Friday, October 19, 2018

USA: Guitarist Bobby Broom Introduces His New Group The Organi-Sation with Their Debut Recording "Soul Fingers"

Guitar Great Bobby Broom
Introduces His New Group The Organi-Sation
With Their Debut Recording
"Soul Fingers,"
His 12th Recording as a Leader
   
Set for October 12 Release by MRI Entertainment,
CD Was Produced by Legendary Drummer Steve Jordan

Organi-Sation Features Broom With
Organist Ben Paterson & Drummer Kobie Watkins,
Plus Special Guests in Varied Musical Settings

 
     
September 19, 2018
 
Bobby Broom Soul FingersVirtuoso Chicago-based guitarist Bobby Broom has always embraced the rhythm and blues core of jazz music. On Soul Fingers, his 12th album as a leader and first with his new trio Organi-Sation, Broom mines the rich repository of '60s and '70s pop music, offering inspired versions of hits by the Beatles, Procol Harum, Steely Dan, and Seals & Crofts, among others. Set for October 12 release by MRI Entertainment, the recording was produced by legendary drummer Steve Jordan.
 
Broom, a contemporary link to the illustrious lineage of jazz guitarists like Wes Montgomery, Kenny Burrell, Grant Green, George Benson, and Pat Martino, is no stranger to covering standards and pop hits: On his 2001 release Stand! he delivered hard-bop versions of songs by artists such as the Turtles, the Mamas & the Papas, and Sly & The Family Stone. And the Deep Blue Organ Trio, which Broom co-led from 2000 to 2013, released Wonderful!, a collection of Stevie Wonder songs, in 2011. Three years later came Broom's My Shining Hour, a set of standards.
 
While developing Soul Fingers, Broom realized the ideas he was coming up with required the help of an outside producer. "The process was so different than other records I've done," he says. "I got more involved in its preproduction. I was hearing horns and a bunch of different textures, so at some point I said, 'I need help with this one.' I immediately thought of Steve because of the soul music sound I was feeling."
 
Broom and Jordan played together with Sonny Rollins once in the early '80s and again during 2005, when both were members of the saxophone colossus's band. "I thought he'd be perfect," says Broom, "although it was basically a daydream," referring to Jordan's busy schedule with the likes of John Mayer and Keith Richards. Nevertheless "I emailed him and it took him less than an hour to get back to me with, 'Let's go!'" In addition to producing and sharing arranging credits, Jordan plays drums on "Get Ready" and "Eyes of Faith," the sole Broom original whose gospel-tinged theme is embellished by a lush string arrangement.
 
Organist Ben Paterson and drummer Kobie Watkins join Broom in Organi-Sation, the core unit on the album and Broom's current band. During the three months the trio spent in 2014 opening for Steely Dan, they developed a musical synchronicity Broom found "a wonderful surprise. We really solidified our chemistry on that tour, so it was like a hand-in-glove kind of thing going into this session."
 
Bobby Broom 
Soul Fingers opens with the Lennon/McCartney gem "Come Together" taken at a stepped-up tempo that Broom knew his trio-mates "would swing to death." Bobbie Gentry's "Ode to Billie Joe" features the guitarist's 7/4 funk arrangement and his horn charts for saxophonist Ron Blake and trumpeter Chris Rogers. Other highlights include a shuffle-swing version of Steely Dan's "Do It Again" and a bossa nova-infused version of the Beatles' "While My Guitar Gently Weeps" on which the leader is joined by Brazilian acoustic guitarists Sergio Pires and Luciano Antonio. The 1966 Temptations hit "Get Ready" has an Afro-pop feel, while Broom's version of Procol Harum's 1967 baroque pop hit "Whiter Shade of Pale" simmers with soul.
 
Born in New York City in 1961, Bobby Broom cites hearing a Charles Earland album when he was 10 -- and later music by Herbie Hancock and Grover Washington, Jr. -- as inspiring his love of jazz. By 16, he had a regular gig with bebop pianist Al Haig and was invited by Sonny Rollins to go on tour. While he declined that offer, he did perform with Rollins at Carnegie Hall that same year. Within five years Broom had at last joined Rollins's touring band, ultimately spending two five-year stints with him.
 
Prior to joining Rollins, Broom signed with GRP Records and made his crossover jazz debut, 1981's Clean Sweep rather than join Art Blakey's Jazz Messengers. After his 1984 follow-upLivin' for the Beat he could have had a career playing "smooth jazz" but instead moved to Chicago and concentrated on straight-ahead jazz. He continued with Rollins, joined Kenny Burrell's Jazz Guitar Band, worked briefly with Miles Davis and then Stanley Turrentine and his early idol Earland.
 
