Sunday, June 30, 2013


Daniel Cacija Ori Dakari Jazz Stage Quartet    

SOMI Robert Glasper Experiment    
Frank /Pashkevich Experience Dominion Man        
Kalnciema Quarter     K.Trio Evilena Protektore Ocean Versus Daughter         
Laura Budreckytė Andreas Varady Jazz Stage Quartet    
Butterscotch Medeski, Martin & Wood    
 K.Trio Laura Budreckytė Andreas Varady        
Frank /Pashkevich Experience Dominion Man    
Diane Schuur Laima Jansone    
Dynamic Groove Society Laura Budreckytė Heikko Remmel Jam Session    
Daniel Cacija Ori Dakari Evilena Protektore

Rachel Lauren - If Ever ( Man and Knife Productions 2013)

 A great mix of modern meets vintage. Rachel has a rich sound that continues the lineage of great jazz vocalists, and the arrangements are as fresh and modern as the players who perform them. Put this album on, open a bottle of wine, relax and enjoy.

Rachel Lauren was born to sing. After making her stage debut in musical theater at the age of five, she excitedly exclaimed to her mother, “Do you mean I can do this for the rest of my life?” At the age of 15, Rachel discovered Jazz. In 2009 she graduated with honors from the USC Thornton School of Music as a Music Industry and Jazz major. Rachel was also the recipient of the prestigious Lamont Dozier Scholar award her Junior year. In addition to performing all over the world, Rachel has also been seen on the David Letterman show, featured at Grammys, major USC events and David Fosters Starry Night. Her voice can also be heard on the feature song in the award winning documentary "SOMM"(2013). Rachel has shared the stage with greats such as Randy Newman, Mike Garson, Tierney Sutton, Peter Erskine , Big Bad Voo Doo Daddy, Chris Botti and Dave Koz. In 2006, Rachel paired up with producer, arranger and drummer, Brian Carmody, to release her first album Away From the Crowd. After working together for seven years the two are now releasing the highly anticipated follow up album "If Ever".

Eric Revis -City of Asylum (Clean Feed 2013)

Can you tell when a straight-ahead jazz performance – live or recorded – is also an experimental one? No? We can: it happens when Eric Revis is involved, being this double bassist the not-enough-recognized link between Betty Carter and Peter Brotzmann. “City of Asylum” was born from an idea with improbable potential to become a reality – his thought was: what about if I start a trio with a free jazz veteran and a post-everything rising star, would that work? And what about if those roles are represented by Andrew Cyrille, Cecil Taylor’s drummer from the mid-Sixties to the mid-Seventies and now an established, mainstream voice, and young Kris Davis, maybe the most expressive and surprisingly minimalistic of the present day creative pianists? Strange? Not so: since the first gathering a spark happened and this is a trio in continuous development. There’s only three compositions played, by Thelonious Monk, Keith Jarrett and Revis himself; the rest are improvisations. So cohesive that it seems written note by note.
Andrew Cyrille (d), Eric Revis (b), Kris Davis (p), 
Clean Feed 

Ben Wolfe - From Here I See (MaxJazz 2013)

The MAXJAZZ string series is pleased to present bassist and composer Ben Wolfe and his new recording From Here I See. The recording features all original compositions presented in a standard jazz quartet format. Most of the compositions are ballads combining the quartet with a string quartet. A number of compositions also feature special guests. Ben has been an integral part of bands led by a who's who of jazz artists including Harry Connick Jr., Diana Krall and Wynton Marsalis. He also is a faculty member at The Juilliard School. The quartet line up is Ben Wolfe (Bass), Orrin Evans (Piano), Donald Edwards (Drums) and JD Allen (Tenor Saxophone). The special guests include Wynton Marsalis, Russell Malone and Marcus Strickland 

Friday, June 28, 2013

Newport Jazz Festival 2013

Newport Jazz Festival presented by Natixis Global Asset Management

Sit Back and Let WBGO Plan Your Trip
to the Newport Jazz Festival
Day-Travel Packages from Boston & New York to the Festival

Have you ever wanted to go to the world-famous Newport Jazz Festival®,
but didn't want to worry about getting there, paying for parking,
booking a hotel (aren't they usually sold out?), or finding
a music partner to come with you?

WBGO Travel is offering special round-trip buses from Boston and
New York City to the 2013 Newport Jazz Festival® that include admission to
the festival for the full day, food & beverage on the festival grounds, plus a
special screening of the documentary “Jazz On A Summer’s Day,”
which was filmed in Newport at the 1958 festival.

Artists will include Wayne Shorter Quartet with special guest
Herbie Hancock, Chick Corea, Esperanza Spalding, Marcus Miller,
Robert Glasper, Dizzy Gillespie Big Band
 with Paquito D'Rivera,
Eddie Palmieri, Gregory Porter
, and so many more.
See festival web site for complete lineup 

WBGO buses from Boston are organized in partnership with JazzBoston,
and depart from Wally’s Jazz Club, Boston’s oldest jazz venue. Buses from
New York City are organized in partnership with JazzTimes and depart from
Jazz at Lincoln Center's iconic home base at Columbus Circle. All buses
drop off and pick up in Newport right at the festival entrance.

Just think – you get up on the morning of Saturday (Aug 3) or
Sunday (Aug 4), head to Jazz at Lincoln Center or Wally’s Jazz Café, board
the air-conditioned luxury coach bus, and arrive fresh and relaxed for the
festival. You will have the whole day to enjoy the music, the food, the beer
and wine bars, and the beautiful sunshine (but don’t forget a hat and sunscreen!).
At the end of the day, hop back onto the bus, share your experiences with others,
or take a well-deserved nap and be back home before you know it.

