Tuesday, April 11, 2017

KUTX presents Jeff Lofton's 1950s Miles Davis Tribute, in Austin, April 29

KUTX's Jazz with Jay Trachtenberg presents 
Jeff Lofton's 1950s Miles Davis Tribute

From the historic Victory Grill in Austin to the New Faces Series at the Iridium in New York, Jeff Lofton's 1950s Miles Davis Tribute has thrilled jazz fans for ten years!
The show features Davis' compositions and interpretations made famous by the first great Miles Davis Quintet during 1950 - 1959, and includes excerpts from "Kind of Blue."

Saturday, April 29- 8:00 p.m.

Tickets on sale now! Click here: https://tickets.austintheatre.org/single/SYOS.aspx?p=2224

Stateside at the Paramount
719 Congress Avenue 
Austin, TX
Jazz trumpeter, composer and bandleader Jeff Lofton studied composition at the University of South Carolina and moved to Austin in 2007 at the age of 40. Since then his career has grown from being mostly unknown, to a local favorite and to national and international recognition. 

"Listen up Miles Davis fans..." from the Austin American-Statesman and "... channels Miles Davis..." from the Daily Texan were some of the early reviews when Lofton arrived in Austin, and debuted the tribute show at the historic Victory Grill. Mostly unknown to the local jazz scene, word-of-mouth drew people to hear his unique sound at small bars in East Austin. Soon his shows were being described as "...crazy good and crazy crowded." (Joe Gross, Austin American-Statesman).
  
In March of 2010 "Jeff Lofton's 1950s Miles Davis Tribute" drew a large crowd at One World Theatre with the help of media sponsor NPR affiliate KUT/KUTX, though competing with opening night of SXSW in nearby downtown Austin.  The show has been also been featured in the New Faces Series at the Iridium Jazz Club in New York, and at the Blanton Museum of Art at the University of Texas along with the "Birth of the Cool" exhibit. As part of the 2011-12 season at The Carver Cultural Community Center in San Antonio, the show was recorded and broadcast for KRTU Jazz 91.7 FM's ten-year anniversary Year of Jazz series. The show has also been presented at the Scottish Rite Theater in Austin; Scat Jazz Lounge in Ft. Worth, The Cultural Activities Center in Temple and the One World Theater in Austin. 

Lofton was recently featured in Japanese Airlines magazine, and as an American Icon in a national ad campaign for Macy's. Lofton opened TEDxAustin in 2012 accompanied by pianist and composer Graham Reynolds, he was voted Best Horn Player '13-'14 and Best Jazz Band '10-'11 at the Austin Music Awards during SXSW; January 15, 2009 was named "Jeff Lofton Day" by the City of Austin; and he was inducted into the Texas Music Museum. Lofton's debut at Snug Harbor in New Orleans included renowned drummer Jason Marsalis.

For more information visit JeffLofton.com.

Russell Malone live in California, April 15

   (Russell Malone with Mark Egan during a CTI All Stars concert)

Saturday, April 15, 2017 - 8:00 pm
$35 students $25

RUSSELL MALONE QUARTET
RICK GERMANSON -PIANO
LUKE SELLICK -BASS
WILLIE JONES III -DRUMS

VENUE: Moss Theater (New Roads School at The Herb Alpert Educational Village)
3131 Olympic Blvd. Santa Monica, CA 90404

The Moss Theater is a beautiful performance space. Acoustic design by Yasuhisa Toyota (Disney Concert Hall). KJAZZ 88.1 - official media sponsor.

Jazz/Pop Songs Needed

ORIGINAL, VINTAGE JAZZ/POP SONGS Recorded in the 1960’s or before are needed by the CEO of a Music Licensing Company that’s building a new catalog for Film, TV, Video Game, and TV Commercial placements. This active and fast-growing Music Library is looking for authentic sounding, Mid-to-Up Tempo Jazz/POP Songs in the stylistic range of the following references:

“Fly Me To The Moon” by Doris Day
“L-O-V-E” by Nat King Cole
“I put a spell on you” by Nina Simone

NOTE: There’s some debate as to whether some of the references are truly Jazz. Wikipedia says 2 out of 3 are, but we think you would have found these songs on Pop charts back in that era. In any case, this company isn’t looking for music that’s exactly like the references, so much as music that could have been heard at a party back in that era. If you’ve got anything that dates back to that era, and conjures up images of skinny black ties and martinis, you might have just what they need!

Please submit original, well-crafted Jazz/Pop songs with solid musicianship and awesome vocals. You can submit old masters or demos for this pitch. The recording quality is not expected to be on par with today’s broadcast quality! They’re much more interested finding music that sounds authentic to the time period!

Do NOT copy or rip off the referenced artists or songs in any way, shape, or form. Use them as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed (great sounding home recordings are fine).

