Thursday, April 21, 2016
Monday, April 18, 2016
6010 W Pico Blvd, Los Angeles, CA 90035
The full band will be rockin it:
Matthew Silberman, saxophone, EWI, APC40
Jessica Antunes Martins, vocals, guitar
Orbel Babayan, guitar
Mike Tree, drums
Some new music, some music from "sense of space" [EP]:
Stay after for:
9:00 PM - Pet Tigers
9:45 PM - The New West Collective
10:30 PM - Goodnight Kiss
11:15 PM - Red Eyed Light
12:00 AM - Electric One
4465 St-Laurent, Montreal, Quebec
Set time: TBD - Will be after 10pm.
Tickets: $15 at the door.
Stay tuned for her upcoming album 'Evolve' and more shows this Summer.
Saturday, April 16, 2016
Double groovilation, twice as nice!
At first @ The Falcon (1348 Route 9W, Marlboro, NY), 11am-2pm
Then @ Brian's Backyard BBQ (1665 Route 211 East, Middletown, NY), 5pm-9pm
Featuring John Tropea (guitar), Pete Levin (organ), Lee Finkelstein (drums) & Rob Paparozzi (vocals)!
Tuesday, April 12, 2016
"I'm so happy to be returning to Jazz at Kitano! We'll be continuing our celebration of my new CD BUSY BEING FREE and there might even be a suprise guest! I'm thrilled that pianist/arranger John di Martino is with me, along with Martin Wind on bass & Vince Cherico on drums."
Jazz at the Kitano
66 Park Ave [Southwest Corner of 38th and Park Avenue], New York
Sunday, April 10, 2016
In 2010, Cecilia became a big band leader of significance. She told her friend, trumpeter/music publisher Don Sickler, that she'd love to pen some big band arrangements and asked for his thoughts. "The most helpful thing that Don said to me," she recalls, "was to make sure that I started with a sketch. I looked at my quintet arrangements and realized that they all had potential for a big band. I wrote two arrangements right away - and then things snowballed."
After having written many arrangements in a short period of time, Cecilia naturally wanted to hear what the music sounded like, so she recruited her own ensemble. "What essentially started as a rehearsal band quickly turned into a serious endeavor, due in large part to the overwhelming support I received from other musicians. After rehearsals, they'd phone or write to say how much they enjoyed my music and tell me that I had to keep this thing going. They've been extremely supportive and enthusiastic, which makes this extremely rewarding for me. In fact, the big band has become the love of my life."
With New York's pool of accomplished jazz players to choose from, she expanded her arranging scope and palette. The eighteen-member CeciliaColeman Big Band, which includes six saxophonists (one of them a fulltime soprano player) has a regular gig at The Garage in Greenwich Village. They've also played at Zinc Bar, Fat Cat, the Baha'i Center, Trumpets and the Saint Peter's Church "Jazz At Midday" concert series.
"Oh Boy," the band's debut recording, recorded at Rudy Van Gelder's famed New Jersey studio, was released in 2011 on the PandaKat label. "Cecilia has done a lot of work for me," says Sickler, who served as producer. Though it's really tough to have a big band these days, she works extremely hard. She's determined to do this thing and will never give up!"
In short, Cecilia Coleman has developed into an exceptional composer whose distinctive, varied pieces reflect where jazz has been - and where it is going.
Tickets will be sold at the door,or call 212-222-5159 for reservations and information.
For more about acts at "Jazz Tuesdays", check out their website at www.jazzbeat.com
in the John Birks Gillespie Auditorium
The New York Baha'i Center
53 East 11th Street (between University Place & Broadway)
Two shows: 8:00 and 9:30 p.m.
Tuesday, April 5, 2016
RECORD STORE DAY 2016: SATURDAY, APRIL 16
We're just about a week away from Record Store Day 2016! As always, Other Music will have a ton of amazing and very limited RSD exclusives on hand, and keeping in the spirit of the day, there will be no pre-orders, holds or mail order for RSD releases. Just come on by Other Music on Saturday, April 16 and join us for this annual celebration of indie record stores!
15 East 4th Street, NYC, NY
Ph: (212) 477-8150
MIKE LONGO FUNK BAND
April 9, 2016 @ 8:00 pm – 11:00 pm
Trumpets Jazz Club
6 Depot Square
COST: $20 pp music charge $12 pp minimum
Mike Longo Funk Band
Daniel Walsh -tenor & soprano sax
Bryan Davis -trumpet
Sam Burtis -trombone
Mike Longo -keyboard
Christian Fabian -bass
Mike Campenni -drums
Mike Longo has performed with a list of jazz legends that include Cannonball Adderley, Henry Red Allen, Coleman Hawkins, George Wettling, Gene Krupa, Nancy Wilson, Gloria Lynn, Jimmy Witherspoon, Joe Williams, Jimmy Rushing, James Moody, Brazilian singer Astrud Gilberto (on her "Now" album for Perception) and many others.
It was in the mid-60s when Longo’s trio was playing at the Embers West, that Roy Eldridge told Dizzy Gillespie about this new pianist he had heard. Dizzy came to hear him play and soon asked him to become his pianist. This started a life-long musical relationship and friendship. From 1966 through 1975, Longo worked exclusively as Dizzy’s pianist and musical director.
Mike left the Gillespie group officially in 1975 to venture out on his own, but continued to work for Gillespie on a part-time basis until his death in 1993. Since that time Mike has recorded numerous albums and CDs on various labels with some 45 recordings with artists such as Gillespie, James Moody etc. At present he has over 20 solo albums to his credit. He is sought after as a music instructor and is in demand for jazz clinics and concerts at universities and music schools throughout the world, and has appeared at the Lincoln Center’s new jazz room “Dizzy’s Club Coca-Cola.”
Longo is founder and President of Consolidated Artists Productions (CAP), an independent recording label, that has released great albums by Russ Kasoff, Mark Sherman, Wally Dunbar, and the late Havana Carbo, among others.
1. Reflective Acoustic Guitar-Based Instrumentals with some Spanish influence for a 5-Star Music Licensing Company that has a great track record of placing music by TAXI members in Film, TV, and Commercials.
2. Original, Kitschy, Muzak-Style Instrumentals for a Non-Exclusive, $1,000, Direct-to-Supervisor placement in a Hit TV Series.
REFLECTIVE ACOUSTIC GUITAR-Based INSTRUMENTALS with some Spanish influence are needed by a 5-Star Music Licensing Company that has a great track record of placing music by TAXI members in Film, TV, and Commercials. They’re on the hunt for well-executed, full-length, Down-to-Mid-Tempo Instrumentals in the general stylistic wheelhouse of the extremely talented artist, Gustavo Santaolalla. Please listen to the reference tracks they gave us to get in the general vibe of what they need:
“Partida del Leprosario” (from The Motorcycle Diaries) by Gustavo Santaolalla
“Alma” by Gustavo Santaolalla
“Cordon de Plata” by Gustavo Santaolalla
Quoting the source: “We’d like quiet, intimate, reflective, and moody acoustic guitar with a Spanish flavor. It should have an organic sound, with a sparse, atmospheric sound. Real, authentic instrumentation only. A great example would be the Gustavo Santaolalla pieces on the The Motorcycle Diaries soundtrack.”
TAXI Tip: they are NOT looking for copies or rip offs of Gustavo Santaolalla. Just ask yourself, “Would somebody who loves Gustavo’s work also love this?” if the answer is “Yes,” you’ve got what they need!
Please submit intimate, airy, sparse, atmospheric Instrumentals with a well-performed Nylon or Gut-String Guitar as the primary focus, and a little Latin flavor to boot. Authenticity is important for this pitch, so please only use organic sounding instrumentation, typical of the references above. Light, delicate string parts (violin, viola, or cello) could work, but they’re not necessary. Anything that sounds stiff, synthetic, or MIDI-driven won’t work well for this pitch. Keep your melodies on the simple, sparse side, and shy away from anything that’s busy or frenetic. No fades, please. A natural ending on the root note with the guitar’s ring out and reverb’s decay should do the trick.
