Friday, March 23, 2018

Basia Returns With Sublime New Album Butterflies May 18th


Like unique genre-blending artists Sade and Michael Franks, mutli-million selling world-jazz-pop singer Basia has won a devoted following due to her distinctive style and inviting persona. Basia's music sounds like no other artist and like both Sade and Franks, she often lets several years go by between album releases, making every album a true event for her passionate and devoted fan base. On May 18, 2018, Shanachie Entertainment will release Butterflies, which delivers the effervescent and beguiling Basia sound. Co-produced and co-written by Basia and her long-time musical partner Danny White, who also contributes sparkling piano playing throughout, Butterflies sounds timeless yet as contemporary as any of Basia's landmark recordings. It is quintessential Basia.

"Butterflies is about love - for life, for music and for people. This album is full of passion and courage but also pure fun; purists will struggle to categorize it because we happily mix jazz, Latin, soul and pop," shares Basia. "Our songs were created with a lot of freedom and for the simple pleasure of writing and recording them; that is why it is probably the most diverse of our records. Danny and I finally grew up (!) and our experiences in music and in life make this album hopefully richer and more honest."

Butterflies spans the spectrum of breezy Brazilian excursions to passionate pop balladry and up-tempo jazz.  "Matteo," the first single, exhibits the irresistible Brazilian feeling of Basia's classic work with Spanish guitar and flowing percussion. "Liang and Zhu," on the other hand is a deeply felt, simply gorgeous ballad, which refers to the Chinese folk-legend of the two lovers named in the title. In some ways, Butterflies is Basia's jazziest album to date, as evidenced by the ebullient swing-jazz of "B.Pop," led by Basia's effortlessly virtuosic vocal.  The CD features a crack band that showcases Danny White on piano, Peter White and Giorgio Serci on guitars, drummer Marc Parnell, bassist Andres Lafone, saxophonist Paul Booth and trumpeter Kevin Robinson. The ensemble is simply scintillating throughout. Vocalist Mark Reilly, who was a founding member of hit-making group Matt Bianco, reunites with his fellow Matt Bianco members Danny White and Basia for a mini-Matt Bianco reunion on "Showtime."

"We've been recording Butterflies for a few years, without any hurry, making sure that we were always true to ourselves," says Basia. "Although we are aware of what is successful in the music scene at the moment - we avoid copying and we try not to be influenced by it. It's obvious that what we are doing musically differs from the current fashionable style but we believe that there are listeners who will find something interesting in our productions; maybe exactly because they are different. We've been very lucky so far to find a receptive and loyal audience who still seem to wait for more from us and we very much appreciate their patience."

Basia was born Basia Trzetrzelewska in Poland where she began her musical career as part of the popular female vocal group Alibabki and then the rock band Perfect. Relocating to London in 1981, she met Mark Reilly and his collaborator Danny White (brother of jazz guitarist Peter White). Forming a jazz-pop group called Bronze, they soon changed their name to Matt Bianco and released their debut album, Whose Side Are You On in 1984. The album became a huge European hit, selling 1.5 million units and  spawning hit singles "Get Out of Your Lazy Bed" and "Half A Minute." In 1985, Basia  and Danny left Matt Bianco in order to launch Basia's solo career, with her debut solo album, Time And Tide, selling more than two million copies worldwide in 1987; the "Time and Tide" single from the album hit the Top Thirty of the Billboard Hot 100, with further hits "Prime Time TV" and "New Day For You" following. Her second album, London Warsaw New York, sold equally well, yielding another Top Thirty Hit with "Cruising For a Bruising" and "Baby Your Mine." Both albums hit #1on the Billboard Contemporary Jazz chart. Basia was hugely popular in Europe and Asia so it was no surprise that her third album, The Sweetest Illusion, sold more than a million copies worldwide in 1994, going gold in the U.S. and hitting #1 on the Billboard Dance Chart with the single "Drunk On Love." A successful live album, Basia on Broadway, followed in 1995 and then she went on an extended hiatus from 1998 to 2004, devoting herself to family and other projects in Poland. In 2004, Danny White and Mark Reilly persuaded Basia to join them in a reunited Matt Bianco, resulting in the critically-acclaimed Matt's Mood album and extensive touring. That reunion stimulated work on Basia's fourth solo album, It's That Girl Again, which hit the Top 10 of the Billboard Contemporary Jazz chart in 2009. Her only other release since then was a second live album, From Newport To London: Greatest Hits Live,in 2011. Now, nine years in the making, Butterflies will be only the fifth solo album in Basia's 34 year solo career. Like its all-too-rare predecessors, it is pure musical bliss.

 






NEW RELEASES: KURT ELLING - THE QUESTIONS; GARY SMULYAN – ALTERNATIVE CONTRAFACTS; KARL BERGER - IN A MOMENT: MUSIC FOR PIANO AND STRINGS


KURT ELLING - THE QUESTIONS 

The Questions, Kurt Elling’s newest studio recording, is his musical response to this moment in history and the widespread anxiety of our times. It touches artfully on challenges – personal, political, global, spiritual, and existential – and on hopes and aspirations for the future. Elling offers a vibrant and surprising choice of songs, from Bob Dylan and Paul Simon classics to jazz, Broadway, and the Great American Songbook, plus two new originals. The Questions, Elling’s second recording for OKeh Records/Sony Music Masterworks, will be released on March 23, 2018. The Questions unfolds into a rich and irresistible musical conversation, encouraging listeners to join Elling in living with big questions and finding courage to face our fears in difficult and uncertain times. Of the ten songs on The Questions, Elling says, “At first I didn’t understand how they were going to relate to each other.” The title finally came to him as the album was being mixed. NEA Jazz Master and celebrated saxophonist Branford Marsalis co-produced The Questions with Elling and performs on three tracks. As Elling and Marsalis worked together on the mix and sequence of songs, Elling realized that they all lined up on various sides of some big, deep questions: What is this life? Does meaning have being? Why is there such suffering and pain? Where is the wellspring of wisdom?