In the 1990s Broom formed the Bobby Broom Trio and the Deep Blue Organ Trio and recorded frequently with both units. He also made three quartet records (No Hype BluesWaitin' and Waitin', and Modern Man) before deciding to focus on the guitar-bass-drums trio as his primary outlet, beginning in 2001 with Stand!
 
"Whether original, the music of the classic jazz idiom, or nostalgic pop," critic Neil Tesser has observed, "Broom's thoughtful lyricism, urban spirit and jazz pedigree have earned him one of the few truly recognizable styles among modern jazz guitarists."
 
Bobby Broom and his Organi-Sation will perform a CD release show at Space in Evanston, IL on Friday 10/5. Other dates will be announced in the coming months.  
  
 
  
 
Photography: Magnus Contzen
 
     
 
 
Bobby Broom -
Bobby Broom - "Summer Breeze," from the CD "Soul Fingers"
 
 
 
 
Web Sitebobbybroom.com
Like us on Facebook   Follow us on Twitter


Media Contact:
Terri Hinte
510-234-8781
hudba@sbcglobal.net
terrihinte.com
Follow us on Twitter 

FRANCE/TUNISIA: Dhafer Youssef, nouvel album Sounds of Mirrors // 1er extrait Dance Layan Dance



Dhafer Youssef
Nouvel album Sounds of Mirrors
Sortie le 05/10 chez Anteprima
Entre la grammaire musicale de sa Tunisie natale et celle du jazz le plus moderne et le plus aiguisé, le chanteur virtuose et joueur de oud Dhafer Youssef développe depuis plus de dix ans une identité stylistique inimitable et passionnante. On retrouve aujourd'hui Dhafer Youssef qui, avec la sortie de son nouvel album Sounds of Mirrors, assouvit son rêve de musique indienne, en un album qui invente un monde sonore saisissant de beauté.
Le vocaliste et oudiste tunisien Dhafer Youssef a toujours su s’entourer des meilleurs instrumentistes. Après avoir eu comme sidemen Mark Guiliana, Tigran Hamasyan, Nils Petter Molvaer et nombre d’autres solistes inspirés, le voici entouré d’une nouvelle et rutilante équipe pour présenter le répertoire de son prochain album Sounds of Mirrors. On compte ainsi à ses côtés le célèbre Zakir Hussain aux tablas, le très méditatif guitariste norvégien Eivind Aarset et le clarinettiste turc Husnu Selendirici encore largement méconnu du public français. Le gratin des musiciens des quatre coins du monde n’est certainement pas de trop pour Dhafer Youssef, connu pour l’éminente virtuosité de sa voix qui atteint des sommets d’émotion — et d’aigus — lors d’envolées mélodiques toujours aussi poignantes de concerts en concerts. Immanquable.
Pour regarder et écouter Dance Layan Dance :

