Monday, March 24, 2014

IVO PERLMAN RELEASES TRIO OF ALBUMS: THE OTHER EDGE, TWO MEN WALKING, AND BOOK OF SOUND


In his latest, triple-pronged attack on artistic complacency, the hyper-expressive saxophonist Ivo Perelman employs the tactic of accretion: in duo, trio, and quartet formats, he displays not only his wide artistic range but also his exceptional capacity for subtle variety. Each of these albums can stand completely on its own; taken together, they offer a snapshot of this particular juncture in Perelman's artistic evolution. (All three were recorded between October 2013 and January 2014.) These albums also extend the rarely paralleled burst of creative activity that has seen Perelman - a productive musician and graphic artist, even in his "slow" periods - release nearly 20 albums in the last four years.

"I had an intense creative frenzy maybe 15 years ago," Perelman has recalled, referencing a two-year span in the mid-90s during which he released a dozen albums. "And now it's happening again, after spending a lot of time practicing some new ideas involving my mouthpiece, tonguing, sound production - the saxophone in general."

THE OTHER EDGE

In contrast to that earlier period, Perelman now works almost exclusively with a small pool of collaborators - a testament to the challenge of finding simpatico collaborators for his daring approach to improvisation. To achieve variety for the listener, as well as novelty and inspiration for himself, the Brazilian-born saxophonist mixes and matches from within this pool of artists so that his recordings almost never feature the exact same personnel and instrumentation. Each album shuffles the deck: one features this bassist with that drummer; or both those artists with piano; or piano, bass, and a different drummer; or sax and drums only, or maybe with two bassists added. The faces remain familiar, but the group portrait changes with each new project.

That philosophy makes this latest set of releases especially intriguing, in that they show Perelman's willingness to "regroup," in a sense - to re-investigate some of the musical relationships that have proved particularly satisfying.  One album reunites him with the Matthew Shipp Trio, with whom he previously recorded in 2012; another re-creates the trio that last met on the album Cama Da Terra, in 1996. The third release allows him to solidify his partnership with violist Mat Maneri, a new star within the saxophonist's tiny galaxy. "Each of my projects holds a set of parameters that will never be repeated," Perelman says, explaining his relentless quest to elude creative stasis. But in certain cases - when there is "so much potential," in his words - he's more than willing to challenge his own rule.

That was certainly the case for Two Men Walking, the new album of Perelman-Maneri duets, which follows close on the heels of their first meeting in May 2013; that recording (which also featured pianist Shipp) produced an album of music used on the soundtrack of the Brazilian film A Violent Dose Of Anything. After that session, says Perelman, "I felt like, Wow! I've got to play with this guy again! I felt a kinship in our thinking. He's like an alter ego, almost telepathic. It's like each of us is playing both instruments." Perelman has a special fondness for the string family, having himself played cello (the viola's big brother) as a youth, before taking up the saxophone: "I find I can mutate, like a chameleon, in the presence of string instruments. . . . And I find tenor and viola in particular is a match made in heaven."

TWO MEN WALKING

Neil Tesser in the liner notes writes, "Perelman and Maneri adore the highest (altissimo) register of their instruments, which further tightens their specific partnership - that, and the fact that each has studiously developed the ability to produce these difficult, dangerous, and easily maligned octaves." Indeed, one of the distinguishing features of this partnership is the ability of the tenor and viola to complement each other in this extreme range of their instruments - as if they in fact inhabited that sonic aerie by right, and descended into the "normal" registers of their instruments for variety, instead of the other way around. (Maneri learned to explore the outer reaches of timbre, as well as melody and structure, from his father and mentor, the iconoclastic saxophonist Joe Maneri; their 1996 album Three Men Walking inspired the title of the current project.)

In contrast to his recent alliance with Maneri, Perelman has had plenty of experience with the artists joining him on The Other Edge - most recently on its namesake, the 2013 album The Edge (also on Leo Records). The quartet heard on both discs comprises the members of Matthew Shipp's trio. Perelman has recorded more than a dozen albums with pianist Shipp, and has often performed with him in varying contexts; Shipp's bassist (Michael Bisio) and drummer (Whit Dickey) have each recorded separately with the saxophonist as well. The second production by this foursome results in a spectacularly eclectic collection, with wholly improvised works as likely to reference classic swing as Balinese gamelan, delicate rubato harmonics, or American Indian stomps.

BOOK OF SOUND

Shipp again joins Perelman on Book Of Sound, their reunion in a trio setting with bassist William Parker, the acclaimed bassist and new-jazz activist with whom Perelman and Shipp each played early in their professional careers. "In creating the finished product," liner-notes writer Neil Tesser explains, "Perelman allowed himself only one of the plenary options available to a modern recording artist: he altered the order in which the tracks were recorded. . . . Book Of Sound presents what amounts to one large composition: a multi-movement, album-length piece, tectonically balanced between exuberance and introspection, light and dark." The titles of the various "movements," all of which reference ancient Latin aphorisms, further binds these disparate performances into a single work.

Born in 1961 in São Paulo, Brazil, Perelman was a classical guitar prodigy who orbited a series of other instruments before finally gravitating to the tenor saxophone. His initial influences, cool jazz saxophonists Stan Getz and Paul Desmond,  could hardly have presaged the galvanic, iconoclastic improvisations that have become Perelman's stock-in-trade. But those early influences helped shape the romantic warrior at the heart of his most heated musical adventures.

In 1981, Perelman entered Berklee College of Music in Boston, where he focused on the mainstream masters of the tenor sax, to the exclusion of such pioneering avant-gardists as Albert Ayler, Peter Brötzmann, and John Coltrane - all of whom would later be cited as precedents for Perelman's own work. He left Berklee in 1983 and moved as far from Boston as possible - to Los Angeles, where he studied with mainstream vibraphonist Charlie Shoemake, at whose monthly jam sessions Perelman discovered his penchant for post-structure improvisation. "I would go berserk, just playing my own thing," he explains now. Emboldened by this approach, Perelman began to research the free-jazz saxists who had come before him. So Perelman undertook a survey of post-60s avant-gardists. In 1989 he recorded the first of more than 50 albums now under his own name, featuring a number of mainstream and Brazilian jazz musicians, and a program comprising traditional Brazilian folk melodies. But even then, he recalls "moments of real free playing, and I decided I liked it. I finally moved to New York and hung out with like-minded players, and I knew I had found my crowd."

In the last few years, Perelman has immersed himself in music from the 16th and 17th centuries, specifically music written for the natural trumpet - the instrument used before the invention of valves - which required players to create all the notes simply by varying the air pressure applied to the horn. Perelman now applies the techniques of natural-trumpet playing to the saxophone, in order to gain even more command of the squeaky-high altissimo range - this despite his already unsurpassed mastery of this register. He has gone so far as to commission the construction of saxophones without any keys at all, training himself to play full scales using air pressure alone, which is unprecedented in the history of reed-instrument praxis.


