Thursday, November 15, 2018

USA: Joshua Breakstone Trio -Children Of Art (Capri 2018)


Children Of Art
Joshua Breakstone's latest recording, Children of Art is a tribute to Art Blakey's Jazz Messengers and is made up of compositions written by members of that hallowed band. Hundreds of great young musicians were a part of this group over the 60 year tenure of the band, all with youthful energy and enthusiasm under Blakey's mentorship. The compositions Breakstone selected were written and recorded by the musicians while they were with the band. They include Lee Morgan, Wayne Shorter, Horace Silver, Hank Mobley, Benny Golson, Cedar Walton and Walter Davis Jr. The title track is an original composition by Breakstone.

Wednesday, November 14, 2018

The John Tropea Band's Back at Mcloones', Nov 16th 8PM

Reservations Recommended:  732-774-1155 or online at: timmcloonessupperclub.com

Also Featuring
Members and Music of the Original Blues Brothers Band!! 
John Tropea - Tommy “Pipes’ Mcdonnell -
Rob “The Honey Dripper” Paparozzi -
Lee Finkelstein - Birch Johnson

RUSSIAN FEDERATION: Ian Bederman Project(-Go of Your Head ( 2017)


Music of Ian Bederman and his Intuitive Music Orchestra for those who have already asked ourselves the questions, " Who am I?" and "Why am I here?" For those who are aware that we are not alone in this infinite space
Intuitive music orchestra - is unique creative being wich its creators do not intend to define making links with somthing that is already known or comparing it with something that already exists.
Participants of IMO explore a miraculous power of sound with enthusiasm for 12 years already.
"Intuitive music orchestra" is a natural environment where a man is free from any kind of limits, conditions, evaluations.
This is a unique model of people's coexistence and cooperation. IMO is an optimal life strategy that lets musicians understand and open fully their creative potential. That music is above national and non conditional.
All that musicians perform is never rehearsed or repeated - Sun shines with no rehearsals. There's just a great low of Harmony and all happens according to it. Audience becomes a participant of creative process during performances very often.
Musicians us more then 50 various drums, rubap, sitar, igil, gijak, mouth harp, fretless bass, double bass, English horn, alto and soprano saxes, about 10 diferent sorts of flutes, duduk, gongs, bells, cymbals, metallophon, didgeridoo, more then 100 types of small percussion instruments and a human voice of course.
The stile of music may be named as intuitive ethnic free jazz .

Tuesday, November 13, 2018

SERBIA: Vasil Hadzimanov - Lines in Sand (MOONJUNE 2018)


As stylistically varied yet overwhelmingly convincing, Vasil Hadzimanov's sophomore effort for MoonJune Records, "Lines In Sands," puts all of the virtuoso Serbian keyboardist's considerable talents on display. The album mixes ethnic influences with jazz, rock, R&B, funk, psychedelia and more, producing a delightfully zealous musical hybrid -- highlighted by brilliant, soulful improvisations, tight syncopations, a flowing, organic interplay and prevailing understated sensibilities. Vasil even pays homage to the label's founder Leonardo Pavkovic, with the wonderfully crafted second tune, "Mr. MoonJune."

Each song is its own unique entity, augmented by performances that are brilliant in substance, efficiency and cohesiveness. Vasil's keyboards work is smooth, lush and impressive, throughout. The musical ideas expressed are fresh and dynamic, delivered with sparkling economy, but never lacking in soul and conviction.

Thoroughly engaging and an essential work for fans of great keyboards, rich textures, adventurous sonic excursions and dense ensemble work, "Lines In Sands" is a highly ambitious undertaking, an album that will leave you thoroughly satisfied.
credits
released November 1, 2018

VASIL HADZIMANOV - keyboards
BRANKO TRIJIC - guitar
MIROSLAV TOVIRAC - bass guitar
BOJAN IVKOVIC - percussion, vocals
PEDJA MILUTINOVIC - drums
with special guests:
RASTKO OBRADOVIC -sax (2, 8)
MARTA HADZIMANOV - lead vocal (4)
DEAN BOWMAN - lead vocal (8)

Monday, November 12, 2018

USA: The Balance Imbalance of Afinque: Dancing Through the Tensions and Intricate Realities that Unite Us with Zemog El Gallo Bueno on YoYouMeTú Volume 3

The Balance Imbalance of Afinque: Dancing Through the Tensions and Intricate Realities that Unite Us with Zemog El Gallo Bueno on YoYouMeTú Volume 3