Certains musiciens connaissent une relation sacrée et profondément intérieure avec leur art. Quand à 19 ans Dhafer Youssef découvre la musique indienne à Vienne, où il étudie la musique classique, l’initiation fait l’effet d’un émerveillement et d’une révélation. Les sonorités hindoues touchent au coeur de l’âme musicale de Dhafer : « J’étais à la fois émerveillé et convaincu qu’un jour le jouerai avec des légendes de la musique indienne… », se rappelle, trente ans plus tard, le compositeur tunisien.
Aujourd'hui, le musicien voyageur qui a contribué à introduire l’oud dans le jazz, assouvit son rêve de musique indienne et invite, dans un premier temps, le célèbre percussionniste Zakir Hussain à partager quelques scènes françaises en duo. La symbiose est au rendez-vous mais il manque une couleur : un instrument à vent. Dhafer Youssef convoque alors une autre « âme soeur » : le clarinettiste turc Hüsnü Şenlendirici. Le trio esquisse en concert la matière première du 12 titres « Sounds Of Mirrors ».
L’enregistrement débute à Bombay, puis se poursuit à Istanbul où Eivind Aarset, l’aérien guitariste jazz en provenance de Norvège, rejoint l’aventure inédite. Car le disque qui, à l’origine, était un hommage à Zakir Hussain et au tabla prend alors une direction inattendue. « J’ai senti que, partant d’un socle culturel indien, nous pouvions aller vers un propos plus universel... Cet enregistrement m’a fait l’effet d’une ode à l’amitié et à la fraternité. Quand nous jouions ensemble, j’avais la nette sensation que des âmes soeurs se reflétaient. D’où le titre de l’album : « Sounds Of Mirrors », raconte Dhafer.
De fait, l’album mixé au studio Nilento de Göteborg (Suède) connaît quelques moments en apesanteur durant lesquels quatre musiciens semblent se tenir dans un même souffle. Dès l’introductif « Humankind » – superbe climat méditatif coloré d’orientalisme léger – la voix de tête de Dhafer Youssef rejoint la clarinette pour ne faire qu’un. Plus loin, avec « Ruby Like Wine » et « Like Dust I May Rise », Dhafer affirme encore son talent pour établir une atmosphère rêvée avec une réelle économie de notes. Où les nappes célestes d’Eivind Aarset font merveilles. « Pour moi, c’est un disque plus méditatif, plus spirituel et plus facile d’accès que le précédent, « Diwan Of Beauty and Odd ». Mais attention ! Ici, rechercher une forme de paix profonde et de sagesse n’a rien de la démarche religieuse », précise Dhafer Youssef. OEuvre de la maturité musicale excellence, la voix se met en retrait au bénéfice d’une musique qui se déploie, épanouie. Emergent alors toutes les finesses de la composition et le talent du soliste.
Si la colonne vertébrale du disque tient en 5 titres contemplatifs (dont certains évoquent parfois les utopies ambient de Jon Hassell), le goût de Dhafer Youssef pour le groove ne se dément jamais. Chez lui, les rythmes impairs sonnent comme des pulsations paires : un irrépressible « drive » donne à coup sûr l’envie de battre le tempo – en particulier sur « Dance Layan Dance » (en clin d’oeil à sa fille), « Journey in Bergama », « Nasikhabhushani » ou encore l’entraînant « Chakkaradaar ». Place aux timbres précis des tablas de Zakir Hussain, conjugués au oud en liberté de Dhafer. « Avec l’âge, on n’a plus besoin de se justifier musicalement », dit-il dans un sourire. Une aubaine pour l’auditeur qui assiste ainsi, au fil du renouvellement permanent de Dhafer Youssef, à de nouvelles rencontres comme autant de couleurs musicales jamais imaginées. L’art du partage tient de l’alchimie fine.

TRACKLIST :
1. HUMANKIND 7’19
2. DANCE LAYAN DANCE 4’36
3. AL WADOOD 7’00
4. RUBY LIKE WINE (TO SHEIKH MUHAMMED OMRAN) 6’02
5. JOURNEY IN BERGAMA 5’03
6. LIKE DUST I MAY RISE (TO SHIRAZ) 4’58
7. NASIKABHUSHANI (TO ZAKIR) 3’19
8. SHAANTI « ATITHI DEVO BHAVA » SUITE 4’19
9. CHAKKARADAAR « ATITHI DEVO BHAVA » SUITE 5’38
10. SATYA « SATYAGRAHA » SUITE 4’54
11. SATYAGRAHA « SATYAGRAHA » SUITE 6’42
12. GOOD MORNING MUMBAI (TO ZAKIR) 6’28

Tous les morceaux sont composés et arrangés par Dhafer Youssef

Thursday, October 18, 2018

UK: Nim Sadot-Nim Quartet (2018)



WEBSITE www.nimquartet.com 'NIM QUARTET’ is the project of London based bass player Nim Sadot who conjures up a magical mix of instrumental fusion jazz.. Nim has played with some of the top names in the jazz world including Harvey Mason (USA), Marlene (Japan,CBS,SONY), Snow Boy (UK) and Makoto Kuriya (Japan) to name a few !!!

Wednesday, October 17, 2018

USA: Jazz Crusaders -The Classic Pacific Jazz Albums (2018)


The Classic Pacific Jazz Albums

Formed in 1956 by Joe Sample (piano), Stix Hooper (drums), Wilton Felder (saxophone), and Wayne Henderson (trombone) - buddies from an early age out of Houston, Texas - The Jazz Crusaders had all been schooled in local centres of prayer. They first performed together at one of the city's Creole churches, where they began to define their sound. The blend of Jazz, Blues and Soul which the young quartet developed throughout this formative period remained their default style during their early career. Having tried a number of short-lived names such as The Swingsters and The Nite Hawks, the founding members relocated to Los Angeles. On arrival, they stayed with family and friends, often sharing one room between them with a couple of mattresses on the floor. After changing their name to The Jazz Crusaders in 1961 (a nod to jazz great Art Blakey's Jazz Messengers), the group signed with Pacific Jazz Records, a label with whom they would remain throughout the 1960s. Fronted by a two man horn section featuring trombone and tenor sax, the group's sound was by now rooted in hard bop, with a nod still to R&B and soul. As The Jazz Crusaders, they released over a dozen albums before re-christening themselves The Crusaders in 1971, under which moniker they released a string of further albums in the jazz-fusion style, popular during the 1970s. This four disc boxset brings together the first eight albums by the Jazz Crusaders; all recorded for Pacific Jazz Records during the first half of the 1960s. Still held in huge esteem by Jazz critics and enthusiasts alike, this 4 CD collection, featuring over 5 hours of superb jazz, serves as both an ideal introduction to the Jazz Crusaders music, and as a welcome reminder of the group's majesty, musicianship and style for those already well versed.

