Music Supe Needs Solo Piano & Jazz for Hit Show + More Genres Needed

This is a really sweet batch of opportunities, many of which are Non-Exclusive, Direct-to-Supervisor Placements where you get all the money and keep all of your publishing and master ownership. Got Solo Piano or Jazz? You're going to love these! Keep reading so you don't miss any of these deadlines offered by TAXI:

 

PUBLIC DOMAIN and/or ORIGINAL, SOLO CLASSICAL PIANO INSTRUMENTALS are needed by an A-List Hollywood Music Supervisor for NON-Exclusive placements in a HIT TV Series. She needs classy, Down-to-Mid-Tempo Instrumentals in the general stylistic wheelhouse of Franz Liszt, Chopin, Mozart, etc., etc., etc. Please listen to the references to get a sense of the elegant sound she needs:

 

"Liebestraum" by Franz Liszt:

https://www.youtube.com/watch?v=KpOtuoHL45Y

 

"Nocturne Opus 9 No. 2 in E Flat Major" by Chopin:

https://www.youtube.com/watch?v=zONyFuanlbQ

 

"Piano Sonata No 11 in A Major" by Mozart:

https://www.youtube.com/watch?v=dP9KWQ8hAYk

 

Quoting the source: "We have many high-society scenes in this show that need source music. Solo piano needs to sound authentic. Anything that sounds fake won't work. Since it's source, be sure you don't send me anything that's overly busy, as it's only needed to set the mood."

 

Please submit well-performed piano pieces (Original Compositions or Public Domain) that would add the right vibe to a scene that might take place at a black tie affair or snooty, high society cocktail party. Your submissions should sound like they're being performed by a real human playing a real piano. They're not looking for virtuosity so much as they're looking for music that nicely blends into the background to set the mood and location. Material that sounds stiff, synthetic, or MIDI won't work for this pitch. All pieces should be between 2 to 5 minutes in length. No faded endings. Broadcast Quality is needed (great sounding home recordings are fine).

 

The estimated license fee is $500, depending on the ultimate placement. This is a Non-Exclusive, Direct-to-Music Supervisor pitch, so you'll keep 100% of the sync fee. Plus, you'll also keep 100% of your Publishing, 100% of your Writer's Share (if you submit an original composition), retain your Master ownership, and receive any applicable performance royalties for this placement. You must own or control 100% of the Master and Copyright (if you submit an original piece) to pitch for this opportunity. If you submit a cover of a Public Domain piece, you need to own or control the Master Recording. All Instrumentals will be screened on a Yes/No basis by a person hand-picked by the Music Supervisor. No full critiques.Please submit 1-3 Instrumentals no later than 11am (PST), on Thursday, February 12th, 2015. TAXI #U150212CP

 

 

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ORIGINAL 1930's to 1940's sounding JAZZ SONGS with Male or Female Vocals are needed by a Music Supervisor for a Non-Exclusive Placement in an Independent Film. Give them Down-to-Mid-Tempo Songs in the general stylistic ballpark of legends like Billie Holiday, Louis Armstrong, Ella Fitzgerald, etc., etc., etc. Please review the referenced songs to get you in the old-timey vibe they need:

 

"The Very Thought Of You" by Billie Holiday:

https://www.youtube.com/watch?v=9yakzL1Q88c

 

"What A Wonderful World" by Louis Armstrong:

https://www.youtube.com/watch?v=E2VCwBzGdPM

 

"Walkin' By The River" by Ella Fitzgerald:

https://www.youtube.com/watch?v=zBqOv_0M17k

 

Quoting the source: "This will be background source during a Thanksgiving dinner scene. We'd ideally like the song to have a female vocal, but we're open to male as well.

Songs need to sound as authentic to the era as possible. Although it's source music and the lyrics won't be a huge focus, general themes about life, love, home, and family will work best."

 

TAXI Tip: You might make your song more appealing by rolling off some top and bottom end of your recording to make it sound more "telephonic" and authentic to the era. We DO NOT recommend adding those old-timey clicks and scratches. Let the audio post mixer add those if the Supervisor or film's Producer wants them. You'd also be smart to have a full fidelity version ready to go in case they prefer that. You do not need to submit that at this time. If all you have is a full fidelity version, go ahead and submit that. If they love the song more than everything else, the post mixer can do some EQ magic.

 

Submit really cool Jazz songs that sound like they would have been written and performed in that golden era. Authentic-sounding instrumentation, well-performed vocals, and an overall vibe that sounds like it was plucked straight out of a time capsule will put a smile on this Supervisor's face. As mentioned in the quote: Lyric themes about life, love, home, and family will work best for this pitch. Universal lyrics still apply, so please avoid specific names, places, dates, times, and brands. Do not copy or rip off the referenced artists or songs in any way, shape, or form. Use them only as a general guide for tempo, texture, and tone.

 

The estimated license fee is $500 - $1,000, depending on the ultimate placement. This is a Non-Exclusive, Direct-to-Music Supervisor pitch, so you'll keep 100% of the sync fee and any applicable performance royalties. Plus you'll also keep 100% of your Publishing and Master ownership. You must own or control 100% of the Master and Copyright to pitch for this opportunity. All Songs will be screened on a Yes/No basis. No full critiques. Please submit 1-3 Songs no later than Sunday, February 8th, 2015 by 2pm (PST). TAXI #U150208JZ

 

 

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ORIGINAL JAZZ INSTRUMENTALS are needed for a Non-Exclusive Placement by the Music Supervisor of an extremely successful TV show. The Track will be used as background source music during a dinner scene in an upscale restaurant. He's on the hunt for mellow, smooth, sophisticated sounding Jazz Instrumentals that can be heard on some of the tracks on Miles Davis' Kind of Blue album. Note: The tracks with busy, upfront solos are NOT what the Supervisor needs. 

 

"Blue in Green" by Miles Davis:

https://www.youtube.com/watch?v=PoPL7BExSQU

 

"How Deep is the Ocean" by Bill Evans Trio:

https://www.youtube.com/watch?v=_uCL1_YcRwk

 

"You Don't Know What Love Is" by John Coltrane Quartet:

https://www.youtube.com/watch?v=ifMV_X-KJzs

 

Quoting the Source: "I'm looking for some light cocktail music to play as background source during a dinner scene. This would be more straightforward, serious dinnertime Jazz. None of the lead instruments should be too intrusive or out front. Any examples from Miles Davis' Kind of Blue album would work great as a reference!"

 

Give him instrumentals that you wouldn't mind hearing during a classy Valentine's Day date with your significant other. Mellow Instrumentals with a small ensemble sound and sparse instrumentation should work best for this pitch. This will be background source music and needs to help create the atmosphere of the scene, so anything that gets too loud, busy, harsh, and/or frenetic probably won't work well.

