Sunday, September 30, 2012

Pat Metheny Unity Band at Town Hall Fri., Oct 12th 8PM

Buy Tickets HERE

Jim Eigo Jazz Promo Services
T: 845-986-1677

UPDATED: For Jazz Musicians: Jazz Festivals Submission Links

Click the links below to access the application section/info of each jazz festival/2013 editions!
Check back soon for updates. Good Luck!

Kuumbwa Jazz (CA)
Monterey Jazz Festival(CA)
Chabot College Jazz Festival (CA)
Campana Jazz Festival CA
Fillmore Jazz Festival CA
Illinois Jazz Festival (IL)
New Orleans Jazz & Heritage Festival(LA)
Litchfield Jazz Festival CT
Berklee BeanTown Jazz Festival(MA)
Jazz & Rib Fest(OH)
Creekside Blues & Jazz Festival (OH)
UCM Jazz Festival(MO)


JazzWorldQuest Proposals: YUSA (Cuba) Booking for Summer 2013

Booking for Summer 2013
Team: 3 people (solo set), 5 people (trio)
To learn more about Yusa

XV Panamerican Games of Río de Janeiro (Brazil); Cotton Jazz Club (Japan); Théâtre Silvain (France); La Bellevilloise (France); Festival Nuits du sud (France); Festival des nuits Fourviere (France); Festival Latinoamericando (Italy); Festival de Cosquín (Argentina); Festival Rec Beat (Brazil); Virada Cultural (Brazil);...
Click here to enter to her website

33 rue de Lattre de Tassigny
69009 Lyon
+33 (0)3 25 49 22 22

Sam Rivers' Reunion: Live in New York Available Now

"Lets get right down to it: Reunion: Live in New York, the new album on Pi Recordings, from Sam Rivers, Dave Holland and drummer Barry Altschul is an album that you absolutely need to check out." - Outside-Inside-Out

"At a Columbia University concert, the three free-form masters picked up where they left off after a 25-year hiatus." - Ottawa Citizen

Pi Recordings is very proud to announce our next release; the culmination of three years of work. A historically important new release,The Sam Rivers Trio's Reunion: Live in New York captures saxophonist/flutist/pianist Sam Rivers with his groundbreaking trio of Dave Holland on bass and Barry Altschul on drums recorded live in front of a packed Miller Theatre at Columbia University in 2007. The trio was influential for helping lead the movement towards “free form” playing on the “loft jazz” scene in the 1970s. Over two sets, their powerful rapport in these fully-improvised performances gives no clue that they had not played together in 25 years when this concert took place.

Reunion: Live in New York wont be in stores till September 25th, but is available now exclusively through Pi Recordings. The release coincides with what would have been Sam Rivers’ 89th birthday; he passed away on December 26, 2011. A leading figure in jazz, Rivers led a remarkable assortment of aggregations, from the small groups on his four classic albums on Blue Note in the 1960s to duos to big bands over the following decades. He also played in the bands of such luminaries as Miles Davis, Andrew Hill, Cecil Taylor and Dizzy Gillespie and his composition Beatrice is a standard in the jazz repertory. His big band albums Inspiration and Culmination from 1998 were both nominated for the Grammys.

It would be hard, though, to overstate another important role that Rivers played in jazz: He was the founder and proprietor of Studio Rivbea, the most prominent of the many jazz “lofts” that sprung up in downtown Manhattan in the 1970s that encouraged a more open approach to the music. Rivbea began hosting concerts, workshops, and rehearsals in 1972, just as Rivers-Holland-Altschul began playing together intensively. Other bassists and drummers played with Rivers, but they were the preferred formation from the fall of 1972 when Holland joined the group until the summer of 1978 when Altschul left to pursue his own projects as a bandleader.
The trio also became the main vehicle for what Rivers often called his “main contribution” to the music: the exploration of “free-form” playing. In a 2002 interview, he explained that by “free” he did not mean avant-garde or atonal, but instead that there was “no preconceived idea, no preconceived melodies or harmonic attitude.” Rivers sometimes went so far as to claim to have originated this approach. As Holland puts it, “each night we started with a blank page.” According to Altschul, they developed what became an almost extrasensory attunement to each other through extended jam sessions: “We got together let’s say at eleven o’clock in the morning and we just played until five o’clock in the afternoon. If we had to go to the bathroom, then it was a duo. If we had to eat, there was maybe a solo. But the music continued from eleven to five.” The aim was not only to become familiar with each other, but also to find and play through the “dead spaces” in the music, to concoct tactics for avoiding them in performance. “After a while,” Rivers noted, “you’ve run through all your clichés.” The group became known for its marathon concerts, with Rivers circulating among tenor and soprano saxophones, flute and piano, giving each performance the feeling of a suite with shifting dynamics among the players.

What separates this trio from some of the more incendiary exemplars of 1960s “free jazz” is the sense that nothing is out of bounds: there are moments of thorny dissonance, but also currents of limpid melody, and moments where a tonal center shimmers into view or the music locks into a groove. As Altschul points out, “freedom” means above all “freedom of choice” among any number of stylistic parameters at any moment in performance. In the late 1990s, Holland remarked that he was struck by the way Rivers “uses all his musical experience when he plays,” from the blues to bebop to the more harmonically venturous elements of his own music and he never forgot something Rivers said to him: “Don’t leave anything out: play all of it.” Rivers called the 1970s a “culmination” of the previous decades, and the trio in this sense was an enactment of the somewhat idealistic but thrilling notion that improvisers working at the height of their powers can draw on “a total access to all musical elements.”

The special reunion concert was the culmination of Columbia University radio station WKCR’s week-long Sam Rivers Festival, which was breathtaking in its sustained focus, as in-depth interviews with Rivers and many of his key collaborators were interspersed within a chronological review of his legacy: over a full week, day and night, the station played every recording of Rivers it could obtain, including not only commercial sessions but also unreleased concert tapes. The broadcast served to demonstrate in stunning fashion the breadth of Rivers’ musical world.

The highly anticipated concert drew a sold-out audience seemingly packed with a who’s who in jazz in New York City. There was no rehearsal other than a ten-minute sound check prior to the performance and, true to form, there was no prior discussion of what they would play. Rivers started with a figure on tenor sax and Holland and Altschul quickly fell in behind him. Off they went for the next hour on an extemporaneous journey, conjuring the decades-old magic.

Although the trio performed extensively, it is surprising how poorly it was documented on record. Aside from two small-label European releases, The Quest (1976) and Paragon (1977), the best-known artifact of their playing together remains Holland’s first album as a leader, the exquisite Conference of the Birds (1972), which memorably pairs Rivers with Anthony Braxton. But Holland’s album was recorded right at the inception of the trio, and cannot be called representative of what its sound would become. In other words, the concert on this release is not only an all-star reunion, but also one of the very few documents of one of the great groups of the 1970s.

