Arnaldo DeSouteiro Bio

Arnaldo DeSouteiro – Biografia ultra-resumida 

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

Roteirista de shows (João Gilberto, 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) e da Ordem dos Músicos do Brasil (OMB) desde 1979, membro catedrático titular efetivo da Academia Internacional de Música desde 1985, membro votante do Grammy-Naras (National Academy of Recording Arts & Sciences) desde 2006, membro votante da Los Angeles Jazz Society (único brasileiro) desde 2007, e também único brasileiro que é membro votante da Jazz Journalists Association (sediada em Nova Iorque) desde 2002. Atua como consultor e parecerista para diversas empresas, centros culturais e festivais de música no Brasil e no exterior.

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

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

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

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

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

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

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

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

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

Atuou como entrevistador 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).  

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

Jazz Station Records (JSR), a division of Jazz Station Enterprises
CEO & Founder · Los Angeles 

            (Arnaldo DeSouteiro during a recording session in 2014)

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

Arnaldo DeSouteiro - Short Bio

Music Producer (with over 530 albums to his credit according to the All Music Guide), Voting Member of NARAS-GRAMMY and Jazz Journalists Association (NY), Member of LAJS (Los Angeles Jazz Society), Musical Philosopher, Journalist, Jazz & Brazilian Music Historian, Publicist, Public Relations, Composer (having written successful jazz & pop songs, some dance hits like "O Passarinho" for the Italian TV reality show "La Pupa e Il Secchione", and "Samba da Copa" for the "2006 World Cup" in Germany, plus many other soundtracks for movies, soap operas & TV series in the USA -- 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 530 albums and sessions featuring: Luiz Bonfa, João Gilberto, Dom Um Romão, Thiago de Mello, Dexter Payne, João Donato, Palmyra & Levita, Mario Castro-Neves, Jorge Pescara, Paula Faour, Fabio Fonseca, Claudio Roditi, Rodrigo Lima, Hermeto Pascoal, Ithamara Koorax, Don Sebesky, Sammy Figueroa, Bjork, Anna Ly, Carlos Barbosa-Lima, Pascoal Meirelles, Yana Purim, Pingarilho, Nelson Angelo, Marcelo Salazar, Ron Carter, Antonio Carlos Jobim, Steve Swallow, Herbie Hancock, Hugo Fattoruso, Larry Coryell, Sadao Watanabe, Jurgen Friedrich, Eloir de Moraes, Gazzara, Deodato, Jadir de Castro, Azymuth, Marcio Montarroyos, Sivuca, Laudir de Oliveira, Marcos Valle, Jay Berliner, George Young, David Matthews, Lew Soloff, Alphonso Johnson, Gene Bertoncini, John McLaughlin, Claus Ogerman, Raul de Souza, Gonzalo Rubalcaba and many others.

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

Mr. DeSouteiro also had the honor to be associated with some of the world's greatest photographers like Pete Turner (who did the cover photos for Rodrigo Lima's "Saga" and Jorge Pescara's "Grooves in the Temple," released on his own JSR label and featured on Turner's new book "The Color of Jazz"), Victor Skrebneski (the CD reissue of "Upchurch/Tennyson"), Bruce Weber (Esther Phillips' "For All We Know"), Robert Mappelthorpe ("Brazilian Horizons"), Alen MacWeeney, William Cadge, and Duane Michals (many of the CTI CDs) and so on. He has appeared in several movies and TV series such as the Award Winning documentary movie "Beyond Ipanema," for which he was interviewed alongside Creed Taylor, Lalo Schifrin, Wayne Shorter, Gene Lees and Norman Gimbel.

Jazz Station Marketing & Consulting, JSR Casting, LaCalifUSA Pictures
CEO & Founder: Arnaldo DeSouteiro

Jazz Station Records (JSR), a division of Jazz Station Enterprises
CEO & Founder · Los Angeles ·

(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... 

Kristin Korb & Friends in Southern California, April 20-24

Kristin Korb is back in California with Los Angeles' finest for 5 concerts this month, featuring Patrice Rushen (piano) and Aaron Serfaty (drums). It is going to be a continuous party through Southern California. You'll get a first hand sneak peak of her new material!

20 April Rancho Mirage Library
21 April The Merc, Temecula
22 April House Concert, LA
23 April Alvas, San Pedro
24 April House Concert, San Juan Capistrano

Sonny Rollins' "Holding the Stage: Road Shows Vol. 4" out April 15

For his new album "Holding the Stage: Road Shows Vol. 4," the great tenor saxophonist Sonny Rollins once again taps into his vast archives of his own concert recordings to compile superior performances for release in the acclaimed Road Shows series. The album encompasses some 33 years (1979-2012) yet coheres with all of the compelling logic and narrative force of an extended Sonny solo.

"Holding the Stage," to be released by Doxy Records  digitally April 8 and on CD April 15, the second album in a distribution agreement with Sony Music Masterworks and its jazz imprint OKeh, is truly a treasure chest that includes tunes Rollins has never before recorded and musical relationships previously undocumented. “This album consists of various periods of my career, with something for everybody,” says Rollins. “It’s who I am, and the music represents just about every aspect of what I do.”

Three Rollins originals pay tribute to departed friends and colleagues. The soulful blues “H.S.,” for Horace Silver, has been a concert staple since its appearance on Sonny’s 1995 Milestone album "Sonny Rollins +3." Saxophonist/arranger Paul Jeffrey, who died last year at 81, is remembered in the funky “Professor Paul,” a new composition making its recorded debut here. Of “Disco Monk,” from 1979’s "Don’t Ask" (Milestone) and rarely performed since, Rollins told CD annotator Ted Panken: “It was disco-disco-disco then, everywhere you went, but I heard something juxtaposed with [Thelonious] Monk within this disco craze, and I wanted to meld them in a way that both styles would be themselves and yet be one.”

Another highlight is a previously unreleased 23-minute medley (and concert closer) from his September 15, 2001 Boston performance, most of which had been immortalized in Rollins’s final Milestone album, the Grammy Award-winning "Without a Song: The 9/11 Concert."

“Sweet Leilani,” introduced on his "This Is What I Do" album of the year before, morphs into a richly evocative solo cadenza and an epically ecstatic “Don’t Stop the Carnival.”