 

This is a Direct-to-Music Supervisor placement, so you'll keep 100% of your Master and Publishing/Copyright ownership, plus you'll also keep 100% of the sync fee. The estimated sync fee for this placement is $1,000. You must own or control 100% of the Master to pitch for this opportunity. Broadcast Quality is needed (great sounding home recordings are fine). All Submissions will be screened on a Yes/No basis by a Music Coordinator working directly on the show. No full critiques. Please submit 1-3 Instrumentals no later than Friday, February 6th, 2015, by 4pm (PST). TAXI #U150206JZ

 

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HEARTFELT, ACOUSTIC-BASED SINGER/SONGWRITER SONGS with Male Vocals are needed by a Major Record Label for a promising International artist that has the Industry buzzing. Submit well-crafted Down-to-Mid-Tempo Songs that would immediately appeal to fans of artists like Ray LaMontagne, Brett Dennen, Amos Lee, etc., etc., etc. Quoting the source: "They want songs that feature prominent acoustic elements, with melodies that show off a heartfelt and honest vocal. Lyric themes can vary as long as they are current, personal, and creative." Give them intimate songs with great lyrics, coupled with a deeply moving and unforgettable melody. Hooks that draw the attention of the audience into a well-crafted story will work best. Stripped-down demos are okay for this pitch. Your recording quality (even for stripped-down demos) needs to be clean, clear, well balanced, and good enough to represent your song well. Please submit one to three Songs online or per CD, include lyrics. All submissions will be screened and critiqued by a TAXI screener handpicked by the Label and must be received no later than Friday, February 6, 2015. TAXI #S150206SS

 

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A legendary 1962 concert by João Gilberto & Antonio Carlos Jobim will be released next month

After many unofficial issues (each one with a different cover!), a true collectors' item among Brazilian music connoisseurs, "Um Encontro No Au Bon Gourmet," will be commercially released for the first time next month, on March 3rd, by the Doxy label. Initially, it will be available only on a 140 gram audiophile clear vinyl (ACV) LP, in a limited and numbered issue. Tomorrow it becomes available for pre-order on www.amazon.com

Recorded live (on August 2, 1962) during an engagement at the Au Bon Gourmet nightclub in Rio de Janeiro, the concert reunites bossa nova legends Joao Gilberto (vocals & acoustic guitar), Antonio Carlos Jobim (piano), Vinicius de Moraes (vocals), Milton Banana (drums), Octavio Bailly (acoustic bass) and the stunning group Os Cariocas (by then consisting of Severino Filho, Badeco, Quartera and Luiz Roberto).

That concert introduced a "new" song, "Garota de Ipanema" ("The Girl From Ipanema"), performed with a seldom-heard intro. The following year, Gilberto, Jobim and Banana -- plus Stan Getz and Astrud Gilberto -- would record the internationally famous version included on the million-selling and multi-Grammy winning album "Getz/Gilberto."

Among the other tunes performed on that concert are two more later selected for "Getz/Gilberto": "Só Danço Samba" (known here in the U.S. as "Jazz 'n' Samba") and "Corcovado" ("Quiet Nights of Quiet Stars"), both composed by Jobim. The tracklist also includes "Samba de Uma Nota Só" ("One Note Samba"), "Insensatez" ("How Insensitive"), "O Amor Em Paz" (Once I Loved") -- all written by Jobim -- plus Baden Powell's "Samba da Benção" and Dorival Caymmi's "Samba da Minha Terra."

The original concert was directed by Aloysio de Oliveira, and this LP issue includes liner notes by the California-based Brazilian music historian Daniella Thompson.

Shannon Lee Blass with Bill Strout's Big Band 2000 live @ Steamers, next Monday, Feb 9

THIS MON FEB 9, 8P-11P  $2 ALL AGES
SHANNON LEE BLAS WITH BILL STROUT'S BIG BAND
It's the second-Monday-of-the-month again, so Shannon will be back onstage with Bill Strout's Big Band 2000 on Monday, February 9. Catch either set (8pm or 9:30pm) or both if you can.
The cover-charge is just $2 per person; me plus 17 cool jazz cats = great value for great live music.
Call 714-871-8800 to RSVP. Hope to see you there!

News from Jazzinstitut Darmstadt

                                              (Eberhard Weber)

29 January 2015

Carol Sudhalter / Nils Landgren

Nancy Ruhling talks to the saxophonist Carol Sudhalter about her musical family, about her decision to become a musician even though her parents had other plans for her, about the sad realities in today's music business and yet the fun to be part of it all ( Huffington Post). --- Jürgen Overkott talks to the Swedish trombonist Nils Landgren about the public image of Sweden, about the beginning of his career as a studio musician for the pop band Abba, about his red trombone and about his engagement for social projects in Africa ( Der Westen).

30 January 2015
Avishai Cohen / Afro-Semitic Experience

Knut Henkel talks to Avishai Cohen , or rather, he talks to both Avishai Cohens, the bassist as well as the trumpeter ( Jüdische Allgemeine). Bassman Cohen tells him that the Israeli jazz scene got livelier when musicians like Anat Fort and him returned from America. Trumpetman Cohen, we learn, sounds more like a New Yorker than an Israeli musician, yet insists that, of course, there are influences from Israel in his music as well. --- Gregory Robinson talks to the bassist David Chevan about the concept behind the band Afro-Semitic Experience, which tries to take a different take on the Jewish musical tradition and in their new album has approached the music of John Coltrane ( The Jewish Week). The Afro-Semitic Experience, says Chevan, came from the idea "that a musical dialogue is a good place to start an intellectual dialogue as well".

31 January 2015
Sarah McKenzie / Kenny G

Jon Garelick talks to the pianist and singer Sarah McKenzie about what she learned while studying at Berklee College, about her initiation to jazz in her native Australia, about the influence of Oscar Peterson's style, and about the importance of believability in jazz singing ( The Boston Globe). --- Jason Lipshutz reports that the smooth jazz saxophonist Kenny G might be "partially responsible" for the idea of the Starbucks Frappuccino, a company he had invested in early in its existence ( Billboard).

1 February 2015
Stan Getz / Maria Joao

John Schreiber reports about a law suit by Samantha Cesena who was engaged to the saxophonist Stan Getz when he died to remove the trustee of the trust established on her behalf because she has not been paid her monthly payments since July 2013 ( My News LA). --- Karin Schütze talks to the Portuguese singer Maria Joao about a new project with the Upper Austrian Jazz Orchestra, about the difference between Austria and Portugal, about not being a Fado singer, about the hardships of the music business, about her initiation to jazz and about finding balance in Aikido ( Nachrichten AT).

2 February 2015
Kenny Barron / Eberhard Weber

Calvin Wilson talks to the pianist Kenny Barron about having played more duets recently, especially with the vibraphonist Stefon Harris, and about being willing to take more chances as he grows older "and just see what happens" ( St. Louis Post-Dispatch). --- The celebration of Eberhard Weber in Stuttgart last week was recorded by German TV and broadcast online - a heartfelt and wonderful tribute featuring Gary Burton, Pat Metheny, Jan Garbarek, the SWR Big Band and speeches, especially one by the trumpeter Manfred Schoof and a more than adequate response by Weber himself who even though he can't play anymore after a stroke, sat on stage for the whole concert ( SWR). Hans Hielscher hears Eberhard Weber's latest CD and reads his new autobiography ( Spiegel Online).

