Thursday, September 3, 2020

Vocal Jazz CD of the Month - "Aubrey Johnson: Unraveled"

Vocal Jazz CD of the Month
Aubrey Johnson: Unraveled (Outside In Music, 2020) 
Rating: ****

There are many originals by Aubrey - the missing link between Joni Mitchell and Bjork -, but the highlights are her amazing renditions of Jimmy Rowles' haunting ballad "The Peacocks" (with lyrics by Norma Winstone) and Egberto Gismonti's wordless gem "Karate," featuring Vitor Gonçalves on accordion.

The devotion of Lyle Mays' niece to Brazilian sounds can be savoured also on Antonio Carlos Jobim/Aloysio de Oliveira's "Dindi," while the album opener, "The More 'I Love You's" (originally recorded by the duo The Lover Speaks" in 1986 and later covered by Annie Lennox in 1995) probably will get a lot of airplay.

The album is produced by bassist Steve Rodby, a former member of the Pat Metheny Group, and also features Chris Ziemba, Matt Aronoff, Jeremy Noller, Michael Sachs and Tomoko Omura.
Press release:
Unraveled marks this consummate jazz vocalist’s arrival as a composer, arranger, and bandleader with a captivating vision of her own. On this ten-track collection of original compositions along with newly arranged gems, Aubrey Johnson is joined by a group of stellar musicians who accompanied her recording journey:  pianist Chris Ziemba, drummer Jeremy Noller, and bassist Matt Aronoff. Adding striking orchestral textures are Tomoko Omura on violin and Michael Sachs on bass clarinet and alto sax. Brazilian jazz musician Vitor Gonçalves adds masterly accordion work on two tracks. Production credit goes to bassist Steve Rodby of the Pat Metheny Group. Although Johnson arranged every piece on the recording, she credits her bandmates — who first collaborated as a group in 2014 — with shaping the music over the course of dozens of gigs, particularly regular performances at NYC’s Cornelia Street Café. Unraveled tells the story of an artist and her band coming together and forging a fresh, distinctive sound unlike that of any other ensemble on the scene.

Over the past decade, Johnson has joined an exclusive coterie of brilliant singers and collaborated with a dazzling array of New York City’s most creative and adventurous artists. Equally adept at delivering wordless melodic lines like a virtuoso horn player and interpreting profound lyrics with emotional acuity, she often performs with intrepid vocalist peers including Portuguese-born Sara Serpa, Argentinian Sofia Rei, and LA native Michael Mayo, a rising star. She has also contributed to acclaimed recordings by the Andrew Rathbun Large Ensemble, Brian Carpenter’s Ghost Train Orchestra, Joe Phillips’ Numinous Ensemble, pianist Jason Yeager, and the inimitable Bobby McFerrin, on his 2010 Grammy-nominated VOCAbuLaries.

Unraveled opens with the Johnson-arranged jazz/pop excursion “No More ‘I Love You’s’,” a 1995 hit for Annie Lennox originally written and recorded by the 1980s English duo The Lover Speaks (aka David Freeman and Joseph Hughes). Johnson’s composition, the heartrending ballad “Love Again” revels in vulnerability, with a melody that rises as the emotional stakes peak. Set to a seductively slinky groove played with percussive precision by Noller, the title track, another of Aubrey’s own compositions, combines a spritely, eminently danceable melody with a poignant portrait of mounting inner angst. Jimmy Rowles’ “The Peacocks” — a tune also known as “A Timeless Place” after vocalist Norma Winstone added her own lyrics — is delivered with impressive poise, control and range, allowing Johnson to make the piece truly her own. Antonio Carlos Jobim’s bossa nova standard “Dindi” is performed here hauntingly in its original Portuguese. The languorous, Johnson-composed “Lie In Wait” captures the nagging inner monologue inspired by a prolonged separation in a romantic relationship.

Altogether,  the album serves as an ideal showcase for Johnson’s impressive songwriting talents, yet it also includes two songs by her esteemed album collaborators. Saxophonist Michael Sachs composed and arranged the sumptuously detailed and pop-influenced “Happy to Stay” — an exquisite melody buoyed by Tomoko Omura’s insistent pizzicato pulse. Omura, knowing Johnson’s affinity for Brazilian music, also composed and arranged the innovative samba “Voice Is Magic,” adding the additional challenge of including a lyric in Japanese. Then there is “These Days,” Johnson’s captivating art song setting for a verse written by her brother, Gentry Johnson.

Johnson’s abiding passion for the treasure-laden Brazilian songbook injects another jolt of creative energy into the album’s concluding tracks. She offers a bravura wordless romp through Egberto Gismonti’s “Karate,” playing tag with Vitor Gonçalves’ playful accordion and Chris Ziemba‘s piano “on the least ‘arranged’ track on the record,” says Johnson. “I’ve always had a penchant for singing wordless vocal melodies and a habit of trying to find melodies that seem impossible to sing.” 

As an undergrad at Western Michigan University, Johnson studied classical and jazz voice and joined Gold Company, the university’s world-renowned vocal jazz ensemble. A standout performer, she won two DownBeat Collegiate Student Music Awards for “Best Jazz Vocalist” and “Jazz Vocalist, Outstanding Performance.” She made her auspicious recording debut in 2007’s Essence of Green (Origin Records) by pianist Ron DiSalvio and legendary drummer Jimmy Cobb. Western is also where she first connected with piano master Fred Hersch, “a great influence and mentor and friend,” she says. On Hersch’s advice, the Green Bay, Wisconsin native began her NEC master’s degree in jazz performance in 2007, during which she studied with Danilo Perez, Jerry Bergonzi, Dominique Eade, Allan Chase, George Garzone, and Frank Carlberg. Graduating with honors, she was awarded the Gunther Schuller Medal for “making an extraordinary contribution to the life of the school,” and won her third DownBeat Magazine Collegiate Student Music Award, for outstanding performance in jazz voice.