This company offers an EXCLUSIVE deal. You’ll split all upfront sync fees 50/50. They’ll get 100% of the Publisher’s share, and you’ll get 100% of the Writer’s share. You must own or control your Master and Copyright. Since this is an EXCLUSIVE deal, please be sure the material you submit for this pitch is NOT already signed with any other Libraries or Catalogs. Please submit one to three Songs online or per CD. All submissions will be screened on a Yes/No basis - No full critiques. Submissions must be received no later than 11:59PM (PDT), on Monday, May 1st, 2017. TAXI #Y170501VJ

Danielle Wertz & Tal Cohen: "Intertwined"

Danielle Wertz was named one of eleven semi-finalists in the 2015 Thelonious Monk International Jazz Vocals Competition, and placed third in the 2017 Mid-Atlantic Jazz Vocal Competition. She is a 2015 DownBeat Student Music Award recipient and was named the inaugural winner of the Washington Women in Jazz Festival (WWJF) Young Artist Contest in 2012.

Tal Cohen was named the winner of the Barry Harris National Jazz Competition in Detroit, Michigan, and in 2015 he was named the 2015 winner of the coveted Freedman Jazz Fellowship in Sydney, Australia. Available April 21, 2017
Featuring: Danielle Wertz: vocals, Tal Cohen: piano, Jaime Oehlers: tenor sax

CD Release Event: The Arts Barn in Gaithersburg, MD
Address: 311 Kent Square Road, Gaithersburg, Maryland 20878-5727

Danielle Wertz is a jazz vocalist from Falls Church, Virginia. She holds a Bachelor's Degree in Jazz Vocal Performance from the University of Miami's Frost School of Music, and studied under the direction of Dr. Kate Reid. Danielle was named one of eleven semi-finalists in the 2015 Thelonious Monk International Jazz Vocals Competition, and placed third in the 2017 Mid-Atlantic Jazz Vocal Competition. She is a 2015 DownBeat Student Music Award recipient and was named the inaugural winner of the Washington Women in Jazz Festival (WWJF) Young Artist Contest in 2012.

Danielle has performed in many established venues including The John F. Kennedy Center for the Performing Arts, Blues Alley, The Mansion at Strathmore, Bethesda Blues and Jazz, Twins Jazz, Nocturne Jazz and Supper Club, and the St. Petersburg Jazz Philharmonic Hall. She has also had the privilege of working and performing with many renowned musicians including Cyrille Aimée, Gretchen Parlato, Chris Botti, Bruce Hornsby, Michael Bowie, Martin Bejerano, Lena Seikaly, Mark Meadows, and Chris Grasso.

Tal Cohen's unique piano style owes its roots to the Jewish folk songs and classical music he played in his formative years growing up in Israel. After moving to Perth at the age of 16, Tal continued his music studies at the prestigious Western Australian Academy of Performing Arts where he completed a bachelor degree, honours and masters in jazz performance. Yellow Sticker, Tal's first album as a leader, was released in December 2011.

Consisting largely of original tunes, it showcases some of Perth's finest musicians with Jamie Oehlers on saxophone, Chris Tarr on drums and Pete Jeavons on bass. In May 2013 Tal performed a number of shows with world-renowned saxophonist Joe Lovano at the inaugural Perth International Jazz Festival, including a sold-out performance at the Perth Concert Hall. In 2014, Tal Cohen was named the winner of the Barry Harris National Jazz Competition in Detroit, Michigan, and in 2015 he was named the 2015 winner of the coveted Freedman Jazz Fellowship in Sydney, Australia.

Unexpected interpretations of standard jazz repertoire captured in an intimate duo setting. On original compositions, the voice is used as a collaborative instrumental texture rather than as a featured soloist.

Most of the tracks on this album are products of live experimentation ideas that gradually developed into compositions and arrangements. We arrived in the studio without an agenda and played exactly what felt natural and organic in the moment. All laughs and "mistakes" have been left untouched, and what you will hear is an honest representation of what happens when we get together and make music we feel deeply connected to. We feel that the imperfections are what make this album unique.

Tuesday, April 4, 2017

Today, Matt Holman celebrates the release of "The Tenth Muse"

Matt Holman's new recording "The Tenth Muse" will be officially released on New Focus Recordings on April 7th.

"The Tenth Muse" is made up of 16 compositions inspired by Sappho's writings (as translated by Anne Carson) and features Sam Sadigursky, Chris Dingman and Bobby Avey. Holman's pieces take the fragmentary nature of Sappho's poetry as it has come down to us as a guide for balancing structure and improvisation, clarity and mystery.