Zemog El Gallo Bueno is the philosopher’s psychedelic Latinotronic band. With multiple, branching roots and a lifetime of grappling with identity, the driving force behind the group Abraham Gomez-Delgado-Delgado has gathered musical kindred spirits back into a band for a raw, rhythmically stunning, dancefloor-ready, thinking person’s album.
Nothing is as straightforward as you want to make it, Gomez-Delgado insists. But it can be a hell of a beautiful ride, as mapped out on YoYouMeTúTrilogy: Volume 3 (release November 9, 2018).
“It can feel awkward to use the term Latinx or Latin or Latino, because you’re being grouped together with so many people. But you can’t say no to it, or things get taken away from communities. I wanted to walk close to the line of tradition and then do something that’s not necessarily predicted. To say, hey, we are individuals and have intricate realities like other humans,” Gomez-Delgado says. “We’re not all just like, ‘hey salsa, let’s party!’ I’m not your entertainment, nor am I here to be a jerk and not entertain you.” Gomez-Delgado and Zemog are here to get you to dance to your own humanity, as they grapple musically with theirs.
Volume 3 presents a closing rally to a deep-going, wide-ranging trio of albums. The previous, Volume 2, was sparked by Gomez-Delgado’s struggle to rebuild his life while grappling with intense experiences of alienation and migration, Volume 3 revels in the joys of healing love and friendship and the three-chord song--a formula just as potent in Cuba and Puerto Rico as in garage rock (“Sexy Carnitas,” “Pianola”)--and in life’s moments, great (“Wedding Song,” “Delgados Feliz”) and small (“Quiero Correr,” about a really good jog in the park).
Gomez-Delgado’s musings on “Balance Imbalance Dance” speak to the spirit of the whole album: “Without balance there is no imbalance. You need tension. You need to throw a wrench into things,” Gomez-Delgado reflects. “It’s not an opposite; it’s in balance. You zoom out to wanting utopia, and as hard as hard times can be, we need them to remind us of what is and what is important.”
{full story below}
The texture and timbre of complex experience has always been important to Gomez-Delgado. His work strives to embrace all the contradictions and riches of his Puerto Rican-Peruvian heritage, his life as a young immigrant in a sometimes less-than-friendly environment, and his yearnings as a remarkably deft and sensitive musician. He longs to create the connection between people, onstage and off, that’s often called afinque in salsa music: that moment of meld when everyone sways as one.
After a successful string of albums with his band--and many of his favorite bandmates continue to play with him--Gomez-Delgado found himself in a period of deep introspection that made it challenging to play music with others. Eventually, Gomez-Delgado found his way forward, moving all his favorite salsa elements to a single instrument that could be played by a single musician. “It coaxed me toward remembering how to play with others,” Gomez-Delgado recalls.
That energy, once coupled with the excellent New York-based musicians in Zemog, burst into new intensity at a regular gig at Brooklyn music hub Barbès, where the band had a long-standing residency. Gomez-Delgado worked to keep the intensity present on Volume 3, keeping the live vibe on tracks like “Agua a Peso” and “Pianola.”
This new-found sense of vibrant community lets Gomez-Delgado’s wonderfully vivid imagination run wild, vibrating with cha cha cha, salsa, guaracha, punk, funk, and pure idiosyncrasy. “I wanted this album to have a wide spectrum. That asks a lot of people. That’s not always fair or right, but sometimes you are reacting to what life is,” notes Gomez-Delgado. “I’m going to bring these things up in my music. I wanted to lay some heavy stuff down and if you can get through that, then we’ll have fun and a good conversation.”
The heavy stuff springs from the political, no surprise for an artist like Gomez-Delgado in this day and age. “Americae,” with its Latin lyrics and its fantastic, all-over-the-place polyrhythms, cuts to the heart of the American dilemma of its cries for freedom and its basis in genocide and slavery. “This original and ‘invisible’ sin keeps coming up. Until we deal with it, it will keep coming back,” comments Gomez-Delgado.
Yet Zemog never lets gloom dominate the conversation. “Motivate,” written with conga virtuoso Reinaldo DeJesus, urges movements and motions, with coils of low brass, inspiring percussion, and a dreamy guitar line that dares you to sit still. The lyrics ask us all to get the guts to up on the dancefloor, literally and figuratively, to step up and wake up, in an anthem that feels like Frank Zappa and Antibalas colliding with cumbia.
With a similar floating sense of rhythm but a more stately sway, “YoYouMeTú” addresses identity dilemmas of a more intimate nature. The crisis of connection that we all face--that promises greater happiness if we learn to deal with it--can be resolved only by losing some of what we cling to and having faith in this vulnerability. “The lyrics use the words ‘afinque’ and ‘afincado,’ used in salsa starting in the 60-70s. They basically describe when the band is tight and becomes one, with the dancers in the room. You lose time, fully present but not in a stressful, ego-filled way. The band is swinging. That to me is the main thing of all of this,” explains Gomez-Delgado. “It’s hard to accept because anything that’s new is contradicting what you knew before. That tension takes an inner faith to move through.”
What happens on the dancefloor or in our tangled inner worlds blurs for Zemog, but that is where the pleasures of committed relationship (a moment celebrated with his wife Olia in “Wedding Song,” which they crafted for their big day) and family (“Delgados” includes a recording of Gomez-Delgado’s extended family singing together in Puerto Rico.) This is the place Gomez-Delgado fought so hard to reach, what he lays out in polychrome, shifting, quirky detail on the album. “I don’t care how cliche it is. It’s really about us and how we affirm each other’s existence. It’s the most basic thing, but I don’t care. The message still isn’t getting through, judging by our current climate. So it’s vital to say it and play it.”
About
Zemog EL Gallo Bueno is a New York City based group of musician friends created and led by Puerto Rican/Peruvian composer and multi-instrumentalist Abraham Gomez-Delgado. Zemog’s music has been described as “Kaleidoscopic Avant Latin Roots” which adventures through 1930's Puerto Rican street cries, 60's free jazz fumes, 70's New York salsa residue and 80’s warehouse Latin Punk.
Gomez-Delgado left his native Puerto Rico as a child and relocated to the mainland U.S. where he moved frequently and lived in different socio-economic and racially charged communities where he experienced first hand the deep divisions and injustices that plague the United States. He had also met many healing, inspiring and loving people through out his journey, in the U.S. These experiences and people helped shape much of Abraham Gomez-Delgado’s music and led him to connect and collaborate with many like minded and innovative musicians, composers, artist’s and educators that make up the members of Zemog El Gallo Bueno. Reinaldo DeJesus, Chris Stromquist, Jackie Coleman, Benjamin Willis, Maria Christina Eisen, Bryan Vargas, Ted Nordlander, Juancho Herrera, Pablo Bencid and Matt Bauder.

