of these compositions to reveal the magic hiding in these grooves and rhythms. Each contributor is an equal accomplice, especially on tunes like the delicate opener and Stein original "Rio Escuro,” the friskier, more playful “Kobe,” the hushed but sassy funk of Pat Martino’s “Cisco,” and the breezily melodic “Wally.” Stein has always been inspired by the jazz genius Jim Hall, and here he takes a brilliant turn on Hall’s own composition, “Waltz New.” Stein’s soloing here is transcendent, proving that he deserves the Hall comparisons and then some.
Malcolm Strachan - About Time
Scottish trumpeter Malcolm Strachan is a founder member of top UK funk/jazz-funk band The Haggis Horns as well as being one of the busiest session musicians in the UK today. In a professional career spanning 20 years, he's worked and toured with the likes of Mark Ronson, Amy Winehouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves & The Vandellas and many others. Now he's finally releasing his first solo album, aptly titled "About Time" on Haggis Records and he's going back to his original musical roots... jazz. "About Time" is a collection of original compositions, all written and arranged by Malcolm, which are firmly rooted in the classic acoustic modern jazz style typified by the great 60s and 70s recordings on the legendary Blue Note Records label. From full-on Latin vibes to beautiful ballads, soul jazz grooves to cinematic soundtrack flavours, all woven together perfectly by a great group of experienced musicians.
Dennis Van Aarssen - Forever You
Millennial musical hipster alert! Life’s been a whirlwind this past year for 26-year-old songwriter and interpreter extraordinaire Dennis Van Aarssen, a former digital marketing project manager who won Season 9 of The Voice of Holland with a dynamic jazz and swing repertoire. The supple voiced singer parlayed that victory into Forever You, his sparkling ballad, big band and soul/funk driven debut co-written with former Frank Sinatra pianist and songwriter Jeff Franzel. Featuring six soulful and heartfelt originals and four covers (including pop hits re-imagined via bold big band arrangements), the engaging collection colorfully showcases the powerful, dramatic reaches of Van Aarssen’s vocals and a sweet, tender intimacy that make his original ballads the true highlights of the set. ~ smoothjazz.com
Billboard Top 10 musicians and tango composer/educator team Ben & Winnie is masterful at taking the raw energy and complex interpretive pathways of the full tango orchestra and distilling them down to the intimate interpersonal connection of a duo performance. Whether tracing stylistic developments throughout the genre’s history with unique arrangements of traditional tango pieces or suggesting innovative musical disruptions with their own fiery original compositions, the duo’s music is always about human connection and inspiration.
With their latest album La Próxima Traición (to be released May 15th, 2020), Ben Bogart (bandoneon) and Winnie Cheung (piano) pay homage to tango’s tradition of revolutionary innovation at the pinnacle of their musical expression. In the process, tango becomes the vehicle to transport audiences from wildly disparate walks of life to the musical common ground of the global citizen -- with a message to galvanize positive social change and climate awareness with a call to action to do everything we can to leave the planet in better shape than we found it.
Recorded in the heart of Buenos Aires at Fort Studios (the studio historically known for its role in the counterculture element of Argentina) and mixed and mastered at El Jardin del furor, the album’s tracks range from traditional Argentine tango pieces of the 1920s, superbly stripped down and rearranged for bandoneon and piano, to the newest title track number composed specifically with Ben & Winnie’s piano, bandoneon, and banter-filled creative dynamic in mind.
La Próxima Traición could be translated literally as "the next treason” or “the upcoming betrayal" and the title speaks to Ben & Winnie’s attraction to the revolutionary nature of how tango has developed over time. The genre’s process of evolution has always been instigated by rebel artists breaking through the baseline. It is an aesthetic transformation via periodic creative ruptures in the paradigm of the time; artistic upheavals that often mirror cultural or political discord in society.
Ben & Winnie notes that current trends in tango are indicative of what is currently happening in Argentina, where the tango is getting a little rough, a little loud, a little heavy in the bass. Surface elements of Ben & Winnie’s music are resonating with what is new in tango, and what is being created in Argentina now. The time is right for the next traición.
The duo describes it as a ‘dumping out of the drawer’ to reorganize or declutter, socially, politically, and artistically. “To us, the most important part is turning the everyday upside-down,” says the duo. “You take the drawer out and you dump everything. Not always just to throw everything away. You can sort it, you can reorganize it, you can take out the crap and put back what you need, or you can create a whole new system to organize. There are many things you can do ...but the one thing we have to do is periodically turn the drawer upside down.”
As artists, both have been deeply inspired by those giants of tango history whose work is featured on the CD, including Aníbal Troilo, Osvaldo Pugliese, Juan D'Arienzo. Though initially at creative odds with their contemporaries, each is now celebrated for having taken some social or musical element of the tango of their time and revolutionizing it.
“They embraced the tango they loved and then did something new, maybe even scandalous to it,” reflects Ben. "They were all courageous and unapologetic, and they initiated changes that were focused and piercing in their genre. Each believed in their path, and executed their beliefs with charisma and personality. We want to do the same.”
That disorderly spirit of creation is the defining thematic thread stitched so skilfully through La Próxima Traición and is perhaps most explicit on the album’s title track. Penned specifically for the duo by contemporary composer and Indiana University professor Aaron Travers, “La Próxima Traición” is a piece that reflects their vision of a new tango sound for today. Ben & Winnie breathes easily in the traditional tango elements of the song, yet incorporate with vigor the new tango inspirations that inform the traición that is their latest work.
One of the many creative ways the duo has devised to make their tango a participatory collective experience, is to fit “La Próxima Traición” with optional parts for amateurs, young children, or beginning instrumentalists to join Ben & Winnie in playing what is a rather difficult piece. They endeavor to support and encourage musicians of all levels and ages to participate in tango, and this is one of their many efforts to showcase that support.