It was during her college years that she also forged a deep musical connection with her uncle, Lyle Mays, the pianist and composer who gained fame with the Pat Metheny Group. In 2009 and 2010, she contributed wordless vocals and auxiliary keyboards for Mays, including concerts at the Zeltsman Marimba Festival and the Gilmore Keyboard Festival, where she performed several world premieres of pieces written with her unique voice in mind. By the time she made the move to New York City in 2011, Johnson had recorded with Bobby McFerrin on his Grammy-nominated album VOCAbuLaries (EmArcy). While commuting to Boston to teach at Berklee, where she remains a member of the faculty, she quickly became known as an essential new voice on the scene, performing with a daunting array of artists and ensembles, including Fred Hersch’s Pocket Orchestra, Sara Serpa’s City Fragments, John Zorn’s Mycale Vocal Quartet, Joe Phillips’ Numinous Ensemble, Andrew Rathbun’s Large Ensemble, Rose and the Nightingale, and Travis Sullivan’s Bjorkestra. A dedicated educator who has given master classes and workshops around the world, Johnson is also on the faculty at Queens College in New York.

The seeds for her band were sown in Boston, where she met violinist Tomoko Omura in the Guy Mendilow Ensemble, a world folk combo, and they bonded instantly over their commitment to jazz. Omura’s incomparable skills as an improviser continue to provide inspiration for Johnson’s writing and arranging. Reed expert Michael Sachs was part of her circle of friends at NEC, with whom she reconnected in New York City. She first encountered Ziemba, Noller, and Aronoff on a session to which she brought several original pieces, “and they sounded so great that I ended up using them on my first gig as a leader in New York,” Johnson says. The group gained so much attention through a series of performances at Cornelia Street Café, Shapeshifter Lab, the Kitano, Zinc Bar, and the Cell Theatre that she didn’t think twice about using the same cast on her debut album.

Arnaldo DeSouteiro - 2020 Bio

Arnaldo DeSouteiro – Biografia ultra-resumida 

Produtor de discos, com cerca de 530 álbuns em sua discografia (incluindo novos CDs, reedições, coletâneas, trilhas sonoras, projetos especiais), conforme consta no All Music Guide, principal e mais acessado website sobre música no mundo. Jornalista e publicitário (formado em Comunicação pela PUC-RJ), tendo escrito para os jornais Tribuna da Imprensa (de 1979 até sua extinção em 2009, com 3.200 artigos publicados), Última Hora, O Globo e O Estado do Paraná, revistas Billboard, Keyboard (USA), Cuadernos de Jazz (Espanha), Swing Journal (Japão), Revista do CD (Brasil) etc. 

Roteirista de shows (João Gilberto, João Donato, Ithamara Koorax, Renato Piau, Marcos Valle, Eumir Deodato, Bjork, Antonio Carlos & Jocafi, Pingarilho, João Donato, Rodrigo Lima, Doris Monteiro etc) e de especiais de TV para as emissoras Globo (Antonio Carlos Jobim & João Gilberto) e Manchete (Dizzy Gillespie, Tony Bennett, Chuck Mangione, Airto Moreira & Flora Purim etc) no Brasil, e também na Europa e Ásia (o especial "Bossa Nova Saúde, Saudade", Diana Krall, João Gilberto, CTI All Stars, Dave Brubeck etc). Dirigiu e roteirizou shows de Ithamara Koorax em mais de 20 países, incluindo Japão, Coréia, EUA, Inglaterra, França, Portugal, Alemanha, Sérvia, Bulgária, Finlândia etc.

Nascido no Rio de Janeiro (Brasil) em 1963, radicou-se em Los Angeles (EUA) em 1999. Estudou piano clássico e harmonia com sua mãe, a pianista e maestrina Delza Agricola. É membro da Associação Brasileira de Imprensa (ABI) e da Ordem dos Músicos do Brasil (OMB) desde 1979, membro catedrático titular efetivo da Academia Internacional de Música desde 1985, membro votante do Grammy-Naras (National Academy of Recording Arts & Sciences) desde 2006, membro votante da Los Angeles Jazz Society (único brasileiro) desde 2007, e também único brasileiro que é membro votante da Jazz Journalists Association (sediada em Nova Iorque) desde 2002. Atua como consultor e parecerista para diversas empresas, centros culturais e festivais de música no Brasil e no exterior.

Também foi membro honorário e primeiro membro brasileiro da Associação Internacional de Educadores de Jazz (IAJE – International Association of Jazz Educators) durante 12 anos, até sua extinção em 2008, tendo realizado palestras e "panel sessions" nas convenções anuais realizadas nos EUA. 

Fundador e Presidente da gravadora JSR (Jazz Station Records), sediada em Los Angeles – EUA desde 2001, uma divisão da Jazz Station Marketing & Consulting. Dirige também a JSR Casting e a LaCalifUSA Pictures, empresa de cinema que produz conteúdo e trilhas sonoras (composição, produção, seleção) para filmes e séries de TV. 

Produziu discos e sessões de gravação com artistas como Luiz Bonfá, João Gilberto, Dom Um Romão, João Donato, Palmyra & Levita, Mario Castro-Neves, Claudio Roditi, Gaudencio Thiago de Mello, Dexter Payne, Bjork, Rodrigo Lima, Don Sebesky, Hubert Laws, Fabio Fonseca, Marcos Ozzellin, Herbie Hancock, Jorge Pescara, Paula Faour, Anna Ly, Pascoal Meirelles, Yana Purim, Carlos Pingarilho, Nelson Angelo, Marcelo Salazar, Ithamara Koorax, Ron Carter, Antonio Carlos Jobim, Steve Swallow, Herbie Hancock, Hugo Fattoruso, Larry Coryell, Sadao Watanabe, Jurgen Friedrich, Claus Ogerman, Gazzara, Eumir Deodato, Azymuth, Marcio Montarroyos, Sivuca, Laudir de Oliveira, Marcos Valle, David Matthews, Gene Bertoncini, John McLaughlin, Raul de Souza, Hermeto Pascoal, Jadir de Castro, Lew Soloff, George Young, Gonzalo Rubalcaba, Alphonso Johnson e muitos outros. 

Como compositor e letrista, tem parcerias com Dave Brubeck (“Broadway Bossa Nova”), Francesco Gazzara (“O Passarinho”), Mamoru Morishita (“Hotaru”) e Fabio Fonseca (“Samba da Copa”, executado na cerimônia de abertura da Copa do Mundo de 2006). 