The drama of any improvised performance has to do with the impression that one is witnessing a conversation unfolding in the moment, with the emotional tides and fleeting resolutions in any human interaction. There is an uncommon, audibly joyous intimacy audible in this concert as the trio steps back onto the tightrope one more time. The thrill they rediscover is not only a fitting testament to the giant that was Sam Rivers, but also the best memorial to the Rivbea environment that only his vision could have brought together.
Pi Recordings

The Fusion Syndicate ft. members of Yes, Tool, Yellowjackets, Spyro Gyra


Los Angeles, CA…On October 16, Purple Pyramid (an imprint of Cleopatra Records) will release THE FUSION SYNDICATE, a collection of original rock-jazz fusion explorations performed by an eclectic group of the finest musicians working today.

THE FUSION SYNDICATE features performances by members of the biggest names in fusion including Billy Cobham, Mahavishnu Orchestra, Yellowjackets, and Spyro Gyra plus rock/prog players from Yes, Dream Theater, King Crimson, Tool, Porcupine Tree, Hawkwind and more. 

The seven-track record provides nearly an hour of intricate and expansive demonstrations from all the collaborators.  “Stone Cold Infusion” combines Steve Stevens’ effortless fretwork and Mel Collins’ soulful horns with Billy Cobham’s solid and propelling drums, while “Atom Smashing” highlights some fast fingerplay from Tony Kaye. 

Billy Sherwood composed all the music for, assembled and produced THE FUSION SYNDICATE.  A multi-talented musician, he has played in Yes (and several of its reconfigurations), Toto, and others while as a producer, mixer and engineer, he’s contributed to recordings by Yes, Motorhead, Paul Rodgers and all-star tribute albums to artists such as Queen, AC/DC, and Stevie Ray Vaughan.  Sherwood also spearheaded THE PROG COLLECTIVE for Purple Pyramid/Cleopatra, which assembled the best players in prog for a collection of original works.

Said Sherwood, “When I was asked to write and produce a fusion record I jumped at the chance. I've always had a deep love of Jazz and Fusion music having grown up listening to Weather Report, Return To Forever, Mahavishnu among many others in the genre. The record has become a musical dream team, including some of the world’s most renowned players in the field. The music reflects a time when virtuosity was the standard and incredible musicianship was the order of the day. Each artist sharing their talent and skill, blending it all into a bigger musical picture, creating an amazing expression of unity and purpose.”


1. Random Acts Of Science - Rick Wakeman (Yes) • Jerry Goodman (Mahavishnu Orchestra) • Nik Turner (Hawkwind) • Jimmy Haslip (Yellowjackets / Alan Holdsworth)

2. Stone Cold Infusion - Steve Stevens • Jordan Rudess (Dream Theater / Liquid Tension Experiment) • Mel Collins (King Crimson) • Colin Edwin (Porcupine Tree) • Billy Cobham (Mahavishnu Orchestra)

3. Molecular Breakdown - Jay Beckenstein (Spyro Gyra) • Billy Sheehan (Steve Vai) • Gavin Harrison (Porcupine Tree) • David Sancious (The E Street Band)

4. Particle Accelerations - Larry Coryell • Derek Sherinian (Dream Theater / Black Country Communion) • Eric Marienthal (Chick Corea Elektric Band) • Chester Thompson (Genesis / Brand X)

5. At The Edge Of The Middle - Steve Morse (Dixie Dregs) • Jim Beard (Mahavishnu Orchestra) • Randy Brecker (Blood, Sweat & Tears) • Percy Jones (Soft Machine / Brand X)

6. Atom Smashing - John Etheridge (Soft Machine) • Tony Kaye (Yes) • Chad Wackerman (Frank Zappa)

7. In The Spirit Of… - Steve Hillage (Gong) • Scott Kinsey (Tribal Tech) • Theo Travis (Steven Wilson Band) • Justin Chancellor (Tool) • Asaf Sirkis (The Orient House Ensemble)

STREAMING MP3:  "Stone Cold Fusion"

THE FUSION SYNDICATE will be in stores and online retailers for MSRP of $14.98. The 2 LP vinyl format is $29.98. 

For more info, music, interviews, please contact Deborah @ Spinner PR,323.467.7633 or

Saturday, September 29, 2012

Latest addition to the JazzWorldQuest Free Mp3 List: North Eastern Allstars - Chill Factors

North Eastern Allstars
Musician: North Eastern Allstars
Track: Chill Factors
Composer: KC Jones
Musician website/ CD storeLink CD store
Album: North Eastern Allstars
Year: 2013
Label: Indie

From soon to be released album

for more free downloads

Spain, Barcelona: Arco y Flecha: Marc Ribot solo y Korekyojinn + Herba d'Hameli en octubre


Un abono para las 4 noches (6 conciertos) por sólo 50 euros, podéis reservarlo escribiendo a:


MARC RIBOT SOLO, guitarra 
Martes 9/10/2012 Arco y Flecha, Barcelona, C.A.T. Centre Artesà Tradicionàrius, 21:30h
 Precio entrada anticipada: 15 euros, para hacer la reserva escribe a:
Precio taquilla: 20 euros 
El  guitarrista Marc Ribot ha grabado seis solos muy diversos entre sí: (Book of Heads de John Zorn, Plays the Works of Frantz Casseus, Saints, Don’t Blame Me, Exercises in Futility) y su último álbum, Silent Movies (Pi Recording 2010), que estuvo en muchas listas como “Mejor álbum de 2010”, entre ellas la del LA Times. Sus solos en directo son acontecimientos imprevisibles que siempre sorprenden a la audiencia, en ellos interpreta temas de los mencionados álbumes en solitario con partes de improvisación.

CARLES PINÓS, teclado y voces. DANI FABRÉ, bajo y voces. GUILLEM ROMA, batería y ruidismo. JOSEP TARDÍO, flauta travesera. VALENTÍ PINÓS, guitarra eléctrica. CLAUDIO TRULLÉN, voz y guitarra acústica.