In the Harlem of his youth, Rollins told Panken, “music was happening on every street corner. So the idea of ‘keep the music going’ is in that song. Don’t stop the carnival. In the case of 9/11, that was especially  prophetic.”

Since launching his Doxy Records imprint in 2006 with the Grammy-nominated studio album "Sonny, Please," Sonny Rollins has been turning to his concert recording archive dating back nearly 40 years for release on the label. The selections in Volume 1 (2008) spanned nearly three decades and included a trio track from the saxophonist’s 50th-anniversary Carnegie Hall concert, while Volume 2 (2011) focused primarily on his historic 80th-birthday concert at New York’s Beacon Theatre. Volume 3 (2014) marked the first recording of “Patanjali” and hinged on a stunning 23-minute excavation of Jerome Kern’s “Why Was I Born?”

"Holding the Stage: Road Shows Vol. 4" was produced by Rollins and his longtime engineer, Richard Corsello. Personnel includes trombonist Clifton Anderson; pianists Stephen Scott and Mark Soskin; guitarists Bobby Broom, Peter Bernstein, and Saul Rubin; bassists Bob Cranshaw and Jerome Harris; drummers Kobie Watkins, Perry Wilson, Victor Lewis, Jerome Jennings, Al Foster, and Harold Summey Jr.; and percussionists Kimati Dinizulu, Sammy Figueroa, and Victor See Yuen.

Website: sonnyrollins.com
EPK: doxyrecords.com

Album Purchase Links
iTunes - http://smarturl.it/sr-road-vol4
Amazon - http://smarturl.it/sr-road-vol4-cd

Cecilia Coleman Big Band returns to Gillespie Auditorium, April 12

Join us when NY welcomes back Cecilia Coleman's exciting Big Band at Jazz Tuesdays on Tuesday, April 12. There will be two shows at 8:00 and 9:30pm. For advanced sales and information call 212-222-5159. Admission is $15, $10 for Students.

In 2010, Cecilia became a big band leader of significance. She told her friend, trumpeter/music publisher Don Sickler, that she'd love to pen some big band arrangements and asked for his thoughts. "The most helpful thing that Don said to me," she recalls, "was to make sure that I started with a sketch. I looked at my quintet arrangements and realized that they all had potential for a big band. I wrote two arrangements right away - and then things snowballed."

After having written many arrangements in a short period of time, Cecilia naturally wanted to hear what the music sounded like, so she recruited her own ensemble. "What essentially started as a rehearsal band quickly turned into a serious endeavor, due in large part to the overwhelming support I received from other musicians. After rehearsals, they'd phone or write to say how much they enjoyed my music and tell me that I had to keep this thing going. They've been extremely supportive and enthusiastic, which makes this extremely rewarding for me. In fact, the big band has become the love of my life."

With New York's pool of accomplished jazz players to choose from, she expanded her arranging scope and palette. The eighteen-member CeciliaColeman Big Band, which includes six saxophonists (one of them a fulltime soprano player) has a regular gig at The Garage in Greenwich Village. They've also played at Zinc Bar, Fat Cat, the Baha'i Center, Trumpets and the Saint Peter's Church "Jazz At Midday" concert series.

"Oh Boy," the band's debut recording, recorded at Rudy Van Gelder's famed New Jersey studio, was released in 2011 on the PandaKat label.  "Cecilia has done a lot of work for me," says Sickler, who served as producer.  Though it's really tough to have a big band these days, she works extremely hard.  She's determined to do this thing and will never give up!"

In short, Cecilia Coleman has developed into an exceptional composer whose distinctive, varied pieces reflect where jazz has been - and where it is going.
www.ceciliacolemanbigband.com

Tickets will be sold at the door,or call 212-222-5159 for reservations and information.
For more about acts at "Jazz Tuesdays", check out their website at www.jazzbeat.com

Jazz Tuesdays
in the John Birks Gillespie Auditorium
The New York Baha'i Center
53 East 11th Street (between University Place & Broadway)
Two shows: 8:00 and 9:30 p.m.

Spin Cycle to Release Debut CD on May 6

With its strong melodies, tight rhythms, intriguing textures, and sophisticated interplay, Spin Cycle has got everything covered. What makes the band special is how everything fits together -- or, by intention, doesn't. For listeners and band members alike, every tune is an adventure.

Spin Cycle is the new quartet co-led by drummer Scott Neumann and tenor saxophonist Tom Christensen -- and also featuring fellow veterans of the New York jazz scene Pete McCann on guitar and bassist Phil Palombi -- whose self-titled debut CD will be released by the leaders' Sound Footing Records on May 6.

Spin Cycle boasts six compositions by Christensen, a consummate multi-instrumentalist who mostly plays tenor saxophone here, and four by Neumann. Having performed in all kinds of settings including the Vanguard Jazz Orchestra, the Jazz Mandolin Project, the Gil Evans Project, Madeleine Peyroux's touring group, Broadway pit bands -- and Cheap Trick -- the co-leaders know how to dig deep, swing hard, and put a shine on a ballad.

After finishing a CD of his own in 2013 with Michael Blake and Mark Helias [the Neu3 Trio's Blessed], Neumann "got the thought of collaborating on an ongoing basis with musicians I liked and respected -- with friends who would get along sharing business responsibilities as well as creative ones.

"I naturally thought of Tom. In addition to playing together, and playing with many of the same musicians, we've spent a lot of time backpacking and hiking together. He had tunes, I had tunes. They went well together because we share a lot of the same musical influences."

Once they decided on the format of the band, getting McCann on board was the next step. Neumann has played with the Wisconsin native for more than 30 years, going back to their days at North Texas State (now the University of North Texas). And Christensen had played with the guitarist in Maria Schneider's big band. Palombi, a gifted bassist with whom Neumann had played in trumpeter Bill Mobley's big band during their four-year run at Smoke, was the final inspired piece to fall into place.

Spin Cycle outdoors: saxophonist Tom Christensen, drummer Scott Neumann, guitarist Pete McCann, bassist Phil Palombi.