TED ROSENTHAL TRIO - RHAPSODY IN GERSWHIN

No living pianist is better equipped to address the music of the iconic composer George Gershwin than Ted Rosenthal, as is amply displayed on Rhapsody in Gershwin, his 15th release as a leader. Fulfilling The New Yorker's description as "a musician's musician who balances technique and taste," Rosenthal launches the proceedings with a kaleidoscopic trio arrangement of Gershwin's enduring concerto Rhapsody In Blue, and continues with personalized interpretations of seven enduring hits from Gershwin's canon.

The treatments by Rosenthal and his impeccable trio (bassist Martin Wind, drummer Tim Horner) further burnish his long-standing reputation as one of the leading jazz pianists and improvisational conceptualists of his generation, as a jury panel comprising Barry Harris, Tommy Flanagan, Sir Roland Hanna and Roger Kellaway affirmed in November 1988, when they named him winner of the second annual Thelonious Monk International Jazz Piano Competition.

"The 'Rhapsody' trio arrangement was born of practical considerations," Rosenthal writes in the liner notes, explaining that he received an offer to perform Rhapsody In Blue that did not include a sufficient budget for a full orchestra. Intimate with the piece through frequent performances as a solo pianist, with various symphony orchestras, and, most recently, with a Paul Whiteman style jazz orchestra in a February 2014 concert at New York's Town Hall celebrating Rhapsody's 90th anniversary, Rosenthal decided to take on the challenge. Throughout the epic journey that is Rhapsody in Blue, he hews to the original score, never losing sight of the melodies and motifs, "while adding my own jazz improvisations in the cadenza sections" and postulating an array of colors, moods and textures for the trio to navigate.

"What was tricky, challenging and fun was to strike a balance between the notes that Gershwin
wrote and the new directions that we take it," Rosenthal says. "If you take the jazz and the solos too far, you might start to lose the focus; if you just play the piece, someone may say, 'Where's the jazz?' I've played Rhapsody in a more historical context, with all the notes and nothing extra. But I'm a jazz musician, and I prefer to do it with improvisation, which I think is natural. In a way, I'm bringing a few worlds together with this recording."
  
On Rhapsody In Gershwin, much as he did on the acclaimed 2010 Playscape album Impromptu, on which he addressed a cohort of 19th century classical themes, and last year's Wonderland, a far-flung recital of songs associated with the winter holidays, Rosenthal references a broad range of jazz history and expression in presenting the Gershwin tunes.

"One thing I enjoy is taking a standard and finding my own way to present and play it in the jazz trio context," Rosenthal says. An example is "Let's Call The Whole Thing Off," on which he sets up a sly, witty, smoky ambiance that mirrors the lyric and melody, creating simple cohesive phrases, deploying a force-of-nature left hand, swinging deeply at a slow-medium, adults-only tempo.

Tinges of Monk infuse the introduction to "Fascinatin' Rhythm," before the trio launches a brisk, multi-sectional treatment with various rhythmic twists and turns. Rosenthal cites "a Bill Evans influence" on reharmonized versions of "I Loves You Porgy" and "Someone To Watch Over Me," and observes that "Strike Up The Band" and "Love Walked In" are examples of his "derangements," on which he uses "various rhythmic and harmonic approaches to personalize the song."

"Some of my most important influences were pianists who had an historical and wide-ranging approach," says Rosenthal, particularly emphasizing that lessons during high school years with stride-to-avant maestro Jaki Byard influenced his inclusive penchant for embracing the language and aesthetic principles of jazz piano tradition while restating it in his own manner. "With Jaki it was almost an absence of dogma. I was drawn to the idea of being able to play many pianistic techniques. Whether playing stride or free, I don't feel constrained in any way."

"Gershwin is almost taken for granted, because he's such a staple of American culture," says Rosenthal, 54, who himself stands only a degree or two of separation from Roberts by dint of close proximity to hardcore stride practitioners like Byard and Dick Hyman. "But he wrote both songs and extended pieces, and he was a wizard-like pianist who could play his pieces all night at a party to dazzle the party-goers, especially the ladies. When I think about my musical identity, I'm also a pianist, composer and arranger."

After graduating from Manhattan School of Music and receiving Bachelors and Masters degrees in piano performance, Rosenthal spent the next decade gigging around New York on freelance jobs with the likes of Phil Woods, Ron Carter, Mel Lewis, Clark Terry, Grady Tate, and Lionel Hampton, among others. In 1992, the pianist also joined Gerry Mulligan's Tentette and recorded three albums and performed in major jazz festivals throughout the world with the band until Mulligan's death in 1996. Rosenthal went on to perform as a sideman with artists including Art Farmer, Jon Faddis, Randy Sandke, Ken Peplowski, Ann Hampton Callaway, and more.

Despite his extensive experience as a sideman, Rosenthal has released more than a dozen albums as a leader. Most recently, the pianist released Wonderland (2013), and Impromptu (2010), on which Rosenthal reimagined classical themes for a jazz trio. Both albums, similar to Rhapsody in Gershwin, have strong influences and homages but still exhibit Rosenthal's own attitude and approach: expressive, creative, and sparkling.

Ted Rosenthal's Rhapsody in Gershwin Album Release Performance:
May 14 / Dizzy's Club Coca-Cola / New York, NY

Ted Rosenthal · Rhapsody in Gershwin / Playscape Recordings · Release Date: May 13, 2014

 

MESTRE CUPIJO E SEU RITMO - SIRIA

Cametá, a historical little Amazonian town on the shores of the river Tocantins, is the birthplace of the scorching music known as “Siriá”; a cross pollination between the music of the inhabitants of the quilombos, a Brazilian hinterland settlement founded by escaped slaves of African origins, and the indigenous people of the Amazon rainforest. It is a breathing, pulsing, emphatic beat, and the modernised version of this local music, created by Mestre Cupijó, has been igniting street parties and traditional festivals across the state of Pará in Northern Brazil for decades. And at last in 2014, the combustible sound of Siriá will be celebrated internationally as the feverish, tropical sound of the summer!

Foretelling his talent to flow between cultures, Cupijó was named after a local river when he was born in 1936, into a family of musicians. His father, Mestre (Master) Vicente Castro, was also known as Mestre Sicudera, the musical director of Centennial Euterpe, one of Brazil’s oldest bands, founded in 1874. At 12, Cupijó started to play the clarinet. He also became proficient at the piano, mandolin and guitar, although the instrument that came to personify his sound was the alto saxophone. Waltz, bolero, cha cha cha and an assortment of dance hall music became part of Cupijó’s repertoire, but it was Carimbó and Siriá, the music played by the black communities of Pará, that had the strongest impact on the young musician.