Domingo 14/10/2012 Arco y Flecha, Barcelona, C.A.T. Centre Artesà Tradicionàrius, 21:30h
Precio entrada anticipada: 15 euros, para hacer la reserva escribe a:
 Precio taquilla: 20 euros 

En medio de las terribles noticias del reciente tsunami que causó estragos en Japón, también vale la pena señalar que este país asiático se reafirma continuamente como un referente puntero de la vanguardia progresiva de las últimas décadas. Uno de los ítems más intensos es KOREKYOJINN, el genial power-trío conformado por veteranos tan magistrales como el baterista ex-líder de RUINS y líder actual de KOENJIHYAKKEI Yoshida Tatsuya (aparte de ocasional reemplazo de Hase Bruniusson en el SAMLA MAMMAS MANNA del nuevo milenio y muchas otras perlas como solista y como parte de un grupo), el virtuoso guitarrista Kido Natsuki (de BONDGE FRUIT, P.O.N., THE WORLD HERITAGE, amén de otras yerbas experimentales niponas de solista) y el bajista Nasuno Mitsuru (ocupado sesionista y ex-miembro de ALTERED STATES, GROUND ZERO, TEH WORLD HERITAGE, etc.). KOREKYOJINN acaba de lanzar al mercado su nuevo trabajo de estudio titulado “Tundra”, en el que el trío se explaya en su idiosincrasia obsesiva por generar una pauta progresiva lo más compleja posible y afín a los territorios más agresivos y filudos del lenguaje rockero. Merced a la trayectoria y talento de cada miembro individual, su incendiaria mezcla de zeuhl de nueva generación (a lo HAPPY FAMILY), crimsonismo heavy, jazz-rock, psicodelia y sonoridades emparentadas con el rock metalero se siente totalmente natural. Tal como sucede con muchos referentes de la vanguardia rockera japonesa, KOREKYOJINN renuncia a cualquier conexión con los ideales de indulgencia y complacencia propios de las formas más comercializadas de rock: el grupo apuesta por la exploración de los rincones más inquietantes de la mente humana a través del arte del ruido, sacando el jugo a su formato de guitarra-bajo-batería hasta niveles de energía y destreza casi “sobrehumanos”. Leer más en  AUTOPOIETICAN...

Herba d’Hamelí es un grupo de rock progresivo nacido en el 2001 en Barcelona. Su música nos puede recordar la genuina sonoridad de los setenta, época de esplendor del rock. Grupos como Camel, King Crimson, Yes o el movimiento del rock layetano son sus principales influencias sin rehuir no obstante investigar nuevas sonoridades dentro del rock. El continuo juego con los cambios de armonía, compás y tiempo son las herramientas para materializar una concepción distinta de la música en la que no existen limitaciones posibles.
"En fin, “Inversa Visual” significa una experiencia progresiva a carta cabal que dignifica las ideas de melodía, refinamiento y ambición dentro del ámbito del rock aventurero fiel a muchos de los referentes históricos del género, y aún así, fresco y revitalizador. Esta experiencia se capitaliza en el siguiente disco, “Girafes a Sibèria”, para el cual el grupo queda como quinteto tras la partida de la flautista. Este disco tiende a realzar el lado prog-sinfónico del grupo, pero que conste que el enfoque ecléctico sigue ostentando niveles muy solventes de creatividad musical: “Girafes a Sibèria” es pura artesanía hecha sonido." Leer más en AUTOPOIETICAN...

TERRIE HESSELS, guitarras. ARNOLD DE BOER, voz, guitarras y sámpler. ANDY MOOR, guitarras. KATHERINA BORNEFELD, batería y voz.

Domingo 11/11/2012 Arco y Flecha, C.A.T. Centre Artesà Tradicionàrius, 21:30h
Precio entrada anticipada: 15 euros + gastos de gestión, pronto a la venta en codetickets 
Precio taquilla: 20 euros

"Book of Ogadimma"
TREY SPRUANCE, guitarra, saz. TIMBA HARRIS, violín, viola, guitarra, trompeta. TOBY DRIVER, bajo. PEIJMAN KOURETCHIAN, batería, percusión. MATT LEBOSKY, teclado, samplers. OLIVIA OYAMA, sonido.
GENERAL MIDI, instrumentos, voz. DOROTHY WAVE, instrumentos, voz. FIELD MARSHALL STACK, instrumentos, voz. THE COUNT IN, instrumentos, voz. MASTER FADER, instrumentos, voz. RUDY OUAZENE, sonido.

Miércoles 21/11/2012 Arco y Flecha, C.A.T. Centre Artesà Tradicionàrius, 21:00h

Más información:

The TD James Moody Democracy of Jazz Festival October 15-21, 2012 at NJPAC


Jim Eigo Jazz Promo Services T: 845-986-1677

The Wolff & Clark Expedition Featuring Jazz Legends Michael Wolff and Mike Clark To Play The Falcon Theatre in Marlboro, NY - Oct. 5, 2012

New York, NY – Jazz legends Michael Wolff and Mike Clark, the Wolff & Clark Expedition, will be performing at the Falcon Theatre in Marlboro, NY on October 5, 2012, promising unforgettable evenings of hot jazz and funk. The duo will be joined by Ben Allison on acoustic bass. Hot off the heels of a very successful engagement in Los Angeles, the Wolff & Clark Expedition is preparing to bring their special blend of jazz to Marlboro!

In the present.

Wolff and Clark are most definitely in the present - and when these two get together they naturally explore. Expedition: A journey undertaken by a group of people with a definite objective; or the group undertaking such a journey. Implicit in the definition: the exploratory nature of the journey, or “to go where no one has gone before” in Star Trek parlance. So it is with the intrepid negotiations of the modern Wolff and Clark Expedition. The name recalls another notorious duo of similar name, the Lewis and Clark Expedition. Now while it could be argued that that endeavor retraced already tread regions - their trip merely revealed what lay ahead to a new crowd. The same cannot be claimed for Wolff and Clark, whose music, while steeped in the rich history of American music, simultaneously blazes a trail fresh with virgin soil and fertile with sounds I guarantee you have never heard before.

Performing together since the 1970s both Wolff and Clark individually have had stellar music careers. Michael Wolff is an internationally acclaimed pianist, composer and bandleader, and is best known for his melodically, fresh,and rhythmically compelling piano style. Wolff made his recording debut in 1972 with Cal Tjader, and went on to record with Cannonball Adderley, the Thad Jones-Mel Lewis Orchestra, Sonny Rollins, Tony Williams, Christian McBride and many others. As pianist and music director for jazz singer Nancy Wilson, Michael wrote orchestral arrangements and conducted more than 25 major symphony orchestras worldwide. From 1989 to 1994, Michael served
  as the
band leader for the Arsenio Hall Show, which heightened his visibility and gave him the opportunity to perform with many established artists such as Ray Charles, Phil Collins, Whitney Houston, Patti LaBelle, Wayne Shorter, Herbie Hancock and saxophonist/president Bill Clinton. Michael Wolff has released 12 critically acclaimed solo albums to date as a leader, 'Joe's Strut' being the most recent. He was a winner of the BMI Music Award for television composition and was also the winner of the Gold Disc Award in Japan for his album 'Jumpstart'. On Feb 23, 2012 Michael performed a solo piano concert at the University of Toledo, in Toledo, Ohio, as part of their Art Tatum solo piano concert.