Then you can tell all your friends that
you experienced one of the greatest jazz
festivals in the world, and all you had to
do was buy a bus ticket.

Visit for more information.

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Newport Jazz Festival® is a production of Newport Festivals Foundation, Inc.™,
a 501(c)(3) non-profit corporation, under license from Festival Productions, Inc.
and George Wein. All rights reserved.

Sponsors... It takes a village...

Side A, el 30/6 en ImaxinaSons y el 4/7 en el Ljubljana Jazz Festival

KEN VANDERMARK, saxos tenor y barítono, clarinete bajo. HAVARD WIIK, piano. CHAD TAYLOR, batería.

30/6/2013  9 Festival Imaxina Sons'13, Vigo
4/7/2013 54 Ljubljana Jazz Festival (Eslovenia)

Figura relevante del particular caldo de cultivo musical de la ciudad de Chicago, el saxofonista y clarinetista Ken Vandermark es un hombre de mil proyectos y formaciones (DRV Trio, Vandermark 5, Fire Room, FME, Sound in Action, Tripleplay, 4 Corners, Bridge 61, Sonore, Powerhouse Sound, AALY Trio, Spaceways Inc, Territory Band, Free Fall, Resonace Ensemble), muchas de ellas distintas combinaciones de los músicos con los que habitualmente trabaja. Interesado por la excelente escena escandinava del jazz, ha encontrado allí a algunos de sus compañeros más regulares. Entre ellos, el pianista Havard Wiik, que forma parte de Free Fall (con Ken e Ingebrigt Haker Flaten) y participa como miembro de Atomic en la colaboración Atomic-School Days. El tercer miembro del trío es otro de los hijos pródigos de la ciudad del viento, miembro de algunas de las formaciones más importantes del jazz de esa ciudad, como el Chicago Underground Duo, Trio y Ensemble, la Exploding Star Orchestra, o el Fred Anderson Trio o Sticks and Stones, el baterista Chad Taylor, que también toca en formaciones pop como The Sea and Cake y Iron and Wine. La música de Side A está anclada en la tradición del post-bop, pero siempre abiertos a las posibilidades del free, y con una potente energía proveniente del rock. Las composiciones sirven de marco para la improvisación, que pretenden fluida, cortante y trascendente, sustentada por el virtuoso dominio de sus respectivos instrumentos y por una espontaneidad alimentada por un profundo conocimiento tanto de la historia del jazz como de las músicas de nuestro tiempo.


Más información:


Michael Wollny / piano, celesta, harpsichord,
harmonium, fender rhodes
Tamar Halperin / harpsichord, celesta

Disc 2 - Wunderkammer XXL - live:

Michael Wollny / piano, spieluhr, kalimba
Tamar Halperin / harpsichord, celesta, harmonium, glockenspiel
hr-Bigband conducted by Jim McNeely

Twice the listening pleasure for all Wollny fans, in a limited edition and at a special two-for-one price: The Collector's Edition unites the original studio album of Wollny's magical sound adventure "Wunderkammer" with an XXL version recorded live with the hr big band at the Jazzfestival in Frankfurt in October 2012.

Ilona Haberkamp Quartet featuring Ack van Rooyen / Silvia Droste - Cool is Hipp is Cool (Laika 2013)

This music production Cool is Hipp is Cool pays tribute to Jutta’s historical importance as Europe’s First Lady of Jazz and “true Blue Note legend”. Cool as an expression meaning “hip” and “in”, and this way the individuality of her playing is musically reflected and at the same time interlinked with the impulse to something new. Cool is Hipp is Cool recalls Jutta Hipps multi-faceted artistic work and draws our attention at the peculiarity of her playing. In fact, her style encaptures comparisons to Fats Waller, Eroll Garner, Teddy Wilson, Lennie Tristano as far as Horace Silver. But without the development of her own style, she hardly would have been invited to New York by Leonard Feather. Her very special fughetta-like, contrapuntal, melodic and lucid playing stands out, becomes an art form of Frankfurt-style Cool Jazz and can unmistakably be heard on her American Blue Note recordings as well. Later she affirmsed, she played Cool Jazz only since it was demanded from her in Germany and America. Her heart would beat for Rhythm & Blues and the Hard Swinging Style. But still: Her personal, cool style remains outstanding.
Linear phrasing and a sound with relatively few overtones are basic principles of Cool Jazz, which on Cool is Hipp is Cool are primarily assumed by alto saxophone and piano. The cautious and spare solos by Ilona Haberkamp become a concept. Integrated between the top-class individualities of her co-players, she succeeds in a remarkable musical journey.
Two originals by Jutta Hipp, one extended to a little suite, excerpts from piano transcriptiptions, merged with the personal style of the  musicians involved, poems on Jazz greats, she knew personally, inspire new compositions and new arrangements. Musical renderings and recitations of her poems present Jutta Hipp’s artistic vein. Her original voice on the album stems from a very private and yet unpublished interview, Iris Kramer did with Jutta in New York in Ilona Haberkamps presence in 1986. A tiny little selection of this interview creates atmosphere, serves as transition to the pieces or augments the poems.


Thursday, June 27, 2013

Jazz Nativity 2013 in English and Spanish Kickstarter

Hello To Our Wonderful  Jazz Nativity Friends
For 28 years we’ve produced the only jazz-opera telling of the Christmas story, and every year two things are true:

    People love it  ....  and
    We are barely able to make it happen !!!

The experience is about joy, jazz, and a holiday experience that crosses religious, social, and cultural boundaries. But the production is about costumes, lights, rentals, and in a word: money.
This year is extra special AND extra challenging because we have a vision for producing not only our “classic” Jazz Nativity, but also our Spanish version.
Twice the goodness
Twice the financial burden.
That’s why we need your help.

