Wednesday, November 14, 2018

Herbie Hancock live in Brazil! Don't miss!

A living legend of contemporary music, Herbie Hancock will be back in Brazil this month for concerts in São Paulo (November 17 @ Credicard Hall) and Rio de Janeiro (November 19 @ Km de Vantagens Hall). Don't miss! I have attended dozens of Hancock's concerts for the past 5 decades (!), all over the world, and each and every one was unique and unforgettable. Trust me, this man is a genius!
LENDA DO JAZZ, HERBIE HANCOCK RETORNA AO BRASIL 
EM NOVEMBRO PARA DUAS APRESENTAÇÕES

O multipremiado artista se apresentará em duas cidades:
17 de novembro, no Credicard Hall em São Paulo
19 de novembro, no Km de Vantagens Hall RJ no Rio de Janeiro

O lendário pianista e compositor Herbie Hancock - gênio renovador do jazz, do funk e da música contemporânea - volta ao Brasil para duas apresentações, dia 17 de novembro no Credicard Hall, em São Paulo, e dia 19 de novembro no Km de Vantagens Hall RJ, no Rio de Janeiro.

Os ingressos para ambas as apresentações podem ser adquiridos pela internet (www.ticketsforfun.com.br), nos pontos de venda oficial (sem taxa de conveniência – Credicard Hall em São Paulo; Km de Vantagens Hall RJ no Rio de Janeiro) e nos pontos de venda por todo o país. As apresentações no Brasil são produzidas pela TIME FOR FUN.

Em sua sexta década de carreira, Herbie Hancock permanece na vanguarda da cultura mundial. Como membro do Miles Davis Quintet, considerado o melhor grupo da história do jazz, ele também desenvolveu novas abordagens em suas próprias gravações, seguido pelo seu trabalho nos anos 70 – com álbuns recordistas de venda como "Head Hunters" – que combinava jazz com funk e rock em um estilo inovador que continua a influenciar a música contemporânea. "Rockit" e "Future Shock" marcaram a incursão de Hancock nos sons de dance eletrônico; durante o mesmo período, ele continuou a trabalhar em um ambiente acústico com a banda V.S.O.P. que incluia ex-colegas do grupo de Miles (Wayne Shorter, Ron Carter e Tony Williams) e o trompetista Freddie Hubbard.

O pianista tem um ótimo relacionamento com o Brasil, com um histórico de diversas visitas ao país e parcerias musicais com artistas como Milton Nascimento (além de Herbie ter participado de vários discos do cantor, eles tocaram juntos no Dia Internacional do Jazz 2013, em Istambul), Flora Purim ("Everyday Everynight"), Yana Purim (no disco "Harvest Time", produzido por Arnaldo DeSouteiro), Airto Moreira (para quem produziu o álbum "Identity") e Céu (ela é uma das estrelas do grupo que participou da gravação do aclamado "The Imagine Project" e abriu seu show no Credicard Hall, São Paulo, em 2013). A cantora Ithamara Koorax é outra apaixonada pela obra de Hancock, tendo gravado sua canção "Butterfly" nada menos que três vezes!

Em 2010, Hancock lançou o aclamado CD "The Imagine Project", vencedor de dois prêmios Grammy. Usufruindo da linguagem universal da música para expressar temas centrais como paz e responsabilidade global, o álbum foi gravado em diversas partes do mundo, com participações especiais dos músicos Jeff Beck, Seal, Rosa, Dave Matthews, The Chieftains, Lionel Loueke, Anoushka Shankar, Chaka Khan e Céu, entre outros.

Fora dos palcos e dos estúdios, Hancock também mantém uma carreira de sucesso. Recentemente indicado como responsável pelo departamento de jazz da Filarmônica de Los Angeles, ele também é presidente do Thelonious Monk Institute of Jazz, a principal organização internacional dedicada ao desenvolvimento do jazz e da educação em todo o mundo. Além disso, Hancock é um dos fundadores do “Comitê Internacional dos Artistas para a Paz” e recebeu o título de "Commandeur des Arts et des Lettres" do primeiro-ministro francês, François Fillon.

Em julho de 2011, Hancock foi designado “Embaixador da Boa Vontade” da UNESCO. Lançou sua autobiografia, "Possibilities", em 2014, pela editora Penguin Group. Em honra a seu trabalho, foi premiado com o Grammy Lifetime Achievement Award em fevereiro de 2016. Hancock está, atualmente, trabalhando em seu estúdio para um novo álbum.

Com uma ilustre carreira de seis décadas e mais de 14 Grammy® Awards, incluindo Álbum do Ano por "River: The Joni Letters" (2007), Hancock continua a encantar as platéias ao redor do mundo e está voltando ao Brasil para mostrar todo seu talento.

Para mais informações sobre Herbie Hancock, acesse:
https://www.instagram.com/herbiehancockofficial/
https://open.spotify.com/artist/2ZvrvbQNrHKwjT7qfGFFUW
https://www.facebook.com/herbiehancock/
http://www.herbiehancock.com/
HERBIE HANCOCK
Realização: TIME FOR FUN 

CREDICARD HALL – SÃO PAULO
Copatrocínio: Budweiser
Meio de pagamento preferencial: Credicard
Data: Sábado, dia 17 de novembro de 2018
Horário: 22h00
Local: Credicard Hall SP – Av. das Nações Unidas, 17.955 – Santo Amaro – São Paulo (SP).
Capacidade: 3.990 pessoas.
Duração: Aproximadamente 1h40.
Ingressos: A partir de R$ 50
Classificação etária: Menores de 8 a 13 anos podem entrar desde que estejam acompanhados. A partir dos 14 anos: Permitida a entrada desacompanhados.
Abertura da casa: 1h30 antes do espetáculo.
Acesso para deficientes
Ar-condicionado
Venda de ingressos no site: www.ticketsforfun.com.br
Venda a grupos: grupos@t4f.com.br
Estacionamento (terceirizado): R$ 60.
Venda a grupos: grupos@t4f.com.br

INGRESSOS:
SETOR MEIA ENTRADA INTEIRA
PLATEIA SUPERIOR lll R$ 50,00 R$ 100,00
PLATEIA SUPERIOR ll R$ 75,00 R$ 150,00
PLATEIA SUPERIOR l R$ 75,00 R$ 150,00
POLTRONA II R$ 125,00 R$ 250,00
POLTRONA I R$ 150,00 R$ 300,00
MESA ll R$ 175,00 R$ 350,00
MESA I R$ 200,00 R$ 400,00
CAMAROTE II R$ 225,00 R$ 450,00
CAMAROTE I R$ 250,00 R$ 500,00
MESA VIP R$ 250,00 R$ 500,00

- Meia-entrada: obrigatória a apresentação do documento previsto em lei que comprove a condição de beneficiário: no ato da compra e entrada do evento (para compras na bilheteria oficial e pontos de venda físicos) / na entrada do evento (para compras via internet).

- Clientes do cartão Credicard contarão com pré-venda exclusiva, entre os dias 4 de outubro e 10 de outubro de 2018. Venda limitada a 08 ingressos por CPF.

