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Friday, March 25, 2016
USA/RUSSIA: 1 of 545 Pianist Yelena Eckemoff - "Leaving Everything Behind" - Available May 13 on L&H Production
USA: Sonny Rollins's "Holding the Stage: Road Shows, vol. 4" to Be Released by Doxy/OKeh
Sonny Rollins's
"Holding the Stage: Road Shows, vol. 4"
To Be Released
By the Saxophonist's Doxy Records
With Distribution by
Sony Music Masterworks/OKeh
Available Digitally April 8 & On CD April 15
CD Contains 7 Tracks
Recorded Between 1979 & 2012
Plus a Previously Unreleased 23-Minute Medley
From the Boston 9/11 Concert
March 15, 2016
 For his new album Holding the Stage: Road Shows, vol. 4, the great tenor saxophonist Sonny Rollins
once again taps into his vast archives of his own concert recordings to
compile superior performances for release in the acclaimed Road Shows
series. The album encompasses some 33 years (1979-2012) yet coheres
with all of the compelling logic and narrative force of an extended
Sonny solo.
Holding the Stage, to be released by Doxy Records digitally April 8 and on CD April 15,
the second album in a distribution agreement with Sony Music
Masterworks and its jazz imprint OKeh, is truly a treasure chest that
includes tunes Rollins has never before recorded and musical
relationships previously undocumented. "This album consists of various
periods of my career, with something for everybody," says Rollins. "It's
who I am, and the music represents just about every aspect of what I
do."
Three Rollins originals pay tribute to departed friends and colleagues. The soulful blues "H.S.," for Horace Silver, has been a concert staple since its appearance on Sonny's 1995 Milestone album Sonny Rollins +3. Saxophonist/arranger Paul Jeffrey, who died last year at 81, is remembered in the funky "Professor Paul," a new composition making its recorded debut here. Of "Disco Monk," from 1979's Don't Ask
(Milestone) and rarely performed since, Rollins told CD annotator Ted
Panken: "It was disco-disco-disco then, everywhere you went, but I heard
something juxtaposed with [Thelonious] Monk within this disco craze,
and I wanted to meld them in a way that both styles would be themselves
and yet be one."
Another highlight is a previously unreleased 23-minute medley
(and concert closer) from his September 15, 2001 Boston performance,
most of which had been immortalized in Rollins's final Milestone album,
the Grammy Award-winning Without a Song: The 9/11 Concert. "Sweet Leilani," introduced on his This Is What I Do album of the year before, morphs into a richly evocative solo cadenza and an epically ecstatic "Don't Stop the Carnival."
In the Harlem of his youth, Rollins told Panken, "music was
happening on every street corner. So the idea of 'keep the music going'
is in that song. Don't stop the carnival. In the case of 9/11, that was
especially prophetic."
 Since launching his Doxy Records imprint in 2006 with the Grammy-nominated studio album Sonny, Please, Sonny Rollins has been turning to his concert recording archive dating back nearly 40 years for release on the label. The selections in Volume 1
(2008) spanned nearly three decades and included a trio track from the
saxophonist's 50th-anniversary Carnegie Hall concert, while Volume 2 (2011) focused primarily on his historic 80th-birthday concert at New York's Beacon Theatre. Volume 3
(2014) marked the first recording of "Patanjali" and hinged on a
stunning 23-minute excavation of Jerome Kern's "Why Was I Born?"
Holding the Stage: Road Shows, vol. 4 was produced by Rollins and his longtime engineer, Richard Corsello. Personnel includes trombonist Clifton Anderson; pianists Stephen Scott and Mark Soskin; guitarists Bobby Broom, Peter Bernstein, and Saul Rubin; bassists Bob Cranshaw and Jerome Harris; drummers Kobie Watkins, Perry Wilson, Victor Lewis, Jerome Jennings, Al Foster, and Harold Summey Jr.; and percussionists Kimati Dinizulu, Sammy Figueroa, and Victor See Yuen.