We are an extremely small non-profit with extremely big goals.
 For the love of jazz, for the love of the Hispanic culture, for the love of Christmas, for the love of New York and its world-class musicians who make this possible, help fund the one and only (well, now the two and only, we hope) Jazz Nativity.
What follows is a bit of our story, our history and vision.
 What follows after that, we hope, is a click of support from you, a click to your friends, a click to your Facebook friends. 
Please post it on your Facebook. 
 Literally, every single dollar makes a difference.

A Kickstarter campaign has rewards and we have some RARE ones for you!

Thank you so much for your participation

 Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1  Warwick, NY 10990
T: 845-986-1677 / F: 845-986-1699
 Web Site:

Magic Malik Nouvel album Tranz Denied

Magic Malik
Nouvel album Tranz Denied
Sortie le 12 septembre chez Bee Jazz
Avec Dj Oil (Laptop & Electronics), Gilbert Nouno (Laptop & Electronics), Hubert Motteau (Drums)

Depuis quinze ans, la sonorité de la flûte enchantée de Magic Malik figure sur bien des titres. De la house jazzy de St Germain aux formules mathématiques de Steve Coleman, des productions des Troublemakers à celles de Vincent Ségal, Magic Malik est avant tout un chercheur de sons, un défricheur de talents et un leader charismatique, mais aussi un compositeur unique doublé d’un chanteur hors pair. Attiré depuis toujours par la science fiction,  le monde des jeux vidéos et la création de sons proches de cet univers, c’est tout naturellement que Magic Malik, qui s’est illustré en tant que flûtiste jazz dans ses précédents albums se lance aujourd’hui dans la musique électronique (à proprement dite) au fil de ses recherches et compositions..L’album Tranz Denied, ovni musical qui bénéficie de l’appui de Dj Oil et Gilbert Nouno à l’électronique, est un voyage hallucinant et un choc musical dont on mesure l’importance dès la découverte du premier extrait 渋谷 (SHIBUYA) Memories qui devrait faire sauter au plafond les amateurs de Brian Eno et du Yellow Magic Orchestra.


Pour écouter et diffuser 渋谷 (Shibuya) Memories depuis Youtube

Pour écouter et diffuser 渋谷 (Shibuya) Memories depuis Soundcloud

Attiré depuis toujours par la science fiction,  le monde des jeux vidéos et la création de sons proches de cet univers, c’est tout naturellement que Magic Malik, qui s’est illustré en tant que flûtiste jazz dans ses précédents albums se lance aujourd’hui dans la musique électronique (à proprement dite) au fil de ses recherches et compositions..L’album Tranz Denied, ovni musical conçu entièrement en studio en 5 jours en toute spontanéité et dont certaines paroles (Shibuya Memories,en faux japonais et EZ.COM) ont été écrites sur l’instant. Le projet est né au festival « Musique de Jazz & d’Ailleurs » en 2011 pendant lequel Magic Malik, Gilbert Nouno, DJ Oil et Hubert Motteau ont collaboré sur scène. Ce concert fut suivit d’une résidence d’une année à la Villa Médicis de 2011 à 2012 des deux comparses Magic Malik et Gilbert Nouno qui aura permis à ce projet de mûrir et de se concrétiser quelques mois plus tard.

Entre musique contemporaine, électro, pop et jazz, l’alchimiste Magic Malik nous envoûte encore une fois à la manière d’un chaman à l’écoute de son nouvel album Tranz Denied. Contrairement à ses XP destinées à des auditeurs plus avertis, Tranz Denied se destine à un public plus large. Dans cet album Magic Malik chante et joue de plusieurs instruments : flûte, claviers, basse, guitare, Senza  sur des basses rythmiques préparées en amont.par.DJ.OIL. Magic Malik dans son dernier album se dévoile plus que jamais en tant que chanteur, virevoltant entre soul américaine et pop japonaise, Tranz Denied serait-il le premier pas de Magic Malik vers un album entièrement chanté, le futur nous le dira.

Malik Mezzadri grandit à Pointe-à Pitre en  Guadeloupe, où il commence la flûte à bec et la flûte traversière à l’âge de 6 ans. À 13 ans il apprend la flûte avec Marc Rovelas : il lui fait découvrir Bach, Xenakis, Ravel ou encore Stockhausen. À 17 ans, il quitte la Guadeloupe pour Marseille et sort diplômé du  conservatoire  de  Marseille avec le premier prix de flûte. Il découvre.le.jazz.à.cette.même.époque. Dès sa sortie du conservatoire, il a l’occasion de jouer dans le groupe de reggae Human Spirit dans lequel il reste pendant 10 ans. Malik Mezzadri multiplie alors les collaborations en tant que flûtiste-arrangeur avec Lio, Teri Moise, Laurent Garnier, Saint Germain, Dj Gilb’R, FFF. En 1992 il fonde son premier Magic Malik Orchestra qui enregistre la même année sa première maquette qui paraîtra en 1997 sous le titre HWI Project chez Salam Aleikum avec 13 musiciens. Il rencontre ensuite Julien Lourau qui tourne avec sa propre formation : le Groove Gang. En 1998 il participe à l’album City Boom Boom et intègre le Groove Gang. En 1999, Malik accompagne le Groove Gang pour une tournée de plusieurs mois entre l’Amérique du sud et l’Afrique.
En 2000, il décide de se lancer dans un projet d’album sous son nom et reforme un Magic Malik Orchestra. Il enregistre alors l’album 69.96 chez Label.Bleu. En 2003 Malik sort son double album intitulé 00-237 XP-1. Le premier disque présente un échantillon de son répertoire dans la lignée de l’album précédent mais plus jazz et plus complexe. Sur le second volume, XP-1, Malik dévoile ses premières tentatives d’échafauder une langue personnelle, cachées derrière le nom de code XP. Steve Coleman, intéressé par la démarche musicale de Malik, apparaît même sur une plage de l’album avant d’inviter Malik à le rejoindre sur l’album Five Elements (Blue Note).