GARY SMULYAN – ALTERNATIVE CONTRAFACTS

Fantastic work from Gary Smulyan – a baritone saxophonist who may well be one of the few really standout players on his instrument these days – working in a legacy that puts his mighty talents right up there with Pepper Adams, Serge Chaloff, and a rare few others who could really make the baritone swing! Smulyan plays here in just a trio – David Wong on bass and Rodney Green on drums – and the tracks are long, flowing, and open – really illustrating Gary's strength as a soloist, and his deft imagination on an instrument that doesn't easily give itself to some players. The song list is great, too – titles by Ted Curson, Al Cohn, Mal Waldron, and Jimmy Giuffre – plus one tune by Gary too. Titles include "Ahma See Ya", "Vodka", "Deep People", "Cohn Pone", "Tale Of The Fingers", and "Hanid".  ~ Dusty Groove

KARL BERGER - IN A MOMENT: MUSIC FOR PIANO AND STRINGS

Really beautiful work from legendary jazz composer and musician Karl Berger – a set that's maybe more "serious" than some of his early material, and definitely fits the "music with" title of the set! Berger's playing piano here with a string sextet – bass, violin, two violas, and two cellos – all providing subtle accompaniment to his spacious work on the piano – which is often very melancholy, and almost tentative – at a level that we never would have heard from Berger in his youth! There's a beautifully sensitive feel to the material, especially when Berger pauses in his action, and the strings come in to color in the proceedings – almost like a chorus providing a quiet commentary on the main character. Titles include "Sertso", "Every Time", "Mani", "Fragments", "Possible", "Allaba", "D'Accord", and "Auto Train". ~ Dusty Groove



FLORIAN CHRISTL - INSPIRATION


Florian Christl never formally studied composition or the piano. He simply sits down at the piano and writes music that lifts your thoughts and emotions, giving them free flight, like a dream for the soul. Inspiring, full of love, hope, longing and beautiful melodies.

Florian grew up in a small town in Bavaria. He loves the outdoors, the quiet of the forest, and the peace of the mountains. His greatest passion has always been making music and he spent every free moment at the piano. 

During his studies Florian worked as a student trainee with Sony Music. One of his colleagues was so impressed by his music that she used some of his tunes for a presentational video and in a playlist. This is how the classical department became aware of Florian.

The music recorded for his debut album “Inspiration” is almost identical to one of his first demos recorded at home. Next to solo piano pieces, half of the songs are arranged for piano and string quintet. 

The spectacular music video for “Fly” – the first single out of Florian Christl’s debut album “Inspiration” – is shot at the upland moor near the Krimml waterfalls in Austria. Early in the morning and together with his friends, film director Florian Knab and photographer Lukas Budimaier, Florian transported his old piano to his favourite location in the Alps to play “Fly” when the sun rises. It is the perfect time to play music in an exceptionally beautiful scenery. The video captures this unique, peaceful atmosphere and preserves very emotional, uplifting and positive moments to share them with everyone.


Mario Biondi - Brasil


With release scheduled 23 March, Brasil is Mario Biondi's new album project, dedicated to Brazil and Brazilian culture, a source of endless fascination for him. Produced in Rio de Janeiro by Latin Grammy winner Mario Caldato (Beastie Boys, Jack Johnson, Seu Jorge, Marisa Monte) and Kassin (Red Hot + Rio, Caetano Veloso), with Biondi's input for several tracks, Brasil explores the many faces of Brazilian music. With both brand-new songs and new versions of great classics, Mario gives his own interpretation, with his soul and funk roots never far away, and switching smoothly from Portuguese to English, French and Italian.
  
The 13 tracks on this musical journey include Rivederti, Mario's entry for the Sanremo Festival (a version with Ana Carolina and Daniel Jobim is a bonus track), and two other unreleased tracks that Biondi co-penned with Brazilian authors Roge and Gabriel Moura, and with his faithful associates, Jeff Cascaro and Robin Goldsby (Take Me to the Stars and On the Moon).

Biondi's Italian adaptation of luan Lins' stunning Deixa eu dizer features the great Brazilian artist and singer Claudya, then there are new versions of Felicidade by contemporary Brazilian singer-songwriter Seu Jorge, but also of great classics such as Djauan's Flor de lis, rendered as Upside Down, then It's You I will Always Loue, the English version of Eu sei que uou te amar by Tom Jobim and Vinicius de Moraes, plus Henri Salvador's Jardin d'Hiuer, Sade's Smooth Operator feat. Till Bronner, and to closes, Tom Jobim's Luiza.


Thursday, March 22, 2018

Pianist Roberta Piket Revisits Jazz Trio Format with the April 6 Release of "West Coast Trio," Featuring Drummer Joe La Barbera & Bassist Darek Oleszkiewicz


Roberta Piket, one of the most virtuosic and versatile pianists on the current international jazz scene, revisits the iconic jazz piano trio format with the April 6 release of "West Coast Trio" on her label Thirteenth Note Records. Joining Piket is the consummate rhythm section of drummer Joe La Barbera and bassist Darek Oleszkiewicz—part of the vibrant West Coast jazz scene centered in metro-Los Angeles and whose presence inspired the album’s title. Guitarist Larry Koonse guests on two tracks.

In addition to debuting two new Piket originals (“Mentor,” “A Bridge to Nowhere”), West Coast Trio includes inspired interpretations of an eclectic set of songs ranging from standards like “Falling in Love with Love,” “Windmills of Your Mind,” and “My Buddy” to the samba “Flor de Lis” by Brazilian singer-songwriter Djavan, as well as works by fellow modern jazz pianist-composers Chick Corea (“Humpty Dumpty”), John Hicks (“Yemenja”), and George Shearing (“Conception”).

Serendipitously, "West Coast Trio"’s release comes almost 22 years to the day that Piket entered the studio to record her debut album as a leader—1996’s "Unbroken Line" (Criss Cross), primarily a quintet session, with Donny McCaslin, Javon Jackson, and Michael Formanek, among others—and embarked on a career path now in its third decade. Along the way the pianist, composer, arranger, and bandleader has explored with equal ease and equanimity a spectrum of stylistic settings ranging from the mainstream to the avant-garde, from acoustic to electric, from the solo recordings "Solo" (2012) and 2015’s "Emanation (Solo: Volume 2)" to 2016’s critically acclaimed "One for Marian: A Tribute to Marian McPartland," a loving homage to one of her champions and mentors and, until now, the crown jewel of a multifaceted discography. A sextet project featuring Steve Wilson, Virginia Mayhew, Harvie S, Bill Mobley, and Billy Mintz, "One for Marian" celebrated McPartland’s underappreciated body of work as a composer while offering Piket meaty material as an arranger.

Piket’s first love and the format that inspired her early love for jazz was the piano trio, and she is at her most relaxed and commanding when she’s stretching out with a bassist and drummer—something she demonstrates with authority throughout "West Coast Trio." “I definitely feel the most at ease in a trio,” Piket confides. “What the trio means to me is intimacy. There’s such a directness of communication between the three musicians. It’s all about interaction and not knowing what’s going to come next. It’s the essence of jazz.”

“The last few records I’ve done had more of an agenda with regard to the repertoire,” Piket reflects. “On the two solo records I was thinking of ways of challenging myself. I wanted to choose pieces that force me to stretch, not just a bunch of standards. 'West Coast Trio' is the first record in a while where I chose several tunes that are simply fun to blow over. Our only agenda was to make some beautiful music.”