What can be said about Mike Clark except that he is a true drum legend! Mike Clark gained worldwide recognition as one of America’s foremost jazz and funk drummers while playing with Herbie Hancock’s group in the early 1970’s. Mike became known as a major innovator through his incisive playing on Hancock’s 'Thrust' album, which garnered him an international cult following. While often referred to as the “Tony Williams of funk”, Mike considers himself a jazz drummer, and in fact has become one of the most vital to sit behind a set. He's performed with jazz greats such as Herbie Hancock, Chet Baker, Vince Guaraldi, Tony Bennett, Wayne Shorter, Joe Henderson, Eddie Henderson, Rob Dixon, Bobby Hutcherson, Woody Shaw, Donald Harrison, Larry Coryell, Jack Wilkins, Mike Wolff, Wallace Roney, Geri Allen, Billy Childs, James Genus, Bob Hurst, Chris Potter, Onaje Allan Gumbs, Bobby McFerrin, Al Jarreau, Dave Liebman, Nat Adderly, Oscar Brown Jr., Bill Doggett, Nicholas Payton, Christian McBride, Mose Allison, Maxine Brown, Gil Evans and his orchestra and many illuminating artists too numerous to list. Mike is currently putting the finishing touches to his forthcoming solo CD 'Indigo Blue', which features Randy Brecker, Christian McBride, Ron Dixon and Antonio Farao.

Together they bring a combination of swing and groov
e with a unique deconstructive take on classic jazz, popular standards, and original compositions that creates a freedom in the sound that electrifies their listeners and audiences wherever they play. Since Wolff and Clark, being veterans of so many different directions can, and do, play with anyone, anywhere, defying set boundaries of genre, being able to mingle and mix with a kaleidoscope of changing players is what keeps the music interesting and dynamic. As such, they are excited to present their VIP List Series. On any particular gig, they invite one or several of an impressive roster of  colleagues to join them for a night, or a week. Perhaps Steve Wilson, James Genus, Christian McBride, Donald Harrison, Randy Brecker, Wallace Roney, Lenny Pickett, Seamus Blake, etc.

Who knows who might join the call to explore? After all, on an expedition, the possibilities are


Wolff & Clark Expedition:
Michael Wolff - Piano
Mike Clark - Drums
Ben Allison - Acoustic Bass

When: Oct. 5, 2012 - 8 PM

Where: The Falcon Theatre

1348 Rte 9w
Marlboro, NY 12542
Tel: (845) 236-7970

For more information:
Michael Wolff:
Mike Clark:
Wolff & Clark Expedition Facebook Page:

Press inquiries: Glass Onyon PR, PH:

Friday, September 28, 2012

All Nite Soul Sunday, October 7, 2012 Honoring the Vanguard Jazz Orchestra

The Jazz Ministry at Saint Peter’s Church announces Jerry Dodgion, Jon Faddis, Rufus Reid and Kenny Werner featured with The Vanguard Jazz Orchestra and Over 80 Musicians Performing at All Nite Soul 2012
Sunday, October 7
Saint Peter’s Church, 619 Lexington
(at 54th Street), New York City
New York, NY — On this, the 42nd Anniversary of All Nite Soul, the Jazz Ministry of Saint Peter’s Church — the Jazz Church — is thrilled to announce that Jerry Dodgion (alto saxophone), Jon Faddis (trumpet), Rufus Reid (bass), and Kenny Werner (piano) will be featured with the 16-piece Vanguard Jazz Orchestra in two sets at the 7 PM concert on Sunday, October 7, 2012.  The concert will be preceded by Jazz Vespers at 5 PM with Fabian Almazan with Strings Group and the 15-member BerlinVokal choir.

Over 80 musicians will perform at the 7 PM concert that continues into the early hours of October 8, including: Jon Faddis; Jerry Dodgion; Rufus Reid; Kenny Werner; Vanguard Jazz Orchestra: Nick Marchione / Tanya Darby, Joe Magnarelli / Scott Wendholt / John Mosca / Luis Bonilla / Jason Jackson / Douglas Purviance / Dick Oatts / Billy Drewes / Walt Weiskopf / Ralph LaLama / Gary Smulyan / Michael Weiss / Andy Watson and David Wong; Arturo O’Farrill / Zack O’Farrill; Harlem Blues and Jazz Band: Ruth Brisbane / Art Baron / Michael ”Max” Fleming/ Joey Morant / Reynold “Zek” Mullins / Fred Staton / Jackie Williams and Bill Wurtzel; TAJA: T.K. Blue / James Weidman / James Cammack and Alvin Atkinson / Dee Daniels / Sarah McLawler and Les Jazz Femmes: Sarah McLawler / Carol Sudhalter /Melissa Slocum, Bernice Brooks / Annette A. Aguilar; BerlinVokal (choir): Michael Betzner-Brandt / Monika Stienecker / Daniela Ulsamer, Doortje Muller / Kirsten Peters / Elvira Maisch-Vogts / Beatrix Kirsch / Bettina Pauck / Katja Evers / Astrid Franz / Sabine Metzner / Jurgen Fuerhoff / George Gillert / Karsten Lohan / Ulrich Osterland and Andreas Hannay; Keisha St. Joan / Bertha Hope / Gene Bertoncini / Sara Caswell /David Demsey / Michael Webster / Ingrid Jensen / Chris Dingman / Jesse Lewis / Ike Sturm / Jared Schonig / Tim Keiper / Kaoru Watanable / Mat Kilmer; Streetbeat: Jason Wiseman / Jeff Fairbanks / James Rogers and Vin Scialla; Ken Simon / Yoichi Uzecki / Jonah Jonathan / Ken Crutchfield / Carol Morgan / Alexis Cole; Sabor de Tres: Eiko / Richie Robles / Paul Rivera and Cindy Bobe; Pat Foster / Elaine Zammett.   David Demsey and Dee Daniels are the concert emcees.

The Legend Wall, an “exhibit wall” in Saint Peter’s Living Room, will tell the story of the Vanguard Jazz Orchestra from its inception to its current day activities with memorabilia, including photographs organized by photo archivist Tad Hershorn of Rutgers University Institute of Jazz Studies.  The exhibit will also feature memorabilia from the Thad Jones archives at William Paterson University provided by archivist David Demsey.