Tuesday, October 16, 2018

USA: "Unreleased Art Pepper Vol. 10: Toronto" Due November 2 from Widow's Taste Records

                                                                                                                      
"Unreleased Art Pepper Vol. 10: Toronto,"
Latest in the Critically Acclaimed
"Unreleased Art" Series,
To Be Released by Laurie Pepper's 
Widow's Taste Label
November 2
  
Art Pepper Seizes His Big Moment
In Live Recordings Made at Toronto's Bourbon Street,
June 16, 1977,
At the Outset of His First Tour as a Leader, With
Bernie Senensky, Gene Perla, David Piltch, Terry Clarke

3-Disc Set Also Contains
30-Minute Interview with Pepper & DJ Hal Hill:
"Art on Music and Musicians"

 
     
September 26, 2018
 
 
Unreleased Art Pepper Vol. 10 TorontoIn 1977, Art Pepper's jazz comeback had been moving along pretty quietly, and he was still playing bar mitzvahs and weddings, when producer John Snyder helped engineer the alto saxophonist's first tour outside California. With soul ablaze, with his defiant wit, and with the musical mastery he'd honed throughout his reckless life, Pepper took his first step onto the world stage at Toronto's Bourbon Street nightclub on June 16, 1977.
 
That night's triumphant performances are documented in the new Widow's Taste 3-CD set, Unreleased Art Pepper Vol. 10: Toronto, which will be released November 2. The absolute love with which Toronto jazz fans greeted him surprised Art and gave him the boost he needed from the very start. And the superb young musicians at this gig were supportive and challenging. He always felt that good musicians had something to teach him, and these fellows all went on to fine careers. During the 30-minute interview with Toronto disc jockey Hal Hill, which is included in the new package, Art praises them, sincerely, especially the pianist,Bernie Senensky. He enjoyed their youth; the prodigious David Piltch was only 17. Piltch alternates with the impressive Gene Perla on bass, and the drummer, Terry Clarke, seems to have played with every soloist on earth. They solo beautifully. They back him perfectly.
 
The audio is quite good, thanks, once again, to Wayne Peet's mastering, which is precise, skilled, and artful. The 32-page booklet includes, along with Laurie Pepper's photos, gossip, opinions, and flights of musically inspired fancy, her chart of problems she heard in the original recordings and Wayne's notes describing all the additional problems Laurie didn't hear -- and his work correcting them.
 
Laurie and Art PepperAnd there's more. In honor of this, the tenth release from her label Widow's Taste, Laurie (at left with Art) offers us a backstage pass, "How to Turn a 40-Year-Old Cassette Tape into a Valuable Collector's Item." She shows us why and how, "in this age of off-brand-indie-DIY," she manages, with help, to keep finding and releasing this great music. She says, "My jewel boxes hold real jewels."
 
Fifty-one at the time of these recordings,Art Pepper had been struggling, as an artist, to merge the solid swing and shuffle of the blues he'd made his own at age 15 on Central Avenue with the tender lyricism of his nature, with the fire and excitement of bebop, and with the adventurousness of John Coltrane and Miles Davis. John Snyder, producer and fan, underwrote and ran this East Coast tour -- which culminated in Pepper's Village Vanguard debut -- to help him do it.
 
Art PepperSnyder's encouragement can't be underrated. Neither can Pepper's courage. When young, as a starring soloist, Art had toured the country with Stan Kenton's big bands. But later, multiple incarcerations for drug use and subsequent paroles limited his movements. When he was working, he could only work at home in California. And part of Art, the part that was not self-destructive, was profoundly competitive and ambitious. Here was his first tour as a leader, and he knew this was his moment.
 
This latest album joins the catalog of previous albums from theUnreleased Art Pepper series. All have received raves from well-known critics. They are:
 
Volume I, Abashiri (2-CD set)
Volume II, Last Concert: Kennedy Center
Volume III, Croydon (2-CD set)
Volume IV, The Art History Project (3-CD set)
Volume V, Stuttgart (2-CD set)
Volume VI, Blues for the Fisherman: Live at Ronnie Scott's (4-CD set)
Volume VII, Sankei Hall, Osaka (2-CD set)
Volume VIII, Live at the Winery
Volume IX, Art Pepper & Warne Marsh
 
All (except Volume IV, which is available for download only) are available at both Amazon (bit.ly/ArtPepperAll) and CD Baby (cdbaby.com/Artist/ArtPepper). Laurie says she'll keep releasing yearly miracles as long as she keeps finding them. She says there are still plenty in her closets. Maybe, in 2019, a ballad set? Yes, maybe.  
 
