Tuesday, December 31, 2019

JazzWorldQuest Showcase 2019 Streaming of tracks from albums released in 2019 Jazz and World

JazzWorldQuest Showcase 2019
Streaming of tracks from albums released in 2019
Jazz and World

 Yapunto(France), Igor Willcox Quartet(Brazil), Manuel Anoyvega Mora(Cuba/France), The Villalobos Brothers(USA/Mexico), NoJazz(France), , Randy Hoexter(USA), Céline Bonacina(France) , Samy Thiébault(France), Roberto Magris Sextet(Italy/USA), NoJazz(France), Alex Cuba(Cuba), Randy Napoleon(USA), 
Fer Carranza Jazz(Argentina), Antoine Fafard(Canada/UK), Thomas Grimmonprez(France), Kerry Politzer(USA), 
Hiroe Sekine (USA/JAPAN), Lawrence Clark(USA), Rodney Whitaker(USA),
Nikolas Skordas-George Haslam(Greece)Chiara Izzi & Kevin Hays(USA),
The Soul Jazz Rebels(France), Mavis Pan(Taiwan/USA), Emmanuel Losio Group(Italy), Benji Kaplan and Rita Figueiredo(USA/Brazil) , Örjan Hultén Orion(Sweden), Dave Rudolph Quintet(USA), Trey Wright(USA),  Ernesto Cortazar Lara Group(Switzerland/Mexico),  Johno(Greece), Cody Carpenter(USA), Godwin Louis (Haiti/USA), EJ Hughes(USA), Haftor Medbøe(Norway/Scotland)-Jacob Karlzon(Sweden), Guy Mintus(Israel/USA)


Friday, December 6, 2019

USA: Pianist Eyran Katsenelenbogen Releases Highly Anticipated New Solo Album, Outstandards

Pianist Eyran Katsenelenbogen Releases Highly Anticipated New Solo Album, Outstandards
For immediate Release:

Eyran Katsenelenbogen 2019 Outstandards CD Release

Jazz Broadcast and Printed Media                           
Street Date: December 5, 2019

Outstandards is available now for preview and pre-order on Apple Music and iTunes:

Boston, MA – November 20, 2019 – Eyran Records announces the release of master jazz pianist Eyran Katsenelenbogen’s highly anticipated new solo album, Outstandards.

"I would like to thank the wonderful students at the New England Conservatory Preparatory School for inspiring many of the pieces on Outstandards and their arrangements." — Eyran Katsenelenbogen

In Outstandards, pianist Eyran Katsenelenbogen presents jazzy renditions of classical cornerstones such as “Für Elise" (Beethoven) and Mozart’s “Piano Sonata in C major" alongside jazz classics such as “Tea for Two" (Youmans / Caesar) and “Cheek to Cheek" (Berlin). Katsenelenbogen also revisits Chick Corea’s “Armando’s Rhumba," which was released on his CD Solotude in 2005 and delivers an intimate performance of “Insensatez" (How Insensitive) (Jobim / De Moraes). Prior to their recording for the CD, all the pieces on Outstandards were performed extensively during Eyran’s concert tours in China in 2014 and 2016. The piece “Insensetaz" (How Insensitive) carries a special meaning for Katsenelenbogen and is dedicated it to his parents, in gratitude for their eternal love.

Praise for Eyran Katsenelenbogen

“Perhaps Katsenelenbogen is most in league with Art Tatum for this fact: he sets the bar towards which other pianists must strive." — Jay Deshpande, All About Jazz

“He is a passionate man who feels deeply, and he has the talent to express those feelings through his playing. You can not help but be moved by his performance." — Frank Rubolino, Cadence

“And the fact that, as on Outstandards, Eyran can arrange the most well known classical themes as stride or bebop without losing their essence further defines the term 'virtuoso.'" — Andrea Canter, Jazz Police

"He can do pretty much anything with a piano and there is an irrepressible joy to the playing that we could use right now"  — Brian Morton, Jazz Journal

For your reference, the full review is available at: https://jazzjournal.co.uk/2019/10/05/eyran-katsenelenbogen-outstandards/

Requests for artist press packet includingOutstandards review / airplay copy may be directed to Eyran Katsenelenbogen Management: eyranrecords@gmail.com