- Desconto de 15% na venda de ingressos limitado a 10% da capacidade da casa. O benefício não é cumulativo com meia-entrada, demais descontos e ações promocionais. Desconto aplicável para diversos setores (camarote, pista, mesa, entre outros). Vendas de ingresso com desconto limitadas a 8 ingressos por CPF.

- Para a validade dos benefícios, é necessário apresentar os ingressos comprados com cartões Credicard na entrada exclusiva ou apresentar um dos cartões de crédito no acesso (válido apenas para o titular ou adicional do cartão e um acompanhante).

- Clientes do cartão Credicard contarão com entradas e guichês exclusivos no Credicard Hall.
- Todas as condições acima poderão ser alteradas sem aviso prévio.

BILHETERIA OFICIAL – SEM TAXA DE CONVENIÊNCIA
Credicard Hall - Av. das Nações Unidas, 17.955 - Santo Amaro – São Paulo (SP).
Segunda-feira – FECHADA
Terça-feira a Sábado – 12h às 20h
Domingo e feriados – 13h às 20h

LOCAIS DE VENDA - COM TAXA DE CONVENIÊNCIA
- Pontos de venda no link:
http://premier.ticketsforfun.com.br/shows/show.aspx?sh=pdv

- Pela Internet: www.ticketsforfun.com.br
Entrega em domicílio - taxas de conveniência e de entrega.

FORMAS DE PAGAMENTO VÁLIDAS TICKETS FOR FUN
Internet:
- Cartões de crédito MasterCard, American Express, Elo Crédito, Visa, Diners Club.

Bilheteria e Pontos de Venda:
- Dinheiro;
- Cartões de Credito MasterCard, American Express, Elo Crédito, Visa, Diners Club e Hipercard;
- Cartões de débito Visa Electron, MasterCard débito, Elo Débito e Hipercard.
- Vale Cultura

KM DE VANTAGENS HALL RJ – RIO DE JANEIRO
Copatrocínio: Budweiser
Meio de pagamento preferencial: Credicard
Data: Segunda-feira, dia 19 de novembro de 2018
Horário: 21h30
Local: Km de Vantagens Hall RJ – Rio de Janeiro
Av. Ayrton Senna, 3000 - Shopping Via Parque - Barra da Tijuca
Capacidade: 3.088 pessoas.
Duração: Aproximadamente 1h40.
Ingressos: A partir de R$ 70
Classificação etária: Menores de 8 a 13 anos podem entrar desde que estejam acompanhados. A partir dos 14 anos: Permitida a entrada desacompanhados.
Abertura da casa: 1h30 antes do espetáculo.
Acesso para deficientes
Ar-condicionado
Venda de ingressos no site: www.ticketsforfun.com.br
Venda a grupos: grupos@t4f.com.br
Estacionamento do Shopping: Carro: R$12,00 as primeiras 4 horas. R$2,50 por hora ou fração excedente. R$50,00 pernoite. Desistência: 10min / Moto: R$5,00 - preço único. R$20,00 pernoite. Desistência: 10min (só válido quando validado no estacionamento de motos). Das 17h às 20h não há período de desistência.
Venda a grupos: grupos@t4f.com.br

INGRESSOS:
SETOR MEIA ENTRADA INTEIRA
MESA LATERAL R$ 70,00 R$ 140,00
MESA CENTRAL R$ 90,00 R$ 180,00
POLTRONA R$ 100,00 R$ 200,00
MESA ESPECIAL R$ 125,00 R$ 250,00
MESA PALCO R$ 175,00 R$ 350,00
MESA VIP R$ 200,00 R$ 400,00
CAMAROTE R$ 210,00 R$ 420,00

 - Meia-entrada: obrigatória a apresentação do documento previsto em lei que comprove a condição de beneficiário: no ato da compra e entrada do evento (para compras na bilheteria oficial e pontos de venda físicos) / na entrada do evento (para compras via internet).

- Participantes do Km de Vantagens tem ingresso com desconto.

BILHETERIA OFICIAL – SEM TAXA DE CONVENIÊNCIA
Km de Vantagens Hall RJ: Segundas -feiras: Fechada
                                     Terças-feiras a sábados, das 12h às 20h
                                     Domingos e feriados, das 13h às 20h
Av. Ayrton Senna, 3000 - Shopping Via Parque - Barra da Tijuca.

LOCAIS DE VENDA – COM TAXA DE CONVENIÊNCIA
Pontos de venda no link: http://premier.ticketsforfun.com.br/shows/show.aspx?sh=pdv
Pela Internet:  www.ticketsforfun.com.br
Retirada na bilheteria e E-ticket – taxas de conveniência e de entrega

FORMAS DE PAGAMENTO VÁLIDAS TICKETS FOR FUN
Internet:
- Cartões de crédito MasterCard, American Express, Elo Crédito, Visa, Diners Club e Hipercard.
Bilheteria e Pontos de Venda:
- Dinheiro;
- Cartões de Credito MasterCard, American Express, Elo Crédito, Visa, Diners Club e Hipercard;
- Cartões de Débito Visa Electron, MasterCard débito, Elo Débito e Hipercard.
- Vale Cultura

Visite as redes sociais da T4F (Time For Fun):
fb.com/t4f
instagram.com/t4f
twitter.com/t4f
spotify.com/user/t4fbrasil

Visite as páginas oficiais da T4F:
t4f.com.br
ticketsforfun.com.br

Thursday, November 1, 2018

Adi Meyerson live in NY, tomorrow night!

Adi Meyerson Debut Album Concert in NY!
The great bassist will be leading her quintet on tunes from her superb CD "Where We Stand," voted "Jazz Instrumental Album of the Month" last June here on the Jazz Station blog.
Tomorrow, Friday, November 2nd, 8pm
The DiMenna Center for Classical Music
450 West 37th St. (between 9th & 10th Aves.) - Benzaquen Hall (elevator to 1st floor) www.dimennacenter.org .

Doors open 7:30p.m.
Concert - 8:00p.m. - 10:00p.m.

Quintet: Adi Meyerson - Bassist & Composer; Camila Meza - Guitar & Vocals; Godwin Louis - Alto Sax; E.J. Strickland - Drums; Glenn Zaleski - Piano

A Project 142 Concert Series concert at the DiMenna Center. "Where We Stand" was publicly released July 2018 at the Jazz Standard in NYC, and will be available for purchase tomorrow!
Visit please for Adi Meyerson www.adimeyersonmusic.com

Concert Donation -
$15.00 General Admission (cash at door please)
Refreshments provided by Project 142
Subway Stop for DiMenna Center - 7 Line - Hudson Yards
West 34th St. & 11th Ave.
www.mta.info
Project 142 Concert Series is a 501 (c)(3) Non Profit Organization -
ALL DONATIONS Tax Deductible - Online via
www.project142.org/donation-page-new

CD Reissue of the Month - "Jim Hall: Concierto/Big Blues/Studio Trieste"

CD Reissue of the Month
Jim Hall: "Concierto/Big Blues/Studio Trieste" (CTI/BGO) 2018
Rating: ***** (music performance & sonic quality)

