Wednesday, March 20, 2019
Pianista apresenta Händel, Villa-Lobos, Bach, Rachmaninov e Mehmari em recital na série Piano na Sala
Virtuose de emoção à flor da pele, Simone Leitão honra e já faz parte da linhagem das grandes pianistas brasileiras consagradas internacionalmente, ao lado das lendárias Magda Tagliaferro e Guiomar Novaes.
Seu mais recente CD, focado na obra de Bach, uma de suas maiores paixões, é simplesmente extraordinário, incluindo uma performance desde já antológica do "Concerto Italiano" (também conhecido como "Concerto Em Estilo Italiano"), escrito em 1735. Sua execução do belo e rapsódico segundo movimento - Lento - no qual Bach enriqueceu o lirismo da escola italiana, é comovente pela perfeição alcançada na combinação da "calma" pulsação rítimica com a maneira como "canta" as notas, atingindo altíssimo nível de expressividade.
Conseguir gravar Bach com personalidade, imprimindo uma marca pessoal à obras tão exploradas à esta altura do campeonato, depois de milhares de gravações, é uma coisa dificílima, uma autêntica proeza.
Ainda no embalo de seu último recital que lotou o Carnegie Hall, em Nova York, no início deste ano, Simone Leitão traz ao Rio o programa que arrebatou os nova-iorquinos. A apresentação ocorre na sexta-feira, dia 22 de março, às 20h, na Sala Cecília Meireles.
No repertório, "Chacone em Sol Maior", de Georg Friedrich Händel; "Bachianas Brasileiras No. 4", de Heitor Villa-Lobos; "Chacone em Ré menor", de Johann Sebastian Bach (na transcrição de Ferruccio Busoni, outro ponto alto do brilhante CD de 2017); "Grande Baião de Concerto", de André Mehmari, peça dedicada a Simone Leitão; e a "Sonata em Si bemol Menor, Op. 36", de Sergei Rachmaninov, peça que promete emoções fortes, especialmente na coda do terceiro movimento.
O concerto, que integra a série "Piano na Sala", faz parte da turnê internacional da artista que passou por São Paulo, Quito, Curaçao, Miami, Nova York, Los Angeles, Salvador e termina dia 27 de abril no Teatro Nacional da Costa Rica.
"Técnica fluente, paixão, precisão, controle sem falhas e arte inata." - Harry Rodnick, Nova York, 2015
"Leitão é uma solista de nota-perfeita com a Sinfônica de Miami." - Lawrence Budmen, Miami Herald 2011
Em novembro de 2017, Simone Leitão lançou seu segundo CD pela MSR Classics, dedicado a Bach. O álbum recebeu crítica elogiosa da Gramophone UK em fevereiro de 2018. Desde 2012, Simone Leitão roda o Brasil com a sua Academia Jovem Concertante, projeto de qualificação de jovens músicos, e mantido uma paixão intensa pela música de câmara com a Semana Internacional de Música de Câmara do Rio de Janeiro, na qual é criadora e diretora artística. A Rio Music Week apresenta todos os anos repertório variado com artistas de diferentes países.
Pianista, historiadora e empreendedora musical, Simone mantém uma agenda de 40 concertos por ano no Brasil, Europa, Ásia e Américas. Doutora em Piano Performance e Musicologia pela University of Miami, Mestre em piano pela Academia de Música da Noruega em Oslo, e Bacharel em educação musical pela Uni-Rio, ela é uma artista inquieta e versátil que acredita na força da música de concerto como idioma universal e forte ponte de comunicação entre povos e culturas diversas.
Georg Friedrich Händel
Chacone em Sol Maior
Bachianas Brasileiras No. 4
-Coral (Canto do Sertão) - Largo
-Ária (Cantiga) – Moderato
Johann Sebastian Bach (transc. Ferruccio Busoni)
Chacone em Ré menor
Grande Baião de Concerto
Sonata em Si bemol Menor, Op. 36
-Non Allegro - Lento
Sala Cecília Meireles | Largo da Lapa, 47 – Centro | +55 21 2332-9224 | www.salaceciliameireles.rj.gov.br | www.facebook.com/salaceciliameireles
Capacidade: 670 lugares
R$50 (R$25 estudantes e idosos
NA WEB: www.simoneleitao.com.br
Monday, March 18, 2019
Falta bem pouco para que o Cirque du Soleil retorne ao Rio de Janeiro. Em oportunidade única, com curtíssima temporada, apenas de 21 a 31 de março, o espetáculo OVO, dirigido por Deborah Colker, ficará em cartaz na Jeunesse Arena, na Barra da Tijuca, Zona Oeste da cidade, com ingressos vendidos através do site https://www.tudus.com.br
Após emocionar mais de 5 milhões de pessoas por todo o mundo, desde que estreou em Montreal em 2009 como um show de tenda, OVO embarcou em uma nova jornada. Realizando a mesma produção cativante, apresentada de forma inédita no país em arenas, o espetáculo dá a oportunidade para que pessoas de diversas capitais possam assistir a uma produção do Cirque du Soleil.
A produção é amplamente inspirada na cultura brasileira, repleta de cores e com uma trilha musical bastante rica, passeando por ritmos típicos como a bossa nova, samba, xaxado, funk, entre outros. Tudo, claro, com muita percussão.
OVO é apresentado no Brasil por Bradesco, conta com o patrocínio de Café L’OR e TIM (para as temporadas do Rio de Janeiro, Brasília e São Paulo), carro oficial Volkswagen, apoio de Livelo e Localiza, e é realizado pela IMM Esporte e Entretenimento.
OVO é um mergulho em um ecossistema colorido e repleto de vida, onde os insetos trabalham, comem, rastejam, flutuam, brincam, brigam e buscam pelo amor em uma farra sem fim, cheia de energia e movimento. O universo dos insetos é um mundo de biodiversidade e beleza, cheio de ruídos e momentos de emoção silenciosa. O elenco de OVO é composto por 50 artistas de 14 países, incluindo quatro brasileiros, especializados em diversas acrobacias.
OVO transborda de contrastes. O mundo oculto e secreto aos nossos pés é revelado de maneira tenra e tórrida, barulhenta e silenciosa, pacífica e caótica. E quando o sol nasce em um novo e belo dia, o ciclo vibrante da vida dos insetos recomeça.
OVO é um símbolo atemporal do ciclo da vida e nascimento de numerosos insetos que sustentam a trama subjacente do show. Em sua criação gráfica, o logotipo com o nome do espetáculo remete à figura de um inseto: As duas letras “O” representam os olhos, enquanto da letra “V” saem duas pequenas antenas.
