Rolando Luna- Alucinaciones (Colibri 2010)

Rolando Luna is an amazing musician and on the short list of the most creative tumbao players in Cuba today. Whether playing Timba or Jazz, he plays with incredible spontanaeity. If asked to play the same Timba track several times in succession, each version will be considerably different from the last, and each will contain spur of the moment musical gems.

He looks like a cat when he plays, sitting back calmly until, in a split second, his eyes come alive and his fingers pounce on the keys to execute some fantastic new idea that's popped into his mind. He played with Paulito for about two years before switching places with Roberto "Cucurucho" Carlos to join Issac Delgado, for whom he now serves as musical director, while continuing his Latin Jazz career when Issac isn't on tour

mallcubano

Pierre Favre Ensemble - Le Voyage( Intakt 2011)

Pierre Favre (dr, perc, comp) Claudio Puntin (cl, bass cl) Samuel Blaser (trombone) Philipp Schaufelberger (g) Beat Hofstetter (ss) Sascha Armbruster (as) Andrea Formenti (ts) Beat Kappeler (bs) Wolfgang Zwiauer (bass)

"The Swiss percussionist Pierre Favre has been a key figure on the continental European improv and new music since the 60s. His recordings have sometimes foregrounded percussion, sometimes sax, sometimes his regular partnership with pianist Irène Schweizer. In this case it's a reeds, brass and rhythm section 10-piece playing a repertoire of sonorous, fast-changing works that suggest Carla Bley, free-improv or chanson, sometimes dinosaur-movie growls with a kind of acoustic-Bitches Brew groove beneath, sometimes Christmas carols. There isn't much soloing, though Favre has a couple of magnificent percussion displays, full of distantly echoing gong shimmers, throbbing bass-drum underpinnings and soft, pliable sounds. The melodic development is almost too busy (the pieces shift gear so often and change shape so wilfully that their serpentine intricacy borders on the relentless) but the lines are punched out with a robustness, the arrangements have a luxurious warmth for a composer with such experimental associations, and the drum solo One for Makaya is worth the set in itself." (J.Fordham-The Guardian)

http://www.pierrefavre.ch

SPAIN: The young talent Andrea Motis is seen in the world of jazz

The record 'Joan Chamorro presents Andrea Motis' goes out to the sale, a gift for the most exquisite audience.

Andrea Motis, who is only fifteen, stands out as one of the main trumpet players and saxophonists in the world of the jazz in the city. But not only this, together with Joan Chamorro, a musician with a successful background, has also revealed herself as an excellent singer who manages to thrill to every note that comes from within.

Precisely, Chamorro conducts the Sant Andreu Jazz Band, the youngest band in Europe, born in the Sant Andreu’s Municipal School of Music, in 2006. In his job as music teacher, he was the one who discovered in the pupil Andrea Motis to the whole new promise of the vocal jazz.

Now, under the leadership of Joan Chamorro, an album has been published where the young star Andrea Motis protagonists a good demonstration of the new Catalan jazz talents. With the name Joan Chamorro presenta Andrea Motis, the disc comes a year after been published by the Sant Andreu Jazz Band.

The selection of songs chosen includes over an hour of classic jazz of the first half of the twentieth century, although there are forays into bossa nova. In this recording of standards, among others accompany, there are Ignasi Terraza, Bobby Gordon and David Mengual.

Do not lose the opportunity to follow them, especially Andrea Motis, who promises to be very successful at the jazz scene. Many people have compared her voice to Norah Jones. Discover them!
SOURCE: BARCELONACULTURA.COM/23.02.2011
Buy at amazon.com
http://andreamotis.blogspot.ca

UNA ESTRELLA DE LA MÚSICA EN CIERNES
Andrea Motis, toda una 'jazz woman'
La artista, de 16 años, actúa mañana en el Black Music Festival

Claudio Scolari - Colors of Red Island (Principal Records 2010)

Claudio Scolari: drums, percussion, flute, piano and keyboards.
Daniele Cavalca: drums, bass guitar, vibraphone.
Simone Scolari: trumpet

THE PROJECT
Imagine a dialogue between 2 drum sets. Add electronic sounds and different acoustic instruments to complete this mysterious music
blend: welcome to a new musical dimension of modern jazz. The project presents an abstract musical vision of the past, present and
future, represented by a mixture of old and contemporary timbres.
The main role is given to the 2 drum sets played by Claudio Scolari and Daniele Cavalca supported by the background sound made with live percussions,
preregistered trackmelodic compositions are given to the Trumpet played by Simone Scolari.