Zemog El Gallo Bueno has performed at the Blue Note, Montreal Jazz Festival, Joe's Pub, Mass MoCA, Jazz Gallery, S.O.B’s, Lincoln Center, BAM, Chicago World Music Festival, Nuyorican Poet’s Cafe, Barbes, Zebulon, Camaradas El Barrio amongst others.

Abraham Gomez-Delgado was awarded the New Jazz Works grant from Chamber Music America and the Doris Duke Foundation, Meet The Composer MetLife Grant, USArtists International Award and a National Endowment for the Arts grant.


UK: Maisha-There Is A Place (2018)


There’s something universal in the appeal of an escape – of finding somewhere to relax and explore your ideas. It’s a feeling which connects together the different parts of Maisha’s debut album. A deep record which provides grist for serious spiritual rumination, the music prompts internal reflection as much as it reflects the surrounds which shaped it. Each of its tracks provokes a feeling of intense revery which is timeless, on the one hand, but realised through a confluence of sounds and circumstances which are undeniably of the present.

The six-piece group, led by bandleader Jake Long, bring a fresh slant to the weighty spiritual jazz tradition. Their 2016 debut EP was released through Jazz Re:freshed (whose weekly shows and record label are an institution for forward-thinking jazz), and were part of We Out Here, Brownswood’s early 2018 record which documented London’s genre-bending, jazz-influenced underground. They’ve been featured on Boiler Room, supported the Sun Ra Arkestra, and played at Church of Sound, a live series that’s quickly become a staple of the emergent scene.

The album’s title alludes to a small, secluded park which bandleader Jake Long would often retreat to, whose peaceful surrounds were the setting for regular moments of reflection. It’s also a reference to London. Or to be more specific, the side of London which has... more
credits
releases November 9, 2018

Jake Long - Drums
Nubya Garcia - Saxophone/Flute
Shirley Tetteh - Guitar
Amané Suganami - Piano/Wurlitzer
Twm Dylan - Double Bass
Tim Doyle - Percussion
Yahael Camara-Onono - Percussion

Axel Kaner-Lindstrom - Trumpet
Johanna Burnheart - Violin
Barbara Bartz - Voilin
Tom Oldfield - Cello
Madi Aafke Luimstra - Viola
Maria Zofia Osuchowska - Harp

Sunday, November 11, 2018

UK:Mammal Hands- Becoming (2018)



Almost a year to the day since the release of their acclaimed third album Shadow Work, Mammal Hands share a new EP entitled Becoming.

Recorded from the same extensive studio sessions,Becoming is a seen as a brooding companion to third album Shadow Work, offering three new pieces self-produced by the trio. It opens with the bold title track Becoming, a hugely dynamic and diverse composition that begins with a rhythmical piano and saxophone line, building gradually with textural layers and flourishes before reaching a climatic end reminiscent of math-rock. It highlights the groups continued skill and playful ability to improvise and experiment with structure and mood.

“Becoming has a lot of different influences in it. The opening section has a hip-hop inspired feel, the middle section breaks into a more minimalist/electronic theme before cutting to a heavier/guttural feel for the last sections”reveal the trio.

Second track “Refuge” opens and closes with a calm and gentle melodic pattern led by the drums, evolving with subtle rhythmic saxophone lines before erupting into more explosive group playing, then returning to the melody and a place of calm. On tour it has often been the trio’s favoured live opening piece.