O Time Criativo por trás do mundo de OVO é: Guy Laliberté e Gilles Ste-Croix (Guias Artísticos); Deborah Colker, primeira diretora mulher no Cirque du Soleil (Autora, Diretora e Coreógrafa); Chantal Tremblay (Diretora de Criação); Gringo Cardia (Designer de cenário e adereços); Liz Vandal (Figurinista); Berna Ceppas (Compositor e Diretor Musical); Éric Champoux (Designer de Iluminação); Jonathan Dean (Designer de Som) e, pela primeira vez no Cirque du Soleil: Fred Gérard (Rigging e Designer de Equipamento Acrobático); Philippe Aubertin (Designer de Performance Acrobática); e Julie Bégin (Designer de Maquiagem).
RIO DE JANEIRO
Local: Jeunesse Arena
Endereço: Av. Embaixador Abelardo Bueno, 3401 - Barra da Tijuca
Data: De 21 a 31 de março de 2019
Sessões e horários: - Terça e quarta-feira, às 21h
- Quinta e sexta-feira, às 17h* e 21h
- Sábado, às 17h e 21h
- Domingo, às 14h* e 18h* / às 16h e 20h
*apenas em datas específicas
Abertura do local: 1h30 antes do show
Capacidade: 6.390 lugares
Duração: 2 horas com 20 minutos de intervalo
Classificação: Livre. Menores de 12 anos de idade somente acompanhados dos pais ou responsáveis legais. Sujeito à alteração por decisão Judicial.
Acesso para deficientes: Acesso e assentos destinados apenas para cadeirantes mais 01 acompanhante
(*) Neste setor, é possível contratar o serviço adicional Tapis Rouge by Bradesco por R$350,00, além do valor do ingresso (meia-entrada ou inteira), para um número limitado de assentos de acordo com disponibilidade no ato da compra. O serviço Tapis Rouge by Bradesco não está sujeito à meia-entrada.
SERVIÇO TAPIS ROUGE BY BRADESCO
Na compra do ingresso para o Setor Premium + um adicional de serviços, o espectador terá uma experiência especial e diferenciada, reservada para aproximadamente 300 pessoas. O cliente assistirá ao espetáculo de um lugar bem próximo ao palco. Além disso, irá usufruir de todos os benefícios listados abaixo:
• Serviço de coquetel com menu especialmente preparado pela chef Morena Leite (restaurante Capim Santo) acompanhado de bebidas alcoólicas e não alcoólicas (servido uma hora antes do show e durante o intervalo);
• Ambiente decorado;
• Equipe exclusiva para atendê-lo;
• Assentos privilegiados;
• Credencial de acesso exclusiva;
• Brinde exclusivo;
• Loja com produtos exclusivos Cirque du Soleil;
• WI-FI gratuito;
• Banheiros privativos.
The album also features two guest masters: Jamey Haddad on percussion (Paul Simon, Yo Yo Ma, Herbie Hancock), and Tamer Pinarbasi on qanun (New York Gypsy All-stars). This unapologetically playful album integrates the soulful and the calculated, with elements of R&B and jazz coming in contact with Kenner’s classical and progressive rock influences. This album combines the grittiness of the real world- the day to day struggle, with the boundlessness of imagination.
Kenner’s compositions seem to transport the listener to another plane, which is fitting for what is first and foremost a concept album with the aim of doing just that. Kenner writes that "8Ball City" is a “fictional city located in the human psyche. The city itself represents the coexistence of thoughts, emotions and ideas, intermingling in a secluded place between the mountains. The album invites the listener to explore the bridge between the real world and the world of the mind, where anything and everything is possible.”
The composer extends his invitation with music that conjures imagery of utopia, futurism and old forgotten lands. A blend of the modern and the fantastic. Kenner achieves this feat through the vivid intricacies of his compositions and the thoroughly masterful improvisation that takes place throughout the album
Kenner’s rich harmonic content, undoubtedly stemming from the jazz idiom, coupled with his contrapuntal melodic arrangements demonstrates the artist’s deep knowledge of the vocabulary of jazz, as well as his prowess in classical composition. In reference to his use of melody and countermelody, Kenner states “In Candyland, for example, you will encounter four main melodies dancing in syncopation all at once, creating the first main theme of the song. The main melody is at the front, the second one panned to the left, the third to the right, and the fourth is at the bottom, played by the bass. All four melodies are groovy and cerebral at the same time.”
Kenner makes use of analog instruments such as a Steinway piano, a Fender Rhodes, a Hohner Clavinet, and a Hammond C-3, but also uses state-of-the-art digital instruments to create a signature marriage of traditional and futuristic which an be best described as prog-soul.
Eitan Kenner has been playing the piano since the age of 5, and has been a student of jazz since 13. In Israel, Kenner had the opportunity to study with the legendary, late jazz instructor Amit Golan, a pioneer of the Israeli bebop education movement. Kenner’s father Avner Kenner is widely acknowledged as a prog rock pioneer in Israel, and that influence is heavily integrated into the pianists compositional style. Kenner enrolled in the Rimon School of Jazz and Contemporary Music and was the youngest student in his class. After Rimon, Kenner moved to the United States to pursue a degree in Jazz Performance at Berklee College of Music.
Kenner’s upbringing and his voyage eastward inspired the creation of 8Ball City but it took several turbulent years of the artist’s life for his debut album to come to fruition. These years saw the painful end of an important relationship and the passing of his grandfather (a key figure in Eitan’s musical development) all amongst a backdrop of dealing with mental illness.
Kenner’s own words explain it best: "I was dealing with a very noisy and obsessive mind when it came to working on the album. I’d just incessantly trip over the tiniest details, always trying to solve musical issues, by thinking about them over and over again or listening to them on loop forever until i'd go crazy. I had the same approach to life itself. Thinking about life... thinking about thinking… and the loop goes on to no end. I didn't believe any one truth and was constantly trying to find "what's wrong" - that lead me to seeing and hearing things and feeling constant anxiety and of course, your usual depression that comes with it. this was debilitating to me both when it came to playing music, and - completing the album.”
Kenner eventually found peace through meditation practice, and eventually came to the realization that “playing music is the same as just living: some things you just don't know - sometimes there's "noise" in the background that you don't understand. You don't have to understand everything. But - understanding and thinking about this realization is just one thing. Actually practicing and living it is what I'm trying to pursue.”
"8Ball City" explores the unlimited nature of the mind and healing power that music can provide. It will not only take the listener on a journey to the fictional “8Ball City,” but will also take listeners on a journey of discovery in a tumultuous world.
Milne, who lives in the United States but was born in Hamilton, Canada said of his win: “Although I have spent the bulk of my professional career in the United States, I have tried to remain connected to the Canadian music community.” He adds, “it is a huge honor to be acknowledged in the form of a Juno. I was mentored by Oscar Peterson and have collaborated with Bruce Cockburn AND William Shatner, but with a Juno, I’m feeling extra Canadian right now!”
Just prior to Milne’s Juno Win, the Globe and Mail published an extensive, wide-ranging piece that profiled the pianist’s inspiring personal and creative journey.