Official web site: http://www.claudioscolari.com 
http://www.allaboutjazz.com/claudioscolari

Daniele Cavalca Claudio Scolari on Facebook
New review written by Brent Black "Critical Jazz Review" January 18, 2012.
Review written by Victor Aaron "Something Else"

Lucian Ban/John Hebert: Enescu Re-Imagined (Sunnyside 2010)

Lucian Ban is a classically trained Romanian jazz pianist and composer who in recent years has become a key figure on New York's downtown jazz scene. This album is devoted to the work of Romanian classical genius George Enescu, the violin virtuoso who taught Yehudi Menuhin, and whose compositions looked westward to the regular classical repertoire and eastward  to oriental music, while being rooted in his homeland's folk traditions. The adventurous intentions of Ban and his bassist and composing collaborator John Hebert can be deduced from this lineup – pitch-bending free-jazz viola improviser Mat Maneri, the brusquely lyrical saxist Tony Malaby, resourceful jazz/contemporary-classical trumpeter Ralph Alessi, former Miles Davis and Ornette Coleman tabla player Badal Roy among them. Eight of Enescu's sinewy themes are dropped sparingly but memorably between long passages of sympathetic improvisation and astute use of a mixed-genre lineup. Smoky tenor-sax reflections are embraced by swelling viola and violin lines, dramatically enhanced by Alessi. Fast trumpet solos with tabla rhythms turn into a seesawing Enescu folk-melody, and percussive Indian chanting is prodded by Herbie Hancockish piano chords and then raw free-jazz sax. It's a rare combination of uninhibited but coherent solo and collective improv, shrewd arrangement and dazzling thematic writing
(John Fordham/The Guardian)

Vasil Hadzimanov Band - Zivota Mi (PGP RTS 2010)

The figure of Joe Zawinul casts a long shadow in the world of jazz, with plenty of artists finding inspiration in the broad spectrum of his work. Vasil Hadžimanov Band, one of Serbia's leading jazz acts, is led by an artist whose work and imagination is fueled by Zawinul's music, and has come a long way in the process of finding his place in the jazz field. Coming from a musical family with a rich background surely has helped in his musical upbringing, but it's his enduring and uncompromising commitment to music that has secured him a devoted fan base and praise. The band's first two albums were primarily fusion, but were hindered by poor production, portraying the band's skills but not showing anything beyond that limited genre. The band's third album—Sega mu e Majkata (PGP, 2008)—was a new chapter, both in terms of production and composition, but Života Mi (I Swear On My Life) takes a quantum leap forward in both quality and maturity. Nenad Georgievski/allaboutjazz.com

Interview with Vasil Hadzimanov @ Blic Online
How does Vasil Hadzimanov’s band stand out from the crowd?
- I think the very framework and idea are known. What makes us unique is the way we treat fusion jazz with the Balkan sound. Also I think our live shows are largely different from the rest who are into a similar genre. There is the light-heartedness about us, a communication with the audience and a touch of humour, which help us reach those would never otherwise listen to this kind of music. 

Imelda May -Mayhem ( Decca 2011)

If there's an overlap between burlesque and rockabilly, Dubliner Imelda May Clabby embodies it. Visually, she's all skintight leopard-print and red lips; musically, she throws her considerable energies into a sharp mix of rockabilly, jazz and surf guitars. And, in her hands, rockabilly is a living, vital genre with nothing retro about it. She wrote virtually every song here (apart from a cover of Tainted Love, which has been rejigged as a feverish waltz for guitar, drums and voice), and sings them with heart and minxy humour. Whether the lurid cast of characters in the lyrics is real or imaginary – one is a "psycho" on medication, another lands "in a cell with grey pants and bruises" and then there's the "sneaky freak" who spies on her husband – doesn't matter. What does is that she brings them to passionate, reverb-drenched life on an album that positions her as one of 2010's more interesting finds.Caroline Sullivan / guardian.co.uk