Born in Queens, New York in 1965, Roberta Piket inherited a passion for music from both of her parents. Her father was the Austrian composer Frederick Piket, who made significant contributions to both the musical liturgy of Reform Judaism and the concert hall. Her mother, Cynthia, introduced her to the treasures of the Great American Songbook, and she learned by ear the tunes of Porter, Gershwin, Kern, Rodgers, and Berlin.

Piket enrolled in the joint five-year double-degree program at Tufts University and New England Conservatory, graduating with a degree in computer science from the former and in jazz piano from the latter. After a year as a software engineer, she realized that her calling was music and returned to New York, where an NEA grant set her up to study with pianist Richie Beirach. Piket made her recording debut on an album by jazz legend Lionel Hampton and gained invaluable experience during the formative years of her career performing as a side-woman with David Liebman, Rufus Reid, Mickey Roker, Benny Golson, and Ted Curson.

She performs regularly with the Scott Reeves/Jay Brandford Tentet and the Virginia Mayhew Quartet, in duo with Mayhew, and with Mintz’s quintet/quartet with saxophonists Tony Malaby and John Gross, and bassist Hilliard Greene (with whom she also plays in his In & Out Ensemble) as well as focusing on solo piano performance.

Roberta Piket will perform with her trio—bassist Harvie S and drummer Billy Mintz—at Mezzrow, NYC, on Thursday 4/19. She’ll also be appearing at Maureen’s Jazz Cellar, Nyack, NY, on Saturday 4/21.


Boney James and Norman Brown Announced as Headliners for Life Luxe Jazz Experience in Los Cabos, Mexico

Boney James

Boney James, Gregory Porter and Kirk Whalum are among the artists slated to appear at this year’s first inaugural Life Luxe Jazz Experience, set for Los Cabos, Mexico, November 1-4, 2018.

Taking place at the luxurious Pueblo Bonito resort, the festival will include four days of jazz concerts, two days on a private beach, world-class dining, golf on a Jack Nicklaus Signature Design course, signature cocktails, a sunset jazz cruise, and cultural enthusiasts from around the globe.

“I am excited about the opportunity to participate at the first annual Life Luxe Jazz Experience,” says Norman Brown, festival headliner for Saturday, Nov. 3. “I can’t wait to bring a little ‘Love and Soul’ to the fans while they soak up the sun in gorgeous Los Cabos, Mexico.”

“I am thrilled to be joining this cool lineup of artists to play at Life Luxe Jazz Experience in such a beautiful setting. Can't wait!” says Boney James, the headliner for Sunday, Nov. 4.

Norman Brown
In addition to creating a unique opportunity for jazz aficionados, the founders of Life Luxe Jazz are committed to charity, earmarking a portion of the festival proceeds for the Letty Coppel Foundation, a nonprofit which provides social assistance and community development resources in the Los Cabos region.

“Life Luxe Jazz Experience is thrilled to partner with Pueblo Bonito resorts to create a unique and memorable opportunity for travel lovers and jazz fans in picturesque Los Cabos, all while raising money for a wonderful cause," says festival co-founder Dianna Clarkson. “We look forward to this November, and are confident it will be a fun-filled and sold out event!”

Life Luxe Jazz Experience -- Luxury, Location, Relaxation, Jazz...and You!

FULL LIFE LUXE JAZZ LINEUP –

Bobby Caldwell
Boney James
Darian Emory
Ernest Quarles
Gregory Porter
Keiko Matsui
Kirk Whalum
Lin Rountree
Lindsey Webster
Maysa
Meli’sa Morgan
Michael Manson
Mindi Abair
Najee
Norman Brown
Zoe Wood

 

Trombone Shorty Foundation’s 6th Annual Shorty Fest


The sixth annual Shorty Fest presented by Acura, a benefit concert for the Trombone Shorty Foundation, will fill two stages at the House of Blues New Orleans with an incredible lineup of leading jazz, blues, funk, rock and soul artists on Thursday, May 3, 2018 – in between the two weekends of the New Orleans Jazz and Heritage Festival. 

Shorty Fest 2018 Presented by Acura is the largest fundraiser of the year for the Trombone Shorty Foundation, which supports New Orleans’ young musicians with music education, instruction, mentorship and performance opportunities. Founded by Troy “Trombone Shorty” Andrews in 2013, the Foundation inspires and prepares the next generation of New Orleans musicians, by developing their talent and connecting them to the city’s unique musical heritage. As an annual sold-out-event, Shorty Fest has built a reputation as a showcase for Academy students and up-and-coming musicians and honoring the mission of mentorship that is at the heart of the Trombone Shorty Foundation.

Shorty Fest 2018 will take place May 3 at the House of Blues New Orleans, 225 Decatur St, New Orleans, LA with doors opening at 7:30 p.m. and performances beginning at 8:00 p.m.

The sixth annual Shorty Fest is the place to celebrate leading acts, local superstars and the next generation of New Orleans musicians, the Trombone Shorty Academy students,” said Troy “Trombone Shorty” Andrews. “We make music careers a reality -- allowing kids to pursue their dreams, with the help of incredible music education programs, mentors, and performance.”

Shorty Fest 2018 Lineup:

Trombone Shorty and Orleans Avenue- a hard-edged funk band that employs hip-hop beats, rock dynamics and improvisation in a jazz tradition. They've rocked audiences headlining New Orleans Jazz & Heritage Festival since 2013 in the coveted closing spot and has performed at venues and festivals all over the globe.

Tank and the Bangas – Combining the various musical genres Rhythmic Soul, Spoken Word, Rock, Gospel, Funk, and Folk, Tank and The Bangas have quilted a unique sound that singles them as one of the most distinctive groups to come out of New Orleans.

The Soul Rebels - Eight piece brass ensemble that takes tradition and blends funk and soul with elements of hip hop, jazz and rock. The band built a career around an eclectic live show that harnesses the power of horns and drums in a deep pocket funk party-like atmosphere.

Water Seed - Billboard Top 40 Recording Artist, Water Seed is a progressive innovative band that dares to bring musicianship, dexterity and creativity to Funk, Soul, R&B, Fusion, and Future Funk.

New Breed Brass Band - living and breathing the culture of New Orleans, infusing funk, rock, jazz, and hip-hop into a custom-made enhancement of second-line brass band tradition.

Darcy Malone & The Tangle - New Orleans based Indie, Soul, Rock n Roll band led by Darcy Malone, daughter of the Radiators’ Dave Malone and her husband, singer/guitarist Christopher Boye.

Khris Royal & Dark Matter- Khris Royal & Dark Matter are a young alternative funk band on the forefront of the New Orleans music scene. KRDM are poised to make an impact in a way similar to the other notable funksters from New Orleans. The band is fearlessly led by dynamic saxophonist Khris Royal.