Connecting with their audiences on a deeply human level around the causes that are important to them is a central element of Ben & Winnie’s philosophy. Whether making conscious efforts on their tours to achieve a negative carbon footprint or raising funds for climate action and positive social change, Ben & Winnie always gives their all -- when playing for dancers and listeners who can attend their shows, and for those who cannot. With a mission to make tango accessible and to share artistic expression with people whom they might not otherwise encounter in life, the duo regularly puts on voluntary shows and educational workshops at prisons, schools, hospitals, dementia homes, and assisted living facilities.
“Ben and Winnie should not even know each other, but in fact we know each other quite well, all because of tango. We want to share this with audiences and bring everyone together -- children, seniors, Argentines, non-Argentines -- whoever you are. We are in this "traición" together, whether you want it or not. There are urgent and sweeping matters -- like saving the planet -- that require you to immediately leave the inertia you live in, and indulge in your own traición, now.”
Ego Ella May - So Far
A British singer with a wonderfully fluid feel – a voice that slides right into a tune, wraps around the keyboards and other instrumentation, and picks up this special sort of glow along the way! The album's very heavy on Fender Rhodes, which are almost a second sort of voice on the record alongside Ego Ella's lead – this great grounding in organic modes that allows some of the spacier touches of the production to take off in a nice way, yet all without knocking the warmly soulful spirit of the music off course. On some numbers, May has this crispy charm that especially wins us over – and titles include "Come On", "Underwater", "Tea & Sympathy", "How Far", "Head", "Rush Hour Crush", and "Being Loved". CD features two bonus tracks – "Waiting" and "Pay My Bills". ~ Dusty Groove
Works For Me (Alexa Tarantino / Tony Davis /Caili O'Doherty / Adi Meyerson / Joe Strasser) - Reach Within
An incredibly well-crafted set of soulful hardbop – the kind of record that the Posi-Tone label seems to do better than just about anyone else these days – and which is so tight, so together, the whole thing almost seems effortless! Yet there's clearly a lot of effort going in here – original songs by some members of the group, and a crack cohesion of all the players, right from the start – an ace lineup that features Alexa Tarantino on saxes and flute, Caili O'Doherty on piano, Tony Davis on guitar, Adi Meyerson on bass, and Joe Strasser on drums! The album bursts out of the gate, filled with color and life – and there's an especially magical combination of the piano, bass, and guitar as they trade tones and colors together in the rhythms. Titles include "Reach Within", "Le Var", "Lake Sebago", "Mr M", "Salt & Vinegar", "Your Smile Keeps Me Sane", and "El Gran Birane". ~ Dusty Groove
Mdou Moctar - Ilana: The Creator
An album titled after the creator, and a set that's maybe the most spiritual to date from Tuareg guitar genius Mdou Moctar – a record that comes across with a strong sense of focus right from the start, and which seems to have Mdou's guitar sounding even better than ever! The drums are maybe a bit stronger than on previous records – and maybe a bit more American-inspired too – which pushes the songs forcefully, while Moctar spins out these beautifully hypnotic lines on guitar – at a level that's made him a real global star in recent years. Titles include "Asshet Akal", "Inzigam", "Tarhatazed", "Ilana", and "Tumastin". ~ Dusty Groove
Steve Spacek - Houses
Steve Spacek isn't making as many musical waves as he was back at the start of the century – but the man certainly hasn't lost his touch at all – and is still one of the most forward-thinking talents of his generation! As with his classics, the record bristles with new energy and imagination – a vibe that pushes all the older London ideas forward with a very personal, very distinct vision – maybe even jazzier and warmer than before, which is quite stunning when you read the notes and find out that Spacek created most of the music on an array of apps for the iPhone! Yet this is definitely a record that wasn't "phoned in" at all – as Steve's got a longer-form approach that matures the music in ways that some of the 4Hero diaspora have done in recent years – familiar but fresh, on tunes that include "African Dream", "Songlife", "Single Stream", "Love 4 Nano", "Rawl Aredo", and "Where We Go". CD features bonus tracks "Yu Used To Love Me", "Bright Eyes Rev", "Child Insperation", and "Who Cares". ~ Dusty Groove
ITACA 4et: VORTEX
The cd “Vortex” has been released on March 18th 2020 for Nusica.org, and documents the artistic activity of ITACA 4set, the new formation born from the transatlantic collaboration between four estimated artists of the international scene of avant-jazz and improvised music. Two Canadian musicians, Francois Houle and Nick Fraser and two ItAlian Nicola Fazzini and Alessandro Fedrigo. (here where the name of the band is from). The Vortex album was recorded in Vancuver in July 2019 and the end of a Canadian tour which saw the four protagonists playing at the different festivals in Vancouver, Toronto and Ottawa. Each member of the band signed two of the eight compositions present in the cd testimony of a democratic modus operandi, which reflects the balance of the ensemble even from the musical point of view, there where the collective and choral sound prevails over the soloist one. The music of Itaca 4et’s is dynamic, highly rhythmic and rich of improvisational chances. This project is the result of a collaboration that dates back to 2016 (thanks to a residency at Novara Jazz and Sile Jazz) continues with two Canadian tours (in 2017 and in 2019 when they performed at Toronto Jazz Festival, Ottawa Jazz Festival and Vancouver Jazz Festival) and materializes in a first Italian and European tour in 2020. A close-knit, harmonious, unpredictable and original band, a project to discover that has been achieved also thanks to a partnership with the Institute of Culture of Toronto and the Council of Arts of Canada.