To grasp the soul of this music, Cupijó went to its source and lived with the quilombolas (maroon) community of the Amazon. Upon his return, enriched by this life-changing experience, he founded the band “Jazz Orquestra os Azes do Ritmo” with the goal of reinventing Siriá and modernising Samba de Cacete, Banguê and other folkloric music of the state of Pará. Airwaves from the Caribbean and Latin America had also brought the cumbia sound of the mighty Colombian orchestras, Merengue from the Dominican republic and Cuban music to the Amazon, all of which had an impact on the music of Northern Brazil, Mambo especially! Mestre Cupijó took these influences and mixed them in with the ingredients he had studied in the Quilombos. That fusion – as we are witnessing on this record – had explosive effects.

His fresh new sound became the soundtrack to Cametá’s legendary Carnival and soon his troupe were invited to other festivals along the river. Transportation to these concerts was via small boats, where three or four musicians would share a vessel with their instruments tucked between their legs. In those days there were no posters or radio adverts to promote the shows in any way, yet Cupijó’s shows became notorious. In an interview one of his band members explains: “Whenever there was a party – on a Saturday for example – and it was known that Mestre Cupijó would play, the news would spread incredibly fast, just by word of mouth. We didn’t understand how that was possible, but it certainly was amazing.”

After the initial wave of enthusiasm, the first two LPs were recorded with rudimentary equipment in a dance club in Cametá. However, it was the third attempt, recorded in a studio in Belém, which would trigger a phenomenal success. “Caboclinha Do Igapo” and “Mambo do Martela”, included on this record, became instant hits. A year later, “Mingau de Açai”, one of Cupijo´s most popular tunes, took the region by storm. In total six LPs were recorded by Mestre Cupijó.

He then created “Concurso de Musicas Carnavalesco de Compositores Cametaenses”, a contest for carnival music composers. The songs composed expressly for these contests in the 70s are still performed today during carnival season. In addition to evolving the Pará music culture in this way, he also owned a makeshift soundsystem, “Musicolor”, to spin the discs of local artists before his own shows to the frenzied crowds. Mestre Cupijó proved himself a philanthropist as well as a conductor for the people’s music, and acted as a provisional lawyer for the city of Cametá, specialising in help for the poor. He also had a short spell in politics and was elected by a vast majority to the station of Municipal Councillor of Cametá.

Master Cupjó, the pillar of Pará’s festive culture, and a humble pop icon who was ushered prominently into the country’s history books, passed away on 25 September 2012, at the age of 76.

We at Analog Africa are ferociously proud and honoured to have the chance to present these carefully selected tracks from Mestre Cupijó’s six studio albums. We hope that his music captivates you with the magic and bewilderment that is has us. We recognise his compositions as true anthems of life and vitality, vibrantly encouraging all to drink and dance until sunrise! Let go of your inhibitions and immerse yourself in the wonderful world of Mestre Cupijó … Segura!!!

analogafrica.blogspot.com

Tracklisting: 

01. Mingau de Açai
02. Mambo Do Martelo
03. Caboclinha Do Igapo
04. Tubarao Branco
05. Morena Do Rio Mutuacá
06. Papa Chibe
07. Farol Do Marajó
08. Cadé O Anel
09. Ventinho Do Norte
10. Siriá Quente
11. Eu Quero O Meu Anel
12. Perereca
13. Pra Dança Meu Siriá
14. Passarinho Siriri


The album Mestre Cupijo e Seu Ritmo “Siria” (Analog Africa) is going to be released April 25, 2014.


NEW RELEASES: MICHAEL WOLLNY TRIO - WELTENTRAUM; NILES LANDFREN - ETERNAL BEAUTY; SNARKY PUPPY - WE LIKE IT HERE

MICHAEL WOLLNY TRIO - WELTENTRAUM 

Wollny's new trio recording Weltentraum is a stunning example of contemporary interpretation in the hands of a unique, fluidly virtuosic artist. Wollny, with both elegance and wit, explores the connection between songs that are worlds apart in terms of both centuries and cultures on the upcoming release. But in the pianist's hands, the combination of interpretations of "God is a DJ" by the pop star Pink and the piece 'Lasse!' by Guiliaume de Machaut (the French Medieval composer and poet) gets to feel entirely natural. With the resourcefulness of a world-class contemporary jazz improviser, Wollny finds common value in the songs starkly haunting melodies in spite of arriving from hugely diverse sources.

NILES LANDFREN  - ETERNAL BEAUTY 

Landgren has once again reverted to the select band of brothers Wollny, Lars Danielsson, and Rasmus Kihlberg with the further addition of guitarist Johan Norberg who Landgren has performed with on and off for decades. "It is my dream team, and one that I hope will play together for a long time," says Landgren of this group. It is also ideal for the approach that Landgren pursued on Eternal Beauty: "I wanted to make a really homogenous record - just us playing the simple and beautiful melodies simply and beautifully." The album title indicates the direction that the songs chosen by Landgren, Wollny, Norberg and producer Siggi Loch took: "The music and lyrics had to fit us, and they had to be songs that are eternal for me, personally." Most of the songs on Eternal Beauty should resonate with many listeners, with tracks ranging from George Harrison's "Isn't It A Pity" to Mr. Mister's "Broken Wings" on through to "We Don't Need Another Hero", made popular by Tina Turner. He also includes jazz ballads like "One More Angel" from the jazz bassist John Patitucci, and "Another Kind Of Blue" by the New York-based German guitarist Torsten de Winkel. Michael Wollny wrote the title track together with Eva Svensson, Esbjörn Svensson's widow. Much is left up to this talented team that Landgren trusts without reservation. Landgren explains, "We did have an idea of how we could play each of the songs, but we didn't prescribe much and we arranged them very sparingly, because with these guys the musical concept arises when we meet. When we start to play, the magic begins."

SNARKY PUPPY - WE LIKE IT HERE

A brilliant set of live Snarky Puppy, in all its tightly grooving, though boundlessly creative jazzy soul glory – and it's as great as anything we've heard or seen from them to date! The "Here" of We Like It Here is Utrecht, Netherlands – where they recorded it live (with no overdubs. . .which is incredible, given the deft musicianship) – over 4 days at Kytopia Studios, complete with a studio audience. It's amazing stuff, bringing in even more diverse influences than before, including some kinda proggy funk, which suits the group and the live setting very well. The package includes the set on both CD and DVD, and the titles include "Shofukukan", "What About Me" "Sleeper" "Jambone", "Kite", "Outlier", "Tio Macaco" and "Lingus". ~ Dusty Groove


SHARON MARIE CLINE - THIS IS WHERE I WANNA BE

Featured This Week On The Jazz Network Worldwide: Vocalist, Sharon Marie Cline Introducing Her Latest CD Project “This Is Where I Wanna Be” and upcoming first west coast CD Release Concert.