Big Chief Juan Pardo & The Golden Commanches - Big Chief Juan Pardo’s music is an electrifying display of a culture that dates back over two hundred years in New Orleans, the Mardi Gras Indian tradition.

Trombone Shorty Academy students - The Trombone Shorty Academy provides aspiring underserved high school musicians mentorship and experience in music performance, reading and writing while teaching New Orleans musical traditions like brass-band, traditional Jazz, Blues and gospel, Mardi Gras Indian funk, Hip-Hop, and Shorty’s own hybrid sound of “SupaFunkRock.” The Academy combines education in the region’s rich musical history with immersion in a performance ensemble under the guidance of musicians Erion Williams, Edward Lee, and and Julian Gosin of New Orleans’ own The Soul Rebels, and Jenard Andrews of New Breed Brass Band.

Founded by renowned New Orleans musician Troy “Trombone Shorty” Andrews in 2013, the Trombone Shorty Foundation is Andrews’ vision of sharing his passion to inspire the next generation by developing their musical talent and connecting them to the city’s unique musical heritage. Frontman of the band Trombone Shorty & Orleans Avenue, Andrews credits the support of his own positive role models in the rich New Orleans music community for helping him make his way into the world of music, where he has grown into an internationally recognized, Grammy Award-nominated artist.

Currently in its sixth year, the Trombone Shorty Academy partners with the New Orleans Jazz and Heritage Foundation to perpetuate the musical heritage of the region, by teaching local high school students homegrown New Orleans music—from brass band and traditional jazz to more modern funk and rhythm & blues styles, all of which play an integral role in the richness and depth of New Orleans’ musical legacy. 


Pianist Edward Simon Presents the Album Sorrows and Triumphs, featuring David Binney, Scott Colley and Brian Blade


Pianist Edward Simon - a native of Venezuela who has made a name for himself over decades in America as a jazz pianist, bandleader and composer-arranger, along with being a Guggenheim Fellow and member of the hit SFJAZZ Collective - presents his latest album, Sorrows and Triumphs, via Sunnyside Records on April 20, 2018. The recording showcases his virtuoso quartet Afinidad, featuring alto saxophonist David Binney, bassist Scott Colley and drummer Brian Blade; the album's color-rich arrangements also include special guests: vocalist Gretchen Parlato, guitarist Adam Rogers and the chamber quintet Imani Winds, along with percussionists Rogerio Boccato and Luis Quintero. The album's material blends two bodies of music commissioned by Chamber Music of America's New Jazz Works program: the suites "Sorrows and Triumphs" and "House of Numbers," their individual movements re-sequenced to form a holistic listening experience that brims with a lyricism both intimate and majestic. This release follows Simon's Latin American Songbook, with the four-and-a-half-star DownBeat review for that 2016 album praising its "grand and sophisticated" sound. Latin American Songbook also won Simon an NAACP Image Award for Outstanding Jazz Album. JazzTimes has said: "Simon is less talked about than many other important jazz pianists from the Caribbean and South America, but he may be the most complete creative artist among them."

The three tracks on Sorrows and Triumphs drawn from the original title suite - "Equanimity," "Rebirth" and "Triumphs" - feature Afinidad with Parlato, Rogers and Baccato, the compositions inspired by Simon's studies of Buddhism over two decades. Afinidad first performed the "Sorrows and Triumphs" suite in 2009 at Walton Performing Arts Center in Arkansas and later at New York's Jazz Standard, with performances broadcast on NPR's Jazz Set. "The music isn't narrative in any way," Simon explains. "But it was inspired intuitively by the effects Buddhist practice has had on me, the perspective and the little bits of enlightenment that come every day. I wrote my own words for 'Triumphs,' but Gretchen has also studied Buddhism, so when I asked her to contribute lyrics to 'Rebirth,' she knew exactly how to convey the message. Gretchen is such a special singer, who has the gift making the most of small details to expressive effect. She knows that just a whisper can have a big impact. As for the compositions, I wanted them to bring joy to the listener, to be direct and accessible, with singable melodies."

The album's tracks taken from the suite "House of Numbers" - "Uninvited Thoughts," "Triangle," "Chant" and "Venezuela Unida" - feature Afinidad with Quintero and award-winning classical group Imani Winds. The ballad highlight "Chant" also includes words and vocals by Parlato. Simon's compositions explore the cross-cultural resonance of numerology, as well as the musical possibilities that arise when jazz and classical artists combine. The music draws on traditions from Europe, Africa, North America and South America, blending composed structures with sections for improvisation; the numbers 3, 4, 5 and 7 - and their cultural and musical implications - form the basis of the suite's four pieces. The composer explains: "The number 3, for instance, can suggest triple meters, such as 3/4, 6/4 or 6/8, which in turn can suggest certain grooves, particularly in the music of South America. It can also point to the use of triads and three-bar phrases. Above all, the number 3 points to the even distribution of forces into three equal parts, which suggests balance - an ideal in nature and life." Afinidad and Imani Winds unveiled House of Numbers in 2016 at California's University of the Pacific.

Simon Rowe, executive director of Roots, Jazz & American Music at the San Francisco Conservatory of Music, attended the premiere of "House of Numbers," saying afterward that the blend of the five Imani Winds with Simon's jazz quartet was "mesmerizing," as the "writing juxtaposed the lyrical and often dense textures of the quintet with the ever-changing, percolating rhythmic drive of Afinidad." Reviewing Afinidad's music-making, All About Jazz described the band's sound as "wonderful, accessible and deep." Simon remarks on his bandmates: "Their musicality, openness, and breadth give me the greatest freedom as a composer. I write with the sound and sensibilities of Dave, Scott and Brian in mind, and I depend on our instant empathy and almost wordless communication in the studio. It is our artistic bond of trust, built over many years, that underpins and encourages my exploration in these pieces." Simon and Binney co-founded Afinidad in 2000, with the kindred-spirit rhythm section of Colley and Blade there from the start. The quartet has previously released the albums Afinidad (Red Records, 2001) and Océanos (Criss Cross, 2007).

Simon and Binney share a 25-year affinity, their musical visions as simpatico as their personalities. "Dave is eclectic, open to all sorts of influences, and has the ability to put them together into something personal, as a player and as a composer," Simon remarks. "We have both composed for Afinidad over the years, even though this album is mine as a composer. But David's sharp ear for aesthetic beauty makes him a great sounding board in the studio - in addition to being a featured player, he has real producing chops. He co-produced the track 'Triumphs' with me, adding electronics." For his part, Binney says: "I've always enjoyed Ed's sensitive musicality. His musical concept sums up the way I hear things, and because of his Latin American roots, his rhythmic sense is very strong, which complements the way I play. Sometimes I play with more abandon, and he locks things in. And his compositions have such thought behind them." About Colley and Blade, who are leaders in their own right, Simon adds: "Musicians who are composers interpret other people's music in a more informed way, so Scott and Brian have the sensibility to articulate my music with sensitivity to space, to quality of sound, to textural nuance."