“This is a track we wrote together where we wanted to... more
credits
released November 2, 2018

2018, Gondwana Records

Saturday, November 10, 2018

USA: Orrin Evans -Captain Black Big Band (2018)


Captain Black Big Band
The Captain Black Big Band, led by pianist Orrin Evans, is a high-intensity, swinging affair featuring a number of top soloists from the jazz scenes of New York and Philadelphia. Recorded during three different live performances in 2010, the group features a rotating cast of thirty-eight musicians over seven tracks. Despite the lack of a cohesive unit, the disc maintains stunning consistency with undeniable spirit and musical drive. From the opening "Art of War," a blistering, boppish piece featuring a jaw-dropping solo by alto saxophonist Rob Landham, the bands tight ensemble passages and intuitive use of dynamics creates an unrelenting high-energy vibe. The band is propelled by lead trumpeter Walter White, who, as a soloist, navigates through the up-tempo maze of Evans' "Big Jimmy" with strength and cleverness. Veteran saxophonist Ralph Bowen follows White on "Big Jimmy" with flowing soprano lines. Evans contributes as a composer on four tracks and arranger on the closing "Jena 6," a Mingus-like anthem-of-a-piece with an impressive opening piano cadenza by Neal Podgurski and other-worldly, emotive wailing from alto saxophonist Jaleel Shaw. The presence of Podgurski and pianist Jim Holton on the title track allows Evans the freedom to leave the piano bench and take on a director's role. Perhaps the ability to stand out in front of the band and keep all involved motivated is the key to Evans' success. The results here are fresh, forward thinking and a cut above the typical big band fare. --John Barron - JazzReview.com


Putting together a big band in these dicey economic times is a tough proposition at best, but pianist and composer Orin Evans is bucking the odds with this large ensemble that features tight ensemble playing and fine soloing. It is a particularly large band and this allows them to play several distinct textures and work them into the bands overall sound. The ensemble meshes nicely like a finely woven garment and everybody is on the same page throughout the album. Recorded live in New York City and Philadelphia, the band plays with considerable panache, with a crisp brashness to the horns and subtle intricate playing from the rhythm section. Ralph Peterson s Act of War shows the band honoring the big band tradition of the past, while bringing it at warp speed into the present. The arrangement is very effective and frames Rob Landham s alto saxophone solo quite nicely. Here s the Captain keeps the tempo moving briskly, with Evans in particular taking a rippling piano solo the fits in well with the overall motif of the music. The crowd responds the music heartily, urging the soloists on and providing hearty applause to the musicians. Several Orrin Evan originals conclude the album, and this is a good thing as he has a bold and thoughtful ear and writes some fine tunes including Jena 6 a protest piece that retains the nature of social commentary while swinging quite nicely. There are precious few big bands left on the jazz scene, so this group is an exciting addition to their ranks. The overall musicianship is excellent and the music remains exciting and compelling throughout. --Tim Niland - Music And More

Some of the same energy of the Sanabria record lives in Captain Black Big Band (Posi-Tone), the first album from a new large ensemble led by the pianist Orrin Evans. Recorded at spots around Philadelphia and New York City over the past year, it is deep in the tradition of African-American East Coast jazz since the mid- 60s, percussive, punching and hard swinging; it might make you think of big bands led by Charles Tolliver, Charles Mingus and Clifford Jordan. And with its multiple composers and even multiple pianists, it s got range. (Mr. Evans conducts as well; when he does, others take his keyboard bench.) There are many soloists worth mentioning here the trumpe --Ben Ratliff - New York Times

Putting together a big band in these dicey economic times is a tough proposition at best, but pianist and composer Orin Evans is bucking the odds with this large ensemble that features tight ensemble playing and fine soloing. It is a particularly large band and this allows them to play several distinct textures and work them into the bands overall sound. The ensemble meshes nicely like a finely woven garment and everybody is on the same page throughout the album. Recorded live in New York City and Philadelphia, the band plays with considerable panache, with a crisp brashness to the horns and subtle intricate playing from the rhythm section. Ralph Peterson s Act of War shows the band honoring the big band tradition of the past, while bringing it at warp speed into the present. The arrangement is very effective and frames Rob Landham s alto saxophone solo quite nicely. Here s the Captain keeps the tempo moving briskly, with Evans in particular taking a rippling piano solo the fits in well with the overall motif of the music. The crowd responds the music heartily, urging the soloists on and providing hearty applause to the musicians. Several Orrin Evan originals conclude the album, and this is a good thing as he has a bold and thoughtful ear and writes some fine tunes including Jena 6 a protest piece that retains the nature of social commentary while swinging quite nicely. There are precious few big bands left on the jazz scene, so this group is an exciting addition to their ranks. The overall musicianship is excellent and the music remains exciting and compelling throughout. --Tim Niland - Music And More

Some of the same energy of the Sanabria record lives in Captain Black Big Band (Posi-Tone), the first album from a new large ensemble led by the pianist Orrin Evans. Recorded at spots around Philadelphia and New York City over the past year, it is deep in the tradition of African-American East Coast jazz since the mid- 60s, percussive, punching and hard swinging; it might make you think of big bands led by Charles Tolliver, Charles Mingus and Clifford Jordan. And with its multiple composers and even multiple pianists, it s got range. (Mr. Evans conducts as well; when he does, others take his keyboard bench.) There are many soloists worth mentioning here the trumpeter Walter White, the drummer Anwar Marshall, the pianist Neil Podgurski. But the alto saxophonist Jaleel Shaw outdoes them all with his performance at the end of Mr. Evans s alternately peaceful and baleful piece Jena 6. It is a prolonged and controlled fury, definitely one of the best improvisations I ve heard this year. --Ben Ratliff - New York Times