3 February 2015
Branford Marsalis / Jasper Høiby

Amy Wilder talks to the saxophonist Branford Marsalis about his recent solo album, about the importance of studying recordings, about the power of melody, about listening to music without expectation of a musical reward in the end, about musical curiosity and the universality of music, about other career aspirations in his youth (lawyer, politician, football player) and about the surprise of his family when he decided to become a musician ( Columbia Tribune). --- Cormac Larkin talks to the Danish bassist Jasper Høiby about his trio Phronesis, about it having been compared to the Esbjörn Svensson Trio, about their concerts in the dark, and about the concept of Phronesis not being that of a traditional piano trio ( The Irish Times).

4 February 2015
... what else ...

Peter Hum talks to the drummer Matt Wilson about how music and the music world helped him to deal with the loss of his wife ( Ottawa Citizen). --- Mark Prigg reports about the Georgia Tech researcher Mason Bretan who has programmed a "robot jazz band" to accompany human musicians ( Daily Mail). --- Sarah Foster talks to the young trombonist Austin Seybert ( The Daily Illini). --- Suzanne Hogan talks to the drummer Zack Albetta ( KCUR). --- Ullrich Riedler reports about jazz in 1950s Kassel, Germany ( HNA). --- Joshua Pichard looks at John Coltrane's recording of "A Love Supreme" ( Nooga); Jack Garner ( Democrat and Chronicle ) and Michael Gold ( Newsweek) remember "A Love Supreme" as well. --- Martin Fichter-Wöß talks to the Austrian singer Lia Pale ( Tiroler Tageszeitung). --- Ted Gioia recalls his first encounter with Keith Jarrett's "Köln Concert" and asks why the album still sounds as fresh today as it did 40 years ago ( The Daily Beast). --- Lothar Martin reports about the decision of Czech clarinetist Pavel Smetáček to retire from music ( Radio Praha). --- Ron Hart writes about the 1990s alliance between Blue Note recordings and hiphop ( The Wondering Sound). --- Michael Elkin talks to the British pianist and singer Jamie Cullum ( The Intelligencer). --- Louis Reitz talks to the German guitarist Alfred Hertrich ( Oberpfalznetz). --- Ben Ratliff attends a concert at the Metropolitan Museum in New York, during which musicians connect in different ways with the exhibited works of art ( New York Times). --- Peter Englot reports about the open job position as director of the Institute of Jazz Studies at Rutgers University in Newark, New Jersey, a search for someone who "needs to be part impresario and part scholar, someone who will immediately be seen as a major collaborator, advocate and cheerleader for jazz's bright future" ( Rutgers Today).

Obituaries 

We learned of the passing of the pianist Howard Macdonald at the age of 86 ( Newton Patch), the trumpeter Clifford Bean at the age of 85 ( Chicago Sun-Times), the former singer and composer Rose Marie McCoy at the age of 92 ( New York Times), the singer Kamal Scott at the age of 74, as well as the photographer Will McBride at the age of 84 ( Berliner Zeitung).

Last Week at the Jazzinstitut

Our next JazzTalk concert on Friday, 6 February, will feature two exceptional vocalists, accompanied by the Martin Sasse Trio: the Cologne-based singer Alexander Gelhausen as well as the scat legend Willi Johanns . 81-year-old Johanns is one of the few authentic bebop singers in Germany ( YouTube). Gelhausen, who is a tad younger, scats as well but also uses a repertoire from the blues and the Great American Song Book.

Before the concert we will open a new exhibition called "Something Completely Different. Plakate!", in which the Jazzinstitut's visual art curator Doris Schröder has chosen exceptional examples of poster art advertising jazz ( Jazzplakate!). Ahead of the event, Thomas Wolff reports about the preparations for the exhibition ( Darmstädter Echo).

Our local newspaper has a column these days in which Darmstadt citizens comment on pictures from the Radenko Milak exhibition at Darmstadt's Kunsthalle museum. For one of the pictures Wolfram Knauer remembered the Challenger accident on 28 January 1986, and recalled the astronaut Ron McNair who died in the crash, only the second African American in space who had his saxophone with him as he had planned to perform a live feed from space to a Jean-Michel Jarre concert. ( Darmstädter Echo).

Over the weekend, Arndt Weidler met with colleagues from the Union Deutscher Jazzmusiker and the IG Jazz Berlin to prepare a study about living and working conditions of jazz musicians in Germany.

More progress in our preparations for the 14th Darmstadt Jazzforum. We are still collecting suggestions for this international conference which will focus on "Gender and Identity in Jazz", at which we will not just talk about women in jazz, though, but also about the image jazz has developed over the years, both within the jazz world and to outsiders, how they were shaped and how they change. Our call for papers is online until the end of the month; we invite suggestions for papers, lectures or other programmatic suggestions on the topic. Please refer to our website for the scope of the conference ( call for papers, Darmstädter Jazzforum).

We read ... Christina Maria Bauer's book "Livejazz in München" as well as Dean Alger's "The Original Guitar Hero and the Power of Music. The Legendary Lonnie Johnson, Music and Civil Rights". The review of these and other books can be found on the book review page of our website .

Tonight, Katie Thiroux's CD release show @ Kitano, NY

The debut album by a promising jazz bassist/vocalist, "Introducing Katie Thiroux," which features guitarist Graham Dechter, tenor saxophonist Roger Neumann and drummer Matt Witek, was officially released a couple of days ago, on February 3rd. 

Please come join Katie as she celebrates the release in New York tonight, February 5th, at the Kitano! The album was produced by Jeff Hamilton. 

Two Sets at 8pm & 10pm

Tickets: call 212-885-7119 for Reservations

www.kitano.com/jazz

Big Band CD of the Month - "Randy Brecker: Dearborn Station"

Big Band CD of the Month
Randy Brecker with the DePaul University Jazz Ensemble: "Dearborn Station" (Jazzed Media) 2015

Rating: ***** (musical performance & sonic quality)

Release Date in the USA: February 10, 2015
Produced by Bob Lark
Recorded live at the Jazz Showcase (Chicago, Illinois) on May 16 & 17, 2014 by Metro Mobile Recording
Engineer: Thomas Miller
Mixed by Thomas Miller & Bob Mark, Mastering by Thomas Miller, Dan Steinman & Bob Lark @ IV Lab Studios
Design: Kyle Romberg
Photos: Doug McGoldrick
Liner Notes: Bob Lark

Randy Brecker (trumpet soloist)
DePaul University Jazz Ensemble:
Rhythm - Scott Williams (piano & keyboards), Jackson Kidder (bass), Rob Dicke (drums), Lee Rothenberg (guitar)
Reeds - Brent Griffin (alto & soprano sax, flute), J.T. Teichert (alto sax, flute), Corbin Andrick (tenor sax, flute, clarinet), Andrew Janak (tenor sax, clarinet), Michael Brawley (baritone sax, clarinet)
Trumpets & Flugelhorns - Bob Lark (soloist on "It's You Or No One"), Marques Carroll (lead), Kyle Granville, Gibron Lockhart
Trombone - Brian Scarborough (lead), Bryan Tipps (bass trombone), Chris Shuttleworth, Brett Balika