Spin Cycle is bookended by lighthearted tunes inspired by the composers' daughters. Neumann's "Rainbow Shoelaces" features a simple melody and funky B section. Christensen's "Hamsters, Hamsters" is a straight-ahead, uptempo minor blues.

The title track, written for this session by Christensen, shows off a deeper and more complex side of the band via its intricate and varied cycle of chord changes. Neumann's "Crystalline," which features McCann on nylon-string guitar, is distinguished by its lingering over-the-top melody. And then there's the punk rock-like composition, "Smart Aleck," with its bellicose guitar opening and other aggressive effects. "This lineup gives us a lot of room to try out different things," says the drummer.

Born in 1962 in Bartlesville, Oklahoma, Scott Neumann started on the drums as a youngster and was exposed to what we now call classic rock by his older brother. Scott eventually found his way to the jazz-rock fusion of bands including Weather Report and Return to Forever.

Neumann went on to blossom in the esteemed music program at North Texas State and moved to New York in 1988. He's been a busy player on the New York scene ever since, playing with such luminaries as Kenny Barron and Ben Allison and accruing impressive credits as a vocal accompanist (for Ann Hampton Callaway, among others), Broadway musician (he made Swing!swing), and instructor (he directs the drum studies program at Lehigh University).

Tom Christensen was born in 1961 in Ventura, California. Like Neumann, he was drawn to rock early on; he became interested in jazz-rock fusion and straight-ahead jazz while attending high school in the Napa Valley. Frequenting clubs in nearby San Francisco, he heard such legends as Sonny Stitt, Dexter Gordon, and Art Blakey and had the opportunity to take private lessons from tenor saxophone great Joe Henderson.

Christensen attended the Eastman School of Music in Rochester, New York, studying classical music as well as jazz on both undergraduate and graduate levels. Since moving to the New York City area in 1989, he has established himself as a go-to player in jazz and commercial settings. For eight years, he was a member of the Toshiko Akiyoshi Jazz Orchestra, appearing on five of their albums. He also has played on recordings by Joe Lovano, Don Sebesky, and the David Liebman Big Band. Christensen, who is on the faculty of the Fieldston School in New York, first recorded as a leader in 2000 (Gualala).

Spin Cycle will be performing a CD release show at Smalls in New York on Friday 5/6, as well as a mini-tour taking them to the Jazz Room in Waterloo, Ontario, 6/25; the Rex in Toronto. 6/26; and the Rochester (NY) Jazz Festival, 6/27.

"After playing with Scott for many years around New York," says Christensen, "I'm really excited about our new band Spin Cycle. We are both committed to the band and its musical vision. This is the first in what will be a long line of great recordings."

Scott Neumann & Tom Christensen: Spin Cycle EPK

Listen: soundcloud.com/spin-cycle-3

  

Web Sites: 

spincyclemusic.org, scottneumannmusic.com, tomchristensenmusic.com

Record Store Day @ Other Music, April 16

RECORD STORE DAY 2016: SATURDAY, APRIL 16

We're just about a week away from Record Store Day 2016! As always, Other Music will have a ton of amazing and very limited RSD exclusives on hand, and keeping in the spirit of the day, there will be no pre-orders, holds or mail order for RSD releases. Just come on by Other Music on Saturday, April 16 and join us for this annual celebration of indie record stores!

15 East 4th Street, NYC, NY
Ph: (212) 477-8150

Mike Longo's Funk Band @ Trumpets Jazz Club in Montclair, NJ, April 9

Mike Longo's funk band is playing Trumpets Jazz Club in Montclair, NJ on April 9. Featuring Christian Fabian, Sam Burtis (yessss! the trombone master who recorded those fiery solos on Deodato's "Havana Strut" and "Amani" in the 70s), Bryan Davis, Mike Campenni & Daniel Walsh. Not to be missed, specially if you are a fan of Longo's cult albums from the 70s!

MIKE LONGO FUNK BAND
April 9, 2016 @ 8:00 pm – 11:00 pm
Trumpets Jazz Club
6 Depot Square
Montclair, NJ

COST: $20 pp music charge $12 pp minimum

Mike Longo Funk Band
Daniel Walsh -tenor & soprano sax
Bryan Davis -trumpet
Sam Burtis -trombone
Mike Longo -keyboard
Christian Fabian -bass
Mike Campenni -drums

Mike Longo has performed with a list of jazz legends that include Cannonball Adderley, Henry Red Allen, Coleman Hawkins, George Wettling, Gene Krupa,  Nancy Wilson, Gloria Lynn, Jimmy Witherspoon, Joe Williams, Jimmy Rushing, James Moody, Brazilian singer Astrud Gilberto (on her "Now" album for Perception) and many others.

It was in the mid-60s when Longo’s trio was playing at the Embers West, that Roy Eldridge told Dizzy Gillespie about this new pianist he had heard.  Dizzy came to hear him play and soon asked him to become his pianist. This started a life-long musical relationship and friendship. From 1966 through 1975, Longo worked exclusively as Dizzy’s pianist and musical director.

Mike left the Gillespie group officially in 1975 to venture out on his own, but continued to work for Gillespie on a part-time basis until his death in 1993. Since that time Mike has recorded numerous albums and CDs on various labels with some 45 recordings with artists such as Gillespie, James Moody etc. At present he has over 20 solo albums to his credit. He is sought after as a music instructor and is in demand for jazz clinics and concerts at universities and music schools throughout the world, and has appeared at the Lincoln Center’s new jazz room “Dizzy’s Club Coca-Cola.”  

Longo is founder and President of Consolidated Artists Productions (CAP), an independent recording label, that has released great albums by Russ Kasoff, Mark Sherman, Wally Dunbar, and the late Havana Carbo, among others.

Acoustic Guitar Instros + Muzak-Style for $1,000 Placement

Do you have any music that would work for these requests?
1. Reflective Acoustic Guitar-Based Instrumentals with some Spanish influence for a 5-Star Music Licensing Company that has a great track record of placing music by TAXI members in Film, TV, and Commercials.
2. Original, Kitschy, Muzak-Style Instrumentals for a Non-Exclusive, $1,000, Direct-to-Supervisor placement in a Hit TV Series.