"The Seasons of Being" explores the body, spirit and mind on music, channeling the diagnostic principles of homeopathic healing to captivate the emotional characterization of each improvising musician. Milne’s Dapp Theory group, made up of woodwind specialist Aaron Kruziki, bassist Christopher Tordini, drummer Kenny Grohowski and wordsmith John Moon, is joined by A-list improvisers Ralph Alessi, Ben Monder, La Tanya Hall, Michael Attias and Christopher Hoffman on what is the visionary musician’s most ambitious project yet.
The album has received worldwide critical acclaim from Downbeat Magazine, The New York Times, WBGO, the Brooklyn Rail, and Jazziz, among others. PopMatters said of the project: “Gentler and more beautiful than anything else in Milne's discography, The Season of Being is also a work of stubborn individuality. It sounds like little else.”
In April, Milne will be bringing his smaller outfit, the Unison Trio (featuring bassist John Hebert and drummer Clarence Penn), on the road! Milne will kick off the tour on April 11th at the University of Michigan for a series of masterclasses. Next, Milne will travel to Toronto for a performance at The Rex. After the single Canadian engagement, the trio will return to Ann Arbor for a performance at the Kerrytown Concert House.
On April 14th, the Unison Trio will perform at the Bop Stop in Cleveland OH. On April 15th, the trio will return to the University of Michigan for another masterclass and performance. The trio will then head west to California for an engagement at Mr. Musichead Gallery in Los Angeles.
Next, Milne will bring his combo to Albuquerque for a performance at The Outpost on April 18, followed by a visit to Sante Fe for a performance at The Gig the next day. Milne will make a return to New York on April 20 with a performance at the Greenwich House with special guests Hank Roberts, Ralph Alessi, and Yoko Reikano Kimura. Finally, the artist will end this extensive tour with a solo piano performance at 7pm at the Arts Club of Washington on May 6th.
A fearless, versatile explorer, pianist/composer Andy Milne has been a distinct and respected voice at the heart of New York’s creative jazz scene for over 20 years, collaborating with dancers, visual artists, poets and musicians spanning jazz, classical, pop, folk, and world music. At the piano he skillfully blends poetic gravitas with a playful sense of order. To date, Milne has released 10 recordings as a leader or co-leader.
He has recorded and toured throughout the world with Ravi Coltrane, Ralph Alessi, Carlos Ward and Carla Cook, and has collaborated with a range of artists including Andrew Cyrille, Sekou Sundiata, Avery Brooks, Bruce Cockburn, Fred Hersch, Ben Monder, Dianne Reeves, Jen Shyu, Tyshawn Sorey and Jamie Baum. A former student of Oscar Peterson, Milne was at the center of the M-BASE Collective as a core member of saxophonist Steve Coleman’s bands, as well as performing with Cassandra Wilson and Greg Osby. Milne composed and produced the scores for seven documentary films by acclaimed director William Shatner and has released ten recordings as a leader or co-leader.
Milne recently joined the faculty of the Department of Jazz & Contemporary Improvisation as assistant professor of music a University of Michigan. "We are so thrilled to have Andy Milne on our faculty here at the University of Michigan," said Andrew Bishop, chair of U-M's Department of Jazz & Contemporary Improvisation. "He is such a dynamic and imaginative musician, and his group Dapp Theory is one of the most inventive groups in the contemporary musical landscape.”
April 11, 2019 University of Michigan (Masterclass) Ann Arbor, MI 4:00 PM
April 12, 2019 The Rex Toronto, ON 9:30 PM
April 13, 2019 Kerrytown Concert House Ann Arbor, MI 8:00 PM
April 14, 2019 Bop Stop Cleveland, OH 7:00 PM
April 15, 2019 University of Michigan (Masterclass/Performance) Ann Arbor, MI 6:00 PM
April 17, 2019 Mr. Musichead Gallery Los Angeles, CA 7:30 PM Tix/Details (Available soon)
April 18, 2019 The Outpost Albuquerque, NM 7:30 PM
April 19, 2019 The Gig Santa Fe, NM 7:30 PM
April 20, 2019 Greenwich House - Sound it Out Series
(+ Hank Roberts, Ralph Alessi & Yoko Reikano Kimura) New York, NY 8:00 PM
May 6, 2019 Solo Piano Show Arts Club of Washington Washington, DC 7:00 PM
(Arnaldo DeSouteiro & Alessandra Maestrini)
The Voices! Alessandra Maestrini & Mirna Rubim, ovacionadas todas as noites, brilham de forma arrebatadora em "O Som e a Sílaba". Direção do mestre Miguel Falabella. De quinta a domingo no Teatro XP investimentos, no Jockey Club, Rio de Janeiro. Não há nada de maior nível musical em cartaz no Brasil atualmente.
(Arnaldo DeSouteiro & Mirna Rubim)
(Arnaldo DeSouteiro & Miguel Falabella)
Tuesday, March 12, 2019
O espetáculo faz curta temporada no Rio de Janeiro, de quinta a domingo, somente até o dia 21/04
Ingressos já estão à venda a partir de R$25
Um dos musicais nacionais mais celebrados e premiados chega pela primeira vez ao Rio de Janeiro. A partir desta quinta-feira, 14 de março, o público carioca poderá se divertir e se emocionar com a comédia musical “O Som e a Sílaba”, no Teatro XP Investimentos (Jockey Club Brasileiro). O espetáculo, vencedor de 5 estatuetas e com 23 indicações nas principais premiações do país, conta com texto e direção do genial Miguel Falabella e foi especialmente concebido para as divas Alessandra Maestrini e Mirna Rubim, duas das maiores vozes da atualidade.
Ingressos já estão à venda pela internet (www.eventim.com.br) e pela bilheteria oficial (sem taxa de conveniência - Teatro XP Investimentos, Av. Bartolomeu Mitre, 1110B – Leblon - deterça a domingo). “O Som e a Sílaba” é apresentado pelo Ministério da Cidadania e Porto Seguro, com realização da Maestrini Produções, conhecida por sempre deixar sua marca registrada de sensibilidade e bom humor em todos os projetos que realiza. Em sua essência, o slogan que retrata bastante o espetáculo: “porque a vida pode ser profundamente espirituosa!”
"O Som e a Sílaba" trata da relação entre Sarah Leighton (Maestrini) e Leonor Delise (Rubim), duas mulheres muito diferentes. A primeira, jovem e com dificuldades em se enquadrar na sociedade, porém completamente única, por conta do diagnóstico de Síndrome de Asperger. Sarah é uma Savant: possui um autismo altamente funcional que, por um lado, lhe permite habilidades em algumas áreas, entre elas números e música; e que, por outro, faz com que ela se comunique com o mundo de uma maneira inusitada, gerando situações hilárias. Já a segunda, uma diva internacional da ópera com mais de 50 anos que, por acasos da vida, se tornou professora de canto. Direta, elegante, refinada e aparentemente bem resolvida. Aparentemente.