Produziu reedições de discos de Sergio Mendes, Flora Purim, Tamba Trio, Ivan Lins, Carlos Lyra, Miucha, Antonio Carlos Jobim, Ron Carter, Idris Muhammad, Hank Crawford, Lonnie Smith, Johnny Hammond, Luiz Bonfá, Phil Upchurch, Tennyson Stephens, Eumir Deodato, Grant Green, Mario Castro-Neves, João Donato, Claus Ogerman, David Matthews, Esther Phillips, Joe Beck, Eric Gale e muitos outros.

Produziu as séries “A Trip To Brazil” (cujo Volume 1 chegou ao primeiro-lugar na parada de world-music na Europa em 1998, superando “Buena Vista Social Club”), “Brazilian Horizons”, “CTI: Acid Jazz Grooves”, “Jazz Club”, e retrospectivas - lançadas mundialmente entre 2006 e 2010 pelo selo Verve – das carreiras de Quincy Jones (“Summer In The City: The Soul-Jazz Groves of Quincy Jones”), Eumir Deodato (“Do It Again: The Fantastic Jazz Funk of Eumir Deodato”) e Chick Corea (“Electric Chick”).

Desde 1981, tem realizado, como free lancer, produção musical para diversas gravadoras, como RCA/BMG, Sony, Verve/PolyGram/Universal, CTI, King, Paddle Wheel, Pausa, Milestone/Fantasy, Warner/WEA, Motor Music, JVC/Victor, Sanyo, Movieplay, Imagem, Eldorado, CID, Alfa, RGE, Mr. Bongo, Terra Música, Blue Moon, Bomba, Cedar Tree, Treasure Trove, Irma, Vivid Sound, Motéma, e Huks Music, no Brasil, Europa, Estados Unidos, Japão, China, Taiwan e Coréia. 

Entre 1982 e 1984, atuou como assessor cultural do Serviço de Comunicação Social da Petrobras. Em 1983, criou, produziu e apresentou o programa "Jazz espetacular", transmitido pela Rádio Tupi FM. Em 1984, assumiu a responsabilidade da programação de bordo (musical e audiovisual) transmitida nos vôos internacionais da Varig, função que exerceu durante 14 anos. Também nesse período (1985 a 1987), participou da comissão de seleção do Free Jazz Festival. 

Escreveu textos de contracapa para discos de diversos artistas, como Toots Thielemans, Ella Fitzgerald, Eliane Elias, Antonio Carlos Jobim, Jeff Kinsky, Paulo Bellinati e Carlos Barbosa Lima, entre outros. Assinou textos para divulgação ("press releases") de artistas como João Gilberto, Stan Getz, Oscar Peterson, Pat Metheny, Bill Evans, Jimmy Smith, Elvin Jones, Stanley Turrentine e Tony Bennett.

Atuou como entrevistador - entre 1979 e 2018 - em depoimentos prestados para o Museu da Imagem e do Som (Rio de Janeiro e São Paulo) por João Donato, Stellinha Egg, Maestro Gaya, Eumir Deodato, Airto Moreira, Flora Purim, Carlos Barbosa Lima, Wanda Sá, Bebeto Castilho e Chico Batera, entre outros. Em 2001, recebeu o prêmio de International Man of The Year, concedido pelo International Biographical Centre, de Londres. Foi o primeiro brasileiro a receber essa premiação, oferecida anteriormente a apenas quatro outros produtores: Arif Mardin, Tommy LiPuma, Quincy Jones e Phil Ramone. Ainda nesse ano, a JSR (Jazz Station Records), de sua propriedade, foi considerada uma das cinco melhores gravadoras de jazz do mundo, em relação publicada na edição de dezembro da revista especializada norte-americana "Down Beat", premiação que se repetiu por quatro anos (7º lugar em 2003, 9º lugar em 2004, 5º lugar em 2005 e 6º lugar em 2006).  

Foi entrevistado em vários programas de TV, seriados (incluindo os documentários "Laurindo Almeida, Muito Prazer" exibido pelo canal GNT no Brasil, e "Bossa Nova Saúde, Saudade!" para FUJI Television Network no Japão) e filmes como o premiado "Beyond Ipanema", no qual foi entrevistado ao lado de Creed Taylor, Lalo Schifrin, Wayne Shorter, Gene Lees e Norman Gimbel. Depois de apresentado em diversos festivais de cinema nos Estados Unidos e Europa, "Beyond Ipanema" foi transformado em série de televisão transmitida em território brasileiro pela emissora Canal Brasil em 2014. 

Trabalhou como roteirista, consultor e entrevistador para o documentário "LA + Rio", em 2017, entrevistando nomes como Arthur Verocai, João Donato, Alex Malheiros (Azymuth), Wanda Sá, Chico Batera, Ricardo Silveira, Dori Caymmi, Hermeto Pascoal, Laudir de Oliveira, Raul de Souza, Marcos Valle e Cesar Camargo Mariano. É especialista também em gestão de carreira e gerenciamento artístico, tendo trabalhado em 2017 e início de 2018 com a cantora Zanna.

Também em 2018 escreveu a letra da música "Until We Meet Again" para o álbum "Mamoru Morishita Songbok" lançado no Japão pela Universal Music; produziu novos discos para Daniel Migliavacca, Jorge Pescara e Ithamara Koorax; fez o roteiro para o show de lançamento da caixa "A Mad Donato" (de João Donato) no Blue Note-Rio, e para os shows de Ithamara Koorax na Sala Baden Powell e no Blue Note-Rio; e criou/dirigiu a série "Discos Históricos da MPB" que incluiu shows de João Donato ("Quem É Quem") e Wanda Sá ("Vagamente") realizados na Sala Baden Powell-Rio de Janeiro. Ainda em 2018, foi também um dos entrevistadores da série "Depoimentos Para A Posteridade", realizada no Museu da Imagem do Som-RJ e focalizando as carreiras de nomes como Wanda Sá, Bebeto Castilho (Tamba Trio) e Chico Batera.
Jazz Station Records (JSR), a division of Jazz Station Enterprises
CEO & Founder · Los Angeles/Rio de Janeiro

            (Arnaldo DeSouteiro during a recording session in 2014)


"People are going to talk about you, especially when they envy you and the life you live. Let them. You affected their lives, they didn't affect yours... you will eventually lose someone you love & love someone you never thought you'd find..."
Arnaldo DeSouteiro - Short Bio

Music Producer (with over 530 albums to his credit according to the All Music Guide), Voting Member of NARAS-GRAMMY and Jazz Journalists Association (NY), Member of LAJS (Los Angeles Jazz Society), Musical Philosopher, Journalist, Jazz & Brazilian Music Historian, Publicist, Public Relations, Composer (having written successful jazz & pop songs, some dance hits like "O Passarinho" for the Italian TV reality show "La Pupa e Il Secchione", and "Samba da Copa" for the "2006 World Cup" in Germany, plus many other soundtracks for movies, soap operas & TV series in the USA, Europe and Asia), Lyricist (he wrote lyrics to Dave Brubeck's "Broadway Bossa Nova" at the invitation of Brubeck himself, among other songs), Arranger, Percussionist, Keyboardist, Programmer, Educator (conducting clinics and panel sessions worldwide as the first Brazilian member of IAJE-International Association of Jazz Educators during its existence). He has also acted as consultant for several companies and jazz festivals all over the world.

