Monday, June 10, 2019
Ovacionado, estava feliz da vida no camarim. Recebeu amigos brasileiros, como o baixista Jorge Oscar e o artista gráfico Wayner Nascimento, a quem mostrou um vídeo no YouTube no qual toca obras de Bach, conversou sobre modelos de instrumento (“viajo agora levando um baixo fabricado na China, porque todos os meus melhores baixos foram danificados em viagens”, revelou), recordou a amizade com Luiz Bonfá (com quem gravou o cultuado álbum “Jacarandá”) e ficou pasmo quando relembrei a data de sua primeira vinda ao Brasil, em 1980, para um show com uma formação de all-stars – George Duke, Ndugu, Airto, Raul de Souza e Roland Bautista – no Maracanãzinho. “Estou ficando velho”, disse, pensativo. Está, mas tocando cada vez melhor.
O encerramento do Festival aconteceu em clima de festa, no encontro de Ivan Lins com o pianista Chucho Valdés e o grupo Irakere, expoentes do jazz cubano. Surpreendentemente, em grande parte do show, Ivan dispensou a banda e soltou a voz em sucessivas baladas num set intimista apenas com teclado e o cello (às vezes guitarra) de Mario Manga. A música e o Rio precisam de muitas outras edições do Rio Montreux!
Vocalist-Composer-Arranger collaborates with celebrated singer & songwriter Peter Eldridge, from the New York Voices quartet
CD release shows at Kitchen Cafe, Dallas, 6/21-22
Rosana Eckert Sailing HomeVocalist-composer Rosana Eckert channels her eclectic musical influences into a similarly eclectic collection of tunes on her long-awaited fourth album, Sailing Home, set for a June 21 release on OA2/Origin Records. The album is a collaboration with Peter Eldridge, the highly sought-after vocalist, songwriter, and keyboardist, who in addition to producing and playing keyboards on the album cowrote three of its 11 tunes. Eckert (and Eldridge) also wrote with her husband Gary Eckert, a poet, composer, and multi-instrumentalist who plays percussion on three tracks.
Sailing Home is Eckert's first recording since 2010's Small Hotel. The lifelong Texan has spent the past nine years since then raising her young daughter but also working as a live performer, as well as behind the scenes as an arranger, clinician, studio singer/voiceover artist, book author, and principal lecturer of vocal jazz in the prestigious Jazz Studies program at the University of North Texas. "Rosana is so known and honored as an educator, and rightfully so," says Eldridge, a longtime friend of Eckert's. "But I wanted her to also see herself as a major artist, shaking off the educator title a bit while recording this project."
Eckert Eldridge Nagella"I had some songs I'd been performing for a while and I knew they needed a fresh ear to make them special and different," says Eckert. "Working with Peter was inspiring, natural, and very fun. . . . It was his idea to make this a guitar-driven album rather than piano-based, which had always been my approach before." (Eckert at left with Eldridge and engineer Tre Nagella.)
That concept, combined with Eckert's omnivorous musical inspiration, creates a bright spotlight for guitarist Corey Christiansen. Its shifting directions -- from the gentle but steady swing of "Garby the Great," to the tender wistfulness of "Someone Else's Life," to the hard-edged New Orleans funk of "Coriander Stomp" -- provide him both ample solo space and opportunities to demonstrate his remarkable stylistic versatility.
Not to be outdone, the other core members of the band (Eldridge, bassist Young Heo, and drummer Steve Barnes) also submit superlative performances throughout. So do guests Daniel Pardo, whose beautiful alto flute work illuminates the ballad "Empty Room" and bossa nova "Lovely Ever After"; Brian Piper, who dives into the gutbucket with his piano solo on "Coriander Stomp"; and Ginny Mac, whose accordion provides the secret sauce for the Tex-Mex shuffle "Waiting."
Rosana EckertEckert, however, is the one who ultimately embodies Sailing Home. She wrote or cowrote all of its songs save one ("Empty Room," which Eldridge and Gary Eckert wrote together) and imbues them with her combination of powerful instrument, vast palette, and infallible technique. It is her performance that ultimately defines each song, bringing the sweet contentment to "Sailing Home," brash confidence to "For Good," exquisite warmth to the haunting "Meant for Me."
"On a lark," Eckert auditioned for the University of North Texas Jazz Singers, the school's premier vocal jazz ensemble, in her junior year. She was accepted and eventually became section leader, lead soprano, featured soloist, and arranger, later singing with the school's One O'Clock Lab Band and various other ensembles; chosen to tour with the Sisters in Jazz Collegiate Sextet; and selected for the Thelonious Monk Aspen Jazz Colony. She completed this shift in her musical trajectory by becoming the first vocalist in UNT history to earn a master's degree in jazz studies. The school then hired her as its first private jazz voice teacher.