REFLECTIVE ACOUSTIC GUITAR-Based INSTRUMENTALS with some Spanish influence are needed by a 5-Star Music Licensing Company that has a great track record of placing music by TAXI members in Film, TV, and Commercials. They’re on the hunt for well-executed, full-length, Down-to-Mid-Tempo Instrumentals in the general stylistic wheelhouse of the extremely talented artist, Gustavo Santaolalla. Please listen to the reference tracks they gave us to get in the general vibe of what they need:

“Partida del Leprosario” (from The Motorcycle Diaries) by Gustavo Santaolalla
“Alma” by Gustavo Santaolalla
“Cordon de Plata” by Gustavo Santaolalla

Quoting the source: “We’d like quiet, intimate, reflective, and moody acoustic guitar with a Spanish flavor. It should have an organic sound, with a sparse, atmospheric sound. Real, authentic instrumentation only. A great example would be the Gustavo Santaolalla pieces on the The Motorcycle Diaries soundtrack.”

TAXI Tip: they are NOT looking for copies or rip offs of Gustavo Santaolalla. Just ask yourself, “Would somebody who loves Gustavo’s work also love this?” if the answer is “Yes,” you’ve got what they need!

Please submit intimate, airy, sparse, atmospheric Instrumentals with a well-performed Nylon or Gut-String Guitar as the primary focus, and a little Latin flavor to boot. Authenticity is important for this pitch, so please only use organic sounding instrumentation, typical of the references above. Light, delicate string parts (violin, viola, or cello) could work, but they’re not necessary. Anything that sounds stiff, synthetic, or MIDI-driven won’t work well for this pitch. Keep your melodies on the simple, sparse side, and shy away from anything that’s busy or frenetic. No fades, please. A natural ending on the root note with the guitar’s ring out and reverb’s decay should do the trick.

Your submissions should be at least 2 minutes in length. Do NOT copy or rip off the referenced artist or music in any way, shape, or form. Use the reference tunes only as a general guide for tempo, texture, tone, and vibe. Broadcast quality is needed (great sounding home recordings are fine.

This Library offers an EXCLUSIVE deal, so the material you submit for this pitch CANNOT be signed with any other publishers or catalogs. Sync fees will be split 50/50. The Publisher will get the Publisher’s share, and you’ll get the Writer’s share. You must own or control your Master and Copyright to pitch for this opportunity. Please submit one to three Instrumentals 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 Saturday, April 16th, 2016. TAXI #U160416GI

Now, Part 2:
ORIGINAL, KITSCHY, MUZAK-STYLE INSTRUMENTALS are needed for a NON-Exclusive, $1,000, Direct-to-Supervisor placement in an extremely popular, Award-Winning TV Series. They’re hunting for Mid-Tempo Instrumentals that you’d expect to hear coming out of those cheesy ceiling mounted speakers in your dentist’s office. Please listen to the compilation they gave us to get an idea of what could work for this pitch:

Elevator Music – MUZAK – Stimulus Progression

Quoting the source: “Looking for some Mid-Tempo Muzak background source music to place in a dental office scene. It can be elevator style or jazz.”

Give them original, well-performed Instrumentals that instantly sound just cheesy enough that anybody who hears it would instantly think, “Elevator Muzak!” MIDI sounds are fine for this pitch, but not so much that it feels too stiff or robotic. Repetitive, memorable hooks will work really well for this pitch. Please avoid submitting Instrumentals that are frenetic so you don’t distract from any dialog in the scene. Think, mellow, pleasant and relaxing Instrumentals, possibly with lush strings and some muted trumpet. Make sure you listen all the way through the reference to hear a range of possibilities. Your submissions should be between 1:30 to 3:00 minutes in length. Broadcast Quality (in the context of cheesy Muzak-style) is needed.

The estimated license fee for this placement is $1,000, depending on the ultimate placement. This is a Non-Exclusive, Direct-to-Music Supervisor placement, so you’ll get 100% of the sync fee, you’ll keep 100% of your Publishing and Master ownership, and you’ll also get 100% of any applicable performance royalties. You must own or control the Master and Copyright to pitch for this opportunity. 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 Songs no later than 11:59PM (PDT), on Sunday, April 10th, 2016. TAXI #U160410MZ

For further details, please visit www.taxi.com
Good luck!

Sarah Neufeld performs @ Other Music in NY

SARAH NEUFELD
FRIDAY, APRIL 15
Le Poisson Rouge
158 Bleecker St., NYC

Next Friday, Montreal violinist and composer Sarah Neufeld (Arcade Fire, Bell Orchestre) will be performing at Le Poisson Rouge, joined by renown saxophonist and collaborator Colin Stetson who will be sitting in on her set.

NYC’s Eartheater opens the night making for a must-see show that lovers of adventurous sounds won’t want to miss.

Other Music is giving away one pair of tickets and to enter, just email giveaway@othermusic.com

Kenny Barron Trio's date in Beverly Hills, on April 16, selling out fast

Catch NEA Jazz Master Kenny Barron in the 1st Movable Feast at the new Wallis Annenberg Center. Promoted by Jazz Bakery.
Tickets going fast. Special number: 310 746-4000

Kenny Barron - Saturday, April 16, 2016 - 8:30pm
Tiered pricing $25 to $55

THE KENNY BARRON TRIO
KENNY BARRON - piano
KIYOSHI KITAGAWA - bass
JOHNATHAN BLAKE - drums

VENUE: The Wallis Annenberg Center for the Performing Arts
9390 N. Santa Monica Blvd. Beverly Hills, CA 90210
Wallis Direct ticket Line: 310 746-4000

The Wallis Theatre is an extraordinary reworking of the Beverly Hills post office.
Self Park $8 Valet $16.
Street and city parking also available.
KJAZZ 88.1 - official media sponsor.

R.I.P.: Gato Barbieri (1932-2016)

(born Leandro J. Barbieri on November 28, 1932 in Rosario, Argentina;
died on April 2, 2016 in New York, NY, USA)

Sad, sad, sad, very sad news. Less than one month after the death of percussionist Naná Vasconcelos, with whom he established a solid collaboration documented in such albums as "Fenix" and "El Pampero" in the early 70s, now Gato is gone too. At age 83. The cause was pneumonia. He had great technique, but the most important thing was that he played soaring melodies with visceral beauty, his huge tone reflecting his huge heart, always with great emotion and passion. Something that, unfortunately, is now "out of fashion," outdated in the aseptically technical contemporary jazz world.