“A maioria dos savants conhecidos é homem.” Diz Sarah. “Os homens querem ganhar em tudo sempre!” responde Leonor. “Nós estamos sendo cobradas até hoje por causa daquela maldita costela...”
Com diálogos e situações divertidas entre duas pessoas de universos tão distintos, acaba nascendo das diferenças uma cumplicidade; uma transforma a vida da outra, até que o público se pergunta: quem, de fato, está ensinando a quem?
"O Som e a Sílaba" celebra o mistério e a singularidade da mente humana, com um texto engraçado, comovente e cheio de afeto.
O belíssimo repertório inclui obras de Giacomo Puccini, Charles Gounod e Leo Delibes. Jóias como as árias Vissi D’Arte, da ópera "Tosca" (1899), Oh Mio Babbino Caro, da ópera "Gianni Schicchi" (1918), e Quando M’en Vo, de "La Bohème" (1896), de Puccini; Je Veux Vivre, de "Roméo et Juliette" (1867), de Gounod; e Duo de Fleurs, da ópera "Lakme" (1883), de Delibes.
Em torno dessa montagem, repleta de momentos extraordinários, reuniu-se uma equipe de categoria que constrói uma verdadeira pintura viva: o elegante cenário ficou nas mãos de Zezinho Santos e Turíbio Santos; a luz sensível de Wagner Freire complementa os premiados figurinos de Ligia Rocha e Marco Pacheco que, juntamente com o visagismo de Wilson Eliodoro, materializam os cativantes personagens do musical. O Som e a Sílaba conta com o design de som de Mario Jorge Andrade, que leva a experiência auditiva do espetáculo, com todos os números musicais cantados ao vivo pelas atrizes, para um novo patamar de excelência.
O espetáculo vem acumulando estatuetas e indicações nas principais premiações do país (Bibi Ferreira, Reverência, Aplauso, Broadway World Brazil Award, Prêmio Destaque Imprensa Digital, Prêmio Musical Cast):
Prêmios recebidos no total - 5
- 2 melhor roteiro original - Miguel Falabella
- 1 melhor direção - Miguel Falabella
- 1 melhor atriz - Alessandra Maestrini
- 1 melhor figurino - Lígia Rocha e Marco Pacheco
Indicações no total - 23
- 4 indicações a melhor produção / melhor musical / melhor musical brasileiro - Maestrini Produções
- 4 indicações a melhor texto - Miguel Falabella
- 5 indicações a melhor direção - Miguel Falabella
- 5 indicações a melhor atriz - Alessandra Maestrini
- 2 indicações a melhor elenco - Alessandra Maestrini e Mirna Rubim
- 1 indicação a melhor atriz coadjuvante - Mirna Rubim
- 1 indicação a melhor iluminação - Wagner Freire
- 1 indicação a melhor figurino - Lígia Rocha e Marco Pacheco
Texto e direção: Miguel Falabella
Elenco: Alessandra Maestrini e Mirna Rubim
Design de luz: Wagner Freire
Design de som: Mario Jorge Andrade
Figurinos: Ligia Rocha e Marco Pacheco
Visagismo: Wilson Eliodorio
Cenário: Zezinho Santos e Turíbio Santos
Produtora comercial: Carla Schvaitser
Direção de produção: Deco Gedeon
Direção de marketing: José Vinicius Toro
Assessoria de imprensa: Motisuki PR - Regis Motisuki e Vitor Deyrmandjian Rosalino e Nobre Assessoria - Aline Nobre e Lucas Pasin
Apresentação: Ministério da Cidadania e Porto Seguro
Realização: Maestrini Produções
O SOM E A SÍLABA
Temporada: de 14 de março a 21 de abril de 2019
Local: Teatro XP Investimentos
Endereço: Jockey Club Brasileiro - Av. Bartolomeu Mitre, 1110B - Leblon, Rio de Janeiro
Sessões: Quinta a domingo
Datas e horários: Quinta a Sábados às 21h; Domingos às 20h;
Classificação etária: 14 anos
Capacidade do teatro: 362 lugares + 2 PNE
BILHETERIA OFICIAL – SEM COBRANÇA DE TAXA DE CONVENIÊNCIA
Bilheteria Oficial do Teatro - Av. Bartolomeu Mitre, 1110B - Leblon, Rio de Janeiro
Telefone Bilheteria: (21) 3807-1110
Horários de funcionamento: terças, das 13h às 17h; quartas a sextas, das 17h às 21h; sábados, das 13h30 às 21h; e domingos, das 13h30 às 18h. Fechada às segundas.
Thursday, March 7, 2019
Friday, March 1, 2019
Vanessa Rubin: "Sings Tadd Dameron / The Dream Is You" (Nibur Records NR 1001)
Rating: ***** (musical performance & sonic quality)
Produced by Vanessa Rubin
Directed & Co-Produced by Cecil Bridgewater
Recorded (May 18, 2017) & Mixed by Joe Marciano and Max Ross @ Systems Two Recording Studio (Brooklyn, NY)
Mastered by Max Ross
Graphics & Front Cover Photo: Christopher Drukker
Tadd Dameron's Photo: Val Wilmer
Liner Notes: Paul Combs
Arranged by Frank Foster, Benny Golson, Jimmy Heath, Bobby Watson and Willie Smith
Featuring: Vanessa K. Rubin (vocals), John Cowherd (piano), Kenny Davis (bass), Carl Allen (drums), Eddie Allen (trumpet), Clifton Anderson (trombone), Patience Higgins (tenor sax), Bruce Williams (alto sax), Alex Harding (baritone sax)
For her first solo project in years, Vanessa Rubin turns her attention to the influential pianist, arranger and composer Tadd Dameron. A fellow Clevelander, Dameron was one of the most revered and distinctive voices in bebop who is often overlooked. With the release of "The Dream Is You," the acclaimed vocalist hopes to change that perception and shine a light on one of the most important voices in jazz history. "The Dream Is You" is the first all-vocal recording of Dameron’s music!
For this momentous occasion, Rubin assembled an impressive band of jazz luminaries including pianist John Cowherd, bassist Kenny Davis and drummer Carl Allen with trumpeter Eddie Allen, tenor saxophonist Patience Higgins, alto saxophonist Bruce Williams, trombonist Clifton Anderson and baritone saxophonist Alex Harding. Dameron contemporaries Jimmy Heath, Benny Golson, Frank Foster and Willie Smith, along with Bobby Watson, contributed the ingenious arrangements.
Tadd Dameron was one of the most influential musicians of his generation. Well ahead of the curve in the developments in jazz in the 1940s and 1950s, he was a friend and colleague of Kenny Clarke, Dizzy Gillespie and Charlie Parker, and was involved in the formation of the ground-breaking Billy Eckstine Orchestra. His work in the 1940s anticipated developments in jazz in the late 1950s and 1960s. He was also a mentor to many musicians, including Miles Davis, Benny Golson, Billy Paul, Charlie Rouse, and Sarah Vaughan.