Sony Music Masterworks comprises Masterworks, Sony Classical,
OKeh, Portrait, Masterworks Broadway, and Flying Buddha imprints. For
email updates and information, please visit SonyMasterworks.com.
Photography: John Abbott
Album Purchase Links
Media Contacts
For Sonny Rollins:
For Sony Music Masterworks/OKeh:
Web Site: sonnyrollins.com
EPK: doxyrecords.com
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USA/RUSSIA:POST-COLD WAR TANDEM WELCOME TOM HARRELL, BEN WILLIAMS, AND E.J. STRICKLAND ON LATEST RECORDING
POST-COLD WAR TANDEM WELCOME TOM HARRELL,
BEN WILLIAMS, AND E.J. STRICKLAND ON LATEST RECORDING
BEN WILLIAMS, AND E.J. STRICKLAND ON LATEST RECORDING
* In the Midst of Political Turmoil, Oleg Kireyev & Keith Javors Showcase Exciting Partnership *
"A hard-bop foray for the quintet, full of intriguing detail, pulsing with life."
-Howard Mandel, President, Jazz Journalists Association
-Howard Mandel, President, Jazz Journalists Association
PHILADELPHIA, PA – At a time of great political and social uncertainty, the dynamic post-cold war partnership of the Russian Federation's Oleg Kireyev (tenor saxophone) and U.S.’s Keith Javors (piano) continues to inspire jazz audiences around the globe. The co-leaders recently welcomed jazz trumpet luminary Tom Harrell, the heralded bassist Ben Williams (Pat Metheny), and the creative drummer E.J. Strickland (Ravi Coltrane) to the studio for their dynamic upcoming release, entitled The Meeting, available on May 31, 2016. (iTunes and Google Play preorder begins May 3.) The new record bridges the influences of two continents, featuring new original compositions by Kireyev and Javors, interspersed with standard material. The deluxe physical-only version of the album includes two additional alternate tracks and liner notes by Howard Mandel.
A chance internet meeting would evolve into something spectacular. Kireyev and Javors' association began in 2007 when Kireyev's manager reached out to Javors through the Internet with the possibility of a gig at the Union of Composers Club in Russia, where Kireyev is Artistic Director. An instant chemistry was noticed and a friendship forged, one that would inevitably result in numerous American and European Tours. In addition to performances at numerous world class clubs such as Smalls, the Iridium, Blues Alley, Chris' Jazz Cafe, and many others, Kireyev and Javors were together featured at the prestigious International House of Music in Moscow, one of the premiere concert venues in Europe.
Their flourishing partnership was first sonically documented on the April 13, 2010 release of Rhyme & Reason, featuring Oleg Kireyev & Keith Javors alongside bassist Boris Kozlov and drummer E.J. Strickland. The record received much critical acclaim from major music writers and charted on the JazzWeek World charts for several consecutive weeks. The tandem’s new effort follows up on its success with a set that is as equally if not more captivating and creative, with model support from Harrell, Williams, and Strickland.
Now on the advent of their this, their sophomore project together, Oleg Kireyev & Keith Javors know, now more than ever, the significance of that chance internet meeting, and it shows in the faces of enthusiastic and involved audience members. While each day performing together is a meeting of sorts, Kireyev and Javors now see it as a blessing. Privileged now to draw from the deep talents of an All-Star NYC rhythm section and a lauded trumpet icon, the tandem continue to push the jazz envelope and promote unity wherever they play.
Oleg Kireyev is an internationally-recognized musician, touring frequently and playing to appreciative audiences in Europe and the U.S. Having undertaken many innovative and provocative international jazz projects in a performing career spanning three decades, The Express and Star says Kireyev is “a Russian sax player with a reputation for hard swing and high excitement”. “Incredibly good”, “Soft and enthusiastic” and “Stylish and top-notch” are all phrases music critics have written about his voice on saxophone. He has performed at the London Jazz Festival, the New York Jazz Improv Festival, and the Montreux Jazz Festival, to name a few. Legendary musician Bud Shank says: "Oleg's playing is a marvelous combination of styles, incorporating a whole lot of players. I hear echoes of the 1920’s and John Coltrane combined with unstructured jazz."