Original albums produced by Creed Taylor and engineered by Rudy Van Gelder
Cover Photos: Alen MacWeeney (Big Blues) and Pete Turner

"Concierto" (1975) features Jim Hall (guitar), Paul Desmond (alto sax), Chet Baker (trumpet), Roland Hanna (piano), Ron Carter (bass) and Steve Gadd (drums). Music Supervision and Arrangements: Don Sebesky
"Big Blues" (1978) features Jim Hall (guitar), Art Farmer (flugelhorn/trumpet), Mike Mainieri (vibes), Mike Moore (bass) and Steve Gadd (drums). Arranged by David Matthews
"Studio Trieste" (1982) features Jim Hall (guitar), Hubert Laws (flute), Chet Baker (trumpet), Jorge Dalto (Fender Rhodes, synthesizers), Kenny Barron (piano and Fender Rhodes), Gary King (electric bass), George Mraz (bass), Steve Gadd (drums), Sammy Figueroa (percussion, congas) and Jack Wilkins (guitar). Arranged by Don Sebesky

Instrumental Jazz CD of the Month - "Anne Sajdera: New Year"

Instrumental Jazz CD of the Month
Anne Sajdera: "New Year" (Bijuri Records) 2018
Rating: ***** (music performance & sonic quality)

Produced by Ray Obiedo & Anne Sajdera
Engineers: David Luke, Jeff Cressman, Carlos Yutaka del Rosario
Mixed by Ray Obiedo
Mastered by Phil Hawkins
Photos & Cover Design: Fifi Larue
Painting "Segment bleu" by Vassily Kandinsky, 1821

Featuring: Anne Sajdera (piano), Miroslav Hloucal (trumpet. flugelhorn), Jan Fečo  (alto sax), Bob Mintzer (tenor sax), Erik Jekabson (trumpet, flugelhorn), Lyle Link (alto sax), Rita Thies (flute), Joyce Lee (violins, cellos), Dan Feiszli and Gary Brown (bass), Jason Lewis, Deszon Claiborne and Alan Hall (drums)

Anne Sajdera’s remarkable acumen as both a pianist and a composer finds rejuvenation on New Year, set for November 2 release on her own Bijuri Records. The album hits close to home for Sajdera—her ancestral home, that is, of the Czech Republic and its storied capital, Prague. A 2014 trip to Europe’s “Golden City” was the catalyst for the album’s creation.

Sajdera’s journey wasn’t planned as a musical one. While in Prague, however, she encountered trumpeter/flugelhornist Miroslav Hloucal and alto saxophonist Jan Fečo, who became her chief collaborators on New Year. In addition to supplementing her working San Francisco trio (bassist Gary Brown and drummer Deszon Claiborne) and other special guests with their sparkling instrumental work, Hloucal and Fečo brought in four of the album’s nine tracks. “What electrified me was the tremendous skill level,” explains Sajdera (pronounced sazh-dair-uh). “I don’t think there are many Czech jazz musicians who want to say, ‘This is Czech jazz’ the way Brazilian musicians would refer to ‘Brazilian jazz.’ They’re influenced by the same players as we are.” Indeed, New Year’s music is firmly in the vein of acoustic post-bop: sophisticated, straight-ahead, and thoroughly swinging.

Even “It Depends on That,” Fečo’s stellar arrangement of a Roma folk song, feels perfectly at home in the 21st-century jazz repertoire with its deceptively jagged rhythms and sumptuous harmony. Likewise, Hloucal’s trio of melodic delights—“Pictures,” “Butterfly Effect,” and “Changeling”—positively simmer in straight-ahead seasoning. In the case of the urgent, album-opening “Pictures,” tenor sax luminary Bob Mintzer’s vital, muscular work adds an extra ingredient to that seasoning.

Sajdera’s five original compositions naturally provide the backbone of the album, and rival Hloucal and Fečo’s contributions in their freshness and craftsmanship. Her haunting romantic ballad “Treasure” also highlights Sajdera’s ambition: It doesn’t include the Czech musicians, but does expand her trio to include flugelhornist Erik Jekabson, alto saxophonist Lyle Link, flutist Rita Thies, and violinist/cellist Joyce Lee. Link and Jekabson also appear on “Bright Lights,” a bare-bones platform for improvisation that’s both taut and joyful. The album also includes a live rendition of “Azul,” the dreamy samba reggae title track to Sajdera’s 2012 debut album, here balancing sensitivity with astonishing rhythmic assurance.

Born in Portsmouth, Virginia in 1965 to a military family, Anne Sajdera grew up in San Diego. Piano lessons as a child led her to form a tight circle of musical friends who often gathered to play together. She maintained a steady diet of Chopin waltzes, Bach inventions, and Beethoven sonatas in her piano studies, but at the age of 13 became intrigued by Chick Corea’s My Spanish Heart. After relocating to the Bay Area in 1985, she auditioned at the San Francisco Conservatory of Music and was accepted as a piano performance major, switching to a composition major at the end of her sophomore year.

Sajdera’s investigation of jazz took off when she began a relationship with an accomplished jazz guitarist, with whom she was soon playing casuals. A class at Berkeley’s Jazzschool with the great Brazilian pianist/composer Marcos Silva sparked her enduring passion for Brazilian music. Before long she was gigging around the Bay Area with her own band Pelo Mar, and as an original member of Bat Makumba.

Her debut album, 2012’s Azul, also reflects this deep and abiding passion, mixing her ravishing original pieces with classic tunes by the Brazilian masters. It received a place on one of Jazziz magazine’s 2012 Critics Polls and was named one of Latin Jazz Corner’s Great Latin Jazz Albums that same year.

The six-year gap between Azul and New Year reflects Sajdera’s ongoing evolution as an artist looking for new expressive avenues. “I was writing new music all along and I could see it was rapidly changing,” she says. “By 2015, the Prague musicians’ influence was coming in.” Shortly thereafter, the musicians themselves came in, too, to join the music making. (Sajdera’s next recording featuring this same ensemble has been awarded grant funding from Intermusic SF.)

It was in 2015, in the spirit of International Jazz Day, the project launched by Herbie Hancock in his role as UNESCO Goodwill Ambassador, that Sajdera began to connect the Czech jazz scene to the Bay Area scene. After she produced a pair of pilot concerts featuring sax virtuoso Karel Růžička and organ maestro Ondre J, two Brooklyn-based musicians who originally hailed from the Czech Republic, the plan to collaborate in the studio with Jan and Miroslav began to take shape.

Anne Sajdera will be performing a series of CD release shows, all featuring Miroslav Hloucal and Jan Fečo, in November: Fri. 11/2 Savanna Jazz, San Carlos (8pm); Sat. 11/3 Piedmont Piano Company, Oakland (8pm); Mon. 11/5 Luna’s Café, Sacramento (7:30pm); Fri. 11/9 Café Pink House, Saratoga (7:30pm); Sat. 11/10 Hotel Healdsburg, Healdsburg (6:30pm).

