Wednesday, September 30, 2015
1. Le Monde de Cyrano
2. Sunland (États et Empires du Soleil)
3. Night and Day
5. Con Calma
6. Symphonic Circle
7. Lune (États et Empires de la Lune)
8. Summer Wings
S'inspirant des voyages spatiaux imaginés par l'écrivain Cyrano de Bergerac au XVIIème siècle, la pianiste salue l'esprit utopiste et tous ceux qui rêvent à un monde meilleur.
Leïla Olivesi, piano, chant, compositions et arrangements
Manu Codjia, guitare
Yoni Zelnik, contrebasse
Donald Kontomanou, batterie
+ invité spécial : David Binney, saxophone alto
Album disponible en CD et numérique.
Sortie le 7 avril 2015
jazz&people / harmonia mundi
Fnac : http://musique.fnac.com/a8187103/Leil...
Amazon : http://www.amazon.fr/Utopia-Leïla-Olivesi/dp/B00TE80ZZO
iTunes : https://itunes.apple.com/us/album/uto...
Qobuz (qualité Studio Masters) : http://www.qobuz.com/fr-fr/album/utop...
et chez tous les bons disquaires !
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The Esoteric Antenna label is pleased to announce the release of the new album by internationally acclaimed British saxophone and flute player and composer Theo Travis ‘Transgression’ his first solo album in eight years, with his band ‘Double Talk’.
Theo Travis – who has worked with many artists in the Prog, Jazz and Rock worlds such as Gong, Soft Machine Legacy, The Tangent, Bill Nelson, Keith Tippett and with Robert Fripp in Travis & Fripp – has put together a band of progressive jazz stars for the record. Travis is well known for his collaborations with Steven Wilson, appearing on all four of his solo albums as well as recordings with Porcupine Tree and No Man and he has been touring internationally with the Steven Wilson Band from his first solo tour in 2011 up until the current tour.
01. Patche (07:58)
02. Barely a Moon (08:27)
03. Tinkerbell Swing (05:55)
04. The Elf of Plants (05:16)
05. Augmented Waltz (04:44)
06. Pass a Cage, Lea (07:06)
07. So It Goes (07:17)
08. Inebriate Waltz (08:03)
09. Fly (06:14)
Hayden Chisholm - alto saxophone
John Taylor - piano
Matt Penman - bass
Tuesday, September 29, 2015
When Freddy Sklenar asked me to write the liner notes for this album, I agreed without hesitation. But where it was very easy to listen to Freddy's first album, it turns out that writing lining notes is not so easy - to put one's enjoyment of art into words is far more difficult than to simply enjoy the art!
Even so, here goes: As I listened to Blue Turtle, I felt as though I was on a cross-country train trip, sipping a glass of wine and watching the world go by. There are a few standards thrown in to complete the atmosphere, but this album mostly features the clever and emotional songwriting of Freddy Sklenar. The songs are a fresh take on an old tradition. With the beautiful, tuneful Song For Annie (which Freddy wrote for his beautiful bride) and the haunting, somber Wisconsin Winter, Freddy and his group created a diverse tapestry of sounds and textures that took me on a singular journey through stark cold emptiness and spring flowers.
The personality of each musician shines big on this album. Paul Brandt's playful and innovative exposition on Happiness Break is a perfect compliment to Freddy's soulful tenor playing on Johnny Green's Body & Soul. Todd Bartlett's gut-busting solo on the title track, Blue Turtle Blues, is just dirty enough to make you long for a shot of Kentucky Bourbon, and Karl Anderson and Dave Barneson are a swinging' team that create a solid underpinning for the whole recording.
This is beautiful, joyful music, full of all the bits and pieces that define art as it responds to life! Enjoy the ride!
SPAIN/RUSSIA/DENMARK: Roman Miroshnichenko, José Antonio Rodríguez & Henrik Andersen-World of Guitar Trio: Perfect Strangers(2015)
Federico Eterno – alto sax and clarinet
Marco Papa – electric guitar
Gioele Pagliaccia – drums
UGO plays saxophone, guitar, drums and clarinet, and is split in three distinct elements.
UGO lives in Berlin, but gets inspiration from different parts of the world and tries to synthesize his experiences through original compositions.
UGO grew up listening to punk, jazz, european free jazz, african percussions and Bach, and it blends all these elements in the melting pot of its own improvisations and compositions.