Keith Javors is an iconoclastic figure on today’s international music scene, rare in his accomplishments as dually a producer and artist as well as an award-winning educator. Known for his “technical virtuosity, a riveting compositional style, and constant creativity” (AllAboutJazz), Javors is a true musicians’ musician, possessive of extraordinary versatility and a riveting ballad style. His performance credits include eight albums as a leader and appearances at venues such as the Montreux Jazz Festival, Chicago Jazz Festival, North Sea Jazz Festival, and numerous others. As Bill Milkowski writes in Jazz Times, “Javors distinguishes himself as a bandleader intent on collective envelope-pushing.”
# # #
Promotional/Review Copies (CD or Digital) Are Available. Contact wnorton@inarhyme.com or (800) 453-3034, ext. 709.View the Promotional Trailer HERE.
www.inarhyme.com/themeeting
Thursday, March 24, 2016
USA: Freddie Hendrix- Jersey Cat (SUNNYSIDE 2016)
Many know New York City as the Mecca of jazz. Very few recall the
illustrious players hailing from just across the Hudson in New Jersey.
Many of the greatest jazz names hailed from the Garden State, including
Wayne Shorter, Count Basie, James Moody and trumpeter Woody Shaw. It is
to correct this oversight that the fantastic trumpeter Freddie Hendrix
presents his new recording Jersey Cat, a wide ranging collection that
represents the unique swagger and groove of the Jersey jazz musician.
Growing up in Teaneck, Hendrix was originally attracted to music by the way of doo-wop and R&B, most notably that of local legends, the Isley Brothers. His initial foray into playing was on the guitar, a struggle that led him to trumpet and junior high band. It was under the tutelage of teachers like Dave Brown, Dave Rogers, Robert Hankle and his church organist Dr. Maredia Warren that Hendrix s love of jazz blossomed. A failed audition for a Teaneck area big band led to a renewed commitment to his studies, which finally led to Bachelor s and Master s degrees in Music Performance and, ultimately, to performing for two United States Presidents.
Out of school, Hendrix hit the ground running, playing with pop groups and jazz luminaries, including Christian McBride, Alicia Keys, Jimmy Heath and Wynton Marsalis. It was his work with the Count Basie Orchestra and Teaneck resident Rufus Reid that led to his first forays outside of the States, influencing much of his writing for Jersey Cat. But it was his relationships in his home state that really made the recording possible.
The members of the ensemble that Hendrix assembled were friends and regulars at drummer Cecil Brooks III s beloved, but now closed, Cecil s Jazz Club, in West Orange. Brooks not only plays on Jersey Cat , but also produced the recording. The rest of the cast includes all former or current New Jersey residents, including saxophonists Bruce Williams and Abraham Burton and pianist Brandon McCune, along with Manhattan resident trombonist David Gibson and the lone Brooklynite, bassist Corcoran Holt. The ensemble is talented and flexible, as Hendrix provides compositions for amalgamations of all sizes, including a octet that allowed him to use his arranging and part writing skills in an Art Blakey Jazz Messenger vein.
For the album, Hendrix wanted to provide a mix of original compositions and standard pieces that represented the strongest material in his book. He also wanted to make sure to represent the spirit of New Jersey, a more relaxed vibe that can jump off at any moment. The way he did this was to incorporate influences outside of jazz, namely R&B and hip-hop, into his music, creating music that grooves but also swings and is simultaneously current and retro.