Kuma - Kumadé
Confidence, rhythm and dexterity are the first impressions of this tight outfit of young but highly experienced musicians. After nine years of holding down a 10-night residency at the prestigious Cully Jazz Festival, Llodra and Donnot have honed their skills in front of a live audience, learning how to create tense and paced moments, an ability they embodied in their compositions. Grooves and moods are created with just the right balance of catchy melodies, improvisation and focus on dynamics. The EP is well balanced out, with two ethereal tracks - ‘Alfama’ and ‘The Core’ - music that could easily belong on some ECM-inspired soundscape, juxtaposed with the groovier ‘Kumadé’ and ‘I.G.A.T.F’., hinting at a 1970s style echoing George Duke at his funky-fusion best.Despite a whiff of nostalgia, the sound is fresh and forward-thinking. Keep an ear out for these young Jedi masters, all of them at the top of their game and stay tuned for their next moves. Bundle of endless musical energy, the four musicians o Kuma met at the Cully Jazz Festival where they have been officiating every night in residence for years. Influenced as much by the new UK jazz scene as by the pop of Bon Iver through electronic and repetitive music, Kuma is already making waves in the Swiss musical landscape.
On Monday May 18, 2020 at 7:00pm, Harlem Stage, the legendary uptown performing arts venue will host an online premiere celebration on Facebook and Instagram in place of its annual spring gala. Due to the COVID-19 crisis, Harlem Stage is forced to cancel its in person event but is pleased to premiere a virtual event to be enjoyed by all arts and culture lovers.
The online event is a tribute to artists, activists, and creators, and celebrates Harlem Stage’s more than 35 years as an institution known for commissioning and presenting new, innovative work that reflects and responds to the complex conditions that shape the lives of artists and communities of color.
Celebrating Harlem Stage will be hosted by award-winning Broadway, television and film actor, LaChanze, producer, director, and award-winning actor, Tamara Tunie, and award-nominated, rising Broadway actor, Celia Rose Gooding. Hosts and Harlem Stage will be responding to live comments throughout the event.
Viewers can see new and archival musical performances by legendary rock star Nona Hendryx fresh off the heels of her multi-sensory WaterWorks commissioned performance at the Metropolitan Museum of Art this spring. Also featured will be jazz pianist, composer, and MacArthur Genius Jason Moran, jazz and hip-hop star José James, Harlem Stage WaterWorks artist, Jason ‘Timbuktu’ Diakité and other musical guests. The gala will feature special appearances by MSNBC host and anchor, Joy Reid, dance legend Bill T. Jones, stars of television and film, Claire Danes, Hugh Dancy, hip-hop pioneer, Fab 5 Freddy, star of television and film, Tate Donovan, among others.
Like so many arts organizations, especially those dedicated to serving artists of color and making their work accessible to the community, Harlem Stage is facing economic challenges like never before. Due to the cancellation of their annual spring gala, their most critical fundraiser of the year, Harlem Stage is facing a significant revenue gap that could undermine their ability to continue the mission they have so proudly championed for more than 35 years.
The event can be viewed on Harlem Stage’s Facebook and Instagram channels via the below links.
Donations are welcome to ensure the continued existence of Harlem Stage and its ability to discover, support, and commission works by visionary artists of color, and present those works at low, or no cost, to the community. To donate, please click: DONATE NOW
“The closure of performing arts venues due to COVID-19 has been difficult for artists, administrators, stakeholders and for audiences. This online celebration will showcase our mission to a wider audience and hopefully raise the critical funds needed to continue to support visionary artists of color whose daring works inspire and uplift our community and our world” said Patricia Cruz, Executive Director of Harlem Stage.
EVENT DETAILS:
Celebrating Harlem Stage
May 18, 2020 7:00PM
Online: www.HarlemStage.org
WAYS TO WATCH: Facebook & Instagram
Harlem Stage is the performing arts center that bridges Harlem’s cultural legacy to contemporary artists of color and dares to provide the artistic freedom that gives birth to new ideas. For over 35 years Harlem Stage has been one of the nation’s leading arts organizations, achieving this distinction through its work with artists of color and by facilitating a productive engagement with the communities it serves through the performing arts. With a long-standing tradition of supporting artists and organizations around the corner and across the globe, Harlem Stage boasts such legendary artists as Harry Belafonte, Max Roach, Sekou Sundiata, Abbey Lincoln, Sonia Sanchez, Eddie Palmieri, Maya Angelou and Tito Puente, as well as contemporary artists like Maimouna Youssef aka Mumu Fresh, Jason ‘Timbuktu’ Diakité, Bill T. Jones, Christian Scott aTunde Adjuah, Tamar-kali, Vijay Iyer, Mike Ladd, Stew, Meshell Ndegeocello, Jason Moran, José James, Nona Hendryx and more. Its education program each year provides over 2,000 New York City children with an introduction and access to the rich diversity, excitement, and inspiration of the performing arts. In 2006, Harlem Stage opened the landmarked, award-winning Harlem Stage Gatehouse. This once abandoned space, originally a pivotal source for distributing fresh water to New York City, is now a vital source of creativity, ideas and culture. Harlem Stage is a winner of the William Dawson Award for Programming Excellence and Sustained Achievement in Programming (Association of Performing Arts Presenters).