He is bold and unafraid of breaking rules, especially those hindering the flux of his own creativity.
Monday, September 28, 2015
Christian Tamburr is an internationally touring vibraphonist and pianist, accomplished on drums as well as world and orchestral percussion. Downbeat Magazine recognized him with the “Outstanding Solo Jazz Performer” award and the “2013 Critics Choice Top Rising Star” award on vibraphone. He currently leads the critically acclaimed Christian Tamburr Quintet around the world, with recent performances in Shanghai, China and Doha, Qatar as an Ambassador to Jazz at Lincoln Center in New York City. Christian is the developer and director of Ignite the Arts, a touring educational outreach program, designed to help inspire and revitalize the arts in public schools. He is on staff as the 2014 ‘Artist in Residence’ at Florida Institute of Technology in Melbourne, Florida. Christian is currently the Musical Director and featured musical performer for Vegas Nocturne, a Spiegelworld Production based in Las Vegas.
Christian has performed on vibraphone as special guest with pianist Dave Brubeck, as a solo percussionist with Michael Feinstein, and opened for Harry Connick Jr. He has performed private concerts for NBA basketball legend Michael Jordan, and was hired to entertain at the highly publicized surprise birthday party for actress Julia Roberts in New York City. Christian’s first album “Move” was released as a part of a Starbucks Gift Set available around the US. From 2006 till 2008 Christian toured as pianist and musical director for Julio Iglesias. He joined Cirque du Soleil in 2009 as an assistant composer and musical director for a new show in Macau, China.
Christian first started performing jazz at the age of 14, now 33, he has had the opportunity to tour and perform with many of the jazz legends including, Clark Terry, James Moody, Bunky Green, Kenny Barron, Benny Green, Milt Hinton, Bucky Pizarelli, Tal Farlow, Nicolas Payton, Billy Drummond, Matt Wilson, Eric Marienthal, Marcus Printup, Nicolas Payton, Mark Murphy, Clint Holmes, and Rene Marie.
Over the past 8 years, Christian and his group have performed at some of the most prestigious venues around the world including The Kennedy Center for the Performing Arts (Washington DC), Dizzy’s Club Coca Cola at Lincoln Center (NYC), The Blue Note (NYC), Ravinia (Chicago), The Brubeck Institute (Stockton, CA) Yoshi’s Jazz Club (Oakland, CA), Pizza Express Dean Street (London), Olympia Theater (Paris), Jazz at the St. Regis (Doha, Qatar), The Central (Shanghai, China), Motion Blue (Tokyo), Monte Casino (Cape Town, South Africa), The Bellagio Hotel and Casino (Las Vegas), The North Sea Jazz Festival (Amsterdam), The Atlanta Jazz Festival, The San Jose Jazz Festival, The Chandler Jazz Festival, and the Jacksonville Jazz Festival. Since 2006, Christian has produced “The Jazz at Sea” music spotlight, performing and featuring some of the top names in jazz onboard Regent and Oceania Cruises.
Christian works as a producer, arranger, and composer in many genres. His music can be heard on TV, full-length motion pictures, and on-stage productions around the world. Famed magicians Penn and Teller hired Christian as a consultant to write and teach them music for their stage show in Las Vegas. As an educator and lecturer, Christian travels to High Schools and Colleges presenting workshops and master classes on performance, composition, arranging, and music business. He also presents leadership and teambuilding workshops to executives at Fortune 500 Companies highlighting unique attributes found both on stage and in a corporate environment.
The Christian Tamburr Quartet, Trio, and Duo project recordings include: Move 2006, Arrivals 2007, Traveling South 2008, Conversations 2011, and Places 2012 released under Tamburr World Wide Productions. Christian is endorsed by Receptor Muse, Pro-Mark Sticks and Mallets, and plays exclusively Musser Vibraphones.