Growing up in Teaneck, Hendrix was originally attracted to music by the way of doo-wop and R&B, most notably that of local legends, the Isley Brothers. His initial foray into playing was on the guitar, a struggle that led him to trumpet and junior high band. It was under the tutelage of teachers like Dave Brown, Dave Rogers, Robert Hankle and his church organist Dr. Maredia Warren that Hendrix s love of jazz blossomed. A failed audition for a Teaneck area big band led to a renewed commitment to his studies, which finally led to Bachelor s and Master s degrees in Music Performance and, ultimately, to performing for two United States Presidents.
Out of school, Hendrix hit the ground running, playing with pop groups and jazz luminaries, including Christian McBride, Alicia Keys, Jimmy Heath and Wynton Marsalis. It was his work with the Count Basie Orchestra and Teaneck resident Rufus Reid that led to his first forays outside of the States, influencing much of his writing for Jersey Cat. But it was his relationships in his home state that really made the recording possible.
The members of the ensemble that Hendrix assembled were friends and regulars at drummer Cecil Brooks III s beloved, but now closed, Cecil s Jazz Club, in West Orange. Brooks not only plays on Jersey Cat , but also produced the recording. The rest of the cast includes all former or current New Jersey residents, including saxophonists Bruce Williams and Abraham Burton and pianist Brandon McCune, along with Manhattan resident trombonist David Gibson and the lone Brooklynite, bassist Corcoran Holt. The ensemble is talented and flexible, as Hendrix provides compositions for amalgamations of all sizes, including a octet that allowed him to use his arranging and part writing skills in an Art Blakey Jazz Messenger vein.
For the album, Hendrix wanted to provide a mix of original compositions and standard pieces that represented the strongest material in his book. He also wanted to make sure to represent the spirit of New Jersey, a more relaxed vibe that can jump off at any moment. The way he did this was to incorporate influences outside of jazz, namely R&B and hip-hop, into his music, creating music that grooves but also swings and is simultaneously current and retro.
USA Ryan Keberle & Catharsis – Azul Infinito (2016)
2 Canciуn Mandala (5:55)
3 Mr. Azul (for Samuel Torres) (5:29)
4 She Sleeps Alone (for Sebastian Cruz) (7:42)
5 Quintessence (for Ivan Lins) (7:02)
6 La Ley Primera (6:13)
7 Eternity of an Instant (for Emilio Solla) (9:15)
8 Madalena (5:19)
9 Organic Rodeo (5:22)
Personnel: Ryan Keberle: trombone, melodica; Camila Meza: vocals; Mike Rodriguez: trumpet, pandeiro; Jorge Roeder: acoustic bass, electric bass, bass FX; Eric Doob: drums.
http://ryankeberle.com/
GERMANY Jazziki - 344 (2016)
01.Sing Sing Sing
02.I'll Remember April
03.Tea for Two
04.What a Difference a Day Made
05.Whisper Not
06.A Night in Tunesia
07.Joy Spring
08.Round About Monk
09.You Stepped out of a Dream
10.Undecided
Wednesday, March 23, 2016
USA: Trumpeter/Composer Ian Carey's "Interview Music: A Suite for Quintet+1" Set for April 8th Release
Trumpeter/Composer Ian Carey's 5th CD,
"Interview Music: A Suite for Quintet+1,"
To Be Released April 8
By Carey's Kabocha Records
The Quintet+1 Features
Pianist Adam Shulman, Alto Saxophonist Kasey Knudsen,
Bass Clarinetist Sheldon Brown,
Bassist Fred Randolph, & Drummer Jon Arkin
CD Release Show at the Sound Room, Oakland,
April 9
March 18, 2016
 Bay Area trumpeter and composer Ian Carey's big, bold new jazz suite, Interview Music, is the centerpiece of his like-titled new album, due for release by his Kabocha Records on April 8.
The piece, which was premiered in 2013 at the California Jazz
Conservatory (formerly the Jazzschool) in Berkeley, is a 45-minute,
four-movement adventure and Carey's longest composition to date. It is a
vehicle for both his intricate writing and the improvisational chops of
his group, the Ian Carey Quintet+1, last heard on 2013's acclaimed album Roads & Codes (Kabocha Records), which received praise from DownBeat and NPR, and appeared on many critics' best of 2013 lists.