 
  
Unreleased Art Pepper Vol 10 TORONTO 
Unreleased Art Pepper Vol. 10 TORONTO
 
 
     
 
U.S. Music Reviewers: To order a copy of Unreleased Art Pepper Vol. 10, please pay byPayPal ($25 includes shipping). 
 
Reviewers outside the U.S.: Contact Laurie (6152117@gmail.com) for details on shipping costs.  
 
 
 
Blog (and giveaways)artpeppermusic.blogspot.com 
Like us on Facebook   Follow us on Twitter 
 

USA/UK New York All-Stars featuring Eric Alexander & Harold Mabern -Burnin' in London(Ubuntu Music 2018)


Burnin' in London
The New York All-Stars play energetic and swinging music on the highest level, presented with the utmost professionalism and uninhibited enthusiasm, which has given them the title of "Jazz at its Best".New York tenor saxophonist Eric Alexander is one of the most important soloists of the current modern straight-ahead jazz world. His accolades are many and he has appeared on over 75 albums--as leader, collaborator and sideman--with big names like Steve Davis, Jim Rotondi, Vincent Herring, Pat Martino, Jimmy Cobb, Cedar Walton and McCoy Tyner.In the quartet, New York All-Stars, Alexander performs with a true jazz legend, the American piano player Harold Mabern.The 82-year-old pianist Mabern has been a part of the top New York jazz scene since the 1950s. He's partnered with many of the greats, including Lionel Hampton, Wes Montgomery, Lee Morgan, Benny Golson, Miles Davis, Sarah Vaughn, Rahsaan Roland Kirk, Sonny Rollins and Freddie Hubbard, to name just a few. Special guests on his last album included Gregory Porter, Norah Jones and Kurt Elling.American bassist Darryl Hall, who resides in France, is one of the most accomplished bass players on the international circuit today. Since 2012, Alexander and Mabern have worked in various projects with Austrian drummer Bernd Reiter, who studied in Graz and New York and lives now in Paris, always delivering a rock-solid beat.

USA: Barre Phillips-End To End (2018)


End To End

Barre Phillips was the first musician to record an album of solo double bass, back in 1968, and he has always been an absolute master of the solo idiom. In March 2017, Barre recorded what he says will be his last solo album, the final chapter of his Journal Violone: it is a beautiful and moving musical statement. All the qualities we associate with Barres playing are here in abundance questing adventurousness, melodic invention, textural richness, developmental logic, and deep soulfulness. End to End was recorded at Studios-La-Buissonne in the south of France, and produced by Manfred Eicher.

Monday, October 15, 2018

USA: Ken Navarro -Music For Guitar And Orchestra(2018)


Music For Guitar And Orchestra


Music For Guitar And Orchestra, Navarro's 24th release, is a brand new album of Ken's best and most loved music arranged and orchestrated for Navarro's acoustic guitar and symphony orchestra. This new work also features special guest performances from such acclaimed musicians as drummers Dave Weckl (Chick Corea, Mike Stern), Chad Wackerman (James Taylor, Frank Zappa), bassist John Patitucci (Wayne Shorter, Al Dimeola), Saxophonist Eric Marienthal (The Rippingtons, Jeff Lorber) and harpist Lori Andrews (Barbra Streisand). The music includes new versions of some of Ken's biggest hits - 'Smooth Sensation', 'The Stars, The Snow, The Fire', 'Juliet' and many more.


Sunday, October 14, 2018

DENAMRK: Danish String Quartet -Prism I (2018)


Prism I

For its third ECM release, the prize-winning Danish String Quartet hailed by the Washington Post as one of the best quartets before the public today and as simply terrific by The Guardian inaugurates a series of five albums with the overarching title of Prism, in which the group will present one of Beethovens late string quartets in the context of a related fugue by J.S. Bach as well as a linked masterwork from the modern quartet literature. With Prism 1, it s the first of Beethovens late quartets, his grandly life-affirming Op. 127 in E-flat Major, alongside Bach s luminous fugue in the same key (arranged by Mozart) and Dmitri Shostakovichs final string quartet, the No. 15 in E-flat minor, a haunted and haunting sequence of six adagios. A beam of music is split through Beethovens prism, explains DSQ violist Asbjørn Nørgaard in the ensembles prefatory note to the Prism series. Inevitably, we base our work on what we know, as individuals and as a group, but the important thing to us as musicians is that these connections be experienced widely on an intuitive level. We hope the listener will join us in the wonder of these beams of music that travel all the way from Bach through Beethoven as far as to our own times.