Founder and CEO of JSR (Jazz Station Records), a Division of Jazz Station Marketing & Consulting - LA, Calif. Most recently, founded LaCalifUSA Pictures and JSR Casting in 2007 for movie & TV productions featuring music & fashion.

Produced the acclaimed CD compilation series "A Trip To Brazil," "CTI Acid Jazz Grooves," "Brazilian Horizons," "Focus on Bossa Nova," "Focus on Brazilian Music Grooves", "Bossa Nova Singers," "Bossa Nova Guitar","Jazz Rock" etc.

Produced special compilations for Quincy Jones ("Summer in the City - The Soul Jazz Grooves of Quincy Jones"), Chick Corea ("Electric Chick") and Deodato ("Do It Again - The Fantastic Jazz-Funk of Eumir Deodato"), all released by Verve/Universal. His latest CD for Verve is "Bossa Nova USA," featuring Dave Brubeck's title track performed by Quincy Jones.

Supervised and/or Directed TV specials featuring João Gilberto, Antonio Carlos Jobim, Dizzy Gillespie, Chuck Mangione, Flora Purim & Airto Moreira, Dom Um Romão, Eliane Elias, Diana Krall, Eumir Deodato, Bjork et al. Worked with producers Creed Taylor, Yoichi Nakao, Susumu Morikawa, Matthias Kunnecke, and photographers Pete Turner, Victor Skrebneski, Robert Mappelthorpe, Duane Michals.

Mr. DeSouteiro has also worked in his native Brazil for TUPI-FM radio station (as musical programmer-DJ as well as hosting his own radio show, "Jazz Espetacular"), Manchete TV network (anchoring & supervising the "Terça Especial" series for which he interviewed such jazz giants as Dizzy Gillespie, Tony Bennett, Chuck Mangione, Airto Moreira, Flora Purim etc), Globo TV network (screenplay, coordination and mix for the TV special "João Gilberto & Antonio Carlos Jobim - O Grande Encontro" in 1992, the last time these 2 geniuses performed together, plus the texts and screenplay for the "Minuto da Bossa" series), and as the jazz columnist for the "Tribuna da Imprensa" (Press Tribune) daily newspaper during 29 years (from 1979 to 2008). Before moving to the USA, he also worked as Brazilian correspondent of "Keyboard" magazine (from 1985 to 1994), as a free-lancer to Billboard, Cuadernos de Jazz, Swing Journal and International Music Magazine, and as entertainment-in-flight programmer for several airline companies like Varig Brazilian Airlines (from 1983 to 1998).

Produced over 530 albums and sessions featuring: Luiz Bonfa, João Gilberto, Dom Um Romão, Thiago de Mello, Dexter Payne, João Donato, Palmyra & Levita, Mario Castro-Neves, Jorge Pescara, Paula Faour, Fabio Fonseca, Claudio Roditi, Rodrigo Lima, Hermeto Pascoal, Ithamara Koorax, Don Sebesky, Sammy Figueroa, Bjork, Anna Ly, Carlos Barbosa-Lima, Pascoal Meirelles, Yana Purim, Pingarilho, Nelson Angelo, Marcelo Salazar, Ron Carter, Antonio Carlos Jobim, Steve Swallow, Herbie Hancock, Hugo Fattoruso, Larry Coryell, Sadao Watanabe, Jurgen Friedrich, Eloir de Moraes, Gazzara, Deodato, Jadir de Castro, Azymuth, Marcio Montarroyos, Sivuca, Laudir de Oliveira, Marcos Valle, Jay Berliner, George Young, David Matthews, Lew Soloff, Alphonso Johnson, Gene Bertoncini, John McLaughlin, Claus Ogerman, Raul de Souza, Gonzalo Rubalcaba and many others.

Produced and supervised CD reissues of albums by Ron Carter, Hank Crawford, Johnny Hammond, Sergio Mendes, Hubert Laws, Grant Green, Idris Muhammad, Joe Beck, Esther Phillips, Lonnie Smith, David Matthews & Whirlwind, Phil Upchurch, Tennyson Stephens, Miucha, Flora Purim, Carlos Lyra, Tamba Trio, Ivan Lins, Raul de Souza, Trio 3-D and many others. As annotator, he wrote liner notes and press releases for albums by Toots Thielemans, Hank Crawford, Stan Getz, Ella Fitzgerald, Pat Metheny, Eliane Elias, Carlos Barbosa-Lima, Jeff Linsky and dozens of others for labels like RCA, CTI, Kudu, Milestone, Fantasy, Verve, Columbia, Irma, Alfa, JVC, Caju, Sonet, Paddle Wheel, JHO, Mercury, Imagem etc.

Worked as musical director and/or screenplay writer for concerts by Joao Gilberto, João Donato, Ithamara Koorax, Marcos Valle, Renato Piau, Deodato,  Bjork, Pingarilho, Wanda Sá, Rodrigo Lima, Antonio Carlos & Jocafi etc.

Mr. DeSouteiro also had the honor to be associated with some of the world's greatest photographers like Pete Turner (who did the cover photos for Rodrigo Lima's "Saga" and Jorge Pescara's "Grooves in the Temple," released on his own JSR label and featured on Turner's new book "The Color of Jazz"), Victor Skrebneski (the CD reissue of "Upchurch/Tennyson"), Bruce Weber (Esther Phillips' "For All We Know"), Robert Mappelthorpe ("Brazilian Horizons"), Alen MacWeeney, William Cadge, and Duane Michals (many of the CTI CDs) and so on.