Friday, November 9, 2018

USA: Lee Morgan -Eight Classic Albums (The Broadcast Archive 2018)


Eight Classic Albums

American jazz trumpeter, Edward 'Lee Morgan'- professionally known by his middle name - is still celebrated as one of the key hard-bop players of the early 1960s. Born in Philadelphia on 10th July 1938, his sister gifted him his first trumpet on his 13th birthday, having previously been interested in the vibraphone and then the alto sax. His main early influence was fellow trumpeter Clifford Brown, from whom he took a few lessons as a teenager. Morgan achieved early prominence after playing on John Coltrane's esteemed Blue Train at age 17, and joining Dizzy Gillespie's big band a year later, a group with whom he performed and recorded for 18 months, until Gillespie disbanded his group in 1958. Morgan also played alongside other founding members of the group, notably trombonist Al Grey and saxophonist Billy Mitchell, on the 1957 Specialty album, Dizzy Atmosphere included in full as part of this collection. Following the demise of Gillespie's outfit, Lee joined Art Blakey's Jazz Messengers in late 1958, and while it further developed his talent as a soloist and composer. He toured with Blakey for a number of years, and was featured on numerous albums by the Messengers. Morgan had signed a deal with Blue Note records in 1956 and across the next 15 years, recorded twenty five albums for the label as leader. After being forced out of the Messengers in 1961 following serious drug problems, he returned to Philadelphia, where he continued to make albums, but he moved back to New York in '63. During this era he recorded his and Blue Note's most successful record, The Sidewinder, later that same year. Lee Morgan released a further 11 albums for Blue Note through the latter half of the '60s and early 1970s. Bringing together eight of Lee Morgan's most prestigious and finest albums, this 4 CD collection serves as both a welcome reminder of the great man's best ever work, and as a pivotal starting point for those investigating this Jazz giant for the first time.



Thursday, November 8, 2018

SPAIN: Carles Benavent - Vida (2018)

 A live concert recorded on July 4/5, 2017 at Jamboree Jazz Club in Barcelona, featuring: Carles Benavent, electric bass Roger Blàvia, drums and percussion Roger Mas, piano Raynald Colom, trumpet Tomasito, baile, palmas and vocals

  • Carles Benavent, electric bass
  • Roger Blàvia, drums and percussion
  • Roger Mas, piano
  • Raynald Colom, trumpet
  • Tomasito, baile, palmas and vocals

Wednesday, November 7, 2018

USA: TIGER ROGERS PUBLISHING PRESENTS THE DEBUT SINGLE FROM TIGER ROGERS ENTITLED “SEASIDE”

FOR IMMEDIATE RELEASE / POSTING / INTERVIEW CONSIDERATION 

TIGER ROGERS PUBLISHING PRESENTS THE DEBUT SINGLE FROM TIGER ROGERS ENTITLED “SEASIDE” 

 TIGER ROGERS PUBLISHING notably introduces jazz soloist Thomas Rogers as he prepares to release “Seaside” produced by Gus Parker. This single is sure to be the one of hottest Jazz / Easy Listening records of 2018. This will be the first single from Tiger’s upcoming album, which is yet to be titled. The album is scheduled for an early 2019 release. Thomas Rogers introduces a style of music that is not only incredibly melodic, but also jazzy and unique, and his performance over the years has proven his ability to undeniably, affect the way we identify with the contemporary jazz and easy listening genre.

 With years of experience in the industry, Thomas Rogers is an award-winning jazz musician who has displayed his talents in front of distinguished audiences all around the world. He performed at the 50th Annual Anniversary Commemoration of Medgar Evers with the legendary B.B. King. He has traveled the world performing abroad in Greece, Finland, Spain, Barbados, and Jamaica and even performed at the Bern Jazz Festival in Switzerland. He is performed in honor of many politicians including, Bernie Sanders, Congressman Bennie Thompson, and Mayor Chokwe Lumumba, and Mayor Tony Yarber. Tiger also performed in Los Angeles during Grammy Week at L.A. LIVE at the Grammy Museum. Tiger has always been humble about his many accomplishments and ultimately just want to make good music. With this single, fan support, and modest approach Tiger is sure to solidify a spot as one of the most dynamic artists on the rise in 2018 - 2019. ABOUT Thomas Jefferson Rogers Jr. aka Tiger Rogers was born on April 4, 1982.

His father is the late Thomas Jefferson Rogers Sr. and mother, Mary Louise Rogers. As a child, Tiger had a unique fascination with art and music... After graduating from Wingfield High School in 2000, Tiger then enrolled at The University of Southern Mississippi, majoring in Music Performance with an emphasis in Jazz Studies. Tiger began studying jazz under the direction of, Larry Panella. Over the years, Tiger has continued to search for what he calls, "The Indigo Sound" in his music. Since he was a kid, he noticed that when he read letters and counted numbers, each letter of the alphabet and number from the numeric system had a color. When he decided to sit out of college, he began to put this gift to practice. From that moment on, Tiger's life has not been the same.