CD Compilation of the Month - "João Gilberto: Couleur Cafe Mixed by DJ KGO"

CD Compilation of the Month
"Couleur Café - Brazil Meets João Gilberto" (Living Records Tokyo)

Mixed by DK KGO (aka Tanaka Keigo)
Executive Producer: Hidemasa Otani
A&R/International Affairs: Ken Yamazaki
Coordination: Tomothy Tan
Mastering: John Herbert
Artwork: Naoto Mizuno

All the Odeon (1958-1961) tracks -- licensed by Intermusic SA through G-Pop Asia Pte Ltd. -- plus older rarities like "Quando Ela Sai" (from the 1952 78prm single for Copabana) and 4 songs recorded by Gilberto as a member of the Garotos Da Lua vocal group -- "Amar É Bom," "Quando Você Recordar," "Sem Ela" and "Anjo Cruel" --, recorded for the Todamérica label in 1951. Ingenious mix sometimes adding "beach sounds" as well as bells and reverb effects on Joao's voice and guitar.
**********
Enquanto, no Brasil, os onanistas de plantão ainda discutem o caso "O Mito", nos EUA, Europa e Ásia as gravadoras não se preocupam com quaisquer questões jurídicas e fazem o que bem entendem, editando dezenas de reedições e compilações, inclusive do material que ainda está sub judice na terrinha esquisita. As faixas em questão (realizadas há mais de 50 anos) caíram em "domínio público" no exterior, e não há mais o que reclamar.

CD Reissue of the Month - "Franco Ambrosetti & Don Sebesky: Sleeping Gypsy"

CD Reissue of the Month (Mini-LP sleeve)
Franco Ambrosetti: "Sleeping Gypsy - A Collection of Arrangements and Ochestrations for Full Orchestra by Don Sebesky" (Gryphon)

Produced by Norman Schwartz
Arranged & Conducted by Don Sebesky
Engineered by Keith Grant @ Studio 7 (Corso Venezia 7, Milan, Italy) in 1979; released in 1980
Mixed by Neil Ceppos @ Right Track Studios (NYC, NY, USA)
Mastered by Ted Jensen @ Sterling Sound (NYC, NY, USA)
Project Coordinator: David Whitehead
Album Design: Frank Daniel
Photos: Giuseppe Pino
Liner Notes: Franco Ambrosetti & Norman Schwartz

Featuring:
Franco Ambrosetti (flugelhorn), Eddie Daniels (tenor sax), George Gruntz (piano), Barry Miles (synthesizers), Ron Carter (bass), Grady Tate (drums), Portinho (percussion), Joe Beck (guitar)

Ambrosetti's best solo album ever. At the height of his powers, the Swiss trumpetist shows why he is one of the top all-time flugelhorn players, alongside Clark Terry, Art Farmer, Freddie Hubbard and Chuck Mangione. Don Sebesky provides sumptuous scores in the lush CTI style, and contributes with two original tunes: the haunting title track "Sleeping Gypsy" (the guitar intro recalls the Jay Berliner performance on "For Someone I Love," from the Sebesky-arranged Milt Jackson's "Sunflower" album) and the fusion-oriented "Lugano Lady."

There's also an inspired version of Hoagy Carmichael's "Skylark" (a tune he had arranged for CTI sessions by Paul Desmond and Roland Hanna, this time a vehicle for a great solo by Eddie Daniels on tenor), and lovely ballads by Stephen Sondheim ("Johanna") and Tito Fontana ("Demoiselle.")

Vocal Jazz CD of the Month - "Lainie Cooke: The Music Is The Magic"

Vocal Jazz CD of the Month
Lainie Cooke: "The Music Is The Magic" (Onyx) 2015

Produced by Ralph Peterson

Recorded @ Tedesco Recoding Studios (Paramus, NJ) by Tom Tedesco

Mixed by Matt Hayes and Mastered by Erik Tilborn @ Wellspring Sound Studio (Acton, MA)

Cover Painting: Tracy Levesque

Cover Graphics: Dan Navarro

Photos: Hubert Williams

Featuring: Lainie Cooke (vocals), Tedd Firth (piano), Luques Curtis & Tabari Lake (bass), Ralph Peterson (drums & trumpet) and Myron Walden (saxes)  

Given the deep jazz feeling and serious vocal chops displayed by Lainie Cooke on her new CD The Music Is the Magic, it's hard to believe that the disc is only Cooke's third, to be released March 17 by Ralph Peterson's Onyx label.

"The wisdom, clarity, and nuances possessed by Lainie throughout the recording are most refreshing," comments Peterson in his notes to the CD. "At 73 years young, she has remained relevant as a songstress in the purest sense. I am proud to have produced what I believe is her best work to date."

Peterson, who plays drums and trumpet on the CD and served as its producer and arranger, surrounded Cooke with a super cast including pianist/arranger Tedd Firth, her accompanist of the last dozen years; soprano and tenor saxophonist Myron Walden; and bassist Luques Curtis. (Tabari Lake substitutes for Curtis on "Mañana.")

Cooke first met Peterson, long one of the most in-demand drummers in jazz, in 1990, but they didn't begin making music together until relatively recently. "Ralph has the ability to lift you to a place musically and rhythmically that you didn't know you knew how to do," she says. "He's always demonstrating something that makes you want to do better." Cooke is the first singer Peterson has produced for his Onyx Music label.
"Lainie can cook on the kind of standards she prefers -- the Porter-Gershwin-Rodgers & Hart classics that challenge her dramatic bent for story-telling," Harvey Siders wrote in a Los Angeles Daily Newsreview of one of her Southern California engagements. "She has an unerring ear for melodic invention and an instinctive feel for time that allows her to take unusual rhythmic liberties. And her intonation is 'right on.'"

The tunes on The Music Is the Magic spoke to the singer: "If the music is beautiful, wonderful, soars, and has feeling, I'm attracted to it," she says simply. "How I Wish" (aka "Ask Me Now") and "I Have the Feeling I've Been Here Before" ("one of the most beautiful songs in the world," according to Cooke) were inspired by Carmen McRae, a favorite vocalist of hers. The title tune and Francis Lai's title theme for the 1967 French movie "Vivre Pour Vivre" (retitled "Live For Life" after Norman Gimbel added English lyrics) both stem from Abbey Lincoln recordings.

Also included are Dave Frishberg's "Our Love Rolls On," Harold Arlen's "Out of This World," and a rollicking calypso treatment of Peggy Lee's "Mañana," long a staple of her in-person repertoire. "By the end of it, the whole audience is singing," she says. "It becomes a joyful experience."

Lainie Cooke broke into show business at age 6 by entering a Minneapolis radio talent contest for young people and won with her rendition of the then-popular tune "Cruising Down the River." At 11, she began appearing two or three times a week as a hostess on a local television game show. Then, at age 12, she won a talent contest and was awarded a trip to New York City. She felt instantly at home.