Carey's rhythm section -- pianist Adam Shulman, bassist Fred Randolph, and drummer Jon Arkin -- goes back more than a decade with him. They are joined by alto saxophonist Kasey Knudsen,
whose woody, clarinet-like sound makes for fascinating interplay with
the band's extraordinary recent addition, the expansive bass clarinetist
Sheldon Brown.
The title of Interview Music is
"not about trying to get more interviews," quips Carey, though he's not
averse to the idea. It refers to a recent discussion in the jazz world
over the increasing percentage of new music being funded through
nonprofit commissions and grants, and whether that system favors what
the late pianist Mulgrew Miller called "interview
music" -- high-concept, programmatic works, often with subject matter
like visual artists, literary figures, or social movements.
Carey turned the tables on the argument by writing a new
extended piece for his ensemble which specifically rejects that
approach. Somewhat ironically, Interview Music
was funded by just such a grant (from the San Francisco Friends of
Chamber Music's Musical Grant Program), but Carey noted when applying
that he specifically did not want to go into the project with a
pre-existing concept. "I write first and figure out what it's about
after I hear it," he says. "If it's about anything!" Happily, the grant
committee agreed, and funded the piece's composition and premiere
performance.
The result is a challenging work which runs the gamut from
intricate through-composed sections to raucous group improvisation. His
goals as a composer -- providing individually tailored solo contexts for
each improviser, utilizing the dense counterpoint favored by his
favorite composers, and moving beyond the melody-solos-melody roadmap of
more traditional jazz writing -- show up in surprising ways, including a
passacaglia (a classical form built around a cycling melodic figure)
and a movement in which the horns and rhythm section each spend most of
the time in completely separate tempos (borrowing a trick from Carey's
idol Charles Ives), but the improvisational talents of
the ensemble are never far from the forefront. "As complicated as the
writing got, I never wanted to lose sight of the fact that it's a jazz
piece," Carey said. "Improvisation and swing should still be the stars
of the show."
The new CD closes with Carey's "Big Friday," which the composer calls "a suite in miniature." It was recorded at the end of the Interview Music session and "felt appropriately like a 'victory lap.'"
L. to r.: Sheldon Brown, Adam Shulman, Fred Randolph, Ian Carey, Kasey Knudsen, Jon Arkin.
Originally from upstate New York, Ian Carey,
41, lived in Folsom, California and Reno before moving to New York City
in 1994, where he attended the New School (studying composition with
Bill Kirchner, Henry Martin, and Maria Schneider, and improvisation with
Reggie Workman, Billy Harper, and Andrew Cyrille). During a productive
seven years in New York, he was able to perform with musicians as varied
as Ravi Coltrane, Ted Curson, Ali Jackson, Marion Brown, and Eddie
Bert, but when an opportunity arose to spend a summer in San Francisco,
he realized he was ready for a break from the Gotham grind.
He soon met the musicians who would become the core of his
quintet, which transformed over the following twelve years and three
albums (2005's Sink/Swim, 2010's Contextualizin', and Roads & Codes)
into a tightly-knit unit dedicated to tackling Carey's original
compositions. In 2012, looking to augment the group's sonic palette, he
expanded the group to the current six members. (He also recorded a
well-received duo date, 2014's Duocracy, with pianist Ben Stolorow.)
"For me, there is something for everyone in the music," says Carey of Interview Music.
"It works as jazz, with enough red meat for the straight-ahead crowd.
And it's heavily influenced by chamber music, so it can appeal to people
who are into that. Still, I didn't know how it would go over. When we
performed it as part of a chamber series and people responded positively
to it -- regular jazz music fans and chamber music listeners, but also
people who just decided to give it a listen -- I was so gratified."
Band photo: Brian Yuen
Web Site: iancareyjazz.com
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