En 2004, il propose avec le Magic Malik Orchestra un album intitulé 13 XP Song’s Book : treize chansons célèbres ou non vues  Malik enregistre et écrit avec de nombreux musiciens de la nouvelle génération : -M-, Bumcello, Camille, Pierrick Pedron, Aka Moon, Booster. Plus.réégalement collaboré avec Hocus Pocus, Air, Oumou Sangaré, Anthony Joseph et Meshell Ndegeocello. En 2008, il sort un nouvel album intitulé Saoule en quintet. Et en 2010 il enregistre pour la première fois en quartet,.l’album Short.Cuts chez Bee.Jazz.
L’originalité de Magic Malik, outre une technique peu commune, est son jeu acrobatique et l’utilisation de nombreux cris et chantonnements dans sa flûte, appelé Growl. À ce titre, il peut être considéré comme un héritier indirect de Roland Kirk.
En 2011 il est invité avec le musicien et compositeur Gilbert Nouno à effectuer  une résidence d’un an à la Villa Médicis à Rome’improvisation. En 2012 Magic Malik sort l’album Alternate Steps, qui fait aussi bien référence au courant alternatif (courant électrique qui change de sens) qu’à l’album Giant Steps de John Coltrane, il reprend dans cet album ses diverses influences dans un concentré de compositions. Son nouvel album Tranz Denied prévu pour septembre 2013 qui se place plus dans la mouvance de la musique électro-pop que jazz représente d’ailleurs un renouveau musical dans la carrière de Magic Malik et un choc musical pour le public.

MM001 by Sylvain Gripoix.jpg

En tournée :

11/07/13 - Jazz à Porquerolles-Porquerolles (83)
04/10/13 - Les Treizes Arches -Brives la Gaillardes (19)
12/10/13 - Le Tamanoir - Gennevilliers (92)
17/10/13 - La Batterie - Guyancourt (78)
29/10/13 - La Maroquinerie - Paris (75)
09/11/13 - Victoire 2 - Montpellier (34)
04/12/13 - L’Aéronef - Euralille (59)
27/03/14 - Jazz à l’étage - Rennes(35)


Conductor – Kurt Weiss


Founded in 2011 The Northern European Jazz Orchestra is a professional big band based in the Netherlands. Featuring an international line-up the band is currently one of the most promising exponents on the European big band scene having performed with numerous well known European guest soloists including among others, Laura Fygi, Fay Claassen, Francien van Tuinen and Ruud Breuls.  Conducted by American trumpet player, Kurt Weiss, the bands repertoire consists mostly of original compositions and arrangements written by Europe’s top composers and arrangers.

The band performs a series of concerts per season in the Posthuis theater in Heerenveen and is proud to call this venue home.

The American trumpet player Kurt Weiss has performed with various artists such as Aretha Franklin, Frank Foster, Steve Grossman, Natalie Cole, Donna Summer, Rosemary Clooney, Mel Torme and Bobby Short. Weiss has Toured extensively as a trumpet soloist with the Orchestras of Ray Charles, Artie Shaw, Glenn Miller and Jimmy Dorsey. While residing in New York, he has also performed with the orchestras of Toshiko Akiyoshi, Mario Bouza, Maria Schneider, Barry Harris and the Village Vanguard Monday Night Orchestra.

Other performances include tours with his own groups in the United States and Europe as well as numerous broadway theatre orchestras, television shows and recordings. Weiss also studied arranging at the BMI workshops with Manny Albam and Jim McNeely.

Kurt has been living in the Netherlands since 2001 and he makes frequent tours through Europe with various European bands. In addition to the Northen European Jazz Orchestra, he is also the conductor of the West Coast Big Band.


- Sue Moreno & Northern European Jazz Orchestra ( crooners )
- Sigrid Hof & Northern European Jazz Orchestra ( a lot of show )
- Fay Claassen & Northern European Jazz Orchestra ( a real jazz concert )
- Northern European Jazz Orchestra ( jazz concert )

Phone: 0031 (0)521-344430

Wednesday, June 26, 2013

Paul Adams album 'SLEEP The Dreaming Flute' Chosen “Native Flute Album of the Year” by the Zone Music Reporter

Details: Asheville, NC - Paul Adams album SLEEP The Dreaming Flute was voted Native Flute album of the year at the Zone Music Awards show in New Orleans on May 11th. He has made a career building instruments for some very well known musicians, and composed 10 critically acclaimed albums as a guitarist, Flute Player, and Multi Instrumentalist. SLEEP was recorded for gentle spirited man dealing with Parkinson,s Disease, and sleepless nights. “I created slow dreamy songs using Native American Flutes and the sounds of Nature. I then sent them to my friend with Parkinson's who offered feedback on each tune. He and his wife really had a good feel for what was right.”
Michael Foster of AMBIENT VISIONS writes “Adams masterful playing and his ability to communicate very deep feelings of tranquility via his flute, create for the listener an atmosphere permeated with spirit that is calm and relaxing!”

Bill Binkleman of The Zone Music Report says “Adams once again proves he deserves to be listed among the finest wooden flute players recording today. Sleep – The Dreaming Flute is a sumptuously relaxing album. This CD will reward the listener time and time again. Paul Adams is a true master of his instrument and I highly recommend this album.”