Cooke has been a resident of the city since she was 20, save for relatively brief periods in Jamaica and California. "I went to New York to find out what I could actually do with all of the stuff that was inside me," she reflects. "I wasn't sure what I wanted to be -- a musical theater performer or a nightclub singer."

After working an office job for a period, she got fingerprinted for a cabaret card and played a few New York clubs, but upon doing her first out-of-town gig in Hartford, Connecticut, she developed an instant distaste for being on the road. Voice-over work, which allowed her to stay home in New York City, became her calling and kept her steadily employed for most of the next 40 years.

Cooke moved to Los Angeles in 1979 and began singing in clubs with such top jazz men as pianist Dick Shreve and bassist Bob Maize but moved back to New York in 1983 and resumed doing voice-overs. She returned briefly to L.A. to record half of her first CD, Here's to Life!(2002,Harlemwood), with Shreve, Maize, and others. New York musicians, including Firth, bassist Cameron Brown, and drummer Matt Wilson, completed the album. Her second CD, It's Always You (2008, Harlemwood), also featured Firth, Brown, and Wilson, as well as saxophonist Joel Frahm.

For her CD release shows, Cooke has scheduled engagements in New York and Los Angeles:3/31 at the E Spot Lounge Upstairs at Vitello's in Studio City, with pianist Karen Hammack and her trio; and 4/10 at the Zinc Bar in Greenwich Village, with the same musicians as the CD.

"Words alone cannot do justice to the way I feel about making music with Tedd, Luques, Myron, and Ralph, or how proud I am of this project," says Cooke. "The dictionary defines magic as producing mysterious or extraordinary results. I hope The Music Is the Magic will inspire the same kind of feelings in listeners."

Photography: Janis Wilkins (top), Adger W. Cowans (bottom)

Instrumental Jazz CD of the Month - "Mark Wade Trio: Event Horizon"

Instrumental Jazz CD of the Month
Mark Wade Trio: "Event Horizon" (MW) 2015
Release Date: February 17, 2015

Rating: **** (musical performance & audio quality)
Produced by Mark Wade Music
Recorded @ System Two Recording Studio (Brooklyn, NY) in June 2014
Mixed & Mastered by Frank Fagnano

Bassist Mark Wade takes the art of the trio to brilliant new heights with his debut recording Event Horizon, to be released February 17, 2015 by his Mark Wade Music imprint. Working with trio-mates Tim Harrison, piano, and Scott Neumann, drums, Wade shines as an instrumentalist, composer, and bandleader.

"I always loved listening to great piano trios," the Queens, New York-based bassist says. "With no horn players or other musicians, there is so much space for expression, but with that comes the responsibility to have something to say. You can't hide behind a lot of other musicians. Everybody has to really stand out. I wanted to challenge myself and put myself in a situation where I had to be an excellent soloist."

Writing for the piano trio was a challenge Wade embraced. "How can you orchestrate and arrange three instruments to sound big and full?" he asks. "If you've got 12 or 20 people, you have a lot more colors at your disposal as a writer. With three people, it forces you to think about what is really essential to get across a musical idea."

Wade's compositions range from the opening waltz, "Jump for Joy," and the peaceful ballad "Cold Spring" to the aggressive, edgy "Twist in the Wind" and the Afro-Cuban-flavored "Tossed." The ballad "Apogee" has no time, while "Singsong" has no melody ("It's a motif that keeps coming back, holding the song together"). The only non-original on the disc, Harold Arlen's "If I Only Had a Brain," is notable for its use of swinging 5/4 and its re-harmonization and modulations.

The title Event Horizon, says the self-described "science enthusiast," refers to "where you go from not being in a black hole to falling in. In a broader concept, it's the edge at which something happens. This album for me is kind of the edge of something happening because I'm launching my solo career. I see it as an adventure, a stepping-off point."

Wade first worked in a trio setting with Tim Harrison and Scott Neumann while the bassist was an artist-in-residence at the historic Flushing (NY) Town Hall in 2013 and '14. The three connected so well that Wade began composing for the new trio. "Their musicality," he says, "influenced the writing choices I made."

"Tim really excels," says Wade of the Nottingham, England-born Harrison, "not just as a soloist but also as an ensemble player and an accompanist. He's very sensitive, he listens, and he's really conscious about getting the music right and sounding good."

"Scott is a unique voice on the drum set," Wade says of Neumann, who was born in Bartlesville, Oklahoma, and whose extensive credits include work with Woody Herman, David Liebman, and Kenny Barron. "There's a never-ending supply of ideas for everybody to play off of."

Mark Wade was born in Livonia, Michigan (Dec. 29, 1974) and raised there and in Long Valley and Morristown, New Jersey, where he taught himself to play electric bass at age 14. At New York University, he studied with Mike Richmond, who encouraged him to also take up acoustic bass for jazz gigs. Wade considers Richmond a major influence, along with Ray Brown, Paul Chambers, and Scott LaFaro.

Since graduating NYU, Wade has busied himself in a variety of musical contexts, from jazz to classical. His jazz credits include playing in the string section for the Jimmy Heath Big Band's performances of Ernie Wilkins's Four Black Immortals, appearing with vocalist Stacey Kent on The Today Show, playing with Bill Warfield's New York Jazz Repertory Orchestra, and recording with vocalist Elli Fordyce. And Wade has played with numerous classical ensembles, including the Key West Symphony with which he backed guitarist Sharon Isbin and violinist Robert McDuffie, both of them Grammy winners.

Wade also directs New Music Horizons, an organization he founded in 2014 to perform and promote the works of emerging jazz and classical composers. "There are a lot of challenges composers face in getting their music accepted," he says. "Top venues often don't want to program artists who don't already have a large following. Reaching new audiences is difficult when you aren't playing at top venues. It's a tough cycle to break. I started New Music Horizons to give composers a chance to showcase their work at established arts venues to attract new audiences to their music. I think this kind of support is critical to the long-term success of new music."

The Mark Wade Trio will be performing at two CD release shows in support of Event Horizon: 3/5 Somethin' Jazz Club, 212 E. 52nd Street, NYC, 7:00-8:45pm; and 4/15 St. Peter's Church Midday Jazz Series, 619 Lexington Ave. at 54th Street, NYC, 1:00-2:00pm.

Photography: Jesse Winter

Vinyl Reissue of the Month - "Art Farmer/Jim Hall: Big Blues" (45pm, 2-LP audiophile issue)

Vinyl Reissue of the Month 
Art Farmer & Jim Hall: "Big Blues" (CTI/ORGM) 1978/2015 
[45rpm-edition, 2-LP set, numbered and limited issue] 

Produced by Creed Taylor
Engineered by David Palmer @ Electric Lady Studios (New York, NY), assisted by Joel Cohn
Arranged by David Matthews
Photos: White Gate
Album Design (Artwork): Sibbi Chalawick
Liner Notes: Ira Gitler

Originally released as a single LP (catalog number CTI 7083), this gorgeous album now re-appears as a 2-LP set (cat. # ORGM 2018) due to a wise decision of the guys from ORGM (Original Recordings Group Music), in association with Speakers Corner Records, two companies that have been constantly reissuing important titles from Creed Taylor's CTI label. The official release date in Europe is February 28, 2015.