"The Tenth Muse" will be presented today, May 4th at the Lily Pad. Cambridge, MA at 7:30pm, and on May 5th at Dimensions in Jazz, Portland, ME at 8pm.
Trumpet Player/Composer Matt Holman Finds Inspiration in Ancient Greek Poetry for Ethereal Modern Chamber Jazz Compositions
The Tenth Muse features Sam Sadigursky, Chris Dingman and Bobby Avey playing music based on the fragmentary, achingly familiar love poetry of Sappho

At a time when our world seems to be plagued by divisiveness, it can be comforting to rediscover and reflect on our shared humanity. In the ancient love poetry of the Greek lyrist Sappho, trumpet player/composer Matt Holman has found a trove of writings whose emotions and sentiments feel as timely and passionate today as they did when they were written, more than 2,500 years ago.

On his new album, The Tenth Muse (due out April 7 on New Focus Recordings), Holman bridges the ancient with the modern through 16 ethereal compositions inspired by Sappho's writings (as translated by Anne Carson). Holman's pieces take the fragmentary nature of Sappho's poetry as it has come down to us as a guide for balancing structure and improvisation, clarity and mystery.

Holman's stark but enticing music is brought to life by a gifted quartet well versed in exploring heady concepts with impassioned vigor and airy sensitivity: Holman, saxophonist, clarinetist and flutist Sam Sadigursky, vibraphonist Chris Dingman, and pianist Bobby Avey.

Holman initially discovered Sappho's poetry through his wife, who introduced him to the Greek poetess during the early days of their courtship, the intoxicating period when every aspect of taste and personality is a new discovery. The words that survived from antiquity seemed to reflect his own feelings across a gulf-spanning millennia, while the significant portions that had been lost over time added a sense of entrancing uncertainty.

"I was astounded at the beauty of these fragments," he recalls. "What exists today is so minimal that the spaces between the words prompt the brain to fill in words and phrases, almost like erasure poetry.  Looking at Sappho's work and finding these beautiful poems, I almost ache on some of them wanting to know what those words were that we'll never know. For me that was really powerful."

It also resonated with Holman's instincts as a composer/improviser, whose own muse subsists on the relationship between the written and the spaces left open for spontaneous invention. To further distance the compositions from his own instincts, Holman devised different systems of cryptograms for each piece - pitches and rhythms associated with specific letters or words (the best known example being J.S. Bach's coding of his own name into compositions using notes associated with its four letters).

"You have a certain language and certain licks that are characteristically you, which is a good thing, but when you're trying to create something new you want to start fresh," Holman explains. "I wanted to have another element outside of my own tendencies. You have to search really hard to find it, almost like it's the composer's secret, but I think it adds more depth."

The music for The Tenth Muse (the title comes from Plato's adulatory name for the poetess) was written during a residency at the Brush Creek Foundation for the Arts in Wyoming in August 2013. He spent the month working in a refurbished schoolhouse dating from the early 20th century on a scenic 30,000-acre ranch offering outdoor activities and teeming with wildlife. "I had an incredible piano and nature right outside my door," Holman describes. "Deer would walk by all the time. There was time and there was a vastness to being in Wyoming that allowed a real focus of purpose and connection to nature, a quality that is present in Sappho's work. All of these poems come from an individual voice, so I strove to capture in the music this sense of solitude. I wanted the music to sound intimate, as if it came from a single individual even if there are moments where it's multidimensional."

The Tenth Muse premiered at Dave Douglas' FONT (Festival of New Trumpet Music) in September 2013. The music is remarkable for its intimacy and fluidity, sliding effortlessly between the composed and the improvised with grace and elegance, though not without a full-blooded urgency. The unusual instrumentation provides an expansive palette, which Holman seizes on in a variety of ways. His trumpet and Sadigursky's woodwinds are supple and soaring, tethered by the resonant power of Avey's piano and softened by the gauzy luminescence of Dingman's vibes.

"I sought to evoke the full range of themes in these fragments," Holman says. "Some are passionate and devotional, related to love, and others reflect on the awe-inspiring aspects of nature or the power of dreams. Over the course of two millenia, the human condition has remained fundamentally the same. We are still beholden to our desires, still marvel at a vast sky, still suffer over love both in its anticipation and in its loss. In this day and age, we are inundated with images and reminders of what divides us from each other.  Sappho's poetry draws for us the connection between the ancient and the modern, reminding us that even something as simple as a fragment can speak to the depths of our shared humanity."

Based in New York City, trumpeter Matt Holman has distinguished himself as a composer, conductor, bandleader and top-tier soloist in many of the leading jazz ensembles of our time. Along with his adventurous chamber-jazz recordings, Holman has performed and/or recorded with Darcy James Argue's Secret Society, the John Hollenbeck Large Ensemble, Fred Hersch's Leaves of Grass, Bang on a Can's Asphalt Orchestra, the Joel Harrison Large Ensemble, the JC Sanford Orchestra, New York Voices, Kenneth Salters Haven, the Anna Webber Quartet, Matt Ulery's Loom, Andrew Rathbun, and more.