Zajal, renowned Downtown composer and instrumentalist Dave Soldier explores the beginning of popular song and locates it 1000 years ago at the intersection of Muslim, Jewish, and Christian cultures in southern Spain. Zajal, along with muwashaha, were the lyrics of medieval Andalusia. While many are still sung today (notably in Lebanon), their offspring are everywhere. On a trip to Spain in 2004, Soldier read about the Andalusian caliphate, when the Muslim, Christian and Jewish com- munities not only coexisted, but co-created much of the world we inhabit today. Together, they produced the novel, cowboy culture, the guitar, the dance suite, the Kabbalah, Maimonides and ibn Arabi and the discovery of the New World. And modern song: the zajal and muwashaha introduced the verse and chorus that are the backbone of popular music. Imitation of Andalusia's singing oud players begat the troubadours and the figure of the wandering poet and singer in its myriad incarnations, from Villon to Joni Mitchell.
Zajal features Maurice Chedid, a celebrated singer and oudist from Lebanon who drives a livery cab in New York; Triana Bautista and Ismael Fernandez, scions of famous Gypsy flamenco families; flamenco and Latin music singers David Castellano and Barbara Martinez; and Israeli-Moroccan-Persian vocalist Ana Nimouz. Players include composer Dave Soldier on guitar and keyboards: classical and klezmer violinist Rebecca Cherry; Alan Kushan, the foremost virtuoso of the Iranian sentur: trombonist Chris Washburne (Eddie Palmieri and Willie Colon): klezmer trombonist Dan Blacksberg: jazz bassist Ratzo Harris (Mose Allison, Betty Carter): timbalero Robby Ameen (Eddie Palmieri, Dizzy Gillespie): Greek clarinetest Lefteris Bournias: flamenco dancer and percussionist Jose Moreno: and palmas (handclaps) by the dancers Nelida (Neli) Tirado and Sonia Olla (Madonna and Ricky Martin). Dave learned flamenco guitar from Pedro Cortes, the foremost American exponent of Gypsy flamenco, who produced the record.
The lyrics are by the major Arabic and Hebrew poets of medieval Spain, plus one by their Persian contemporary Rumi in Farsi; a lyric by Dave Soldier in English that uses the sevillianas, a flamenco form; and a modern muwashaha from the great Lebanese singer Fairouz. The music uses contemporary Andalusian forms (buleria, fandango, petenera, rumba, tango) as translated through Soldier's vision of the contemporary cultures of New York City.
Musicians: Dave Soldier, guitar, keyboards, musical compositions (except #2), arrangements; Ana Nimouz, Triana Bautista, David Castellano, Barbara Martinez, Ismael Fernandez, Anais Tekarian vocals; Maurice Chedid, oud, vocals; Chris Washburne, Dan Blacksberg, trombones; Philip Payton, Rebecca Cherry (solos), violins; Alan Kushan, sentur; Lefteris Bournias, clarinet; Mahmoud Hamadani, recitation; Ratzo Harris, bass; Jose Moreno, hand percussion, trap set, vocals; Robby Ameen, timbales; Ismael Fernandez and Sonia Olla, palmas and jaleo; Neli Tirado, palmasn.
Ramas is El Búho’s third album of original material and is a celebration of the art of
collaboration. For the Paris based DJ/Producer, collaboration has been a thread throughout his career since his debut in 2016 while living in Mexico. El Búho has performed, produced and collaborated with some of the most predominate DJs and Producers in the Latin electronic music scene including Nicola Cruz, and album collaborators Chancha Via Circuito and Captain Planet.
The new album features 19 collaborations with artists from 12 countries, and was born
organically with inspiration found in collaborations, mutual appreciation or a desire to experiment and try something new. Musically the album references the blend of Latin American traditional music with original electronic music on tracks such as "Resiliencia" with legendary Chilean producer DJ Raff, an homage to the recent protest movement in Chile, or "Absolut" a track sculpted from an unfinished melodic idea by Argentine electro-folk trio Tremor. Meanwhile songs like "Nevar" and "Kif Kif Kuf Kuf" with Didacte and Kraut, both part of the Shika Shika collective, take El Búho’s sound in a new direction, embracing a more melodic, impactful and rhythmic electronica. At its heart, Ramas was Perkins’ desire to challenge himself creatively, forcing him to see his own ideas and production style from a different angle or see ideas started in one direction come back completely transformed by the collaborator. The result is at once surprising anddiverse but El Búho’s signature sound and aesthetic is the thread that runs through all of the collaborative tracks, like the tree trunk to blossoming branches (Ramas).
Ramas has taken a refreshing look at our global community and grown worldwide collaboration both visually and sonically to create art at an international scale. Living fully in the spirit of collaboration, El Búho had an open call for dancers and choreographers in his community to submit video performances. He received an overwhelming response and has incorporated 18 fan created videos with original choreographed dances for the visual presentation of the new album. The dancers, from 12 countries ranging from Mexico to Taiwan, South Africa, and the Galapagos Islands, each chose a song that most inspired them and filmed the performance in a unique and beautiful natural location; creating yet more ramas or branches for the project.
One of the forefathers of Organic Electonica scene, El Búho’s sound blends together the
rhythms, mythologies and melodies of Latin America with the sound of waterfalls, birdsongs,
crackling leaves and electronic music influences from dub to ambient. His music is a dreamy, deep, melodic journey that entrances as much through headphones as it does on the dancefloor. Incorporating his activism passion into his art, El Búho is actively involved with DJs For Climate Action and its Earth Night initiative and crowdfunded two albums “A Guide to the Birdsong of South America” and “A Guide to the Birdsong of Mexico, Central America and the Caribbean” to raise awareness around threatened bird species across Latin America.
Bay Area trumpeter and composer Ian Carey has long aimed to blend the swing and virtuosity of jazz with the dense compositional textures of chamber music, but for his latest multi-movement creation, he turns that ambition towards a more personal topic. Fire in My Head (The Anxiety Suite) is the centerpiece of his new album.