Sharon Marie Cline is celebrating her third release with a CD Release Concert on March 28th, 2014 at the House of Music and Entertainment H.O.M.E. in Beverly Hills.

Sharon Marie Cline has much to be excited about. The new year has a steady heartbeat as she not only launches her new CD release “This Is Where I Wanna Be” but a new artist mobile app that keeps her fans up-to-date with all her musical musings. On March 28th at 7:30 pm, she will be celebrating the launch of her new CD at H.O.M.E in Beverly Hills with her Bad Boyz of Jazz as well as some surprize guests.

“This Is Where I Wanna Be” has some of the best musicians in LA lending their expertise to the recording such as: Rich Eames on Piano/Keyboard, sharing the bass chair on various tracks are Adam Cohen, Luther Hughes, Trevor Ware, Ryan Cross and John Belzeguy, Jon Stuart, Peter Buck on Drums, Jon Stuart and Victor Orlando on percussion, Lee Thornberg on Trumpet, Rich Eames on organ, Ryan Cross on cello, Reinhold Schwarzwald and Bram Glik on Saxophone, Jacques Lesure and Derek Bombeck on guitar, Rob Hardt on flute. Sound Mixing & mastering by Les Brockmann and recorded at Palm Mountain studio. All arrangements by Rich Eames, Sharon Marie Cline and Jon Stuart. Sharon took the leap of penning two original songs on this project one being “Sugar On My Lips” with co-writer Mark Winkler and Rich Eames as well as “This Is Where I Wanna Be” co-written by Rich Eames. “If Dreams Come True” was arranged by internationally acclaimed Pianist and Arranger Tamir Hendelman.

“This is an exciting time for me. I've worked so hard, and am still working so hard to bring these creative dreams to fruition.... and I've kind of manifested a creative storm around myself. One creation begets another.... and I am constantly surprised and pleased about what gets birthed from this energy.  My goal is always  to stand in the midst of that creative storm and just be still.... allowing what MUST to flow through me. I feel as if I am growing.... My artistry is growing.... my band is becoming more cohesive.... and we are not only making music, we are making ART, and I am expressing my soul....  all of us are on this album.... and there is more to come!” says Sharon.

“The Jazz Network Worldwide has supported ‘all things Sharon’ in the past few years, its rewarding to see how she keeps the heartbeat of her music consistently moving forward. Sharon is a real go-getter when it comes to keeping her relationship to her fans fresh and inviting, she is one innovative marketer and creative vocalist, her latest offering is a cohesive groove all the way through”, says Jaijai Jackson of The Jazz Network Worldwide.

“Sharon’s a great example of a singer who knows how to bring an audience into her universe. She wins her way into your heart the first time you hear her.” ~ LA Jazz Scene

Sharon plans on touring the country this year performing selections from her new CD pleasing crowds through jazz festivals, music venues and radio airplay.

Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

KALBATA - MIXMONSTER: CONGO BEAT THE DRUM

Kalbata (Ariel Tagar) is a techno & 2-step producer who previously released on labels such as Soul Jazz, Brownswood and Greenmoney. Kalbata did a string of high profile remixes for artists such as Fat Freddy's Drop, Spank Rock, The Count & Sinden and Roll Deep, collaborated with Warrior Queen and is also the man behind reissue labels Fortuna and Spring Hill Records. Mixmonster (Uri Wertheim) is the man behind funk band 'The Apples' as well as a member of cut-n-paste duo Radiotrip.

Ariel and Uri went into their home studio ago in Tel Aviv, Israel with the purpose of recording a 100% analogue dub album in the spirit of the late King Tubby and the early dancehall era of the late 70's and early 80's. A 16-track tape machine and an old analogue mixing desk were their main instruments, with musicians playing live all throughout the album.

A year after recording the instrumental backing tracks, they travelled to Kingston, Jamaica and started tracking down their favourite singers and deejays from days gone by.

The resulting long playeris on the one hand truly loyal to the origins of Jamaican music and on the other, a well produced forward thinking album, sounding totally fresh in today's music aesthetics. It will also rattle your speakers in ways not heard since the heyday of reggae & dub!

The highlights of this quite amazing long player are many, but from the beautiful & mellow 'Prisoner In Love' ft Little John, though the utterly original, drum driven title track Congo Beat The Drum on which Major Mackerel displays his amazing vocal talents as the earth shattering rhythm shakes the floor.

There is yet another amazing musical moment when JA legends Trinity & Jah Thomas join forces over a dub style rhythm on Trouble In The Dance, as reverberating rimshots and analogue synths bubble and squeal on this dark dance floor destroyer.

Echo Minott worked with luminary King Jammy at the tender age of just 17, and his dreader than dread vocal performance on Out A Road, and the fully analogue production of this album really rings true on this track.

Sadly, Voice make A Joyful Noise may be the last recording made by the late Prince Jazzbo before his untimely passing in September 2013. Another genuine Jamaican legend who collaborated with Coxsone Dodd and Lee Scratch Perry, as well as running the highly respected Ujama Records for many years. Voice make A Joyful Noise is a wonderful epitaph to a great career in original Jamaican music.


The final cut features multi talented genius Kutiman on the CRB organ - adding his keyboard skills to an instrumental version of Prisoner In Love - finishing off what may just be the greatest new reggae album for years past and even years to come!


ANDREW HADRO - FOR US, THE LIVING

In the world of jazz, innovation is tradition. Baritone saxophonist and flutist Andrew Hadro embodies this idea on For Us, The Living, his debut CD as a leader. Hadro uses a classic quartet format, paired with fresh material by current composers, to show listeners his own particular vision of the music's future. The album features tunes by Maria Schneider, Julian Shore, Ryan Anselmi, James Davis, and Hadro himself, all current composers who are very much part of the 21st century jazz scene.

"This is my dedication to the musical giants on whose shoulders I stand," said Hadro. "Rather than reinterpret their works, I want to extend the timeline of jazz with new compositions and performances by the best living composers and musicians today."

Hadro's band is a powerhouse, starting with veteran drummer and bandleader Matt Wilson, whose unerring time and creative use of sound give the rest of the band a strong foundation for exploration. Pianist Carmen Staaf, recently accepted to the exclusive Monk Institute, shows again why she's one of the current jazz scene's most sensitive and inventive players. Bassist Daniel Foose works well with Wilson rhythmically and with Staaf harmonically. Together the quartet creates a rich sonic world for each of these compositions.

