JWQ Showcase 2017

Monday, October 23, 2017

USA; NEA Jazz Masters: Celebrating 100 Years of Dizzy and Monk on Friday, November 3rd, 2017 at Flushing Town Hall

CANADA: Vincent Belanger & Anne Bisson- Conversations (Camilio Records 2017)

The multi-talented pianist and vocalist Anne Bisson (from such well-known solo Audiophile Albums such as 'Blue Mind' & 'Tales from the Treetops') and cellist Vincent Belanger (collaborate for an album of musical 'Conversations'. The album includes music composed by Belanger and Bisson along with Sylvie Massicote, Pierre Lenoir, David Chesky, Vincent's uncle Marc Belanger, and Fung Sou. The variety of composers brings a variety of styles to the table including Chinese music (sung in Mandarin), jazz, Latin rhythms, Bossa Nova, and songs of relationships and lost loves. Contains 8 songs.


Sunday, October 22, 2017

USA: Corey Christiansen- Dusk (2017)

The third in guitarist Corey Christiansen's trilogy of albums exploring the grounds between jazz, blues and Americana, is focused on his original compositions - tunes written for people in his life, places been, characters imagined, landscapes seen and the captured feelings from those experiences. The rapport within his longtime band is at its most evolved and empathetic, while Christiansen's already prodigious guitar work has found the fluidity and emotive qualities only obtained through their continued collective focus and dedication to concept.

'Supported by a responsive rhythm section, alternately supple and clangorous, (Christiansen & Lapidus) imbue the Christiansen tunes with soulful lyricism to spare. ' --- JazzTimes

USA: Fay Victor, Lisa Mezzacappa -Lisa Mezzacappa: Glorious Ravage(New World Records 2017)

"I am doing what a woman can hardly ever do . . . , " wrote British world traveler Isabella Bird in an 1872 letter from Hawaii. "And I can fall, I can fall into anything." San Francisco Bay Area composer, acoustic bassist, and bandleader, Lisa Mezzacappa used those lines - and more from the writings of Bird and other women adventurers of the 19th and early 20th centuries - to fashion lyrics for her ten-part "panoramic song cycle for improvisers." Sung by the extraordinary vocalist Fay Victor, those two lines might also be taken to reflect Mezzacappa's place in the world of progressive and avant-garde jazz.
With Victor's voice at the core, and musical ideas percolating up from the texts, Mezzacappa tailored the open-ended structure of Glorious Ravage to the gifts, sensibilities, and personalities of the individual musicians. That required her to develop a bigger compositional framework than she had ever built before, and one that could both reflect and refract the multifaceted stories and personas of the women she met in her research and meet the challenge of keeping the composition, in her words, "open to the kind of collective wisdom that emerges from any given musical community."
Mezzacappa has written that initial inspiration for her work "comes from a messy, unfocused, overwhelming, brilliant, seductive, and terrifying pool of sensations, ideas, gut reactions, intellectual concerns, moral ambiguities." From that pool has bubbled up something that retains many of those qualities, but that also manifests focus, chemistry, communication, and an emergent sense of both order and transcendence.
Glorious Ravage is a musical exploration of what is possible. Soaring with it can trigger an experience of the sublime, similar to the altitude sickness that Isabella Bird, Ida Pfeiffer, and Annie Smith Peck fell into during their lofty adventures, an ecstatic mind state South Americans called veta or soroche. When Bird wrote in her letter from Hawaii, "This is the height of the last and most glorious ravage," she could not have foreseen that Lisa Mezzacappa would bring us another of equal magnificence.

Saturday, October 21, 2017

USA/BRAZIL: Duduka Da Fonseca & Samba Jazz Fantasia appearing at Jazz at Kitano November 17th & 18th

Duduka Da Fonseca
& Samba Jazz Fantasia
appearing at
Jazz at Kitano


November 17th & 18th

Set times are 8:00 pm and 10:00 pm

Kenny Werner - Piano
Maucha Adnet - Vocals
Billy Drewes - Tenor,
soprano saxophone, flute
Matt Penmam - Bass
Duduka Da Fonseca - Drums

"Duduka is a fantastic drummer, he has worked with me and I love the way he plays.”
 Antonio Carlos Jobim

“Duduka Da Fonseca had the flowing beat doing his bidding, making one dance while sitting down. A master of “Brasilient” rhythms, he is equally capable of grooving a jazz 4/4 with his great, loosey-goosey swing.”
Ira Gitler, American jazz historian and journalist

 "Da Fonseca divulges a keen awareness of where Brazilian jazz has been and where it's headed."
Todd Jenkins, Down Beat

JAZZ at Kitano
66 Park Avenue @ East 38th St
NYC 10016
reservations: 212-885-7119 




USA: Lucky Peterson- Tribute to Jimmy Smith (2017)

On this album, Lucky Peterson pays tribute to his mentor, jazz legend Jimmy Smith. Fittingly, Peterson performs on Smith's favorite instrument, the Hammond B-3 organ. Peterson's style is anchored in blues with the beat of jazz, the groove of rhythm 'n' blues and the energy of rock 'n' roll. For this recording his virtuoso sidemen include guitarist Kelyn Crapp and drummer Herlin Riley.