Your submissions should be at least 2 minutes in length. Do NOT copy or rip off the referenced artist or music in any way, shape, or form. Use the reference tunes only as a general guide for tempo, texture, tone, and vibe. Broadcast quality is needed (great sounding home recordings are fine.
This Library offers an EXCLUSIVE deal, so the material you submit for this pitch CANNOT be signed with any other publishers or catalogs. Sync fees will be split 50/50. The Publisher will get the Publisher’s share, and you’ll get the Writer’s share. You must own or control your Master and Copyright to pitch for this opportunity. Please submit one to three Instrumentals online or per CD. All submissions will be screened on a Yes/No basis - No full critiques. Submissions must be received no later than 11:59PM (PDT), on Saturday, April 16th, 2016. TAXI #U160416GI
Now, Part 2:
ORIGINAL, KITSCHY, MUZAK-STYLE INSTRUMENTALS are needed for a NON-Exclusive, $1,000, Direct-to-Supervisor placement in an extremely popular, Award-Winning TV Series. They’re hunting for Mid-Tempo Instrumentals that you’d expect to hear coming out of those cheesy ceiling mounted speakers in your dentist’s office. Please listen to the compilation they gave us to get an idea of what could work for this pitch:
Elevator Music – MUZAK – Stimulus Progression
Quoting the source: “Looking for some Mid-Tempo Muzak background source music to place in a dental office scene. It can be elevator style or jazz.”
Give them original, well-performed Instrumentals that instantly sound just cheesy enough that anybody who hears it would instantly think, “Elevator Muzak!” MIDI sounds are fine for this pitch, but not so much that it feels too stiff or robotic. Repetitive, memorable hooks will work really well for this pitch. Please avoid submitting Instrumentals that are frenetic so you don’t distract from any dialog in the scene. Think, mellow, pleasant and relaxing Instrumentals, possibly with lush strings and some muted trumpet. Make sure you listen all the way through the reference to hear a range of possibilities. Your submissions should be between 1:30 to 3:00 minutes in length. Broadcast Quality (in the context of cheesy Muzak-style) is needed.
The estimated license fee for this placement is $1,000, depending on the ultimate placement. This is a Non-Exclusive, Direct-to-Music Supervisor placement, so you’ll get 100% of the sync fee, you’ll keep 100% of your Publishing and Master ownership, and you’ll also get 100% of any applicable performance royalties. You must own or control the Master and Copyright to pitch for this opportunity. All Submissions will be screened on a Yes/No basis by a Music Coordinator working directly on the Show. No full critiques. Please submit 1-3 Songs no later than 11:59PM (PDT), on Sunday, April 10th, 2016. TAXI #U160410MZ
For further details, please visit www.taxi.com
FRIDAY, APRIL 15
Le Poisson Rouge
158 Bleecker St., NYC
Next Friday, Montreal violinist and composer Sarah Neufeld (Arcade Fire, Bell Orchestre) will be performing at Le Poisson Rouge, joined by renown saxophonist and collaborator Colin Stetson who will be sitting in on her set.
NYC’s Eartheater opens the night making for a must-see show that lovers of adventurous sounds won’t want to miss.
Other Music is giving away one pair of tickets and to enter, just email email@example.com
Monday, April 4, 2016
Tickets going fast. Special number: 310 746-4000
Kenny Barron - Saturday, April 16, 2016 - 8:30pm
Tiered pricing $25 to $55
THE KENNY BARRON TRIO
KENNY BARRON - piano
KIYOSHI KITAGAWA - bass
JOHNATHAN BLAKE - drums
VENUE: The Wallis Annenberg Center for the Performing Arts
9390 N. Santa Monica Blvd. Beverly Hills, CA 90210
Wallis Direct ticket Line: 310 746-4000
The Wallis Theatre is an extraordinary reworking of the Beverly Hills post office.
Self Park $8 Valet $16.
Street and city parking also available.
KJAZZ 88.1 - official media sponsor.
Saturday, April 2, 2016
died on April 2, 2016 in New York, NY, USA)
Sad, sad, sad, very sad news. Less than one month after the death of percussionist Naná Vasconcelos, with whom he established a solid collaboration documented in such albums as "Fenix" and "El Pampero" in the early 70s, now Gato is gone too. At age 83. The cause was pneumonia. He had great technique, but the most important thing was that he played soaring melodies with visceral beauty, his huge tone reflecting his huge heart, always with great emotion and passion. Something that, unfortunately, is now "out of fashion," outdated in the aseptically technical contemporary jazz world.
Gato's most popular effort is the marvelous soundtrack for one of Bernardo Bertolucci's masterpieces, "Last Tango In Paris," but his fantastic body of work goes far beyond that movie, including the superb albums he recorded for the Flying Dutchman and Impulse! labels from 1970 to 1976 with such sidemen as Stanley Clarke, Ron Carter, Jorge Dalto, Lonnie Liston Smith, Grady Tate, Paul Metzke, Chuck Rainey, Bernard Purdie, Lenny White, Chico O'Farrill, John Abercrombie and Dino Saluzzi.
Besides Naná, he recorded with Brazilian drummers and/or percussionists Airto Moreira, Portinho, Guilherme Franco, Mayuto Correa, Paulinho da Costa and Cyro Baptista. Gato loved Brazilian music so much that he recorded tunes by Sergio Ricardo ("Zelão"), Jorge Ben ("Maria Domingas"), Pixinguinha ("Carinhoso"), Ary Barroso ("Brazil" aka "Aquarela do Brasil"); from Villa-Lobos' classical masterpiece ("Bachianas Brasileiras #5") to samba gems by Geraldo Pereira ("Falsa Baiana") and Ismael Silva (a haunting rendition of "Antonico".)
He visited Brazil many times during that period, to the point that, in 1973, decided to cut half of the "Chapter Two: Hasta Siempre" album at the Odeon Studios in Rio, inviting such musicians as guitarists Neco and Helio Delmiro, bassist Novelli, and drummer Paulo Braga, plus unidentified percussionists that were members of a "Escola de Samba de Niteroi" (Niteroi Samba School.)
Later on, in 1978, Gato covered Caetano Veloso's "Odara" on his "Tropico" album, one of his best dates for A&M along with "Ruby, Ruby" (that includes a stunning version of Stevie Wonder's "Es Una Historia") and "Euphoria." Herb Alpert, a big fan of Gato, produced most of those sessions, assembling musicians like Gary King, Steve Gadd, Lee Ritenour, Paulinho da Costa, David Spinozza, Joe Caro, Jon Faddis and Lew Soloff.
During the 80s and 90s, he recorded for Fania, Doctor Jazz and Columbia ("Qué Pasa," from 1997, included Romero Lubambo and Cyro Baptista.) In 2010, he released in his native Argentina, "New York Meeting," a session of jazz standards (by Miles Davis, Bill Evans, Thelonious Monk, John Coltrane) recorded for the Melopea label with Carlos Franzetti, David Finck, and Nestor Astarita. And he continued to perform concerts until recently, always wearing his trademark fedora hat. Rest in Peace.
Friday, April 1, 2016
Ron Carter: "All Blues" (CTI/Pure Pleasure) 1974/2016
***** (musical performance)
**** (recording & mix, new pressing)
Reissue Date: March 24, 2016
Distributed by Speakers Corner
Produced by Creed Taylor
Recorded (October 24, 1973) & Mixed by Rudy Van Gelder @ Van Gelder Studio (Englewood Cliffs, New Jersey, USA)
180gram vinyl Pressed by Pallas (Germany)
Mastered by Ray Staff @ AIR Mastering
Audiophile Limited Issue
Cover Photo: Alen MacWeeney
Album Desugn: Bob Ciano
Featuring: Ron Carter (acoustic bass & piccolo bass), Roland Hanna (acoustic piano), Richard Tee (Fender Rhodes electric piano on track A3), Billy Cobham (drums) & Joe Henderson (tenor sax)
Released in early 1974, but recorded in a single day session on October 24, 1973, apparently with no out-takes, "All Blues," Ron Carter's second solo album for CTI is being reissued on an audiophile vinyl by Pure Pleasure Records, and licensed through Sony Music, who handles the rights to the CTI catalog from 1970 to 1979.