Igor Zakus & Z-Band- Ukrainian bass song. (2011)

In his time, Igor Zakus became virtually the first jazz bass-player in Ukraine who released a solo album (currently, there are already 5 studio and concert CDs and 1 DVD). Thus, the new album by Igor Zakus is what nobody seems to have done before in the Ukrainian jazz. And the word "song" in the title "Ukrainian Bass Song" appears far not by chance. Generally speaking, this is also an album of duets – out of the 11 plays, only two are instrumental ones. The idea is good and, lately, very popular in the whole world. Igor tracks global trends, therefore no wonder that he decided to support this idea – but in his own manner. Pay attention to the album's content: two folk songs, one "evergreen" (with Ukrainian lyrics), and the rest – exclusively author material. Interesting, cool material – authentic. Plus the individual aspect of the work – the interpretation method: this time Igor decided to step back from funk moods and tricks giving obvious preference to the depth of pauses and the fragile force of melodies. Well, and the fact that the realization as a result appears just cool – nobody, I believe, could expect anything different, because Zakus has always aspired to top quality. And – sure, he achieves it. In the end, listen. Even if you don't know that the voices of Nina Matvienko, Yulia Roma, Mlada, Tetyana Balakyrska sound on the disc. Even if you don't know that Z-Band are, actually, the best Ukrainian jazzmen, a sort of a "dream team". Listen. And say – isn't it beautiful, isn't it strong, isn't it gentle?..

UMKA

Ligia Piro - Strange Fruit(Gato Pop 2010)

Ligia Piro (vo)

Juan Cruz de Urquiza (tp,flgh) 

Richard Nant (tp, flgh)

Juan E. Scalona (tb) 

Juan Canosa (tb)

Ramiro Flores (as)

Ricardo Cavalli (ts)

Gustavo Musso (ts)

Victor Scorupski (bs)

Diego Schissi (p)

Carlos Alvarez (b)

Daniel “Pipi” Piazzolla (ds)

Listen

Mahan Mirarab (guitar) - Persian side of Jazz (KAMINO RECORDS 2010)

Persian side of jazz a combination of Persian folk and traditional music with jazz . The composition and arrangement of this project that started in Iran in 2006 is already concluded and recorded in Vienna(2010). This  album  is  a  combination of Persian  folk  and traditional music  with  jazz . The composition  and  arrangement  of  this project that started  in Iran  in  2006  is already concluded and recorded in Vienna. Mahan is accompanied with Wolfi Rainer (Drums) and Robert Jukic (Bass).

Mahan Mirarab web site

The Creole Choir Of Cuba - Tande-la (2010)

The Choir - five men and five women - hail from beautiful Camagüey, Cuba's third city, an old colonial town, designated a UNESCO World heritage Site in 2008 for its iconic architecture. They have studied music to university level in Camagüey and are all members of the Provincial Choir, which their leader Emilia directs. Desandann emerged out of this choir in 1994, a difficult time for Cubans when the economy fell into a black hole following the end of the USSR and of Soviet support for the revolution. Food was short while homes and work places often went dark due to lack of electricity. The singers decided to re-forge the resistance songs and laments of their forebears, to celebrate the history of their Haitian descendents enslaved to the Caribbean from West Africa. To the songs that had been passed down in their families since the early 19th century, they added more modern Haitian sounds. With irresistible melodies driven by richly textured harmonies, shifting Caribbean rhythms with a very original root bass sound, this is impassioned singing by a unique group celebrating roots, resistance and the irresistible rhythms of life. In the words of the glorious 'Edem Chanté' - Help Us Sing!