 “The Vanguard Jazz Orchestra (VJO,) which has played at the Village Vanguard (New York City) nearly every Monday since 1966 is the most influential jazz big band of the contemporary era: This is the band in which every student musician dreams of playing, the band that virtually every college jazz orchestra tries to sound like. Nearly every band of the last 40 years is an unabashed spin-off of the VJO, and at least one club in every major metropolitan area has a "Monday night band" that follows the VJO business model. Indeed, it's a safe bet that a majority of all the big bands in the world right now emulate the VJO.”  Will Friedwald – New York Sun

The Jazz Ministry at Saint Peter’s Church is a home for diverse individuals and communities which celebrates the dignity and vitality of Jazz, provides vibrant liturgy and pastoral care, and through intersecting partnerships, offers jazz programs, education and services.  An outreach program of Saint Peter’s Lutheran Church in New York City, The Jazz Ministry was founded in 1965 by the late Reverend John Garcia Gensel who created Jazz Vespers, a worship service featuring a wide range of jazz musicians that is held each Sunday at 5:00 PM.  Our pastors include Amandus Derr, Jared Stahler, Kaji Spellman, Bill Eschen, and Jazz Pastor Emeritus Dale Lind.   Ike Sturm, bassist, is our Director of Music for the Jazz Ministry. The Jazz Ministry thrives today with many events and programs such as All Nite Soul, Prez Fest, Jazz on the Plaza, Seminars for Musicians, Midtown Jazz at Midday, memorials, tributes, concerts, and others yet to be developed, to serve the jazz community.

“All Nite Soul 2012 – Honoring The Vanguard Jazz Orchestra” takes place on Sunday, October 7, 2012 at Saint Peter’s Church, 619 Lexington Avenue (at 54th Street), NYC, 212 935 2200.  “E” train to Lexington Avenue or “#6” to 51st Street
5:00 PM: Jazz Vespers Free Will Offering
7:00 PM:  All Nite Soul Concert — $25 Suggested Ticket Donation — in advance or at the door.
Check out the Vanguard Jazz Orchestra exhibit and The Hungry Souls Café!

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail:

Trumpeter/Composer Allen Vizzutti's "Ritzville" CD Due Oct. 16

Trumpeter/Composer Allen Vizzutti
To Release "Ritzville"
October 16
Vizzutti Is Joined by Special Guests
Chick Corea & Stanley Clarke
Pianists Darrell Grant & Laura Vizzutti,
Guitarist Mike Miller, & Others

September 27, 2012

Allen Vizzutti RitzvilleTrumpet virtuoso Allen Vizzutti has enjoyed a prolific career as performer and educator in both the jazz and classical fields since his early days with Woody Herman's big band and his notable four-year tenure with Chick Corea. The release of Vizzutti's superb new CD Ritzville, on October 16, is an especially welcome event because the in-demand trumpeter/composer has recorded all too infrequently as a leader. Ritzville brings the focus back to his primary passion of "performing music I love with my jazz group."
Contributions from Vizzutti's marquee-name friends Stanley Clarke and Chick Coreaare featured on the boppish "Ticklish" and the up-tempo ballad "Amara" respectively, while the rest of the band includes old friends (the guitarist Mike Miller) and new (Portland-based pianist Darrell Grant) performing an array of standout Vizzutti originals, most of them written specifically for the Ritzville session. Pianist Laura Vizzutti, the trumpeter's wife, is showcased on her namesake "Laura's Blues," one of four selections on which an 11-piece string section was added.

Recorded in Seattle, where Vizzutti has been based since 1990, Ritzville contains so many stylistic crossings, from groove-tight fusion updates to string orchestrations to acoustic ballads, the leader became concerned during the recording of it that the music was more varied than he had intended. Whether by serendipity or design, however, the songs fit together seamlessly, adding up to an invigorating statement by a multifaceted artist who is in command in all stylistic situations.

Allen VizzuttiAuthor of the definitive trumpet method books that bear his name, Allen Vizzutti started on the horn with lessons from his father Lido, a self-taught trumpeter. As he was growing up in Missoula, Montana, young Allen played in school bands and, at 16, won a concerto competition that sent him to Interlochen, where he was awarded first chair in the World Youth Symphony Orchestra. He went on to study at the Eastman School of Music in Rochester, NY.

After a period of gaining bandstand experience ranging from Ice Follies shows to Bach chamber orchestras, Vizzutti had to choose between two tempting offers: lead trumpeter with Woody Herman and first chair trumpet with the San Antonio Symphony. He became a member of Herman's Thundering Herd.

"The big band experience, which so many young players now never get, is so valuable in so many ways, and not just musical," said Vizzutti. "We had people like Dizzy Gillespie and Tony Bennett andMarian McPartland joining us all the time. You got to see how great musicians handled themselves, handled rehearsals, bantered with the audience. You learned about timing, about stretching out musical moments to maximize their impact."

Vizzutti met Chick Corea during rehearsals for a piece the pianist wrote for Herman. Corea later invited Vizzutti to join him for a three-month tour with his 13-piece ensemble, featuring strings and horns. The trumpeter also played with Corea sextets featuring Joe FarrellDave Liebman, andSteve Kujala and is featured on three Corea albums: Secret Agent (1978), Tap Step (1980), and Touchstone (1982).

In 1978, Vizzutti moved to Los Angeles. He joined Doc Severinsen and the Tonight Show Band, and played on more than 150 film and TV soundtracks as well as albums by Frank Sinatra, Barbra Streisand, and Prince. His own unique jazz-fusion band Red Metal made two recordings and performed regularly in L.A. and on tour over the next eight years. After his relocation to Seattle, he recorded several albums as a leader, including Trumpet Summit (1995) andSkyrocket (1996), both for Summit. It's to be hoped that Ritzville marks the beginning of a new period of recording activity for this charismatic and virtuosic artist.

"I'm very grateful for my musically rich life," says Vizzutti. "It's exciting and a lot of fun to continue to improve as a player and performer. Ritzville is a calling card for a fresh new musical chapter about to unfold."

Photo: Lido Vizzutti 

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Arturo O'Farrill and the Afro Latin Jazz Orchestra Present: Falafel, Freilach, and Frijoles: From Mambo to Borscht - November 2 & 3 at Symphony Space

GRAMMY® Award Winners Arturo O'Farrill and the
Afro Latin Jazz Orchestra Present:
Falafel, Freilach, and Frijoles: From Mambo to Borscht

Program Examines Relationship Between 
Jewish and Latino Communities Through Music


First Concert of 2012/13 Season at 
Symphony Space, November 2 & 3, 2012 @ 8pm

Recent coverage of the Afro Latin Jazz Orchestra:

New York, New York -- The Afro Latin Jazz Alliance is pleased to announce the inaugural performance of the 11th season of the GRAMMY® Award-winning Afro Latin Jazz Orchestra (ALJO), directed by Arturo O'Farrill.  The program, titled Falafel, Freilach, and Frijoles: From Mambo to Borscht, will be presented at Symphony Space on Manhattan's Upper West Side on November 2 & 3, 2012.  Join us for a pre-performance discussion on Friday, November 2 at 7PM as we explore a convergence of cross-cultural musical styles from the Catskills, Northern Africa, Iberia, and the Middle East.  The Orchestra's sixth season at Symphony Space exemplifies the Alliance's commitment to presenting a large and diverse picture of Afro Latin jazz that acknowledges and celebrates its past, while embracing innovation and experimentation that propels the music forward.