Gato's most popular effort is the marvelous soundtrack for one of Bernardo Bertolucci's masterpieces, "Last Tango In Paris," but his fantastic body of work goes far beyond that movie, including the superb albums he recorded for the Flying Dutchman and Impulse! labels from 1970 to 1976 with such sidemen as Stanley Clarke, Ron Carter, Jorge Dalto, Lonnie Liston Smith, Grady Tate, Paul Metzke, Chuck Rainey, Bernard Purdie, Lenny White, Chico O'Farrill, John Abercrombie and Dino Saluzzi.

Besides Naná, he recorded with Brazilian drummers and/or percussionists Airto Moreira, Portinho, Guilherme Franco, Mayuto Correa, Paulinho da Costa and Cyro Baptista. Gato loved Brazilian music so much that he recorded tunes by Sergio Ricardo ("Zelão"), Jorge Ben ("Maria Domingas"), Pixinguinha ("Carinhoso"), Ary Barroso ("Brazil" aka "Aquarela do Brasil"); from Villa-Lobos' classical masterpiece ("Bachianas Brasileiras #5") to samba gems by Geraldo Pereira ("Falsa Baiana") and Ismael Silva (a haunting rendition of "Antonico".)

He visited Brazil many times during that period, to the point that, in 1973, decided to cut half of the "Chapter Two: Hasta Siempre" album at the Odeon Studios in Rio, inviting such musicians as guitarists Neco and Helio Delmiro, bassist Novelli, and drummer Paulo Braga, plus unidentified percussionists that were members of a "Escola de Samba de Niteroi" (Niteroi Samba School.)

Later on, in 1978, Gato covered Caetano Veloso's "Odara" on his "Tropico" album, one of his best dates for A&M along with "Ruby, Ruby" (that includes a stunning version of Stevie Wonder's "Es Una Historia") and "Euphoria." Herb Alpert, a big fan of Gato, produced most of those sessions, assembling musicians like Gary King, Steve Gadd, Lee Ritenour, Paulinho da Costa, David Spinozza, Joe Caro, Jon Faddis and Lew Soloff.

During the 80s and 90s, he recorded for Fania, Doctor Jazz and Columbia ("Qué Pasa," from 1997, included Romero Lubambo and Cyro Baptista.) In 2010, he released in his native Argentina, "New York Meeting," a session of jazz standards (by Miles Davis, Bill Evans, Thelonious Monk, John Coltrane) recorded for the Melopea label with Carlos Franzetti, David Finck, and Nestor Astarita. And he continued to perform concerts until recently, always wearing his trademark fedora hat. Rest in Peace.

Vinyl Reissue of the Month - "Ron Carter: All Blues"

Vinyl Reissue of the Month
Ron Carter: "All Blues" (CTI/Pure Pleasure) 1974/2016

Rating:
***** (musical performance)
**** (recording & mix, new pressing)

Reissue Date: March 24, 2016
Distributed by Speakers Corner

Produced by Creed Taylor
Recorded (October 24, 1973) & Mixed by Rudy Van Gelder @ Van Gelder Studio (Englewood Cliffs, New Jersey, USA)
180gram vinyl Pressed by Pallas (Germany)
Mastered by Ray Staff @ AIR Mastering
Audiophile Limited Issue
Cover Photo: Alen MacWeeney
Album Desugn: Bob Ciano

Featuring: Ron Carter (acoustic bass & piccolo bass), Roland Hanna (acoustic piano), Richard Tee (Fender Rhodes electric piano on track A3), Billy Cobham (drums) & Joe Henderson (tenor sax)

Released in early 1974, but recorded in a single day session on October 24, 1973, apparently with no out-takes, "All Blues," Ron Carter's second solo album for CTI is being reissued on an audiophile vinyl by Pure Pleasure Records, and licensed through Sony Music, who handles the rights to the CTI catalog from 1970 to 1979.

Ron, heard on both acoustic & piccolo basses, leads an impeccable quartet with Roland Hanna (acoustic piano), Billy Cobham (drums, plus tambourine on "117 Special" only) and Joe Henderson's glorious tenor sax, with Richard Tee (Fender Rhodes) guesting on the lightly funky "117 Special."

Top tracks: "Light Blue" (actually, a haunting ballad that fits like a glove for Hanna's romantic Chopinesque style), "Rufus," Miles Davis' "All Blues" and Matt Dennis/Tom Adair's standard "Will You Still Be Mine," (originally a hit for the Tommy Dorsey Orchestra in 1941, with vocalist Connie Haines) and here turned into solo number for the leader. Ron Carter was voted Bassist of the Year in Downbeat’s Readers’ Poll in 1973, 1974 and 1975, highlighting his work with CTI.

It's also interesting the note the low-profile concept of the cover conceived by CTI's art director Bob Ciano for this album, in perfect sync with the mainstream jazz mood of its content, using a discreet pic by master photographer Alen MacWeeney in the front cover, instead of the usual Pete Turner's exuberant shots. And, curiously, the liner photo (by Dean Brown) doesn't comes from the recording session, but from a live concert performed by Ron as a member of the CTI All Stars some months earlier.

CTI's expert Doug Payne wrote a beautiful text about this reissue:
http://dougpayne.blogspot.com/2011/01/celebrating-cti-records-40th.html

"Bassist Ron Carter had long been Creed Taylor’s first-choice bassist on record dates stretching as far back to the classic Gil Evans recording Out of the Cool in 1960. Carter was the first bass choice for many Creed Taylor productions throughout the 1960s for the Impulse, Verve, MGM and A&M/CTI labels, even while the bassist was recording and touring as part of the Miles Davis Quintet. And it was Ron Carter’s dulcet tones and swinging accompaniment on the double bass that drove nearly every CTI album since 1970 into the overdrive that its soloists are often given sole credit for.