He has earned international performance and composition awards including the International Trumpet Guild's Jazz Improvisation Competition, the Carmine Caruso International Jazz Trumpet Solo Competition, and the 13th annual BMI Foundation's Charlie Parker Jazz Composition Prize/Manny Albam Commission. A dedicated and passionate educator, Holman currently teaches at Manhattan School of Music and Hunter College.

Sunday, April 2, 2017

Aurea Agricola & Ernani Agricola

                                 (my grandmother, Dr. Aurea Agricola,
born on December 12, 1894 in Belo Horizonte, Minas Gerais, Brazil;
           died on March 24, 1990 in Rio de Janeiro, RJ, Brazil)

                                  (my grandfather, Dr. Ernani Agricola,
               born on August 09, 1887 in Palmas, Minas Gerais, Brazil;
                      died on July 14, 1978 in Rio de Janeiro, RJ, Brazil)
(Centro Municipal de Saúde Ernani Agricola, em Santa Teresa, Rio de Janeiro, RJ)

R.I.P.: Delmar Brown

R.I.P.: Delmar Brown, who played and recorded with Miles Davis, Gil Evans, Quincy Jones, Sting, Hiram Bullock, Peter Gabriel, Chico Freeman, Jaco Pastorius, Pat Martino, Lew Soloff and many others, died yesterday, April 1st, 2017. Back in 1991, he was in my house (photo below) and watched for the first time his concert with Miles Davis & Quincy Jones playing Gil Evans' arrangements that had just been released on the LaserDisc "Live At The Montreux". I heard these sad news todays from guitar wiz Ricardo Silveira. Rest in Space, Delmar. (from left to right: Arnaldo DeSouteiro, Delmar Brown, Nacho Mena, Flavia)
From his official website http://www.delmarbrown.com/?p=37

Delmar Brown -musician, composer, performer, visionary and student of the World.

The ‘Delmar Brown World Pop Experience’ brings together exciting musical elements
from all over the planet and fuses them together to form a unique blend of music
which he himself has termed ‘World Pop’.

This vision of musical unification from many different cultural sources and American pop
music comes from a person whose life has always been surrounded by music from a
variety of cultures. As a young man, Delmar Brown was a shining star in Bloomington,
Illinois where he was active in church as a pianist, singer and organist. Delmar admired
the great jazz musicians of his youth, citing Jimmy Smith, Herbie Hancock, and Oscar
Peterson aniong his earliest influences. Gospel greats like Mahalia Jackson, James
Cleveland and C.L. Franklin were a large part of his earliest vocal influences.

After studying at Berklee College of Music, the training ground of some of the finest jazz
musicians today, Delmar went on to play and compose for some of the most influential
musicians in the global industry including Gil Evans, Miles Davis, Quincy Jones, Jaco
Pastroius,Pat Martino, and many others. Delmar’s travel experiences and love of the
music of the world brought him in contact with innovative pop musicians who included
elements of world music in their own music. Throughout the years Delmar has
collaborated with such notable figures as Sting, Youssou N’Dour, and Peter Gabriel.

Today Delmar Brown combines the smooth sound of jazz, the earthiness of world music
and the high energy of pop music to drive ‘The Delmar Brown World Pop Experience’,
mixing musical elements from the Caribbean to Eastern Europe. The music itself is truly
unique, and has the potential to reach deeply into one’s soul with its throbbing rhythm
and ‘grounded’ sound to touch and uplift you. When you listen to ‘The Delmar Brown
World Pop Experience’, your being will be so full of good feelings and energy that you’ll
want to experience it over and over again!

World Pop Music

The latest CD from Delmar Brown is much like the future of music that trumpeter Dizzy
Gillespie predicted in his autobiography. In Dizzy’s book ‘To Be, or Not to Bop’, the jazz
icon describes the future of music to be ‘like a quilt with all of the worlds music
represented on the different patches. The World Pop Experience is akin to this quilt that
Dizzy anticipated many years ago. A quilt with patches of Brazilian rhythm, the pulse of
reggae, vocal influences of gospel, exotic sounds of Middle Eastern music, and the
vibrant drumming of Africa combined with American pop. The result is a compositional
soundscape that is contemporary, rich and fresh.

Delmar Brown, the driving force behind ‘The World Pop Experience’, packs this new
release with 12 original songs, from the Brazilian-influenced Bahia to the reggae
influenced Jah Man Jah. The performances aIways challenge musical boundaries and
skillfully blend diverse influences. ‘The World Pop Experience’ is Delmar Brown’s vehicle
to take his music of the world – to the world.