In 2009-2010, he became section leader over the horn section for the Mississippi Grammys in 2010, and performed at the Mississippi Grammy's with the Williams' Brothers, Nanette Workman, Charlie Pride, Eddie Cotton, Dorothy Moore, Pinetop Perkins, The Swedish Sensation! Beatrice! Cassandra Wilson and opened for Marty Stewart. On July 18, 2009, Tiger performed at the National Governor's Convention in Mississippi. Tiger Rogers entered the Mississippi Jazz foundation as the youngest inductee in 2011 receiving the aspiring jazz artist award. Thomas Tiger Rogers performed with the BB King All-stars on the Holland American cruise ships traveling vast areas of the world. Tiger believes in the spirit of excellence, and so far, it has paved the way in his life.

Tuesday, November 6, 2018

USA: Acoustic Alchemy-Thirty Three And A Third (2018)

Thirty Three And A Third
2018 release. For over three decades the Acoustic Alchemy have been at the forefront of contemporary jazz, even if the band's signature eclectic mix of styles has meant they have never comfortably fit snugly into any one genre; "We've had a lot of labels over the years, at the start there were all these names flying around like new adult contemporary, new age music, and then it became smooth jazz, but we've never really thought about ourselves as being in any one particular genre. We just make music we like." Says Greg, "At the core it's always been about one simple concept: the sound of the nylon and steel guitars working together, but that leaves a lot of scope for exploring all sorts of musical ideas."

Monday, November 5, 2018

USA: JORGE NILA NEW CD: TENOR TIME TRIBUTE TO THE TENOR MASTERS Friday, November 9th @ Jambo Cat Omaha, NE

Jazz Saxophonist
JORGE NILA
CELEBRATES THE RELEASE OF HIS
NEW CD
TENOR TIME
TRIBUTE TO THE TENOR MASTERS
Friday, November 9
8:00 pm – 11:00 pm
@ Jambo Cat Jazz Club
4918 Underwood Ave
Omaha, NE 68132
https://jambo.cat

WITH
DAVE STRYKER-guitar
MITCH TOWNE-organ
DANA MURRAY-drums

shem.gif
When it comes to the tenor saxophone, Lester Young is like a great apple tree with every other saxophonist being the fruit that grew from his roots. For the last eight generations, those apples have made for a pretty good pie! My new album, Tenor Time,is dedicated to all the great tenor players that branched from that tree.

We didn’t have time to pay homage to everyone, but the guys I have seen and been listening to for years are all here and we are honoring them in a classic organ, guitar, and drums setting: Dexter Gordon (Fried Bananas), Hank Mobley (Soul Station), John Coltrane (On a Misty Night), Wayne Shorter (Infant Eyes), Stanley Turrentine (Rocket Love), Joe Henderson (Inner Urge), Sonny Rollins (Everywhere Calypso), Sonny Stitt (Eternal Triangle), and Harold Vick (Our Miss Brooks).

I’ve known my good friend Dave Stryker since the mid 70’s in Omaha and we’ve played a lot over the years. He worked with Jack McDuff and Stanley Turrentine and has many records out so I trusted his experience at producing, and playing. He’s one of the best at what he does.

Dana Murray and I also go back a ways. We went to the same high school, albeit a few years apart. He is a well- respected drummer, producer, and engineer who worked with Wynton Marsalis in the late 90’s into 2000. Dana also has a world class studio at his home, so he not only contributed great drumming to this project but recorded and mixed the session as well.

Mitch Towne and I have played together over the years in many different situations. He has been playing the Hammond B-3 for the last decade, and  is one of the top organists in the Midwest. Mitch has a great groove and brought a lot of good things to the session.

I’m honored and happy to work with this great band and pay tribute to the tenor masters on Tenor Time!

Jorge Nila

Jorge Nila, began playing music in Omaha, Nebraska in 1965. After playing on the local scene with his good friend Dave Stryker, he moved to New York City in 1978, where there was a huge renaissance in modern jazz happening.  Jorge studied saxophone with George Coleman, and met many great musician/peers.  Jorge worked with Eddie Palmieri, Jack McDuff, Paul Simon, the B-52’s and many others. In 1990 Jorge Nila returned home to Omaha, and has been helping to keep the flame alive there. He teaches and leads a music program at El Museo Latino in South Omaha - the heart of the cities Latino population. He performs and records with various artists in Colorado, Kansas City, and the Midwest. Jorge’s first record “The Way I Feel” came out on Strikezone Records in 2003.
 