He has appeared in several movies and TV series such as the Award Winning documentary movie "Beyond Ipanema," for which he was interviewed alongside Creed Taylor, Lalo Schifrin, Wayne Shorter, Gene Lees and Norman Gimbel. In 2017, he contributed to the "LA + Rio" documentary as screenplay writer, interviewer and consultant, interviewing such artists as Arthur Verocai, Cesar Camargo Mariano, Dori Caymmi, Hermeto Pascoal, Wanda Sá, João Donato, Laudir de Oliveira, Raul de Souza, Ricardo Silveira, Chico Batera, Alex Malheiros (Azymuth) and Marcos Valle. In 2018, worked with singer Zanna, wrote songs for Mamoru Morishita, directed concerts by João Donato, Wanda Sá and Ithamara Koorax, and produced new albums for Daniel Migliavacca, Ithamara Koorax and Jorge Pescara.
Jazz Station Marketing & Consulting, JSR Casting, LaCalifUSA Pictures
CEO & Founder: Arnaldo DeSouteiro
Jazz Station Records (JSR), a division of Jazz Station Enterprises
CEO & Founder · Los Angeles/Rio de Janeiro

(PLEASE, DO NOT SEND UNSOLICITED MATERIAL; any unsolicited CD or promo packets will be returned. If you wish to submit material, please contact us through comments on this post or through Facebook. Thx!)

People are going to talk about you, especially when they envy you and the life you live. Let them. You affected their lives, they didn't affect yours... you will eventually lose someone you love & love someone you never thought you'd find... 

Saturday, August 29, 2020

DC Jazz Festival Announces Full Lineup For 16th Annual DC JazzFest

Danilo Perez, Marc Cary, Matthew Whitaker, Allyn Johnson and The String Queens are just a few of the first-class artists set to stream live from our Nation's Capital
Thursday, September 24 - Monday, September 28 
The DC Jazz Festival® (DCJF) announced the full roster of performers for The 16th Annual DC JazzFest. This year's festival will be streamed live from our Nation's Capital from September 24th through 28th as we take our world-class jazz programming to the global stage for the very first time. The lineup features some of the biggest names in jazz, showcasing international superstars alongside some exciting, homegrown talent. Audience members can watch any of the 2020 #DCJazzFest performances for free on Gather by EventsDC or at Fans.com.

This year's full 2020 DC JazzFest lineup includes:
Danilo Perez (pictured above) • Marc Cary • Matthew Whitaker • Allyn Johnson and Sonic Sanctuary • Frédéric Yonnet • The String Queens • Ben Williams  • Christie Dashiell • Nasar Abadey Trio • Jack Kilby & The Front Line • Baby Rose • Cecily • The Chuck Brown Band • Blacks' Myths Giveton Gelin • Allison Au • Heidi Martin • Herb Scott

“DC JazzFest is proud to bring world-class jazz performances to the global stage in our 16th edition,” said DC Jazz Festival Executive Director Sunny Sumter. “Celebrating the real DC, performances will stream from neighborhoods across the city.”

As part of the festival, the organizers will also be presenting the DCJazzPrix Finals, an annual competition that recognizes and supports jazz bands from around the world - happening Sunday, September 27th.

The five finalists for 2020 are:
Camilla George • DreamRoot • EJB Quartet • Reis-Demuth-Wiltgen • Mike Casey

Each band will compete at the DCJazzPrix Finals at the 16th Annual DC JazzFest at Union Stage at The Wharf. The response from DCJazzPrix's "virtual" audience will be a vital factor in the determination of the winner, and audience members will be vote on their favorite finalists to help crown a champion. Aside from gaining significant exposure, the winner will be awarded a $15,000 cash prize and benefit from a yearlong association with DCJF to assist in their professional development. The winner will also have a future main stage performance at DC JazzFest as well as a NYC showcase opportunity at Tribeca Performing Arts Center.

The DCJazzPrix prize is made possible by the generous support of Conrad Kenley and the Galena-Yorktown Foundation. Read more about the five finalists in advance of the competition.

For more information about the 2020 DC Jazz Fest, including schedule updates, please stay connected to the DC Jazz Festival at dcjazzfest.org.

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The DC Jazz Festival presents world-renowned and emerging artists in celebration of jazz; unifies diverse communities; advances jazz and music education with exciting and adventurous musical experiences for backgrounds; shines the spotlight on DC-based musicians; and highlights DC as a premier cultural destination. The signature programs are the annual DC JazzFest, now in its 16th year with 150 performances in 40 venues including tribute concerts in partnership with The Kennedy Center; Jazz in the 'Hoods with citywide partnerships in 20+ neighborhoods; DC JazzFest at The Wharf, a weekend with free outdoor stages and The Anthem; the year-round DCJF Education in partnership with DC public and charter schools, and arts centers; the Charles Fishman Artist Embassy Series honoring our founder; and DCJazzPrix, an international band competition. The DC Jazz Festival won the DC Mayor's Arts Award for Excellence on Creative Industries. The New York Times named DC JazzFest one of "50 Essential Summer Festivals." For more information, visit: dcjazzfest.org.

Keep up with the DCJF:
Twitter: @dcjazzfest
Facebook: facebook.com/dcjazzfest
Instagram: @dcjazzfest
Everything Else: linktr.ee/dcjazzfest

The DC Jazz Festival®, a 501(c)(3) non-profit service organization, and its 2020 programs are made possible, in part, with major grants the Government of the District of Columbia, Muriel Bowser, Mayor; the National Capital Arts and Cultural Affairs program and the U.S. Commission of Fine Arts; and with awards from the National Endowment for the Arts; the DC Commission on the Arts and Humanities; and, in part, by major grants from the Doris Duke Charitable Foundation, the Galena-Yorktown Foundation, the Morris and Gwendolyn Cafritz Foundation, Wells Fargo Foundation, Gillon Family Charitable Fund, Venable Foundation, The Dallas Morse Coors Foundation for the Performing Arts, The Max and Victoria Dreyfus Foundation, the Kaiser Family Foundation, the John Edward Fowler Memorial Foundation, and The Leonard and Elaine Silverstein Family Foundation. ©2020 DC Jazz Festival. 