The album's title comes from President Abraham Lincoln's Gettysburg Address. Lincoln's speech, which marked its 150th anniversary in 2013, urged Americans to appreciate, honor and respect the unsung and fallen heroes, and to further their unfinished work and thus usher in a new era. Hadro felt it a fitting title for an album featuring current American composers who are carrying on the tradition of those who came before.
Wilson's majestic drumming opens Hadro's "Allegrecia," the first track. The tune then takes an introspective turn, led by Staaf's deep harmonies. Julian Shore's "Give" shows off the intense listening and interplay between all four members, particularly Staaf and Hadro, whose plaintive baritone sounds like a distantly heard voice in the night. Staaf is a standout on this record. Her fluid,

surprising solos are consistently engaging, and her harmonic choices are always just right. The band can cook, too, as shown on Hadro's "Bright Eyes," which Wilson propels like a rocket. Hadro's sweet baritone glides perfectly atop Wilson's drums on Ryan Anselmi's "Paola." Hadro has a gift for choosing songs that fit his own personality and those of his bandmates, perhaps none better than James Davis's "Cotton," which feels like a gospel take on Paul McCartney's "Blackbird." This is an album of real songs. Melodies, intention, concise statements, endings.

Andrew Hadro was born in Mexico City. He and his family moved to Brazil while he was still young, then to the East Coast of the U.S., and finally to the Chicago area. He began his studies on flute and soon found his way to the baritone saxophone, which became his primary instrument. Hadro attended the prestigious New Trier High School and performed with several of the school's DownBeat-award-winning ensembles. He then attended New York's New School for Jazz and Contemporary Music, where he was named salutatorian in 2007. He left soon after to tour and record with several of the school's founding jazz faculty.

Hadro has performed around the world with the Duke Ellington Orchestra, James Moody, the Bjorkestra, Tony Malaby, Chico Hamilton, and Junior Mance, among others. He is active in the New York music scene and involved in several projects, including performances with the Andrew Hadro Quartet, and tours with Junior Mance's quintet. He is on the faculty of the Litchfield Jazz Camp and maintains an active private lesson studio through the Lucy Moses School. He's the curator of JazzBariSax.com, a website dedicated to the baritone saxophone.

For Us, The Living was recorded May 28th & 29th, 2013 at Stadium Red by Tyler McDiarmid | Mixed and Mastered by Michael Perez-Cisneros | Co-Produced by Julian Shore | Artwork Images by Daniel Mottet 

Friday, March 21, 2014

NEW RELEASES: WILL DOWNING - EUPHORIA; SANTANA – CORAZÓN; THE TABU RECORDS BOX SET

WILL DOWNING - EUPHORIA

Will Downing, the Prince of Sophisticated Soul, is still finding new ways to thrill his fans. With the Spring 2014 release of his 17th studio album, Euphoria, the uplifting title may offer clues to the secret formula, (as Euphoria is defined as: an overwhelming state of happiness, confidence or well-being) and may also perfectly describe the grateful mind-set of Will Downing. The winning formula of Euphoria is not about what gets added, but more a matter of addition by subtraction. A slick less is more production approach by the team of Will Downing, keyboardists Chris Big Dog Davis and Mike Logan, push his rich baritone vocals to the forefront and creates a more intimate soul-lounge feel, complete with upright bass licks and brushed drum strokes. Within this format, Downing deftly swings from R&B to Blues to Blue-Eyed Soul to Jazz to a Brazilian classic sung in Portuguese. The album's first single, is a very fresh take on the Teddy Pendergrass classic, Turn Off The Lights, punctuated by sizzling sax breaks by Gerald Albright. Similarly fresh turns on Stevie Wonder's Too High and Lou Rawls' If I Were A Musician . Downing's well documented skills as a song interpreter, may soon take a back seat to his underrated growth as a songwriter, as exemplified by a beautiful original composition, Heaven In Your Eyes . You go from a Cotton Club styled version of the Jazz standard Lush Life (feat. Najee), to a Blues fueled version of You Can Bring Me Flowers (feat. Chops Horns and Noel Goring), to a cover of the early 70's Pop hit She's Gone (feat. Wycliffe Gordon.The term Grown Folk's Music is over-used for sure, but there's almost no other way to describe the incredible variety offered on this release or the maturity required to truly appreciate it.~ Amazon

SANTANA – CORAZÓN


This album project brings Carlos back to his birthplace and celebrates Carlos’ love of his musical heritage, as well as showcases Carlos’ own personal influence on Latin music and on today’s generation of Latin superstars. It features collaborations with Pitbull, Juanes, Gloria Estefan, Ziggy Marley, ChocQuibTown, Lila Downs, Miguel, Nina Pastori, Soledad, Los Fabulosos Cadillacs, Samuel Rosa of Skank and more! Tracklisting: Saideira (Spanish Version) feat. Samuel Rosa; La Flaca feat. Juanes; Mal Bicho feat. Los Fabulosos Cadillacs; Oye 2014 feat. Pitbull; Iron, Lion, Zion feat Ziggy Marley & ChocQuibTown; Una Noche en Napoles feat. Lila Downs, Niña Pastori & Soledad; Margarita feat. Romeo Santos; Besos de Lejos feat. Gloria Estefan; Indy feat. Miguel; Feel It Coming Back feat. Diego Torres; Yo Soy La Luz feat. Wayne Shorter & Cindy Blackman Santana; and I See Your Face.

THE TABU RECORDS BOX SET (VARIOUS ARTISTS)

The classic funk and soul sounds of the Tabu label – in a fantastic box set, compiled by Ralph Tee – with an incredible assortment of Tabu treasures by Brainstorm, SOS Band, Alexander O'Neal, Cherrelle, Demetrius Perry, Rhonda Clark, Kathy Mathis, Mary Davis, Anacostia, Lalo Shifrin and more! The 6CDs of standout cuts are very smartly compiled, beginning with the earliest Tabu material, and continuing with early peak dancefloor soul, the mellower tunes and slow jams, the Jimmy Jam & Terry Lewis sessions, and gems from the label's oft-overlooked later releases. It's got more than 90 tracks on the 6CDs, includes a bonus DVD with videos and interviews with Clarence Avant, Jimmy Jam and Terry Lewis and more, plus a 60 page booklet by Ralph Tee. Last, but not least, it also comes with a bonus 7" single featuring Sharon Ridley's "Changin" and Manfredo Fest's jazz funk classic "Jungle Kitten". (Set includes 6 CDs, a DVD, and a 7inch single. DVD is NTSC format, Region 0.) ~ Dusty Groove


Thursday, March 20, 2014

JAVON JACKSON - EXPRESSION FEAT. ORRIN EVANS / CORCORAN HOLT / MCCLENTY HUNTER

In 25 years as a recording artist, tenor saxophonist Javon Jackson had never made a live record as a leader...until now. With his new Smoke Sessions title Expression, the wait is finally over. To an instinctive perfectionist like Jackson, live recording presents a different set of challenges from a studio session, but he did learn first-hand from none other than Art Blakey, after all, to prepare, prepare, prepare and then leave it all on the stage. In fact, Jackson opens the record with Wayne Shorter's "One by One" which famously appeared 50 years ago on one of Blakey's many live recordings, Ugetsu. The results have a natural energy and relaxed quality that are difficult to capture in the studio. This record documents some of Jackson's personal favorites and he credits the live atmosphere for delivering what he feels are his definitive versions.