Guitarist Adam Rogers has been part of the extended Afinidad family for years. "He's such a strong improver," Simon explains, "and his versatility as a player, whether on electric or acoustic, adds a lot to what we can do texturally." About the extra percussion of Boccato and Quintero, Simon adds: "Groove has always been a vital aspect of music for me, and with a lot of this music influenced by classical minimalism - especially Steve Reich - the extra percussion helps articulate the groove. And in 'Venezuela Unida,' Luis plays the culo'e puya, a long, narrow drum, played in sets of three, associated with Afro-Venezuelan music. This composition is dedicated to my homeland. Venezuela has undergone tremendous socio-economic and political changes during the past decade. It pains me to see the strong divisions that have emerged as a result and the great difficulty people are going through. I wish for my fellow Venezuelans to elevate themselves beyond differences in views and hope they manage to find peace, understanding and unity once again."

Edward Simon - who first came to the U.S. in 1981 at age 12, then settled permanently stateside after attending the Performing Arts School in Philadelphia - grew up in a musical family in the oil-refinery town of Punta Cardón, Venezuela. His father planted a musical seed with young Edward and his siblings, the kids raised on the strains of their dad playing guitar and singing boleros with his drinking buddies. Chucho Valdés was Simon's first big influence on piano, then he got the jazz bug watching a VHS tape of Dizzy Gillespie and Stan Getz playing at the White House - with "the freedom of jazz" forever instilled in him as an ideal. After graduating from the Performing Arts School at age 15, Simon received a music scholarship from the University of the Arts where he studied classical music. Later, he transferred to the Manhattan School of Music where he studied jazz piano. During his stint as a young jazzer in New York City, Simon was inspired by the innovative Nuyorican jazz of Jerry Gonzalez & the Fort Apache Band, eventually playing with the group.

As a young striver, Simon took the piano chair in Bobby Watson's band Horizon (1989-94), later moving to the Terence Blanchard Group (1994-2002). Simon made his debut album as a leader in 1994 with Beauty Within (Audioquest). The same year, he placed third in the Thelonious Monk International Jazz Competition, with the albums Edward Simon (Kokopelli, 1995) and La Bikina (Mythology, 1998) to follow. Simon co-founded the quartet Afinidad with David Binney, releasing the discs Afinidad (Red Records, 2001) and Océanos (Criss Cross, 2007) with the rhythm duo of Scott Colley and Brian Blade. Simon and Binney also released the duo album Fiestas de Agosto (Red Records, 2008). In 2010, Simon was named a Guggenheim Fellow, and he became a member of the SFJAZZ Collective, which comprises what The New York Times called "eight of today's most in-demand" performer-composers.

Following his leader discs The Process (Criss Cross, 2003) and Simplicitas (Criss Cross, 2005), Simon recorded several albums featuring his All-Star Trio with Blade and bassist John Patitucci; complementing the studio discs Unicity (CamJazz, 2006) and Poesía (CamJazz, 2009), the group's most recent release is the 2013 Sunnyside album Trio Live, recorded at New York's Jazz Standard. The New York Times praised Simon's "warm touch" as a pianist, while Jazz Journal International singled out his "deep emotional statements" as a composer. With the folk-accented compositions of his album Venezuelan Suite (Sunnyside, 2014), Simon garnered some of the most glowing reviews of his career, including a rating of four-and-a-half out of five stars from DownBeat. With Venezuelan Suite, the pianist blended the tuneful, buoyant sounds of his native country with the harmonically sophisticated, forward-looking manner of jazz. The compositions - written on a grant from Chamber Music America - featured star saxophonist Mark Turner alongside virtuosos of the Venezuelan folk tradition. All About Jazz marveled over the album: "Venezuelan Suite is pianist Edward Simon's love letter to his homeland, but that's not all it is; it's the perfect confluence of Venezuelan ideals, jazz language and chamber-esque sophistication. In short, it's a masterpiece."

Latin American Songbook (Sunnyside, 2016) saw Simon create artful piano-trio arrangements of such classics as Astor Piazzolla's "Libertango" and Antônio Carlos Jobim's "Chega de Saudade," as well as the Cuban ballad "En La Orilla Del Mundo" (On the Edge of the World). NPR's All Things Considered said: "This recording works because an expert musician applies himself so sincerely to songs that were formative for him. Simon puts his head and heart into Latin American Songbook, and the album gives Latin standards a rightful and joyful place at the center of instrumental jazz." In fall 2017, Simon, Colley and Blade released their first album as a cooperative trio, the eponymous Steel House.

Sorrows and Triumphs 
1. "Incessant Desires"
2. "Uninvited Thoughts"
3. "Equanimity"
4. "Triangle"
5. "Chant"
6. "Venezuela Unida"
7. "Triumphs"
8. "Rebirth"

Produced and composed by Edward Simon
"Triumphs" co-produced by Edward Simon & David Binney
Lyrics for "Chant" and "Rebirth" by Gretchen Parlato
Edward Simon, piano; David Binney, alto saxophone; Scott Colley, double-bass; Brian Blade, drums
Gretchen Parlato, vocals; Adam Rogers, guitars; Imani Winds: Valerie Coleman, flute; Toyin Spellman-Diaz, oboe; Monica Ellis, bassoon; Mark Dover, clarinet; Jeff Scott, French horn
Rogerio Baccato, percussion (3, 7); Luis Quintero, percussion (2, 4, 6)

Wednesday, March 21, 2018

Frank Sinatra - 'Standing Room Only' Set For Worldwide Release

A stellar new collection, Frank Sinatra - 'Standing Room Only,' presents three captivating rare and previously unreleased Sinatra concerts from the 1960s, ‘70s and ‘80s. Available now for preorder in deluxe 3CD and digital formats, 'Standing Room Only' will be released worldwide on May 4 by Capitol/UMe and Frank Sinatra Enterprises.

Sinatra's acclaimed concerts always sold out, leaving many fans clamoring to try to score a spot to stand behind the seats or along a wall with a rare and coveted "standing room only" ticket to the big show. Being in the room for Sinatra's performances of "Come Fly With Me," "My Way," "You Make Me Feel So Young," "The Lady Is A Tramp," "The Theme From 'New York, New York'," and so many more of his iconic songs was a thrilling experience for anyone who had the opportunity.