Booking & Marketing Contacts:
Eyran Records Concert Manager
Eyran Records Public Relations Director
 Eyran Katsenelenbogen Management
902 Brookside Drive, Andover, MA 01810 USA
Phone 00 1 617 267 2648
E-Mail: eyranrecords@gmail.com• Web: www.EYRAN.com

Track Listing: 
1.     Libertango (Piazzolla / Arr. KatsenelenbogenDowntown Dlj Obo Curci Usa Music Publishing, S D R M;
S.I.A.E. Direzione Generale(3:23)
2.     Für Elise (Beethoven / Arr. Katsenelenbogen) Eyran Records Publishing(3:15)
3.     Sonata No. 16 in C major K. 545: I. Allegro (Mozart / Arr. Katsenelenbogen)
Eyran Records Publishing(3:50)
4.     Prelude in C-sharp minor Op. 3, No. 2 (Rachmaninoff / Arr. Katsenelenbogen)
Eyran Records Publishing(6:18)
5.     Hungarian Dance No(Brahms / Arr. Katsenelenbogen)Eyran Records Publishing(3:29)
6.     Cheek to Cheek (Berlin) Irving Berlin Music Company(3:35)
7.     Tea for Two (Youmans / Caesar)WB Music Corp. Obo Irving Caesar Music Corp; WB MusicCorp.(3:29)
8.     Prelude in C minor, BWV 847 and Improvisation (Bach / Arr. Katsenelenbogen)
Eyran Records Publishing(6:09)
9.     Armando's Rhumba (Corea)Universal Music Corp. Obo Litha Music Co.(3:46)
10.   Theme for Ernie (Lacey / Stevens)Prestige Music(5:36)
11.   Insensatez (How Insensitive) (Jobim / De Moraes) Songs of Universal Inc. (4:03)
12.   Chega de Saudade (No More Blues)(Jobim / De Moraes)Corcovado Music Corp.; VM Enterprises Inc. (6:35)
13.  The Windmills of Your Mind (Legrand)Emi U Catalog Inc. (7:28)
14.  Just You, Just Me (Greer / Klages)Emi April Music Inc. Obo Ole Grand Films(2:27)

Total Time: 63:23

Watch The Outstandards Promotional Video posted on Youtube

Production Information:

Eyran Katsenelenbogen performs on a Steinway & Sons D 9’ concert grand piano.
Recordedon June 25, 2014 and December 16, 2016 at Shalin Liu Performance Center, Rockport, MA.
Audio Engeneer: Thomas Stephenson, Emmanuel Audio Recording, Boston, MA.
Editing and Mastering: Vincere Sylph, Vincere Sylph Productions, Andover, MA.
Disc Image: Mark Donahue, Soundmirror, Inc., Boston, MA.
Artist Photography: Vincere Sylph.
Still Image from Video: Richard Malcolm.
Replication: Superdups, Salem, NH.
Produced by: Eyran Katsenelenbogen.
Eyran Records 9030 © ℗2019 Eyran Records. All rights reserved. Unauthorized copying, hiring, lending, public performance and broadcasting of this recording prohibited.
Barcode: 663330903023

This project was made possible with funding from New England Conservatory


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Author: Will Friedwald

Will Friedwald writes about music and popular culture for THE WALL STREET JOURNAL, VANITY FAIR and PLAYBOY magazine and reviews current shows for THE CITIVIEW NEW YORK. He also is the author of nine books, including the award-winning A BIOGRAPHICAL GUIDE TO THE GREAT JAZZ AND POP SINGERS, SINATRA: THE SONG IS YOU, STARDUST MELODIES, TONY BENNETT: THE GOOD LIFE, LOONEY TUNES & MERRIE MELODIES, and JAZZ SINGING. He has written over 600 liner notes for compact discs, received ten Grammy nominations, and appears frequently on television and other documentaries. He is also a consultant and curator for Apple Music.