"Normally I write a piece and try to figure out what it's about later," Carey says, referring to his previous long-form work, Interview Music (released in 2016 on Kabocha Records). But when he received a grant from Chamber Music America to compose a new suite, he decided to pick a subject close to his heart: anxiety. It's an affliction he's long been familiar with, but for the last few years -- since the election of 2016, to be exact -- it's one he shares with almost everyone he meets. That includes the members of his band, the Ian Carey Quintet+1: alto saxophonist Kasey Knudsen; bass clarinetist Sheldon Brown; pianist Adam Shulman; bassist Fred Randolph; and drummer Jon Arkin. "The emotions behind the piece were not a stretch for any of us," Carey says. "That helped -- maybe not so much for our mental health, but for the music." (The advent of COVID-19 has put to rest any hope of that state of anxiety ending any time soon.)
The piece, which was premiered at the SFJAZZ Center in San Francisco in 2018, is a 50-minute, five-movement tour de force and Carey's longest composition to date. It is a vehicle for both his intricate writing and the improvisational chops of his group, previously heard on Interview Music and 2013's Roads & Codes, which received praise from DownBeat and NPR and appeared on many critics' best of 2013 lists.
The album opens with the evocative chorale of "Signs and Symptoms," which segues into a loping 5/4 groove featuring improvisatory introductions from the band, intertwined with increasingly tense variations on the theme. Inspired by a run by Carey on the "undeservedly beautiful" morning after the shattering 2016 election, the movement ends with an explosive drum solo, which sets the stage for the aggressive swing of "This Is Fine," with its instantly identifiable roots in the "Young Lions"-era bop of Carey's youth. The title refers to KC Green's ubiquitous cartoon featuring a dog calmly drinking coffee as flames surround him; appropriately, the tune is a burner, with solos by Shulman, Carey, and Randolph.
From its obsessive Fender Rhodes vamp to its expansive bass clarinet solo and combative trumpet/alto dialogues, "Thought Spirals" evokes the mental maelstrom of its title. Describing the movement's genesis, Carey recalls, "I just threw my hands on the keyboard, looped it, and happened to like the way it sounded -- that got me thinking about 'spirals.' It reminded me of what goes through my head when I'm trying to sleep!"
While a peaceful three-part canon sets the mood of "Internal Exile" -- a portrait of withdrawal into oneself for self-care during anxious times -- that mood soon dissipates in the movement's twitchy, nagging central passage: a reminder that despite efforts to detach from the world, we still have to live in the reality of it.
Tense but with flashes of rousing optimism, "Resistance" marks the acceptance of reality and the determination to grapple with it. "It sums up everything that's happened and corrals it into something like a protest anthem: 'Get up, brush yourself off, let's go,'" says Carey. After revisiting themes from earlier movements and offering final solo statements, the suite ends with a pyrotechnic display from Knudsen over what a bassist friend of Carey's called a "classic garage-band bass line."
Ian Carey Born in upstate New York, Ian Carey, 45, lived in Northern California before moving to New York City in 1994, where he attended the New School (studying composition with Bill Kirchner and Maria Schneider, and improvisation with Reggie Workman and Billy Harper). During a productive seven years in New York, he performed with musicians as varied as Ravi Coltrane, Ted Curson, and Eddie Bert. After relocating to San Francisco in 2001, he soon met the musicians who became the core of his ensemble (heard on 2005's Sink/Swim, 2010's Contextualizin', plus Roads & Codes and Interview Music), while hustling day work as a designer/illustrator -- expertise he used to create this album's vibrant comic-art-inspired cover, featuring visual portrayals of the piece's five movements as regions of his own flame-engulfed brain.
While politics were a catalyst in the composition of Fire in My Head, the work is not specific to that context; it's an examination of the psychological and physical experience of anxiety, now more than ever a widely relatable topic. Carey's extended forms are stacked with hooks, grooves, and improvisational smarts that can be as universally appreciated as the subject itself.
The Ian Carey Quintet+1 is scheduled to perform Fire in My Head and more at the Sound Room, 2147 Broadway, Oakland, on Friday 5/15 at 7:30pm.
Fire in My Head has been made possible with support from Chamber Music America's New Jazz Works program, funded through the generosity of the Doris Duke Charitable Foundation.
Blue Engine Records, Jazz at Lincoln Center’s in-house record label, will release The Fifties: A Prism by the Jazz at Lincoln Center Orchestra with Wynton Marsalis. Composed and arranged by Jazz at Lincoln Center Orchestra trombonist Christopher Crenshaw and recorded live at Jazz at Lincoln Center's Frederick P. Rose Hall–also known as the House of Swing–in February 2017, the suite combines many of the different styles and movements that made the jazz of the 1950s so creatively vital. The result is a distinctly modern take on classic jazz idioms. The Fifties is at turns playful and moving, melodic and challenging—but it's always swinging. Blue Engine Records’ The Fifties: A Prism will be available exclusively on digital platforms on May 1, 2020 at jazz.org/thefifties.
“All jazz is modern,” says Jazz at Lincoln Center’s Managing and Artistic Director, Wynton Marsalis—and we owe the 1950s for that. The momentous decade became the crucible in which modern jazz was formed, as styles like modal, hard bop, third stream, and more melted together and artists like Miles Davis, Duke Ellington, and Ornette Coleman reached the height of their powers.
Now, Crenshaw has taken inspiration from the era to create The Fifties: A Prism, the newest Blue Engine album. He says, “When I was presented with the idea of coming up with a suite dealing with the 1950s, I immediately realized this was going to cover all the genres of jazz, from bebop to freedom music.”