Tuesday, October 2, 2018

Drummer Anthony Fung's "Flashpoint" release show @ Nublu, NYC, Oct 4

Canadian drummer Anthony Fung is proud to establish himself as a composer, producer and bandleader on his sophomore album "Flashpoint," out today! The album will be celebrated at Nublu, New York City on October 4.

"FlashPoint" features Erin Bentlage (vocals), Edmar Colon (tenor/soprano saxophones & percussion), Josh Johnson (alto saxophone), Alex Hahn (soprano saxophone), Jon Hatamiya (trombone), Isaac Wilson (piano), Simon Moullier (vibraphone), Mats Sandahl (bass) and percussionists Oscar Cruz, Oscarin Cruz, Manolo Mairena alongside a string quartet comprised of Yu-Ting Wu, Niall Ferguson, Jonathan Tang and Lauren Baba. On FlashPoint, the Thelonious Monk Institute of Jazz Performance alumnus is excited to introduce and exhibit a new global aspect to the realm of jazz.

In contrast to his debut album "Chronicles," Fung takes credit for the composition, arrangement and production of all eight tracks on "Flashpoint." Having honed his craft under the tutelage of Herbie Hancock, Wayne Shorter, Chris Potter and Billy Childs​, Fung now sets out on a new course to establish himself as more than a jazz drummer - he is excited to set the focus of this project to his new path as a composer, producer and bandleader.

Although "Flashpoint" serves as a showcase for the fresh perspective Fung takes with this music, the compositional process for each of these tracks pays homage to his former tutors. Recalling the writing approach of these mentors, the inspiration for each of Fung’s tunes has been derived from an array of various mediums.

"Flashpoint" showcases Fung’s desire for social unity and change. Acting as a humanitarian for the music, the LA-based Canadian native has consciously brought together an international ensemble including Swedish bassist Mats Sandahl, French vibraphonist Simon Moullier, and Puerto Rican tenor saxophonist Edmar Colon. While “A Call For Peace” was written for Colon, in remembrance of the terrifying times he endured in Puerto Rico during Hurricane Maria, “The Flash” draws attention to “Tambor Norte” - a well-known Panamanian rhythm.

Inspired by the Netflix series superhero known for his speedy run, Fung wrote this tune to incorporate the rhythm of Panamanian drums with a cinematic sound. “Forever” - a tune written about heartbreak and Fung’s favourite track of the album - is the bandleader’s first experience with lyric writing, while “St. Augustine and The Devil” highlights the drummer’s string writing. This track, featuring a lone string quartet, is inspired by a painting by Michael Pacher from the 1400’s.

MORE ABOUT ANTHONY FUNG
Drummer, composer, producer and bandleader Anthony Fung was born in Richmond Hill, Canada and has been playing the drums  since the age of ten. Currently based in Los Angeles, CA, Anthony has established himself as one of the foremost up-and-coming  drummers of his generation.

Anthony is an alumnus of the prestigious Thelonious Monk Institute of Jazz Performance (2018), where he earned a master of music  (M.M.) degree while studying and performing with ​Herbie Hancock, Wayne Shorter, Chris Potter, Billy Childs​, and many  others. Previously, Anthony also earned both his bachelor of music (B.M.) and master of music (M.M.) degrees from the Berklee  College of Music and the Berklee Global Jazz Institute under the tutelage of ​Danilo Pérez​.   

Having performed at festivals and other venues worldwide, Anthony has appeared at International Jazz Day (St. Petersburg, Russia  and Havana, Cuba), Panama Jazz Festival, Panama Percussion Festival, Sitka Jazz Festival, Monterey Jazz Festival, Toronto Jazz Festival,  and the Montreal Jazz Festival. He has performed alongside ​Danilo Pérez, Wayne Shorter, Herbie Hancock, John Patitucci,  Joe Lovano, Miguel Zenón, Esperanza Spalding, George Garzone, Luciana Souza, David Binney, Dave Douglas, Jerry  Bergonzi, Danny Rivera, Ruben Blades,​ and​ Ingrid Jensen, ​among others.   

As a bandleader, Anthony released his debut album, ​"Chronicles" (2014) with the Anthony Fung Quintet, and now his second  album, ​"Flashpoint"​ in fall 2018. Anthony also co-leads a Toronto-based band called “JabFung” with bassist Julian Anderson-Bowes. This project brings international  artists to Toronto to perform alongside local musicians. Occurring on a semiannual basis, JabFung residencies have hosted  international artists such as George Garzone (Boston), Simon Moullier (France) and Isaac Wilson (Los Angeles). Anthony proudly endorses Vic Firth Sticks, Canopus Drums, and Zildjian Cymbals.

Monday, October 1, 2018

CD Reissue of the Month - "Stanley Turrentine: Sugar/Gilberto with Turrentine/Salt Song"

CD Reissue of the Month
Stanley Turrentine: "Sugar/Gilberto With Turrentine/Salt Song" (CTI/BGO) 2018
Rating: ***** (music performance & sonic quality)

Original albums produced by Creed Taylor and engineered by Rudy Van Gelder
Album Cover Photos: Pete Turner
Cover Photo (Stanley's portrait) by Chuck Stewart

This special 2-CD package, put together by the UK label BGO, includes the first three albums recorded for CTI by the tenor titan Stanley Turrentine.

"Sugar" (1970) features Freddie Hubbard (trumpet), George Benson (guitar), Butch Cornell (organ), Lonnie Liston Smith (Fender Rhodes electric piano), Ron Carter (bass), Billy Kaye (drums), Richard "Pablo" Landrum (congas). Turrentine's debut album for Creed Taylor, it became a groundbreaking effort to his career, and a classic session on the CTI catalog as well. The program includes the amazing title track, "Sugar," that became an instant jazz classic, Butch Cornell's original boogaloo "Sunshine Alley," and a long version of John Coltrane's blues "Impressions."

"Gilberto With Turrentine" (1971) feat. Astrud Gilberto (vocals), Eumir Deodato (arranger, piano, Fender Rhodes electric piano, organ), Ron Carter and Russell George (bass), Dom Um Romão, João Palma and Denny Seiwell (drums), Airto Moreira and Dom Um Romão (percussion), Sivuca and Gene Bertoncini (acoustic guitar), Bob Mann and Sam Brown (guitar), Hubert Laws (flute), Toots Thielemans (harmonica) plus strings & woodwinds. Actually, despite his name on the cover, Turrentine plays only on 4 tracks. Only 3 of them with Astrud: "Brazilian Tapestry" (Deodato's adaptation of a Brazilian folk song, "Mulher Rendeira"), Jorge Ben's "Zazueira" (with João Palma on drums, and Dom Um on percussion), Edu Lobo/Capinam's "Ponteio" (with Toots Thielemans on harmonica), and an instrumental version of Milton Nascimento's "Vera Cruz."