Standing Room Only presents three remarkable complete concerts from three decades of Sinatra's career: his January 28, 1966 second show with Count Basie at The Sands, Las Vegas (previously unreleased on CD); his October 7, 1974 concert at Philadelphia's Spectrum arena (previously unreleased); and his October 24, 1987 concert at Dallas' Reunion Arena (previously unreleased in its entirety). The collection's audio is newly remixed by Larry Walsh at NBCUniversal Audio and mastered by Seth Foster at Universal Mastering Studios. The deluxe 3CD package includes a 30-page booklet with liner notes plus several rare and never-before-published photos.

Throughout his seven-decade career, Frank Sinatra performed on more than 1,400 recordings and was awarded 31 gold, nine platinum, three double platinum, and one triple platinum album by the Recording Industry Association of America. Sinatra demonstrated a remarkable ability to appeal to every generation and continues to do so; his artistry still influences many of today's music superstars. The Oscar® winner also appeared in more than 60 films and produced eight motion pictures. 


Legendary Group The Temptations Announce New Studio Album, 'All The Time'

Legendary group The Temptations are pleased to announce their first new album in eight years, All The Time. To be released worldwide by UMe on May 4 in CD, vinyl LP, limited edition white vinyl LP, and digital formats, All The Time features inspired renditions of songs by Sam Smith, Bruno Mars, John Mayer, Maxwell, Ed Sheeran, Michael Jackson, and The Weeknd, and three new, original Temptations songs. The album's digital format includes two tracks available for immediate download and streaming today with album preorder, as well as two bonus track remixes. 
  
All The Time is produced and arranged by Dave Darling, also known for his work with Glen Campbell, Brian Setzer, Tom Waits, and Janiva Magness, among others. The new album soars with The Temptations' strongest lineup in 20 years, led by founding member Otis Williams. Among the cover versions, the group transforms Sam Smith's "Stay With Me" into a stirring soul-gospel love song, while in their hands "Earned It," originally recorded by The Weeknd for Fifty Shades of Grey, becomes an emotional tour-de-force, and "Thinking Out Loud," originally by Ed Sheeran, is soulfully reflective and features Williams' spoken introduction. The album's new original songs are the yearning "Waitin' On You," the romantic "Be My Wife" – a sure steppers favorite – and the funked-up "Move Them Britches." The digital album's two bonus tracks are a spare 'Gospel Mix' for the rendition of Sam Smith's "Stay With Me" and a special 'Heathens Mix' for "Move Them Britches."

Listen to The Temptations' rendition of Sam Smith's "Stay With Me":  https://lnk.to/StayWithMe

54 years ago this month, The Temptations released their first Motown album, 1964's Meet The Temptations. For nearly 60 years, The Temptations have reigned as one of popular music's most beloved and successful groups worldwide, lauded by Billboard in 2017 as the Number One R&B Artist of All Time. The Temptations rose to the top of the charts with 16 Number One R&B albums and 43 Top Ten R&B hit songs across four decades, including 14 Number One singles. Their hits "My Girl," "Ain't Too Proud To Beg," and "Get Ready" are timeless, iconic classics, while the group's later forays into funk and psychedelia, including "Cloud Nine" and "Papa Was a Rollin' Stone," are just as influential. The group is one of Rolling Stone's '100 Greatest Artists of All Time,' and MOJO celebrated The Temptations with a December 2017 feature, saying "the music now sounds more mind-blowing than ever."

The Temptations were inducted into the Rock and Roll Hall of Fame in 1989, into the Vocal Group Hall of Fame in 1999, and into the Rhythm & Blues Music Hall of Fame in 2013, the same year they were honored with the Recording Academy's Lifetime Achievement GRAMMY® Award. Winner of four GRAMMY Awards, they received Motown's first-ever GRAMMY in 1969 for "Cloud Nine." Additionally, a two-part, scripted miniseries on the group, broadcast by NBC in 1998, was a ratings smash and won an Emmy® Award for Outstanding Directing for a Miniseries or Movie.

The "Tempts" continue to actively tour, performing worldwide throughout the year.

"I'm 76 now," says Otis Williams, "Looking back, I never could have imagined where my life has taken me. I'm so proud of what The Temptations have achieved, and I'm grateful for every opportunity we've been so fortunate to receive. The music carries me. Together, we lift our voices with love and wonder. We had a great time recording All The Time and we hope everyone enjoys it."

Last fall, an electrifying new Temptations musical, Ain't Too Proud—The Life and Times of The Temptations, made headlines as the highest-grossing production in the Berkeley, California Repertory Theatre's 50-year history. The show is confirmed for exclusive five-week engagements at Washington, DC's Kennedy Center this June and July, at Los Angeles' Ahmanson Theatre in August and September, and at Toronto's Princess of Wales Theatre in October and November before it debuts on Broadway. Ain't Too Proud, with the iconic hits, harmonies and signature dance moves that have made The Temptations a cherished part of our cultural history forever, explores their extraordinary journey from the streets of Detroit to Motown fame and the Rock and Roll Hall of Fame. The thrilling story is presented by Kennedy Prize-winning playwright Dominique Morisseau, Olivier Award-winning choreographer Sergio Trujillo, and two-time Tony Award-winning director Des McAnuff.

 

New single by UK funk locomotive Cantaloop (feat. The Haggis Horns)

Cantaloop deliver an infectious blend of funk-hip-hop-soul with floor-filling swagger that ignites and unifies crowds. Based in Worcester in the UK, this band has always been able to adapt to the ever changing music industry volcano, yet still retain its truly distinctive sound. Whatever guise their music takes, you can still smell that funk! It’s part of their DNA and with it they’ve continued to deliver the jaw dropping live shows that have characterized them since they began.

The world doesn’t stop spinning and Cantaloop work on a similar principle. Their non stop tour, gig, tour, record, gig, tour mentality is a source of strength and without it they may well have imploded like many before them. Debut album “Groove Operator” was released in 2001 and entirely self-produced. They followed-up with “Live” in 2003, and third album “I.C.H.I.L.E.” in 2008, with a slew of singles and EPs in-between. In the meantime the band completed a tour of 25 dates in Switzerland and Europe in 2005, a tour of 10 dates in Ireland with The Fun Lovin’ Criminals in 2007, as well as performing an unstoppable amount of shows in the UK. They have supported acts such as De La Soul, Trevor Nelson, Roy Ayers, Dewele and The Blockheads.

The group is fronted by the hip-hop/funk attack of Dannie Dee Sanderson on vocals and bass, Justin Metti on guitar, and James Randle on drums, fleshed out with additional players on sax, trumpet, Fender rhodes as well as special guests. 2018 sees Cantaloop establish new alliances and release brand new music that lives up to the band’s mission since day one: to produce pure, vibrant funk/ pop/ and ‘bling-free’ hip-hop tinged with soul!