Meanwhile, Eckert began a parallel career as a working musician in nearby Dallas, performing with her own jazz band and doing commercial singing and voiceover work. She also began writing her own songs, which ultimately led to the creation of her 2003 debut recording At the End of the Day. It was followed by Two for the Road (2007) and the acclaimed Small Hotel (2010).
Rosana Eckert will perform CD release concerts at the Kitchen Cafe, 17370 Preston Rd. #415, Dallas, on Fri. 6/21 and Sat. 6/22.
Photography: Teresa Jolie
Wednesday, June 5, 2019
Dia 7 de junho, no Palco Tom Jobim. Vai perder? Claro que não, né? 😏
Ah, e aproveite: com seu ingresso para esse palco, você também terá acesso aos shows do Palco Ary Barroso, além da área do Village, com bares e food trucks.
Ingressos promocionais a partir de R$ 50,00, sujeitos a disponibilidade. ⠀
Ministério da Cidadania, Mastercard e Claro apresentam:
Rio Montreux Jazz Festival
Lei de Incentivo à Cultura
Apresentação: @mastercard e @clarobrasil
Apoio Institucional: Governo do Estado do RJ - Secretaria de Cultura e Economia Criativa (@sececrj)
Parceiro de Mídia: @FolhadeSPaulo, @JBFM.oficial, @Otimaooh, @jornaloglobo
Realização: @DreamFactory_brasil , @gael.ag, @mzamusic
Ministério da Cidadania, Pátria Amada Brasil / Governo Federal.
Sunday, June 2, 2019
Marcus Shelby Orchestra Featuring Tiffany Austin & Mads Tolling: "Transitions"
Rating: **** (musical performance & sonic quality)
Bassist, composer, and bandleader Marcus Shelby brings together three of his greatest passions -- African-American history, baseball, and big-band jazz -- on Transitions, the latest work by his 15-piece Marcus Shelby Orchestra, set for a June 7 release on his own MSO Records. While the album offers Shelby's lush arrangements of classic tunes by Charles Mingus, Duke Ellington, and Cole Porter, its centerpiece "Black Ball: The Negro Leagues and the Blues" is an original four-part suite inspired by the history of Negro League Baseball. It also features superb work by two special guests, violinist Mads Tolling and acclaimed vocalist Tiffany Austin.
Shelby's work to date has established his penchant for deep musical dives into African-American history and culture. Transitions is not a full-length opus like his 2007 oratorio Harriet Tubman or 2011's Soul of the Movement: Meditations on Dr. Martin Luther King Jr., but it is unquestionably on the same ambitious path as those two works. It's also a natural choice of subject matter for San Francisco-based Shelby, a self-described baseball aficionado who (when he's not on the bandstand) can often be found cheering on his beloved San Francisco Giants.
"I did a whole theatrical project that premiered last September at the Yerba Buena Gardens Festival," he explains. "It re-created the environment of a Negro League baseball park. This suite was inspired by the research I did for that project. But it's more about these four cities -- Pittsburgh, New York, Chicago, Kansas City -- that were very central to the Negro Leagues."
Transitions also includes one composition each by Charles Mingus and George Shearing, along with two by Cole Porter and three by the grand master of big band writing, Duke Ellington. It's "an album that mirrors a live performance," he says. "It's like seeing one of our concerts. It felt good to break away from doing programmatic music to playing some straight-up blues and swing and standards." The Duke's gorgeous but rarely played "On a Turquoise Cloud" is a feature for guest violinist Tolling, while his "Mood Indigo"and "Solitude," along with Shearing's "Lullaby of Birdland"and the two Porter tunes, are vehicles for Tiffany Austin's vocals.
First gaining attention in Los Angeles as a cofounder (with drummer Willie Jones III) of the hard-bop band Black/Note in the early 1990s, Shelby relocated to San Francisco in 1996. He quickly established himself as an essential creative force on the Bay Area arts scene, leading both the Marcus Shelby Trio and the Marcus Shelby Jazz Orchestra and earning increasingly prestigious commissions from dance companies, theatrical productions, and presenters.
Shelby opened a new chapter with the release of 2006's Port Chicago (Noir), a major orchestral work inspired by the World War II incident that saw 50 young black seamen convicted in the largest mutiny trial in U.S. naval history. Since then he's focused his creative energy on a series of meticulously researched, hard-swinging works exploring African American history, like 2007's Harriet Tubman (Noir) and 2011's Soul of the Movement: Meditations on Dr. Martin Luther King Jr. (Porto Franco).