"Salt Song" (1971) feat. Eumir Deodato (arranger, Fender Rhodes electric piano), Horace Parlan (piano), Richard Tee (organ), Ron Carter (bass), Billy Cobham and Airto Moreira (drums), Airto Moreira (percussion), Eric Gale (guitar) etc. Includes killer versions of Freddie Hubbard's "Gibraltar," Turrentine's own "Storm" (a showcase for Eric Gale's artistry), and Milton Nascimento's title track, "Salt Song", with both Airto and Billy Cobham on drums. There are also two haunting tunes: "I Told Jesus," a traditional gospel theme adapted by Turrentine and featuring Richard Tee on Hammond, and the pop ballad "I Haven't Got Anything Better To Do," one of Creed Taylor's favorite songs. 

Vocal Jazz CD of the Month - "Jennifer Lee: My Shining Hour"

Vocal Jazz CD of the Month
Jennifer Lee: "My Shining Hour" (SBE Records) 2018
Rating: ***** (music performance & sonic quality)

Co-Produced & Arrangements by Peter Sprague & Jennifer Lee
Recorded by Peter Sprague @ Spragueland Studios (Encinitas, CA) and Gary Mankin @ Knob & Tube (San Francisco, CA)
Photos:Remo Fioroni
Graphic Design: Jennifer Lee

Featuring: Jennifer Lee (vocals, piano, guitar), Carey Williams (vocals), Peter Sprague (guitar), Randy Brecker (flugelhorn), Adam Shulman (piano, Rhodes electric piano, organ), Murray Low (piano), Bob Magnusson, Gunnar Biggs and Buca 'Bootza' Necak (bass), Justin Grinell (electric bass), Duncan Moore (drums), John Santos (percussion), Rich Kuhns (accordion), Tripp Sprague (sax), Mads Tolling (violin) etc.

With her first two albums, Oakland-based vocalist Jennifer Lee established herself as a gifted interpreter of the American and Brazilian Songbooks, producing a critically hailed body of work. On her new CD, "My Shining Hour," Lee emerges as a composer who, in the nine years since her last release, has developed a striking repertoire exploring the human condition with humor, compassion, and imagination.

“I always wrote a little bit,” says Lee, “but I certainly never thought of myself as a songwriter. Then a shift happened and all this music started channeling in. It’s like some crazy, overactive muse attached itself to me.”

Released on guitarist Peter Sprague’s SBE Records, "My Shining Hour" features Lee in the company of her band, the Ever-Expanding Universe, along with special guests including trumpeter Randy Brecker, bassist Bob Magnusson, Grammy Award-winning violinist Mads Tolling, and percussion maestro John Santos.

Sprague, known for his extensive work with Chick Corea, Charles McPherson, and Hubert Laws, produced the album, which was recorded at his studio in Encinitas. He also produced Lee’s first two discs—"Jaywalkin’" (2003), named “finest debut of the year, big label or small” by Dan McClenaghan of All About Jazz, and "Quiet Joy" (2009), a mix of originals, standards, and Brazilian songs described as “a JOY from start to finish” by the late drummer and Grammy-nominated producer Bud Spangler.

“Peter is an extraordinary musician and a deeply soulful player,” Lee says. “Working with him over the years, watching how he’ll reharmonize or phrase a line, I’ve learned so much. It’s definitely influenced my writing.”

Lee wrote 11 of the 13 songs on "My Shining Hour"; all 13 were co-arranged by Lee and Sprague. The Harold Arlen-composed title track (and album opener), which contains an original vocalese written by Lee, is dedicated to her stepfather. “Song of Happy,” the other non-original on the album, is an ebullient Latin number by guitarist Abel Zarate, best known as a co-writer of the Malo hit “Suavecito.”

“Song of Happy” and “Perfect Rendezvous” are duets pairing Lee’s light and bright sound with the warm, resonant baritone of Carey Williams, Jennifer’s life partner and musical collaborator who played with Zarate in the 1970s rock/funk/fusion band The Force. “Carey and I had been performing ‘Song of Happy’ live since 2011, and I fell in love with the song. It’s just so fun and uplifting,” Lee says. “When I brought it to Peter, he created a super-dynamic arrangement for it, which inspired me to write that intricate tapestry of background vocals. The recording is a gift we get to give to Abel.”

Other album highlights are the soulful ballads “Speak Your Love” and “Home,” and the playful, gospel-like “Crammin’ Crepes with Cathi at the Cock-a-Doodle Café,” a tribute to the late jazz singer/songwriter and Jennifer’s close friend Cathi Walkup: “She was a very clever lyricist who encouraged my songwriting endeavors before I ever thought of myself as a songwriter.”

Born in 1964 in Redwood City, just south of San Francisco, and raised in nearby Menlo Park, Jennifer Lee ended up at Menlo-Atherton High School as a pianist to take advantage of the school’s respected jazz program. She continued her jazz piano studies at Foothill College, often accompanying vocalists, all the while nursing her secret desire to sing. She didn’t take the plunge until an early, unwanted glimpse at mortality radically changed her priorities in the late 1980s, when she dropped out of the University of Massachusetts, Amherst to tend to her stricken father.

“My dad got really sick and I came back from school to take care of him,” Lee says. “He died the next year. He was only 51. That really brought things into focus for me. I realized that none of us knows how long we have here on planet earth, so I’d better do what I want to do now.” After her father’s passing, she returned to the Foothill College music department, but instead of backing other singers she took over the microphone herself.

Subsequently studying with esteemed Bay Area jazz singer Kitty Margolis, Lee gradually worked up the courage to start performing in public and honed her jazz technique on a succession of regular gigs around the Bay Area. She made her first appearance on CD in 2001 on "Quintessential," an album featuring three tracks each by five Bay Area singers, including Jenna Mammina and Cathi Walkup.

“It took me so long to come to singing—to finally admit to myself that this is really what I want to do,” says Lee. “Then it took another decade-plus for the songwriter in me to emerge. I’m the epitome of the late bloomer.”

Jennifer Lee brings her Ever-Expanding Universe band to Dizzy’s in San Diego, 8/11, and the Sound Room, Oakland, 9/23, for a pair of concerts showcasing "My Shining Hour."

Instrumental Jazz CD of the Month - "Richie Cole: Cannonball"

Instrumental Jazz CD of the Month
Richie Cole: "Cannonball" (RCP 003) 2018
Rating: ***** (music performance & sonic quality)

Produced by Mark Perna
Engineers: Jim Barr, George Heid, Reggie Watkins
Photos & Album Design: Aaron Jackendoff
Artwork Layout Design: Jim Barr
Liner Notes: Scott Yanow

Featuring: Richie Cole (alto sax), Reggie Watkins (trombone), Eric Susoeff (guitar), Kevin Moore (piano), Mark Perna (bass), Vince Taglieri (drums), Kenia (vocal on "Save Your Love For Me")

I was introduced to Richie Cole's artistry through his 1978 album "Keeper Of The Flame," released by Muse Records. Love at first sight. Some years later, I got "Alto Annie's Theme" (Palo Alto, 1983) a gift from a much missed friend, radio DJ Felix Grant. Then came several albums for the Milestone label. Cole and Phil Woods became my favorite alto sax players. Woods passed away in 2015, but Cole remains active and recording a lot.