Surprisingly, though, Ron Carter’s second CTI recording, All Blues, fell well below the radar. It was hardly noticed when it was first issued in early 1974 (his 1973 CTI debut, Blues Farm, which was hardly a hit, still remains better known). Interestingly, it’s probably among the best of the albums the bassist waxed for the CTI label between 1973 and 1976. This is due in no small measure to the commanding presence of tenor saxophonist Joe Henderson on “A Feeling,” “117 Special,” “Rufus” and “All Blues.” Carter here also solidifies a simpatico musical kinship with pianist Roland Hanna, who he’d first played with on a European tour in 1969. Hanna is especially featured on the florid trio feature, “Light Blue” (not the Monk piece), as well as Carter’s bop-y “Rufus” (not the Archie Shepp piece). Not surprisingly, Ron Carter dominates the proceedings, with his especially distinctive bass helming any number of attractive solo features (not to mention the overdubbed bass “solo” of “Will You Be Mine”)." ~ Doug Payne/Jazzonline
*************
"One of bassist Ron Carter's better albums as a leader, this CTI LP features a very compact quartet comprised of tenor saxophonist Joe Henderson, pianist Roland Hanna (keyboardist Richard Tee sits in on one number), drummer Billy Cobham and Carter. All of the music (even the ballad "Will You Still Be Mine?") has a blues feeling although several are not really blues. However, the quality of the solos is high, and this date lives up to one's expectations." ~ Scott Yanow/AMG

"Ron Carter's "All Blues" is one of the greatest recordings of the '70s and a perfect introduction to jazz for those who don't know it, or don't think they would want to. The musicianship is flawless, the recording quality is tops, and the music performed on a single afternoon in October 1973 by Joe Henderson, Billy Cobham, Richard Tee, Roland Hanna and the leader just keeps getting better with age. Nearly 40 years on it still rewards every time." ~ Eric May

Vocal CD of the Month - "Oriente Lopez: Abracadabra"

Vocal CD of the Month
Oriente Lopez: "Abracadabra" (OHL Music 003) 2016

Instrumental Jazz CD of the Month - "Shunzo Ohno: ReNew"

Instrumental Jazz CD of the Month
Shunzo Ohno: "ReNew" (Pulsebeats Records) 2016

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

All tracks composed & produced by Shunzo Ohno
(except "Song For Sensei," composed by Buster Williams)
Executive Producer: Pulse 21 Inc.
Recorded by Tom Tedesco (Tedesco Studio) and Danny Kapidus (Pod Noise Recording Studio)
Mixed & Mastered by Dave Darlington (Bass Hit Recording)
Photos: Keiko Yoshizumi
Graphic Designer: Anne Hasegawa/Zerofive Design
Artwork: Eiko Miyazaki
Art Caligraphy: Yukiko Ishihara

Featuring: Shunzo Ohno (trumpet), Clifford Carter (keyboards), Buster Williams, Ed Howard & Ira Coleman (bass), Billy Drummond & Jerome Jennings (drums), Cyro Baptista (percussion), Paul Bollenback (guitar), Ray Spiegel (tablas), Sasha Ono (cello), George Yamazawa (rap & spoken words vocals)

Tonight, April 1st, at 7pm, trumpeter extraordinaire Shunzo Ohno celebrates the release of "ReNew" (his 16th album as a leader) at Leonard Nimoy Thalia @ Peter Norton Symphony Space, located at 2537 Broadway at 95th Street, New York, NY 10025.

Tickets, which range $25-35, are available by visiting www.symphonyspace.org or by calling 212-864-5400.
***********
"This recording is dedicated to the families and communities of Norhern Japan, Nepal, and all who have experienced their greatest challenge," Shunzo Ohno writes in the digipak booklet. "Recovery is our united journey to discovery. Let's live undefeated, as we transform, renew and inspire a magnificent future for all."

I was introduced to Ohno's artistry in the mid-70s, through his recordings with Norman Connors, Sadao Watanabe, and, later, with David Matthews and Gil Evans; mostly on Evans' live dates with his Monday Night Orchestra, but also on a wonderful session by the supreme arranger with Helen Merrill for EmArcy alongside my friends Joe Beck, Jay Berliner, and Lew Soloff. On that album, "Collaboration," the bassist was Buster Williams, one of the main collaborators on Ohno's brilliant new CD, "ReNew."

After facing many health issues, the trumpeter is back on the block with a fascinating album. Although Ohno is his own man, Miles Davis lives on the project as a huge influence, specially when the man with the horn applies electronic devices like the wah-wah pedal.

And Ohno's connection with Williams and guitarist Paul Bollenback provide moments of great intensity such as the joyful opener "Easy Does It," with Ohno's trumpet floating over infectious hip-hop grooves.

Likewise, the trumpet/piano interaction with Cliff Carter (who was David Matthew's keyboardist in the late 70s) on the haunting ballad "Alone, Not Alone" -- written after the 2011 tsunami in Japan -- is one of the album highlights, a quiet ode of encouragement to the those affected by the terrible natural disaster. Both reach the peak of expressiveness, with Carter adding extra colours through the use of synthesized flute and strings.

"Song For Sensei," written by Buster Williams, is dedicated to the bassist's mentor, Daisaku Ikeda ("Sensei" means "teacher" in Japanese.) With their 40-year friendship, Ohno and Williams unite stretching the melody, but also give space to a sharp guitar solo by Bollenback.

"Tairyo Bushi," a folk song from Northern Japan, is recreated with refreshing pulsing excitement provided by Ray Spiegel's tablas and contemporary Brazilian master Cyro Baptista's percussion arsenal in a rhythmic ballet. George Yamazawa is featured doing a strong spoken word testament (a la Mark Murphy) on "Musashi" -- a tribute to the self-taught historic-heroic samurai with touches of Rhodes, tablas, triangle & bells -- and rapping on "Lea's Run," on which Ohno alternates open and muted trumpet.

On another road, "First Step" features Bollenback, Carter and Ohno soloing ferociously on a fusion-bop vein. Composed by the trumpeter after the birth of his children, reflects on the old saying that "the journey of a thousand miles begins with the first step" and speaks to optimism played with a fearless energy.