Website – www.christiantamburr.com
"Other Colors of Hekátê"
with David Binney & Jim Black
02. Mademoiselle elle
03. Chercher le vent
06. Sao Luis / Petra G
07. Nossé effa
08. Petra S
09 . Née en août
10 . Tribal quest
11. Carpates (intro)
12. Prince des Carpates
Thomas Carbou : 8-string guitar, vocal, loops & electronics
David Binney : alto saxophone
Jim Black : drums
FRANCE/LEBANON: Ibrahim Maalouf Nouveaux albums : Red & Black Light et Kalthoum Sortie le 25/09/2015
Nouveaux albums : Red & Black Light et Kalthoum
Sortie le 25/09/2015
Ibrahim Maalouf revient le 25 septembre avec deux albums très personnels qui sortent le même jour et sont des hommages aux femmes. Red & Black Light est une ode à la femme d’aujourd’hui et à son rôle fondamental dans l’espoir d’un avenir meilleur. Axé sur une esthétique très actuelle, électro, voire pop, cet album contient des compositions d'Ibrahim Maalouf et une reprise de Beyoncé. Kalthoum, quant à lui, célèbre les femmes qui ont bouleversé le cours de l’histoire, et en particulier une figure emblématique, véritable monument de l’histoire du peuple arabe, Oum Kalthoum. Ibrahim Maalouf y "transcrit" avec le pianiste Frank Woeste dans un jazz métissé et innovant l’un des plus grands succès de la diva égyptienne : « Alf Leila Wa Leila » (« Les Mille et une Nuits »).
Nous découvrons aujourd'hui un extrait de Red & Black Light avec Eric Legnini (Claviers), François Delporte (Guitare), Stephane Galland (Batterie) et Ibrahim Maalouf à la trompette et aux claviers.
Pour écouter et diffuser Red & Black Light :
Sunday, September 27, 2015
ULF WAKENIUS TRIO
ORQUESTRA DO FUBA
Latin America Aug/Sep)
Latin America (September/October)
Jack Walrath - trumpet
Abraham Burton - tenor saxophone
George Burton - piano
Boris Kozlov - bass
Donald Edwards - drums
1. Happiness Really Is a Warm Puppy! 8:58
2. Religion 8:49
3. End the Beguine 8:06
4. Beauty Is a Dangerous Thing 8:20
5. Why Not 8:59
6. Bobby Timmons 7:05
7. Unsafe At Any Speed 6:30
8. What Would I Do Without Her 10:04
9. They Say His Head Might Have Been Fat, But His Heart Was Even Fatter 6:01
1. Wave Upon Wave (9:20)
2. Until You Know (8:27)
3. Stella by Starlight (5:19)
4. Wild Animals We've Seen (6:13)
5. Being Human (8:47)
6. From The Ashes (9:57)
7. The Spin (7:51)
8. Peace (8:25)
JONATHAN KREISBERG - GUITAR
WILL VINSON -SAXOPHONE (PIANO ON TRACK 3)
RICK ROSATO -BASS
COLIN STRANAHAN -DRUMS
KEVIN HAYS -PIANO (TRACKS 1,5,6, AND 7)
Guitarist Jonathan Kreisberg has been steadily building his name as one of the brightest young stars in Jazz. His style and approach has created a strong following of fans around the world as he toured and recorded extensively with his own groups as well artists such as Dr. Lonnie Smith, who says of kreisberg "He is a passionate musician with great vision, and he is constantly in fiery pursuit of innovation."
On WAVE UPON WAVE Jonathan, along with alto saxophone genius Will Vinson, the amazing Kevin Hays (on piano for half of the program) and the young rhythm section team of Rick Rosato and Colin Stranahan creates modern jazz that combines tradition, instrumental virtuosity, modern soundscapes and influences from every corner of the world (and beyond).
In the liner notes Jonathan describes his process of composing/improvising and the inspiration of the title "Relentlessly breaking on the shore, and each bringing forth the codes of the past…But also from the depths comes something new"
Saturday, September 26, 2015
from the Ozella Music album Beauteous Tales and Offbeat Stories by Kari Ikonen Trio
Kari Ikonen: piano
Ara Yaralyan: double bass
Markku Ounaskari: drums
The third album from London-based band Partikel, featuring strings.