TRACK LISTING:
I. Flipped His Lid (6:56)
Solos: Sherman Irby (alto saxophone), Stantawn Kendrick (tenor saxophone), Dan Nimmer (piano)
2. Just A-Slidin’ (5:57)
Solos: Vincent Gardner (trombone), Elliot Mason (trombone), Ali Jackson (drums)
3. Conglomerate (5:24)
Solos: Paul Nedzela (baritone saxophone), Wynton Marsalis (trumpet), Stantawn Kendrick (tenor saxophone), Carlos Henriquez (bass),
4. Cha-Cha Toda la Noche (5:31)
Solos: Victor Goines (clarinet), Vincent Gardner (trombone), Carlos Henriquez (bass)
5. Unorthodox Sketches (5:31)
Solos: Victor Goines (clarinet), Sherman Irby (alto flute), Ted Nash (piccolo), Paul Nedzela (bass clarinet)
6. Pursuit of the New Thing (10:14)
Solos: Ted Nash (alto saxophone), Wynton Marsalis (trumpet), Stantawn Kendrick (tenor saxophone)
Personnel:
THE JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS
2016-17 Concert Season
REEDS
Sherman Irby — alto saxophone, alto flute
Ted Nash — alto saxophone, piccolo
Victor Goines — tenor saxophone, clarinet (February 17 only)
*Dan Block— tenor saxophone, clarinet (substitute for Victor Goines, February 18 only)
Walter Blanding — tenor saxophone
*Stantawn Kendrick — tenor saxophone
Paul Nedzela — baritone saxophone, bass clarinet
TRUMPETS
*Tatum Greenblatt
Marcus Printup
Kenny Rampton
Wynton Marsalis
TROMBONES
Vincent Gardner
Christopher Crenshaw — music director
Elliot Mason
RHYTHM SECTION
Dan Nimmer (piano)
Carlos Henriquez (bass)
Ali Jackson (drums)
The historic concert brought together legends and multiple GRAMMY Award-winning artists to the hallowed stage of the Apollo Theater to celebrate the greatest jazz singer of them all, Ella Fitzgerald…from where it all began
Ella 100: Live at the Apollo!, set for release on April 24th, 2020 via Concord Jazz, celebrates the music and life of the “First Lady of Song,” Ella Fitzgerald, hailed as perhaps the greatest singer in the history of jazz. Recorded live at the storied Harlem N.Y. venue in front of an ecstatic audience, the concert and recording, produced by the eight-time GRAMMY and Emmy Award recipient and former Fitzgerald musician Gregg Field, features dynamic and loving tributes from a parade of contemporary vocal and musical giants and co-hosted by GRAMMY award winner Patti Austin and the multi-TONY award nominated actor/singer David Alan Grier.
In addition to Austin and Grier, the concert features performances by Andra Day, Ledisi, Lizz Wright, Cassandra Wilson, Monica Mancini and the award-winning a cappella vocal group from Howard University, Afro Blue. Accompanying these world-class vocalists is none other than the Count Basie Orchestra and strings, so effectively presenting the music of Ella and the renowned orchestra with whom Ella so often collaborated. Also featured, and to celebrate Ella’s famous quartet, is the deeply swinging Ella 100 All-Star Quartet with Shelly Berg, Nathan East, Brian Nova and Field, who channel the spontaneous spirit direct from Ella.
At just 17, Ella entered the famous Apollo Amateur Contest to dance but made a last instant and fateful decision to sing for the notoriously difficult-to-please Apollo Amateur Night crowd. Her shockingly original and vibrant delivery of Hoagy Carmichael’s “Judy” with a range and depth simply unheard-of—especially from one so young—brought the house down, thus launching a remarkable career that changed 20th Century music and has not been equaled to this day.
Ella 100: Live at the Apollo! opens with a vintage radio broadcast of that fateful evening and features Grier with a faithful recreation of original Apollo Amateur Contest host Ralph Cooper introducing the young Ella and her unexpected performance of “Judy,” sung here by the fabulous 17 year old vocalist Ayo (Ayodele Owolabi). Grier then offers his opening remarks and introduces Austin who comes out swinging for the fences with delicious takes on Ella’s signature hit “A Tisket, A Tasket”, and then authentically brings the Harlem swing-era centric “When I Get Low, I Get High” back to the Apollo stage.
To the complete surprise of the enthusiastic Apollo audience, Grier returns shortly thereafter with a funky, contemporary reading of “Do Nothin’ Till You Hear From Me”, effectively demonstrating what his three Tony-nominations sound like when on full display in Ella and Ellington land.
“I didn’t know David could sing until I heard him as Sportin’ Life in the recent Broadway revival of Porgy and Bess,” that he received a Tony nomination for” says producer Field, who played drums with both Fitzgerald and Basie during his own long, distinguished career and assembled the lineup for Ella’s 100th celebration.
“I’ve been working with Patti Austin for years and actually produced her ‘For Ella’ album way back when and suggested that she and David co-host the celebration.”
They were quickly in and Kamila Forbes and Laura Greer from the Apollo and I started putting the evening together. It was an enthusiastic yes from all the artists we invited as they each felt a unique kinship to Ella and wanted to perform her music on the Apollo stage.”
In some cases, the artists themselves like Austin, Monica Mancini and Field all had a personal relationship with Ella. “The more we could bring artists into the line-up that had a direct association with Ella the more authentic this evening would become.” Field noted.
Andra Day (who appears on CD release only) performing “Ain’t Misbehavin’” (featuring a later Nelson Riddle arrangement written for Ella and never recorded), a pair of tunes from Lizz Wright, “Love You Madly” (with The Ella 100 All-Star Quartet) and the show stopping “The Nearness of You,” plus a stunning duo interpretation of the ballad “Once in a While” featuring Mancini and Joe Pass protégé guitarist Brian Nova—in the spirit of Ella and Joe Pass—are among the highlights of the evening. Cassandra Wilson turns in a deeply passionate and blue reading of “Cry Me a River,” and 12-time GRAMMY Award-nominated singer Ledisi brings her deep New Orleans jazz roots to Ella’s “Honeysuckle Rose.”