Having spent 25 years of her career including Dameron’s music in her touring repertoire, the songstress and storyteller is profoundly interpretive with each lyric on this recording- she tells the story of Tadd Dameron and what he means not only to her, but to the art of jazz. Rubin devoted significant time to unveiling the vast array of Dameron’s vocal catalog. She sought the help of institutions like The Institute of Jazz Studies at Rutgers University in Newark, NJ, Juilliard School of Music and Lincoln Center in NYC, researched at The Library of Congress in Washington, D.C. and drew from both his autobiographies.
In addition to consulting with her arrangers, veteran musicians knowledgeable of Tadd and his music were also very insightful. Notable were music publisher and trumpeter Don Sickler, author and tenor player Paul Combs, bassist Bill Lee, alto player Willie Smith from Cleveland and former jazz radio host and drummer Kenny Washington. “I discovered rare gems and was inspired by Tadd’s uncanny ability to write a beautiful melody and wrote words to one of his tunes that had no lyric,” said Vanessa.
Each of the arrangements heard on "The Dream is You" were especially commissioned for this project. Benny Golson, who penned both forwards in two books about Tadd, also scored the “If You Could See Me Now”, and considered his time riding in Tadd’s car when they were working with “Bull Moose” Jackson his “graduate school”. “Lady Bird”, “Weekend” and “You’re A Joy” were arranged by Frank Foster, who learned the essentials of arranging by listening to Tadd’s recordings from the late 1940s.
Jimmy Heath spent time discussing music with Tadd when he would visit with their mutual friend Doc West. He scored “On A Misty Night”, and we also enjoy the clever lyric of Georgie Fame on the haunting gem “Whatever Possess’d Me” (previously "sung" by tenor sax master Stanley Turrentine), “I Think I’ll Go Away”, and “Reveries Do Come True”, a/k/a “The Dream Is You”.
Tadd’s classic “Good Bait” was arranged by Willie “Face” Smith, an old Cleveland friend and colleague who was perhaps the closest to Tadd. The fifth arranger, Bobby Watson, despite coming on the scene after Dameron had passed, provides a lyrical chart of “Never Been In Love” that fits beautifully with the others.
Seven of the songs presented here have lyrics as intended. The other five have had lyrics added, and in all but one case the original titles give the lyricist a strong suggestion to go by. Included in this second group is Vanessa’s lyric for “The Dream Is You”, which Tadd wrote for a Milt Jackson album, and Vanessa retitled “Reveries Do Come True”. Her title and lyric for this beautiful melody expresses her vision of expanding the vocal library for singers by highlighting Tadd’s music, and hoping for greater awareness of this great American musician’s contribution to our rich musical heritage.
Vanessa Rubin first took the world by storm with "Soul Eyes," her 1992 debut for Novus/RCA Records. Vanessa’s output for RCA in the 1990’s was outstanding; she released four more albums for the label including "Pastiche" (1993), her Carmen McRae tribute "I’m Glad There Is You" (1994), "Vanessa Rubin Sings" (1995) and "New Horizons" (1997). She subsequently released two more albums on Telarc: "Language of Love" (1999) and "Girl Talk" (2001).
Over the next decade, Rubin maintained an active touring schedule and her live shows garnered major accolades. She ventured into acting with her well-received one woman show “Yesterdays: An Evening With Billie Holiday”, written by Renee Upchurch and directed by Mr. Woodie King Jr. In 2011, she was nominated for a Kevin Klein Award for Outstanding Lead Actress in a Musical. Two years later, Vanessa teamed up with renowned saxophonist Don Braden for "Full Circle," released on Braden’s label Creative Perspective Music.
Vanessa Rubin is thrilled to present this deeply personal and historically significant project to the world. “I have been walking with Tadd for many years. And he never let me go,” she said. So many years in the making, "The Dream Is You" is a landmark recording for Rubin and solidifies her standing as one of the great jazz vocalists of our time. Let's wait for a Grammy!
died on February 28, 2019 in New York, NY, USA)
R.I.P.: Four-time Oscar-winning artist André Previn, aged 89. Legendary jazz pianist -- having played often with Shelly Manne, Leroy Vinnegar, Shorty Rogers, Gerry Mulligan, Herb Ellis, Mundell Lowe, and Barney Kessel during the cool-jazz era, as well as with Benny Carter, Dinah Shore, J.J. Johnson, Doris Day, Helen Humes, Ray Brown, Benny Goodman, Pete Rugolo, Dinah Washington, Julie Andrews, Peggy Lee, Frank Sinatra, David Finck, Niels Pedersen, Wynton Marsalis and Ella Fitzgerald --, pop songwriter (who wrote such soundtracks as "Valley Of The Dolls"), classical composer and conductor.
Previn won 4 Oscars and 10 Grammy awards. He was married to Betty Bennett (1952-1957), Dory Langdon (1959-1969), Mia Farrow (1970-1979), Heather Hales (1982-1999), Anne-Sophie Mutter (2002-2006). As a classical conductor, Previn developed a long association with the London Symphony Orchestra, often doing crossover projects with such singers as Kiri Te Kanawa and Kathleen Battle.
died February 28, 2019, in Toronto, Ontario, Canada)
R.I.P.: Ed Bickert, aged 86, all-time greatest Canadian guitarist. Besides many albums as a leader, Bickert recorded memorable sessions with Paul Desmond (most notably the "Pure Desmond" album for CTI and "Live" for the Horizon label), Rob McConnell & The Boss Brass big band, Moe Koffman, Gene Lees, Oscar Peterson, Don Thompson, Pete Aplleyard, Rosemary Clooney, Frank Rosolino, Bill Mays, Ernestine Anderson, The Hi-Lo's and many others. I used to call him "the Canadian Jim Hall!" 🎸Rest in Peace.
died on February 27, 2019 in Niteroi, RJ)
Great Brazilian guitarist and composer, with whom I had the honor to work in several projects during the 2000s, when he toured extensively with Ithamara Koorax, recorded with Jorge Pescara and became a member of the JSR All Stars band.
Dino Rangel also played with Ednardo, Baby do Brazil, Marvio Ciribelli, Marcio Bahia, Per Olav Kobberstad, Zé Canuto, Jorge Pescara and many others.
Tuesday, February 26, 2019
Lou Caputo, a native of Williamsburg, Brooklyn, has been a professional musician for over thirty years. He has done almost every kind of job that a musician can be asked to do. A multi-instrumentalist (saxophones, clarinets and flutes) he has performed in show bands with the likes of Lou Rawls, Frankie Valli, Shirley Basey, Jack Jones, Bobby Short, Frankie Avalon, and a host of others. As well as the many of the famous Motown acts like the Temptations and the Four Tops. Aside from this he has performed along side of Salsa legends like Candido, Bobby Sanabria and Lou Perez.
