Thursday, December 31, 2020

JazzWorldQuest Showcase 2020 - Streaming

JazzWorldQuest Showcase 2020
Jazz & World Music Albums released in 2020

Cody Carpenter(USA), Toku(Japan), Hot Club of Los Angeles(USA), Ozma(France), Nastazio Gkoumas(Cyprus), Gordon Grdina’s Nomad Trio(Canada), Robin McKelle(USA), Giuseppe Paradiso(USA/Italy),Tony Adamo(USA)

Wednesday, February 26, 2020

Sara Zamora (Spain)
Album: Do it
With a distinctive clear voice Sara Zamora sings with heartfelt emotion on ten delightful original songs combining a wide range of rhythms and elegant arrangements written by pianist and composer, Ángel Valderrama. The songs are well chosen, her voice soars with grace rising from sensitive and dreamy to passionate and powerful tones. A beautiful album to discover!

USA: Wolfgang Muthspiel Trio Feat. Scott Colley, Brian Blade - ECM Release and US Tour Upcoming!

Wolfgang Muthspiel, whom The New Yorker has called "a shining light" among today's jazz guitarists, returns to the trio format with Angular Blues, his fourth ECM album as a leader, following two acclaimed quintet releases and his trio debut. Like Driftwood - the 2014 trio disc that JazzTimes dubbed "cinematic" and "haunting" - Angular Blues finds the Austrian guitarist paired with long-time collaborator Brian Blade on drums; but instead of Larry Grenadier on bass, this time it's Scott Colley, whose especially earthy sound helps imbue this trio with its own dynamic. Muthspiel plays acoustic guitar on three of the album's tracks and electric on six more. Along with his characteristically melodic originals - including such highlights as the bucolic "Hüttengriffe" and pensive "Camino" - he essays the first standards of his ECM tenure ("Everything I Love" and "I'll Remember April"), as well as his first-ever bebop rhythm-changes tune on record ("Ride"). Angular Blues also features a single guitar-only track, "Solo Kanon in 5/4," with Muthspiel's electronic delay imbuing the baroque-like rounds with a hypnotic glow.

Muthspiel, Colley and Blade recorded Angular Blues in Tokyo's Studio Dede after a three-night run at the city's Cotton Club. The album was mixed with Manfred Eicher in the South of France at Studios La Buissonne, where Muthspiel had recorded his two previous ECM albums, Rising Grace and Where the River Goes (both of which featured pianist Brad Mehldau and trumpeter Ambrose Akinmusire). Each of the groups that Muthspiel has put together for his ECM recordings has had a special rapport. About his new trio, the guitarist says: "Scott and Brian share my love of song, while at the same time there is constant musical conversation about these songs."

The Louisiana-born Blade has been a member of the Wayne Shorter Quartet since 2000, along with recording with artists from Bob Dylan, Joni Mitchell, Daniel Lanois and Norah Jones to Charlie Haden, Herbie Hancock, Chick Corea and Joshua Redman. Since the mid-'90s, Blade has also co-led the gospel-infused Fellowship Band. Regarding the subtly virtuoso drummer, Muthspiel says: "Brian is famous for his sound and touch, that floating way of playing, how he creates intensity with relatively low volume. It's also a great pleasure for me to witness how sensitively Brian reacts in his playing to whether I play acoustic or electric guitar. I've done a lot of concerts and productions with him over the years, including in our guitar-drums duo, Friendly Travelers, as well as on Driftwood and Rising Grace. He always offers complete interaction and initiative, as well as his individual sound. To play uptempo swing on something like ‘Ride' with Brian was really luxurious, a gift."

After being mentored by Charlie Haden, Colley was the bassist of choice for such jazz legends as Jim Hall, Andrew Hill, Michael Brecker, Carmen McRae and Bobby Hutcherson, along with appearing on albums by Herbie Hancock, Gary Burton, Pat Metheny, John Scofield, Chris Potter and Julian Lage. Colley, a native of Los Angeles, has released eight albums as a leader. "Scott and Brian have also played a lot together over the past few years, so they know each other well," Muthspiel notes. "I performed with Scott in New York in the '90s, and I've always felt that he was an extremely giving musician, who - with his warm tone and his flexible, dancing rhythm - simultaneously animated and supported the music. I wrote the bass melody of the new album's first tune, ‘Wondering,' especially for him. His sound develops a flow and harmonic movement that is inviting to play on."

After "Wondering" - which includes extended soloing by Colley that embroiders on Muthspiel's melody beautifully - comes the album's title song, the highly trio-interactive "Angular Blues," so titled for its "rhythmic modulations and strange breaks," the guitarist explains. "Somehow Chick Corea's album Three Quartets was an association, but so was Thelonious Monk." Those first two tracks, as well as the album's third, "Hüttengriffe," feature Muthspiel on acoustic guitar, his sound on the instrument both warm and extraordinarily fluent. After that - on "Camino," "Ride," "Everything I Love," "Kanon in 6/8," "Solo Kanon in 5/4" and "I'll Remember April" - he plays electric. Muthspiel's ever-liquid electric phrasing buoys both an emotionally rich original such as "Camino" and the two different turns on his kaleidoscopic "Kanon," the trio version in 6/8 and the solo, mostly improvised rendition in 5/4.