Ron, heard on both acoustic & piccolo basses, leads an impeccable quartet with Roland Hanna (acoustic piano), Billy Cobham (drums, plus tambourine on "117 Special" only) and Joe Henderson's glorious tenor sax, with Richard Tee (Fender Rhodes) guesting on the lightly funky "117 Special."
Top tracks: "Light Blue" (actually, a haunting ballad that fits like a glove for Hanna's romantic Chopinesque style), "Rufus," Miles Davis' "All Blues" and Matt Dennis/Tom Adair's standard "Will You Still Be Mine," (originally a hit for the Tommy Dorsey Orchestra in 1941, with vocalist Connie Haines) and here turned into solo number for the leader. Ron Carter was voted Bassist of the Year in Downbeat’s Readers’ Poll in 1973, 1974 and 1975, highlighting his work with CTI.
It's also interesting the note the low-profile concept of the cover conceived by CTI's art director Bob Ciano for this album, in perfect sync with the mainstream jazz mood of its content, using a discreet pic by master photographer Alen MacWeeney in the front cover, instead of the usual Pete Turner's exuberant shots. And, curiously, the liner photo (by Dean Brown) doesn't comes from the recording session, but from a live concert performed by Ron as a member of the CTI All Stars some months earlier.
CTI's expert Doug Payne wrote a beautiful text about this reissue:
"Bassist Ron Carter had long been Creed Taylor’s first-choice bassist on record dates stretching as far back to the classic Gil Evans recording Out of the Cool in 1960. Carter was the first bass choice for many Creed Taylor productions throughout the 1960s for the Impulse, Verve, MGM and A&M/CTI labels, even while the bassist was recording and touring as part of the Miles Davis Quintet. And it was Ron Carter’s dulcet tones and swinging accompaniment on the double bass that drove nearly every CTI album since 1970 into the overdrive that its soloists are often given sole credit for.
Surprisingly, though, Ron Carter’s second CTI recording, All Blues, fell well below the radar. It was hardly noticed when it was first issued in early 1974 (his 1973 CTI debut, Blues Farm, which was hardly a hit, still remains better known). Interestingly, it’s probably among the best of the albums the bassist waxed for the CTI label between 1973 and 1976. This is due in no small measure to the commanding presence of tenor saxophonist Joe Henderson on “A Feeling,” “117 Special,” “Rufus” and “All Blues.” Carter here also solidifies a simpatico musical kinship with pianist Roland Hanna, who he’d first played with on a European tour in 1969. Hanna is especially featured on the florid trio feature, “Light Blue” (not the Monk piece), as well as Carter’s bop-y “Rufus” (not the Archie Shepp piece). Not surprisingly, Ron Carter dominates the proceedings, with his especially distinctive bass helming any number of attractive solo features (not to mention the overdubbed bass “solo” of “Will You Be Mine”)." ~ Doug Payne/Jazzonline
"One of bassist Ron Carter's better albums as a leader, this CTI LP features a very compact quartet comprised of tenor saxophonist Joe Henderson, pianist Roland Hanna (keyboardist Richard Tee sits in on one number), drummer Billy Cobham and Carter. All of the music (even the ballad "Will You Still Be Mine?") has a blues feeling although several are not really blues. However, the quality of the solos is high, and this date lives up to one's expectations." ~ Scott Yanow/AMG
"Ron Carter's "All Blues" is one of the greatest recordings of the '70s and a perfect introduction to jazz for those who don't know it, or don't think they would want to. The musicianship is flawless, the recording quality is tops, and the music performed on a single afternoon in October 1973 by Joe Henderson, Billy Cobham, Richard Tee, Roland Hanna and the leader just keeps getting better with age. Nearly 40 years on it still rewards every time." ~ Eric May
Shunzo Ohno: "ReNew" (Pulsebeats Records) 2016
Rating: ***** (musical performance & sonic quality)
All tracks composed & produced by Shunzo Ohno
(except "Song For Sensei," composed by Buster Williams)
Executive Producer: Pulse 21 Inc.
Recorded by Tom Tedesco (Tedesco Studio) and Danny Kapidus (Pod Noise Recording Studio)
Mixed & Mastered by Dave Darlington (Bass Hit Recording)
Photos: Keiko Yoshizumi
Graphic Designer: Anne Hasegawa/Zerofive Design
Artwork: Eiko Miyazaki
Art Caligraphy: Yukiko Ishihara
Featuring: Shunzo Ohno (trumpet), Clifford Carter (keyboards), Buster Williams, Ed Howard & Ira Coleman (bass), Billy Drummond & Jerome Jennings (drums), Cyro Baptista (percussion), Paul Bollenback (guitar), Ray Spiegel (tablas), Sasha Ono (cello), George Yamazawa (rap & spoken words vocals)
Tonight, April 1st, at 7pm, trumpeter extraordinaire Shunzo Ohno celebrates the release of "ReNew" (his 16th album as a leader) at Leonard Nimoy Thalia @ Peter Norton Symphony Space, located at 2537 Broadway at 95th Street, New York, NY 10025.
Tickets, which range $25-35, are available by visiting www.symphonyspace.org or by calling 212-864-5400.
"This recording is dedicated to the families and communities of Norhern Japan, Nepal, and all who have experienced their greatest challenge," Shunzo Ohno writes in the digipak booklet. "Recovery is our united journey to discovery. Let's live undefeated, as we transform, renew and inspire a magnificent future for all."
I was introduced to Ohno's artistry in the mid-70s, through his recordings with Norman Connors, Sadao Watanabe, and, later, with David Matthews and Gil Evans; mostly on Evans' live dates with his Monday Night Orchestra, but also on a wonderful session by the supreme arranger with Helen Merrill for EmArcy alongside my friends Joe Beck, Jay Berliner, and Lew Soloff. On that album, "Collaboration," the bassist was Buster Williams, one of the main collaborators on Ohno's brilliant new CD, "ReNew."
After facing many health issues, the trumpeter is back on the block with a fascinating album. Although Ohno is his own man, Miles Davis lives on the project as a huge influence, specially when the man with the horn applies electronic devices like the wah-wah pedal.
And Ohno's connection with Williams and guitarist Paul Bollenback provide moments of great intensity such as the joyful opener "Easy Does It," with Ohno's trumpet floating over infectious hip-hop grooves.
Likewise, the trumpet/piano interaction with Cliff Carter (who was David Matthew's keyboardist in the late 70s) on the haunting ballad "Alone, Not Alone" -- written after the 2011 tsunami in Japan -- is one of the album highlights, a quiet ode of encouragement to the those affected by the terrible natural disaster. Both reach the peak of expressiveness, with Carter adding extra colours through the use of synthesized flute and strings.
"Song For Sensei," written by Buster Williams, is dedicated to the bassist's mentor, Daisaku Ikeda ("Sensei" means "teacher" in Japanese.) With their 40-year friendship, Ohno and Williams unite stretching the melody, but also give space to a sharp guitar solo by Bollenback.
"Tairyo Bushi," a folk song from Northern Japan, is recreated with refreshing pulsing excitement provided by Ray Spiegel's tablas and contemporary Brazilian master Cyro Baptista's percussion arsenal in a rhythmic ballet. George Yamazawa is featured doing a strong spoken word testament (a la Mark Murphy) on "Musashi" -- a tribute to the self-taught historic-heroic samurai with touches of Rhodes, tablas, triangle & bells -- and rapping on "Lea's Run," on which Ohno alternates open and muted trumpet.