JORGE NILA
TENOR TIME TRIBUTE TO THE TENOR MASTERS
(Ninjazz Records 001)
Street Date: January 4, 2019
JORGE NILA-tenor sax, DAVE STRYKER-guitar,
MITCH TOWNE-organ, DANA MURRAY-drums


Media Contacts
Press


Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677 
E Mail: jim@jazzpromoservices.com
www.jazzpromoservices.com
"Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

Radio
Ben Scholz 940-206-8045 and scholzproductions.com

USA: Chucho Valdés-Jazz Batá 2 (Mack Avenue 2018)


Jazz Batá 2, composer, pianist and bandleader Chucho Valdés’ first album for Mack Avenue Records, marks a new peak of creativity for the artist, even as it revisits the small-group concept of his 1972 Cuban album Jazz Batá. That album upon release was originally considered experimental at the time, but the trio project – featuring no drum set and two virtuosi who would subsequently be charter members of Irakere: Carlos del Puerto (bass) and Oscar Valdés (batâ: the sacred, hourglass shaped drums of the Yoruba religion in Cuba) – would now be considered contemporary.
Mack Avenue

Sunday, November 4, 2018

USA/GERMANY: IT MUST SCHWING! THE BLUE NOTE STORY NYC PREMIERE AT DOC NYC, Saturday, November 10, 2018 at 4pm SVA Theater 2




IT MUST SCHWING! THE BLUE NOTE STORY 
NYC PREMIERE AT DOC NYC,
Saturday, November 10, 2018 at 4pm 

SVA Theater 2
333 West 23rdStreet
New York, N.Y.

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The new feature documentary, IT MUST SCHWING! THE BLUE NOTE STORY,
executive produced by Wim Wenderswill have its New York City premiere screening at DOC NYC on Saturday, November 10that 4pm at the SVA theater in Manhattan.
 
 “IT MUST SCHWING!” tells the story of legendary Blue Note Records, founded in 1939 by Alfred Lion and Francis Wolff, German Jewish refugees who fled Hitler, reinventing themselves in New York as jazz record producers. From the 1940s to their retirement in the 1960s, this unlikely duo assembled a superlative roster of the most visionary jazz artists of their era. IT MUST SCHWING! tells the moving story of two friends, united by a passionate love for jazz, and their profound belief in equality. Featuring Herbie Hancock, Sonny Rollins, Wayne Shorter, Quincy Jones and Ron Carter among many others.
 
The film’s world premiere took place at the International Munich Film Festival and was also screened at the Telluride Film Festival as well as the Warsaw Film Festival among others. The Wall Street Journal singled out IT MUST SCHWING! in its Telluride overview as “an unusually lustrous…gem”. Rolling Stone writes that it is “a unique and intimate look at the most exciting era in Jazz, one that changed the world forever … impressive!”
 
Some of the German press reviews include: “IT MUST SCHWING! is the most elaborate, visually brilliant and unexpected documentary on the topic…A cinematic, historical, socio-political and acoustic masterpiece.”   Radio Brandenburg Berlin 
 
“A Gesamtkunstwerk – the creative collaboration between producer Alfred Lion and the sound engineer, Van Gelder’s studio recordings, the immortal photos of Francis Wolff and the simple but distinctly modern cover design of Reid Miles, the film chronicles how the legacy of Blue Note was created. IT MUST SCHWING! totally breathes new life into their work.” Frankfurter Allgemeine Zeitung
 
The film was directed by Eric Friedler, one of the most acclaimed and prolific documentary filmmakers in Germany. Friedler’s innovative films have won numerous national and international prizes. 
 
Executive producer Wim Wenders is a major figure in New German Cinema. Among many honors, he has received three nominations for the Academy Award for Best Documentary Feature for BUENA VISTA SOCIAL CLUB (1999)  PINA (2011), and SALT OF THE EARTH (2014). His acclaimed feature narratives include PARIS; TEXAS which won the Palme d’Or (1984) Cannes Film Festival and WINGS OF DESIRE (1987) for which he won Best Director Award at the Cannes Film Festival.    
 

@DOCNYCfest is running a daily 72 flash sale with 10 films on sale for $10 
Get in quick as the sale only lasts for 72hrs, and @ITMUSTSCHWING** is available today  http://bit.ly/DOCNYC10for10

More information, including a trailer, is at itmustschwing.com/en
 
High resolution photos can be downloaded from 
itmustschwing.com/press
 
Please contact the US producer at 
renee@otherislandsfilms.com if you need additional Information or Thomas Beyer at t.beyer.fm@ndr.de

USA: Kosi-Stranger in Every Town(2018)