Recorded during only 2 sessions (February 2 & 3, 1978) and released one year later, "Big Blues" remains one of my favorite sessions ever done by Farmer, Hall, Taylor and all the musicians involved. Kudos also to David Matthews, CTI's chief arranger at that time, that decided to use a sparse instrumentation consisting only of flugel, guitar, vibes, bass and drums. No keyboards, no strings or brass sections. no overdubs. Just the phenomenal "basic" group, with the co-leaders sharing the solo spots with vibist Mike Mainieri, who flyes over the horizon. All in top form.

That was the only session ever done for CTI by Michael Moore (who had already played with Gerry Mulligan and Bill Evans, and develops a long association with Gene Bertoncini), whose blessed tone of his acoustic bass is captured in a wondeful way. Furthermore, he instantly "clicked" with drummer Steve Gadd, infallible as always. Their interaction was simply perfect, and I can't believe they never met again. Hip, hip, very hip!

The repertoire includes four long tracks: Hall's exquisite title track "Big Blues," Thad Jones' lovely ballad "A Child Is Born," Benny Golson's jazz classic "Whisper Not," and a superb adaptation of Maurice Ravel's "Pavane For A Dead Princess" prepared by David Matthews, somehow similar to what Don Sebesky had done three years earlier with Joaquin Rodrigo's "Concierto de Aranjuez" for another Jim Hall masterpiece, "Concierto." Btw, both tracks inspired me and Rodrigo Lima when conceiving our adaptation of Brahms' "Symphony #3" for Lima's "Saga" CD, which, not coincidentally, features Mike Mainieri.

Two tracks per side in the original "Big Blues" LP. Now, one track in each of the four sides, with the glorious recording by David Palmer @ Electric Lady now sounding even more pristine thanks to Bernie Grundman's remastering, and the audiophile pressing at Pallas (in Germany). It's a numbered and limited issue of 1,500 copies destined for audiophiles. If you love CTI and/or any of the musicians involved, you can't miss it.

*****************

"Big Blues" - Art Farmer (flh); Mike Mainieri (vib); Jim Hall (g); Mike Moore (b); Steve Gadd (dr)

"Big Blues" wurde bei den Electric Lady Studios im Februar 1978 aufgenommen und 1979 beim CTI-Label veröffentlicht; es ist eines der ersten Male seit der Mitte der Sechzigerjahre, dass sich Flügelhornist Art Farmer und Gitarrist Jim Hall für eine Session von perfekter Zusammenarbeit und Harmonie wieder zusammengetan hatten. Dieses einzigartige Quintettprojekt wird vervollständigt durch Mike Mainieri (Vibraphon), Michael Moore (Bass) und Steve Gadd (Schlagzeug) – die Ergebnisse sind gleichermaßen entspannt wie lyrisch.

Die ergiebige, aus vier Stücken bestehende LP beginnt mit einer strukturierten Aufnahme von Benny Golsons "Whisper Not", schafft spielend "A Child Is Born" von Thad Jones, ehe sie Jim Halls eigenes Cool/Bop Titelstück "Big Blues" durchläuft und mit einer erstklassigen Jazzadaptation von Maurice Ravels klassischem Standardstück "Pavane For A Dead Princess (Pavane pour une infante défunte)" abschließt.

ORG Music hat die klassische Aufnahme einer audiophilen Behandlung unterzogen mit dieser 45rpm-Wiederauflage, von den originalen analogen Bändern bei Bernie Grundman Mastering neu gemastert und gepresst auf 180g Vinyl bei Pallas in Deutschland. Jede der 1500 Kopien dieser limitierten Edition sind fortlaufend nummeriert.

"Fundamental Sessions" in LA, Feb 4th

Featuring DJs Joseph Dakota, Crimson Twins, Mark Anthony and Will Mancia
Opening set by Drea Stone
This next Wednesday, February 4, from 9pm to 2am @ The Office Lounge (2412 North Broadway, Los Angeles, CA)

"New" CDs by Stan Getz, João Gilberto, Wes Montgomery and Larry Young coming out soon

The LA-based Resonance Records, founded by jazz impresario and recording engineer George Klabin, is preparing the release of two albums (of previously unreleased material) in partnership with the Stan Getz estate. "Moments In Time," a deluxe packaged 1CD/2LP set recorded live during an engagement (from May 11 to 16, 1976) at the famed San Francisco venue Keystone Korner (headed by producer Todd Barkan in the 70s), captures Stan leading a quartet with pianist Joanne Brackeen, bassist Clint Houston, and drummer Billy Hart. Resonance's plans are to release this recording on the same day they will issue "Getz/Gilberto '76," also recorded at the Keystone Korner, with the same band backing Getz and Brazilian bossa nova legend Joao Gilberto.

The illustration of the cover of "Moments In Time" was created by one of the most talented and important illustrators today, Mr. Takao Fujioka. "I first met Takao while in Osaka, Japan last August and was immediately taken by his work. I commissioned him to create this cover and am really happy with the results," says Steve Getz, Stan's beloved son who once toured my native Brazil playing percussion on his father's band (actually this same band heard on the album). Takao-san is also the publisher of the Osaka based jazz magazine, 'Way Out West'. The Jazz Gallery in NYC recently did an exhibition of his work. You can also check out more at Takao's website: http://www.jazgra.com/

Next April 18, to celebrate the Record Store Day, Resonance will be releasing a special issue titled "Selections from Getz/Gilberto '76," available only as a 10-inch vinyl LP. That same day the label will issue a set by guitar wiz Wes Montgomery with pianist Eddie Higgins Trio ("One Night In Indy," cut on January 18, 1959) and another one by master organist Larry Young ("Selections From In Paris: The ORTF Recordings," recorded in 1964 and 1965. Famous for his sessions with Tony Williams and Miles Davis, the late (and much missed) Young will have his full album released probably only by the end of 2015.

The tapes of the January 18,1959 Indianapolis jazz club performance that unites Wes Montgomery & The Eddie Higgins Trio formerly belonged to the late-great Indiana photo journalist, Duncan Schiedt, who passed away in 2014. Members of the Indianapolis Jazz Club that Scheidt co-ran recorded this performance. The trio consists of Higgins on piano, an unidentified bassist (!) and Walter Perkins (who was Ahmad Jamal's trio before Vernell Fournier) on drums.

As Producer Zev Feldman notes, "In 2013, Duncan contacted me about tapes he had of Wes playing with Higgins at a jazz club society that he and a bunch of his friends ran in Indy. The senior members of the club continually passed down this found tape to younger members of the club; Duncan was the last living member, and he passed these tapes onto me. Duncan hoped that these tapes would be released one day in partnership with the family, which is exactly what we've done," with the blessing of Higgins' widow, Meredith D'Ambrosio, whom Feldman found via Sunnyside Records president, François Zalacain.

Feldman adds, "Duncan & I became friends while working on the Echoes of Indiana Avenue project. I'm grateful to Duncan for his lasting friendship and for sharing this with the world to hear. It is nothing short of amazing that after decades of no new Montgomery music, Resonance has brought to light new documents that will help Wes's legacy live on: the upcoming May 2015 release of "In the Beginning" and, thanks to Duncan, One Night In Indy."