“Music has so much to offer,” says Adams. The mind is very powerful, and with music can be an influential force on the path toward health”. More and more the medical professionals are embracing the magic involved in music. Oliver Sacks, the Neurologist and Author of the movie 'Awakenings' staring Robert De Niro, and Robin Williams, authored a book entitled 'Musicophelia', in which he describes the miraculous power of music on Neuropathways in the brain (The Alzheimer patient not recognizing loved ones, yet their ability to play the first song ever learned on the piano. The stutterer's difficulty communicating, yet singing lyrics without error. The patient with Post Traumatic Stress Disorder using the soothing effects of music to learn calm, clarity, and safety. The examples are endless.)

Throughout his career, Paul's albums have gathered international acclaim in many different areas such as World Fusion, New Age, Ambient, Jazz, and Native American. Adams music can be heard world wide on Satellite Networks like Sirius, Music Choice, Muzak and DMX, Pandora,as well as Terrestrial and Internet Radio.

Some music professionals were dubious about Adams title 'SLEEP'. They felt Radio might be afraid to use it. However other albums of his in a similar vein such as 'HEAVENS', and 'FLUTE MEDITATIONS FOR DREAMING CLOUDS', have been getting heavy rotation on Satellite networks Like Sirius/XM, Music Choice, Muzak, and DMX throughout the world. “SLEEP is something I hope will be helpful for people in need. However, I didn't want the albums to be purely clinical. I tried to keep the them artistically interesting as well. We've heard a few albums in this genre that didn't scratch the artistic itch. It was important to create a marriage of artistic depth and safe Serenity and healing.”

Along with this new album, Adams created a website called A PLACE OF PEACE ( where people can go to listen to beautiful healing and enrapturing music, video's, and read various articles and poems specifically written for those seeking accompaniment down the path of peace and health.

Besides his experience in music and the arts, Adams has worked in the Mental Health Field 30 years and teaches professionals how to use music in the therapeutic practice. “I've always wished there was a place to go where one can just sit down and be soothed, reassured, rested, and content. The use of nature in Video and Music is a very organic way to align ones self with the earth, and receive a sense of “Connection” that is needed to feel alive, safe, and rested. 'SLEEP The Dreaming Flute' is available worldwide through his website as well as Amazon, CD Baby, iTunes, eMusic, AIMCMC, Rhapsody, etc

Discography for Paul Adams
THE NEURONS (With David Hoffman) Dance
To Purchase Paul Adams 'SLEEP': Amazon

Press inquiries: Glass Onyon PR, PH: 828-350-8158,

Nazionale Cantanti VS Nazionale Jazzisti 5 LUGLIO 18:00 - PERUGIA STADIO RENATO CURI


Venerdì 5 luglio ore 18:00
Perugia - Stadio Renato Curi
Ingresso 10 euro

In concomitanza con l’inizio di Umbria Jazz, la Nazionale Italiana Cantanti e la Nazionale Italiana Jazzisti si sfideranno per la prima volta il 5 luglio allo stadio Renato Curi di Perugia nella “Partita del jazz per la solidarietà”, finalizzata a sostenere la realizzazione di alcuni spazi di degenza per la rianimazione pediatrica nell’Azienda ospedaliera del capoluogo umbro.

Sarà un evento all’insegna della solidarietà quello che allo stadio Renato Curi di Perugia aprirà Umbria Jazz. Venerdì 5 luglio alle ore 18 nella Partita del jazz per la solidarietà scenderanno in campo per la prima volta la Nazionale Italiana Cantanti e la Nazionale Italiana Jazzisti allenata dal tecnico del Modena calcio Walter Novellino.

Il ricavato della vendita dei biglietti – disponibili in tutte le filiali UniCredit dell’Umbria e alla biglietteria ufficiale di Umbria Jazz al Centro Servizi Camerali Galeazzo Alessi di via Mazzini 9 a Perugia – sarà destinato alla realizzazione di spazi da destinare alla rianimazione pediatrica nell’Azienda ospedaliera di Perugia.

Per la Nazionale Italiana Cantanti, allenata da Sandro Giacobbe, scenderanno in campo Luca Barbarossa, Alessandro Casillo, Antonio Maggio, Neri Marcorè, Marco Masini, un rappresentante dei Modena City Ramblers, Renzo Rubino, Enrico Ruggeri, Paolo Vallesi e molti altri. Per la Nazionale Italiana Jazzisti saranno presenti, tra gli altri, Fabrizio Bosso, Funkoff, Roberto Gatto, Javier Girotto, Enzo Pietropaoli e Fabrizio Sferra.

Con la casacca nera e arancio, in onore della mitica etichetta discografica “Impulse”, la Nazionale dei Jazzisti scende in campo per la prima volta. Nata quasi per gioco qualche mese fa, ha riscosso subito un largo consenso tra i vari musicisti, fino a coinvolgere anche alcuni addetti al settore (giornalisti, manager, etc.). Il fine benefico della partita del 5 luglio, ha spronato gli organizzatori, in primis Marco Valente, a contattare sponsor e media partner nell’ambito jazzistico, al fine di poter contribuire maggiormente al sostengo del reparto di Rianimazione Pediatrica dell’Ospedale di Perugia. Sulla maglia della Nazionale Italiana Jazzisti, sarà presente anche il logo dell’Associazione “Libera, contro le Mafie”, sponsor etico della squadra allenata da Novellino.

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La “Partita del Jazz per la solidarietà” è promossa da Conad e Fondazione Umbria Jazz con il patrocinio della Regione Umbria, Provincia di Perugia, Comune di Perugia, Azienda ospedaliera di Perugia con il sostegno di Unicredit, Figc Umbria, Perugia Calcio, oltre alle associazioni onlus coinvolte Aulci, Comitato Chianelli, Admo, Adisco, Comitato Nicola Bagnetti, Abio Perugia, Vip Perugia, Circolo dipendenti sanità Perugia e ai media partner Radio Subasio e Corriere dell’Umbria.