The alto madness of Richie Cole celebrates one of its chief inspirations with the release of "Cannonball". An inveterate bebop stalwart, Cole leads the Pittsburgh Alto Madness Orchestra and several special guests in paying tribute to his hero, the legendary alto saxophonist Julian "Cannonball" Adderley. The album comprises a dozen tunes closely associated with Adderley (including his own "Sack o' Woe"), as well as a brand-new Cole original ("Bell of the Ball").

While Cole often uses ideas from Adderley's arrangements to formulate his own, no one could mistake either of the altoists for the other -- nor would the stubbornly individual Cole want them to. "I didn't try to play like Cannonball, I focused on how he tells a story," says Cole. "You have to tell stories if you're going to connect with an audience and there was no one better at that than him."

The eight-piece ensemble, too, drawn from Cole's home base of Pittsburgh, is very different from Adderley's famous quintets. Cole's frontline partner on Cannonball is trombonist Reggie Watkins -- a surrogate for cornetist Nat Adderley, his brother's longtime brass foil. Two more horns, tenor saxophonist Rick Matt and trumpeter J.D. Chaisson, join in for four of the album's 13 tracks. Guitarist Eric Susoeff, keyboardist Kevin Moore, bassist/producer Mark Perna, and drummer Vince Taglieri fill out the rhythm section.

In taking on Adderley's repertoire, Cole finds ways to evoke his hero, though often with a twist. Where Nancy Wilson traditionally joined Adderley on "Save Your Love for Me," Cole brings in the vocalist Kenia, who sings bossa nova versions both in Portuguese and English. The altoist recreates Adderley's 1961 solo on "Toy," but not before letting Watkins have his uproarious way with the song. Meanwhile, a rendition of "Dat Dere" closely resembling the version on Adderley's 1960 album Them Dirty Blues is subverted with a newly devised arrangement for all four horns. "It's like where did this big band come from?" Cole says with a laugh.

Cole keeps it tight on Cannonball; most of the tunes stay close to the five-minute mark. "I could stretch out and play my ass off," Cole says. "But then you lose the thread of the story, and the audience. . . . I want to play melodies that regular people, working people, can enjoy."

Richie Cole was born in 1948 in Trenton, New Jersey. His father, a big band enthusiast, ran a local jazz joint called the Harlem Club. Young Richie met any number of great jazz performers there, including Dizzy Gillespie, Art Blakey, and Freddie Hubbard, and at 10 took up alto saxophone on a horn someone had left at the club.

He played in various school bands and, at 16, attended a music camp directed by alto legend Phil Woods (with whom he would record the 1980 fan favorite, Side by Side). He went on to study at Boston's Berklee School of Music, then continued his jazz education in the big bands of Buddy Rich, Lionel Hampton, and Doc Severinsen before forming his own bebop quintet.

Unswayed by jazz-rock trends, Cole in the early '70s began a long association with the great vocalist Eddie Jefferson, with whom he worked until the vocalese innovator's 1979 death, recording among others the popular album Alto Madness. Cole thrived on '80s encounters with Sonny Stitt and Art Pepper and spread his alto madness with pianist Bobby Enriquez and saxophonist Boots Randolph. He turned out a flurry of albums through the '90s with his seven-man Alto Madness Orchestra.

For years, Cole lived the life of a wanderer. Following a romantic breakup, he was talked into moving to Pittsburgh by his daughter Annie. "She had to drag me there kicking and screaming," he says. But as his song "I Have a Home in Pittsburgh" tells you, things have worked out well for him in the Iron City.

"Pittsburgh is like an oasis, an island," Cole says. "There are fantastic musicians here." One of them -- bassist Mark Perna -- helped him create his own label, Richie Cole Presents, on which "Cannonball" is the sixth release.

Cole and his musical partners celebrated the release of the new CD at Wallace's Whiskey Room and Kitchen in Pittsburgh, on October 26.

Friday, September 28, 2018

Daniel Rotem offers an optimistic view for a united perspective on "Serenading the Future"

Visionary Israeli saxophonist Daniel Rotem is proud to announce the release of "Serenading the Future" today, September 28. On this magnetic tour-de-force double album, Rotem is joined by violinist Miguel Atwood-Ferguson, pianist Miro Sprague, bassist Alex Boneham, and drummer Roberto Giaquinto. Guitarist Jeff Parker is featured on one track and vocalist Erin Bentlage on two.

A follow-up to Rotem’s debut album "Be Nice," this new project "Serenading the Future" reflects upon the saxophonist’s life experiences, the wide-spanning perspective he has gained and the lessons he has learned – “in short, it’s about being alive.” 

Daniel is excited to celebrate this new release at the Blue Whale, Los Angeles this Saturday, September 29th at 9pm.

Upon utilizing this sophomore album as a platform to express the personal meaning he draws from being human, Rotem has led himself to sequentially look forward to the future. As the saxophonist explains, “every moment in the present is already in the past once it is experienced, and the past, as beautiful and glorified as it might be, is merely a memory.” Rotem encourages us to embrace our past moments and experiences, acknowledge our present blessings and so foresee and celebrate the potential in our futures. The Thelonious Monk Institute of Jazz graduate refers to this album as “a tribute to the future that could be - a call to embrace ourselves, recognize the privilege we have to be alive, respect the world we live in and the people around us, and treat our paths with the same care and love we would treat a partner or a child.”

Growing up in Israel to a mixed family of Ashkenazi and Sephardic Jews, Rotem inherited an awareness for the importance and need for unity and universal equality. “I grew up in a family that embraced equality and respect to all people. It is difficult for me to imagine any other scenario - we are all equal, we are all the same, and share similar if not identical fears, hopes, and yearnings.” Combining this perspective with his approach to music, Rotem strives to establish a sonic landscape that highlights the importance of each human involved in its creation. Rather than focusing on any one individual, Daniel Rotem’s compositional and performance process displays the significance of the artistic collective as a whole - the communication and interaction between people as they interpret and create in union. The opening track “Different But The Same” immediately sets the tone. Featuring prolific guitarist Jeff Parker, this  pulse-free, meditative track symbolizes the absolute truth that while each member of the human species is individual and unique, as a collective, humans everywhere experience the same angst and concern, aspirations and desires.

Amongst other stand-out tracks from the album is “Who Is It?” -  the only song on the record previously recorded on Rotem’s debut. Following his decision to move to Boston to study at Berklee College of Music, where he completed his undergraduate degree, Rotem was feeling both out of place and right where he needed to be. The core genesis of this song is about becoming - who you are vs. who you want to be. While studying at the Thelonious Monk Institute of Jazz Performance, Rotem had the privilege to perform this track alongside Herbie Hancock and Wayne Shorter for the Playboy Jazz Festival. Understandably so, the track still retains a personal significance for the composer.

“Push Through” speaks to those who experience setbacks in their lives. With its repetitive rhythmic motif, it is a reminder for those individuals to never give up, and to continue to trust in themselves, the path they choose to take, their beliefs, perspective and potential. This track exudes an air of solidarity. While “Between Lives” and “Country of Mind” both speak of Rotem’s relationship between Los Angeles and Tel Aviv, “A Cold Ode” was written during a visit to Vermont last December.