 Real World Records

Alper Yilmaz - Over The Clouds (2010)

Having received spectacular reviews for "Clashes" (Kayique Records, 2007), "Over the Clouds" is bassist/composer Alper Yilmaz's second album as a leader with a lineup of New York's and Istanbul's top jazz musiciansTrained originally as an industrial engineer at the Middle East Technical University in Ankara, Turkey, bassist, composer, and arranger Alper Yılmaz started playing guitar in 1980 at the age of 11 and took electric bass as his main instrument in 1993. As a bassist, he performed regularly in Ankara with prominent jazz musicians of the scene including, but not limited to, Tuna Ötenel, Janusz Szprot, Sibel Köse, Volkan Öktem and Yahya Dai. After recording with Tuna Ötenel in his 1995 record Sometimes from Uzelli Records, he moved to the U.S. to complete his Ph.D. in economics at University of California, Davis. During his studies in California, he performed regularly with the internationally acclaimed saxophonists John Tchicai and Mike McMullen, as well as guitarists David Lynch and Steve Homan, and drummer Rick Lotter. Around this time, he also held the bass chair of the UC Davis Jazz Big Band, where he received the “Best Performer” award at the American River College Jazz Festival in Sacramento, California in 1999.

Since his arrival in New York in December 2000, Alper Yılmaz has established himself as an active player and prolific composer of his generation on the local scene. He has attended workshops by John Patitucci, studied jazz music theory and electric bass with Matthew Garrison, as well as theory and improvisation with Adam Rogers and David Binney. He also attended the graduate level Jazz Performance program at the Queens College Aaron Copland School of Music in New York and studied improvisation with Antonio Hart, and arrangement and composition with Michael Mossman.

Alper Yılmaz released his debut recording "Clashes" in 2007 from his own company Kayique Records in the U.S. and A.K. Müzik in Turkey. Nominated by the Village Voice of New York for “Best Debut Album of 2007” and picked by Bob Weinberg of the Jazziz as “new and noteworthy,” Clashes received excellent reviews by acclaimed critics including Bill Milkowski of the JazzTimes and Jonathan Herrera of the Bass Player, to mention but a few. In 2007, he recorded with Dan Moses for Dan’s album Sailors Gone, which is released in January 2010. In late 2009, he also recorded with the drummer Brian Adler for Brian’s forthcoming album to be released in 2010. Alper Yılmaz’s second album as a leader, "Over the Clouds", is released in April 2010 from Kayique Records.Source: CD Baby

Genre: Jazz: Jazz Fusion

Catalin Tircolea : "Synvionai II"

Web site: http://www.tircolea.ro

Florin Raducanu Plays Beethoven, Chopin, Enescu… on Jazz

 

Pianist, teacher, composer, conductor and arranger Florin Raducanu was at the heart of many innovative projects of classical and folk jazz fusion in his native Romania and abroad.

Over the years he performed in trio, sextet and he collaborated with big bands and large symphonic orchestras, during prestigious festivals and live events. Musician of the year in 2009, he won many prestigious prizes and accolades for his achievements.

On his third album recorded along with his band at the Porgy and Bess Jazz Club in 2010, Florin Raducanu composed and arranged a musical synthesis that draws on jazz and classical on four surprising live explorations, each of them with its personality. Inspired by the music of great composers and driven by the inventivity of jazz he delivers a performance where elegance and swing merge together in a fresh personal expression.

The first piece of the album built around the beautiful Chopin's "Scherzo No2"is a spirited jazz improvisation that opens and ends with the original composition. In between, the pianist goes into in a colorful, dynamic swing infused by the elegance of the Chopinian melody.
Then we enter the Beethoven’s realm with the second movement of the "Sonata Pathétique", opening the door to a dynamic piano-saxophone dialogue followed by a bass solo and a virtuosic piano free ride, rich in melodic variations.
On pianist's composition, "Veneratie Ave Maria" a pleasant surprise is the airy sound of the pan flute, played by special guest Dalila Cernatescu, adding an exquisite Vivaldian touch to a fusion of Bach themes and Latin jazz.
The last piece honors the music of the famous Romanian composer George Enescu. Here the seductive grace of the piano is complemented by reflective saxophone and bass solos.

An album that worth hearing for the variety of themes and approaches, everything is crafted with good taste and high instrumental virtuosity. Florin Raducanu is full of swing and spirit, respectful of traditions yet confident in his own artistry.

Track listing: Scherzo no.2, Sonata Patethique,part. II, Veneratie Ave Maria, Toccata in D

Musicians: Florin Raducanu - piano & arrangements, Adrian Flautistu - double bass, Eugen Nichiteanu - drums, Mihai Sebastian - ten sax, Special Guest: Dalila Cernatescu - pan flute (3)

Source: jazzworldquest.com