On another road, "First Step" features Bollenback, Carter and Ohno soloing ferociously on a fusion-bop vein. Composed by the trumpeter after the birth of his children, reflects on the old saying that "the journey of a thousand miles begins with the first step" and speaks to optimism played with a fearless energy.
The powerful title track "ReNew," a poetic free melody, evokes Wayne Shorter's etheral ballads. A "ReNew Reprise" closes the disc in an gentle way, with a quasi-bolero groove played by Ray Spiegel's tablas, with Sasha Ono on cello and Cliff Carter on keyboards. A flawless album, already one of the best releases of this year.
Eberhard Weber: "The Jubilee Concert" (SWR Jazzhaus/Naxos) 2016
***** (musical performance)
**** (sonic quality & video editing)
Arranged by Michael Gibbs, Ralf Schmid, Rainer Tempel and Libor Sima
Conducted by Michael Gibbs and Helge Sunde
Featuring: Pat Metheny (guitar), Gary Burton (vibes), Jan Garbarek (soprano sax), Scott Coley (bass), Danny Gottlieb (drums), Paul McCandless (English horn & soprano sax), Klaus Graf (alto sax), Ernst Hutter (euphonium), and the SWR Big Band
After the ECM release, in September 2015, of the CD "Hommage A Eberhard Weber," voted one of the best albums of the year in the 37th Annual Jazz Station Awards, now SWR gives us the extra pleasure to savour the concert (filmed live @ Theaterhaus Stuttgart in January, 2015) on DVD format.
This wondrous event celebrated Weber's 75th birthday, and the famous bassist (forced to retire due to health issues) showcased his huge talent as a composer. There are 8 tracks on the 90-minute long DVD, while the CD had "only" 6 marvelous tunes. From the opener "Résumé" (also the title of a great book released this past January by Sagas Edition) to the final "Notes After An Evening," a document of an historical night.
Miles Davis, Robert Glasper, Bilal: "Ghetto Walkin'" (Legacy) 2016
Side A: Ghetto Walkin’ (Glasper/Bilal/Miles Davis) 3:36
Produced by Robert Glasper
Piano: Robert Glasper
Bass: Derrick Hodge
Recorded & Mixed by Anu~Sun
Side B: The Ghetto Walk (Miles Davis) 15:50
Produced by Teo Macero
Trumpet: Miles Davis
Electric Piano: Chick Corea & Herbie Hancock
Bass: Dave Holland
Drums: Joe Chambers
Electric Guitar: John McLaughlin
Soprano Sax: Wayne Shorter
Recorded by Frank Laico
Mixed by Danny Kadar
Edited & Mastered by Mike Piacentini & Steve Berkowitz
Yesterday, we got a copy of this amazing single that will be officially release during the celebrations for the Record Store Day 2016, on April 16. On this limited edition 12", keyboardist/producer Robert Glasper and singer/songwriter Bilal re-interpret the Miles Davis tune"The Ghetto Walk" from the "In A Silent Way" sessions.
This new track "Ghetto Walkin" will be on the upcoming release "Everything's Beautiful" (details in the post below.)
On its turn, the Side B of this single was originally available on the 3-CD box set "The Complete In A Silent Way Sessions" as a 26-minute long track, recorded in February 1969 in NYC with Joe Chambers, Wayne Shorter, John McLaughlin, Chick Corea and Herbie Hancock.
The upcoming "Everything's Beautiful" project taps some of jazz and r&b’s greats (Stevie Wonder, Erykah Badu and KING just to name a few) to reimagine the work of one of jazz’s most celebrated figures and remind the world of just how seismic his impact on the American Music canon was, is and always will be.
Today, Jazz Station proudly brings you a streaming from star-studded project; a spirited and empowering rework of Davis late-60s composition, “The Ghetto Walk,” featuring the incomparable vocal talents of Bilal. And truth be told, the pair of longtime collaborators (and friends, above all) deliver a stunning update, fit for jazz or hip-hop heads who prefer their notes with a touch of soul.
You can get a taste by streaming the track down below, just be sure to hold tight for the next installment and pre-order your copy of "Everything’s Beautiful" on iTunes today ahead of its official May 27th release.
Physical CDs of both releases can be pre-ordered on Dusty Groove:
For RSD 2016, Sony's Legacy label is offering an extraordinary range of limited edition and import titles from a variety of artists including Big Star, Cheap Trick, Elvis Presley, the Jimi Hendrix Experience, Johnny Cash, Matthew Sweet, Miles Davis/Robert Glasper, OutKast, Joe Strummer, Manic Street Preachers and the all-star talents represented on the compilation album "Dogfish Head Brewery Presents: Music To Drink Beer To, Vol. 2."
Now in its ninth year, Record Store Day is an annual day-long celebration of record store culture held on the third Saturday in April. RSD has named Metallica as Record Store Day Ambassadors 2016.
"Miles Ahead" (Columbia/Sony Music/Legacy)
Rating: **** (music performance & sonic quality)
Released Today, April 1st, 2016, in the USA, to coincide with the opening of the film in LA & NY
Soundtrack album produced by Don Cheadle, Steve Berkowitz, Ed Gerrard & Robert Glasper
Executive producers: Don Cheadle, Erin Davis, Darryl Porter & Vince Wilburn for Columbia Records, a division of Sony Music Entertainment
See complete tracklist below
A very cool record that's way more than just a set of songs strung together for a film – and instead a well-done album that mixes older Miles Davis material, both classic and rare, with new tracks handled by the mighty keyboardist Robert Glasper, plus a few bits of dialogue from the film, spoken by actor Don Cheadle who plays Miles' role.
Glasper steps out on a great way on his tracks – four new numbers, three of which are in a very Miles mode – with Keyon Harrold on trumpet on those tracks – and a shifting range of additional players that includes Herbie Hancock (keyboards), Wayne Shorter (tenor sax), Esperanza Spaulding (bass), and Kendrick Scott (drums). Glasper plays Fender Rhodes and his titles include "Junior's Jam", "Francessence", "What's Wrong With That", and "Gone 2015" – the last of which also features an appearance from Pharoahe Monch.
Even the Miles tracks are well-handled – not just the familiar ones, but also some rare material from album sessions brought together to make a well-rounded package, with titles that include "So What", "Solea (excerpt)", "Prelude #2", "Back Seat Betty (excerpt)", "Black Satin (edit)", "Go Ahead John (part 2 C)", "Frelon Brun", and "Duran (take 6 edit)."
The release of the movie MILES AHEAD, Don Cheadle's wildly entertaining and moving exploration of Miles Davis, will be accompanied by this new soundtrack featuring musical highlights from Miles' career and new recordings overseen by Grammy Award-winning jazz/hip-hop artist Robert Glasper.
This is a perfect primer on Davis' career for the new fan and a brilliant audio keepsake of the film for those who've studied his works inside and out. The album features 11 tracks from across Miles' catalogue from 1956 to 1981, select dialogue from the film featuring Cheadle in character, and five original compositions written, co-written, produced or performed exclusively for MILES AHEAD by Robert Glasper.
These cues include "What's Wrong with That?" a jam that closes the movie imagining Cheadle as Miles playing in the present day with guest performers Glasper, Herbie Hancock, Wayne Shorter, Gary Clark, Jr. and Esperanza Spalding; plus "Gone 2015," an end-credits song featuring guest verses from rapper Pharoahe Monch. Cheadle also pens new liner notes for the album discussing the selection and creation of the songs on the soundtrack.