In contrast to the Mediterranean climate Rotem grew up in, the snowy surroundings he experienced in Vermont were magical for him. He explains, “the motif for this song came as the sun came out of the clouds: it was cold, but there was a scent of hope, a promise of warmth, and it made the cold more beautiful and less painful.” “Conversation on Letting Go”, as well as the Intro for “Country of Mind” were improvised by the band as a collective. Both tracks reflect the nature of the band, and the emphasis on listening to each other as part of the creative process.

The title and closing track of the album, which features Erin Bentlage on vocals, conveys the idea that we can all achieve the future that we want, not just for ourselves but for the world - “It is about proactively chasing our vision for how things should be and not settling for how things are.” With a lyrical, memorable melody, blending the vocals, saxophone, and violin together to the point where it is difficult to distinguish each, this arrangement mirrors the unity Rotem hopes his music creates and emanates.

“There are a lot of things that are happening in the world right now that are completely unacceptable but I believe in our ability to make things right. If we remember to listen at least as much as we speak, and to offer the same respect and love to others as we would like to be offered ourselves, the world would be different. That is the future we are serenading for.”

"Daniel Rotem is a real seeker.  He has the rabid curiosity of someone who needs to do something new to feel alive.  At this time, when it is rare to find players and artists in the Jazz world who are concerned with more than either technical or commercial validation, he is one of the young artists who one seldom comes across.  One of the rare musicians whose curiosity is part of their DNA.” - Larry Klein

MORE ABOUT DANIEL ROTEM
Saxophonist, composer, and educator Daniel Rotem fell in love with music at an early age and started playing tenor saxophone when he was thirteen. Now at age 27, Daniel is a graduate of Berklee College of Music in Boston and the world-renowned Thelonious Monk Institute of Jazz Performance at UCLA. He has performed on four continents and has had the honor to share the stage with legendary artists from Herbie Hancock, Wayne Shorter, Dee Dee Bridgewater, Dave Liebman, and Billy Childs, to Stevie Wonder, Usher, and Miguel Atwood-Ferguson. Daniel went on a U.S. State Department Tour to Morocco, and had the privilege of leading and narrating a jazz history masterclass and performance hosted by the First Lady, Mrs. Michelle Obama, as part of International Jazz Day in 2016.

Daniel has performed at acclaimed festivals including the Monterey Jazz Festival, the Playboy Jazz Festival, and the Red Sea Jazz Festival, and at famed venues such as The Lincoln Center, The Kennedy Center, the Hollywood Bowl, The Microsoft Theater in LA, and many more. Daniel has taught at the Stanford Jazz Summer Camp and Jazz Institute, and is currently on faculty at the Los Angeles County High School for the Arts (LACHSA), and teaches the LAUSD All-City Jazz Band. His debut album Be Nice was released independently in February 2017.
For more information please visit www.danielrotem.com.

Sunday, September 2, 2018

R.I.P.: Randy Weston (1926-2018)

(born Randolph Edward Weston on April 6, 1926, in Brooklyn, NY, USA; 
died September 1st, 2018, in New York City, NY, USA) 

Piano and composer giant. 
Below, cover images of different issues of my favorite Randy Weston album, "Blue Moses," recorded for CTI in 1972, featuring extraordinary arrangements by Don Sebesky and an all-star cast of musicians: Freddie Hubbard, Ron Carter, Billy Cobham, Airto, Hubert Laws and Grover Washington, Jr. among others. I had the honor to supervise the first CD reissue, that came out in Japan in 2000. The first CD release in the U.S. came out only in 2010.

SACD of The Month - "Deodato/Airto: In Concert" + "Airto: Fingers"

SACD of the Month
"Airto: Fingers" + "Deodato/Airto: In Concert" (CTI/Vocalion) 2018
Rating: ***** 

First reissue, on Super Audio CD format, of two albums recorded by percussionist Airto Moreira for the CTI label in April 1973: "Fingers," a flawless studio session cut at Van Gelder Studios in Englewood Cliffs (New Jersey), and "Deodato/Airto In Concert," taped live on April 20, 1973 at the Felt Forum of the Madison Square Garden Center in New York City, NY, but released only one year later in truncated form.

This hybrid SACD includes both the stereo and quadraphonic mixes done by Rudy Van Gelder and producer Creed Taylor. Unfortunately, it wasn't possible to include the complete Felt Forum concert for a simple reason: the only 5 tracks mixed for quad system (two performed by Airto, three by Deodato) were the ones selected for the original vinyl LP release.

I hope someday we will see a 5.1 surround remix of the complete concerts performed by Deodato (previously issued on the stereo CD "Deodato Live At Felt Forum" in 1988) and Airto (a total of 6 tracks, 4 of them never released) on that historic event billed as "CTI 2001 Space Concert."

For now, this Vocalion SACD, remastered by Michael J. Dutton, becomes a must-have item for CTI, Deodato and Airto collectors!
Original albums produced by Creed Taylor
"Fingers" recorded & mixed by Rudy Van Gelder @ Van Gelder Studios (Englewood Cliffs, NJ) in April 9, 17 & 18, 1973
"In Concert" recorded by Frank Hubach @ the Felt Forum of the Madison Square Garden Center (New York, NY) on April 20, 1973, with additional recording and mix by Rudy Van Gelder @ Van Gelder Studios
Cover Photos on both albums: Pete Turner
Back Cover Photos on "In Concert": Duane Michaels (Deodato) and Frederico Mendes (Airto)

Airto's band on both albums: Airto Moreira (drums, percussion, lead vocals on "Paraná" and "Tombo In 7/4"), Hugo Fattoruso (acoustic piano, Fender Rhodes electric piano, Hammond organ, harmonica, arranger, lead vocals on "Fingers" and "Romance Of Death"), Ringo Thielmann (electric bass, backing vocals), Jorge Osvaldo Fattoruso aka George Fattoruso (drums, backing vocals), David Amaro (6- & 12-string acoustic guitars, electric guitar), Flora Purim (percussion, lead vocals on "San Francisco River" and "Branches"; Flora also plays acoustic guitar on "Branches")

Deodato's band: Eumir Deodato (Fender Rhodes electric piano, arranger), John Giulino (electric bass), Rick Marotta (drums), Rubens Bassini & Gilmore Digap (congas, percussion), John Tropea (electric guitar), Joe Shepley & Burt Collins (trumpet), Garnett Brown (trombone), Joe Temperley (baritone sax).
Additional string arrangements by Bob James

Vocal CD of the Month - "Anna Luna: Urubú"

Vocal Jazz CD of the Month
Anna Luna: "Urubú" (self-release) 2018
Rating: ***** (musical performance & sonic quality)

After some great more orthodox jazz albums, Spain's best singer delivers a surprising and awesome project that fuses jazz, flamenco and Brazilian music. She's also an excellent composer ("Un Cuento," "Vivo, Siento," "Déjame,"), but excels also on Brazilian tunes by Antonio Carlos Jobim ("Chovendo Na Roseira" with Spanish lyrics by Luna herself), Djavan ("Nobreza," "Nem Um Dia") and João Bosco ("Água Mãe Água") and in a haunting rendition of "Afonsina Y El Mar," made famous by Mercedes Sosa.