This Limited Edition 12" LP (pressing of 2500) will be presented on 180 gram vinyl at 33 1/3 rpm by Erika Records and includes over 40 minutes of music. The six tracks: "Give Me the Simple Life," "Prelude to A Kiss," "Stompin' at the Savoy," "Ruby My Dear," "Li'l Darlin'" and "You'd Be So Nice to Come Home To." With a cityscape view of Indianapolis suggesting a night to be remembered, Burton Yount artistically designed the cover, based on a pic (from the mid 50s) of the Indiana Historical Society.

Another important discovery -- from the National Audiovisual Institute (INA) in France which includes the Office of Radio and Television (ORTF) archives -- "Selections from Larry Young In Paris - The ORTF Recordings," features never-before-released 1964-1965 live & studio recordings from American jazz organist & pianist Larry Young.

This project came about in 2012 when Resonance began to inquire what was in the ORTF archives (now a part of INA, the National Audiovisual Institute). Feldman discovered that these Larry Young recordings had been sitting in their vault for nearly 50 years since the mid '60's. This project tells the story of Larry Young as an American jazz artist living in Paris. Featured artists include Woody Shaw on trumpet, Nathan Davis on saxophones and Billy Brooks on drums plus numerous French artists (Nathan Davis Quartet recordings are included in this release).

This Limited Edition 10" record is pressed on 140 gram vinyl at 33 1/3 RPM by Erika Records (pressing of 1,500). The tracks are "Beyond All Limits," "Luny Tune," "Frame of Thought" and "Larry's Blues." The cover is artistically designed by Burton Yount using a previously unpublished photograph by Francis Wolff/Mosaic Images. In 2015/2016, listeners can look forward to a 2-CD and 3-LP full length edition.

Resonance is also announcing the forthcoming release, next May 12, of Wes' "In The Beginning," a 26-track collection available as both 2-CD & 3-LP sets, as well as digitally. "In the Beginning" is only the third new release of predominantly unheard material from guitar legend Wes Montgomery since his passing in 1968. Recordings include a complete never-before-released 1955 Epic Records session produced by Quincy Jones, licensed from Sony Music Entertainment; newly discovered 78 RPM sides with Wes as a sideman, recorded for Spire Records (1949); a live recording from the home of sister Ervena Montgomery, Indianapolis (1956); live recordings from the Turf Club (1956), the Missile Lounge (1958) in Indianapolis and the C&C Music Lounge in Chicago (1957).

The CD version includes a 55-page booklet of liner notes by 2015 GRAMMY award-winning journalist and noted jazz historian and biographer Ashley Kahn, legendary producer Quincy Jones, guitarist Pete Townshend of The Who and others, alongside rare never-before-published photos from the Montgomery Estate and friends in Montgomery's native Indianapolis.

The 3-LP version is presented on 180-gram vinyl mastered by engineering legend Bernie Grundman, and pressed on 12" LPs at 33 1/3 RPM (by R.T.I.) in a hand-numbered slipcase with an 8-panel booklet. Limited-edition pressing of 1,500. The LP set includes extensive liner notes, as noted above, a digital download card and collector postcards of unpublished photos.

Some past Resonance titles include the critically acclaimed "John Coltrane Offering: Live at Temple University," Charles Lloyd's "Manhattan Stories," Wes Montgomery's "Echoes of Indiana Avenue" and Bill Evans' "Live at Art D'Lugoff's Top of the Gate." Located in Beverly Hills, CA, Resonance Records is a division of the Rising Jazz Stars Foundation, a California 501(c)(3) non-profit corporation created to "discover the next jazz stars." Resonance artists include Richard Galliano, Polly Gibbons, Tamir Hendelman, Christian Howes, Claudio Roditi and Donald Vega, among others.

News From The Jazzinstitut Darmstadt

22 January 2015
Contrast Trio / Vijay Iyer

Markus Wölfelschneider talks to the members of the Contrast Trio, a young band based in Frankfurt, Germany ( Die Welt). They complain about the missing support for jazz in Germany's former "jazz capital" and explain, "Whoever seriously wants to play jazz in Frankfurt, needs to leave town at one point." The young musicians talk about their new CD, about changes in their musical concept over the last years, about playing without written music in front of them, and about a side gig as theater musicians in "Peter Pan", playing pirates sent over board towards the end of the play. --- Phil Gallo talks to the pianist Vijay Iyer about working with the ECM label, about the development of his trio, about communicating with his audience, about using hip-hop elements, about working with an orchestra, and about his teaching concept at Harvard University which tries to link the music with the social realities in the country ( Billboard).


23 January 2015
Ted Efantis / Tulsa, Oklahoma

Lavanya Ramanathan talks to the saxophonist Ted Efantis who is part of the Washington, D.C., jazz scene since the 1950s and recalls the changes in the jazz world over the years ( Washington Post). --- Kevin Canfield reports about the Oklahoma Jazz Hall of Fame in Tulsa which is in financial trouble and has not paid its property insurance which would give the insurance company the legal right to seize the assets ( Tulsa World). At the last moment the Jazz Hall seems to have paid their bills ( Tulsa World).


24 January 2015
Keith Jarrett / Boston, Massachusetts

Sabine Krüger talks to Vera Brandes who was only 18 when she organized a solo concert by pianist Keith Jarrett at the Cologne Opera House in January 1975, the recording of which became a hit for the label ECM ( WDR). The website also contains memories by Vince Mendoza, Ian Carr and Peter Erskine about Jarrett and "The Köln Concert". Max Florian Kühlen talks to Vera Brandes as well ( Rolling Stone). More reports by Jürgen Hein ( Hamburger Abendblatt), H. Piegeler and J. Preuten ( Kölner Stadt-Anzeiger). --- Jed Gottlieb reports about jazz life in Boston, Massachusetts, which allows students and graduates of Berklee College to perform and which has improved considerably, making the city's scene "better than it was a few years ago" ( Boston Herald).

25 January 2015
Eberhard Weber / Pop

Mirko Weber talks to the German bassist Eberhard Weber who turned 75 last week and was celebrated with a star-filled concert at Stuttgart's Liederhalle ( Stuttgarter Zeitung). Weber talks about the joys of performing on stage, about the specific sound he was able to create on his instrument, about his time with Jan Garbarek and one of his greatest fans, the singer Kate Bush, and about life with and without music. Sebastian Scotney ( The Telegraph) and Udo Eberl ( Südwest Presse) attended the concert. --- Robert Siegel talks to Ben Yagoda, the author of a recent book about the time "when pop broke up with jazz" ( NPR). Yagoda explains some of the changes in popular taste in the early 1950s, and then focuses on the success of Mitch Miller's "Sing Along" show and the rebirth of the Great American Song in the late 1950s and early 1960s.