Friday, August 28, 2020

"Rollins In Holland," a previously unreleased 3-LP and 2-CD set, comes out soon on Resonance

On Nov. 27, “Black Friday,” independent jazz label Resonance Records will continue its ongoing tradition of releasing previously unissued archival recordings as limited-edition Record Store Day exclusives with a stellar new three-LP collection of historic Sonny Rollins performances, titled "Rollins in Holland: The 1967 Studio & Live Recordings."

Featuring more than two hours of music, this stunning collection, drawn from tenor saxophone master Rollins’s Netherlands tour of May 1967, will also be presented as a two-CD set, due Dec. 4. The Rollins set succeeds Resonance’s critically acclaimed RSD archival finds from such jazz giants as Bill Evans, Eric Dolphy, and Wes Montgomery. Last November saw the release of the label’s poll-topping 10-LP/seven-CD Nat King Cole box Hittin’ the Ramp: The Early Years (1936-1943).

Resonance co-president Zev Feldman, known within the industry as “the Jazz Detective,” says of the forthcoming release, “The music on Rollins in Holland is extraordinary. Rollins fans will rejoice when they hear the news of this discovery. These performances follow an important time in his life, and he brought those experiences along with him to make this incredible music.”

In a new interview with Feldman included in the set, the 89-year-old Rollins says, “I’m so happy that Resonance is putting it out because it really represents a take-no-prisoners type of music. That’s sort of what I was doing around that period of time; that was sort of Sonny Rollins then—a wham-bam-thank-you-ma’am approach. It was very much me. And I loved it and I loved playing with those guys.”

The music heard on the Resonance album is drawn from a little-documented period in Rollins’s career. The musician’s 1966 Impulse! album East Broadway Run Down was his final record date before a studio hiatus that lasted until 1972. In 1969, mirroring a celebrated public exit of a decade earlier, he began a two-year sabbatical from live performing.
Rollins in Holland captures the then 36-year-old jazz titan in full flight, in total command of his horn at the height of his great improvisational powers. He is heard fronting a trio, the same demanding instrumental format that produced some of the early triumphs of his long career: the live A Night at the Village Vanguard (Blue Note, 1957) and the studio dates Way Out West (Contemporary, 1957) and Freedom Suite (Riverside, 1958).

During his brief but busy 1967 stay in the Netherlands, the saxophonist was supported by two of the nation’s top young players, bassist Ruud Jacobs and drummer Han Bennink. The pair had together supported such visiting American jazzmen as Johnny Griffin, Ben Webster, Wes Montgomery, and Clark Terry, among others. Jacobs was a celebrated straight-ahead accompanist, while Bennink had developed a reputation as an avant-garde lion, having backed Eric Dolphy on 1964’s Last Date. The pair jelled magnificently behind their celebrated leader.

Rollins in Holland brings together material drawn from three separate appearances by the trio: a freewheeling May 3 concert at the Arnhem Academy of Visual Arts, at which Rollins stretched out in expansive performances that sometimes topped the 20-minute mark; a four-song May 5 morning studio session at the VARA Studio in Hilversum, where Dolphy and Albert Ayler had also cut unforgettable dates; and two live shots captured during the band’s stand that evening on “Jazz met Jacobs,” a half-hour national NCRV TV show presented from the Go-Go Club in Loosdrecht and hosted by bassist Jacobs’s pianist brother Pim and his wife, singer Rita Reys.

In his essay for the collection, Dutch jazz journalist, producer, and researcher Frank Jochemsen notes that while recordings of the Arnhem show (presented here with carefully restored sound) had been passed hand-to-hand by Dutch jazz buffs over the years, the rest of the music was only recently unearthed.

In 2017, the four stereo tracks from VARA Studio were discovered by Jochemsen, and they were authenticated by Ruud Jacobs and Han Bennink as they were being digitized for the Dutch Jazz Archive (NJA). In 2019, Jochemsen also discovered the audio from the “Jazz met Jacobs” appearance in the Dutch Jazz Archive, along with a unique set of photos shot at the sound check and live broadcast of this lost TV show.
Jochemsen says, “I find it an exciting idea that so much has been recovered and documented from this modest tour and that the music is indeed of such high quality. Even more sensational is the fact that the whole world can listen to it now. The great Sonny Rollins at his best, accompanied by a great rhythm tandem, which makes me, as a Dutchman, extra proud.”

An extensive overview of Rollins’s Holland trek is supplied by jazz journalist Aidan Levy, whose biography of the saxophonist will be published by Da Capo Books. Levy says, “Rollins in Holland is a resounding, still-urgent argument for jazz as a universal art form, transcending time, place and race. This is jazz at its most international and interdependent, with no boundaries or borders.”

Rollins in Holland also includes an in-depth interview by Levy with Han Bennink and Ruud Jacobs, conducted a year before Jacobs’s death from cancer in July 2019. In it, the late bass virtuoso recalled the experience of playing with the American legend as “something spiritual. [There was] a very special atmosphere on the stage where I felt I could do anything.”

The opportunity to bring Rollins’s exceptional Netherlands performances to the public for the first time has proven a special moment for Resonance, Feldman says: “Working with Mr. Rollins has been the experience of a lifetime, and I’m so grateful that he has put his trust in Resonance and our team to bring forth this newly unearthed, previously undocumented chapter in his career.”

Photography: Toon Fey (at Academie voor Beeldende Kunst, Arnhem, Netherlands; May 3, 1967)

Champian Fulton celebrates Charlie Parker’s Centennial with "Birdsong"

New York-based pianist and vocalist Champian Fulton is thrilled to announce the release of her highly-anticipated new album Birdsong. A celebration of Charlie Parker’s centennial, Birdsong features saxophone luminary Scott Hamilton along with Fulton’s long-standing quartet made up of bassist Hide Tanaka, drummer Fukushi Tainaka and her father, Stephen Fulton on flugelhorn. Birdsong will be available today, celebrating Charlie Parker’s 100th birthday.

The music of Charlie Parker has played an integral part in Champian’s life since the very beginning. Before she was born, her father Stephen wanted to ensure she came into the world accompanied by “the most beautiful music there ever was.” For him, that was Charlie Parker with Strings, the sessions on which producer Norman Granz granted Bird’s longtime wish to record with an orchestra. Stephen made a cassette tape of the recording and played it consistently throughout his wife Susan’s pregnancy. That tape played when Champian was first brought into the world, and it was the first sound the future musician heard when she was placed into her mother’s arms.