General Admission is $50/$40/$30, Students/Seniors/Children $15, Symphony Space Members $40/$32/$24.  Take advantage of this special subscription offer: purchase two concert tickets for the 2012/2013 season and get a third concert admission for free! For tickets go to:, call 212.864.5400, or visit the box office.  For subscriptions, call or visit the box office.  Symphony Space is located at 95th Street and Broadway in Manhattan.
Falafel, Freilach, and Frijoles: From Mambo to Borscht will examine the long and venerable relationship between the Latino and Jewish communities.  The relationship between Jewish culture and Latin music dates back to Iberia prior to the Spanish Inquisition, and continued to pre-Castro Cuba - an era when Jewish families would visit the island and its nightclubs.  In the decades to follow, resorts started to pop up in the Catskills, and the Jewish community flocked to the Borscht Belt to dance to bands led by Tito Puente, Joe Cuba, and Eddie Palmieri, among others.  The burgeoning scene attracted musicians and fans alike and has been described as a "mecca for Latin music," resulting in the mambo being called "the Jewish waltz."  The ALJO will also explore the themes common to the larger Jewish and Latino communities, including a journey to the Middle East, the Mediterranean, and North Africa.

"Afro Latin Jazz has been deeply impacted by the support of the Jewish community, particularly in the New York region and especially by what is commonly called the Borscht Belt, a popular area for Jewish resorts in upstate New York," explains O'Farrill.  "This will be a deep exploration of the relationship between two great Diasporas encompassing the Semitic traditions that stretch from the Middle East to Miami Beach, from the tip of North Africa to the Bronx, and from the mountains of Russia to the Catskills."

Falafel, Freilach, and Frijoles: From Mambo to Borscht is loosely based on the famous album by Irving Fields, Bagels & Bongos, as well as the recording, Mazel Tov, Mis Amigos.  The evening will cast Jewish and Yiddish classics in Afro Latin big band versions, and set Latin classics in traditional Klezmer settings.  The Orchestra will feature original music and performances by guest artist trumpeter/slide trumpeter, composer Steven Bernstein, and that of ALJO member trombonist/composer, Israeli-born Rafi Malkiel.  "El Judio Maravilloso" Larry Harlow will be featured with the Orchestra performing classic Yiddish and Latin jazz compositions.

Larry Harlow is a true living legend of Afro-Cuban music. Affectionately nicknamed "el Judio Maravilloso" (The Marvelous Jew), Harlow is a renowned salsa bandleader and multi-instrumentalist, most noted as a pianist.  His earliest performances as a teenage bandleader were at the resorts in the Catskill Mountains.  Harlow, who is known for his innovative blend of Afro-Cuban and jazz styles of piano playing, studied music in the 1950s in Cuba, but was unable to complete his degree before the Cuban Revolution forced him to leave the island.  Orquesta Harlow was the second orchestra signed to the Fania label.  Harlow was the first piano player for the legendary salsa group known as the Fania All-Stars, and Fania's first record producer.  He produced over 260 albums for Fania Records between 1972 and 1976, including the acclaimed albums Sorpresa La FlautaLa Música BravaEl Campesino, and Latin Fever.  He has also produced over 106 albums for various artists and over 50 albums independently.  In 2008, he was presented with a Latin GRAMMY® Lifetime Achievement Award.  Harlow continues to lead and perform with Larry Harlow and the Fania Latin Legends.

Steven Bernstein is a trumpeter/slide trumpeter, bandleader, arranger, and composer who lives outside of musical convention.  He has released four critically acclaimed CDs:Diaspora Soul, Diaspora Blues (featuring the Sam Rivers Trio),Diaspora Hollywood, and Diaspora Suite.  All four are on John Zorn's Tzadik label.  Bernstein has played trumpet with a diverse group of artists including My Morning Jacket; Linda Ronstadt; David Murray; David Berger; Digable Planets; Sting; Medeski, Martin, and Wood; Courtney Love; Ryuichi Sakamoto; Don Byron; and Mocean Worker.  The trumpeter is also known for his work with The Lounge Lizards, Sex Mob (nominated for a 2006 GRAMMY® Award), Spanish Fly, and the Millennial Territory Orchestra.


Rafi MalkielComposer, trombonist, and euphonium player Rafi Malkiel, from Israel, has performed with artists such as Willie Colon, Arturo O'Farrill, Ray Anderson, and with Colombian singer Toto La Momposina. He also participated in Reggie Workman's John Coltrane Africa Brass Live project and Jason Lindner's Big Band.  He has recorded over forty Jazz, Latin, and Rock albums with artists such as Ray Anderson, Salsa Picante, Toto La Momposina, and Lauryn Hill.  In 2003 he formed The Rafi Malkiel Ensemble, a group of virtuosic musicians living in New York City that play original compositions and arrangements by Malkiel, fusing Jazz and Latin American standards with Afro Caribbean rhythms.  His debut album, My Island, features legendary tuba player Howard Johnson, bassist Andy González, clarinetist Anat Cohen, and many more.   


Arturo O'Farrill, pianist, composer, educator, and founder of the nonprofitAfro Latin Jazz Alliance, was born in Mexico, grew up in New York, and was educated at the Manhattan School of Music, Brooklyn College Conservatory, and the Aaron Copland School of Music at Queens College.  O'Farrill played piano with the Carla Bley Big Band from 1979 through 1983.  He then went on to develop as a solo performer and collaborate with a wide spectrum of artists including Dizzy Gillespie, Steve Turre, Freddy Cole, The Fort Apache Band, Lester Bowie, Wynton Marsalis, and Harry Belafonte. In 1995 Mr. O'Farrill agreed to direct the band that preserved much of his father's music, the Chico O'Farrill Afro Cuban Jazz Orchestra, which recently concluded a 15-year residency at Birdland.  In 2002 he created the ALJO for Jazz at Lincoln Center due to a large body of music in the genre of Latin and Afro Cuban jazz that deserves to be more widely appreciated.  His debut album with the Orchestra, Una Noche Inolvidable, earned a GRAMMY® Award nomination in 2006, and the Orchestra's second album, Song for Chico, earned a GRAMMY® Award for Best Latin Jazz Album in 2009.  The ALJO's new album, 40 Acres and a Burro, was released to critical acclaim and was nominated for a 2012 GRAMMY® Award for Best Large Jazz Ensemble Album. O'Farrill recently released his first solo piano recording, The Noguchi Sessions.  He is a Steinway artist.  