26 January 2015
Branford Marsalis / Diana Krall

Jeremy D. Goodwin talks to the saxophonist Branford Marsalis about his growing classical repertoire, about it taking more discipline to play simple, about Dizzy Gillespie having told him that he felt no blues in his playing, about the need for an awareness of the roots of music, and about the connection between the different styles he worked in ( Boston Globe). --- Adam Jacques talks to the Canadian pianist and singer Diana Krall about a long career necessary to be where she's at now, about working with Paul McCartney and since long having been a fan of Elton John, about having been mentored by jazz musicians and having dreamt as a kid of becoming an astronaut ( The Independent).

27 January 2015
Till Brönner / Herbie Hancock

Christian Kellersmann writes about the German trumpeter Till Brönner's career and his own involvement in it as former Universal general manager, about the success of Brönner's different recordings and his own assessment of it, about getting Rolling Stones drummer Charlie Watts to endorse Brönner and about not being successful in convincing singer Caterina Valente to record a new album with the trumpeter, about changes in Brönner's recent career and his own expectations from the new Till Brönner Orchestra ( Kelly's Diary). Janina Bembenek ( BZ Berlin) and Peter E. Müller ( Berliner Morgenpost) attend the concert with the 20-piece big band at the Tempodrom Berlin. --- The pianist Matthew Shipp reads his colleague Herbie Hancock's new autobiography as a possible explanation of why jazz, as he puts it, "is so fucked up nowadays" ( The Talk House).

21 January 2015
... what else ...

David La Rosa reports about New York's highest court denying Duke Ellington's heirs the right to retry a lawsuit about international royalties against EMI Music Publishing ( The Jazz Line). --- Richard Williams has mixed feelings about the film "Whiplash" ( The Blue Moment). Nick Clark reports about other critical voices about the film from the jazz community ( The Independent), while Nicolas Pillai thinks jazz critics should stop worrying about the movie as it's not about jazz as much as it simply is a horror movie ( The Conversation). --- We used to have a column called "Oh, that's jazz, too". A new thinner aircraft seat named "Jazz" would fit in it perfectly ( AeroTelegraph). --- Peter Hum talks to the Canadian drummer Ken Harper ( Ottawa Citizen). --- Nate Chinen hears the pianist Marc Cary at Ginny's Supper Club in New York ( New York Times).

Obituaries
We read another obituary about the jazz researcher Lawrence Gushee who had died in early January at the age of 83 ( Champaign News-Gazette). --- We learned of the passing of the singer and arranger Ward Swingle at the age of 87 ( Telegraph, Washington Post, New York Times), the Mardi Gras Indians' Big Chief Bo Dollis at the age of 71 ( Jazz Times), the singer Cynthia Layne at the age of 51 ( Indianapolis Recorder), the trumpeter and recording engineer Paul Serrano at the age of 83 ( Chicago Tribune), the British educator Dave Hatfield at the age of 66 ( Yorkshire Evening Post), the rock guitarist Edgar Froese at the age of 70 ( New York Times, Die Welt), and the German jazz researcher Horst P. Bergmeier at the age of 78.

Last Week at the Jazzinstitut

Last Wednesday somewhere between 250 and 300 people attended the hommage to Charlie Parker at Frankfurter Hof in Mainz, performed by the saxophonist Heinz-Dieter Sauerborn and students from the Mainz Music University. Klaus Mümpfer reports for the local newspaper ( Allgemeine Zeitung)

On Sunday we heard a first serenade to the Jazzinstitut's 25th anniversary during the New Year's reception by the city of sciences Darmstadt. We will officially celebrate in September, however, the bassist Jürgen Wuchner, the trumpeter Valentin Garvie and the banjoist Roman Klöcker played music between Monk and space mission (Darmstadt is home to the ESA European Space Operations Center). Our local newspaper reports ( Darmstädter Echo).

Our preparations for the 14th Darmstadt Jazzforum continue. We are collecting suggestions for this international conference which will focus on "Gender and Identity in Jazz", at which we will not just talk about women in jazz, though, but also about the image jazz has developed over the years, both within the jazz world and to outsiders, how they were shaped and how they change.

Arnaldo DeSouteiro Bio / JSR (Jazz Station Records) - Address & Contact Info

            (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 380 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 -- PBS, BET, Universal Cable etc --, 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," released last May, 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, Miles Davis, 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 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 380 albums and sessions featuring: Luiz Bonfa, João Gilberto, Dom Um Romão, Ithamara Koorax, Thiago de Mello, Dexter Payne, João Donato, Palmyra & Levita, Mario Castro-Neves, Jorge Pescara, Paula Faour, Fabio Fonseca, Claudio Roditi, Rodrigo Lima, Hermeto Pascoal, Don Sebesky, Sammy Figueroa, 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.

Mr. DeSouteiro also had the honor to be associated with some of the world's greatest photographers like Pete Turner (who did the cover photo for Jorge Pescara's CD "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.

Jazz Station Marketing & Consulting, JSR Casting, LaCalifUSA Pictures
CEO & Founder: Arnaldo DeSouteiro
Address:
JSR - LA
9930 Liebe Dr.
Los Angeles, CA 90210

JSR - NY Address:
Arnaldo DeSouteiro
PO Box 1338
Radio City Station
New York, NY 10003

Jazz Station Records (JSR), a division of Jazz Station Enterprises
CEO & Founder · Los Angeles ·
Address:
Arnaldo DeSouteiro
Jazz Station Records - LA
1545 Wilshire Blvd.
Los Angeles, CA 90017
JSR - NY
PO Box 1338
Radio City Station

(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!)
https://www.facebook.com/arnie.gilberto

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 – Biografia ultra-resumida 

Produtor de discos, com cerca de 380 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, Diana Krall, Ithamara Koorax, Marcos Valle, Eumir Deodato, Bjork 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, BET e PBS nos EUA, NHK no Japão (Diana Krall, João Gilberto, CTI All Stars, Dave Brubeck etc).

Nascido no Rio de Janeiro (Brasil) em 1963, radicado em Los Angeles (EUA) desde 1999. Estudou piano clássico e harmonia com sua mãe, a pianista e maestrina Delza Agricola. É membro da Associação Brasileira de Imprensa (ABI) 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 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, 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, Gazzara, Eumir Deodato, Azymuth, Marcio Montarroyos, Sivuca, Laudir de Oliveira, Marcos Valle, David Matthews, Gene Bertoncini, John McLaughlin, Raul de Souza, Hermeto Pascoal, Gonzalo Rubalcaba 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 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 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 e Carlos Barbosa Lima. 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).

Endereço para correspondência:
Jazz Station Marketing & Consulting, JSR Casting, LaCalifUSA Pictures
CEO & Founder: Arnaldo DeSouteiro
Address:
JSR - LA
9930 Liebe Dr.
Los Angeles, CA 90210

JSR - NY Address:
Arnaldo DeSouteiro
PO Box 1338
Radio City Station
New York, NY 10003

Jazz Station Records (JSR), a division of Jazz Station Enterprises
CEO & Founder · Los Angeles ·
Address:
Arnaldo DeSouteiro
Jazz Station Records - LA
1545 Wilshire Blvd.
Los Angeles, CA 90017
JSR - NY
PO Box 1338
Radio City Station