Trumpeter Joshua Trinidad Conjures Evocative Moods on In November

Denver-based trumpeter-composer Joshua Trinidad makes a strikingly original statement on his RareNoiseRecords debut, In November. Recorded in Giske, Norway, this highly evocative trio outing features the adventurous Norwegian guitarist-composer and ECM recording artist Jacob Young and drummer Stale Liavik Solberg, a central figure on Oslo's improvising music scene. Brimming with deep and winding lyricism, Trinidad's elegiac seventh album as a leader is a compelling mix of bold long tones on trumpet, atmospheric guitaristry, fluid melodic invention and daring group improv, all delivered with rare authority by the three intrepid improvisers. From the minor key rubato opener "Beside" to the melancholy soundscape "Bell (Hymn)" to a darkly entrancing "The Attic" and the stirring title track, Trinidad and his empathetic crew of deep listeners show respect toward space and silence on these spellbinding noirish numbers.

Young, whose principal teacher was the great jazz guitarist Jim Hall and who also took lessons with guitar great John Abercrombie, switches from edgy wah-wah inflected statements on electric guitar ("Bedside," "Feathers") to gently introspective nylon string acoustic tones on soothing numbers like "Kin," "Morning Flight" and "Poem." Solberg, a remarkably interactive drummer, plays sensitive colorist on the kit on the minimalist "Bell (Hymn)," the mournful rubato number "Bell (Lullaby)" and the spacious title track, then provides a solid backbeat on the urgent, rock-fueled closer "Torreon," named for the town in Mexico where Trinidad's family came from. The trumpeter blows with burnished tones and relaxed restraint over the top on the eleven stirring tracks.

Trinidad explains how the rare chemistry displayed on In November came about: "I met Jacob Young in the summer of 2007 at the Jarasum Jazz Festival in South Korea. I was living in Seoul at the time and had the opportunity to meet his band, which included trumpeter Mathias Eick. I was really into the music coming out of Norway and enjoyed the songwriting quite a bit. With Stale, I have been a fan of his since the early 2000s as well. And I really got into his music when he recorded with UK guitarist John Russell. I was instantly attracted to Stale's creativity and ability to command improvised music."

Growing up in Denver, Trinidad gravitated to trumpet at the early age of seven and later developed under the tutelage of some of the Mile High City's finest trumpeters, including Hugh Ragin, Walter Barr, Al Hood and Ron Miles. "Studying with these gentlemen was life-changing," he says, "and I owe each one of them a great amount of thanks for their support." He adds that Miles, who has gained international notoriety through his collaborations with the likes of Ginger Baker, Bill Frisell, Jason Moran and Mary Halvorson as well as his ten acclaimed albums as a leader, made a particularly strong impression on the aspiring trumpeter. "Ron is an important mentor to me," he says. "When I decided to study music, it was such an easy choice to stay in Denver because of Ron Miles. He really showed me that playing the trumpet was more than creating music; it embodied so much more. Mr. Miles constantly showed me that being honest and genuine as a person and in my music was an important factor. I still look up to Ron. I don't see him as much as I would like, but he is constantly in my heart."
  
While studying music at the University of Colorado at Denver, Trinidad learned piano while also soaking up the sounds of jazz trumpet. "The first time I heard some serious jazz trumpet playing was on the early '60s recordings that my Mom used to play for me of Tony Bennett with Count Basie's Orchestra. Sonny Cohn's playing on those records were some of the first sounds of trumpet that I can remember. I also grew up listening to Miles Davis and Lee Morgan and as I got older, into 20's, I began listening to Arturo Sandoval, Jon Hassell and some other trumpeters of today such as Cuong Vu, Erik Truffaz and, most notably, Nils Petter Molvaer."

Though steeped in jazz during his formative years, Trinidad explored the indie rock scene in some of his early endeavors. "One of the first bands I was in was a four-piece band that played music similar to Radiohead," he recalls. "Later I explored other genres ranging from punk rock and folk to rap and hip-hop. From each one of those bands I played in over the years I learned a lot of important lessons about musicianship. And now I think I spend more of my time not listening to jazz music. I actually spend a lot of my time listening to rap, hip-hop, folk, rock and punk music. Over the past year I have been really digging the music of Kendrick Lamar, James Blake, Chance the Rapper, Sigur Ros, Radiohead and Bjork."

A prolific composer, shows remarkable growth on his seventh recording as a leader. "In November is an album that I had been dreaming up for years; I just wasn't sure how to approach the concept. I have been attracted to the musicians in Scandinavia for years, specifically, Norway. Through years of listening to music coming out of Scandinavia I feel that I have found my identity and myself."

That identity plays out in Trinidad's zen-like restraint heard throughout In November. It's an approach that has far less to do with the hot, extroverted style of bebop and hard bop trumpeters like Dizzy Gillespie, Roy Eldridge, Clifford Brown, Lee Morgan, Kenny Dorham, Fats Navarro and early Miles Davis than the cooler, more ambient approach of Scandinavian trumpeters such as Mathias Eick and Nils Petter Molvaer or Polish trumpeter Tomasz Stanko, whose signature brooding ECM albums had a direct impact on Trinidad's latest. "Here in the U.S., many trumpeters play trumpet from a very macho approach," notes Trinidad. "This whole idea that playing higher, faster and louder defined a quality trumpet player made me sick. To me, many U.S. trumpeters play trumpet as though they are playing a sport. However, when I discovered the music in Norway, I realized that this is not always the case. I was drawn to that approach much more."

After reaching out to Young and Solberg about collaborating, the kindred crew met at Ocean Sound Recording in Giske, Norway to document their special chemistry for In November. "When they both agreed to do this project, I spent the next six months writing songs with them in mind," Trinidad recalls. "I spent many nights thinking about Jacob's guitar and Stale's drums and how I wanted them to sound together with my trumpet. When we all sat down to play together for the first time in the studio, it was magical. It sounded better than I had dreamt. We three connected quickly and through this connection we were able to explore the music from an honest position."

That kind of hand-in-glove chemistry plays out in elegant, empathetic fashion throughout In November, Trinidad's auspicious debut on RareNoise Records.

TRACKS
1. Bedside
2. Bell (Hymn)
3. Bell (Lullaby)
4. Feathers
5. Giske
6. In November
7. Kin
8. Morning Flight
9. Poem
10. The Attic
11. Torreon

All compositions by Trinidad, Young, Solberg.
Published by RareNoisePublishing (PRS).
Recorded 22-25 November 2015 at Ocean Sound Recordings Studios in Giske, Norway.
Sound Engineer : Henning Svoren.
Mixed by James Dellatacoma at Orange Studios, NJ, USA.
Mastered by James Dellatacoma at Orange Studios, NJ, USA.
Executive Producer for RareNoiseRecords : Giacomo Bruzzo.
Artwork and Design : Petulia Mattioli.