New Books:

THE GREAT JAZZ AND POP VOCAL ALBUMS (Pantheon Books / Random House, November 2017)

Thursday, December 5, 2019

USA: Pianist Roberta Piket Showcases the Composing Talents of Husband/Collaborator Billy Mintz on "Domestic Harmony: Piket Plays Mintz," Due Dec. 6

Pianist Roberta Piket
Showcases the Composing Talents of
Husband & Collaborator Billy Mintz on
"Domestic Harmony: Piket Plays Mintz,"
Set for December 6 Release
By Thirteenth Note Records
Piket's Third Solo Piano Album
Features 10 Compositions by the Acclaimed Drummer
In an Intimate Performance Originally Meant
Only for Mintz's Ears
Appearing at Mezzrow, NYC, Thursday, January 16
Playing Billy Mintz Tunes with Several Duos
Including Virginia Mayhew, Mike Fahn, & Mintz
October 21, 2019

Roberta Piket Domestic HarmonyPianist Roberta Piket presents a truly intimate musical offering with the December 6 release of Domestic Harmony: Piket Plays Mintz on her own Thirteenth Note Records. A solo piano performance (her third, following 2012's Solo and 2015's Solo Volume 2), the album assays ten intriguing compositions by Billy Mintz, the highly regarded drummer who regularly collaborates with Piket -- and who is also her husband.
The intimacy on display throughout Domestic Harmony is authentic: it was intended for an audience of one. Piket originally conceived the album a few years ago as a birthday surprise for Mintz. (She allows that it was "a milestone year" for the intensely private Mintz but declines to say which.) She arranged to record it while he was on tour, completed the editing later, and successfully surprised and delighted him when the big day came.
"It was just something I was doing for Billy, and not for anybody else," says Piket. "It was only later that I started to think about putting it out."  
It's a beautiful glimpse of art at its most direct. Every nuance of Piket's lustrous touch, chord voicings, and improvisational energy -- and, on "Destiny," her tender, haunting vocal -- radiates with warmth and fondness for its recipient.
Of course, the recipient in question also played no small part in the creation of this music. "[Billy] has a very personal voice," says Piket. "He has a natural talent for looking at the big picture and going beyond just his instrument.... He writes in a very simple, direct way that's incredibly appealing." He has been honored before by musicians performing his compositions, including saxophonist Adam Kolker, pianist Russ Lossing, and Piket herself, who has previously recorded a few of the tunes on Domestic Harmony.
Roberta Piket  
The context, however, transforms Piket's interpretations of them into something more personal and frank. If "Destiny," with Piket's vocal, is pointed in its expression, her thoughtful piano playing on "Ghost Sanctuary," "Flight," and "Your Touch" is no less so without it. As well, it's difficult to imagine a more perfect balance of affection with the inherent playfulness in "Shmear" and "Cannonball," both of which (uncoincidentally) feature some of the pianist's most assured and inventive improvisational work. Her unique birthday gift for her husband is now their shared gift to the world.
Roberta Piket was born in New York City on August 9, 1965 to a father who was a classical composer father and a mother who was a traditional pop singer. Needless to say, it was a musical household, made more so when at 14 young Roberta stumbled across a secondhand copy of Walter Bishop Jr.'s Speak Low at a synagogue bazaar. It began her journey into jazz piano.
Completing a joint double-degree program at New England Conservatory (in piano) and nearby Tufts University (in computer science), Piket first spent an unfulfilling year in software engineering before deciding that music was her true calling. She returned to New York in 1989 and began building a career and a reputation as a pianist. Within a few years she had established relationships with Marian McPartland (appearing on her National Public Radio program Piano Jazz) and Lionel Hampton (who provided her with her first professional recording session on his 1995 For the Love of Music).
Piket has since established herself as an adventurous and versatile pianist, ready and able to try anything. Her albums (of which Domestic Harmony is the 13th) and performance projects have ranged from straight ahead to free jazz, from solo piano to big band, from chamber jazz ensemble with string quartet to the electric Alternating Current, and any number of other adventures as both leader and sidewoman. In addition, she maintains a working trio with Mintz, in which she has also begun to feature herself more prominently as a vocalist.
In the 2018 Down Beat Critics' Poll, Piket was voted Rising Star in the Organist category and placed 16th in Rising Star Piano, while in the publication's 2018 Readers' Poll she placed 8th in the Jazz Artist category, 7th in Piano, and 5th in Organ.
Billy Mintz Roberta Piket
Billy Mintz and Roberta Piket 
Piket will be performing Billy Mintz's music with several duos -- including saxophonist Virginia Mayhew, valve trombonist Mike Fahn, and Mintz himself -- at Mezzrow, NYC, on Thursday 1/16/20.
Other upcoming shows: the Roberta Piket Sextet celebrates the music of Marian McPartland, with special guest Karrin Allyson, at Flushing Town Hall, Friday 12/6; a set of duos with Virginia Mayhew at Maureen's Jazz Cellar, Nyack, NY, Sunday 12/15; the Roberta Piket Organ Trio plays the music of Billy Mintz (featuring tenor saxophonists Tony Malaby and John Gross with Mintz on drums) at Quinn's, Beacon, NY, Monday 5/4/20.
In addition, Piket will be a sidewoman on piano and organ with the Billy Mintz Band (also including Rich Perry on tenor saxophone, Adam Kolker on saxophones and woodwinds, Curtis Folkes on trombone, and Hilliard Greene on bass) at Balboa, Brooklyn, Wednesday 12/18; Quinn's, Beacon, NY Monday 12/23; iBeam, Brooklyn, Friday 12/27; and Smalls, NYC, Saturday 12/28.  
Photography: John Abbott (Piket), Jason Kahn (Piket & Mintz) 
Domestic Harmony: Piket Plays Mintz 
Domestic Harmony: Piket Plays Mintz
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Media Contact:
Terri Hinte
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Wednesday, December 4, 2019