Saturday, October 13, 2018

USA/ISRAEL: Shai Maestro Trio-The Dream Thief (2018)


The Dream Thief
The first ECM leader date for Shai Maestro (following his label debut with Theo Bleckmann on Elegy) features the gifted pianist fronting his superlative trio with fellow Israeli Ofri Nehemya on drums and Peruvian bassist Jorge Roeder, and also playing alone. A solo interpretation of Matti Caspis My Second Childhood opens the curtain on a program of characteristically thoughtful Maestro originals, each one with a story to tell. Hearing the Shai Maestro Trio is like awakening to a new world, All About Jazz has suggested. Expressions of joy, introspective thoughts and heightened intensity all come to the fore. Maestros differentiated touch is special; he can convey a range of fleeting emotions in a single phrase. A deconstruction of These Foolish Things, the albums sole standard, serves as a prelude to What Else Needs To Happen , a somber meditation on inner city violence and its aftermath. The Dream Thief was recorded at Luganos Auditorio Stelio Molo RSI in April 2018, and produced by Manfred Eicher.

Friday, October 12, 2018

USA: José James-Lean On Me (2018)


Lean On Me

Singer-songwriter José James is releasing Lean On Me, a tribute album including 12 of Bill Withers' most undeniable and soulful songs produced by Blue Note president Don Was and recorded in Capitol's legendary Studio B with a dream team band: Pino Palladino (bass), Kris Bowers (keys), Brad Allen Williams (guitar) and Nate Smith (drums). Withers' nuanced perspective on romantic love rings out: the ache of “Ain't No Sunshine,” echoed by Bowers' expressive Rhodes; the celebration of vulnerability on “Use Me,” featuring Takuya Kuroda's Voodoo-evoking brass arrangements; and the bittersweet balladry of “Hello Like Before,” here in a dreamy hue. And then there's “Lovely Day,” which displays Lalah Hathaway's voice dancing along with James’ to all that ineffable joy.

Thursday, October 11, 2018

USA: Paquito D’Rivera & John di Martino Trio presenting the Music of Billy Strayhorn Flushing Town Hall

Paquito D’Rivera & John di Martino Trio presenting the Music of Billy Strayhorn Flushing Town Hall

USA: "That's Right!," CD Debut of Trumpeter Brad Goode's Quintet Featuring Tenor Titan Ernie Watts, Out Oct 19 on Origin Records

"That's Right!,"
The Recording Debut of
Trumpeter Brad Goode's Quintet
Featuring Tenor Titan Ernie Watts,
Set for Oct. 19 Release by Origin Records
   
Original Trumpet Stylist Backed by Longtime Collaborators
Adrean Farrugia (Piano) & Kelly Sill (Bass)
Plus Newest Member Adam Nussbaum (Drums)

 
     
September 17, 2018
 
Brad Goode That's Right!
That's Right!, the recording debut of trumpeter Brad Goode's quintet featuring tenor titan Ernie Watts, documents the virtuosity and versatility of one of the tightest working bands on the contemporary jazz scene. Set for October 19 release by Origin Records, the album is a powerful showcase for Goode's ideal quintet as well as the soloing chops and writing skills of each of its members.
 
Watts and Goode first shared the front line in a concert at the University of Colorado in Boulder, where the trumpeter is an associate professor of jazz studies, in the early 2010s. "It was just one of those things," Goode recalls. "We played together for a little while, and then we looked at each other and said, 'Hey, you know what? This is good!' There's something that happens when the two of us start playing, and we've been making efforts to do what we can together ever since."
 
Also featured on the new CD are Canadian pianist Adrean Farrugia and Windy City veteran bassist Kelly Sill, both of whom have been playing with Goode since 2005. The unit's newest member, drummer Adam Nussbaum, joined in 2017. "I tell my students this: If you want to make the biggest change to the sound of your group, change the drummer," says Goode.
 
That's Right! contains three originals by Goode, one by each of the quintet's other members, and the standards "Blues in the Night" and "I Want to Talk About You." The final track, "Jug Ain't Gone," is a tribute to Gene "Jug" Ammons by the late Chicago jazz giant Von Freeman, Jug's high school classmate and one of Goode's mentors. It's a hard-swinging blues that's become something of a theme song for Goode. "Von and I used to play it at every gig but he only recorded it once," he explains. "I run a jam session with students every Monday night, and I make that the closing tune. It's just my way of keeping Von's tradition of the jam session alive -- and keeping Von's memory alive."
 