Personnel | Album CreditsDuncan Eagles - saxophones
Max Luthert - double bass
Eric Ford - drums
Benet McLean - violin
Dave Le Page - violin
Carmen Flores - viola
Mathew Sharp - cello
Pianist Harold Mabern Assembles
All Star Lineup for Afro Blue -
Available April 14 on Smoke Sessions Records
Album Features Special Guests Gregory Porter,
Norah Jones, Jane Monheit, Kurt Elling,
Alexis Cole, Among Others
"...an endlessly soulful hard-bopper..." - The New York Times
With Afro Blue, his second album for Smoke Sessions Records, Harold Mabern has taken a compelling new angle on his exceptionally creative musical vision. But for those who are truly familiar with this extraordinary pianist's talents, it is a project that is long overdue. While he may be best known for his powerful playing while soloing or driving so many of jazz' finest hornmen to spectacular heights of fire and thunder, Mabern has enjoyed a reputation among vocalists as one of the music's most sensitive and stimulating accompanists for more than 50 years - ever since his early days playing with the unparalleled Betty Carter.
On this album, Mabern has selected five of his favorite vocalists -- who also just happen to be some of the most popular and respected singers on today's scene -- and is featuring them as special guests in the company of his own outstanding ensemble. Gregory Porter, Norah Jones, Jane Monheit, Kurt Elling and Alexis Cole perform individually alongside Mabern's regular ensemble of Eric Alexander on tenor sax and the bass/drums tandem of John Webber and Joe Farnsworth; plus additional guests, trombonist Steve Turre and trumpeter Jeremy Pelt on four and six tracks respectively. Eminent guitarist Peter Bernstein is featured on one track as well.
"I love to play for singers," explains the pianist. "I feel honored and flattered that these wonderful vocalists would want to be part of my little project. I feel good when singers say they love the way you play. That's a very special compliment."
Despite the wide variety of personnel, the album is fully cohesive and artfully conceived, with Mabern's soulful, blues-rooted style of piano expression as its radiant nucleus. The repertoire of 14 pieces is a fascinating assemblage of standards, jazz classics, Mabern originals and a couple of unexpected contemporary hit songs - all performed in captivating fashion and constructed upon marvelous arrangements. Of the four Mabern originals, three are dedications to jazz immortals.
The album opens and closes with two of the homages - both instrumentals. "The Chief" (for John Coltrane) is for quintet, appropriately modal and fiery; and the trio piece "Bobby, Benny, Jymie, Lee, Bu" closes with a tribute to that edition of Blakey's Jazz Messengers in the funky hard bop flavor those five giants brought to their classic version of Bobby Timmons' "Moanin'". The trio is also featured on a sizzling rendition of John 'Moz' Farnsworth's "Mozzin'" fired up by his brother's drumming. The other instrumental, Steely Dan's biggest hit "Do It Again," is a feature for Bernstein's guitar wizardry. A third Mabern original, "Such Is Life," features Alexis Cole deftly handling Mabern's lyrics and infectious melody, with the three horns providing a backdrop somewhere between calypso and highlife.
Gregory Porter is featured on two pieces, a vividly smoking take on the Mongo Santamaria/Oscar Brown Jr. title cut, with Mabern stoking in classic Afro-Cuban piano mode; and in a delightful easy groove on the fourth Mabern original "The Man from Hyde Park" - a dedication to Herbie Hancock. Norah Jones brings her highly personal style to Bloom & Mercer's "Fools Rush In," smoothly swinging over Blakey-ish horns; and in an enchanting, intimate duet with Mabern on Gordon Parks' lovely "Don't Misunderstand." Jane Monheit is buoyantly spirited on Oakland & Hammerstein's "I'll Take Romance," and mesmerizing on Wood & Mellin's gorgeous "My One and Only Love." Bird's bop icon "Billie's Bounce" is a rip-roaring sojourn in scat by the remarkable Kurt Elling, while the acclaimed vocalist aptly demonstrates his ballad mastery with a most poignant take on Robinson & Burdge's exquisite "Portrait of Jennie." A fortunate serendipity on the Anne Murray mega-hit, Randy Goodrum's "You Needed Me" - which was slated to be an instrumental feature for Alexander's robust tenor - caused Mabern to call an audible when he heard Elling sing the first few words as he was about to depart the studio. The deeply moving results show how magic can be born by chance.
Mabern is unequivocally enthusiastic about this new album: "Wow! I can't believe we pulled all of it off. Everybody involved did a ten-star job. Simply beautiful!"
Dazzling vocal artistry, impeccable musicianship, imaginative soloing, and that elusive substance of true synergy focused by the singular vision of a brilliant artist make Afro Blue a truly special experience. For Harold Mabern, whose enormous accomplishments as a leader are sometimes eclipsed by his reputation for helping so many Jazz heavyweights realize their own musical visions, Afro Blue is further testimony to his own legend.