Kosi | Stranger in Every Town

“I listened to [your album, I Know Who I Am], and man, your voice is incredible. Not only do you have a fabulous and unique timbre, your performances are full of passion and musicality. This album feels very personal and heartfelt. It was great to get to peek into your musical soul for a bit.” — Christopher Tin, Grammy winning composer
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“Your voice is one in that the listener doesn’t know where you are going to go with it, has an element of surprise and it’s beautiful! A gift to be able to artfully use the voice in a manner that makes sometimes a slower or pacing song, full of dynamic and surprise…really great job, Kosi!” — Matthew Mayer, Award winning pianist
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“Your album impresses me as being extremely personal and heartfelt. It’s refreshingly rich and even raw in feeling, with the beautiful rough edges still showing. It’s a beautiful expression and labor of love from you.” — Max Highstein, award winning composer
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“Every song on the CD, I Know Who I Am, by Kosi is VERY different from the other songs on the CD, and yet, there is a central theme…pain, guilt, loss, hope, and searching…all tied together by a voice just OOZING with raw, but controlled, emotion.”
— Kelly Triplett, Award winning singer-songwriter
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“The more I plunged into the record, the more amazed I was. The album not only shines thanks to your formidable vocal beauty, but the conception, the message, the integrity of this masterpiece is breathtaking.” — Tri Nguyen, Award winning multi-instrumentalist
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“As a songwriter, Kosi tells wonderfully crafted stories so deep and intimate it may appear that she’s shared too much, until you realize that a part of you is in there with her. As a performer, Kosi intertwines folk and jazz sensibilities with her unique vocal instrument. A compelling crowd pleaser from the moment she steps on stage.” — John Hayes, Pittsburgh Songwriters Circle
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"In all, it’s a rich, breathing, urgent album and Kosi inflects every measure with unflinching integrity. “Diva” is a hopelessly devalued word these days; we need a new one for singers like this, who stand their ground and deliver the goddamn goods." — Robert Rodi, NewCity Music


POLAND: Matulu Moja feat. Ilona Sojda-Zupelnie Przypadkiem (2018)


Matulu Moja feat. Ilona Sojda

https://open.spotify.com/track/7kNMvz... https://listen.tidal.com/artist/9820649 https://www.amazon.com/dp/B07CVNS9BQ Zupełnie przypadkiem. Śpiew Ilona Sojda Fortepian Łukasz Mazur Nagranie: Jarosław Toifl Mix: Jarosław Toifl, Marcin Majewski Studio S4



Saturday, November 3, 2018

USA: Catch acclaimed guitarist Andy Bianco at Zinc November 5. Book your tickets today!

"One wishes McLaughlin would hire Bianco as his tonal guru, as the latter’s sound is closer to the Mahavishnu Orchestra than anything McLaughlin is doing these days..."
—New York City Jazz Record
Acclaimed jazz guitarist Andy Bianco brings his formidable trio to Zinc jazz club on Monday, November 5. He’s supported by tenor saxophonist Glenn White, bassist Sam Trapchak and drummer Eric Halvorson.

Showtimes are at 8:00 pm & 10:00 pm. Tickets: $20 in advance / $25 at the door. For more info call (212) 477-9462 or visit https://zincjazz.com.
GET TICKETS

USA: Brad Goode Quintet - That's Right! (ORIGIN 2018)

"That's Right!," Recording Debut of Trumpeter Brad Goode's Quintet Featuring Tenor Titan Ernie Watts, Set for October 19 Release by Origin Records 


 Trumpeter Brad Goode and celebrated tenor saxophonist Ernie Watts found themselves sharing a concert stage five years ago and, marveling at their exceptional musical chemistry, decided to work together in an ongoing way. While Goode's new album "That's Right!," featuring Watts, is the trumpeter's 18th album as a leader, he sees it instead as a debut album by a new band--a quintet with himself and Ernie Watts in the front line--that intends to be bringing its unique sound and simpatico to the jazz public this year and beyond.


"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.”
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.
In 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 pianist Adrean 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 
10/20 Brad 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 BYUI 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.

Friday, November 2, 2018

CANADA: Vickie Van Dyke & Davor Jordanovski-Under the Influence (2018)


Vickie Van Dyke & Davor Jordanovski | Under the Influence

A note from Vickie van Dyke: When my mother Sarah Dyck entered Hospice Wellington in November/2017 my family truly had no idea what to expect. We knew it would be a tough road. We hoped the hospice experience would ease the pain of the journey. Indeed it did. Not only did the wonderful staff and volunteers help soften the sting, they daily brought smiles to our faces and serenity to our hearts. From the compassionate and caring support staff to the welcome nourishment from the kitchen to the beautiful volunteers offering everything from tea and cookies to massages, each new day brought more peace and acceptance. And love. I still remember sitting with my sleeping mom one evening and I guess I was crying because when a volunteer walked in she immediately said "Do you need a hug?" And yes, I most surely did. "Under The Influence" is my way of saying thank you. To my mother for raising me in a house filled with music and to to Hospice Wellington for making the final days of her life so very gentle. It is my most sincere hope that this tribute to some of the great dames of jazz (Peggy Lee, Julie London, Sarah Vaughn, Nancy Wilson, Billie Holiday) - with one original tossed into the mix - will not only help to raise much-needed funds for this special place but also raise awareness of the vital necessary services they provide. ALL proceeds from the sale of this CD and from streaming and downloads will go directly to Hospice Wellington. Every single penny. Together you and I can make a difference, much in the same way that Hospice Wellington had such a profound impact on my life. Many thanks to Seven2Six Real Estate, Arpies Hair & Beauty and WAVE.fm for their kind and generous support of this project. And also to my many friends and fans who helped get it off the ground. Heartfelt gratitude to Davor Jordanovski, producer, musical partner and jazzy genius. None of this could have happened without him.