Friday, October 20, 2017



“Not since the halcyon days of Art Blakey and Horace Silver has anyone carried the hard bop quintent mantle so confidently and assiduously as Eastwood and Company.”…..Jazzweekly.com

“IN TRANSIT finds Kyle Eastwood and company in their element while still exploring new territories and classics.  Check it out.  It’s hot!” ………Sounds of Timeless Jazz

(LOS ANGELES, October 17, 2017)  Capping two extraordinary decades as a recording and performing artist, Kyle Eastwood’s stylistically eclectic new album In Transit reflects the whirlwind reality of the breakneck schedule that Kyle and his longtime ensemble keep as they perform three quarters of the year in Europe - with a yearly jaunt to Asian countries and occasional swings to the U.S.

The Los Angeles bred, Paris based bassist and composer estimates that about half of the tracks were “road tested,” with a few rendered completely fresh in the studio. “That’s part of the concept, all the moving around and spending time on the road and working through our favorite material.

”Just as on his previous two critically acclaimed collections The View from Here and Time Pieces, Kyle plays with a powerfully swinging yet beautifully soulful and sensual quintet of young English musicians. The longest-term members of Kyle’s powerhouse quintet are pianist Andrew McCormack (12 years) and trumpeter and flugelhornist Quentin Collins (9 years). Newer to the fold, and adding brilliantly to the shared chemistry, are tenor and soprano saxophonist Brandon Allen (who made his first appearance on Time Pieces) and the latest member, drummer Chris Higginbottom.

After inviting renowned Italian saxophonist Stefano Di Battista to join the ensemble on numerous gigs throughout Europe, Kyle invited him to bring his lush and lyrical sensibilities to the Sextant La Fonderie Studio in Malakoff, France to record on four tracks of the new album. The most prominent of these is the intimate and dreamlike acoustic re-imagining of “Love Theme from Cinema Paradiso,” which was penned by Ennio Morricone, one of Kyle’s favorite film composers; having previously played with the great Italian composer, Di Battista brings an intimate familiarity to the piece. 

“We all have similar tastes in music,” he adds, “and after playing together for a while have truly developed a unique musical camaraderie and dialogue that allows us to play seamlessly in sync and intuitively know just when to break for every member to take a solo Growing up, Kyle’s legendary actor and director Clint Eastwood, loved jazz and played the piano, and his mother spun everything from Motown to jazz from the 50’s to the 70’s. Kyle’s initial passion for jazz was kindled not only by attending concerts by Ella Fitzgerald, Sarah Vaughan, Stan Getz, Buddy Rich and (his first) Count Basie, but also having the opportunity to meet these legends.

While mastering piano, guitar, electric and ultimately the acoustic bass, Kyle’s ever-evolving jazz sensibilities gravitated towards classic groups of the 50’s and 60’s that captured the spirit of what he calls “lyrical hard bop, full of groove and sophisticated harmonies. This style was exemplified by Art Blakey and the Jazz Messengers when Lee Morgan and Wayne Shorter were in the group, Horace Silver’s Blue Note recordings and different quintets Miles Davis had throughout the 60’s. As a bassist, Kyle was also deeply influenced by another giant of this era, Charles Mingus, whom he and his ensemble pays spirited homage to via an explosive, horn fired version of the classic “Boogie Stop Shuffle” which wraps In Transit’s multi-faceted journey.

The rhythmically intense, vibrantly re-imagined jazz classics on In Transit – Count Basie’s “Blues in Hoss’ Flat,” Mingus’ “Boogie Stop Shuffle” and Thelonious Monk’s “We See” – create a wonderful dual sense for Kyle of coming full circle paying homage to his influences while bringing those traditions into a forward thinking contemporary context. Original compositions like the freewheeling funk-jazz hybrid “Rockin’ Ronnies” (an homage to Ronnie Scott’s Jazz Club, the band’s favorite London hotspot) and the brisk, high octane trip through a frenetic “Rush Hour” highlight the compositional talents of each member individually and collectively. Other key tracks include the McCormack penned “Jarreau,” a whimsical romp that pays tribute to the late great Al Jarreau, which borrows some harmony lines and chord changes from the singer’s “Not Like This,” and “Soulful Times,” a soaring and soul-jazz piece that opens the collection and introduces the ensemble’s sense of easy swing, bright piano harmonies, dynamic horns and the infectious pocket grooves of Kyle and Chris Higginbottom.

Throughout the first decade of his recording career, Kyle flirted with a variety of interesting stylistic approaches, including sophisticated electro-cool jazz (Paris Blue, 2004), smooth and playfully grooving jazz with hints of the 70s’ (Now, 2006) and an artsy, chic, urban, culturally eclectic vibe (Metropolitan, 2009). The release of 2011’s Songs From the Chateau marked a decidedly fresh new era in the bassist’s musical evolution, committed to the kind of ensemble spirit Kyle speaks so fondly of.

True to its kinetic title, In Transit finds Kyle and his band running the gamut of emotional musical terrain while opening up to fresh horizons with a sense of curiosity and adventure. “I really think everyone played their pants off on this album, and I’m really happy with the way it turned out,”

Stay Connected:
Website:    www.kyleeastwood.com Facebook:  www.facebook.com/KyleEastwoodOfficial Twitter:       @KyleEastwood

Sheryl Feuerstein