L. to r.: Ernie Watts, Adrean Farrugia, Brad Goode, Kelly Sill, Adam Nussbaum. 
 
Born in 1963 in Chicago, Brad Goode took up the violin at age four, switched to guitar at eight and trumpet at 10. At 15, having moved to East Lansing, Michigan, he began learning the bass. Even when he decided to pursue music as a career, he couldn't settle on one instrument: He earned his B.M. in classical trumpet at the University of Kentucky, and an M.M. in classical bass at Chicago's DePaul University.
 
Goode's early career was a period of extended apprenticeship, as he performed with the bands of jazz legends Von Freeman, Eddie Harris, Ira Sullivan, Jack DeJohnette, and Curtis Fuller. He led the house band at the Green Mill in Chicago from 1986 until 1997, when he left Chicago to pursue college teaching. Since then, his musical career has been expansive. He works often in the areas of world music, experimental harmony, and fusion. He is in high demand as a lead trumpeter, traveling widely to perform and record with big bands and orchestras, and is recognized as a master teacher of brass technique. He currently tours as the featured soloist with West African drummer Paa Kow's Afro Fusion Orchestra.
 
Brad GoodeIn 1997, Goode joined the faculty at the University of Cincinnati College Conservatory of Music. In 2004 he accepted a position in Boulder, Colorado, and the following year formed a new working band with Kelly Sill, whom he'd known since the mid-1980s. They were joined by pianistAdrean Farrugia, whom Goode had met at a jam session, and drummer Anthony Lee, one of his Cincinnati students who lived in New York.
 
The quartet stayed together for a decade, becoming a quintet with the addition of Watts in 2015. Lee's 2017 departure brought in Nussbaum on drums. Goode flew the band in to perform at the Jazz Education Network (JEN) conference in Dallas in January 2018. "I had them all there, and I thought we should do a recording," he says. "After the concert we spent two days at a studio in Dallas."
 
While That's Right! is his 18th album as a leader, Goode doesn't see it that way. "I think of this as a debut album by a new band," he says. "I feel this is a pretty special act. When Ernie and I do this together, people kind of freak out. So this album is a way to get that across to people who haven't seen it live yet -- that it's gonna be exciting." The quintet plans a series of dates in Spring and Summer 2019.
 
Brad Goode in performance: 10/13 w/ Paa Kow's Afro Fusion Orchestra, Dazzle, Denver; 10/20Brad Goode Quartet at Jazz Association of Macon, GA (where he is 2018-19 Artist in Residence); 11/3 Utah International Trumpet Guild Presents Brad Goode; 11/9 Jazz Institute of Chicago Tribute to Von Freeman; 11/14 Brigham Young University (Idaho), in concert with BYU faculty trio; Every Monday -- Brad Goode Jam Session at Muse Performance Space, Lafayette, CO; 4/19-20/2019, Brad Goode Quintet Featuring Ernie Watts, Green Mill, Chicago.  
  
 
Photography: Patricia Watts (quintet), Jim Bohm (Goode).
 
     
 
 
BRAD GOODE QUINTET: Reverse the Charges 
BRAD GOODE QUINTET: Reverse the Charges
 
 
 
Web Sitebradgoode.com
LikeLike us on Facebook

Media Contact:
Terri Hinte
510-234-8781
hudba@sbcglobal.net
terrihinte.com
Follow us on Twitter 

DENMARK: Jakob Bro Trio -Bay of Rainbows(2018)


Bay of Rainbows
Jakob Bro Bay of Rainbows Jakob Bro guitar; Thomas Morgan double bass; Joey Baron drums There is no hurry to this music, but there is great depth, observed London Jazz News about Danish guitarist Jakob Bro s trio with two kindred-spirit Americans: bassist Thomas Morgan and drummer Joey Baron. This poetically attuned group follows its ECM studio album of 2016, Streams which The New York Times lauded as ravishing with what Bro calls a dream come true, an album recorded live in New York City, over two nights at the Jazz Standard. Bay of Rainbows rolls on waves of contemplative emotion, with gradually enveloping lyricism the lodestar. The three musicians explore five pieces from the guitarist s catalog, with the gorgeous Copenhagen a favorite reprised from Gefion, Bro s 2015 ECM release with Morgan and drummer Jon Christensen. Others Evening Song, Red Hook and the volatile Dug are recast intimately and elastically for trio after having been initially documented by larger ensembles. Bookending Bay of Rainbows are two versions of the richly melodic Mild, the abstracted second rendering illustrative of Bro and company s ability to push and pull the music into mesmerizing new shapes, onstage and in the moment.