He includes modern classics like Stevie Wonder's "Don't You Worry 'bout a Thing," Donnie Hathaway and Roberta Flack's hit "Where is the Love," and the timeless "When I Fall in Love," that are trademark Javon-accessible but enlightening.

The quartet, called the Javon Jackson Band, features bassist Corcoran Holt, drummer McClenty Hunter and, for the first time, Orrin Evans. One of the busiest pianists in Philadelphia or in New York, Evans fit in with the group instantly and Jackson valued the fresh approach and playing that he brought to the music. A striking example of their rapport is the groove they strike on George Cable's '70s classic "Think on Me." It's a certifiable hit but there is simply a lot of great music on Expression. With a record this good, it's a safe bet that Jackson won't wait another 25 years to make the sequel.


COMPOSER/BASSIST ALEXIS CUADRADO PRESENTS POETICA AT SEEDS BROOKLYN

POETICA is a multi-disciplinary new work by Alexis Cuadrado crossing languages and poetry in collaboration with authors/poets Rowan Ricardo Philips and Melcion Mateu - In Residency at SEEDS: Brooklyn - April 30 & May 1, 2, 3, 2014 - Located at 617 Vanderbilt Ave (Bergen & St. Marks) Ground floor, Brooklyn, NY 11238. Featuring: Alexis Cuadrado - Composer & double bass, Rowan Ricardo Philips - Poetry, Melcion Mateu - Poetry, Miles Okazaki - Guitar, Andy Milne - Keyboards, Tyshawn Sorey - Drums
  
POETICA is the new work by Barcelona-born and Brooklyn-based jazz composer and bassist Alexis Cuadrado, in collaboration with poets Rowan Ricardo Philips and Melcion Mateu. With POETICA Cuadrado continues to explore the relationship between Iberian and New York culture, following his critically acclaimed works, Noneto Ibérico and A Lorca Soundscape.

POETICA is a multi-lingual and multi-disciplinary live presentation in which Cuadrado's compositions are intertwined with live poetry reading by its authors. Here, the audience is taken through different sonic spaces, composed or freely improvised, built around the poems. The voices of Melcion Mateu and Rowan Ricardo Philips, the de-facto front line of this jazz sextet, create a moving performance that translates the sincere emotion of their poetry into a unique experience for the listener.

Cuadrado's POETICA also includes the extraordinary talents of guitarist Miles Okazaki, keyboardist Andy Milne and drummer Tyshawn Sorey, three artists who rank among the most forward thinking creative forces in jazz today.

While Cuadrado's music work embodies the confluence of Jazz, Flamenco and New Music, Philips and Mateu are two of the most critically acclaimed contemporary poets who create vivid images and rhythms with a fully present, personal voice, and lightning-bolt expression.

Alexis Cuadrado is a Barcelona-born and Brooklyn-based composer, bassist and educator. His most recent critically acclaimed works A Lorca Soundscape, Noneto Ibérico and Jazz Miniatures for Double Quartet explore the confluence of Spanish and American music and present a unique voice that draws from the crossover of jazz, flamenco and new music. NPR Music states "Listen to Cuadrado's compositions and you'll find every reason to take him seriously."
  
Rowan Ricardo Phillips is a poet, literary and art critic, and translator. He is the author of The Ground: poems, (Farrar Straus & Giroux, 2012) and is the recipient of a 2013 Whiting Writers' Award, the 2013 PEN/Joyce Osterweil Award and the 2013 Great Lakes Colleges Association New Writers Award for Poetry. Dalkey Archive published a book of his criticism in 2010, When Blackness Rhymes with Blackness and he has translated extensively from Catalan.
  
Melcion Mateu is the author of three poetry books in Catalan: Vida evident (Octavio Paz Award 1998); Ningú, petit (2002), inspired by Winsor McCay's classic comic strips, Little Nemo in Slumberland; and Jardí amb cangurs (2005). An anthology of his poetry in a bilingual edition, Catalan-Spanish, is forthcoming this year, Habitaciones y canguros (translated by José Luis Rey). Mateu has translated works by Siri Hustvedt, Michael Ondaatje, and John Ashbery, among others, and written articles for newspapers such as El País, La Vanguardia, and Avui.

www.seedsbrooklyn.org


New Releases: Sheila E - Icon; Nicola Conte - Free Souls; The Omar Hakim Experience - We Are One

SHEILA E - ICON

World-class drummer and percussionist Sheila Escovedo is scheduled to release her first solo album in twelve years, "Icon," on March 25 as part of the celebration of her 40th anniversary in the music business. According to her Manager Gilbert Davison. "We are excited about the release, particularly of the multi-genre format that reflects Sheila E.'s broad artistry and experience," Davison expresses. All songs on the album were written and composed by  Sheila E., unless otherwise noted, while "Leader of the Band" was co-written by Prince. "I can't believe it's been 40 years since I began my career in the music business. I have been blessed to make music with some of the most incredible artists in the world," stated Sheila. "The past year has been very introspective for me. I have a book coming out in September, 'The Beat Of My Own Drum' and while writing it I was inspired to begin work on what has become 'Icon.' This album represents my musical journey and the different paths I have been blessed to travel. I'm excited and proud of this music." Tracklist: Butterfly (Interlude); Mona Lisa ft. Gisa Vatcky and Lucia Parker; Lovely Day; I'll Give You That; Rockstar ft. Bobby G.; Samba (Interlude); Nasty Thang ft. MC Lyte; Leader of The Band ft. The E. Family, Prince; Turn It Around (Interlude); Girl Like Me ft. Ledisi; Who Am I?; Old Skool ft. Eddie M, J.A.i.’ Tha Profit; and Now Is The Hour (Interlude) ft. Moms Escovedo. 