GERMANY: DON & RAY rockin' in rhythm - In My Life

DON & RAY rockin' in rhythm - In My Life Mitwirkende Jen Rainer Lipski Norbert Hotz Komposition In My Life - Lennon/Mc. Cartney Piano - Rainer Lipski Bass - Norbert Hotz Videoaufnahme und Schnitt Andreas Betten www.andreasbetten.de Aufnahmeort Takelgarn Theater Düsseldorf www.takelgarn.de Produktion DON & RAY https://www.donandray.de

USA: International Women in Jazz Go Fund Me Campaign

International Women in Jazz
Go Fund Me Campaign

INTERNATIONAL WOMEN IN JAZZ, INC. (IWJ) is a 501(c)(3) non-profit organization committed to supporting women jazz artists and related professionals by increasing awareness of the diverse contributions women make to jazz worldwide. Through our programs, IWJ provides opportunities for emerging and experienced talent to be recognized by their peers, the public and larger jazz community. Our member network creates a forum to share and learn from one another, promote one’s work and receive timely information and assistance. We are a unique organization with a profound history of event-driven recognition activities positively impacting the jazz community’s young and old. We stand dedicated to actively ensuring a place for women as a vital part of jazz’s past, present and future. To learn more about IWJ’s history, please visit our website: www.internationalwomeninjazz.org and click on the tab About IWJ.

Why are we asking for your help? This year our preeminent Annual IWJ Festival was sidelined for the first time due to escalating costs and a decline in funding from limited grant offerings and corporate sponsorships. Facing shrinking financial resources, it was not possible for us to deliver this signature annual event. In 2018, our total revenue for this wonderful event dropped by 60% from the previous year, primarily due to external funding resources. Therefore, we are setting a 2020 Annual Festival fundraising goal of $10,000.

Why is the IWJ Festival annual event so important? Every year our intergenerational audience continues to increase as we recognize, honor and celebrate one or more women who have made a significant contribution to the jazz community. Our headliners, member musician and youth performances illustrate the powerful connection between our wonderful jazz legacy and those who continue to innovate and carry it forward. Our event includes jam sessions, table talks, networking, educational components and seminars, and vendor representation. Our Annual Festival is more than an event…it is an inspiring experience for our wonderfully talented, aspiring female artists and Youth in Action participants, for those on stage and in the audience!

Here are just some examples of our past youth award recipients:
• Leonieke Scheuble, dedicated her CD titled “Debut” to IWJ by acknowledging her achievement as the 2013 International Women in Jazz Youth in Action Award Winner. Today, Leonieke is leading her own band.
• Wé McDonald, our 2016 Youth in Action award winner went on to win second runner up on the 11th season of The Voice.
• Camille Thurman, our 2009 Youth in Jazz award winner, is known today as a composer, instrumentalist, vocalist and interpreter of the jazz tradition; and,
• Charenee Wade – singer, composer, arranger and educator - and winner of the 1st IWJ Youth-in-Jazz Award returned twenty years later to headline our 2018 Festival.

Please see our Galleries page at www.internationalwomeninjazz.org.

Our annual festival has been one of our core membership offerings. It allows us to bring jazz music to the community – young and old – on the largest scale possible. Imagine the sadness and disbelief our members and supporters experienced when hearing our major performance platform had been sidelined.