Le malattie acute del bambino rappresentano una quota importante dei ricoveri ospedalieri. Il potenziamento dei servizi sul territorio, l’adeguata integrazione con la struttura ospedaliera, la possibilità di un’attività assistenziale 24 ore su 24 hanno l’obiettivo di evitare i trasferimenti in altre strutture ad alto costo con il conseguente allontanamento del neonato dalla mamma, così come di migliorare la qualità dell’assistenza e delle cure.

Nazionale Italiana Jazzisti

Tel. +39 06 80690539 - Mob. +39 329 0704981
Via Vincenzo Picardi, 4c - 00197 Roma

Cristina Braga "Samba Jazz & Love"

Cristina Braga "Samba Jazz & Love"   (ENJA RECORDS ENJ-9593 2) Street Date: Germany: April 26, 2013 USA: June 11, 2013 Cristina Braga – voice and harp
Ricardo Medeiros – doublebass,
musical direction
and artistic production
Jessé Sadoc – trumpet and flügelhorn
Joca Moraes –
alfaia drums and tambourin
Arthur Dutra – vibraphone

Watch the Official Video on YouTube
"Love Parfait"
Enja Records is proud to announce the release of Cristina Braga’s Samba, Jazz and Love, the highly acclaimed Brazilian harpist/vocalist’s second album for the label.

In its ideal form, an album is like an extended suite, where each song is artfully placed to flow into the next, creating a seamless musical statement.  Samba, Jazz and Love perfectly fits that description. With her hauntingly compelling voice and wonderful harp playing at the heart of the music, Ms. Braga has surrounded herself with a brilliant ensemble of musicians, whose styles and sounds provide the ideal palette for this superb offering.  Jessé Sadoc on trumpet and flügelhorn, vibraphonist Arthur Dutra and Joca Moraes on Alfaia Drums and Tambourin all contribute powerfully under the musical direction and artistic production of Ms. Braga’s collaborator, doublebassist Ricardo Medeiros.

            The instrumentation is perfectly suited to the selection of compositions, featuring eleven beautiful works by some of Brazil’s most renowned and profoundly influential composers. The vibraphone and harp match together so well that they often sound like a single instrument.  Likewise Ms. Braga’s voice and Sadoc’s highly lyrical trumpet and flugelhorn are similarly melded. Moraes’ percussion is so subtly dynamic that it is fully integrated, never outside of the purest rhythmic context while Medeiros’ bass provides the integral nucleus of the group dynamic.

            The interplay is often mind-boggling, creating an aura akin to a chamber ensemble where the sonorities are balanced seamlessly into a singular texture of multiple layers. While all of the music is lovingly shaped to provide the setting for Ms Braga’s exquisite voice, it never feels like background support.  Instead it embraces the voice like a master jeweler’s setting for a brilliantly cut gemstone.

            Clearly, a great deal of thought and care went into the selection of songs.  Classic Brazilian composers Caetano Veloso, Moacir Santos, Chico Buarque, Roberto Menescal and Candeia are all represented; along with four pieces by the immortal Tom Jobim.

            All of the vocals are in Portuguese, with the exception of Alberto Rosenblit and Paulinho Tapajós' lovely and subtly syncopated Rio Paraiso, which has been adapted into English by Medeiros and Ms. Braga.  Medeiros (with Bernardo Vilhena) contributes Love Parfait, the delicately winsome song that opens the album, with Cristina’s vocal reminiscent of the peerless Betty Carter’s darkly luminous ballad style.

            A similar feeling opens Bossa Nova pioneer Roberto Menescal’s best known work O Barquinho (with lyrics by Ronaldo Bôscoli), before locking in its Bossa groove, and is highlighted by an outstanding vibes/harp exchange of solos that play out in an almost telepathic fashion.  Another harp/vibraphone duet/solo is the climax of one of the two instrumentals on the album, Tom Jobim’s Chovendo Na Roseira, a richly grooved swinger, stoked by Cristina’s vibrant harp, often tossing off “power chords” that help build the fiery context to an incandescent glare.

            The other instrumental, Triste de Quem, by the late, great Moacir Santos is an evocative piece with gently suspended rhythms marked by lovely flügelhorn and Medeiros’ only bass solo – highly lyrical, with deliciously bent notes and tantalizing harmonics – all surrounded by the pillow effect of Cristina’s web-like chords.

            Her amazing harp comping is also prominent on Jobim’s complex, multi-layered and richly textured Canta Mais (with lyrics by the seminal lyricist, poet and playwright Vinicius de Moraes), supporting, propelling and climaxing with a soft zephyr of clusters surrounding her voice like a rich swirling mist. Powerfully cascading harp propels Samba E Amor (by noted Renaissance man Chico Buarque) into a controlled but energetic delightful frenzy.

            Jobim’s classic Desafinado is treated with proper respect, sandwiched between a deeply grooved opening and closing segment.  Só Danço Samba (also by Jobim and de Moraes) is a jaunty, bouncy romp, with crisply percussive vocal, straight-ahead jazz solos by everybody and a very Cubano-ish muted trumpet teasing the vocal going out.

            Candeia, renowned as a primary exponent of the Afro-Brazilian style, is represented here with Preciso Me Encontrar, with a captivating melody, daringly suspended rhythms and powerful solos by Sadoc and Ms. Braga that are facile and exciting, but never lose their lyrical beauty. The album closes most appropriately with Caetano Veloso’s Desde de Que O Samba É Samba, a playful, joyous gem that wraps up this superb album like a delightful aperitif.

            As much as this remarkable CD is a collective effort, there is no question that the heart and soul is the exceptional talent of Cristina Braga. Her softly resonant, sinuous and beautifully melancholic voice caresses every lyric with love and palpable depth, while her astonishing harp playing sings, swirls, punctuates, explodes, grooves and swings according to whatever is most organically demanded by the moment. The result is a masterpiece of filigree beauty, emotional depth and stunning musicality.