Wednesday, October 10, 2018

USA: The Richard Shulman Group-Turned Into Lemonade (2018)


Turned Into Lemonade

This heartfelt jazz is a blend of melody, fire, water, groove, mutual exploration and beauty which I hope will uplift you as much as creating it has uplifted me. Sincerely, Richard Shulman
Richard Shulman - piano
Jacob Rodriguez - tenor & soprano saxophones
Zack Page - bass
Rick Dilling - drums
Wendy Jones - vocals on tracks 4, 7 & 9
All compositions by Richard Shulman except Track 4 - music by Richard Shulman, lyrics by Richard Shulman & Brenda Lee Morrison. © 2018 RichHeart Music, BMI 
(bar code) 723867182626
This is the fourth album of original music from The Richard Shulman Group and I am honored to be working with Jacob Rodriguez - tenor and soprano saxophones, Zack Page - bass and Rick Dilling - drums along with vocalist Wendy Jones on three extraordinary tracks.
I invite you to visit the RichHeart Music website and the Richard Shulman Youtube channel to explore and listen to other jazz albums as well as music for healing and meditation. Sincerely - Richard Shulman
Recorded October 2 & 3 2017 and mixed at Seclusion Hill Music by Phil Ludwig. SeclusionHillMusic.com Mastering at Soundsmiths Mastering by Stephen Smith. soundsmiths.com Piano Tuning by Trip Gilbert. pianoperfect.net Cover photo Ice Cold Lemonade at the Beach by Michael C. Gray. Back cover photo Lemon in Water by Chepko Danil Vitalevich, Both photos used under license of shutterstock.com. Art Direction by Brenda Lee Morrison. Graphic Design by Susannah Haskell.
Notes from the Composer: 
1. Atmosphere - a haunting mood piece exploring the movement from minor to major. 
2. I Claim my Day - A musical reflection of creative thought. 
3. In Between the Blue and Green - The only straight - ahead, post bop tune on the album, this song languished in my 1983 notebook for years because I thought it was too similar to Bill Evans' "Blue in Green." I rediscovered it a few years ago, realized that it is its own song, and finished it. 
4. The Gifts You Gave to Me - A ballad with rich images moving from regret to thankfulness. 
5. For Mom - Written for Mother s Day. 
6. No Matter What They Say - I like sweet music.... 
7. Homage to Pharoah - When I first heard Pharaoh Sanders The Creator has a Master Plan I was moved by the spiritual potency of this musical prayer. Homage to Phaoah reflects my gratitude for this devotion. 
8. It s All Inside - Another musical prayer. 
9. Finding Peace - May we all find peace within ourselves and in our world. 
10. Buried Diamond - another half-written piece from my 1983 notebook. When I found it a few years ago it just needed a bridge and it was fun to write. 
11. Turned into Lemonade - When Life gives you lemons turn them into Lemonade! 
12. Sunny Samba - A happy, fun song..... 
13. Write Again - A jazz samba with joy and passion. 
14. Nostalgia - A duet with Jacob and me.... A beautiful slow waltz to end the album.

Review

Highly inventive original jazz The Richard Shulman Group Turned into Lemonade
By Dick Metcalf, editor, Contemporary Fusion Reviews May 21, 2018
Though this is my first review of Richard's energetic jazz piano work, it s actually his fourth original release... as I listen to tunes like the 5:01 I Claim My Day, it helps me to renew my spirit in most positive fashion... full of life & the living of it to the MAX.
Joining Richard are some of the hippest jazz players on the planet... Jacob Rodriguez tenor & soprano saxophones; Zack Page bass; Rick Dilling drums, and Wendy Jones doing vocals on tracks 4, 7 & 9... Wendy's vocal on the 6:19 Finding Peace is (without question) one of the most comforting jazz vocals I've heard (yet) in 2018... a perfect match with the other players!
The highly-charged Write Again will have you up on your feet & swaying round the room... I totally dug Zack's bass work on this one... excellent recording as well.
If truly solid jazz is what your ears are yearning for, you'll find In Between the Blue and Green to be one of those tunes you ll play over & over & over again... it s stuck in replay mode on my iPhone playlists, to be sure... Richard s piano on this track is right up-front & shows talent beyond compare.
I m a lover of Latin-flavored jazz, to it was easy to decide on my personal favorite of the fourteen songs offered up for your listening pleasure... Sunny Samba is about as tasty as it gets... I think you can expect to be hearing this one on jazz stations across the nation frequently!
I give Richard and his talented crew a MOST HIGHLY RECOMMENDED, with an EQ (energy quotient) rating of 4.98 for this lively and entertaining album. Get more information on the Rich Heart Music label page for the release. Rotcod Zzaj --By Dick Metcalf, editor, Contemporary Fusion Reviews May 21, 2018