1. Miles Ahead - Miles Davis
2. Dialogue: "It takes a long time..." - Don Cheadle
3. So What - Miles Davis
4. Taylor Made - Taylor Eigisti
5. Dialogue: "Listen, you talk too goddam much..." - Don Cheadle & Phil Schaap
6. Solea - Miles Davis
7. Seven Steps to Heaven - Miles Davis
8. Dialogue: "If you gonna tell a story..." - Don Cheadle
9. Nefertiti - Miles Davis
10. Frelon brun - Miles Davis
11. Dialogue: "Sometimes you have these thoughts..." - Don Cheadle
12. Duran - Miles Davis
13. Dialogue: "You own my music..." - Don Cheadle
14. Go Ahead John - Miles Davis
15. Black Satin - Miles Davis
16. Dialogue: "Be musical about this shit..." - Don Cheadle
17. Prelude, Pt. 2 - Miles Davis
18. Dialogue: "Y'all listening to them..." - Don Cheadle
19. Junior's Jam - Robert Glasper
20. Francessence - Robert Glasper
21. Back Seat Betty - Miles Davis
22. Dialogue: "I don't like the word jazz..." - Don Cheadle & Ewan McGregor
23. What's Wrong with That? - Robert Glasper, Antonio Sanchez, Herbie Hancock, Esperanza Spalding, Wayne Shorter & Gary Clark, Jr.
24. Gone 2015 - Robert Glasper feat. Pharoahe Monch & Keyon Harrold
And...next May 27, Sony/Legacy will be releasing "Everything Is Beautiful," blending a diverse group of master takes and outtakes from across Miles' incredible tenure with Columbia Records (1955-1985) with original reinterpretations. Robert Glasper produded. "I didn't want to do just a remix record," Glasper noted when discussing the 11-song set. "My idea was to show how Miles inspired people to make new art."
Knowing that "Miles didn't have one audience," Glasper recruited a legion of diverse guest artists to add to the magic of the project including familiar collaborators like R&B musicians Erykah Badu, Ledisi, Bilal and KING.
They are joined by British soul singer-songwriter Laura Mvula; hip-hop producer Rashad Smith; Grammy-nominated Australian neo-soul quartet Hiatus Kaiyote, rapper/producer Illa J; jazz guitarist John Scofield, who collaborated with Davis; and the legendary Stevie Wonder.
1. Talking Shit [Explicit] by Miles Davis & Robert Glasper
2. Ghetto Walkin' by Miles Davis, Robert Glasper, Bilal
3. They Can't Hold Me Down by Miles Davis & Robert Glasper feat. Illa J
4. Maiysha (So Long) by Miles Davis & Robert Glasper feat. Erykah Badu
5. Violets by Miles Davis & Robert Glasper feat. Phonte
6. Little Church (Remix) by Miles Davis & Robert Glasper feat. Hiatus Kaiyote
7. Silence Is the Way by Miles Davis & Robert Glasper feat. Laura Mvula
8. Song for Selim by Miles Davis & Robert Glasper feat. KING
9. Milestones (Remix) by Miles Davis & Robert Glasper feat. Georgia Ann Muldrow
10. I'm Leaving Youby Miles Davis & Robert Glasper feat. Ledisi and John Scofield
11. Right On Brotha by Miles Davis & Robert Glasper feat. Stevie Wonder
...Yes, it includes Hermeto Pascoal's "Igrejinha" (Little Church), which debuted on the "Live Evil" album credited to Miles in the first pressing but corrected immediately to Pascoal's name as the real composer in the second pressing released three months later. However, many people still think that Miles wrote Hermeto's three tracks on that album - "Little Church", "Nem Um Talvez" and "Selim" (actually an alternate take of "Nem Um Talvez" recorded even by Bobby McFerrin as if it was a Miles' tune!) Let's see to whom these songs will be credited this time...
Thursday, March 31, 2016
Opening nationwide on April 22!
In the midst of a dazzling and prolific career at the forefront of modern jazz innovation, Miles Davis (Don Cheadle) virtually disappears from public view for a period of five years in the late 1970s. Alone and holed up in his home, he is beset by chronic pain from a deteriorating hip, his musical voice stifled and numbed by drugs and pain medications, his mind haunted by unsettling ghosts from the past. [Sony Pictures Classics]
Wednesday, March 30, 2016
Tickets, which range $25-35, are available now by visiting www.symphonyspace.org or by calling 212-864-5400.
"ReNew" injects elements of traditional jazz, hip hop, spoken word, and free jazz, creating a tapestry of modern jazz that is distinctly Shunzo Ohno. With 'recovery to discovery' in mind, the genre-defying album is a testament to those affected by catastrophic events that have taken place throughout the world including the 2011 tsunami in Japan.
The concert performance will begin with the documentary film, "Never Defeated, The Shunzo Ohno Story," which is based on Ohno's powerful life experiences. The music for the film centers on The International Songwriting Competition Grand Prize award song, "Musashi."
"ReNew" embraces a diverse spectrum of generations, masterful interplay and interpretations of music. Each of the compositions, confront life's uncharted circumstances both on global and personal conditions, illuminating vigor, dignity, hope and freedom with a renewed spirit.
Shunzo's life encountered much adversity, including a serious automobile accident and the diagnosis of stage 4 throat cancer. Through both of these life-changing events, he continuously creates inspiration to not only overcome these challenges, but redevelop his unique sound and musical voice, admired by a global community.
In 2014, Shunzo won the International Songwriting Competition's grand prize with his composition Musashi, making Shunzo the first jazz recipient of this prestigious award. Lea's Run included on this recording, also won an award with the ISC, the following year.
In recent years, Shunzo has been touring the globe, performing frequently in Hong Kong, Malaysia, China, Singapore, Taiwan, Japan and various US cities. Shunzo's tours are concurrently supporting the recovery efforts following the tsunami/nuclear failure in Japan and recently, the earthquake in Nepal. Feb/March 2016 he will visit Northern Japan recognizing the 5th anniversary of the Tsunami/nuclear failure. The possibilities for a harmonious global society lie in a prosperous recovery.
"[Shunzo Ohno]... plays tight, crisply phrased lines with a stabbing rhythmic effect. Without the mute, his open tone has a broad, ringing sound that soars through high-powered driving lines..." The New York Times
FOR CALENDAR LISTING
Who: Shunzo Ohno Jazz Ensemble
What: ReNew album release
When: April 1, 2016 at 7:00pm
Where: Leonard Nimoy Thalia at Peter Norton Symphony Space, 2537 Broadway at 95th Street, New York, NY 10025
Contact: Lydia Liebman Promotions
General tickets are available at www.symphonyspace.org or by calling (212) 864 5400. Seating is limited.
Advance tickets $30
At the door $35
Senior/ Student rate $25
a contribution of $5.00 per cd will be donated to the continuos recovery efforts in Northern Japan.
Saturday, March 26, 2016
He was a member of such bands as the David Matthews Orchestra (as well as of Matthews' Manhattan Jazz Orchestra), Duke Pearson's Big Band, Pond Life, The Charlie Calello Orchestra, The Pond Life Orchestra, Mike Longo's New York State of the Art Jazz Ensemble, and also played on Eumir Deodato's combo during the "2001 heyday" of the Brazilian maestro.
Actually, we became friends when I was supervising and writing the liner notes for the first CD reissue of Deodato's "In Concert - Live At Felt Forum" (a.k.a. The CTI Space Concert) and interviewed him. In recent years, we used to correspond through Facebook, after he joined my friend Mike Longo's New York State of the Art Jazz Ensemble in 2006, recording the "Explosion" album.
But the first time I had heard Shepley in a solo spot was on David Matthews' masterpiece concept album, "Dune" (CTI, 1977), on which he was featured playing the melody (on flugelhorn) on John Williams' "Princess Leia's Theme," a beautiful ballad from the "Star Wars" soundtrack.
And I watch him very often on a splendid DVD by Matthews' Manhattan Jazz Orchestra filmed 20 years later in Japan for Panasonic, titled "Great Jazz In Kobe '97."