National Publicity Campaign
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 /

Artist Website Label Website
Allegro Distribution

National Radio Campaign

New World 'n Jazz
1188 Grizzly Peak Blvd., Berkeley, CA 94708 
510 705-1660
Contacts: Neal Sapper & Matt Hughes

For Interviews and Promos Contact:
Jim Eigo
Jazz Promo Services
T: 845-986-1677


Ken Vandermark's TOPOLOGY Nonet featuring Joe McPhee - "Impressions of PO Music" (OKKA Disk 2013)

Joe McPhee: tenor saxophone
Jason Adasiewicz: vibraphone
Josh Berman: cornet
Jeb Bishop: trombone
Tim Daisy: drums
Kent Kessler: bass
Fred Lonberg-Holm: cello and electronics
Dave Rempis: saxophones
Ken Vandermark: clarinets and tenor saxophone

1.  Impressions of Astral Spirits/Age
2.  Impressions of Future Retrospective
3.  Impressions of Sweet Dragon
4.  Impressions of Goodbye Tom B.
5.  Impressions of Eroc Tinu
6.  Impressions of Pablo/Violets For Pia
7.  Impressions of Knox

Leading Jazz Musicians Perform on Unique iOS Music App - SessionBand Jazz

Leading Jazz Musicians Perform on Unique iOS Music App - SessionBand Jazz (via PR Newswire)
Download image Jamie Cullum: "An extraordinarily useful tool for jazz musicians of any ability" SessionBand Jazz app LONDON, June 20, 2013 /PRNewswire/ -- UK Music Apps Ltd this week launched a special jazz edition of its SessionBand app for iPhone…

BFM Jazz Announces New Release “From The Hip” Featuring Kikoski, Carpenter, Novak & Sheppard

David Kikoski, the late Dave Carpenter, Gary Novak and Bob Sheppard gather on stage with no rehearsal and just the knowledge of the “changes." 

Gathering the great musicians of our day to present a “Standards” program can be a task that does not always garner the respect of critics and fans alike. However, when done well, it can demonstrate the emotion and depth behind these historic melodies, and even more so the power and focus of these brilliant musicians. The essence of the jazz experience is musicians coming together to express their individual voices and blend them together as one. As Bob Sheppard states, “That is the reason we create music together. It is to share the experience of the music in the moment.” “From The Hip” (BFM Jazz) is THAT moment.
On May 21, 2006, a small studio audience witnessed four of the finest musicians around assemble to take the “Standards” task to hand. George Klabin, President of the Rising Jazz Stars Foundation, invited premier Jazz pianist David Kikoski to perform at a special live audience concert at his private studio in Beverly Hills. This project is a select documentation of that day’s performance.
The quartet takes on nine selections ranging from Cedar Walton’s “Bolivia” to Chick Corea’s “Tones for Joan’s Bones” to John Coltrane’s “Mr. PC.” Alongside these classics come outstanding moments on the recording with the classic “My One and Only Love” and a heartfelt “Autumn Leaves.”
David Kikoski’s credits include John Scofield, Brian Lynch, Peter Erskine, Red Rodney, Ravi Coltrane, Chris Potter, Christian McBride, Joe Henderson, Joey Baron, Dave Holland, Mike Stern, Chick Corea, Toots Thielemans, Victor Lewis, Tom Harrell, Gary Thomas, Marcus Miller, Michael Brecker and yes, many more. Kikoski’s passionate performances have been talked about for years. His approach and intensity to the piano is unmatched.
To fill out the group, Kikoski hired some of the finest musicians on the planet for the event. For the tenor chair, he called in Bob Sheppard. “Shepp,” as he is known to some, has numerous distinguished collaborations, which include eight years with Freddie Hubbard, and tours and performances with Chick Corea´s ensemble Origin, Mike Stern, Randy Brecker, Horace Silver, Lyle Mays, Nat Adderly and the Toshiko Akiyoshi/Lew Tabackin Big Band. Some of his more significant recording credits include Steely Dan, Rickie Lee Jones, Randy Newman and Stevie Wonder.
The late Dave Carpenter covered the bass chair. Dave worked with major jazz artists including Buddy Rich, Maynard Ferguson, Woody Herman, Mike Stern, Allan Holdsworth, Sadao Watanabe, Alan Pasqua and Herbie Hancock. According to legendary drummer Peter Erskine, “He was not only a bassist's bassist, but a pianist's bassist, a drummer's bassist. Dave Carpenter was a BAND's bassist supreme.”
In the drum chair, Kikoski brought in the great Gary Novak. Novak started gigging at a very young age, notably achieving a place in Chick Corea’s band at age 28, and has performed with Brandon Fields, Michael McDonald, Natalie Cole, David Sanborn, Anita Baker, George Benson, Bob Berg, and Allan Holdsworth among others.
When four jazz musicians gather on stage with no rehearsal and just the knowledge of the “changes,” the real spirit of the music that we call jazz occurs. This is different. Enter into the Standards biosphere of KCNS.
For More Information go to:
Los Angeles, CA (PRWEB) June 25, 2013


Tuesday, June 25, 2013

Brian Landrus Kaleidoscope - Mirage (2013)

Composer Brian Landrus, Master of Low Reeds, Creates Chamber Jazz Masterpiece with Mirage, a Shimmering Album with his Quintet Kaleidoscope and String Quartet

Featuring Guitarist Nir Felder, Bassist Lonnie Plaxico, Drummer Rudy Royston, Pianist/Keyboardist Frank Carlberg and Violinist Mark Feldman