Marcus Shelby will perform as Resident Artistic Director at SFJAZZ, 201 Franklin St, San Francisco, Thursday 5/23 through Sunday 5/26. The four-night run will feature the artist in collaborations literary (with Daniel Handler, aka Lemony Snicket), political (with Angela Davis), and Ellingtonian (with Faye Carol, Kenny Washington, and Mads Tolling), along with an evening dedicated to the performance of "Black Ball: The Negro Leagues and the Blues."
Web Site: marcusshelby.com
Lauren Desberg: "Out For Delivery"
What a thrilling, highly creative and surprising concept album! Produced by Drew Ofthe Drew and Will Wells, "Out For Delivery" is brought to fruition by the gene-defying songstress Lauren Desberg and some of today’s leading contemporary jazz musicians: saxophonist Braxton Cook, pianist Kris Bowers, drummer Jonathan Barber, guitarist Andrew Renfroe and electric/acoustic bassists, Ben Shepherd and Russell Hall.
Blending melodies reminiscent of the American Songbook with modern, innovative production, Desberg continues to foster her own unique style on "Out For Delivery." A culmination of a musical journey, delivered with a seemingly effortless ebb and flow, the album features sound effects that translate Desberg’s aural elements into visual and visceral components. "Out For Delivery" truly embodies this artist’s own personal philosophy - music can transcend genre.
Co-written by executive producer Will Wells and actually recorded in 2017, "Out For Delivery" touches on a myriad of existential and personal topics, ranging from self-care and reflection to the existence of free will to reincarnation. Comprised of ten originals and two reimagined gems, which encompass all styles of jazz from swing to modern to more popular-influenced sounds, this 12-track collection perfectly reflects the musical ethos of this rising star.
The album’s opening track, “The Way You Feel Inside” evokes a strong sense of individuality. Featuring a dynamic solo by guitarist Andrew Renfroe, the track culminates with the sample of a rewinding tape recorder, leading seamlessly into track two. With bluesey overtones, “Yes Unless” spotlights a solo from pianist Kris Bowers, and is one of three tracks which features upright bassist Russell Hall.
The lead single from the album, “Something Wrong With Me” serves as a reminder that a lack of discussion should not allow for ignored or forgotten issues. While “Falling Dominoes” introduces listeners to just one of Desberg’s many philosophical theories, “Alone - In Love” reflects on the solitude one feels when faced with unrequited love. Originally written in a 4/4 time signature, the final product features Jonathan Barber’s unique drum groove. Exhibiting the unmistakable musical chemistry between Desberg and Renfroe, the duet, “How Could I Have Pain” grapples with the stark unfairness in life and the fact that apparent equals can live such drastically different realities.
The band bring a timeless classic into the 21st century with their transcendent take on the 1935 tune, “I’m Gonna Sit Right Down and Write Myself A Letter”, while Rodgers and Hammerstein’s “The Sweetest Sounds” is treated with an intricate modern-jazz spin - an arrangement courtesy of pianist James Francies.
Taking the advice of Kris Bowers, album pianist and Emmy and Oscar award winning film scorer, Desberg includes four interludes (tracks 3, 5, 9 & 12). Providing a cinematic appeal to the project, these intertwining pieces feature a guitar-driven, “Come With Me”, a homage to the imperative perseverance of musicians in “Hold On” and an exploration into the mystery of reincarnation in “Start Out Again”, which interestingly features the singer’s parents on backing vocals!
The fourth and final piece, "The Choice" draws the album to a close. Encapsulating Desberg’s diverse musical journey, "Out For Delivery" is the elegant embodiment of millennial jazz.
While attending the prestigious Los Angeles County High School for the Arts (LACHSA), she sang with LACHSA’s jazz ensembles along with the Gibson-Baldwin Grammy Ensembles, the Brubeck Summer Jazz Colony as well as performing at the Monterey and Playboy Jazz Festivals. Lending her vocals to the Beantown Swing Orchestra, during her time at Berklee College of Music, Desberg’s talent has certainly not gone unnoticed, receiving the ASCAP Foundation Leiber & Stoller Music Award.
Her debut EP "Sideways" (2012), produced by Gretchen Parlato, and featuring Taylor Eigsti and Dayna Stephens, attracted attention from NPR and jazz stations worldwide. The songwriter began to bridge the gap between the jazz of yesterday and the popular music of today on her first full-length album, "Twenty First Century Problems" (2015), which also featured Taylor Eigsti, as well as Walter Smith. Her modern favorites, such as Frank Ocean and Kimbra, influence her sound as much as jazz greats of the past.