The powerful title track "ReNew," a poetic free melody, evokes Wayne Shorter's etheral ballads. A "ReNew Reprise" closes the disc in an gentle way, with a quasi-bolero groove played by Ray Spiegel's tablas, with Sasha Ono on cello and Cliff Carter on keyboards. A flawless album, already one of the best releases of this year.

DVD of the Month - "Eberhard Weber: The Jubilee Concert"

DVD of the Month
Eberhard Weber: "The Jubilee Concert" (SWR Jazzhaus/Naxos) 2016

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

Arranged by Michael Gibbs, Ralf Schmid, Rainer Tempel and Libor Sima
Conducted by Michael Gibbs and Helge Sunde
Featuring: Pat Metheny (guitar), Gary Burton (vibes), Jan Garbarek (soprano sax), Scott Coley (bass), Danny Gottlieb (drums), Paul McCandless (English horn & soprano sax), Klaus Graf (alto sax), Ernst Hutter (euphonium), and the SWR Big Band

After the ECM release, in September 2015, of the CD "Hommage A Eberhard Weber," voted one of the best albums of the year in the 37th Annual Jazz Station Awards, now SWR gives us the extra pleasure to savour the concert (filmed live @ Theaterhaus Stuttgart in January, 2015) on DVD format.

This wondrous event celebrated Weber's 75th birthday, and the famous bassist (forced to retire due to health issues) showcased his huge talent as a composer. There are 8 tracks on the 90-minute long DVD, while the CD had "only" 6 marvelous tunes. From the opener "Résumé" (also the title of a great book released this past January by Sagas Edition) to the final "Notes After An Evening," a document of an historical night.

Im Januar 2015 feierten Musiker und Musikfreunde an zwei aufeinanderfolgenden Abenden im Theaterhaus Stuttgart den 75. Geburtstag Eberhard Webers. Im Mittelpunkt der beiden Konzerte stand eine 35-minütige Suite, eigens zu diesem Anlass komponiert von Pat Metheny, mit dem Weber in den 1970er Jahren auf Tournee und im Studio zusammengespielt hatte. Metheny hatte die Komposition um Aufnahmen von Originalsoli Webers herum arrangiert und spielte sie in Stuttgart zusammen mit der SWR Bigband, dirigiert von Helge Sunde, Gary Burton, dem Bassisten Scott Colley und Danny Gottlieb am Schlagzeug. Webers langjährige Weggefährten Jan Garbarek, Paul McCandless, Manfred Schoof und der Arrangeur Michael Gibbs traten zudem mit Stücken aus dem umfangreichen Oeuvre des Bassisten vor das Publikum, das mit wiederholten Standing Ovations dankte.

12" Single of the Month - "Miles Davis/Robert Glasper/Bilal: Ghetto Walkin'"

12" Single of the Month
Miles Davis, Robert Glasper, Bilal: "Ghetto Walkin'" (Legacy) 2016

Side A: Ghetto Walkin’ (Glasper/Bilal/Miles Davis) 3:36
Produced by Robert Glasper
Vocals: Bilal
Piano: Robert Glasper
Bass: Derrick Hodge
Recorded & Mixed by Anu~Sun

Side B: The Ghetto Walk (Miles Davis) 15:50
Produced by Teo Macero
Trumpet: Miles Davis
Electric Piano: Chick Corea & Herbie Hancock
Bass: Dave Holland
Drums: Joe Chambers
Electric Guitar: John McLaughlin
Soprano Sax: Wayne Shorter
Recorded by Frank Laico
Mixed by Danny Kadar
Edited & Mastered by Mike Piacentini & Steve Berkowitz

Yesterday, we got a copy of this amazing single that will be officially release during the celebrations for the Record Store Day 2016, on April 16. On this limited edition 12", keyboardist/producer Robert Glasper and singer/songwriter Bilal re-interpret the Miles Davis tune"The Ghetto Walk" from the "In A Silent Way" sessions.

This new track "Ghetto Walkin" will be on the upcoming release "Everything's Beautiful" (details in the post below.)

On its turn, the Side B of this single was originally available on the 3-CD box set "The Complete In A Silent Way Sessions" as a 26-minute long track, recorded in February 1969 in NYC with Joe Chambers, Wayne Shorter, John McLaughlin, Chick Corea and Herbie Hancock.

The upcoming "Everything's Beautiful" project taps some of jazz and r&b’s greats (Stevie Wonder, Erykah Badu and KING just to name a few) to reimagine the work of one of jazz’s most celebrated figures and remind the world of just how seismic his impact on the American Music canon was, is and always will be.

Today, Jazz Station proudly brings you a streaming from star-studded project; a spirited and empowering rework of Davis late-60s composition, “The Ghetto Walk,” featuring the incomparable vocal talents of Bilal. And truth be told, the pair of longtime collaborators (and friends, above all) deliver a stunning update, fit for jazz or hip-hop heads who prefer their notes with a touch of soul.

You can get a taste by streaming the track down below, just be sure to hold tight for the next installment and pre-order your copy of "Everything’s Beautiful" on iTunes today ahead of its official May 27th release.

http://hypetrak.com/2016/03/robert-glasper-bilal-miles-davis-ghetto-walkin/

Physical CDs of both releases can be pre-ordered on Dusty Groove:

https://www.dustygroove.com/item/789910

For RSD 2016, Sony's Legacy label is offering an extraordinary range of limited edition and import titles from a variety of artists including Big Star, Cheap Trick, Elvis Presley, the Jimi Hendrix Experience, Johnny Cash, Matthew Sweet, Miles Davis/Robert Glasper, OutKast, Joe Strummer, Manic Street Preachers and the all-star talents represented on the compilation album "Dogfish Head Brewery Presents: Music To Drink Beer To, Vol. 2."

Now in its ninth year, Record Store Day is an annual day-long celebration of record store culture held on the third Saturday in April. RSD has named Metallica as Record Store Day Ambassadors 2016.