NICOLA CONTE - FREE SOULS

A brilliantly soulful set from Nicola Conte – a record that's got all the tight jazzy instrumentation we love in his other records, but one that's also got some wonderful vocal work as well! Singers are a perfectly-chosen batch of the best of the underground – and include Jose James, Marvin Parks, Bridgette Amofa, Melanie Charles, Tasha's World, and others – all of whom really help give the record a sense of variety and voice that goes way beyond any of Conte's other records! And the vocals are hardly a commercializing element, either – as the whole thing's got that full, rich, stone classic sound that we can always trust from Conte – a deeply jazzy approach that's rooted in older modal and spiritual jazz styles. Till Bronner plays guest trumpet on one track – and titles include "Shades Of Joy", "Ahmad's Blues", "Soul Revelation", "Baltimore Oriole", "Astral Rivers", "Uhuru", "Sunrise", "A Prayer For Yusef", and "Goddess Of The Sea". (SHM CD pressing.)  ~  Dusty Groove


THE OMAR HAKIM EXPERIENCE - WE ARE ONE

Produced, Arranged and Engineered by Omar in his OZmosis recording studios, each song is meticulously crafted and engineered to create deep sonic landscapes that lend a panoramic and cinematic quality to the listening experience. All the while, this musical journey through Hakim's mind and heart, soothes the soul while rocking your body with exploratory funk, rock and jazz, world and odd time rhythms...Textural & Colorful…"We Are One" is on the cusp of innovations in electronic music sound design and mixing possibilities. Omar's self-engineered CD is aurally infused with the entire musical color wheel! Hakim successfully travels through a pastel palette of sonic landscapes and sing-able pastoral and expressive melodies, which create cascading 3D sonic ear candy. This innocently prepares the listener for the inevitable hi energy outbursts of fiery fuchsia infused burning jams! 8 years in the making, the album features passionate performances by a supportive cast of long time friends and musical collaborators... Jerry Brooks, Scott Tibbs, Chieli Minucci, Abdul Zuhri, Bobby Francheschini, Gregoire Maret, Angel Rogers, Jimi Tunnell and Rachel Z. "With Omar composing all the tunes as well as arranging and playing on every track, and also engineering a bulk of the album, We Are One stands as the great drummer’s magnum opus in a long and illustrious career." ~ Bill Milkowski

VINCENT HERRING - THE UPTOWN SHUFFLE FEAT. CYRUS CHESTNUT / BRANDI DISTERHEFT / JOE FARNSWORTH

Vincent Herring's M.O. is well known-he means business. Not that you can tell from the pure joy that emanates from his horn, but like Bird, Cannonball, and Stitt, there is purpose, meaning, and, yes, a little gravity in every note he plays. Herring describes his time spent studying with bebop master Phil Woods as a pivotal moment in his development. It instilled in him a sense of responsibility to assume the mantle of a vital artistic tradition, which, for the past quarter century, is exactly what he's done. With his no-holds-barred solos and unerring aesthetic compass, he's made more than a few great records during that time, but his latest release on Smoke Sessions, The Uptown Shuffle might just be the best one yet.

Like so many classic jazz records, The Uptown Shuffle arrives with a rousing opener, Herring's aptly titled "Elation." He explains that he wrote this theme over 20 years ago to express a feeling of just pure joy. It was never exactly how he wanted it though, until just recently. It might also be the perfect introduction to his quartet. Soulful pianist Cyrus Chestnut, Canadian bass newcomer Brandi Disterheft and the reliably swinging drummer Joe Farnsworth have real chemistry from start to finish. Even when this band slows things down, as they do on timeless favorites like "Love Walked In" and "Tenderly," their intensity and passion never waver. Herring frequently talks about choosing personnel and material based "on a feeling" and that he used that approach to put together this date. He said he knew going in that he had the band he wanted and that when they ran down tunes in rehearsal, the ones included here were the ones that "just clicked."

The Uptown Shuffle was recorded live "uptown" at Smoke Jazz Club in front of a packed house of admirers. There is certainly energy and elation present in these performances and they do capture the spirit and excitement of a night out in New York.



BLUE NOTE JAZZ FESTIVAL 2014: OVER 150 PERFORMANCE AT MORE THAN 15 VENUES THROUGHOUT NEW YORK CITY

With over 150 performances at more than 15 venues throughout New York City, the 2014 Blue Note Jazz Festival will be held Sun., June 1 through Monday, June 30. Ticket information and a current schedule of events/locations is available on the official website, www.BlueNoteJazzFestival.com. Additional performances and venues for the Fourth Annual festival will be announced in the coming weeks.
  
Highlights for the city's largest jazz festival include a special appearance by cultural icon Aretha Franklin; rare collaborations between Bobby McFerrin & Questlove (following their recent performance together on "The Tonight Show Starring Jimmy Fallon"), Ramsey Lewis with Earth, Wind & Fire's Philip Bailey, André Previn & Christian McBride, Monty Alexander's 70th Birthday (with various reggae and jazz guests, to be announced), and the "Children Of The Light Trio" featuring Danilo Pérez, John Patitucci, and Brian Blade (all whom are current members of the Wayne Shorter Quartet, making their official U.S. debut as a trio); crossover vocalists Michael McDonald, Michael Bolton, and Dee Dee Bridgewater, as well as album release performances by José James and Sérgio Mendes respectively; multi-faceted entertainer Reggie Watts; renowned bassist/producer Marcus Miller; and tenor saxophone legend Gato Barbieri, among others. Please visit www.BlueNoteJazzFestival.com for dates and venue information.

In addition to Blue Note Jazz Club, festival venues include B.B. King Blues Club & Grill, Highline Ballroom, The Town Hall, Radio City Music Hall, Central Park SummerStage, Lehman Center for the Performing Arts, Rockwood Music Hall, Smalls Jazz Club, The Kaye Playhouse at Hunter College, NYU Skirball Center for the Performing Arts, IFC Center, Brooklyn Bowl, and Lucille's Bar & Grill at B.B. King Blues Club, among others. Festival co-presenters include Jill Newman Productions, MSG Entertainment, Bowery Presents, CEG/Nolafunk, Jazz Forum Arts, Jazz Journalists Association, and JazzReach.

"This year's festival puts a prime focus on distinctive collaborations," says Steven Bensusan, President of Blue Note Entertainment Group. "Shows such as Bobby McFerrin teaming up with Questlove and André Previn working with Christian McBride are rare opportunities for fans to hear world class artists perform together in unique musical settings."

Other jazz headliners include a rare U.S. performance by renowned bassist Avishai Cohen (his first New York City appearance in over two years, as leader or sideman); The Dizzy Gillespie™ Afro Cuban Experience featuring Machito Jr; tenor saxophone titans Joe Lovano and Eric Alexander as well up-and-comer Marcus Strickland; vocal masters Diane Schuur, Allan Harris, and Curtis Stigers; versatile pianists Michel Camilo, Hiromi, and Harold Mabern; as well as fusion-centric performances by keyboardist Jeff Lorber and Australian guitarist Albare; among others.