Shepley also recorded with George Benson, Marvin Stamm, Kai Winding, Paul Desmond, Don Sebesky, Ron Carter, Michel Legrand, Herbie Mann, Stanley Turrentine, Jimmy McGriff, Urbie Green, Jeremy Steing, T.S. Monk, J.J. Johnson, Hank Crawford, Art Farmer, David "Fathead" Newman, Dr. Lonnie Smith, Charles Earland, Meco, Kenny Burrell, Narada Michael Walden, Earl Klugh, and singers Bobby Scott, Nina Simone, Frank Sinatra, Astrud Gilberto, B.B. King, Paul Anka, Carol Douglas, Esther Phillips, Bonnie Tyler, James Ingram, Aretha Franklin, Grace Slick, David Byrne, Sinéad O'Connor, Neil Diamond, Jon Lucien, Billy Joel, Janis Ian, Dory Previn, Nona Hendryx and even Julian Lennon.
Joseph James Shepley was born on August 7, 1930 to Joseph and Eleanor Nyahay Shepley in Yonkers where he was raised and attended local schools. Joseph served his country in the US Army from 1952 to 1954 serving in Korea. He married Helen Dedyo on September 25, 1955 in Holy Trinity Church in Yonkers, she survives living in Yonkers. Joseph belonged to Local 802 Musicians Union. He began playing professionally in 1942 at the age of 12, he graduated with his Master's Degree from The Manhattan School of Music in 1957. The rest is history.
Besides his wife Helen he is also survived by his son Joe Shepley of Oak Park, IL. 3 daughters Maryellen Shepley of Mt. Vernon, NY, Susan Cuevas Bennett of Long Island, and Pamela Quinn of Tarrytown, NY, 11 grandchildren and 2 great grandchildren. He was predeceased by his brother Donald Shepley in 2006. Visiting hours will be at the Whalen & Ball Funeral Home on Monday from 7-9pm and Tuesday from 12-4pm. A funeral service will be at 3pm.
In lieu of flowers the family is asking that you make a donation in Joe's name to The Musicians Assistance Fund (MAP) at Local 802 Musicians Union. Donations can be made to Local 802 Musicians Assistance Program Local 802 AFM 322 West 48th Street, New York, NY 10036.
Rest In Peace.
168 Park Ave, Yonkers, NY 10703, Ph: (914) 965-5488
Monday, March 28, 2016
7:00 pm - 9:00 pm
Whalen & Ball Funeral Home
168 Park Ave
Yonkers, NY 10703
Tuesday, March 29, 2016
12:00 pm - 4:00 am
Whalen & Ball Funeral Home
168 Park Ave
Yonkers, NY 10703
Tuesday, March 29, 2016
3:00 pm - 4:00 pm
Whalen & Ball Funeral Home
168 Park Ave
Yonkers, NY 10703
died on March 26, 2016 in Bloomington, Indiana, U.S.)
Composer, arranger, conductor, writer, educator.
Had the honor to participate with him in panel sessions during IAJE (International Association of Jazz Educators) during the 90s.
Pictured: Dr. David Baker (moderator), Lee Berk, Opher Brayer, Darius Brubeck, Sigi Busch, Arnaldo DeSouteiro, Patrick Crichton, J. Richard Duscomb, Bunky Green, William Montgomery and Peter Stingings; photo by Rossana Bowman)
Baker was an aspiring trombone player then, but he would grow to be a Grammy-nominated artist with more than 1,000 compositions. He took up the cello after a car accident injured muscles in his face.
Among Baker’s honors are becoming an Indiana Living Legend in 2001, an NEA Jazz Master in 2000, a Grammy nominee in 1979 and Pulitzer Prize nominee in 1972.
He taught and performed throughout the United States, Canada, Europe, Australia, New Zealand and Japan, according to Baker's retirement biography, written by Luke Gillespie. He also co-founded the Smithsonian Jazz Masterworks Orchestra.
Rest In Peace, David.
David Nathaniel Baker, Jr. is Distinguished Professor of Music and Chairman of the Jazz Department at Indiana University. A virtuosic performer on multiple instruments and top in his field in several disciplines, Dr. Baker has taught and performed throughout the USA, Canada, Europe, Scandinavia, New Zealand, and Japan. For the past 14 years he has served as Artistic Director and Conductor of the Smithsonian Jazz Masterworks Orchestra. He has written over 70 books on jazz improvisation, jazz composition and arranging, jazz pedagogy, how to learn tunes, how to practice, and other related topics. He also has more than 400 articles and 75 recordings to his credit.
Baker received both bachelor's and master's degrees in music education from Indiana University, and honorary doctorates from Oberlin College, Wabash College, and the New England Conservatory of Music. He has studied with a wide range of master teachers, performers, and composers including J.J. Johnson, Bobby Brookmeyer, Janos Starker, George Russell, William Russo, Bernard Heiden, and Gunther Schuller. A 1973 Pulitzer Prize nominee, Dr. Baker also has been nominated for a Grammy Award, honored three times by Down Beat magazine (as a trombonist, for lifetime achievement, and induction into the Jazz Education Hall of Fame), and is a recipient of the National Association of Jazz Educators Hall of Fame Award, Indiana University President's Award for Distinguished Teaching, the Arts Midwest Jazz Masters Award, and the Governor's Arts Award of the State of Indiana. He is also a recipient of jazz's hightest honor: the National Endowment for the Arts Jazz Master Award.
As a composer, Dr. Baker has been commissioned by more than 500 individuals and ensembles, including Josef Gingold, Ruggerio Ricci, Janos Starker, Harvey Phillips, the New York Philharmonic, St. Paul Chamber Orchestra, Beaux Arts Trio, Fisk Jubilee Singers, Louisville Symphony, Ohio Chamber Orchestra, the Audubon String Quartet, and the International Horn Society. His compositions, tallying over 2,000 in number, range from jazz and sonatas to film scores.
Dr. Baker's involvement in music organizations has encompassed membership on the National Council on the Arts; board positions for the American Symphony Orchestra League, Arts Midwest, and the Afro-American Bicentennial Hall of Fame/Museum; and past chairs of the Jazz Advisory Panel to the Kennedy Center and the Jazz/Folk/Ethnic Panel of the NEA. He also served as President of the International Association for Jazz Education (IAJE) and the National Jazz Service Organization (NJSO), and currently serves as senior consultant for music programs for the Smithsonian Institution.
Der Komponist und Pädagoge David Baker ist am 26. März im Alter von 84 Jahren in seinem Haus in Bloomington, Indiana, gestorben. Er galt als einer der einflussreichsten Jazzpädagogen der USA. Sein Werk umfasst über 2.000 Kompositionen, 500 Auftragsarbeiten, 65 Tonträger, 70 Bücher und 400 Essays. Er gründete 1968 das „Jazz Studies Programm“ der Indiana University's Jacobs School of Music, das er bis 2013 leitete. Baker war zudem von 1990 bis 2012 künstlerischer und musikalischer Leiter des Smithsonian Jazz Masterworks Orchestra. Der vielfach ausgezeichnete Komponist wurde 2000 zum „NEA Jazz Master“ ernannt, der höchsten offziellen Jazzauszeichnung in den USA.
David Nathaniel Baker Jr. wurde am 21. Dezember 1931 in Indianapolis geboren. 1954 schloss er sein Musikpädagogik-Studium an der Indiana University mit einem Master ab. Der talentierte Posaunist wechselte nach einer ernsthaften Kiefer-Verletzung, die er sich bei einem Verkehrsunfall zuzog, zum Cello. Der renommierte Komponist war neben seiner Tätigkeit in der „International Association for Jazz Education“ und der „National Jazz Service Organization“ wiederholt auch Musik-Juror für den Pulitzer-Prize, für den er selbst 1973 nominiert war. Für sein Lebenswerk wurde Baker 2007 mit dem „Living Jazz Legend Award“ des „John F. Kennedy Center for the Performing Arts“ ausgezeichnet.