As Champian grew as a musician and performer, so did her affinity for Bird and his music. She particularly felt a kinship with Parker due to their shared regional backgrounds (Champian hails from the southwest region of the United States: Norman, Oklahoma). “Jazz was once a regional music,” she says, “and I feel very connected to that southwest jazz tradition. That intangible something that has to do with a commitment to swing and an approach to the music that’s joyful, instinctual and at the same time intellectual.” This bright spirit shines through on Birdsong, which is arguably her most playful album yet.

Birdsong is Champian’s second collaboration with Scott Hamilton, and their first studio recording together. The duo first connected in 2017 for a live concert in Spain, which was recorded and released as The Things We Did Last Summer by Blau Records. The two hit it off, and continued to stay in touch. During the summer of 2019, Champian worked with Scott in the medieval Tuscan village of Certaldo, where the saxophonist has lived for over a decade, and made concrete plans to get Birdsong off the ground. The rest, as they say, is history.

Champian and Scott delved into the Bird songbook and eventually settled on eleven carefully chosen compositions written by and/or made famous by Charlie Parker. “I wanted to focus not only on his originals, but on his recordings that I consider to be some of the most beautiful songs ever recorded in the world,” said Champian, adding, “...these songs are classic Bird, with rangy and dramatic melodies, romantic lyrics and adventurous chord changes.” Album opener “Just Friends” serves as a brilliant introduction to Scott and the steadfast rhythm section, and is, according to Champian, one of their favorite songs to play. His best selling single, Bird often said that his recording of “Just Friends” was among his personal favorites. Other highlights include the melodic favorite “Yardbird Suite”, the trio treatment of “Quasimodo” (a contrafact of “Embraceable You” and Champian’s favorite Bird head), and a beautiful rendition of “This Is Always”.

Birdsong is a career milestone for Champian Fulton, who is deemed one of the brightest rising stars on the contemporary jazz scene. This is her 12th release, and comes on the heels of last years’ critically acclaimed duo album with Cory Weeds, Dream A Little (Cellar Live). She was recognized as a Rising Jazz Star Vocalist in the 67th Downbeat Magazine Critics Poll, and was awarded the 2019 Hot House Magazine & Jazzmobile NYC Readers Jazz Award for Vocalist and Pianist of the year. Her “galvanizing presence” (the New Yorker) and her alluring musical presentation has made her “a charming young steward of the mainstream Jazz tradition.” (The New York Times).

With Birdsong, Champian Fulton pays tribute to the mammoth musician who has played such an integral role in her life as an artist. In addition to that, she hopes to expose the music of Charlie Parker to new audiences and prove that even on the eve of his centennial, Bird truly is timeless.

Jacam Manricks Reveals New Musical Dimensions On "Samadhi"

Saxophonist/composer Jacám Manricks marks his arrival as a full-fledged auteur on the splendid Samadhi, set for a September 4 release on his own Manricks Music Records. Already an accomplished composer, arranger, multi-instrumentalist, and improviser, Manricks’s sixth album adds recording, engineering, producing, and mixing to his overflowing skill set. Thus it stands as a vision entirely of the leader’s own making—albeit with input from his high-caliber colleagues, pianist Joe Gilman, bassist Matt Penman, and drummer Clarence Penn.

Samadhi is a Sanskrit term that refers to a state of heightened, holistic focus that allows for communion with the divine. Manricks uses that title not to announce his achieving it, but his goal of reaching it: “Getting to that state of intense concentration where everything else disappears around you and only the music exists,” as he explains in the liner notes. The wide spectrum of creative mastery he deploys on the album reflects that goal.

So does the music on display. Samadhi’s eight tracks (seven Manricks originals, with one improvised collaboration between the saxophonist and Gilman) feature a remarkable range of ideas and emotions, from the paradoxically bright yet tense opener “Formula One,” to the ruminative title track, to the playful “Common Tone” and the mysterious “Ethereal.” The range of textures and timbres is also formidable; Manricks plays alto, tenor, and soprano saxophones as well as clarinet and bass clarinet, flute and alto flute, and MIDI strings (for which he wrote the orchestrations).

Of course, part of Samadhi’s purpose, Manricks says, is to allow him to flex these polymathic muscles. “It’s not just the horn anymore. It’s about me as a composer and orchestrator. It’s about what sort of environments I’m putting myself in and how I’m orchestrating colors within that. … ultimately trying to make something beautiful with rhythms and pitches”.

“I’m wearing so many hats,” he adds. “This is the culmination of a lot of things for me, and I’m extremely proud of Samadhi.”
Jacám Manricks was born in 1976 in Brisbane, Australia, the child of two classical musicians in the Queensland Symphony Orchestra—and the grandson of a celebrated Portuguese jazz saxophonist and clarinetist, and a Sri Lankan concert pianist. As a boy, Jacám quickly began finding a niche in this musical family, immersing himself in his father’s jazz records and in his parents’ concert performances. He began learning to play the piano at age five and the saxophone at age nine.

After receiving a degree in music performance (classical and jazz saxophone) from the Queensland Conservatorium, Manricks began making his way in the Sydney music scene before moving to New York in 2001 to study at William Paterson University. He earned a master’s degree in composition there, then a Doctorate of Musical Arts from the Manhattan School of Music in 2007.

While at the Manhattan School, he composed and premiered a large-scale work, “Chromatic Suite for Jazz Philharmonic Orchestra,” for the school’s 90th birthday celebration. Its combination of classical and jazz traditions presaged Manricks’s 2009 debut album, Labyrinth, which blended a chamber orchestra with a venturesome jazz quintet. Trigonometry followed in 2010, then Cloud Nine in 2012, Chamber Jazz in 2016, and GilManricks in 2017. Each received international acclaim.

One could say that Manricks, with 16 international tours as a leader and countless credits as a sideman, has also graduated from the “real school,” particularly during his 13 years in New York working for luminaries such as Jeff “Tain” Watts, Tyshawn Sorey, and Elio Villafranca, to name a few.