Will this impact the future of IWJ? We want you to know that although we are facing some current financial headwinds our spirit is alive and well. To keep us current and in the mix, we have been utilizing our funds for smaller scale events at local community venues that feature open mic sessions creating opportunities for our members, supporters and the general public. We continue to disseminate information and promote our member’s events and achievements through direct email and our social media sites. We rely on the generous help of volunteers to enhance our website, social media and other services as we better identify the needs and interests of our members. And we continue to explore additional financial resources as they become available to fund our existing offerings and create new possibilities.

Why your contribution is so important? We need to continue to support, educate and nurture our young artists and offer jazz appreciation for all ages as part of our mission and tradition. The IWJ Festival epitomizes the heart and soul of our existence. Our love for jazz and commitment to its future is profound – that is why we are appealing to you for your contributions. We cannot just rely on the revenue we receive from membership dues, local events and limited grant monies alone.

Our appeal is to our membership and supporters, domestic and international musicians, youth jazz students, composers, and jazz enthusiasts…music schools, educators, foundations, music venues, record labels, recording industry artists, broadcast professionals, business owners, music management professionals, other like organizations and individuals just like you.

Please help us bring back our Annual International Women in Jazz Festival for Jazz Appreciation Month, April 2020. IWJ is planning now to secure venues, musicians, etc. to continue our efforts to showcase Jazz as an American art form, and to honor, recognize and support women artists who keep it legendary and current. On behalf of our dedicated members, board of directors and as president of IWJ, thank you in advance for your tax-deductible contribution in any amount. Let’s continue the music together!

If you would rather send a check than make your donation online, please send it to:
International Women in Jazz
Park West Station
P.O. Box 20674
New York, NY 10025

Make Your Donation Below

Tuesday, December 3, 2019

DENMARK: Malte Dueholm – er bladene blæst ned (2019)

Malte Dueholm - Guitar Jeppe Cloos - Sopran saxofon Jonatan Bak - Bas Simon Forchhammer - Trommer Laurits Hyllested - Percussion

Monday, December 2, 2019

USA: Daniel Carter, Brad Farberman & Billy Martin – Just Don’t Die (2019)

Daniel Carter // flute + trumpet + tenor saxophone Brad Farberman // guitar Billy Martin // drums

Sunday, December 1, 2019

USA: Wolfgang Schalk-Obsession (2019)

“A master improviser” - DownBeat “A fresh new musical voice” - KCRW “A musician with religious intensity and a composer with heavy virtuosity... a delicacy of decadent genius.” - Couleurs Jazz HITS Wolfgang Schalk’s new recording ”Obsession” features ten original pieces written by the Austrian guitarist, his eighth album as a leader. The music is driven by Wolfgang’s distinctive sound and edgy conception, demonstrating his virtuosity on both, arch top and on nylon string acoustic guitar. Downbeat magazine has noted “...A guitarist’s guitarist. No matter how frenetic or soothing his playing may become, Schalk always plays with a master improviser’s sense of quest.” The execution of the music from Wolfgang and his stellar band strikes a strong chord -- Andy Langham (piano), Carlitos Del Puerto (bass), Gene Coye (drums), and Luisito Quintero (percussion). These players sound so good together on this album that a spiritual chemistry was formed! Schalk’s original pieces are solid and thought provoking. Whether his melodies are serene as on “Darkment of the Light” or the hard swinging title track “Obsession”, or skittering funk and textural layers as on “Next Time P22”, there is no drop-off in intensity. Schalk makes sharp turns, whether it be in his writing or his playing. He can be grooving the meditative thing in one moment or cutting the sharp edge in another or jumping in a Latin groove. To him, there are no categories - only music. “I don’t believe in genres,” he says. Wolfgang’s technique is an interesting study. Arch top, electric and acoustic guitars are of equal weight. “The sound is a mind thing”, Wolfgang states. The secret is in the touch. The sterling “Sambo Mamba” is a perfect example of this approach. On first listen, it may take a few measures to figure out which instrument he is playing, yet his methods never overshadow the results. By the time you may figure things out, you are lost in the music anyway. Wolfgang Schalk has shown the constant growth of a musician aspiring to go beyond limits. It takes an all-consuming passion to overcome those obstacles, something he strives for every day. Obsession can be a good thing. True artists know that without it, great art cannot be created. Obsession is the next highest rung on the musical ladder for Wolfgang Schalk and affirms his status as one of the most talented guitarists of today.