Another high point features the vocal choir Afro Blue, bringing back to the Apollo stage the grand tradition of a’cappella singing, harmonizing splendidly on “Lady Be Good.” They then join Austin for a ripping scat-infused romp through Ella’s classic “How High the Moon,” followed by the Count Basie Orchestra, with its explosive instrumental workout of the appropriately named “Back to the Apollo,” reminding contemporary audiences why the Basie band remains “The most explosive force in Jazz”
To round out the concert and celebrate the great Ella pairings, the concert includes two duets featuring co-hosts Austin and Grier: first a medley of Gershwin standards, “I Loves You Porgy” and “There's A Boat Dat’s Leavin’ Soon for New York” celebrating the great Ella and Louis Armstrong album Porgy & Bess, and finally the perfect closer to blow the roof off the Apollo, “You’ll Have to Swing It (Mr. Paganini),” bringing us full circle and back to one of Ella’s earliest hits recorded back in 1936 when she was the girl-singer for the great Chick Webb Orchestra.
And as the ultimate encore, a special and rare track of Ella herself performing an astoundingly personal version of “People,” poignantly expressing her love for the fans, the artists and musicians that in turn loved her so dearly.
For Field and the Apollo, the opportunity to present the broad scope of Fitzgerald’s music, especially in the context of the legend’s centennial birthday, was a dream realized. And presenting the concert on the stage of the fabled Apollo, where it all began for Fitzgerald, made it that much more than just another collection of songs performed in tribute.
Field fondly recalls in the minutes just prior to the concert starting, the gravitas of where they were and what they were collectively about to do. “The curtains were closed and we were just about to let it fly when there was a spirit that hit all of us I don’t believe I’ve experienced on any stage. I turned to the band and choking up a bit said, ‘Hey guys, that’s the spot where Ella sang for the very first time. Let’s play this one for Ella.”’
“We all felt the history. It was palpable. Knowing where it all began with this confluence of talent could have only happened that night on the Apollo stage. After we played our last note,” Field adds, “a couple of the hardened NY string players came up to me and said, ‘That was the most amazing night I’ve ever experienced.’ The Ella stars aligned and shined brightly that evening at the Apollo and created an unforgettable and timeless moment for all those lucky enough to be in the house… or on the stage.”
On November 21, 1934, a shy 17-year-old girl walked onto the stage of Harlem’s famed Apollo Theater fully intending to show the Amateur Night audience just how well she could dance. Instead, she made a last-minute decision to sing.
American music would never be the same.
Three-time GRAMMY winner Sarah Jarosz has announced the June 5 release of World On The Ground (Rounder Records), her first new album in four years. The soulful and gorgeous collection - produced by John Leventhal (Rosanne Cash, Elvis Costello) and recorded in his Manhattan home studio - follows Jarosz’s Grammy-winning 2016 release Undercurrent (Rounder).
World On The Ground is a collection of stories both real and imagined exploring the tension and inertia of small-town living. Jarosz, a native of Wimberley, TX (pop. 2,626) and current NYC resident, explores the desire for escape set against the ease of staying put. The album is populated by sensitive souls, aimless wanderers, and back-porch daydreamers. Their stories are illuminated by the album’s spacious yet intricate arrangements and Jarosz’s captivating voice and richly detailed songwriting. With the scope of a novel and a sound inspired by classic Texas songwriting, World On The Ground paints a portrait that exists outside of time.
World On the Ground takes its title from album highlight “Pay It No Mind,” in which wisdom is passed down through song by a bird looking down at the world: “When the world on the ground is gonna swallow you down, sometimes you’ve got to pay it no mind.” The song’s “little bird stretching her wings” graces the album’s cover, an Erin E. Murray painting gifted to Jarosz from her parents.
At 28, Sarah Jarosz is already a three-time GRAMMY winner. In addition to her solo work, she is also a member of the Grammy-winning group I’m With Her and is a frequent guest on Live From Here with Chris Thile. The multi-instrumentalist first started with the mandolin at age nine and earned her first GRAMMY nomination at age 18 for her 2009 debut, Song Up in Her Head.
Supreme Music 2000 and Hit City Digital Records are pleased to announce the release of Henry Turner Jr.’s & Flavor’s new CD “Now.” The long awaited recording, written over a period of ten years, reflects the evolution of Henry's distinctive sound and songwriting creativity and showcases his ability to authentically capture the full spectrum of the human experience.
The Baton Rouge-based musician began in his career in Top-40 and then became known for founding the Crystal Band in the R&B/Funk era. Changing focus he re-started his career with the Bob Marley Reggae Tours and is currently known for his blues-oriented progression.
As founder of the Baton Rouge Mardi Gras and Soul Food Festivals, Henry wrote and performs "I Love My Soul Food" and "I'm Going Down to the Mardi Gras," both fan favorites at these annual events. He further celebrates his hometown with the "Baton Rouge Theme Song," an increasingly popular tribute. Bluesy confessionals include "I'm Not That Kind of Man" and "I (One) Wish," followed by the mellow jazz instrumental "Irenkar." The album also features two songs from the recent documentary chronicling Henry's life and career, "Music Dreams...An American Story." They are the heartfelt ballad "Long As I Live" and the regional football anthem, "That's My Saints." For more information please visit www.henryturnerjr.com.