Relocating to Sacramento, California, in 2014, Manricks spent five years teaching at the nearby University of California, Davis, working as a member of Sacramento’s Capital Jazz Project, running his own super sax style ensemble (Super Saxto) and leading his own 19-piece big band (Jacám Manricks Orchestra). Meanwhile, Manricks also learned the ins and outs of sound engineering, using that knowledge to build his own home studio where Samadhi was recorded and mixed.
“2020 has been rough,” says Manricks. “The pandemic is hitting the performing arts hard with prospects for safe public gatherings more than ever remote. The loss of artistically enriching events, which typically uplift and create our communities, imposes a cultural deficiency impacting the quality of life for all, including those working outside the arts industry. Therefore, it has never before been more important that artists create and where necessary find new ways to share our work. For me, this means producing new music and providing access to it through any means I can.

“In late June,” he adds, “I was bedridden for two weeks with COVID, quarantined in my son’s bedroom while my family remained safely at bay. During the entire shutdown and especially while quarantined, I’ve had more time to reflect on life, my personal goals, music and how it enriches our lives. One thing that became abundantly clear was that focused listening to music—the kind you do with your eyes shut—is an incredibly healing experience. Using your ears and mind to escape, meditating to music in search of beauty, we can find solace, inspiration, and a refreshed state of mind. Samadhi is being released during the shutdown for this purpose primarily. Go forth and find solace in this music.”

Manricks and his Quartet (with Joe Gilman, p; Michael Gilbert, b; Tim Metz, d) will be performing a CD release concert to be live-streamed on Saturday 10/10 at 5:30 pm Pacific time (see poster above right).
Photography: Lauren Jenkins

Thursday, August 27, 2020

Carmen McRae interviewed by Arnaldo DeSouteiro

Interview with Carmen McRae for the "Ultima Hora" daily newspaper on November 30, 1984. At that time, due to contractual reasons (I was under contract with another newspaper), I had to write using the nickname Ernani Guimarães. / Entrevista com Carmen McRae para o jornal Última Hora em 30 de Novembro de 1984; numa época em que, por questões de contrato e logística (a demanda era maior do que a minha possibilidade de oferta), precisei escrever usando o pseudônimo Ernani Guimarães para outros jornais, inclusive O Globo.

Monday, August 24, 2020

Jair Rodrigues, Elis Regina, Jongo Trio & Walter Silva

Jair Rodrigues, Elis Regina, Jongo Trio (Cido Bianchi, Sabá, Toninho Pinheiro) and Walter Silva

Ernani Agricola (1887-1978)

Dr. Ernani Agricola, my grandfather
born on August 9, 1887 in Palma, Minas Gerais
died on July 14, 1978 in Rio de Janeiro, RJ
Dr. Ernani Agricola, Arnaldo DeSouteiro & Walter Souteiro, 1966
Dr. Ernani Agricola & Arnaldo DeSouteiro, 1973
Irmãos de Ernani:
Hilda Agricola, Zanyra Agricola, Derthys Agricola, Atalá Agricola, Maria Agricola, Ondina Agricola, Naíla Agricola, Jonas Agricola, Ulisses Agricola, Jarbas Agricola e Gildo Agricola.


Ernani Agricola: Formou-se em Odontologia em 1912 e médico em 1919 pela Faculdade de Medicina de Belo Horizonte. É pioneiro no país na luta contra a hanseníase e participou da elaboração do Plano Nacional de Combate à Lepra em 1935. É considerado um dos maiores leprologistas do continente.
Recebeu a Medalha da Inconfidência, concedida pelo Governo do Estado de Minas Gerais, em 21 de Abril de 1978, cuja entrega foi adiada para o dia 29, por motivo de mau tempo em Ouro Preto. Não pôde comparecer à cerimônia na nova data por motivo de saúde.
Em 04 de Maio de 1978 sofreu um AVC (trombose) e veio a falecer em 14 de Julho de 1978.
Foi homenageado com o nome do Centro Municipal de Saúde do bairro de Santa Tereza, no Rio de Janeiro. Existe ainda uma Rua Ernani Agricola no bairro Buritis, na cidade de Belo Horizonte. 
Dr. Ernani Agricola & Arnaldo DeSouteiro, 1964
(Rua Alexandre Ferreira 220 - Lagoa, RJ)
Walter DeSouteiro, Delza Agricola & Ernani Agricola, 1962
Dr. Ernani Agricola, Dra. Aurea Agricola, Delza Agricola, Walter Souteiro & Aurette Palermo
Dr. Ernani Agricola & Dra. Aurea Agricola
Academia Mineira de Medicina
Sessão Solene em memória do Acadêmico-Honorário Dr. Ernani Agricola
Apresentação de Ligia Agricola Nogueira (aka Ligia Lira)
Centro Municipal de Saúde Dr. Ernani Agricola
Santa Teresa - Rio de Janeiro, RJ
Rua Ernani Agricola no bairro Buritis em Belo Horizonte-MG
Há ruas com o nome Dr. Ernani Agricola também em Jacarepaguá e no Itanhangá - Rio de Janeiro, RJ.
Dr. Ernani Agricola, Walter Souteiro and Arnaldo DeSouteiro
Dr. Ernani Agricola & Arnaldo DeSouteiro, 1964

Sunday, August 23, 2020

Centro Municipal de Saude Ernani Agricola

Centro Municipal de Saúde Ernani Agricola - Santa Teresa, Rio de Janeiro.
Homenagem a meu avô Dr. Ernani Agricola.
Dr. Ernani Agricola
born on August 9, 1887 in Palma, Minas Gerais
died on July 14, 1978 in Rio de Janeiro, RJ

Aurora Palermo (1892-1955)

Aurora Palermo, one of my great-aunts.
Born in 1892.
Died on March 23, 1955

Aurea Agricola (1894-1990)

Aurea Agricola
Born on December 07, 1894
Died on March 24, 1990
Dr. Ernani Agricola & Dra. Aurea Agricola
Aurea Agricola
João Batista Palermo with Aurea, Aurora and Aurette Palermo Agricola
Aurea Agricola, Arnaldo DeSouteiro and Delza Agricola (with Elge Agricola painting in the back)
Walter DeSouteiro, Delza Agricola DeSouteiro, Aurea Agricola, Arnaldo DeSouteiro and Elge Agricola, 1985