"We also continue to emphasize styles that are more broadly connected to jazz, to include everything from R&B, soul, and hip-hop to reggae, rock and Americana," adds Bensusan.

B.B. King Blues Club & Grill and Highline Ballroom will present a wide range of performances, including R&B/soul-centric artists such as Lalah Hathaway & Ruben Studdard, and Oleta Adams; reggae shows by Sly & Robbie and Tarrus Riley (in addition to Monty Alexander's birthday celebration); Americana/singer-songwriter artists Brandy Clark and the Beth Hart Band; eclectic global-centric acts Seun Kuti & Egypt 80, Los Lobos and Yemen Blues (in addition to the legendary Sérgio Mendes); guitarists Tommy Emmanuel and Eric Gales; and jazz/rock drummer Ginger Baker's Jazz Confusion; among others. Additionally, Blue Note Jazz Club will showcase several nu-jazz centric projects, including a special one-night collaboration featuring Beka & DJ Logic with Victor Bailey (and late night shows featuring crossover soul/funk saxophonist Lakecia Benjamin, as well as BIGYUKI).

Other special partner events include the 2014 Jazz Journalists Association Jazz Awards on June 11 at Blue Note Jazz Club; the New York City premiere of The Case of the Three Sided Dream, a documentary on jazz legend Rahsaan Roland Kirk, on June 11 at IFC Center; the National Jazz Museum in Harlem Benefit Concert on June 9 at The Kaye Playhouse at Hunter College; and Jazz Forum @ 35! on June 28 at NYU Skirball Center for the Performing Arts; among others.

SARA SERPA & ANDRE MATOS - PRIMAVERA

Warmth, freshness, color, growth, new beginnings - these aspects of spring inspired and resonate in Primavera, the first duo album from vocalist Sara Serpa and guitarist André Matos. It's an album they started last spring and are releasing this spring, with the arc of its making also following the gestation and birth of their first child. To be released April 25, 2014 via Inner Circle Music, Primavera is a creation of verve and atmosphere, melody and poetry. The album also sees Serpa and Matos take a different, multi-layered tack from their usual jazz-honed method; they play multiple acoustic and electric instruments and use the studio as an instrument. Several musical friends help enrich Primavera, including Greg Osby, who adds soprano saxophone to a track. 

The material ranges from the duo's artfully inventive originals to a classic tune by pianist Ran Blake & vocalist Jeanne Lee ("Vanguard") and a song by Argentine composer-pianist Guillermo Klein ("Se Me La Va Voz"). Along with Serpa's signature wordless vocalese and her lyrics in Portuguese and English, there are songs that use words by two great poets: the American e.e. cummings and Portuguese Fernando Pessoa (via his heteronym Alberto Caeiro). Inventive and inviting throughout, Primavera is as irresistible as the season for which it's named.

JazzTimes has called Serpa "a rising star," while All About Jazz has said: "Her unique style of vocalese allows her to utilize the full range of her exquisite and clear voice with the agility of an instrumentalist, standing out of the crowd as a sublime interpreter and a bold improviser." The New York Times has described Matos as a guitarist who "advances a pointedly contemporary air." Both born and bred in Portugal but based in New York City for half a decade-plus, Serpa and Matos met through music in Boston, where they both studied at the Berklee College of Music and New England Conservatory. Primavera is an album of connections, musical and personal. The song "Vanguard" reflects the close relationship Serpa has had with Ran Blake since she studied with the iconic pianist at NEC. She and Blake have recorded two albums together, 2010's Camera Obscura (which also included a version of "Vanguard") and 2012's Aurora. "We wanted to pay tribute to Ran, who is a dear friend," Serpa says. "I love the melody of that song and Jeanne Lee's lyrics, which were inspired by Dostoevsky's Dream of a Ridiculous Man." Composer Guillermo Klein is another friend and influence to the duo - his "Se Me La Va Voz" got "stuck in my mind after I heard him playing it at the Village Vanguard," Serpa recalls. "It's sad and deep."

The appearance of Osby on Primavera reflects the fruitful association Serpa and Matos have with the sax star, who has "been very important to us since we've been in New York," says the guitarist. Serpa joined Osby's band right out of school in 2008, performing with the group at such hallowed venues as the Village Vanguard and contributing to his album 9 Levels. Osby's Inner Circle Music label released Serpa's debut album as a leader, Praia (2008), and her quintet album Mobile (2011), along with Camera Obscura. Inner Circle also released Matos's third album, Quare (2010). On Primavera, Osby's serpentine saxophone darts between Serpa's vocalese and Matos' six-string on the guitarist's tune "Choro." Matos has known Leo Genovese - a pianist who plays everything from piano and melodica to exotic percussion and toy guitar on the album - since their Berklee days together. "He adds color and spontaneity to the mix," Matos says. Pete Rende, who contributes keyboard atmosphere to the background of Matos' "Caminho" is a "special voice in music, a piano player we admire a lot," the guitarist says. "He did a great job mixing the album for us and sitting in on Prophet for 'Caminho.'"

The original compositions by Serpa and Matos glow with a kind of magical lyricism. On an album full of highlights, the joyous title song and reflective "Tempo" stand out, as does "Caminho" with its luminous ambience and quietly dramatic guitar solo. The stately, lovely "A Realidade das Coisas" is one of the album's two settings of verses by the great poet of Lisbon, Fernando Pessoa, writing as Alberto Caeiro, one of his many literary alter egos. These are part of a larger cycle of Pessoa/Caeiro settings by Matos. Then there is the impossibly catchy "Kubana," rhythmically demonstrative and melodically sighing by turns.

"This album came out very different from what we initially expected - we had planned a straightforward acoustic duo record at first," Serpa says. "But as we became more and more involved in the music, we experimented and got excited about the process and what we were creating, with new songs being born in that process of discovery." Any listener can hear that the final result, Primavera, radiates with that excitement of experimentation and the joy of creative communion.

Sara Serpa & André Matos: Primavera
1. "Primavera" (Serpa)
2. "Tempo" (Matos)
3. "Rios" (Matos)
4. "Choro" (Matos)
5. "Kubana" (Matos/Serpa)
6. "Song for a Sister" (Serpa)
7. "Caminho" (Matos)
8. "O Guardador de Rebanhos" (Matos/Caeiro)
9. "A Realidade das Coisas" (Matos/Caeiro)
10. "Nuvem" (Serpa)
11. "Vanguard" (Ran Blake/Jeanne Lee)
12. "Gardening" (Matos)
13. "Se Me Va La Voz" (Guillermo Klein)
14. "Earth" (Serpa/Cummings)

LinkWithin

Related Posts Plugin for WordPress, Blogger...