However, playing jazz is really closest to Lou’s heart. He has had the opportunity to perform with people like trumpeter Richard Williams, pianists Duke Jordon and Jaki Byard, drummers Walter Perkins and Mousey Alexander (in his short-lived big band), vocalist Joe “BeBop” Carroll and Dakota Staton, bassist Chris White (including a Carnegie Hall appearance). He has spent time in the Glen Miller band under the direction of Clem DeRosa as well as the Harry James Big Band. He has had the good fortune to record with jazz legend Dr. Billy Taylor on guitarist Ray Rivera’s album Night Wind
Lou has had the pleasure of performing in the Richie Cole Octet. Another high point is playing Birdland with the Ellington Band under the direction of Paul Ellington and Jack Jeffers. Through the years Lou has appeared in many of the area’s leading jazz clubs as both a leader and side man. He also played for former President Bill Clinton on the occasion of Clinton’s 50th birthday.
Admission is 15.00, 10.00 for students.
Tickets will be sold at the door, or call 212-222-5159 for reservations and information.
For more about the NYSAJE and other acts at "Jazz Tuesdays", check out 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.
Jazz Tuesdays is funded in part from the Wilbur, Dorothy & Frances Rose Davis Family Fund, the Hunt Family Fund, the DeChristopher Family Trust, and Dr. Margie Baker, Jazz Vocalist & Educator
One of the all-time most important jazz writers. I had the honor to work with Ira on several projects. He wrote liner notes for albums I produced (among them Ithamara Koorax's "Love Dance" and "Bim Bom - The Complete João Gilberto Songbook") and we were the writers invited to do the liner notes for the CTI/Rudy Van Gelder CD Collection issued in Japan in 2009.
For me it was a dream come true, 'cause I grew up reading "The Encyclopedia Of Jazz In The Seventies" that he co-wrote with Leonard Feather, another brilliant jazz historian, as well as 700-plus of notes he wrote for CTI (Tamba 4, Wes Montgomery, George Benson, Jim Hall, Art Farmer, Nat Adderley, J.J. Johnson & Kai Winding, Stanley Turrentine, Freddie Hubbard), Prestige (Coltrane, Miles, Monk, Chet, Getz, Sonny Rollins, Mal Waldron, Phil Woods, Dexter Gordon), Blue Note (Art Blakey, Horace Silver etc), Candid (Claudio Roditi), Metronome, New Jazz, Atlantic, Savoy, Muse etc.
A former editor of DownBeat, Ira also wrote the lyrics to Horace Silver's "Filthy McNasty", recorded by Eddie Jefferson) and produced countless reissues. The dream of all the great jazzmen was to have an album annotated by Ira Gitler! He loved jazz and lived jazz 24 hours a day. When died this Sunday, he was listening an Art Tatum record and wearing a DownBeat T-shirt.
Friday, February 1, 2019
Vasil Hadzimanov Band: "Lines In Sands" (MoonJune MJR095)
Rating: ***** (musical performance & sonic quality)
VASIL HADZIMANOV - keyboards
BRANKO TRIJIC - guitar
MIROSLAV TOVIRAC - bass guitar
BOJAN IVKOVIC - percussion, vocals
PEDJA MILUTINOVIC - drums
with special guests:
RASTKO OBRADOVIC -sax (2, 8)
MARTA HADZIMANOV - lead vocal (4)
DEAN BOWMAN - lead vocal (8)
Recorded by MARKO PERIC at Binta Sound Studio and at German Ambassador's Residence, in Belgrade, Serbia, November 2017.
Produced by MARKO PERIC and VASIL HADZIMANOV.
Executive production NATASHA HADZIMANOV & VASIL HADZIMANOV.
International release on MoonJune executive production by LEONARDO PAVKOVIC for MOONJUNE RECORDS.
Supported by GDI For The Arts and PergamentStudio.rs
Artwork and design by DEJAN MANDIC.
Special thanks to Igor & Branka Djuricic, Boran Loncaric, Predrag Ilic, Aleksander Ilic, nenad Kostic, H.E. Axel, Natalie Dittman, Leonardo Pavkovic, Marko Peric, Igor Vincetic, Rastko Obradovic, Dean Bowman, Marta Hadzimanov, Dejan Mandic, Svebor Sakic, Fedja Franklin.
Vasil Hadzimanov's sophomore effort for MoonJune Records, "Lines In Sands," puts all of the virtuoso Serbian keyboardist's considerable talents -- as a composer, arranger and player -- on full display. Adeptly synthesizing his ethnic jazz roots with jolting doses of rock, R&B, funk, avant garde, psychedelia, trance, electronica and more, the band step up their game: producing a sparkling, delightfully zealous musical hybrid which transcends categorization.
Punctuated by fiery improvisations, tight syncopations and a flowing, organic interplay, Vasil and his fellow maestronistas deliver the goods in this sizzling set. (... even paying homage to the label's founder Leonardo Pavkovic, with the wonderfully crafted second piece, "Mr. MoonJune.") Augmented by performances that are brilliant in substance, conception and cohesiveness, Hadzimanov's keyboard work is both sumptuous and towering, throughout.
The resulting product is crisp and dynamic: with a succinct focus, and execution that never lacks for soul, conviction or inventiveness. Thoroughly engaging, this is an essential work for fans of great keyboards, rich textures and adventurous sonic excursions, as well as dense ensemble work. Expounding on the unpretentious, groove-oriented style introduced on their first effort for MJR – 2016's critically heralded, "Alive" (featuring innovative NYC saxman, David Binney) -- "Lines In Sands" has a little bit of everything: a highly ambitious undertaking, witnessing the Balkan legend and band at their most potent and formidable.
Cultivating a passion for jazz and other creative forms of music, while first learning his craft as a budding youth, Vasil eventually found his way to the US -- specifically, Boston: where he attended the Berklee College of Music, graduating in 1995. Shortly thereafter, he returned to his homeland and formed the Vasil Hadzimanov Band: a band which continues to grow in popularity and notoriety -- still playing concerts, clubs and festivals, while having amassed seven critically acclaimed albums during a more than twenty-year run.
From their first release, 2001's "11 razloga za...", through 2018's "Lines In Sand," their sound is defined by its sheer ambitious, adventurous nature and stylistic diversity, and multiple elements and influences which greatly eclipse the jazz genre. In addition to the band's catalog, Hadzimanov also recorded a trio album -- 2011's "El Raval," with Martin Gjakonovski on bass and Aleksandar Sekulovski on drums.