About his first-time inclusion of jazz standards on one of his ECM albums, Muthspiel says: "I was inspired to record standards with this trio because everything about the way the group plays feels so free, open and far from preconceived ideas, but at the crucial moment a jazz language is spoken, what we do does justice to these tunes. I learned ‘Everything I Love,' the Cole Porter song, from an early Keith Jarrett album, and I first came to know ‘I'll Remember April' from a Frank Sinatra recording. In that latter song, I hardly play solo. It's more about the head and the vamp-like atmosphere that prevails from the start and is savored again in the end. As in many moments with this trio, it's about playing with space: leaving it, creating it, filling it."

1. Wondering 7:20
2. Angular Blues 5:55
3. Hüttengriffe 5:15
4. Camino 7:42
5. Ride 3:50
6. Everything I Love 6:52
7. Kanon in 6/8 7:41
8. Solo Kanon in 5/4 3:34
9. I'll Remember April 5:40

Wolfgang Muthspiel - guitar
Scott Colley - double bass
Brian Blade - drums

Wolfgang Muthspiel, Scott Colley and Brian Blade on tour:
April 14-15 New York, NY Jazz Standard
April 16 Cambridge, MA Regattabar 
April 17-18 Los Angeles, CA Blue Whale
April 19 Berkeley, CA Freight and Salvage
April 20 Santa Cruz, CA Kuumbwa Jazz


Monday, February 24, 2020


Chamber Jazz
Chamber Jazz / World Jazz Composers: Charles Pillow, Billie Holiday, Hermeto Pascoal, Tony Williams, Thelonious Monk About the music: While in Pass Manchac features Scott Wendholt from the Vanguard Jazz Orchestra and Pillow on alto Charlotte and Evan features Gary Versace on piano and Pillow on alto Don't Explain is a tour de force for the one and only Vic Juris on guitar Pascoal's Bebe is one of his most well known compositions, practically a Brazilian standard. It's given a slower treatment here, featuring Gary Versace on accordion, Pillow on clarinet and the percussion and drumming of Rogerio Boccato and Rich Thompson Williams' Pee Wee first appeared on Miles' Sorcerer, from 1967, a period where Wayne Shorter supplied most of the compositions for the group. This one features Vic Juris on guitar and Pillow on alto flute Oska T is one of Monk's most underperformed pieces. Here Scott Wendholt and Alan Ferber stretch out and show how versatile they are Abschied, Ray features Gary Versace Atchafalaya Fiction features Alan Ferber who shows why he is in such demand and Gary Versace again demonstrates his remarkable talents Personnel: Charles Pillow - compositions, arrangements, flute, alto flute, clarinet, alto and soprano saxophone, oboe, english horn Scott Wendholt - trumpet Alan Ferber - trombone Chris Komer - french horn Marcus Rojas - tuba Todd Groves - bass clarinet, clarinet, flute Vic Juris - guitar Gary Versace - piano Jeff Campbell - bass Jay Anderson - bass Mark Ferber - drums Rich Thompson - drums Rogerio Boccato - percussion Hiroko Taguchi - violin Whitney Lagrange - violin Lisa Matricardi - violin Todd Low - viola Orlando Wells - viola Alisa Horn - cello Allison Seidner - cello

Sunday, February 23, 2020



A Sizzling Collection of 12 Songs Celebrating Classic Gypsy Jazz And Original Material Composed By Band Members
This band is an LA treasure”—Jackson Brown

"Masterfully played..." 

"An exciting collection of 12 songs in which classical "jazz Manouche" and original material are composed by band members."--Rootsville