 


RareNoise Releases Sonar Vortex with David Torn

Sonar's fourth release Vortex reflects the sound of surprise. After three uncompromising quartet albums exploring the edges of minimalist groove, the Swiss group has partnered with renowned guitarist, composer and producer David Torn for its RareNoise debut.

The band, comprised of guitarists Stephan Thelen and Bernhard Wagner, bassist Christian Kuntner and drummer Manuel Pasquinelli have long been celebrated for combining the visceral power and dynamics of art rock with a minimalist aesthetic. Their previous album, 2015's Black Light, attracted significant media and musician attention. Legendary avant-guitarist Henry Kaiser took a particular interest in the group and was determined to pair them up with Torn for their next album. "Henry wrote me and said 'There's this Swiss band Sonar that uses tritone tunings in a really interesting way. They're pretty minimalist. I think you should produce it,'" said Torn. "I dug into Black Light and enjoyed the music right away. The band has a boldness within its sparseness. I started having ideas quickly. I felt some of the rock elements could be more rocking and that things could be rougher sounding. I wanted to add another layer to it. And off we went."

But what began as a production relationship with the intention of having Torn also occasionally guest on tracks, rapidly evolved. Torn ended up performing on every track, essentially becoming a fifth band member throughout the sessions.

"From the first second, David's playing was so intense and powerful that his energy immediately transferred to the band," said Thelen. "It was remarkable. David's sound meshed so perfectly with our sound, sonically and conceptually. Everybody was just stunned. Our friend, the music journalist Anil Prasad, was there to document the sessions. He took me aside and said 'You have to have David play on every track. Seize this remarkable and unique opportunity.' So, we did."
  
The sessions at Powerplay Studios near Zürich were full of camaraderie and collaboration. Sonar and Torn used virtually every minute of their work together on Vortex.

"We hardly edited anything out," said Torn. "I think that's because I played when I felt there was a spot in the pieces where something melodic or some weird, rhythmic looping thing could benefit the patterns Stephan and Bernhard were playing. I left a lot of space. I didn't want to get in the way of the pieces to the point where they call the paddy wagon and take me away in a straightjacket."

The end result is an exhilarating album and a 21st Century rock milestone. It's the sort of recording that rarely gets made anymore. It's five musicians together in a state-of-the-art studio, working in the moment and throwing caution to the wind. Vortex is pure artistry in motion.

"I never doubted David's free and expressive style would mesh perfectly with the clean, disciplined and precise approach Bernhard and I have in Sonar," said Thelen. "It's a bit like ying and yang or the two opposing ends of a ring-shaped world. We're all thrilled with how the album turned out."

Vortex track-by-track:

1. Part 44
Thelen: The original "'Part 44'" was composed by Don Li, one of the most important and innovative figures in the Swiss minimal groove scene. For the Sonar version of this piece, I kept the basic rhythm, but completely recomposed the guitar patterns and the harmonic movement of the piece. It has a fascinating polyrhythmic, propulsive structure that sets the tone for the album."
Torn: "It sounds exactly the way we played it during the sessions, with tremendous amounts of space between sections. You can also hear a sense of dirt in the bottom end. It's a gritty sound that's new for Sonar."

2. Red Shift
Thelen: "This piece is in three parts. The first section is quite heavy and strictly composed, with just the Sonar quartet. The second section is a tritone harmonics interlude with David and Manuel improvising over a guitar and bass pattern played only with the natural harmonics of the tritone tuning. The third section offers a very slow build-up improvisation with lots of ambient sounds and loops from David."
Torn: "I really like the microsampling things I do on this track to help color it. I would hit a chord and quickly sample four or five milliseconds of it and shift the pitch of it."

3. Wave and Particles
Thelen: "This is my favorite piece. It has a spiritual quality and I love how David soars like an eagle over the constantly-shifting groove. It's based on a ridiculously complex rhythm, but flows very naturally."
Torn: "You'll hear me reharmonizing things and carefully crafting improvised ambiences on this. These things created a feeling of suspense. You'll also find me playing melodies that are harmonically different from Stephan's writing, not unlike the more open improvisations I did when I was with the Jan Garbarek band."

4. Monolith
Thelen: "David's guitar howls like a wounded beast over the angular, contrasting rhythms on 'Monolith.' He can express more and deeper feelings of hope and despair with one long, bended note than other guitarists with 10,000 notes."
Torn: "This has some of the best and most patient shifting of harmonics on the album as the piece floats along. I was playing chords and textures with melodic-type shapes along with these shifting harmonies. It felt like a cross between Miles Davis and Jon Hassell." 
5. Vortex

Thelen: "This is a tritone harmonics composition that's based on two different rhythmic subdivisions. It was very complex to nail down, but it comes across seamlessly and David does some wild stuff on it."
Torn: "I start the piece with a major chord, which is something different for Sonar. You can hear me playing parallel harmony things on the guitar that I'd subtly add to what was written. Christian is also really pushing the piece along and holding it down. Manuel is simultaneously careful with the composition and kicking ass."

6. Lookface!
Thelen: "This is a totally improvised, crunchy rock piece. I counted us in and all of a sudden, there were these powerful notes blasting out of David's amplifier. His sudden surge of energy infected the band and we took off on a throbbing journey."
Torn: "I chose to hit the notes over and over and fed them back in a million different ways. You'll also hear Manuel playing a downbeat that I created a harmonic counterpart for. I used detuned Gamelan instruments to make that. They sound like gongs in a couple of spots in the track. I'm very happy with how it turned out."

TRACKS
1. PART 44, 9:56
2. RED SHIFT, 10:31
3. WAVES AND PARTICLES , 7:49
4. MONOLITH, 10:47
5. VORTEX , 9:37
6. LOOKFACE!, 7:13

Produced and mixed by David Torn.
Recorded at Powerplay Studio A in Maur near Zürich, Switzerland, Feb. 15-17, 2017.
Engineer: D.James Goodwin.
Assistant: Reto Muggli.
Mastered by Serge Christen, www.mazzivesound.ch.

All compositions by Stephan Thelen except
Part 44 by Stephan Thelen and Don Li
Monolith by Stephan Thelen and David Torn
Lookface! by Stephan Thelen, Bernhard Wagner,
Christian Kuntner, Manuel Pasquinelli, and David Torn.

Published by RareNoisePublishing (PRS).
Executive Producer for RareNoiseRecords: Giacomo Bruzzo.
Special thanks to: Anil Prasad, Henry Kaiser, Alex Mullarkey, Susann Smitka, Thomas Becker, Jerry Rojas, Markus Reuter, and Giacomo Bruzzo.
David Torn appears courtesy of ECM Records.


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