Aside from VHB, Vasil is also performing with Dusan Jevtovic's No Answer Trio (with Asaf Sirkis), Bojan ZuIlfikarpasic, Trio Sveti (with Marko Djordjevic and Branko Trijic), Toni Kitanovski Trio, Bace Quartet (with Theodosii Spassov, Bachar Khalife and Ace Petrov), Csaba Toth Bagi Balkan Union, ‘Misko Plavi Trio and others. Hadzimanov’s sound is reminiscent of the late, great Austrian master, Joe Zawinul, at times. That influence is often realized, also, stylistically, in his uninhibitied, but tastefully articulated phrasing and passages.
A most enterprising, intrepid soul, Vasil has expanded his compositional and performing output to including scoring, directing and performing in numerous movies, documentaries and TV shows in the region. Reflecting a deep respect to his native musical traditions, his style often intertwines genres and subgenres with classic Balkan motifs -- producing music which often defies categorization.
His commitment to continually challenging himself and his fellow musicians is reflected in the freshness and vitality which has accompanied any of the numerous projects in which he has directed and/or contributed. Vasil Hadzimanov is a vital musical voice: a maestro performer, accomplished composer and a true, uncompromising torchbearer -- building upon a rich musical pedigree, while shrugging off clichés and expressive limitations.
Kevin Hays & Chiara Izzi: "Across The Sea" (Via Veneto Jazz/Jando Music VVJ 128)
Rating: ***** (musical performance & sonic quality)
Produced by Jando Music & Via Veneto Jazz
Executive Producer: Enzo Capua
Post-Production: Matt Pierson
Engineered by Chris Allen @ Sear Sound (New York City, NY)
Cover: Riccardo Gola
Photo: Michele Petruzziello
Artwork: Enzo Criscione
Featuring: Kevin Hays (vocals, piano, Fender Rhodes electric piano), Chiara Izzi (vocals), Rob Jost (acoustic & electric bass, French horn), Greg Joseph (drums), Rogerio Boccato (percussion), Chris Potter (tenor & soprano sax), Grégoire Maret (harmonica), Nir Felder (acoustic & electric guitar), Omer Avital (oud)
Jando Music and Via Veneto Jazz are proud to announce the release of "Across the Sea," the new collaborative album from award winning singer-songwriter Chiara Izzi and internationally acclaimed pianist and vocalist Kevin Hays. "Across the Sea" is brought to fruition by bassist and French hornist Rob Jost and drummer Greg Joseph, in the company of very special guests, Chris Potter on saxophone, Grégoire Maret on harmonica, Omer Avital on oud, Nir Felder on guitar and Rogério Boccato on percussion.
A work of ingenuity, imagination and passion, "Across the Sea" is a visionary journey between jazz and pop, America and Italy, dream and lyricism. The multi-lingual, pan-stylistic 10-tune recital comprises well-wrought original pieces and lyrics by each protagonist and highly personalized interpretations of songs from composers and songwriters who both artists love and admire. Izzi and Hays will celebrate this release at Birdland Jazz Club on February 28th at 5:30pm.
Producer Enzo Capua was first introduced to the talent of Chiara Izzi at a festival in Rome, many years ago. Although envisioning and encouraging a prosperous career for her, Capua had never imagined that he would not only reconvene, but collaborate with his fellow Italian artist years later in New York City. Rounded-out by pianist Kevin Hays and producer Giandomenico Ciaramella – a producer true to his noble spirit and amazing instinct, as admired by Capua – this quartet is the result of two fortuitous encounters which fate had wisely planned over time: that of two musicians so distant and yet so inexorably close, and two producers joined by their visceral passion for the art of sound.
"Across the Sea" displays an alluring serendipity between Izzi and Hays. As Capua recalls, the synergy between the duo was so lucidly evident during both the creation and recording stages of the album – “so intense is their harmony, so strong the unity of purpose, so rapid is the intuition that these two musicians share”. Hays recognizes Izzi’s sense of sincerity and honesty – “She has an inner strength that I think is rare.” Delivering a vocal that carries a warm, Mediterranean quality, Izzi acknowledges that Kevin’s playing brings out her best assets as a storyteller, singer, musician, and human being. The pair’s compelling predominance of melody, osmosis between vocals and keyboards and the amazing confluence of their singing voices, is eminent on this new album.
The French horn in the emblematic Henry Mancini musical poem “Two for the Road”, the ancestral oud in the classic Miles Davis tune "Nardis" (an old favorite of Bill Evans which became “Tierna Nardis” afterYanina Lombardi added Italian lyrics), the punctual and decisive harmonica on Pat Metheny and Hays’ “James”, the caressing guitar in the Izzi-penned “Circles of the Mind” and the sinuous saxophone in the pair’s original “Viaggio Elegiaco”, and specially Frederick Loewe/Alan Jay Lerner's haunting ballad "I've Grown Accustomed To Her Face" (rediscovered by Diana Krall & Claus Ogerman in 2008 on the "Quiet Nights" album) are just a few examples of what this converging work has to offer.
While each of the compositions of course, have form which the pair respects, the music resembles a live conversation with continuous inputs, which makes the dialogue more interesting, unpredictable and fresh every time.
Described by Jazz Times as “a talent to be heard, admired and anticipated”,Chiara Izzi has developed a unique sonic interpretation of a fusion of different genres, including jazz, pop and Mediterranean sounds. Following her international debut performance at the Montreux Jazz Festival Vocal Competition in 2011, at which Quincy Jones awarded her, the vocalist recorded her debut album Motifs (Dot Time Records). “Sister you are very, very talented. You should go to the U.S.," Jones encouraged Izzi at this early point in her career. Izzi moved to New York and has since performed at The Blue Note NY, The Iridium, Apollo Theater, Aspen Jazz Festival, Jazzahead, Smalls, as well as the Italian Embassy in Washington DC.
She has graced the stage with some of the finest musicians, including Leon Parker, Aaron Goldberg, Bruce Barth, Eliot Zigmund, Warren Wolf, Anthony Wonsey, among many others. The Italian singer has received remarkable appraisals from Bobby Watson, Benny Golson, Kevin Hays, Eliot Zigmund, Joel Frahm,Aaron Goldberg, David Kikosky, Greg Hutchinson, Jonathan Kreisbergand Dado Moroni.
Having released 15 recordings as a leader, Kevin Hays has received critical acclaim from publications such as The New York Times, Downbeat Magazine and Jazz Times, as well as a “Coup de Coeur” from the Académie Charles Cros (France). A prolific sideman appearing on over 60 records, Kevin’s long list of notable musical associations include records with Chris Potter, Joshua Redman, Nicholas Payton, and Al Foster. The New Day Trio is Kevin’s latest project with bassist Rob Jost (Bjork, Tony Scherr) and drummer Greg Joseph (Steve Kuhn, Art Garfunkel). Developing over a 2 year residency at New York’s 55 Bar alongside tours across the US and Europe, the trio emphasizes lyricism with a musical scope bridging Hays’ love of jazz, classical, blues, soul, folk and rock music.