The GRAMMY® Award-winning Afro Latin Jazz Orchestra, soon to start its 11th season, was founded in 2002 by musician, composer, and educator Arturo O'Farrill.  The ALJO performs the full repertory of big band Afro Latin jazz, and commissions new works to advance this culturally rich genre.  The ALJO was a resident orchestra at Jazz at Lincoln Center from 2002 to 2007.  In 2007 the ALJO left Lincoln Center to pursue the twin goals of developing new audiences for big band Afro Latin jazz, and creating a robust educational program for young performers.  The ALJO performs an annual season at Symphony Space on Manhattan's Upper West Side, plays at the famed jazz club Birdland every Sunday evening as part of an ongoing residency, and continues to tour nationally and internationally to critical acclaim.

Founded in 2007, the nonprofit Afro Latin Jazz Alliance is dedicated to preserving the music and heritage of Afro Latin jazz, supporting its performance for new audiences, commissioning new work, and educating young people in the understanding and performance of this important cultural treasure.  The Alliance maintains a world-class collection of Latin jazz musical scores and recordings, and provides institutional support for the GRAMMY® Award-winning Afro Latin Jazz Orchestra.  As the ALJO celebrates its 11th season, the ALJA's educational and community outreach programs continue to flourish. For more information on the ALJA, ALJO, and Education Programs,  

The ALJO's 2012-13 Symphony Space season is sponsored by:
The work of the ALJA is made possible with support from: Foundations: Arnhold Foundation, Leonard Bernstein Family Foundation, BMI Foundation, Brenner Family Foundation, D'Addario Music Foundation, Fund for the City of New York, New Yankee Stadium Community Benefits Fund, New York Community Trust/Lila Acheson Wallace Fund for the Arts, Fan Fox and Leslie R. Samuels Foundation; Corporate: Capital One, Colgate/Palmolive, Con Edison, Goya, WABC-TV; Public: City Council Member Gale Brewer, 1199/SEIU, and other generous individual donors.

For more information, please contact:

DL Media· (610)667-0501
Amy Miller·  

Afro Latin Jazz Alliance· (212)866-6634  
Nina Olson·  


5th Annual Sunny Isles Beach Jazz Fest Will Feature Headliner David Benoit

The City of Sunny Isles Beach is excited to announce the line-up for the 5th Annual Sunny Isles Beach Jazz Fest three-day festival. David Benoit headlines the main event on Saturday, October 13, 2012 at 6:30 pm at Heritage Park (19200 Collins Avenue). Following tradition, the weekend will be filled with a variety of musical events, at various venues in Sunny Isles Beach.

The City of Sunny Isles Beach is excited to announce the line-up for the 5th Annual Sunny Isles Beach Jazz Fest three-day festival. David Benoit headlines the main event on Saturday, October 13, 2012 at 6:30 pm at Heritage Park (19200 Collins Avenue).
Following tradition, the weekend will be filled with a variety of musical events, at various venues in Sunny Isles Beach. On Friday, October 12th, join us for an Evening of Jazz at Acqualina Resort and Spa (17875 Collins Avenue) from 8pm – 11pm. Tony Sona Trio with special guest Gail Robin will be the featured artists. Tickets range from $25 - $65 and valet parking is $8 per vehicle. To purchase tickets call the resort at 305.918.8000.
On Saturday, October 13th, enjoy a Jazz BBQ on the Beach, at Sole on the Ocean (17315 Collins Avenue). This event, from 12pm – 4pm, will feature the Oriente Band, a cool Afro Cuban Blues and Soul group. The event is accessible from the beach, and FREE, however the BBQ food will be available for purchase.
The main event will take place Saturday evening, October 13th, from 6:30pm – 10pm at Heritage Park (19200 Collins Avenue). The City proudly presents opening act, Ira Sullivan, bop jazz trumpeter, flugelhornist, flautist, saxophonist and composer. Performing after Ira will be Rose Max & Ramatis Brazilian Jazz. Ramatis plays a masterful acoustic guitar complimented with beautiful vocals by Rose. Playing alongside Ramatis and Rose is special guest, renowned Brazilian bassist Dorio Ferreira. The headliner for Saturday’s event is David Benoit, known worldwide for his soulful jazz piano performances.
Gates open at 6:00 pm for Saturday’s main event and the $25 (general admission) ticket can be purchased at the SIB Visitor Center (18070 Collins Avenue) and Pelican Community Park (18115 North Bay Road) or at the door on that night. This event will take place rain or shine. Patrons should bring a chair or blanket for open seating. Seats can also be rented. Food, wine and beer are available to purchase at the park. Alcohol sales will benefit Joshua’s Heart Foundation.
Finally, the weekend will close out with a Glorious Buffet Brunch at Alba Seaside Italian (in Sole on the Ocean). This event, from 12pm – 4pm on Sunday, October 14, 2012, will include an incredible Italian American Inspired Brunch with action stations and unlimited Mimosas and Bloody Mary’s. Ticket price is $40 per person, and valet parking is $5 with validation. Expect Joy, Food, and Love. For tickets, call the hotel at 786.923.9300.
For additional event information, please contact the Cultural & Community Services Department at 305.792.1706 or log onto

Trumpeter John Daversa Returns with Crackling Small Group Outing “Artful Joy”(BFM Jazz) a Potent Follow up to Junk Wagon: The Big Band Album With special guests Bob Mintzer and Gretchen Parlato