Harold Mabern · Afro Blue
Smoke Sessions Records · Release Date: April 14, 2015
For more information on Harold Mabern, please visit HaroldMabern.JazzGiants.
For more information on Smoke Sessions Records,
please visit SmokeSessionsRecords.com
For media information, please contact:
DL Media · 610-667-0501
Maureen McFadden · firstname.lastname@example.org
Serving the Finest in Jazz Since 1988
Information and press materials (including album covers, promotional photosand bios) on all DL Media artists can be found at our website: dlmediamusic.com
Friday, September 25, 2015
USA: Pianist Orrin Evans Forms All-Star Trio Featuring Christian McBride and Karriem Riggins for The Evolution of Oneself - Available September 11 on Smoke Sessions Records
Pianist Orrin Evans Forms All-Star Trio
Featuring Christian McBride and Karriem Riggins for
The Evolution of Oneself - Available September 11
on Smoke Sessions Records
Album Spans Jazz, Neo-Soul, Hip-Hop, and Country
in Reflection of Personal Growth
"...he brings a bold intensity to the piano, seemingly informed by McCoy Tyner's voicings and a heavyweight boxer's roundhouse punches." - NPR.org
Pianist Orrin Evans takes stock of the pivotal moments that shape the trajectory of a life on The Evolution of Oneself, his scintillating new release on Smoke Sessions Records. The album is itself a landmark in Evans' musical evolution, introducing a remarkable new piano trio with two longtime associates but first-time collaborators: bassist Christian McBride and drummer Karriem Riggins. The result is a raw and thrilling excursion incorporating a startlingly wide range of influences, from jazz and neo-soul to country and hip-hop.
As suggested by the title, The Evolution of Oneself explores deeply personal terrain, with Evans reflecting on the road he's traveled to become the man and musician he is today. "This album is about personal evolution," he explains. "For me, there have been different moments or people in my life that have made me evolve. You can call it change, but ultimately you're still the same person from the day you came out of your mother's womb. But you evolve, and that process is what this record is about."
Through 25 albums as a leader and co-leader, including his neo-soul/acid jazz ensemble Luv Park and the bracing collective trio Tarbaby, Evans has always followed a vigorously individual path. The Evolution of Oneself is no exception, with Evans setting a pace that brings out fiery, gut-churning playing from both McBride and Riggins - two of modern jazz's most renowned and distinctive voices in their own rights.
McBride, of course, shares Evans' Philadelphia origins, roots that both have taken great pride in over the course of their careers. But despite only a three-year difference in age, they've only worked together a handful of times, never on record. Evans met Riggins more than two decades ago, prior to his move to New York; Riggins later stayed with Evans and fellow Philly expat Duane Eubanks in their New York City apartment upon his own move to the city. Still, it wasn't until a recent tour under Riggins' leadership that the two shared any significant stage time together. The Evolution of Oneself finally provided the long-overdue opportunity for Evans to collaborate with both of them, forming a powerhouse new trio in the process.
The album is framed by three very different takes on the Jerome Kern/Oscar Hammerstein standard "All the Things You Are," a song which Evans says represents the most important factor in his own personal evolution: his family. The lyrics, he explains, captures the support and devotion that his wife, Dawn Warren Evans, has provided through the ups and downs of a career in jazz. "My evolution is based on the past twenty years with this woman who's had my back and accepted all the things I am," he says.
The couple recites those lyrics together over an electronica track produced by their youngest son, Matthew Evans, on the penultimate version. (Older son Miles doesn't appear, but provided the inspiration for two tracks, "For Miles" and "Tsagli's Lean.") The album opens with an up-tempo run through the tune that sets the spirited tone for what is to come, while it closes with a languorous reimagining featuring McBride's dirge-like bowed bass and the haunting, soulful moan of vocalist JD Walter. 17-year-old Matthew also produced the hip hop-tinged "Genisis" interludes that pepper the album, culled from his home recordings of his father and mixed by bassist/producer Anthony Tidd, famed for his work with both The Roots and Steve Coleman's Five Elements.
While The Evolution of Oneself takes the concept more literally than usual, an Orrin Evans recording session is always a family affair, with a party atmosphere and guests stopping by whether they end up contributing or not. "Being in the studio and doing what I do is no different than a cookout on a Saturday night," Evans says, and that openness is reflected in the raucous verve of this album.