Wednesday, March 23, 2016
Using the D'Angelico guitar as his brush, Sotti paints a dynamic sonic picture that presents him as not just an extraordinary and innovative improviser, but as the harbinger of a unique and distinctive sound that is completely his own. In the words of revered writer and critic Ted Panken, the title, "Forty", testifies to Sotti's assertion that the onset of his fifth decade signifies a sea change in both his personal life-path and aesthetic development. "Forty is more than arriving at one spot," Sotti says. "It's starting from the beginning to a new place. Artistically, as you get older, you understand how much you still have to discover, how much more deeply you can go into yourself to improve your playing and understand what you really want to say."
On "Forty" Sotti collaborated with two jazz visionaries in their own right: bassist Peter Slavov and drummer Francisco Mela. "Peter is a complete musician with a strong melodic sense and a thorough classical music background. He's able to be free while respecting the tradition. Francisco also brings a melodic approach and is completely a free thinker. He's a force of nature. When he swings, it swings hard; when he's not swinging, it's so creative, he fills up the music with something magical," says Sotti.
"Forty" lays its groundwork for the forthcoming 9 tracks with the autobiographical "Redemption", a 3/4 minor blues that Sotti says represents the "redemption between myself and people around me, to accept me for who I really am." Sotti unleashes the full measure of his jazz chops on "Dangerous Walk," a brisk, disjunctive, Monkish line "inspired by the walk of women, and particularly my wife," and "Is That What You Think" a B-flat blues with a melody Sotti describes as 'aggressive.' The mood changes on "Beginning Now," played a cappella by Sotti on nylon string guitar but then progresses into the iconic "How Insensitive," which Sotti's grandmother played for him before he was a child. The trio returns for the calypso-flavored "Thalia," named for Sotti's year-old daughter, and written a few weeks before her birth. "The happy melody is how I felt when we were waiting for her and how she makes me feel now." Following is the expressive ballad "So Far, So Close," rendered as a Sotti-Slavov duo, which was written for his younger brother.
For Sotti, the title track represents "how I like to play right now--you can hear the joyful playfulness between these different rhythms, going from a modern funk rubato to a straight ahead swinging thing, playing what I like with nothing to prove." The final track, "The Bridge", along with its preceding introduction entirely represents Sotti's mature voice. It's a love song with a bluesy connotation named for the Ponte dei Sospiri (Bridge of Sighs) in Venice, where Sotti and his bride decided to get married.
With this new release, Sotti presents a departure for a new group that is only scratching the surface of possibilities. Says Sotti, "This album shows where I am as a guitarist, improviser and composer and of what's to come."
UPCOMING U.S. APPEARANCES:
Malibu Guitar Festival, Malibu, CA, April 28-May 1
Highline Ballroom, New York City, June 9
(more to be announced)
MORE ABOUT FABRIZIO SOTTI:
A New Yorker since 1991, when he emigrated from Padua, Italy, as an ambitious, jazz obsessed 16-year-old, Sotti drew on a broad palette of jazz-imparted musical knowledge when producing hit tracks with artists like Dead Prez,Ghostface Killah, Q-Tip, Tupac, and Whitney Houston while still in his twenties, as well as two collaborations Glamoured, from 2003, and Another Country, from 2012, with the great jazz diva,Cassandra Wilson . In parallel, he built a distinguished career as a highly-respected jazz stylist, documented on three accomplished recordings--This World Upside Down, from 1999, with jazz titans Randy Brecker, John Patitucci and Al Foster;Through My Eyes, from 2003, a solo guitar recital; and Inner Dance, from 2010, with organist Sam Barsh, drummer Victor Jones, and percussionist Mino Cinelu.
Monday, March 21, 2016
Now they are back @ Vibrato (2930 Beverly Glen Circle, Los Angeles) by popular demand! Paris Chansons is LA’s premier French band. Recently featured on the CBS/KCAL news, they are known for their original renditions of French favorites from Aznavour, Brel, Dassin, Piaf, Montand all the way to contemporary artists like Zaz. Their exhilarating performances are punctuated with traditional jazz standards as well as classics in Russian, Italian, and other languages.
Four multilingual singers bring an unparalleled diversity to their shows. Julia Kantor, originally from the Ukraine, lived and studied in France where she discovered in French music a soul connection that still imbues every performance. She entrances from the stage with a sultry voice and dynamic presence. Together with her husband, Jacob, a Russian-born singer/songwriter, they launched Paris Chansons.
Max Cohen grew up in Morocco steeped in French music, particularly the songs of Enrico Macias. Max’s rich velvety tone delivers beautifully nuanced renditions of his favorites, complete with a signature North African lilt. Jean-Louis Darville, born in Paris, is not only a gifted vocalist but also a professional actor. He approaches each song like a theatrical performance and lets the music take over, adding a unique spin to the beloved songs of Brel, Gainsbourg and Montand, among others.
Superb musicianship anchors the ensemble, effortlessly moving from jazzy improvisation to slow-burning balladry to blistering gypsy fervor. All seasoned pros, the musicians are Jeff Lams on piano, Adam Cohen on upright bass, Endre Balogh on violin, Sinclair Lott on drums and Jacob Kantor on guitar.
Paris Chansons takes you an a journey without leaving your seat (except maybe to dance!), a spectacular celebration of French and international music that brings the world that much closer.
In the News:
Saturday, March 12, 2016
died on March 11, 2016 in Tokyo, Japan)
Lutz Büchner, saxophonist with the NDR Big Band died in Tokyo following a heart attack on March 11th 2016 at the age of just 47.
This tribute is by Martin Laurentius and appeared in its original form in jazzthing (original German text below). This English version is published with their kind permission.
It was when Lutz Büchner stepped forward in front of the band to the solo mic, when the limelight was on him, that the saxophonist really seemed to flourish and to thrive. He brought the stories he had to tell to the attention of the listener with his eloquent phrasing. His tone on both saxophone and clarinet didn't just have emotional depth, there was also a mature intellect behind it. That combination of attributes allowed him to decorate, to vary and to develop his narratives.
Büchner had that special gift of being to draw his audience in completely, right from the very first note he played. As a person, he left a very different impression when you first met him. He was more reserved, he had a quiet sense of humour, he was a team-player who sought out the togetherness of being in a group.
That was a characteristic which set him in good stead for the twenty-two years during which he worked as a member of the NDR Big Band. Even when soloing up front at the edge of the stage he carried with him in his mind’s ear the totality of what had just been played. He was also preoccupied as part of the saxophone section of the radio orchestra to ensure that the others could sound good. “My ambition,” he would say concisely, “is to play completely in the moment.”
This was a credo he had in common with his fellow saxophonist Herb Geller. Büchner was born in Bremen in 1968 and studied jazz saxophone with Geller at the Hochschule für Musik und Theater. The time spent with Geller brought him both the practical craft of playing the instrument and the contextual framework of jazz. “Through jazz,” he explained, “I found a far more playful way to engage with music. When I improvise, I can search out for myself what I am going to play and when I am going to play it, and I can develop a musical flow far better through doing that.”
In 1994 Büchner was employed by the NDR Big Band, but always found time for other projects. He had his own quartet, and also worked as side-man in the bands of the Danish drummer Alex Riel and the orchestra of the bass trombonist Ed Partyka.
At the beginning of March, Büchner set off on a tour of Japan with the NDR Bigband. Among other concerts, they played a "Weather Report And More" programme at the Blue Note in Tokyo on March 9th and 10th.
He died in Tokyo on 11th March following a heart attack. Programme Director of NDR Radio Joachim Knuth said: “ Lutz Bücher had a playful love of music. For the NDR Big Band, as well as for the broadcaster NDR, the death of this formidable saxophonist is a huge loss.”
Lutz BüchnerIst am 11. März 47-jährig gestorben: Saxofonist Lutz Büchner
Wenn Lutz Büchner nach vorne ans Solistenmikrofon ging, wenn ihn dort das Schweinwerferlicht anstrahlte, dann schien der Saxofonist geradezu aufzublühen. Eloquent phrasierend brachte er seine Geschichten zu Gehör, sein Ton auf dem Saxofon und der Klarinette besaß eine emotionale Tiefe und intellektuelle Reife, die es ihm erlaubten, seine Geschichten immer wieder auszuschmücken, zu variieren und fortzuspinnen.