“Now” credits are Henry Turner Jr. on vocals, guitar, bass and drums. “I Love My Soul Food” features Jenessa Nelson on backing vocals. “Long As I Live” has Maestro and JahB, keyboards with Molly Milne on backing vocals. “That’s My Saints” is Maestro on keyboards and accordion, with Joey Decker on horns. “I’m Not That Kind of Man” features keyboards by Tony Mitchell and backing vocals by Wyanda R. Paul. “I’m Going Down to the Mardi Gras!” is Andrew Bernard on saxophone and keyboards, Larry Bradford on percussion with backing vocals by Jenessa Nelson. 1 (One) Wish lead vocalist is Char Robertson with Maestro on keyboards and Larry Bradford on percussion. “Baton Rouge Theme Song,” features Andrew Bernard on saxophone, Lynwood Ourso on lead guitar, Larry Bradford on percussion and backing vocals by Jenessa Nelson. “Irenekar” also features Larry Bradford on percussion. All songs were written by Henry Turner Jr., 1 (One) Wish was co-written by Char Robertson.
The CD was produced by Henry Turner Jr. and recorded at Hit City Digital Records. Re-mix and mastering by Joey Decker at Disk Productions. CD graphics and design by Christopher Turner. Cover and additional photography by Adrian R. Reed. The project was sponsored by Tammie L. Cole, with liner notes by Hedi Butler and Marcia Groff.
Bassist Antti Lötjönen, one of the most highly-regarded and active musicians working in the Finnish jazz scene, steps ahead with his debut album as a leader on Helsinki's We Jazz Records.
‘Quintet East’ features hard-hitters Verneri Pohjola on trumpet, Mikko Innanen (of Koma Saxo) and Jussi Kannaste (of 3TM) on saxes, plus Joonas Riippa on drums. Lötjönen himself is best known from his inspired work with The Five Corners Quintet, 3TM, Ilmiliekki Quartet, Aki Rissanen Trio and Timo Lassy, to name but a few. In late 2018, Lötjönen completed an acclaimed trio stint of European headline shows with Jeff "Tain" Watts and Kurt Rosenwinkel.
On his new album, Lötjönen shines bright as both bassist and composer, presenting a compact yet far-reaching program of 9 tracks, 8 of which are penned by him. Monumental compositions such as the steadily swinging lead track "Erzeben Strasse" and the calmly confident "Le Petit Lactoire" rub shoulders with short-but-sweet teasers such as the funky "P.S.", the pastoral "Rowan" and the two solo bass tracks, "Monographs" I & II. While star-studded and packing unlimited improvisational potential, the band remains together as a unit and delivers a beautiful musical statement, one which echoes the DIY ethos and fire of the late 60's free music but also one which is very much of today and tomorrow, as constantly evolving jazz music.
Antti Lötjönen's "Quintet East" is released by We Jazz Records on 17 April on vinyl with old school tip-on sleeve and silver lettering, on CD and digitally.
It arrives a day before the artist's 40th birthday, thus also achieving his goal of releasing his debut LP before turning 40. Already a fixture in the local live circuit, the band heard on ‘Quintet East’ will likely be a force to be reckoned with outside of their native surroundings.
Art Blakey’s Jazz Messengers were the greatest incubator of talent the jazz world has ever known, and the late-‘50s were arguably the outfit’s most fertile period, as Blakey led not one, not two, not three, but four aggregations that spawned the next generation of jazz superstars, and you will find them ALL on this 2-CD, 17-track collection of his Columbia and RCA/Vik sides, which rank with his Blue Note sides as the best of the era.
The set begins with three tracks from the 1956 Columbia album The Jazz Messengers featuring the jaw-dropping line-up of Blakey, Donald Byrd on trumpet, Hank Mobley on tenor, Horace Silver on piano, and Doug Watkins on bass. After that album, Silver split and took Byrd, Mobley, and Watkins with him, but Blakey turned around and hired soon-to-be-legendary alto saxman Jackie McLean along with trumpeter Bill Hardman, pianist Sam Dockery, and bassist Jimmy “Spanky” DeBrest to replace them. This unit recorded the next three tracks including the McLean composition “Little Melonae.” “The Sacrifice” and “Cubano Chant” hail from album sessions with The Art Blakey Percussion Ensemble featuring bassist Oscar Pettiford and pianist Ray Bryant, while the last two tracks on Disc One, “Almost Like Being in Love” and “Couldn’t It Be You,” add tenor titan Johnny Griffin to the Jazz Messenger mix.
Disc Two gets off to a showstopping start with Blakey’s first-ever recording of Dizzy Gillespie’s “A Night in Tunisia” (Blakey recorded it 11 times) with the Blakey/DeBrest/Dockery/Griffin/Hardman/McLean line-up…a historic track, to say the least! Then, we get a series of little-known live performances from France that introduce the third and fourth of the great Jazz Messenger rosters to appear on this collection.
First, we get the one that appeared on the classic Blue Note album Moanin’ with saxophonist-composer Benny Golson, a young Lee Morgan on trumpet, Bobby Timmons on piano, and Jymie Merritt on bass. Then, the last two tracks usher in the fourth and final great Jazz Messenger line-up heard here, with Wayne Shorter replacing Benny Golson and Walter Davis, Jr. replacing Bobby Timmons on “Lester Left Town” and “A Night in Tunisia,” bringing the proceedings to a most satisfying (and intense!) conclusion.
Compiled and annotated by Grammy Award-winning jazz record producer/executive/archivist/historian Richard Seidel, remastered at Maria Triana at Battery Studios, and featuring prime period photos, The Best of the Columbia & RCA/Vik Years (1956-1959) represents an essential addition to the Art Blakey discography.