The date's other special guest is guitarist Marvin Sewell, responsible for its most surprising moment: the country-blues slide guitar that introduces the traditional Americana folk song "Wildwood Flower," made famous by the Carter Family. His introduction to the song came via drummer Matt Wilson, and Evans' rendition is dedicated to Wilson's late wife Felicia. While one might not expect to hear a country music influence coming from Evans, the beauty of the song is undeniable -- and he naturally turns the down-home feel inside out and makes it wholly his own.
Beyond McBride's involvement, Philly is well represented on the album. The sultry R&B groove of Grover Washington Jr.'s "A Secret Place" offers the chance for both to pay homage to the late saxophonist, who resided in Mt. Airy, the same Philadelphia neighborhood that Evans has long called home. "One of my only musical regrets is not recording with Grover Washington Jr.," Evans admits. "He was really cool and he lived right around the corner, but at that time in my life I didn't understand how accessible he was. I don't think people know how bad he was as a saxophonist, as a musician, and as an artist."
Evans credits Philadelphia trumpeter Jafar Barron as one of the key players in the development of the neo-soul movement, and tips with hat with Barron's composition "Jewels and Baby Yaz." Bassist Jon Michel's swinging "Sweet Sid" was written in memory of pianist Sid Simmons, a mentor to Evans and countless young Philly jazz musicians.
The album is rounded out by a loose-limbed, sharp-angled take on "Autumn Leaves," the airy ballad "February 13th" by bassist and fellow Tarbaby member Eric Revis, and a half-dozen Evans originals representing the impressive reach of his stylistic imagination. With this album Evans marks a profound breakthrough in his personal evolution, one that has progressed beyond categories and into the realm of unfettered expression.
"The Evolution of Oneself" was recorded live in New York at Sear Sound's Studio C
on a Sear-Avalon custom console at 96KHz/24bit and mixed to ½" analog tape
using a Studer mastering deck. Available in audiophile HD format.
Upcoming Release Performances for The Evolution of Oneself:
September 10 - 13 / Smoke Jazz & Supper Club / New York, NY
feat. Luques Curtis and Clarence Penn w/ special guests Steve Wilson (9/10),
JD Walter (9/11), Paul Bollenback (9/12), and Antonio Hart (9/13)
September 17 / New Brunswick Jazz Society / New Brunswick, NJ
feat. Luques Curtis and Mark Whitfield Jr.
September 18 - 19 / Chris' Jazz Cafe / Philadelphia, PA
feat. Luques Curtis and Mark Whitfield Jr. w/ special guest Sean Jones
Orrin Evans · The Evolution of Oneself
Smoke Sessions Records · Release Date: September 11, 2015
For more information on Orrin Evans, please visit: OrrinEvansMusic.com
For media information, please contact:
DL Media · 610-667-0501
Maureen McFadden · email@example.com
Information and press materials (including album covers, promotional photos
and bios) on all DL Media artists can be found at our website: dlmediamusic.com
Serving the finest in jazz since 1988
USA/UK: MoonJune distributes "Whistle Blower" album by Gilad Atzmon & The Orient House Ensemble in the USA
GILAD ATZMON & THE ORIENT HOUSE ENSEMBLE
"The Whistle Blower"
Distributed in the USA by MoonJune Music
Dear Friends in Music
MoonJune Records is now distributing and marketing in the USA the latest album of Gilad Atzmon & The Orient House Ensemble, the semimal "The Whistle Blower", originally released on Atzmon's Fanfare Jazz label in the UK.
GILAD ATZMON: alto & soprano saxophone, clarinet, accordion, guitar, vocals; FRANK HARRISON: piano, keyboards, vocals; YARON STAVI: double bass, electric bass, vocals; CHRIS HIGGINBOTTOM: drums, vocals; plus special guests TALI ATZMON vocals; ANONIO FEOLA: vocals.