Conducted by Grammy Award-nominated Ryan Truesdell

“Landrus is someone to watch, an exciting voice on the big horn.” — Bill Milkowski, JazzTimes

“****Four-stars. Baritone saxophonist and bass clarinetist Brian Landrus makes the low heavy horns float on air… tonal nuance, melodic sense and instrumental command that sets him apart from his peers on the big pipes.”
— Ed Enright, DownBeat

Over the past decade Brian Landrus has emerged as the most powerful new voice on the baritone saxophone with a series of critically hailed albums exploring an array of grooves, from straight-ahead swing to slinky R&B. But none of his previous releases anticipated the ambitious scope and stunning beauty of Mirage, a singular masterpiece integrating his Kaleidoscope quintet with a string quartet led by violin maestro Mark Feldman. Melodically charged and harmonically venturesome, Landrus’ music is marked by sumptuous textures, cascading lines and captivating movement. Mirage is slated for release on June 25, 2013 on BlueLand Records.

Landrus, who’s recently been touring with Esperanza Spalding, credits Bob Brookmeyer with inspiring him to tackle writing for jazz ensemble and strings. After studying at New England Conservatory with the legendary trombonist/arranger, he forged a close friendship with his former mentor. Upon Brookmeyer’s death in 2011, Landrus went back and explored some of his orchestral writing, fueling his determination to capture the music that had been slowly coalescing in his mind.

“I always wanted to do something with strings,” Landrus says. “After Bob passed I listened to a lot of his music, like a session he did with the Metropole Orchestra. I was in a space where a lot of the music I was developing had a common thread. I wanted to play things where the strings are crucial, where my group and the strings are completely interconnected.”

Landrus describes his old NEC friend Ryan Truesdell as an indispensable collaborator both in the project’s conception and the music’s realization in the studio. Creative confidantes ever since they bonded while nervously awaiting their NEC auditions, they both thrived under Brookmeyer’s thoughtful guidance. As Landrus started planning the Mirage recording sessions he realized that performing the music as a full ensemble, rather than relying on tracking and overdubs, required a savvy conductor to keep the music flowing, particularly since he often switches instruments mid-tune.

“I gave Ryan the music the month before and he studied the hell out of it,” says Landrus, who’s been voted a DownBeat Baritone Sax Rising Star the past three years. “He took over as conductor in the studio and on a lot of the tunes he handled all the cuing. I trusted him to take the energy to the next level. I told him, you’ll have to conduct it how you think, how it feels, and he made it happen.”

The album opens with an anticipation-building drone introducing “Arrival,” a soaring, irrepressibly buoyant anthem that sets the template for Landrus’ organic integration of the quintet and strings. While not created as a suite, Mirage does feel like a vast canvas painted with the same shimmering watercolor palette. Landrus uses the strings to open “A New Day,” which almost feels like a programmatic evocation of a gentle summer dawn, but when Lonnie Plaxico’s implacably propulsive bass moves to the foreground the vibe shifts from lulling to wide-eyed expectation.

Plaxico anchored Landrus’ 2009 straight-ahead session Traverse, and Landrus knew he wanted him in the mix for Mirage. “Lonnie’s sound is massive, and his rhythmic subdivision is very wide - he fills everything out.” While he occasionally joins the Plaxico at the bottom with rumbling contra alto clarinet lines (particularly on the brief and poignant “Reach”), Landrus spends most of his time on bari, and no player today possesses a more beautiful and pliant tone on the burly horn.

Many of Landrus’ lines seem to have been conceived with Nir Felder in mind, and the contrast between Landrus’ thick and breathy bari and Felder’s sleek, quicksilver guitar is one of the album’s reoccurring pleasures. On the title track, which fully reveals Landrus’ gift for writing bright singing melodies, they both take dancing solos that seem to leap into space. Composing the music “that’s what I heard, Nir’s incredible sound,” Landrus says. “And I love the sound of bass clarinet and bari blending and playing melodies with his guitar. It’s a really colorful and unique sound, like its own instrument.”

Landrus is equally comfortable getting down and earthly, like on “Jade,” a tune with a slinky backbeat redolent of late night revelry. He closes the album with “Kismet,” a solo bass saxophone soliloquy that showcases his incredible tone and musicianship.

In many ways the band is built from the groove up, starting with drummer extraordinaire Rudy Royston, who’s played on both previous Kaleidoscope albums. A highly sought after player whose recent credits include albums with Bill Frisell, J.D. Allen, Ben Allison, Ron Miles, and his sister-in-law Tia Fuller, Royston “is brilliant and incredibly versatile,” Landrus says. “He can swing his ass off, and has the ability to feel out any tune and make it sound natural.”

Like with Truesdell, Landrus’ relationship with Frank Carlberg, who was also tight with Brookmeyer, dates back to his years at NEC, though the pianist was his professor rather than a fellow student. Landrus made a point of studying with him, and before long he was playing in Carlberg’s big band. “I learned a lot from him, and we’ve been playing together for years,” Landrus says. “He has a freedom to his playing and composing that’s a drastic thing. Some of his music contains the most intense builds I’ve ever heard in my life.”

The other key figure in the recording was violinist Mark Feldman, who provided essential assistance to Landrus in shaping the string arrangements. “I’d call him up and say is this possible? I’d send him music and ask will this work?” Landrus says. Feldman also recruited string players adept at jazz rhythms, like cellist Jody Hammann, who has toured with Esperanza Spalding for several years. “All of the string players got together as a group and made it happen,” Landrus says. “Jody’s a phenomenal musician with a gorgeous sound, and she hooked me up with Esperanza,” with whom Landrus spent much of the past year on the road.

Music this beautiful and fresh might seem like an illusion, but Mirage is the work of an oversized talent who’s just getting started.