On the heels of 2011’s high-energy, take-no-prisoners, boundary-stretching Junk Wagon: The Big Band Album, acclaimed L.A.-based trumpeter-composer-arranger John Daversa scales things back for his upbeat follow up, Artful Joy. “It was difficult trying to find the right album name for this one,” says Daversa, who has been leading a big band and small group concurrently for the past six years. “I didn’t realize how much in the spirit of deep happiness and joy that it was until it was done. It’s been a very fertile, wonderful year and I think this album is a reflection of that.”
Special guests Bob Mintzer and Gretchen Parlato appear on two tracks alongside Daversa’s working group of tenor saxophonist Robby Marshall, keyboardists Tommy King and Brandon Coleman, guitarist Zane Carney, bassist Jerry Watts and drummer Gene Coye. Together they take listeners on a musical journey that travels from the opening go-for-it jam “Seven Grand” (named for the club in downtown Los Angeles where the band regularly performs) to the gospel-tinged “No Frets, No Worries,” the raucous, tambourine-shaking second line number “C’mon Robby Marshall!” (a showcase for the outstanding tenor player), the hard-boppish “Rhythm Changers” (featuring Mintzer on bass clarinet) and the anthemic closer “Some Happy S*#t.” Other highlights on Artful Joy include the gently moving “Hara Angelina” (written for Daversa’s newborn daughter and featuring the affecting wordless vocals of Parlato), the thoughtful waltz-time ballad “Moonlight Muse,” the ultra-slow-grooving “Flirty Girl” and the mysterious soundscape-ish “Players Only” (featuring some beautiful muted trumpet playing by the leader).
One other tune on Artful Joy, the emotionally-charged “Good to be Alive,” was directly inspired by a session that Daversa played on for an album by gospel great Andraé Crouch. “I found it to be one of the most inspiring moments for me,” he says. “The track that we played on had this kind of Dixieland vibe, with Bob Mintzer playing clarinet. That was a lot of fun, but the track they played right after that completely blew my mind. It was just so joyful and positive and it just felt so incredible that I said to myself, ‘I want to do something that feels like that!’ And the next day I wrote ‘Good to be Alive.’” He credits singer Hillary Johnson as co-composer of that uplifting number. “She was a student of mine at the University of Southern California,” he explains. “We had a lesson together the day after I wrote out the initial sketch for ‘Good to be Alive’ and I said to her, ‘Sing something on top of this form.” And she came up with the beautiful melody that I ended up playing on the album.”
While Daversa says that there is some gear shifting involved in piloting both the big band and small group, he feels that they both convey the same spirit in the music. “To state the obvious, the small band allows a lot more room for improvisatory exploration and for the personalities to be even more developed. With the big band, we have our road map in front of us so we always know where we’re going. There’s some definition to the chaos. One of the wonderful things about a smaller band is it can be much more open, the improvisations can really take off and there’s more room for different things to happen. So the challenge with the small band is to make sure that we harness that energy, that we always still play the song and stay reverent to whatever that particular moment is.”
Daversa takes full advantage of the benefits that his small group presents on Artful Joy. The aggressive opener “Seven Grand,” is a snippet from an extended jam in the studio that serves as a kind of overture for the project. Daversa’s trumpet is positively bristling on this urgent number. “Shelley’s Guitar” opens with some otherworldly synth sounds by the leader on Electronic Valve Instrument (EVI) before segueing to some searing exchanges of eights between trumpet and tenor over a swinging groove. The thoughtful “No Frets, No Worries” features some nice harmony lines between Daversa’s flugelhorn and Marshall’s tenor and is buoyed by the gospel-drenched piano playing of Brandon Coleman. The tender “Hara Angelina,” another vehicle for Daversa’s EVI, has rising star Gretchen Parlato doubling the tender melody with her ethereal wordless vocals. “She’s so wonderful,” says Daversa. “Gretchen and I went to school together in L.A. way back when. It had been a while since we connected but I heard her so clearly singing the melody on that song. And she just sounded so beautiful. I wrote the song for my daughter when she was born and I told Gretchen what it was about, and she just went deep with it from note one. That’s what she can do. She’s just really special that way.”
Tenor man Marshall wails with blustery tones on his namesake piece “C’mon Robby Marshall!” and burns on the hard boppish romp “Rhythm Changers,” which features a guest turn from the Yellowjackets’ Bob Mintzer on bass clarinet. “I just love the way Bob plays bass clarinet,” says Daversa. “There's just a certain wonderful sense of time that he has on any instrument, and I love the way it comes out on bass clarinet. It was so much fun to hear him play on this tune, and I especially liked the little fugue-like moment where it breaks down just between the two of us. Bob is as much a composer when he plays as he is an improviser, and I’ve always admired that about his musicianship. I certainly try to be that way myself, so it was really fun to get to do that song with him.”
Daversa, who played in Mintzer’s big band on a recent tour of Japan, adds, “We’ve been playing together more and more lately so we’re getting to know each other as musicians. Of course, he’s also a big band composer and arranger-orchestrator, so he thinks in that kind of head as well. There are a lot of parallels in our musical interests. He’s someone who has been just an invaluable, incredible, wonderful mentor for me. And I really admire him for his commitment to his craft. He’s always learning and always growing and asking questions. I find that to be very inspirational. It’s so much fun to be around him because you learn something every time.”
“Moonlight Muse” is a lyrical number in 3/4 time underscored by Gene Coye’s sensitive brushwork and buoyed by Jerry Watts’ melodic bass playing. The piece opens up midway for some highly expressive solos by Marshall, Daversa and Watts. “Players Only” opens with an ambient intro with Daversa playing muted trumpet and resolves to a haunting soundscape that gradually builds in intensity until reaching a big backbeat crescendo with Daversa wailing on harmonizer-infused trumpet and Brandon Coleman adding some dazzling piano lines. “That recording is the first time we ever played it like that,” says the composer. “That just happened. And that’s the advantage of a small band…it’s different every time.”
“Flirty Girl” oozes along on a slow progression that recalls one of Miles Davis’ latter day tunes, “New Blues.” Says Daversa, “It’s one of my favorites on that album because it’s so wonderfully patient and economical. There’s nothing on there that doesn’t need to be on there. It’s just very honest, very in-the-moment. There’s nothing to prove. I think that’s the kind of spirit we were trying to play with there. It’s just music. It’s so slow and fun and flirty.”
Throughout the album, and particularly on the emotionally charged “Good to be Alive,” Daversa demonstrates a tight chemistry with his frontline partner, saxophonist Robby Marshall. “I’ve always just loved his musical personality because he’s fearless and there’s so much integrity in everything that he plays,” says the leader of his right-hand man on tenor. He’s just going for the heart with every note. There’s not one note that he’s just trying to really reach a higher place with. And those are the people that I want to play with. I’ve known Robby since he was in college, in his early 20s. And he had that then. The first time I heard him I knew that I was going to see him more. And now after years of getting to play with one another, we have this thing together where I know that whatever I play, he’s going to be there right with me. When we play live I’m very open to going to different places, and he’s always right there with me. Because he’s in the spirit of the moment, he’s not locked into what it should be or what it was or what it’s supposed to be. He’s just in the now. So it’s an irreplaceable kinship.”
The joyful “Some Happy S*#t,” conveys the same upbeat spirit that Joe Zawinul concocted on his hit song for Weather Report, “Birdland.” It concludes Artful Joy on a note that is decided on the goodfoot. A dynamic project from start to finish, Artful Joy shows another side of Daversa’s writing and arranging. And all the players elevate the proceedings with inspired playing from track to track.
For more information, tour dates and bio on John Daversa go to:
Los Angeles, CA (PRWEB) September 25, 2012