Brittany Anjou: "Enamigo Reciprokataj" (Origin CD 82774)
Rating: **** (musical performance & sonic quality)
Composed, Arranged & Produced by Britanny Anjou
Recorded by Tom Tedesco and Andy Taub
Mixed by Dan Brantigan
Mastered by Kevin Reeves
Cover Painting: Anya Roberts-Toney's "In The Room Women Come And Go"
Design & Layout: John Bishop
Original Cover Concept: O. Horvath
Pianist-composer Brittany Anjou blends the influences of a wide range of jazz and classical piano, and a fascination with the Esperanto language, on her stunning debut "Enamiĝo Reciprokataj," set for a February 15 release on Origin Records. A trio album featuring bassist Greg Chudzik and drummer Nicholas Anderson (as well as two tracks with special guests, bassist Ari Folman-Cohen and drummer Ben Perowsky), it also includes 10 original compositions, highlighted by an eponymous five-part suite that showcases both Anjou's ambition and her originality.
"Enamiĝo Reciprokataj" (pronounced En-ah-mee-joh Reh-sih-pro-kah-tye) translates into English as Reciprocal Love -- or, alternately, as Mutual Breakdown. "[It's] a double entendre about improvisation and the push/pull of relationships," Anjou writes. She also refers to multiple levels of relationships: "It represents the enigma improvisers face to spontaneously fall in love with their instrument/the sound/the situation/each other," she says. "And additionally, to convince an audience to fall in love with their love."
If the concept sounds somewhat esoteric, the music itself is anything but. The album's bookend tracks, "Starlight" and its reprise "Reciproka Elektra," alternate instantly compelling, electronically processed washes with warm and confidently swinging piano-trio melodies. Each of the suite's five parts comprises an expressive, hook-filled tune and improvisation set to a joyful dance of a rhythm, from the whirlwind "Reciprokataj I: Cyrene (Flight of the Butterfly)" to the 5/4 bounce of "Reciprokataj IV: Olive You." Even the grim determination Anjou presents on "Reciprokataj V: Flowery Distress" is offset by Folman-Cohen and Perowsky's irrepressibility.
The album also honors Anjou's most important pianistic influences. Her phrasing and chord voicings channel the respective spirits of Oscar Peterson and Red Garland; in addition, she separates the parts of the suite with songs that directly pay tribute to favorites Ahmad Jamal ("Snuffaluffagas") and McCoy Tyner ("Hard Boiled Soup"). "All of the music celebrates my love affair with great jazz pianists," she says.
Anjou's use of Esperanto is not incidental: with "Enamiĝo Reciprokataj," she begins a planned trilogy of albums based on the concepts and structures of world languages. (The next two installments will center on Dagara and Arabic, respectively.) "To me, Esperanto is a romance," she says. "The language mirrors jazz improvisation . . . . Jazz and Esperanto are both contemporary languages of the last century, and both promote intercultural dialogue, democracy, and self-expression."
As a high school student, she joined and toured with Seattle's Roosevelt High School Jazz Band, meeting and performing with Wynton Marsalis in New York. Attending the Stanford Jazz Workshop at 16, she worked with Clark Terry, who became her idol. It was around that same time that Anjou began composing -- including much of the material that eventually became Enamiĝo Reciprokataj.
Arriving in New York to study music at NYU, Anjou studied with Stefon Harris, Tony Moreno, and Sherrie Maricle, as well as with Jason Moran and Vijay Iyer at School for Improvised Music. She also studied classical music in Prague with composer Milan Slavický, and West African gyil music in Ghana with master player Bernard Woma and his protegees. She has since performed in 13 countries on three continents with a number of ensembles including the New York Arabic Orchestra, the Shaggs, Bi TYRANT, and the LARCENY Chamber Orchestra (founding and leading the latter two).
Anjou began performing selections from Enamiĝo Reciprokataj while living in Prague in 2005 and continued honing it thereafter, including in a well-received performance with Bi TYRANT at New York's Zinc Bar during the 2018 Winter Jazz Festival. In the fall of 2018, she returned to Kuwait to teach piano and jazz ensembles as part of a nine-month residency at the Sheikh Jaber Al-Ahmad Cultural Center opera house, in an experimental music program, the first of its kind in the country.
Brittany Anjou will perform CD release concerts at Le Poisson Rouge, 158 Bleecker Street, NYC, on Mon. 2/25, with Chudzik and Tinnin. Anjou will also be playing with the Women in Jazz Organization collective at Jazzahead (Schwankhalle), Bremen, Germany on Sat. 4/27.
Photography: Jeff Chase
Web Site: brittanyanjou.com
Tuesday, January 29, 2019
died January 29, 2019 in Los Angeles, California, USA)
Two-time Grammy winner singer James Ingram, famous for his collaborations with Quincy Jones ("Just Once," "One Hundred Ways" etc) and Patti Austin ("How Do You Keep The Music Playing?") passed away at the age of 66. The LaserDisc of his concert in Japan with Quincy Jones leading an all-star band (with Rod Temperton, Greg Phillinganes, Louis Johnson, John Robinson, Jerry Hey, Toots Thielemans, Jerome Richardson) is legendary. Rest in Peace.
Saturday, January 26, 2019
(born 24 February 1932 in Paris, France)
died 26 January 2019 in Neuilly-sur-Seine, France)
R.I.P.: Michel Legrand.
An absolute GENIUS -- in the same level of J.S. Bach, for example -- is gone. One of the greatest arrangers and composers in music history. And a fabulous pianist too. I've met him in person for the first time in 1983. Had the chance to attend several of his concerts (two of them in Brazil at the time of the Moliere Award, with Ron McClure on bass and Christiane Legrand singing.) Unforgettable moments in my life.
I treasure his huge discography, specially "Legrand Jazz" (with Miles Davis, John Coltrane, Bill Evans, Art Farmer, Herbie Mann etc), "Twenty Songs Of The Century" (a lesson in orchestration feat. Toots, Airto, Gene Bertoncini, Eddie Daniels), the splendid albums for RCA in the 70s ("Live At Jimmy's," "Legrand Live" (with Randy Brecker, Phil Woods, Ron Carter, Grady Tate, Joe Beck), "The Concert Legrand," the Grammy-winning "Images" with Phil Woods, "Le Jazz Grand" with Gerry Mulligan, Jon Faddis and Portinho) and such landmark soundtracks as "The Umbrellas Of Cherbourg," "F For Fake," "Pieces Of Dreams," "Summer of '42," "The Other Side Of Midnight" + dozens of others.) He personified a kind of musical sophistication and elegance that is gone, that's the true.
(Arnaldo DeSouteiro & Michel Legrand in 1983)
Friday, January 25, 2019
died on January 25, 2019 in Leopoldina, State of Minas Gerais)
Brazilian composer, arranger, guitarist, singer and producer. Co-wrote songs with lyricists Aldir Blanc and Renato Carvalho, and worked/recorded with singer Ithamara Koorax and pianist Anselmo Mazzoni.