**** (4 stars) - John Fordham, The Guardian, UK
***** (5 stars) - Michael Tucker, Jazz Journal Magazine, UK
**** (4 stars) The Whistleblower succeeds in consolidating the sometimes competing aspects of Gilad Atzmon’s musical personality into a more complete, unified artistic statement than was apparent on several of his previous albums. - Stuart Nicholson, JazzWise Magazine, UK (cover story)
***** (5 stars) - Trevor LaBonte, The Ugly Truth, UK
**** (4 stars) - Ian Mann, The Jazz Mann, UK
**** (4 stars) - Stephen Graham, Marlbank, UK
"One of the most enjoyable releases of the year so far. - Tim Stenhouse, UK Vibe
"Atzmon … as forthright in his music as in his opinions, as witty and playful, as deadly serious, as exuberant and intense, as romantic and sentimental, as visceral and pugilistic, and as generally bursting with personality. This is a man who appears to live life at a higher, wilder, riskier level than most of us have the energy for." - Peter Bacon, The Jazz Breakfast, UK
"The Whistle Blower is beautiful in many ways. It leaves the listener with melodies to savor. It is balanced, well delivered and the varied menu is sure to cater for many tastes. On the album sleeve, Gilad Atzmon states that the compositions are about love, nostalgia, devotion and simplicity — and that he hopes the listener enjoys listening to is as much as the band enjoyed making it. I think it is safe to say that has been achieved." - Sammy Stein, Something Else, USA
JAZZ PAPERS: The Improvisative - Tracy McMullen / The Oxford Handbook of Critical Improvisation Studies
This essay explores the ramifications of musical improvisation for understanding self and other. It suggests that musical improvisation may offer insights into a conception of self and other different from the dominant model found in most cultural theory. It is my contention that contemporary cultural theory is too beholden to Hegelian notions of the self as created through the field of the Other and the concomitant emphasis on “recognition” as the central factor in the construction of the subject. This emphasis on recognition is, in part, instilled through the theory of the performative put forward by Jacques Derrida and Judith Butler. I will detail my concerns with this theory and then offer an alternative way to understand the relation of self and other, one that focuses on “generosity” rather than“recognition.” I describe this as a theory of the “improvisative.” (Read & Download)
Thursday, September 24, 2015
ANDREAS HERTEL TRIO
feat. Dusko Goykovich /
"Keepin' The Spirit"
MARTIN SCHULTE QUARTET
feat. Frederik Köster
The distinctive cry of Sokratis Sinopoulos’ lyra has previously been heard on ECM recordings of Charles Lloyd/Maria Farantouri (Athens Concert) and Eleni Karaindrou (The Weeping Meadow, Elegy of the Uprooting, Medea). Sokratis has played a key role in the revival of interest in the lyra in Greece, both in traditional music contexts and in the shaping of new music. To see him in concert for the first time is to marvel at the range of emotion and expression conveyed through the lyra and the power of the sound projected from this small, bowed instrument.
Eight Winds, the debut album of the quartet and Sokratis’s leader debut for ECM, was produced by Manfred Eicher at Sierra Studios in Athens in April 2014. The reflective compositions and yearning ballads on the album cede the central melodic role to the lyra, sensitively supported by the piano of Yann Keerim and the subtle bass and drums of Dimitris Tsekouras and Dimitris Emmanuel.
But there is more happening here than a cross-referencing of folk instrument and jazz trio.
“We’re not ‘fusing’ anything,” Sinopolous cautions. “Each of us has acquired and internalized a lot of knowledge and experience of different styles, before approaching the others. The spirit of the recording session, and also with Manfred Eicher’s direction as producer, was very free. In my one recommendation to the other players, the night before the session, I said: ‘Especially in the solos, if you find yourself playing something that could be easily described as ‘jazz’ or ‘folk’ or ‘classical’, then try and avoid it. Without censoring ourselves, let’s find instead the common roots of our improvising’.” One unifying factor is “the basic modality, which we all relate to, because of our backgrounds.”
“I can look at many of these songs, and see that this is an event that really happened, or a feeling I’ve lived through myself,” McLorin Salvant explains. “That’s what makes it so difficult to share. It’s almost like a diary entry.” Mack Avenue
Wednesday, September 23, 2015
60 kg pure avant-guarde (original Swiss, smoked), 55 kg warm modern chamber (Swedish/Danish variety), 64 kg percussive spice (Swiss/South American mix), take a performance space and fill with people who have open minds and ears. Add an interesting backdrop and have some dramatic lighting, then introduce the ingredients, give them time to react and interact, blend or separate, grow, fall silent and change colour according to the chemistry between them, the audience, and the ambient place and time. Consume while making. Enjoy!