Büchner hatte diese Gabe: sofort mit dem ersten geblasenen Ton sein Publikum in den Bann zu ziehen. Dabei wirkte der Mensch Lutz Büchner auf den ersten Blick gar nicht so: eher zurückhaltend und mit leisem Humor, eher ein Teamplayer, der das Miteinander suchte. Doch das zeichnete ihn in den 22 Jahren, in denen er für die NDR Bigband arbeitete, aus: Selbst als Solist vorne am Bühnenrand hatte er das große Ganze in der gerade gespielten Musik fest im Ohr, gleichzeitig sorgte er aber im Saxofonsatz dieses Rundfunk-Jazzorchesters stets auch dafür, dass andere gut klingen konnten. „Mein Ziel ist es, ganz im Moment zu spielen“, so Büchners lapidare Beschreibung seines Credo.
Ein Glaubensbekenntnis, dass er mit seinem Instrumentalkollegen Herb Geller gemein hatte. Bei Geller studierte er an der Hochschule für Musik und Theater Hamburg Jazzsaxofon, von Geller bekam er das handwerkliche Rüstzeug ebenso beigebracht wie den philosophischen Überbau des Jazz. Diese Studienjahre in Hamburg wurden für den 1968 in Bremen geborenen Büchner zur Basis seiner kreativen Arbeit. „Durch den Jazz habe ich einen viel spielerischeren Umgang mit der Musik gefunden“, unterstreicht er, „dadurch, dass ich improvisiere und mir selbst aussuchen kann, was ich wann spiele, finde ich viel besser in einen musikalischen Fluss.“
1994 wird Büchner von der NDR Bigband angestellt, daneben hat er aber immer wieder Zeit für andere Projekte: entweder für sein eigenes Quartett, oder auch für seine Arbeit als Sideman in der Band des dänischen Drummers Alex Riehl und das Orchester von Ed Partyka. Anfang März ging Büchner mit der NDR Bigband auf Tournee nach Japan, um unter anderem am 9. und 10.
März mit dem Schlagzeuger Peter Erskine das Projekt „Weather Report And More“ im Tokioter Blue Note aufzuführen. Am 11. März ist Büchner in Tokio an den Folgen eines Herzinfarktes gestorben. „Lutz Büchner hatte den Jazz im Blut. Er liebte den spielerischen Umgang mit der Musik, die Improvisation“, sagte der NDR Programdirektor Hörfunk, Joachim Knuth: „Der Tod dieses beeindruckenden Saxofonisten ist für die NDR Bigband, für den NDR, ein großer Verlust.“
Ace guitarist John Tropea (one of my favorite artists since I heard his solos on Deodato's albums like "Prelude," "Deodato 2" and "Whirlwinds" as well as his own projects for TK Marlin) leads his all-star band tonight, March 12 @ The Falcon (1348 Route SW, Marlboro, NY). 7pm!
Tropea celebrates his successful new album, "Gotcha Rhythm Right Here" with the support of keyboardist Chris Palmaro, bassist Neil Jason, drummer Lee Finkelstein and percussionist Tommy MvDonnell plus a fiery horn section with Lou Marini & Dave Riekenberg (sax), Don Harris (trumpet), and Larry Farrell (trombone).
John Tropea is one of the most admired and highly regarded guitar players of his generation. His playing shows a vast knowledge and respect for the tradition of the instrument as well as an original style that continues to define how the guitar best serves a wide variety of musical styles. He is a musician’s musician who attracts the finest players for his own projects.
Tropea has written for and played with major recording artists worldwide. In his long career, his contributions to other artist’s successes, include his solo work with Deodato, (2001 theme), projects with Laura Nyro, Harry Chapin (Cat’s in the Cradle), Paul Simon (Fifty Ways), Alice Cooper (Goes to Hell), Eric Clapton (Journey Man), Dr. John, among others.
He is also a composer, arranger, and producer whose vital work is demonstrated by his personal projects. Tropea has a deserved worldwide reputation (specially in Japan, where he recently toured with Steve Gadd as special guest) as an artist of quality among both audiences and other musicians.
Thursday, March 10, 2016
Wednesday, March 9, 2016
To be held in the Sanctuary at St. Peters Church (619 Lexington Avenue, entrance on E 54th St.)
Just a UNDER a week away! Please share the event with your friends and continue your posts about the event.
A couple of updates:
1. The event will remain free but there will be a suggested donation of $15 dollars. Though not obligatory there are a number of out of pocket expenses that are being paid by the producers to make sure the event is professionally videoed and presented we appreciate any donation that can be made no matter the amount.
2. For those looking to gather after the event we will meet up at Draught 55 an Irish Pub located at 245 E 55th St between 2nd and 3rd Ave. The kitchen serves till 11pm.
3. TUNE IN! Legendary radio DJ Michael Bourne will be paying tribute to Mark Murphy on "Singers Unlimited" on WBGO Jazz 88.3 on Sunday March 13 between 10am-2pm. London, Meader, Pramuk and Ross will join Bourne live in the studio to sing and discuss Mark don't miss it. Bourne will also talk about Mark at the ceremony on the 14th.
Looking forward to seeing you all there.
Event is FREE and open to the public. There are no tickets for the event seating is on a first come first serve basis.
With: Alan Broadbent, Daniel Čačija, Jay Clayton, Richie Cole, Roz Corral, Guy Davis, Kurt Elling, Carol Fredette, Will Friedwald, Giacomo Gates, James Gavin, The Hanky Panky Trio (Alex Minasian, Brandi Disterheft, Itamar Borochov), Sheila Jordan, Nancy Kelly, Mark Edmond Murphy, Annie Ross, The Royal Bopsters (Amy London, Dylan Pramuk, Darmon Meader, Holli Ross), Sean Smith, Tessa Souter, Ronny Whyte and more to be announced.
Co Produced By Ari Silverstein of NYCJazzTour.com and Jean-Pierre Leduc of Lunched Management & Booking
Special thanks to The Jazz Foundation and St. Peter's Church;
While deeply rooted in Jazz, Marino is a musical gypsy, in constant search for unexplored paths where jazz can meet the energetic vibes and rhythms of Tango and Brazilian music and where pop songs can explore the language of improvisation or land into adventurous arrangements. What would remain of a human being without feelings and sensitivity? What would life be without the truth of human stories, the magic of improvisation, the pulsing rhythms of emotions, the passionate dances of the heart? On her music journey Marino sings these questions and searches in the moment for any possible answer.
Living in New York City, the epicenter of Jazz and world music, she has found the perfect environment to keep nurturing and developing this musical inter fusions through collaborations with artists coming from many different backgrounds. "Jazz is my magnet" – says Marino – "I love to see what happens when I temporarily separate from it and then find myself strongly pulled towards it". The blend of different music possibilities gravitating around jazz is what inspired her debut album, "PhiLOVEsophy" which will be released this Fall in New York City. The album is a selection of her originals, contemporary jazz songs and standards, bossa nova and pop tunes that have been arranged within a jazz realm.
Ms. Marino has performed, recorded and collaborated with various musicians of the European and American Jazz scene, including Cameron Brown, Jay Azzolina, Saul Rubin, Ray Gallon, Hans Salomon. In Vienna she sang at Zwe, Unplugged, Papas in Naschmarkt, Tunnel, Birdcage, Fischer Bräu, to name a few and performed with the Pandora's Box Tango Argentino Ensemble at The Rote Bar in Volkstheater. In Rome she performed at Charity, Flamingo and Bebo do Samba. In New York she sang and appeared among the others, at Somethin' Jazz Club, The Garage, Bar Next Door, The Flatiron Room, Cleopatra's Needle, Kitano, The Cotton Club.