Josh Workman-guitar | Jake Bluenote-guitar, vocal | Carl Byron-accordion, piano, vocal
Paul Eckman-bass | Jim Doyle-drums
Produced, Engineered, Mastered by Jim Doyle at Doyle Audio | Mixed by Kevin Jarvis
On the west side of Los Angeles, an unassuming Sepulveda Blvd storefront anchors a giant neon sign announcing The Cinema Bar. Since 2011 on Monday nights, this quirky night spot—which has hosted numerous genres of music since the 1940s—has turned itself over to the gypsy jazz of the Hot Club of Los Angeles. 
The band, which was formed in 2011, is comprised of established Los Angeles-based musicians with backgrounds in country, jazz, folk, blues, rock, pop and world music.  Amongst them, the members of Hot Club of Los Angeles have performed with many influential artists including David Grisman, Bill Frissell, Rita Coolidge and Debra Harry to name a few. On March 6th, 2020 the ensemble will release its second studio album, Cinema Swing. 
Hot Club of Los Angeles is a Nuevo Django/jazz manouche/gypsy jazz ensemble that showcases eclectic arrangements of gypsy jazz instrumentals, vocal numbers sung in French, Roma and Russian, straight-ahead jazz repertoire, a unique blend of film music selections, and gypsy jazz-inspired originals composed by band members Carl Byron and Paul Eckman.
The group is known for its sterling musicianship, range of repertoire and exciting shows.  The Argonaut newspaper lauds Hot Club of Los Angeles for bringing “one of the worlds greatest musical traditions” to LA’s backyard, exclaiming “it’s rare to find musicians with the skill and passion to play it.” Famed musician Jackson Browne caught them in 2016 and now occasionally sits in with the band.  For the piano parts on Cinema Swing, Browne lent Byron the use of the Baldwin grand at Browne’s Groove Masters studio in Santa Monica.
Cinema Swing captures the exuberance of the group’s celebrated live shows. The recording covers six touchstones of the gypsy jazz repertoire: Django’s “Douce Ambience” and “Nuages” (sung in French by Byron), manouche classics “Swing Gitan” and “Noto Swing”, traditional Russian song “Óči čjórnye/Ochi Chyornye”(“Dark Eyes”), and the standard “After You’ve Gone”. Band members Eckman and Byron also contributed three new original pieces each, fusing their own compositional styles with the spirit of classic gypsy jazz numbers, while also providing material that showcases the band’s expressive range and virtuosity.
“The album’s title track is my homage to Django’s most famous piece, ‘Minor Swing,”’ explains Byron.  “The title itself refers both to the Cinema Bar and Songs from the Cinema, the film and music-themed all star 2017 and 2018 Artists for Peace and Justice benefits where the band performed with Jackson Browne and a bounty of other luminaries from music, film and television.”
“Cynthia” a waltz by Eckman, features lyrical interplay between guitars, accordion and piano. “I wanted to write a sentimental song,” Eckman says. “I had an image of a man in a French country café singing, perhaps about lost love.” “Bossa Sepulveda” (Byron), which takes its name from the street where The Cinema Bar is located, was inspired by the great tradition of fusing gypsy jazz with various Latin music styles. “Sylvain” (Eckman) features an array of hooky, post-bop melodic lines. On “Valse Angeles” (Byron) the musette and waltz styles that influenced Django are evoked.  “Drinking Song” (Eckman) is a gypsy jazz homage to Kurt Weill infused with Weimar-era Weltschmerz and also, as the title suggests, a rousing romp. According to Eckman, “The melody of “Drinking Song” seemed reminiscent of the type of song that could be heard in a rowdy bar; hence the title.”
Hot Club of Los Angeles invests its performances with passion and the band’s own unique approach to gypsy jazz, reflecting the accomplished musicianship and stylistic breadth of the group’s members, which drummer/producer Doyle captures on the record.  “We’re not your parent’s (or grandparent’s) gypsy jazz band,” notes Byron. “We range far and wide stylistically, while still honoring Django’s legacy.  It’s also fun music that will brighten your day, put a smile on your face and a spring in your step.”
For More Information: 
Press Contact:  Kim Grant  (t):  626-755-9022
Kim Grant--Entertainment Publicist, Social Strategist, Marketer, Writer  Find us on Social Media  c. 626-755-9022 
Upcoming Releases: Glenn Jones | Hot Club of Los Angeles | Kailey Nicole | Mrs. Henry New: | Bonsai Universe | Shane Alexander | Triggers and Slips | The Royal Hounds | Lasers Lasers Birmingham | Christina LaRocca |  Leroy From The North |Ted Russell Kamp | Creature and the Woods Tour: Ashleigh Flynn and the Riveters Singles: Emily Zuzik | Coby Brown


Saturday, February 22, 2020

USA Solid Moments Idle Hands Posi-Tone Records 2020

Solid Moments

Listeners will definitely enjoy a wide variety of Solid Moments when our beloved producer Marc Free enlists the able assistance of a few trusted Idle Hands for the next release in a visionary series of demand building records. Highlighted by the handiwork of a carefully curated group of Posi-Tone artists, this engagingly entertaining album features front line performances from guitarist Will Bernard, vibraphonist Behn Gillece, and saxophonist Sam Dillon playing over the solid harmonic foundation of pianist Art Hirahara, bassist Boris Kozlov and drummer Donald Edwards. The album's musical program is comprised of a series of succinct performances that are deliberately intended to provide listeners with an accurate practical auditory insight and representation of the straight forward musical aesthetics and operational ethos of Posi-Tone Records. Jazz fans everywhere can relax and enjoy the beautiful sounds emanating from these Idle Hands as they work cooperatively to provide us with more "Solid Moments towards a delightful today and a brighter tomorrow.