Soundtrack Release of the Month - "Miles Ahead"

Soundrack Release of the Month
"Miles Ahead" (Columbia/Sony Music/Legacy)

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

Released Today, April 1st, 2016, in the USA, to coincide with the opening of the film in LA & NY
Soundtrack album produced by Don Cheadle, Steve Berkowitz, Ed Gerrard & Robert Glasper
Executive producers: Don Cheadle, Erin Davis, Darryl Porter & Vince Wilburn for Columbia Records, a division of Sony Music Entertainment
See complete tracklist below

A very cool record that's way more than just a set of songs strung together for a film – and instead a well-done album that mixes older Miles Davis material, both classic and rare, with new tracks handled by the mighty keyboardist Robert Glasper, plus a few bits of dialogue from the film, spoken by actor Don Cheadle who plays Miles' role.

Glasper steps out on a great way on his tracks – four new numbers, three of which are in a very Miles mode – with Keyon Harrold on trumpet on those tracks – and a shifting range of additional players that includes Herbie Hancock (keyboards), Wayne Shorter (tenor sax), Esperanza Spaulding (bass), and Kendrick Scott (drums). Glasper plays Fender Rhodes and his titles include "Junior's Jam", "Francessence", "What's Wrong With That", and "Gone 2015" – the last of which also features an appearance from Pharoahe Monch.

Even the Miles tracks are well-handled – not just the familiar ones, but also some rare material from album sessions brought together to make a well-rounded package, with titles that include "So What", "Solea (excerpt)", "Prelude #2", "Back Seat Betty (excerpt)", "Black Satin (edit)", "Go Ahead John (part 2 C)", "Frelon Brun", and "Duran (take 6 edit)."

Press Release:
The release of the movie MILES AHEAD, Don Cheadle's wildly entertaining and moving exploration of Miles Davis, will be accompanied by this new soundtrack featuring musical highlights from Miles' career and new recordings overseen by Grammy Award-winning jazz/hip-hop artist Robert Glasper.

This is a perfect primer on Davis' career for the new fan and a brilliant audio keepsake of the film for those who've studied his works inside and out. The album features 11 tracks from across Miles' catalogue from 1956 to 1981, select dialogue from the film featuring Cheadle in character, and five original compositions written, co-written, produced or performed exclusively for MILES AHEAD by Robert Glasper. 

These cues include "What's Wrong with That?" a jam that closes the movie imagining Cheadle as Miles playing in the present day with guest performers Glasper, Herbie Hancock, Wayne Shorter, Gary Clark, Jr. and Esperanza Spalding; plus "Gone 2015," an end-credits song featuring guest verses from rapper Pharoahe Monch. Cheadle also pens new liner notes for the album discussing the selection and creation of the songs on the soundtrack.

Tracklist:

1. Miles Ahead - Miles Davis

2. Dialogue: "It takes a long time..." - Don Cheadle

3. So What - Miles Davis

4. Taylor Made - Taylor Eigisti

5. Dialogue: "Listen, you talk too goddam much..." - Don Cheadle & Phil Schaap

6. Solea - Miles Davis

7. Seven Steps to Heaven - Miles Davis

8. Dialogue: "If you gonna tell a story..." - Don Cheadle

9. Nefertiti - Miles Davis

10. Frelon brun - Miles Davis

11. Dialogue: "Sometimes you have these thoughts..." - Don Cheadle

12. Duran - Miles Davis

13. Dialogue: "You own my music..." - Don Cheadle

14. Go Ahead John - Miles Davis

15. Black Satin - Miles Davis

16. Dialogue: "Be musical about this shit..." - Don Cheadle

17. Prelude, Pt. 2 - Miles Davis

18. Dialogue: "Y'all listening to them..." - Don Cheadle

19. Junior's Jam - Robert Glasper

20. Francessence - Robert Glasper

21. Back Seat Betty - Miles Davis

22. Dialogue: "I don't like the word jazz..." - Don Cheadle & Ewan McGregor

23. What's Wrong with That? - Robert Glasper, Antonio Sanchez, Herbie Hancock, Esperanza Spalding, Wayne Shorter & Gary Clark, Jr.

24. Gone 2015 - Robert Glasper feat. Pharoahe Monch & Keyon Harrold

And...next May 27, Sony/Legacy will be releasing "Everything Is Beautiful," blending a diverse group of master takes and outtakes from across Miles' incredible tenure with Columbia Records (1955-1985) with original reinterpretations. Robert Glasper produded. "I didn't want to do just a remix record," Glasper noted when discussing the 11-song set. "My idea was to show how Miles inspired people to make new art." 

Knowing that "Miles didn't have one audience," Glasper recruited a legion of diverse guest artists to add to the magic of the project including familiar collaborators like R&B musicians Erykah Badu, Ledisi, Bilal and KING. 

They are joined by British soul singer-songwriter Laura Mvula; hip-hop producer Rashad Smith; Grammy-nominated Australian neo-soul quartet Hiatus Kaiyote, rapper/producer Illa J; jazz guitarist John Scofield, who collaborated with Davis; and the legendary Stevie Wonder.

Tracklist: 

1. Talking Shit [Explicit] by Miles Davis & Robert Glasper

2. Ghetto Walkin' by Miles Davis, Robert Glasper, Bilal

3. They Can't Hold Me Down by Miles Davis & Robert Glasper feat. Illa J

4. Maiysha (So Long) by Miles Davis & Robert Glasper feat. Erykah Badu

5. Violets by Miles Davis & Robert Glasper feat. Phonte

6. Little Church (Remix) by Miles Davis & Robert Glasper feat. Hiatus Kaiyote

7. Silence Is the Way by Miles Davis & Robert Glasper feat. Laura Mvula

8. Song for Selim by Miles Davis & Robert Glasper feat. KING

9. Milestones (Remix) by Miles Davis & Robert Glasper feat. Georgia Ann Muldrow

10. I'm Leaving Youby Miles Davis & Robert Glasper feat. Ledisi and John Scofield

11. Right On Brotha by Miles Davis & Robert Glasper feat. Stevie Wonder

...Yes, it includes Hermeto Pascoal's "Igrejinha" (Little Church), which debuted on the "Live Evil" album credited to Miles in the first pressing but corrected immediately to Pascoal's name as the real composer in the second pressing released three months later. However, many people still think that Miles wrote Hermeto's three tracks on that album - "Little Church", "Nem Um Talvez" and "Selim" (actually an alternate take of "Nem Um Talvez" recorded even by Bobby McFerrin as if it was a Miles' tune!) Let's see to whom these songs will be credited this time...