Executive Producer: Salvador Montés
Arranged by Rafael Madacasgar and Jaume Vilaseca
Artwork: Laura Auladell & Anna Luna

Featuring: Anna Luna (vocals), Jaume Vilaseca (piano), Rafael Madagascar (keyboards), Toni Porcar and Pedro Javier González (flamenco guitar), Roberto Faenzi (drums & percussion), Martín Laportilla (electric bass), Lautaro (bouzouki & laúd), Pablo Gómez (cajón flamenco), Carol Morgado (flamenco rhythmic footwork & clapping)

Wednesday, August 1, 2018

João Donato's first "Quem É Quem Concert" in Rio, next Saturday! Directed & Produced by Arnaldo DeSouteiro.


For the first time, João Donato will be playing ALL the songs from the legendary "Quem É Quem" album in Rio de Janeiro! 45 years after the album release... The concert is directed, produced and presented by Arnaldo DeSouteiro, who will also act as MC, conducting an on-stage interview with Donato.

Pela primeira vez o Rio verá o show de lançamento do histórico disco “Quem É Quem”, de João Donato, comemorando os 45 anos de lançamento do álbum!!!
O espetáculo marca também a estréia da série “Discos Históricos da MPB” que levará grandes nomes da MPB à Sala Baden Powell, apresentando, na íntegra, trabalhos cultuados pela crítica e pelo público!

Considerado um dos melhores discos da história da música brasileira, “Quem É Quem”, gravado pelo genial João Donato em 1973, terá pela primeira vez um show de lançamento no Rio de Janeiro no dia 4 de agosto, sábado, às 20hs, na Sala Baden Powell. O álbum, que já teve inúmeras reedições em vinil e CD, é cultuado por novos e antigos fãs do maestro, compositor e arranjador, tanto no Brasil como no exterior, onde vem sendo seguidamente sampleado por rappers e DJs da geração hip-hop.

“Quem É Quem”, que inclui clássicos como “Amazonas”, “Até Quem Sabe”, “A Rã”, “Ahiê” e “Cala Boca Menino”, foi um divisor de águas na carreira de João Donato. Marcou não apenas o seu retorno definitivo ao Brasil, depois de 15 anos morando nos EUA, mas também a primeira vez em que se ouviu Donato cantando suas músicas, que receberam letras de poetas como Paulo Cesar Pinheiro, Geraldinho Carneiro, Lysias Enio e João Carlos Pádua. Uma idéia de Agostinho dos Santos incentivada por Marcos Valle, produtor do álbum.

Por uma grande ironia do destino, Donato nunca havia feito um show de lançamento de “Quem É Quem” no Rio! “Apesar de ter investido pesado na produção do álbum, gravado com orquestra sob a regência de maestros famosos como Gaya, Dori Caymmi e Laercio de Freitas, a Odeon não destinou verba publicitária para a divulgação do disco,” comenta o jornalista e historiador Arnaldo DeSouteiro. “Chateado com essa postura da gravadora, Donato não se animou a fazer shows, limitando-se a literalmente lançar os vinis do alto do Outeiro da Glória, numa inusitada ação de marketing que foi documentada por emissoras de televisão.”

Agora, 45 anos depois, os cariocas poderão finalmente assistir ao show de lançamento de “Quem É Quem”, que será executado na íntegra - seguindo a ordem original das faixas - pelo fenomenal Donato e sua banda, além de convidados especiais que participaram do disco. Um espetáculo certamente antológico, que terá ainda um bate-papo de João Donato com Arnaldo DeSouteiro, revelando detalhes e curiosidades sobre as músicas e a gravação do álbum.

A série “Discos Históricos da MPB” acontecerá sempre na Sala Baden Powell, no primeiro sábado de cada mês, com concepção, curadoria, direção e produção musical de Arnaldo DeSouteiro.
*********
Roteiro do show:

JOÃO DONATO – QUEM É QUEM – 4 DE AGOSTO DE 2018
                     
                   ABERTURA
- ARNALDO DeSOUTEIRO CONVIDA JOÃO DONATO AO PALCO PARA BATE-PAPO (5 minutos)

                PRIMEIRA PARTE
1.CHOROU, CHOROU
2.TERREMOTO
3.AMAZONAS
- BATE-PAPO (2 MINUTOS)
4.FIM DE SONHO
5.A RÃ
6.AHIÊ – PIANO ACÚSTICO, SOLOS: PIANO, TROMPETE, SAX
                

             SEGUNDA PARTE
- BATE-PAPO (2 MINUTOS)
7.PALHAÇADA
8.NÃO TEM NADA NÃO
9.GOL DA CORÉIA

             TERCEIRA PARTE
- BATE-PAPO (2 MINUTOS)
10.CALA BOCA MENINO
11.NÃNA DAS ÁGUAS
12.ME DEIXA
- BATE-PAPO (2 MINUTOS)
13.ATÉ QUEM SABE
14.MENTIRAS – PIANO ACÚSTICO, SEM BATERIA (igual ao disco)

15.CADÊ JODEL

Wednesday, July 25, 2018

Wanda Sá today, July 25, @ MIS-RJ with Arnaldo DeSouteiro, Carlos Lyra, Gilson Peranzzetta, Joaquim F. dos Santos and Rosa Maria Araujo

Legendary bossa nova singer Wanda Sá (aka Wanda De Sah) was interviewed today, at Museu da Imagem e do Som, in Rio de Janeiro, by Arnaldo DeSouteiro, Carlos Lyra, Gilson Peranzzetta, Joaquim Ferreira dos Santos and Rosa Maria Araujo, the President of the museum.
 (Arnaldo DeSouteiro & Wanda Sá)
 (Arnaldo DeSouteiro & Wanda Sá)
 (Joaquim Ferreira dos Santos, Arnaldo DeSouteiro, Wanda Sá, Rosa Maria Araujo, Carlos Lyra & Gilson Peranzzetta; photos by Daniel Veiga)
(Arnaldo DeSouteiro & Wanda Sá)

Wednesday, July 18, 2018

João Donato's first "Quem É Quem" concert in Rio, August 4th! Directed by Arnaldo DeSouteiro.

News published today, on the "O Globo" daily newspaper, about the upcoming first release concert of "Quem É Quem" in Rio de Janeiro, scheduled for August 4, 2018 @ the Baden Powell Hall. Directed & Produced by Arnaldo DeSouteiro. 

Sunday, July 8, 2018

Tamba Trio's Bebeto Castilho interviewed @ MIS

 (Arnaldo DeSouteiro & Bebeto Castilho)
(Tárik de Souza, Arnaldo DeSouteiro, Bebeto Castilho, Pedro Só, Armando Pittigliani and Ruy Castro, photos by Daniel Veiga)
 (Arnaldo DeSouteiro, Bebeto Castilho, Pedro Só and Armando Pittigliani)

(Bebeto Castilho, seated, with Tárik de Souza, Arnaldo DeSouteiro, Ruy Castro, Armando Pittigliani and Pedro Só; photos by Daniel Veiga)